SCHACHNOVELLE (1960) Cinestar AG an Roxy-Film AG, 15.5.1959

SCHACHNOVELLE (1960)

Cinestar AG an Roxy-Film AG, 15.5.1959

 

Sehr geehrte Herren!

Gemäss § 8 des Vertrages vom 12. April 1957 haben wir das Drehbuch SCHACHNOVELLE geprüft und müssen es aus folgenden Gründen ablehnen:

a) Das Drehbuch ist weder in Form noch Qualität zufriedenstellend.
b) Das Drehbuch wurde nicht innerhalb der vereinbarten Frist geliefert.

Wir üben jedoch unser vertraglich festgelegtes Recht des Rücktritts wegen Ihrer bereits sehr beträchtlichen Investitionen in diese Produktion nicht aus.
Deswegen sind wir auch bereit, den Film letztmalig endgültig auf den 25. April 1960 zu verschieben.

Hochachtungsvoll
Cinestar A.G.

Gebilligt:

gez. Curd Jürgens

SALONWAGEN E 417 (1939) Fanbrief an Curd Jürgens, 22.3.1941

SALONWAGEN E 417 (1939)

Fanbrief an Curd Jürgens, « meinem liebsten Filmstar », 22.3.1941

PRÄMIEN AUF DEN TOD (1950) A.B. do Prado an Curd Jürgens. Wien, 28.1.1950

PRÄMIEN AUF DEN TOD (1950)

Abelardo Bueno do Prado (brasilianischer Diplomat) an Curd Jürgens. Wien, 28.1.1950

POVERO CRISTO (1976) Curd Jürgens an Valentina Sturla (Studio Avv. Feruccio Ferrara). St. Paul de Vence, 8.3.1975

POVERO CRISTO (1976)

Curd Jürgens an Valentina Sturla (Studio Avv. Feruccio Ferrara). St. Paul de Vence, 8.3.1975

POVERO CRISTO (1976) Curd Jürgens an Valentina Sturla (Studio Avv. Feruccio Ferrara). St. Paul de Vence, 10.3.1975

POVERO CRISTO (1976)

Curd Jürgens an Valentina Sturla (Studio Avv. Feruccio Ferrara). St. Paul de Vence, 10.3.1975

POVERO CRISTO (1976) Valentina Sturla (Studio Avv. Feruccio Ferrara) an Steffi Jovanovic. Rom, 5.2.1975

POVERO CRISTO (1976)

Valentina Sturla (Studio Avv. Feruccio Ferrara) an Steffi Jovanovic. Rom, 5.2.1975

OHNE DICH WIRD ES NACHT (1956) Krüger (NF Verleih) an Curd Jürgens. Frankfurt am Main, [1956]

OHNE DICH WIRD ES NACHT (1956)

[?] Krüger (NF Verleih) an Curd Jürgens. Frankfurt am Main, [1956]

Curd Juergens Hotel Majestic

Belgrad

Welturauffuehrung Ihres Filmes “ Ohne dich wird es Nacht “ am 17.8. in Hamburg, Film Theater Die Barke, erbitten dringendst persoenliche Anwesenheit, da grosser festlicher Start vorgesehen. Eintreffen bis 12 Uhr mittags .

ENNEFFILM Krueger

OHNE DICH WIRD ES NACHT (1956) Herbert Horn an Curd Jürgens. München, August 1956

OHNE DICH WIRD ES NACHT (1956)

Herbert Horn an Curd Jürgens. München, August 1956

LORD JIM (1965) [Mike] Trankovich an Curd Jürgens. Hollywood, [1965]

LORD JIM (1965)

[Mike] Frankovich an Curd Jürgens. Hollywood, [1965]

We will be delighted to
have you and Simone for
the royal command performance
of Lord Jim stop have asked
our London office to contact you
and make necessary arrangement.
regards = Frankovich

LORD JIM (1965)

[Mike] Frankovich an Curd Jürgens. Hollywood, [1965]

WERNHER VON BRAUN – I AIM AT THE STARS (1960) Walter Wiesman an Charles Schneer, 18.5.1959

WERNHER VON BRAUN - I AIM AT THE STARS (1960)

Walter Wiesman (Sonderberater des Films) an Charles Schneer (Produzent des Films), 18.5.1959

 

WERNHER VON BRAUN - I AIM AT THE STARS (1960)

Walter Wiesman (Sonderberater des Films) an Charles Schneer (Produzent des Films), 18.5.1959

To: Charles Schneer

From: Walter Wiesman

Dr. von Braun talked to me for some time about his impressions of Curt Jurgens. There is no question on my mind that the two men are off to a flying start. Jurgens left a deep impression by demonstrating a knowledge, in depth, of many things. He can be considered a true citizen of the world and liberal cosmopolite. Also a perfect host with superb taste. The overall judgement is one of high regard und respect.

There is one specific part of their conversation that you should be aware of. It concerns the script. Von Braun and Jurgens had an extensive discussion concerning the basic purpose of the picture. ( I mean the one next to a profit! )

Jurgens does not consider the love angle so terribly important. He pointed out that many excellent pictures in recent years had little significance in relation to a love story, but were quite unusual by having a real message. In many instances these scripts were typical “men’s issues”, such as “The Enemy Below”.

Both men feel that the picture could have a tremendous message not only for the people in the U.S. but also throughout the entire world. The main idea would go along the following line:

The United States used the traditional “open door policy”, even after a bitter war, to let capable people and knowledge enter the country. While Germany drove “The Einsteins” away, the U.S. showed an open mind and heart, showed former enemies a new way to develop their talents in the interest of science. And these men come across for their new country in an hour of great need by giving the U.S., and the Free World, the Explorer and the Pioneer.

I have to agree that this thought is very appealing. It may also kill some of the opposition to the picture. And let me quote here Gen. Lemnitzer, Army Chief of Staff, from his memo to Gen. Storke in April 1958. He said “….that full credit is given to the Army for the foresight, vision and determination to exploit the German scientific talent at Peenemuende in order that the U.S. could lead, as it has done, in the development of rocketry and space exploration during the post-World War II period.”

There is no doubt that this issue is definitely an integral part of von Braun’s life and present value to the scientific world. This approach could really be a message bigger than having another love angle added to the script.

Jurgens has a very strong sentiment for the generosity and open-minded attitude of the people in the U.S. Aside from his general experience along this line, there is one incident in Jurgens’ life that explains this view. He had a fairly big film deal lined up after the war in Germany and had put all his savings into it. At the point of no return he got involved in a legal problem over this film with Billy Wilder. He did not know what to do. Giving up would have broken him for as long as he would care to think. He went to the U.S. and laid the cards on the table before Mr. Harry Cohen. Mr. Cohen accepted Jurgens’ word and backed him up in such a fashion that it became an example for Jurgens in regard to the general attitude of the country.

This general view, of course, is shared by most immigrants or new citizens. We felt that we should let you know about the way von Braun and Jurgens feel about “the message” which the picture could have.