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1201-S

WESTERN
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R. B. WHITE
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NEWCOME CARLTON
CHAIRMAN OF THE BOARD

J. C. WILLEVER
FIRST VICE-PRESIDENT

(26)

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Received at 2138 Broadway, New York
NA27 31= WASHINGTON DC 1 707A

W C MINER=
1 WEST 72 ST=

1938 DEC 1 AM 7 36

I APPRECIATE VERY MUCH YOUR KIND REGARD BUT I HONESTLY DO
NOT FEEL UP TO SUCH A PART AS HEREMIAH. THANK YOU VERY
MUCH FOR YOUR OFFER AND YOUR WARM APPROACH.=
ELIA KAZAN.

ELIA

THE QUICKEST, SUREST AND SAFEST WAY TO SEND MONEY IS BY TELEGRAPH OR CABLE

October 11, 1943

Hotel Edison
New York City

Miss Theresa Helburn and Mr. Lawrence Langer
245 West 52nd Street
New York City

Dear Terry and Lawrence:

I have carefully re-examined "JACOBOWSKY AND THE COLONEL" and am writing you this to make my sentiments on it clear.

This script, in my opinion, can be, in production, a great play. Its basic conception is very moving to me and can be made so to an audience. I am thrilled at the prospect of working on it.

But in its present form, I think it is not ready to go into rehearsal. And I am not ready to direct it as it is now. The task, I believe, for the authors, for yourselves and for me is one and the same. Since you seem to agree with my basic feelings about the script and about the things that must be done to make it ready for production, the next thing is for me to quickly get together with the authors and embark on a program of re-writing that will make the play what we think it should be.

It is most important, at this time, that we have no misunderstanding either between yourselves and myself, or between the authors and myself as to what I consider necessary to be done. Therefore, this letter and my convictions about the script.

1. The play is now not clear as to basic philosophic meaning. To put it baldly, an audience will not know what it all adds up to mean, and I cannot be sure, except through a series of careful discussions with the authors, whether they agree with each other as to what it means or whether I agree with them.

1.

2. The play is now, in places, under-dramatized, as we discussed. The points are made by "eloquence" for the most part, rather than by real illustrative action, and where the action exists, it has been left in an incipient form. In the first place, the subtle triangle situation between the two men and the woman never develops, never has a progression and ends fundamentally as it begins. For instance, the character of the Colonel is a pushover. He's arrogant, pompous and, in dramatic effect, repetitive. We don't know why the girl goes for him at the end and, therefore, are not being moved by her action when she does. Then again, there is no development or growth on the part of Jacobowsky dramatically. This I also discussed with you. It is necessary to show that there is something lacking in this figure and that he, too, grows through the course of the play. And finally, the figure of Marianne and her being pulled between the two men is again implicit and never takes the form of a really dramatic scene with a body of action movement.

3. Now, since the story and the theme are subtle and delicate, it make the job of finding dramatizations for the story more difficult. But, before this play can become a real theatre project, this has to be done.

Finally, the situation between Odets and Werfel continues to distress me, as I think the problems over. What I would like, ideally, is to not to have to deal with any "situation" between these two men. Having worked with Odets before, I think I can best accomplish this by working with him alone, although using Mr. Werfel's conception, contributions and revisions given to me by Mr. Gassner. I think that what we need now is not a melange of nice things, but a crystal-clear and sharply-defined single point of view that will bring dramatic order and movement and thematic clarity out of "JACOBOWSKY AND THE COLONEL."

2.

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COPY

October 19th, 1943

NIGHT LETTER

MR. ELIA KAZAN

THEATRE GUILD ASKED ME TO SEND YOU THE FOLLOWING WIRE QUOTE WERFEL STILL TOO ILL TALK ON TELEPHONE SO HAVE WIRED HIM THAT WE HAVE GREAT CONFIDENCE IN YOU AND ARE ENTIRELY IN AGREEMENT WITH YOUR POINT OF VIEW YOU MUST OF COURSE SEE HIM WHEN HE IS WELL ENOUGH BUT THINK YOU WILL NOT FIND HIM PROBLEM SKIRBALL CAN ADVISE BEST PROCEDURE GREETINGS TERRY UNQUOTE BEST WHAT'S NEW

BILL FITELSON

WESTERN
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A. N. WILLIAMS
PRESIDENT

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SA10 NL COLLECT=TDS HOLLYWOOD CALIF 1

LAURENCE LANGER=[40 C] 8201

CARE THEATRE GUILD WEST 52 ST NYK=

1943 NOV 2 AM 5 55

HAD CORDIAL VISIT WITH WERFEL WHO WAS WILLING TO LEAVE
CHOICE OF NEW COLLABORATOR TO US AND DELIGHTED AT POSSIBILITY
OF BEHRMAN. I TOO PREFER BEHRMAN. WERFELS REPRESENTATIVE
RUDOLPH MONTER WILL BE IN NEWYORK IN 2 WEEKS AND CONTRACTUAL
ASSETS CAN BE WORKED OUT THEN. NEITHER SKIRBALL, ODETS NOR I
ON SECOND THOUGHT KEEN ABOUT CANTOR. HAVENT SEEN HIM YET
HOWEVER. AM INCREASINGLY DISPOSED TO TRY TO CAST THE PLAY
WITHOUT DIALECT AS MUCH OF ITS EFFECT WILL DEPEND ON PERFECT
LUCIDITY IN SPEECH AND A MELANGE OF VARIOUS FOREIGN DIALECTS
MIGHT BE DISCONCERTING. SKIRBALL FEELS AME WAY AWAITING YOUR
WORD ON BEHRMAN BEST REGARDS=

ELIA KAZAN

2 MELANGE ELIA KAZAN

Charge to the account of

Theatre Guild, 245 W. 52nd St.

$
colored

WESTERN
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1206-B

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Send the following message, subject to the terms on back hereof, which are hereby agreed to

NEW YORK, NEW YORK
NOVEMBER 3, 1943

MR. ELIZABETH KAZAN
1725 N. SYCAMORE DRIVE
HOLLYWOOD, CALIFORNIA

BEHRMAN READING PLAY. SEEMS QUITE KEEN TO DO THE WORK LATTER PART NOVEMBER. WISH YOU WOULD SEE NILS ASTHER WHILE IN HOLLYWOOD. ALSO OTHER CASTING POSSIBILITIES. THINK YOU ARE RIGHT ABOUT JACOBOWSKY DIALECT BUT THE COLONEL IS WRITTEN FOR FOREIGN PRONUNCIATION. LEM AYRES INTERESTED DOING SCENERY. YOU CAN REACH HIM 1492 STONE CANYON ROAD BELAIR OR MGM STUDIOS. HAVE BEEN OFFERED PHILIP MERIVALE FOR COLONEL IN JACOBOWSKY.

LAWRENCE LANGNER

November 4, 1943

Local Board No. 25
100 West 82nd Street
New York City

Re: Elia Kazan
No. 3452

Gentlemen:

I understand that Mr. Kazan, our employee, is in the
process of being reclassified and that there is a possibility
that he may be placed in Class I-A.

The Theatre Guild, knowing that Mr. Kazan has a wife
and two children who are dependent upon him for support, en-
tered upon a contract with him for the production of a play,
"Jacobowsky and the Colonel", and have made certain obligations
to the authors in connection therewith, involving a considerable
expenditure. It is contemplated that this play will open rela-
tively shortly, and is one which is peculiarly fitted to Mr.
Kazan's particular talents which have been employed in such suc-
cessful plays as "The Skin of Our Teeth" and "One Touch of
Venus".

In view of the above, the writer would appreciate an
opportunity of appearing before your Board or a member thereof
to explain this situation in further detail.

LL:KS

November 4, 1943

Re: Elia Kazan
No. 3452

Gentlemen:

LL:KS

THE WESTERN UNION TELEGRAPH COMPANY

NOTICE REGARDING TELEGRAM

A. N. WILLIAMS
PRESIDENT

1943 NOV 4

AM J.I. d. WILLEVER
FIRST VICE-PRESIDENT

SB1197

203 WEST 52 ST NYC NOV 4 1943

19

DELIVERY NO.

(STREET ADDRESS, CITY, AND DATE)

LAWRENCE LANGNER

NAME

THEATRE GUILD

ADDRESS

Your telegram of NOV 3RD 1943 to MR ELI KAZAN
DATE
ADDRESSEE
at 1725 3/4 N. SYCAMORE DR HOLLYWOOD is undelivered for the following reason:
ADDRESS AND CITY

ELI KAZAN 13 UNKNOWN AT THE ABOVE ADDRESS.

If you have occasion to correct the address originally supplied, please call CO 5-5793 and ask for

Form 101 A

WESTERN
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1201

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A. N. WILLIAMS
PRESIDENT

BD192

1943 NOV 4 PM 4 39

LAWRENCE LANGNER

THEATRE GUILD 245 WEST 52 ST

TELEGRAM NOV 3 TO ELIA KAZAN 1725 3/4 N SYCAMORE DR HOLLYWOOD CALIF
HAS NOW BEEN DELIVERED.

WESTERN UNION TEL CO.

Charge Theatre Guild, 245 W. 52nd St.

BY DIRECT WIRE FROM

WESTERN
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1223

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DAY LETTER

NEW YORK, NEW YORK
NOVEMBER 12, 1943

MR. ELIA KAZAN
C/O WILLIAM MORRIS OFFICE
202 NORTH CANON DRIVE
BEVERLY HILLS, CALIFORNIA

BEHRMAN XX WILLING TO WORK ON PLAY END OF MONTH. DONT LIKE BORRELL.
GLAD YOU ARE TALKING WITH LEM AYERS BUT FEEL WE MUST SEE HIS
SKETCHES BEFORE GIVING HIM JOB AT LONG DISTANCE. BEHRMAN WANTS TO
KNOW YOUR PROPOSED CHANGES. HAVE YOU ANYTHING TO ADD TO WHAT YOU
SENT US ALREADY? PLEASE NOTIFY RUDOLPH MONTER ABOUT BEHRMAN.

LAWRENCE LANGNER

November 13, 1943

Dear Gadget,

What with the new play, draft boards, S. N. Behrman, Harold Freedman, etc., I have been having a hectic time.

I am going to see your local board on Wednesday at eight o'clock, and I think I can straighten things out with them, as most boards have been lenient with our actors. There is a wonderful letter from Franklin D. Roosevelt about what the theatre is doing for morale, and I have lots of other good material.

Now, I sent you a telegram yesterday giving you the good news about Sam Behrman. He would be ready to work on the play about the beginning of December. I sent him an abstract from your letter of October 11th, which should be helpful. You will probably want to be back here around the end of the month. The casting is, as you say, very important and quite difficult. I think you can do more out there than we can here.

About Lem Ayers, this might be okay if we could see the sketches before committing ourselves. The union contract permits this.

I know Sam will improve the dialogue.

We are talking to Annabella's agent, Mark Hanna, next Tuesday. I think we can make a deal with her if you want to. Perhaps you would like to see her in Hollywood.

I am leaving here the 21st of the month and will arrive in Beverly Hills on Thanksgiving Day, November 25th. We are planning to stay at the Beverly Wilshire Hotel.

Excuse haste in writing this somewhat disconnected letter. I am rushing back to rehearsal.

Sincerely,

Mr. Elia Kazan
c/o Wm Morris Agency
202 North Canon Drive
Beverly Hills, Calif.

Charge Theatre Wulia, 240 N. Dzhu St.

BY DIRECT WIRE FROM

Gallipollettery

1223

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A. N. WILLIAMS
PRESIDENT

MR. ELIZA KAZAN
C/O W.M. MORRIS AGENCY
202 NORTH CANON DRIVE
BEVERLY HILLS, CALIFORNIA

Mar. 17, 1943

YOUR NOTE JUST RECEIVED ABOUT COMING BACK NEW YORK FOR DISCUSSION WITH BEHRMAN. THINK YOU ARE RIGHT. LOUIS CALHERN HAS BEEN MENTIONED AS POSSIBILITY FOR COLONEL. HELBURN AND I BOTH THINK VERY GOOD. HE IS ABOUT TO GO INTO A PICTURE. WILL YOU SEE HIM BEFORE LEAVING.

LAWRENCE LANGNER

Charge to the account of

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November 18, 1943.

MR. ELIA KAZAN
WM. MORRIS OFFICE
202 NO. CANON DRIVE
BEVERLY HILLS
CALIFORNIA

DAYLETTER

LAWRENCE HAS SECURED DEFERRMENT UNTIL FEBRUARY FIRST NO LATER STOP ADVISE LINING UP AS MANY POSSIBILITIES AS POSSIBLE BEFORE LAWRENCE REACHES HOLLYWOOD THURSDAY AND SUGGEST YOU PLAN TO RETURN MIDDLE OF FOLLOWING WEEK IF POSSIBLE STOP LAWRENCE WILL BE AT BEVERLY HILLS INSTEAD OF BEVERLY WILSHIRE STOP AIRMAILING ANSWER YOUR LETTER TODAY.

TERRY.

HOME OFFICE, ROCKEFELLER CENTER, NEW YORK, N. Y.

ESTABLISHED 1898

WILLIAM MORRIS AGENCY, INC.

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CHICAGO
LONDON

Dear Lawrence... Thanks for your help with the draft Board. My physical condition is fine, so there is no doubt that I should be 1A. However I see no reason why they shouldn't grant me a three month deferment at your request, so that we can count on my doing J and the C.

The situation with Warners, rather than the announcement, is very premature. I have signed nothing. We have had a series of conversations on a basis that is very attractive to me: to direct one picture a year in the summer months necessarily, and with a two way veto. This means that I shall not be called to direct pictures except one every summer, and that to be a picture I like. I'll keep you in touch with this as it progresses, but it in no way affects our relationship.

One of the reasons that I have been so dilatory about writing is Odets. I simply couldn't make him out when I first arrived. (please keep the following to yourself) His attitude was, to say the least, passive. He would like to see the show on, he said, but apparently with as little effort from him as possible. Well, perhaps that is being a little unfair, but certainly he had no relish for the job of rewriting, no active interest in it. And besides he was up to his neck in that comfortable, perfumed mud bath that everyone out here lies buried in. There was something inert about him. I began to hope, secretly, that I didn't have to work on the play with him. Then I discovered that he was most anxious to make a place for himself at a study, and he declared essential to the war effort (people in the industry are) and was in the process of selling two ideas of his to pictures. One was a play, half written, that he and I had worked on eight months ago in N.Y. I recommended to Jack Warner that he buy this; Warner did. It was used as one of the focal points for our conversations, Warner and I, about a deal between us.

As soon as the lunch where the deal was consumated was over, I took Odets aside and pointed out that he now could not work on Jacob. He thought a moment, agreed. Then I said that I wanted to bring in another author, Behrman. He thought again and agreed again. That's all there was to it. I'm very happy about the development between you and me. At that moment I am awaiting word from you about Behrman. Incidentally Odets understands that he'll have to give up some royalty.

On casting: I've been working. Its very difficult. And I'm a very careful fellow. The play has to be treated, in some respects, like a Shaw play. The speeches are a prime asset; not the plot. As you know I'm fearful of a goulash of dialects. For a day I was very hot about Franchot Tone doing the Colonel. But Franchot is far too comfortable and too settled, doesn't want to budge. Then I had an inspiration: Michael Chekhov to play Jacobowsky. How this fitted into my feeling about dialects, I refuse to discuss. Mr. Chekhov, it appears, is also too settled and too happy here. So now I've stopped with inspiration. In the next two days I'm seeing thirty possibilities, including your suggestions. Nils Asther for example, is coming in tomorrow.

I had a nice lunch with Lem Ayres, whom I know well (Harriet). He's reading the script, and we're meeting tomorrow and talking. But he would have to design the show here (as he is doing for Ernst Pascal's PEEP SHOW) and it would be executed by someone else in N.Y. I'm not enthusiastic about this kind

ESTABLISHED 1898

WILLIAM MORRIS AGENCY, INC.

202 N. CANON DRIVE

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CRESTVIEW 16161

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of carrying on. I might get enthusiastic about it all if Lem's ideas are
brilliant. His precise situation is that he is just to start shooting on
ST LOUIS (name of a picture) on which he is the PRODUCTION SUPERVISOR
(brand new dandy MGM category Ø- I imagine created especially for Mr. Ayres)
and this picture will shoot 8-10 weeks says Lem. Then he has three months off.
Knowing movies, I'd say, the picture will start late, shoot fourteen weeks, and Lem
will be very much in evidence, when they cut, assemble, dub, preview it. However
why speculate. I'll know much more tomorrow and will write you then.

Phil Merivale would be awful. Do you agree,...

Werfel looks very sick. Beside his bed is an oxygen tank. Also
a rewrite of his play - a fourth - new speeches mostly, much like the stuff
Gassner garnered for us. Not to the point, I'm sure. My ideas now are quite concrete
and I will waste no time working with Behrman.

As you see, I'm working thru Wm. Morris here. Suggest you write me
there.

Yours,

December 4, 1943.

Dear Gadget:

I'll be back Sunday night, but I don't know where to reach you by phone. My private number is Circle 7-0858.

Lawrence called me after you left last night. He was seeing Sokoloff and Tamiroff over the week-end. Also he will look up Paul Muni and Banner. He didn't respond very strongly to the Harold Lloyd idea. He felt there must be some Jewish quality in the part. Edie Robinson is re-reading the script over the week-end.

I'll be interested to know how you react to Homolka and also how you fare with Karlweiss, and maybe you'll have a lot of new ideas. When will you be in the office?

(Signed in Miss Helburn's absence)

December 27, 1943

Mr. Kazan's Notes on "Jacobowsky and the Colonel"

1-1-2: Re: the speech of THE OLD LADY FROM ARRAS

The comic point of this speech should be made much more obvious. Could it be that she's very bold and agressive until just before the end when the sound of a bomb makes her timorous. In general, this character has not been resolved into any kind of clarity as yet.

Re: THE TRAGIC GENTLEMAN

THE TRAGIC GENTLEMAN'S habit which consists of repeating what someone else has just said is quite amusing, but I think should be given to the lawyer in Scene 3.

1-1-3 Re: OLD LADY

It's not clear why she cries. The whole comic point of the OLD LADY, as far as its theatrical use is concerned, is not clear now.

1-1-4 Re: (At bottom of page)

At the end of this scene Szycke should be higher and more frantic, and the suggestion of hysteria should contaminate the whole cellar with some of his panic. And from this point until the entrance of Jacobowsky it would be dramatically advantageous to build the mounting of panic higher so that Jacobowsky, when he enters, has something to quiet and smooth but. This can be done with just a few more lines or a slightly sharper interchange between the OLD LADY and THE TRAGIC GENTLEMAN, or anyway you choose, the point being the excitement that the Polish emissary brings into the cellar is spread throughout all the people, there, and Jacobowsky quiets this with his personality and his sweets.

1-1-6 (At bottom of page)

Is there any way here that we can restore the laugh that comes when Mrs. BOUFFIER realizes that she is whispering in her own house? This appears on 1-1-8 of the Oden's script.

Can we insert somewhere on page 6 the stuff about "gnasher" from 1-1-9 of Behrman's script for on 1-1-9 the statement about Hitler from THE OLD LADY has built to a very subtle but powerful climax and should be immediately followed by the violent entrance of the Chef D'Ilot.

1-1-7 Show Behrman the re-arrangements of the third and fourth line.

Re: Jacobowsky's speech at bottom of page

It seems to me that this is the essence of the OLD LADY from Arras character. I think we should stress the aspect of her that makes her the French equivalent of the Victorian lady. The kind of sentiment that makes Marianne remark earlier in the play that the German Stukkers are trespassing on her territory. In this way we a theme in the first scene with one character that we characterize later on with another.

1-1-8 Is it possible to write this speech a little more pointedly with a sense that each new change of scene filled him with hopes of permanence and that time after time these hopes were dashed to the ground.

Restore the following line to THE OLD LADY:

"But there isn't any comparison between us, Monsieur. After all, my family has lived in Arras for five centuries."

1-1-4a In building this matter of panic here, it might be possible to use some of THE TRAGIC GENTLEMAN'S fifth column assertions or "chevalier is a Fascist" business.

1-1-9 Instead of Jacobowsky's philosophic remark about "each one of us having a Hitler and an anti-Hitler within him", I prefer "Perhaps your daughter will get her wish, Madame, moustache, forelock and all". Also, I think that right after that we should have THE OLD LADY say "What, did I say something wrong?" and repeat this a couple of times in one paraphrase or another until it is sharply broken into by the abrupt entrance of the AIR RAID WARDEN. Everything else up to this entrance should be cut.

1-1-11 Is it too trite to have the outraged bureaucrat help anticipate the entrance of the Colonel by saying how he is going to bawl him out when he sees him? -- what he'll say to him, how he'll humble him and shame him. None of which things, of course, he does.

TRAGIC GENTLEMAN

1-1-11 Instead of having THE MALE VOICE ask to have the radio

1-1-12 turned off, could THE MALE VOICE do it while THE TRAGIC GENTLEMAN continues his ironic singing of THE MARSEILLAISE until the Colonel's entrance?

1-1-12 PERSON NO BETTER THAN SHE OUGHT TO BE -- Let's change her name. Two possibilities: one, that he used to sleep with this girl, but that he met Marianne since his last visit in Paris and that now to this person's complete surprise he'll have none of her. Later when he asks SZYCKE to take her away, he might give her one of his medals as a momento.

It might be very valuable here to anticipate Marianne by this girl's complete surprise at the Colonel's change of bedroom attitude and his explanation that she's in love.

Re: THE COLONEL

The Colonel to be rewritten throughout the play as we discussed. It's a lunt part and there are immense opportunities for romance, and especially for humor, for loveable eccentricity that we must make capital on.

1-1-13 (Bottom of page)

Instead of the speech about courage, Jacobowsky should tell her his piece of philosophy about the two possibilities -- dramatically, this speech is an effort on Jacobowsky's part to cheer up THE OLD LADY, and generally to restore to the cellar a certain optimism. As he finishes the speech, the TRAGIC GENTLEMAN should say "Yes, two possibilities -- be kept in the river or be captured by the Boche. Paris, farewell." Upon which the OLD LADY faints.

1-1-14 This scene between SZYCKE and the Colonel, I feel, can be much more advantageous to the Colonel as far as opportunities for his particular brand of humor and salt go. SZYCKE, in his anxiety and general feeling of frustration, could say something that the COLONEL considers impertinent. Whereupon the COLONEL takes great relish in giving him Hell. I imagine we can give the COLONEL some picturesque oaths, some great laughing scorn, which sends SZYCKE out.

1-1-15 After SZYCKE'S exit the scene between the COLONEL and his aide, SZABUNIEWICZ, should be much more terse. The COLONEL here should give orders and in no way discuss his situation with SZABUNIEWICZ. And this short, terse, curt scene should end on the note: "I don't care how you get it, but get me some mode of transportation immediately".

Neither the COLONEL nor SZABUNIEWICZ should be conscious of their middle-aged quality. This kind of awareness only belongs to JACOBOWSKY. In general, at this point, both the COLONEL and his aide are uncritical or unaware of themselves.

1-1-15

I don't like the rest of the scene. I have already placed the "two possibilities" story earlier, and the rest of the scene should have in it: (1) the end of the air raid immediately followed by a song outside; (2) the COLONEL'S dismissing his girl friend; (3) the meat of the scene, however, should be the first confrontation between JACOBOWSKY and the COLONEL; (1) what does JACOBOWSKY want of the COLONEL? (2) why won't the COLONEL accept the Jew's offer? (3) what note do we want the scene left on? Is it the note of anticipation of the conflict between these two conflicting types? Or should this point be saved for the end of the next scene, and we build this scene to the point: "There's a car outside. Who's going to get it?" Or some equivalent of that. Discuss.

In any case, I don't think this scene should have a feminine ending since no really legitimate point of suspense has been reached, and no real piece of action has taken place. You are tapering off, in other words, from nothing.

SCENE 2

The only scene where I think Odets' talent is at its best is in the scene between the CHAUFFEUR and JACOBOWSKY. I think with a certain smoothing out, this could remain almost as was, and in general I like the quality of it better than I do Behrman's.

2-27 I like JACOBOWSKY'S jumping immediately into "Can you drive a car" with a TRAGIC GENTLEMAN.

Reminder -- Yost insists on cutting that list.

On 2-9 of Odet's script there might be a laugh at the CHAUFFEUR'S line where I have got it checked.

2-9 Let's cut out the Israelite foundling business. We might give SALOMON a certain wit, such as JACOBOWSKY'S crack later that he is caviar to the Nazi ideology.

On the COLONEL'S entrance the first thing that must be made clear is that SZABUNIEWICZ has failed the COLONEL as far as getting him transportation goes. This will build up the hopes of the Jew that the COLONEL will drive him and will now be ready to listen to reason.

2-10 This whole questioning of JACOBOWSKY by the COLONEL must more clearly be the COLONEL'S effort to discover whether or not JACOBOWSKY is a worthy little Jew so that he won't be demeaning himself too much to drive in the car with him.

2-11 It would be very nice indeed if we could come to some little climax just before the COLONEL suddenly decides that he will honor the Jew with his company. What is the clincher that sways the COLONEL and allows him to confer the pleasure of his company on the Jew? This should happen just before the seventh speech on 2-11.

2-12 I loved it when MME. BOUFFIER used to shout MONSIEUR JACOBOWSKY. See Odets, bottom 2-14.

In general on 2-12, 13, 14 try to give all the bicker-
ing lines to the servants, Stjerbinsky, as though he
were the arm of the COLONEL'S will.

2-13 The COLONEL should have his second line on the page and shouldn't speak again until the next to the last line on the page. All the rest should be given to JACOBOWSKY so JACOBOWSKY has to talk with the COLONEL through his aide. This device can be used often to advantage.

I think there is an advantage to the little crisis that Odets has on 2-17 and which I have marked "Stet". This hurried whispering, frantic little consultation would to a lot to give the COLONEL a kind of romantic humor and especially the lines "Is there any use to talk to you about this", etc.

Somewhere in here Lawrence Langner suggests that there should be a clear statement, probably from the mouth of MME. BOUFFIER, to this end:-- the audience must be aligned to follow this play from the point of view of them, not plot. The play has no plot, but if we can insert here something of the following, the audience will know what to look for in what follows: "Monsieur Jacobowsky, this will be an interesting experience. All your life you have been persecuted. You have flown from city to city, persecuted by your enemies. Now the persecutor has become the persecuted, and you will watch his behavior as you wish. It will be interesting to see how he takes it."

2-15 I would like to put back on the top of 2-15 what Odets had at the top of his 2-19.

SCENE 3

This scene between the lawyer and Marianne is a little long and not quite clear. It should start with a very clean jump into the situation through a statement from the lawyer through the lawyer's urging Marianne to fly. The Germans will be there in no time. While Marianne is too intent in settling her boundary dispute to move off the land. The lawyer then should immediately say that this land which she is disputing with her neighbor is probably already in the possession of the Germans or will be in the next few hours. If these pieces of information are conveyed to the audience in the first three or four speeches succinctly and clearly, then we will be able to follow the scene much more easily.

3-1 Is there any advantage to having the neighbor sit very determinedly in a corner of the stage so that the lawyer is playing the scene between two women? Probably not, but I wanted to bring it up.

Mr. Langner suggests that the scene start with the material that is now on 3-3.

I would like to make a cut in the fourth speech of Scene 3 as indicated in my script.

In general, trim the scene between JACOBOWSKY and the COLONEL up through 3-10.

3-11 Extend and romanticize the first contact between Marianne and the COLONEL. Dream-like.

3-13 In the scene where JACOBOWSKY convinces MARIANNE two

3-14 points may be stressed now which become a pattern later

3-15 for the interrelation for these two men. One is the feeling

3-16 for JACOBOWSKY that the COLONEL does not measure people well and has no understanding of them and especially, the COLONEL'S envy at JACOBOWSKY'S verbal slickness, his ability to deal say with MARIANNE.

3-16 There is a certain delicacy in the opening of Odets' JACOBOWSKY-Brigadier scene (Odets' 3-19) that it might be worth maintaining. A certain indirection.

3-17 I think there is a laugh that we are missing on 3-20 of Odets.

3-18

I think there is a great value in keeping the whole element that until nine o'clock the Brigadier is a bureaucrat and on the first stroke of nine he becomes a human being. Thus JACOBOWSKY stalls for nine o'clock with the hope that the Brigadier will be more lenient and understanding at that time. As the bell starts to strike nine the Brigadier immediately rips his collar open and unbuttons his coat and palpably becomes a different fellow.

Insert Odets' line about "caviar to their ideology".

Is there a value instead of having the Brigadier talk about MARIANNE, to bring her out first without the COLONEL or SZABUNIEWICZ and have the Brigadier give her her final scene on her final assurance that she must live "sans surreale". By this means, MARIANNE'S stature, her spiritual mission, can be suggested, and certainly the fact that she is young and still has hope of living to see a new France, can be clearly indicated to the audience in the farewell between her and the Brigadier. As the Brigadier goes, MARIANNE and JACOBOWSKY are left alone a minute on the stage and it is in this tiny minute along that JACOBOWSKY falls in love with MARIANNE and sees in her overtones of poetry and magnificence that he especially prizes. Now into this scene walks the COLONEL and his aide protesting that she can't possibly take all this baggage. Whereupon JACOBOWSKY, with his new-found feeling about MARIANNE, plays a scene of conflict with the COLONEL in MARIANNE'S favor. The point of which is that these things that seem to be superfluous to the COLONEL are really as essential as food to a woman of spirit and fine feeling. And through JACOBOWSKY'S intervention MARIANNE becomes strong. And thus, at the end of this scene we have the triangular state of affairs established.

Odets' 3-22: Two laughs in Odets marked in Kazan's script.

December 27, 1943

Re: THE TRAGIC GENTLEMAN

1-1-3 Re: OLD LADY

1-1-4 Re: (At bottom of page)

1-1-6 (At bottom of page)

Can we insert somewhere on page 6 the stuff about "gnasher" from 1-1-9 of Behrman's script for on 1-1-9 the statement about Hitler from THE OLD LADY has built to a very subtle but powerful climax and should be immediately followed by the violent entrance of the Chef D'Illet.

TRAGIC GENTLEMAN

Re: THE COLONEL

The Colonel to be rewritten throughout the play as we discussed. It's a Lunt part and there are immense opportunities for romance, and especially for humor, for lovable eccentricity that we must make capital on.

1-1-13 (Bottom of page)

1-1-15

SCENE 2

2-37 I like JACOBOWSKY'S jumping immediately into "Can you drive a car" with a TRAGIC GENTLEMAN.

2-15 The COLONEL should have his second line on the page and shouldn't speak again until the next to the last line on the page. All the rest should be given to JACOBOWSKY so JACOBOWSKY has to talk with the COLONEL through his side. This device can be used often to advantage.

SCENE 3

3-13 In the scene where JACOBOWSKY convinces MARIANNE two points may be stressed now which become a pattern later for the interrelation for these two men. One is the feeling for JACOBOWSKY that the COLONEL does not measure people well and has no understanding of them and especially, the COLONEL'S envy at JACOBOWSKY'S verbal slickness, his ability to deal with MARIANNE.

3-18

11

NEW YORK

POST,

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FEBRUARY

4,

1944

for STOR-AID

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10-42

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WESTERN
UNION

A. N. WILLIAMS
PRESIDENT

(27)

<table><thead><tr><th>SYMBOLS</th></tr></thead><tbody><tr><td>DL = Day Letter</td></tr><tr><td>NL = Night Letter</td></tr><tr><td>LC = Deferred Cable</td></tr><tr><td>NLT = Cable Night Letter</td></tr><tr><td>Ship Radiogram</td></tr></tbody></table>

DA307 LG COLLECT=WUX LOSANGELES CALIF 29 1121A

LAWRENCE LANGNER=

529

MAYFLOWER HOTEL WASHDC=

1944 FEB 29 PM 4 28

DEAR LAWRENCE AND TERRY I AM VERY DISTURBED AT THE THOUGHT OF
THE SPINOZA STUFF GOING OUT AND THE CONTEMPLATED CHANGE FROM
THE REALLY FINE LONG SPEECH PLEASE DONT MAKE THESE CHANGES
SAM TELLS ME ACT ONE PLAYED BRILLIANTLY IN PHILADELPHIA ON
SATURDAY FROM PERSONAL EXPERIENCE OF HAVING PLAYED BEFORE
THEM I KNOW WASHINGTONS FIRST NIGHT AUDIENCE TO BE THE COLDEST
AND LEASE RESPONSIVE IN THE COUNTRY AND I WOULDN'T MAKE ANY
CHANGES ON THE BASIOE THEIR REACTION THE SPINOZA STUFF IS
ESSENTIAL TO LAUCHING THE PART OF JACOBOSWKY WITH TRUE SPIRITUA
DIGNITY LOVE=
=GADGET.

<table><tr><td>CLASS OF SERVICE</td></tr><tr><td>This is a full-rate Telegram or Cable-gram unless its de-ferred character is in-dicated by a suitable symbol above or pre-ceding the address.</td></tr></table>

A. N. WILLIAMS
PRESIDENT

WESTERN
UNION

(45)

1220

<table><tr><td>SYMBOLS</td></tr><tr><td>DL=Day Letter</td></tr><tr><td>NT=Overnight Telegram</td></tr><tr><td>LC=Deferred Cable</td></tr><tr><td>NLT=Cable Night Letter</td></tr><tr><td>Ship Radiogram</td></tr></table>

NBAD140 LG COLLECT=WUX LOSANGELES CALIF 2 1029A 1944 MAR 2 PM 2 47
LAWRENCE LANGNER=

THE THEATRE GUILD 245 WEST 52 ST=

DEAR LAWRENCE HAD A LONG VULLENT AND UNPLEASANT SESSION WITH WERFEL ON SPIRITUAL BATTLEFRONT YESTERDAY AS RESULT HE NOW SEEMS EAGER TO SIGN CONTRACTS AND FORGET WHOLE BUSINESS HIS ONE LAST DITCH DESIRE SEEMS TO BE TO HAVE HIS ORIGINAL SCRIPT PUBLISHED AND WANTS TO KNOW HOW CONTRACT AFFECTS THIS FEEL SURE IF YOU HAVE MONTER CALL HIM IMMEDIATELY AND INSTRUCT HIM WHERE TO SIGN AND GIVE HIM ONE LAST LITTLE PUSH THE WHOLE MATTER WILL BE SETTLED I THINK IT ADVANTAGEOUS FOR PURPOSES OF CAST GETTING ACCUSTOMED TO THEATRE THAT WE OPEN WEDNESDAY AT THE DECK INSTEAD OF TUESDAY AND HAVE AN AUDIENCE POSSIBLY A BENEFIT ON TUESDAY NIGHT WILL TRY TO START BACK EAST SOME TIME THIS WEEKEND LOVE TO YOU AND TERRY=

GADGET=1

DITCH DESIRE
BECK INSTEAD

CLASS OF SERVICE

This is a full-rate
Telegram or Cable-
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WESTERN
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A. N. WILLIAMS
PRESIDENT

1201

SYMBOLS

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Ship Radiogram

CG151 NL=CHICAGO ILL 16

1944 MAR 16 PM 2 21

THERESA HILBURN=

245 WEST 52 ST NYK=

DEAR TERRY PLEASE WIRE WE STATE OF AFFAIRS TO CHIEF LEAVING

CHICAGO THURSDAY NOON. LOVE=

EOK

WE EOK

Charge to the account of

$

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WESTERN
UNION

A. N. WILLIAMS
PRESIDENT

1206

Send the following telegram, subject to the terms on back hereof, which are hereby agreed to

FOR VICTORY
BUY
WAR BONDS
TODAY

MARCH 17, 1944.

SPECIAL RUSH! NOTE this must be catch a train this afternoon!
MS. ELIA KAZAN
ON BOARD SANTA FE CHIEF
ALBUQUERQUE NEW MEXICO

EXCELLENT PERFORMANCE AND ONGOING AUDIENCE REACTION
WEDNESDAY AND THURSDAY NIGHTS. STANDS ALL PERFORMANCES.
DO CONTINUES ATTACK WHICH SEEMS TO US TO HAVE OBVIOUS
POLITICAL BASIS MAILING CLIPPING LET ME HAVE YOUR
OPINION LOVE AND GOOD LUCK.

TERRY

10-42

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10-42

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["Here's to\nANNABELLA!\nfrom 15 Drama Critics", "Annabella is excellent as the French girl.\nHOWARD BARNES, Herald-Tribune", "Annabella does extraordinarily well.\nWARD MOREHOUSE, Sun\nand attractive as the girl.\nLOUIS KRONENBERGER, PM", "Annabella, in her first Broadway appearance, is likeable\nand attractive as the girl.\nWILELLA WALDORF, N. Y. Post\nARDTHUR POLLOCK, Brooklyn Eagle", "She has a nice rich voice and a lot of charm.\nAs Marianne, she acts with charm and sincerity.\nShe acts the part with effecting warmth and\nLOUIS KRONENBERGER, PM\nShe acts the part with effecting warmth and\nShe acts the part with

FITELSON AND MAYERS

INTER-OFFICE MEMO

TO Mr. Lawrence Langner

DATE April 3, 1944

FROM Mr. H. William Fitelson

SUBJECT Guild-Kazan General Agreement

I have yours of April 1st referring to our talk on March 25th about an agreement between the Guild and Gadge. I didn't reduce our discussion to a memo because I wanted to let it simmer in my mind for a while. But our discussion was, in a sense, more general and in another more specific than you outlined in your letter.

1. We discussed weekly payments of $250.00 per week for a year. This was your suggestion. If Gadge entertainment the arrangement he will do so for two reasons (a) for a permanent association with the Guild and (b) to bring about some stability in his earnings. In view of the latter and in view of the fact that a considerable part of the weekly payments will be recoupable from accruing royalties, I thought that even $125.00 per week might be acceptable.

2. You say that payments will be applied on the same basis as earnings in connection with "JACABOVSKY AND THE COLONEL" except that he will not receive the one-half percent for re-writing.

This exception was not discussed. As a matter of fact Gadge refused to accept less than two percent. At Terry's request it was phrased one and a half percent for direction and one-half percent for re-writing, but actually it was and is a two percent transaction. I am certain that Gadge will not accept less.

It may interest you to know that subject to Gadge's availability and subject to his approval of script I am now quoting to other producers $1000.00 per week with a five week minimum guaranty and two and a half percent of the gross from all companies and seven and a half percent of the gross of film price.

3. It was my impression that we discussed a payment to him of ten percent of gross profits unless you had to co-produce the script with another producer in which case you would pay only five percent of the gross profits and Gadge would try

FITELSON AND MAYERS

INTER-OFFICE MEMO

TO Mr. Lawrence Langner

DATE April 3, 1944

FROM Mr. H. William Fitelson

Page #2.

to get the other five percent from the other producer.

4. Natually, Gadge would direct only plays that he approved and when available.

5. The army now has a call on Gadge. In addition to that he has the movie commitments. He intends to make his center of activities in New York and, of course, will definitely work and spend the major time, I hope, in the theatre. If the Guild does not have a script which interests him and another producer has, he should be at liberty to accept another assignment. He should have the right to use his best efforts to have scripts submitted to the Guild but should also, I think, have the right to do a script on his own for the obvious reasons I discussed with you.

I talked to Gadge generally about such an association before he left for California. In one of my letters to him after our Saturday afternoon discussion I mentioned it to him again. As soon as I hear his comments I will discuss the situation more concretely with you.

April 12, 1944

Mr. Elia Kazan
Twentieth Century-Fox Film Corporation
Beverly Hills, California

Dear Gadgette:

Thanks for yours of April fourth. I am
glad to know you are getting on well on your film.
you will probably end up by liking it so much that
you will stay out there, and the Theatre will lose
its Kazan.

"Jacobowsky" still keeps up its good busi-
ness, and I think it will be in the sell-out class
until about the middle of June. Then it all depends
on how we hit the summer visitors. I am thinking
up some out-of-town advertising scheme to get into
operation during May. Maybe we will sell a set of
visitors tickets to "Othello", "Oklahoma", and "Jac-
obowsky". We will open up an office and let the
mail orders come rolling in.

We had a wonderful party to celebrate the
first birthday of "Oklahoma". Wish you had been
there. I hope you are having an interesting time in
Hollywood. Here are our plans for next season so
far:

1. Ballet plays - two or three wonderful combinations of acting and dancing. It ought to be great. Help me pick out the beautiful ballerinas. We are just acquiring a wonderful ballet about a soldier who falls in love with a beautiful seal on an island in the Aleutians. The herd of seals turn to a herd of beautiful girls - a very amusing fantasia. "The Devil Takes a Whittler" will also be made into a ballet.

2. Shakespearean play.

Mr. Elia Kazan

-2-

April 12, 1944

3. A new comedy by Philip Barry.

4. Ethel Barrymore in "Embezzled Heaven." How would you like to do another Werfel play?

5. "Liliom" - a musical show. This is all right for you.

6. "The Painted Sisters" - a good comedy, but needs work.

7. "You Twinkle Only Once, Twice, or Three Times" - a masterpiece by Elia Kazan with additions, subtractions, and alterations by the original author.

8. The Pitelson-Fox-Wolf Corporation, president William Pitelson, vice president Elia Kazan, producers Colonel Darryl Felburn and Colonel Darryl Langner. First picture - "A Tree Grows in the Theatre Guild."

Outside of the above, there is nothing else to do. We hope to move into our new building sometime in May. Meanwhile, I am herding sheep on the farm in Connecticut.

Sincerely yours,

May 2, 1944

Dear Gadge:

I have started letters to you so many times, but I never
finish them! I put them off because something was always about
to happen which might be of interest to you--like a luncheon with
Berrie or a visit to the theatre or what have you. But all these
good intentions have only succeeded in turning my own particular
corner in hell into a large paved hell. Anyway, there will be
room enough there for you to come and visit me when you get bored
up above.

First of all, did you ever really decide whether you
wanted a Capehart? I made inquiries of my particular man and
believe I could get you one within a reasonable period if you
still want one.

Were you pleased about the Critics' award? It reminded
me a little of the day Blunder won his first blue ribbon at a
dog show. He was the only dog in his class. But that wasn't
his fault. Apparently, our only competitor was LISTEN, PROFESSOR.
Apparently, Barnes wouldn't vote because he considered it an
American play. I really can't feel that we had foundation to
stand on that category in spite of Sam's good work, but it
would have been nice if they had given Sam the Pulitzer instead
of making a special award to OKLAHOMA! (because that opened
on the night of March 31). We don't really need that extra public-
city on OKLAHOMA! However, JACOBOWSKY doesn't seem to need very
much either. It is doing extremely well as you know from your
statements, and I think we can weather the summer without diffi-
culty. I sat through the whole show the other night with a
notebook. It wasn't in bad shape, although Oscar was gabbling
a bit and losing a lot of the underlying meaning of his mate-
rial. I had a talk with him. I think Karl keeps prodding him
for pace in order to keep Lou happy, but when he goes fast the
audience misses half of what he says. Now Karl has gone away
and Coby Ruskin and Bettina are in charge. It is all your fault.
You probably infected Karl with a desire to be a director--
or rather, caused a rebirth of that old feeling.

The play wouldn't suffer from a visit from you. How long before that will be? Winchell listed you as going into the Army very soon, but I can't believe it. Your friend, Mr. Gordon, told me that Hollywood directors had preferential treatment. Combining that with your pre-Pearl Harbor children and your very advanced age, you ought to be with us for a long time to come! That is, provided you want to stay.

What chance for LILLIAM do you think? That venture is steadily going ahead, but it won't be ready for rehearsal until January at the earliest I would say. Oscar would have been in Hollywood by today if he hadn't suddenly had to have an emergency operation for intestinal trouble. I am afraid it will keep him in bed for several weeks.

We are moving our offices and are in a state of considerable confusion. Thank God we are not trying to do anything more this season. Two companies of OKLAHOMA! are a steady chore and we are trying to organize overseas companies as well as to do extra matinees for the soldiers here. And spring has come to Connecticut and I resent every sunny day I have to spend in town.

How is your Brooklyn tree growing in the California climate? Things grow so fast there that it should be full grown by now. May and October are two months not to miss in the East. As a matter of fact, they are my two chief reasons for not wanting to go to Hollywood!

Your friend, Mr. Kandel, told us he expects to have a new script ready to show in a short while. I suppose you will have it even before we do.

Are you having a good time out there and are you missing us? Are you happy? Sounds like a quiz program, but it comes from the heart

of yours sincerely,

Mr. Elia Kazan
20th Century Fox
10201 W. Pico Boulevard
Los Angeles, California

VIA AIR MAIL

STUDIOS
BEVERLY HILLS, CALIFORNIA

May 17, 1944

Terry darling:

It's so nice to have that long, newsy letter from you. I sure
would love to work with you and Lawrence again, and not because
I don't like working in pictures, because I do. I think my ar-
rangement with them is just right -- one a year. A guy could
make one good picture a year. I'd be earning all the money I
need in one year. The work is hard, however, physically strenuous,
and there's always a bitter sense of disappointment five minutes
after you said "Print it." You start wondering whether you
couldn't have been more stubborn, more persistent, and tried
harder to get something unusual. However, I'm doing a picture
in which the whole point is to remain inconspicuous as a dir-
ector, in which it's a virtue not to be noticed, and I've got
to hide my light under that old bushel basket.

I wish you'd written me about Berry, how he is and what he's
doing. He sent me one affectionate wire saying that he was just
about to write me, but nothing has happened since.

About the Capehart, just hold off on that awhile. As soon as
my situation in the army is settled, I'll set up a little apart-
ment in the city and then I'll want it. So just keep your con-
tact with that particular man a going thing. At some future
date I'll ask you to exercise it.

I don't think much of the Pulitzer award one way or the other.
I doubt if I would like "Searching Wind". I'm real crazy about
our play and think it should have gotten all the prizes. I
think "Voice of the Turtle" is really too trivial to be con-
sidered. Don't I sound snobbish? But that's what I really think.
"Oklahoma!" I just love, but as you say, that doesn't merit a
prize for a year but for a decade.

About "Liliom", I'm very interested in directing it and also
in making some kind of institutional connection with the Theatre
Guild, but I prefer waiting a little while longer and see what
the army situation is. I'm not in an essential industry, I'm
not a movie director, and there's something in me that draws
me to the idea of going to England for the invasion. I think

-2-

if I could get over somehow for a while, a few months, I'd
like to do it - that is, if the army doesn't take me. If I
could make a short there, or anything like that, just to
really be on the ground when these great events take place,
I think that I shouldn't miss the chance. So I'm really not
quite settled in my mind. I think that the future of all men
over 26 will depend on how bloody the invasion is. If things
go badly I expect there'll be a rather general drafting of
large groups of men to have replacements and new forces ready.

As for Kandel, I wrote Bill that nothing will come of the
Kandel play if he's allowed to work on it alone. That is
hopeless. That play needs the most strict supervision.
Kandel should be gently guided with a baseball bat. He
should be told just what is necessary and he should be sat
over until he's written it down, otherwise he'll have nothing.
Mr. Kandel is too indolent; he likes his cigars, his tender-
loins and his girls, as who doesn't.

Am I having a good time? Yes, I am. I enjoy the work and,
personally, am a good deal happier than I was during "Jacob-
owsky." You can guess why.

Break down and give Lawrence a kiss for me. Tell him I miss
our eccentric conversations and I look forward to hearing
from you both some time soon.

June 7, 1944

Dear Gadget:

I looked over the list of the supporters of the
Ancient Greek Church of Saint Sophia and was horrified to
find that the name of Kazan was not on it, although probably
every other name beginning with "Z" - including Mr. George J.
Zotalis - was included. I would be only too glad to send
twenty-five bucks to you for the church, but the Spanish
Synagogue I belong to would strongly object to my helping the
Greeks - the Spanish being Fascists while the Greeks are
Democrats, maybe. Incidentally, what is a Turk doing helping
the Greeks? I thought you ate them for breakfast! Must be
that Skouras-Skouras guy.

Seriously, how are you, my boy? We talk of you often
and wish you were here. Haven't you finished that tree yet?
And what's this I hear about you joining the Army? Don't you
realize that the Army has insulted you by saying that it
doesn't want men of your age?

Wish I had time to really write you a long letter, but
I haven't.

Had dinner with Agnes DeMille last night and told her
of our joint proposal to go 50/50 on a harem. She was thor-
oughly disgusted and said that both you and I lacked emotional
stability, and she was glad that her husband - to whom she has
been married for six months - does not. This, of course, is
extremely confidential. I think for five months out of the six
he has been away.

Hurry back and rescue me from these women.

Mr. Elia Kazan
c/o Twentieth Century Fox Film Corporation
Beverly Hills, Calif.

10-42

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June 28, 1944

Dear Terry and Lawrence:

I enjoyed "THE ASSASSIN." It seemed like it should very well make a rousing good show and, especially if the implications for our post-war world are stressed, it could be an important show. My inclination would be to stress its theatricalism, the intrigue, the color, the political workings, the jumbled, chaotic times, etc., and I think where the play goes off in the Third Act, it is partially due to Irwin's attempt to gain a kind of sympathy or pathos for Robert.

I don't like the monologue in Act III, Scene 4, by which I don't mean that I don't like the idea of a scene of this man before the firing squad, but rather that I don't like the effort to get pathos for him. In my opinion, this man is not a hero, cannot be made one, and should not be made one. He is appealing and pathetic in what he does, effectively so up until the point where Irwin asks for it for him.

In the preceding scene - Act III, Scene 3 - I agree that the device of Helene coming into the jail in a priest's robe is the most ancient variety of corn, creaks in fact. And again, here I wished that the whole Third Act could be conceived a little differently.

Act III, Scene 2, really has no purpose except as a setting for Robert's speech. We know that all the generals are scoundrels and there is no need of dramatizing it at this moment. It seems to me that the beauty of the first two acts is that we are watching the development of a whole chaotic series of events, and that our feeling is, in the first two acts, that the author is showing us these events mixed up, confused, the way they actually might have happened. I just don't go with his effort to make a pathetic hero out of Robert in Act III.

Otherwise I agree with your notes. I certainly think the character and motivation of Mousset is not clear and that some fundamental difference of opinion between Darlan and Mousset should be found and dramatized. I think, however, your suggestion that Robert be made a modern Monarchist and that sympathy be asked for him in this role is not good. I think that no one should have sympathy in this play in his political aspect.

June 28, 1944

Dear Terry and Lawrence:

I enjoyed "THE ASSASSIN". It seemed like it should be very well
make a rousing good show and, especially if the implications
for our post-war world are stressed, it could be an important
show. My inclination would be to stress its theatricalism, the
intrigue, the color, the political workings, the jumbled, chaotic
times, etc., and I think where the play goes off in the Third
Act, it is partially due to Irwin's attempt to gain a kind of
sympathy or pathos for Robert.

I don't like the monologue in Act III, Scene 4, by which I don't mean that I don't like the idea of a scene of this man before the firing squad, but rather that I don't like the effort to get *pathos* for him; In my opinion, this man is not a hero, cannot be made one, and should not be made one. He is appealing and pathetic in what he does, effectively so up until the point where Irwin asks for it for him.

Act III, Scene 2, really has no purpose except as a setting for
Robert's speech. We know that all the generals are scoundrels
and there is no need of dramatizing it at this moment. It seems
to me that the beauty of the first two acts is that we are watch-
ing the development of a whole chaotic series of events, and that
our feeling is, in the first two acts, that the author is showing
us these events mixed up, confused, the way they actually might
have happened. I just don't go with his effort to make a pathetic
hero out of Robert in Act III.

Otherwise I agree with your notes. I certainly think the char-
acter and motivation of Mousset is not clear and that some
fundamental difference of opinion between Darlan and Mousset
should be found and dramatized. I think, however, your sugges-
tion that Robert me made a modern Monarchist and that sympathy
be asked for him in this role is not good. I think that no one
should have sympathy in this way in his political aspect.

June 28, 1944

Dear Terry and Lawrence:

6/28/44

2

There should be no political hero. The point of view in this
sense should be kept an objective one, as though seen from a
distance. I especially like what he's done with the americans
in this regard, for we both sympathize with the American soldier
and despise Jackson at the same time that we recognize him as
one of us. I believe that somehow the Third Act should be kept
on this same level of objectivity.

I suppose this is all silly because Irwin is far away and, as I
remember, he has not been very eager in the past to really do
the last 10% on a script, which always means the difference
between success and failure. As I've only read the script once,
I'm just giving you my first reactions, which I haven't analyzed
through. Anyway, these are the criticisms that occur to me at
the moment. I wanted to write you something and tell you that
I read the play and liked it. Whether I'll be available to
direct it I really can't say now and, of course, don't hold
anything up waiting for me. I like the play but I can't make
any plans at the moment for personal reasons. I have made no
commitments whatever on the other hand. Zanuck wanted me to
direct "A BELL FOR ADANO" here, a book which I read and would
very much have enjoyed doing, but I refused as I am still com-
pletely of the feeling that I'll only do one picture a year here
and spend the rest of my time in New York. Although I enjoy
pictures, I detest Hollywood. I'm certainly no more inclined
to stay out here any longer than my work keeps me, than I was
when I last spoke with you. As for the office that's waiting
for me there, it's attractive to me even though I hate offices.
Perhaps I can arrange the room informally as a combination bar
and boudoir and have a few little gold keys struck up, one with
L.L. on it!

I'd like to keep the script a little longer. I won't show it
to anyone in Hollywood - except Harold Clurman. I'm sure you wouldn't
mind if he gives it a discreet reading. He's been very close to
Irwin for years and has begged me to let him read it, and I
have sworn him to secrecy. In the meantime, I'll read it again
myself and will write you again, before which time I expect to
hear from either or both of you.

With love to you both,

Gadget

P.S. Really do write me right away because I love hearing from
you.

July 26, 1944

Dear Gadge:

You said you liked to hear from me, so now I am
going to give you an earful! The new script of "The
Assassins" has arrived and I am going to send it on
to you at once. I think he has improved it greatly,
but has not entirely finished the job. However, it
comes over on this second reading as a terribly ex-
citing play. I think it should be a director's joy
and I hope you won't lose interest in it. It still
needs certain pointing up and emphasis. It is a
thrilling melodrama about something, and we haven't
had one of those since "R.U.R.", which was a pippin.

Now in addition to this, I am going to send you
another manuscript, - a manuscript of the Revue of
American song that we want to do, called "Sing Out
Sweet Land". This is the musical that was tried out
at the Catholic University in Washington. It is by
Walter Kerr and it has great possibilities to be de-
lightful, entertaining and really important entertain-
ment. I wish the script gave a more complete idea of
the production, but I am pretty sure that anyone with
your imagination will fill out the gaps. It is not in
final shape, but you would see what its possibilities
are, and it occurred to me with your interest in
Americana, everywhere from Brooklyn to Brooklyn, you
might like to try something of this sort. Fitelson
thought so too when we talked it over with him. At the
present moment there is such great interest in American
Folk music that this gay revue, which records the whole
background of our national song and dance, should have
very wide appeal. We have not finally decided on the
exact material to be used. Some of the songs in this
are too familiar and we are getting expert advice and
picking different stuff. The wonderful part of this
revue is that once we get it established we can bring
out a new edition every year, just by changing the songs.
There are two or three fine dance numbers and several
interesting production numbers. The use of the spoken
chorus is very exciting and effective, and brought a new
note into the theatre. I won't say any more now, but

Mr. Elia Kazan

-2-

July 26, 1944

let you read it and decide for yourself.

We have so many good things for you to do this
year, you'd better come back and settle down in our
new palace. If you don't hurry someone else may have
your desk and I don't want any dealing on the ground
floor. We are moving today. I say "we", but it is
really "they", because I am staying out of the pic-
ture. Everything will be ready in a few weeks, I
think, except my office because Stewart Cheney has
decided that my office should be papered in chintz
and the industry has decided that there is not enough
chintz available for weeks and weeks and weeks.

added by Miss H. (by hand)

What did Harold think of the script?

Excuse my handiwork - moving day! No office, no
machine but much love always.