Three documents pertaining to the film The Garden of Allah: a partial DS, signed by Marlene Dietrich, three onionskin pages (out of 11), 8.5 x 11, dated March 26, 1936. Three pages of an eleven page agreement between Selznick International Pictures and Dietrich for Dietrich “as an actress in portraying the role of ‘Dominie’ in the motion picture production of Producer, at present entitled ‘The Garden of Allah’…Producer agrees to pay Artist the sum of Two Hundred Thousand Dollars ($200,000.00) payable in ten (10) consecutive weeks.” Signed on the final page by both David O. Selznick and Marlene Dietrich; a DS, signed at the bottom by Marlene Dietrich and David O. Selznick, one onionskin page, 8.5 x 11, dated March 28, 1936. A communication between Dietrich and Selznick regarding the upcoming production of The Garden of Allah which reads, in part: “As you know, because of my contractual commitments with Alexander Korda, I am not in a position officially to extend my contract with you beyond June 23, 1936. I will, however, be very happy to continue on the picture after June 23, if you find at that time that you require additional services from me, provided you can arrange with Mr. Korda for me to delay my present scheduled arrival in London, and provided further that in no event can you require me for more that two (2) additional weeks after June 23.” Signed at the conclusion “Marlene Dietrich” and “David O. Selznick,” adding “Selznick International Pictures Inc.” Dietrich and Selznick have also initialed the document once; and a DS, signed by Charles Boyer and David O. Selznick regarding the dubbing of Boyer’s voice into French for distribution into France. Document goes on to list 38 theaters where the film is not allowed to be showed. Signed at the conclusion by Boyer and Selznick. Also included is a glossy 10 x 8 photo of Dietrich in bed, signed in black felt tip. Scattered light toning and creasing to each document, as well as a bit of scattered light soiling, otherwise fine condition.
Seeing potential in Dietrich that other directors and producers had missed, Selznick convinced Paramount Pictures executives to loan him the actress’ services for The Garden of Allah, his first Technicolor film. Selznick had hoped to secure her services before her fame grew too hot, falling short in that goal and, via the contract here, paying a princely $200,000.00 sum for ten weeks work, making her, at the time, one of Hollywood’s highest paid stars. Despite the star power connected to the project, Garden of Allah was ripe with problems. A dialogue coach was consulted to smooth Dietrich’s German accent and the French accent of Boyer—whose lines would eventually be dubbed by another actor for its distribution in France—a fact to which the actor acquiesced in one page of documentation here. Despite a reputation of being difficult to work with, displaying an immense ego, and bored by working with Selznick, Dietrich showed some degree of professionalism in her letter advising him of her commitment to British producer and film director Alexander Korda, a leading figure in the British film industry. Production on the film wrapped up in July 1936, with critics praising its color cinematography but panning her acting. Unique documentation from Dietrich’s rise to glory.
RRAuction COA.
