ALS in German, four pages, lightly-lined, 8.5 x 11, February 25, 1970. Letter to Lotte H. Eisner with detailed comments, corrections, and additions on his film “Woman in the Window” for the corresponding chapter in his biography. In part (translated): “The Woman In The Window chapter in my and, hopefully, your view is much clearer for now. There are only little things that I want to tell you this. To page I, Section I, would have to say that I am the deaths of 2 men in this film (Robinson & Duryea)—and perhaps even eventually by Bennett to a third person, therefore - based on a self-defense to save the own life, committed manslaughter—pointless and unbearable feeling. Eddie is a 'three times looser,' that is, three convictions, the threat of a fourth offense a long prison sentence.—I like the word, was not allowed '! (You, dear Mrs. Ecker, are working in Hollywood, incorrectly, perhaps too strict. I will come back to that on another occasion…Scenes where Robinson with the corpse in the car drives and then throws on the road behind a bush. The man who has risen in the rain out of the car has a front door key. The woman who tries to avoid it, but would have…here I miss the proposition, but not than Bennett, but as a cheap whore out…Here I would now like to insert something once. One of my main struggles with the author and producer Nunnally Johnson, the occupation of the blackmailer with Duryea was. I wanted as an opponent for Joan Bennett have a younger man! Nunnally wanted nothing but old…But at last I pressed my occupation rotate through, as well as the "DREAM" conclusion which I also really liked just because I know HOW I BECAME THE TRANSITIONAL would SCENE! By the way, it might interest you to know that the film was banned in the U.S. because the allegedly scene where the Bennett scrambles the poisoned drink for Duryea, in a truly committed murder in that State […] I was reminded at this end a lot. I needed a liberating laughter! And Robinson played this scene really fantastic if he, by the whore away, hurrying down the street. And as he slowly disappears and the film comes to an end.” In fine condition, with staple hole to each page and several underlined lines of text. Accompanied by a one-page copy of the manuscript, which features various handwritten emendations by Lang. An interesting letter not just for the cinematic oeuvre of the director, but also a deep insight into his artistic intentions and feelings, as well as opinions on Hollywood and American cinema.
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