Roman Polanski Thanks Everyone Who Sent Support to Him, Valley of the Dolls Opening and Steve McQueen in "The Cincinnati Kid"

Roman Polanski wants to thank everyone who has sent messages of support during this difficult time:

http://www.eonline.com/uberblog/b159792_roman_polanski_says_merci_support.html?utm_source=eonline&utm_medium=rssfeeds&utm_campaign=rss_topstories

From his chalet in Gstaad, Roman Polanski sends his very best.

In a letter to French author Bernard-Henri Lévi, the Oscar-winning filmmaker says he is "overwhelmed by the number of messages of support and sympathy" he has received since being locked up in Switzerland for skipping out on his sentencing for having sex with a teenage girl 31 years ago.

"These messages have come from my neighbors, from people all over Switzerland, and from beyond Switzerland—from across the world," reads the translated-into-English letter, which Lévi gave to the Huffington Post, where he's a contributor.

"I would like every one of them to know how heartening it is, when one is locked up in a cell, to hear this murmur of human voices and of solidarity in the morning mail. In the darkest moments, each of their notes has been a source of comfort and hope, and they continue to be so in my current situation."

Sounds like something the director of The Pianist and Death and the Maiden would write.

Polanski requests in his letter that, because he can't respond to each missive individually, Levi "disseminate these few words" somehow. "These few words" are also the director's first remarks since his legal troubles started all over again.

The Poland-born, longtime resident of France hasn't stepped foot in the U.S., where he made Rosemary's Baby, Chinatown and other films, since 1978.

He was arrested Sept. 24 in Winterthur prison after landing in Switzerland, where he was to accept a lifetime achievement honor at the Zurich Film Festival. He was transferred to home confinement Dec. 4 while he awaits possible extradition to California.

An appellate panel denied Polanski's latest request to have the decades-old charge dropped, in which he argued that the judge and prosecutor from his original case conspired against him.

On this day in movie history, Valley of the Dolls was released:

http://www.hollywoodoutbreak.com/2009/12/27/on-this-day-in-movies-valley-of-the-dolls/

Tuesday Weld as Christian with Steve McQueen in The Cincinnati Kid.  McQueen had originally wanted Sharon for the role of Christian.

A review with some great trivia about "The Cincinnati Kid".  Personally, no disrespect to Tuesday Weld but I would have rather Sharon had gotten that role.  Also, the information here suggests it was a black woman filmed in the nude scene by Peckinpah instead of the rumor that usually purveys that Sharon was the one and that this is one of the reasons Peckinpah was fired from the film:

http://cinemaroll.com/drama/steve-mcqueen-in-the-cincinnati-kid-1965/

Does anyone have any information regarding the Peckinpah rumor?

Tribute to Martin Ransohoff Earlier This Year and Another Take on the Polanski Case

I didn't know that Ransohoff was being honored this year?  I found this article from May 15, 2009:

A recent photo of Ransohoff

A Tribute to Producer Martin Ransohoff  May 3, 2009

This is an Egyptian Theatre Exclusive

Producer Martin Ransohoff started out in television and, after an incredible success story with the original "The Beverly Hillbillies" beginning in 1962, graduated to producing hit motion pictures the same year with BOYS’ NIGHT OUT and THE WHEELER DEALERS. A string of critically acclaimed and successful movies came in their wake, including THE AMERICANIZATION OF EMILY, THE SANDPIPER, THE CINCINNATI KID, THE FEARLESS VAMPIRE KILLERS, DON’T MAKE WAVES, ICE STATION ZEBRA, CATCH-22, 10 RILLINGTON PLACE, SAVE THE TIGER, SILVER STREAK, THE WANDERERS and JAGGED EDGE, to name just a few of his many hits! He was also partly responsible for helping to launch the careers of such actresses as Tuesday Weld, Ann-Margret and Sharon Tate. Join us for some of producer Martin Ransohoff’s favorite films. He’ll be here in-person for two out of the three evenings!  

Here are the highlights of the films they showed:

http://www.egyptiantheatre.com/archive1999/2009/Egyptian/Martin_Ransohoff_ET2009.htm

Another mention announces it this way:

Director Arthur Hiller & Producer Martin Ransohoff In Person at the Egyptian

Producer Martin Ransohoff is the subject of a tribute this weekend at the Egyptian Theatre. Though himself, not a household name, his films are quite famous. He got his start in television producing "The Beverly Hillbillies" and went on to produce THE AMERICANIZATION OF EMILY (starring Julie Andrews & James Garner (forever Jim Rockford of "The Rockford Files" to TV fans), helmed by LOVE STORY director Arthur Hiller. Hiller, a former president of the Academy of Motion Picture Arts & Sciences, will appear in person with Ransohoff to reminisce about making 'EMILY' in 1964. MARY POPPINS starring Andrews was also released in 1964.

Director Arthur Hiller today

Ransohoff will be joined by Robert Loggia for a look at JAGGED EDGE on Sunday, May 3rd. Loggia was Oscar-nominated for Best Supporting Actor for his role as investigator Sam Ransom. Another highlight is ICE STATION ZEBRA on May 2nd, the film that eccentric, compulsive billionaire Howard Hughes watched repeatedly in his private screening room (remember the days before video let alone DVD???) Join us for some big screen action. Also screening are, SAVE THE TIGER and THE CINCINNATI KID with Steve McQueen.

For more on the films they showed go to the 2nd article here:

http://americancinematheque.blogspot.com/2009_04_01_archive.html

Unfortunately, I couldn't find anything about if anyone present asked about Sharon.  But here is a summary of the events from a fan that was there:

Mister, we could use a producer like Martin Ransohoff again. And again and again.

Sunday the Egyptian played host to the final night of the Martin Ransohoff tribute. Joining Mr. Ransohoff on stage were the evening’s host, Alan Rode and one of the truly great veteran Hollywood actors, ROBERT LOGGIA.

Much of Friday’s bloggery was taken up with war’s ugliness. Sunday’s double bill encompassed far less grave subject matter, namely murder, betrayal, gambling, small-fry in comparison. All encased in a pair of classic films that continue to mature, recruit new fans to the table, and send the rest of us reeling back in timed-release-capsules.

How such a diverse career? A filmography from which any handful of titles will yield the same results: stories seemingly world’s apart – polar opposites (ICE STATION ZEBRA was Saturday). If anything holds true in an overview, it is this extreme diversity of thematic commitment. And a handling of the material that was –don’t say it, don’t say it – edgy! A producer who exhibited more than just a token willingness to take chances, but real desire and as we heard Friday, one that was willing to go up against studio bosses, to fight for an artistic choice, despite the box office impaction. It is testament to Ransohoff’s guiding hand and diligence that the films are both timelessly entertaining and revelatory of their respective “times.”

The “knife with the jags” certainly holds up, clearly if tonight’s audience was any indication. Collective gasps and a “yeah” when the killer gets “his,” same as the day it was made. Pure 80s gold, prototypical of an entire subgenre, sporting a razor sharp script by the screenwriter who virtually defined the era’s potboiler, Joe Eszterhas, very quickly into the Q&A one begins to realize, that this is one more movie whose story belongs to the man who first conceived of the basic idea, none other than Martin Ransohoff. Not stated in some vanity mirror-moment-of-reflection, rather matter-of-factly in the first moments of discussing the project. “Basically the original idea for the movie was mine.”

Much like the way Mr. Ransohoff refers to himself as a “creative producer,” completely lacking in pretense. He is in fact un-credited on EDGE as he was, we learn, on much of his earlier work.

He mentions it in passing, like the CINNCINNATI KID’s locale being shifted from St. Louis where Richard Jessup’s novel is set, to New Orleans and a more bygone era. Ransohoff: “I’m from New Orleans.” If you’ve seen KID you know how pivotal the Big Easy’s setting is to the movie. If you haven’t seen it, than where the heck were you Sunday Night?

Between films, Mr. Ransohoff took a seat on stage between Robert Loggia and Alan Rode, the Q& A having commenced while he was returning from the lobby and Mr. Loggia recounting a dinner at Spago’s and nearly begging for the role of Sam Ransom. A performance which would land him an Oscar nom., the part had originally been set for Jason Robards, a much older actor. It was Loggia’s input that led to the character’s incorporation of the “F” carpet-bombing, and other major changes that were eventually embraced by both the director, Richard Marquand and Ransohoff.

Repeatedly, as audience, we bear witness to producer Ransohoff’s openness to the collective give and take of the creative process. Loggia said, “Marquand listened and was a gentleman.” The same holds true in spades for Ransohoff.

Ransohoff stated that as a producer, “after my first five or six pictures, I spent very little time on the set. My bonus to a director was not to have to see me.” To the “director who was doing his job… if dailies looked good, if we were on budget, my gift was to stay away… Plus, sitting around on a film set, watching films being made is like watching paint dry.”

Watching a Ransohoff movie is nothing like latex. Also, make note, “director doing his job.”

What might stand out the most in reviewing Ransohoff’s credits (he made the number at 41) is the sheer span of time – the post war 50s, the 60s, and on into the 80s – Mega eras of cultural and social upheaval, shifting norms and taboos, all reflected in shades of nuanced entertainment, engaging and more often than not, challenging, work. Culled from some of the greatest literary sources of the day, “I bought the rights to the book,” and so it would start.

Loggia remarked that he had recently turned 79 years of age, and with Ransohoff at somewhere in the low 80s, both gentlemen were still “ambling,” as Loggia put it, albeit at a somewhat leisurely pace. And this here is one darn glad moviegoer – I’m thinking next month for another six of the 41!

Wonder who I can ask about that?

Wish I could have asked Hiller if Sharon was really in "The Wheeler Dealers" and "The Americanization of Emily" like I have heard?  And there would endless questions to ask Ransohoff.

Another Take on the Polanski Case now that Roman is on house arrest.  It also talks about when Roman lost Sharon:

http://www.pamil-visions.net/polanski-flees-chalet-can-he-escape-conviction/28643/

Why Sharon Tate had trouble finding roles that were worthy of her.

I ran across a vintage article that has a few actresses talking about how hard it is for women in the industry to find good movie roles.  Some of the quotes made me think of Sharon and how Ransohoff handled her career.  We all know Sharon wanted to get better film parts.  She did not want to be the next Marilyn Monroe, she wanted to be the next Catherine Deneuve/Carole Lombard.  Even MM got tired of playing sexy roles and was like Sharon in that respect.  Both wanted to be taken more seriously as an actress.

The article comes from TV Radio Mirror September 1973

Ask the Stars by Bob Lardine

Do you think actresses are discriminated against in show business?

Suzanne Pleshette said: "The last ten years have been really rough on actresses.  Even when the material was available, they had to settle for secondary parts."

Julie Newmar said: "Women definitely are being discriminated against.  And the reasons are quite obvious.  Most of the writers are men.  Most of the producers are men.  Most of the directors are men.

"I say 'most' in the above instances when in some cases the better word would be 'all.'

"It's very difficult for an actress to have a juicy part when the show business field is so dominated by males.  The only solution is to permit more women into the industry."

Stella Stevens said: "I think it's quite obvious that women aren't given the same opportunities as men in show business."

Bette Davis adds: "There's no question that women aren't getting the same breaks as men.  It's a man's world in show business as well as anywhere else."

Sharon's friend, Jacqueline Bisset is also quoted in the article:  "Unfortunately, a lot of men regard women as inferior creatures, or as nothing but sex objects.

"It's really up to the woman as to how she wants to be treated.  If you rebel against being regarded in that light, you discover that people start to look at you differently.

"Though it's true that actresses seldom get juicy parts, it's also true that when they do get them, it results in exciting movies.

"For example, I thought Jane Fonda's part in 'Klute' was magnificent, and it turned out to be an exceptional movie."

I think these quotes fit Sharon's career.  Ransohoff definitely thought of Sharon as a sex object.  He put her in a Marilyn Monroe type part in "Don't Make Waves" as the not to bright sexy Malibu.  It was only when Roman Polanski entered her life that she started to rethink things and Polanski and Steve McQueen helped her in deciding to get out of her seven year contract with him.  She was finally able to do this and who knows what great parts she could have went on to play.  Polanski and Tate talked about doing a western and, of course, "Tess" together.  I have never thought of Sharon along the lines of the Fonda part in "Klute" but, who knows?  She could have gotten it and done wonders with the role.  After all, that role was only a few years after Fonda appeared as the sexy "Barbarella."

I've always thought it was a shame she didn't get the Tuesday Weld role in "The Cincinnati Kid."  We can only imagine what roles may have come her way had she gotten that part. Steven McQueen wanted her for it but the director Norman Jewison didn't think Sharon had enough experience and, after original director Sam Peckinpah was fired from the production, Sharon was replaced by Weld.

We will, unfortunately, never know what might have become of Sharon's career, had she lived.  I have always wished she at least had been able to do one role that she was really proud of.  But, according to friend Sheila Wells, Sharon did not feel this way.  Often Wells says Sharon would say: "Oh, Sheila, the movie I just made was so awful, don't bother going to see it."

I think Polanski would have helped her to become the actress she was wanting so much to be.  I would have loved to see Sharon's career florish as time went on.  But, at least, with this insight into how hard it was for actresses to get the 'really juicy parts' we can see what forces Sharon was up against.