“Algiers” Distribution File: United Artists Corporation Records, Series 7G
1935-1957
- United Artists Corporation
U.S. Mss 99AN/7G
0.4 cubic feet (1 archives box)
Wisconsin Historical Society
(Map)
Correspondence, legal documents, and miscellany that trace the ownership rights to the story and motion picture Algiers (a 1938 remake of Pépé le Moko also remade in 1948 as Casbah) and its foreign and television distribution. The file consists primarily of correspondence and legal documents although miscellany are also included. Of interest is a 1938 letter from the Motion Picture Producers and Distributors of America in which the Algiers script was reviewed; given the story's emphasis on sex and prostitution, the script was not accepted and specific changes were suggested.
Forms part of the United Artists Corporation collection.
English
http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-99an007g ↑ Bookmark this ↑
Algiers, a Walter Wanger Production released by United Artists in 1938, was an English remake of Julien Duvivier's Pépé le Moko (1936). The latter production was a French motion picture based on Ashelbe's novel of the same name and starred Jean Gabin in a script by Ashelbe and Henri Jeanson. In 1948 the story underwent another Hollywood remake and emerged as a Tony Martin musical, Casbah. Given that three films were done about this story, much of this file pertains to obtaining and clarifying who owned what rights to the story and motion picture and how this affected the rights to Algiers' foreign and television distribution. The file consists primarily of correspondence and legal documents although miscellany such as restricted distribution lists, lists of actors and their salaries, a music cue sheet, sheet music, and lists of credits and specific clauses relating to billing, publicity, and advertising are also included. All materials are interfiled and arranged chronologically.
Specific elements of Algiers that are discussed include the acquisition of initial rights; terms of and restraints on its foreign distribution given its direct competition with Pépé le Moko; and miscellaneous production problems such as script clearance, scoring the film, and acquiring rights to songs. Brief mention is also made of negotiations with the Robbins Music Corporation, who published the novelty song C'est la Vie, and with Lux Radio Theatre, which wanted to do a radio performance of Algiers. United Artists' negotiations with Loews Inc., and Paris Film Production, their predecessors in this interest, and later with Robert and Raymond Hakim, who along with Marston Pictures and Universal had acquired the rights to Pépé le Moko, are also documented. (The Hakims' control of the literary rights meant that United Artists could not distribute Algiers in either 35 mm or on television. The problem was finally resolved when certain distribution rights were mutually exchanged and granted.)
Of interest is a letter (18 February 1938) from the Motion Picture Producers and Distributors of America in which the Algiers script was reviewed. Given the story's emphasis on sex and prostitution, the script was not accepted and specific changes were suggested. Also of interest is a summary memoranda (17 April 1951) which details the intricate and sometimes overlapping rights and claims to Pépé le Moko, Algiers, and Casbah.
