PARIS WHEN IT SIZZLES, 1964

Lot 148

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PARIS WHEN IT SIZZLES, 1964

Details

PARIS WHEN IT SIZZLES, 1964
Audrey Hepburn's working script for the 1964 Paramount production Paris When It Sizzles, dated 16 June, 1962, the blue paper front cover inscribed in Hepburn's hand in pencil to keep and take to B'stock, the final draft script comprising approximately 127 pages of mimeographed typescript bound with three brass brads, 59 pages printed on coloured paper representing revisions to the script with varying dates June-September 1962, the corner of each page either snipped, torn or folded down when completed, the majority of the parts for the character of Gabrielle Simpson marked in pencil or Hepburn's signature turquoise ink, with words underlined for emphasis, deletions to directions and eight pages annotated in Hepburn's hand with copied out lines and minor amendments to the dialogue, the last two pages additionally annotated verso with pencil costume sketches by Hepburn and a handwritten caption robe marrons, cravatte vison noir & chapeau
10 ¾ x 8 ½ in. (27.3 x 21.6 cm.)

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These lots have been imported from outside the EU for sale using a Temporary Import regime. Import VAT is payable (at 5%) on the Hammer price. VAT is also payable (at 20%) on the buyer’s Premium on a VAT inclusive basis. When a buyer of such a lot has registered an EU address but wishes to export the lot or complete the import into another EU country, he must advise Christie's immediately after the auction.

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Lot Essay

As Hepburn and old friend William Holden both owed Paramount one more film under their contracts, the studio asked Breakfast At Tiffany's screenwriter George Axelrod to come up with a script to reunite the pair on screen, this time in Paris. Paris When It Sizzles follows top Hollywood screenwriter Richard Benson [Holden] as he scrambles to finish his latest script by acting out fantasies with savvy young secretary Gabrielle Simpson [Hepburn]. Filmed in the summer of 1962, the production was plagued by Holden's alcoholism, almost shutting down for weeks at a time while he received treatment, and was saved only by Axelrod shipping in guest stars Tony Curtis and Marlene Dietrich to keep the cameras rolling. The final picture was a clever satire of the movie business, rife with insider jokes and cross-references. However, the unconventional structure and film-within-a-film storyline confused viewers and the movie was shelved for two years, finally released in 1964.

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