Signed promotional photograph of the handsome French actor and filmmaker as a young man, standing in a suit and with a cigarette in his right hand, as seen in the 1963 crime drama Any Number Can Win (Mélodie en sous-sol) directed by Henri Verneuil. Inscribed to Paul McMahon in French. 10 x 8.25 inches (25.4 x 20.7 cm). Three dents to left margin from earlier ring binding; else in very good condition.
The main role of Charles was always intended for Jean Gabin, but the supporting role of Francis was initially planned for Jean-Louis Trintignant. Alain Delon heard about the project and lobbied for the role, saying, 'I want to make this film'. But the American producers of the film felt that Delon, unlike Gabin, was not well known outside France and Italy, and were opposed to his casting, saying, 'If he wants to do the film, let him do it for free'. Delon offered a compromise, taking the film's distribution rights in certain countries instead of a straight salary. The gamble paid off well, with Jean Gabin later claiming that Delon earned ten times more money than him as a result.
From the collection of Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.
Signed promotional photograph of the handsome French actor and filmmaker as a young man, standing in a suit and with a cigarette in his right hand, as seen in the 1963 crime drama Any Number Can Win (Mélodie en sous-sol) directed by Henri Verneuil. Inscribed to Paul McMahon in French. 10 x 8.25 inches (25.4 x 20.7 cm). Three dents to left margin from earlier ring binding; else in very good condition.
The main role of Charles was always intended for Jean Gabin, but the supporting role of Francis was initially planned for Jean-Louis Trintignant. Alain Delon heard about the project and lobbied for the role, saying, 'I want to make this film'. But the American producers of the film felt that Delon, unlike Gabin, was not well known outside France and Italy, and were opposed to his casting, saying, 'If he wants to do the film, let him do it for free'. Delon offered a compromise, taking the film's distribution rights in certain countries instead of a straight salary. The gamble paid off well, with Jean Gabin later claiming that Delon earned ten times more money than him as a result.
From the collection of Paul McMahon, a critic, photographer and artist who worked for more than 13 years touring with Marlene Dietrich as the icon’s stage manager, announcer, dresser, secretary and escort, and later spent 25 years as an arts and entertainment reviewer and photographer with Gay Community News, Esplanade, Tommy’s Connection, The Mirror, Bay Windows and other publications.