Vladimir Nabokov: Selected Letters 1940-1977
Page 28
The composing of the screenplay as he now sees it would necessitate a considerable amount of freedom and non-interference. Would you be prepared to allow him this creative latitude? This means, would you be prepared to leave him to his own devices while he is writing the first draft? He could write it either in Hollywood (where we could come around mid-March), or he could start work on it immediately upon reaching a definite agreement with you, and then bring it to Hollywood in March in a half-finished condition, to finish this first job there. At the end of this first creative stage, he would be glad to discuss the thing with you, step by step, making such changes as you deem necessary, etc.
In view of all this, my husband now suggests that you make him now in writing the best final offer you can, which would be either accepted or rejected by him. In case he does not find it satisfactory, you will be immediately notified, and will be free to engage another scriptwriter. In case he accepts it, he will ask his lawyers and Mr. Lazar to see to the details of the agreements, while he himself will either start at once writing the script or (if you prefer) will postpone the writing of the script until his arrival in Hollywood and will devote the interim period to the work now in progress.
We think we have found a house here that we would like to rent in case we are not going to Hollywood, and there is this additional consideration that we would not like to lose this house if we decide to stay on in Europe. Otherwise we could be in Hollywood, as I have already said, in mid-March or so.
As to my husband's "queries" you mention in the last paragraph of your letter, they refer to the several pictures which are being prepared by various French and Italian producers, ostensibly based on LOLITA. There is in particular the case of the Italian producer, a Mr. Alberto Lattuada, whose picture will be called "The Little Nymph" and who tells reporters that it is an "adaptation of Vladimir Nabokov's novel". The report appeared in several French papers (i.e. in the Figaro). The German paper Hannoversche Allgemeine Zeitung of Dec. 12th reports that "Nabokov's controversial novel LOLITA will, as it has been decided now, be filmed in Italy," by Alberto Lattuada etc.
Please address your letter to us, at the Hotel Excelsior-Bellevue, San Remo, Italy, mailing a carbon to Mr. Lazar, at his Hollywood address. He is flying home on Jan. 2, I believe. With best wishes for a happy New Year from both of us.
Sincerely yours,
(Mrs. Vladimir Nabokov)
In my husband's opinion a denial of this report should be sent to the papers which published it, or a general denial, strongly worded, should be given to the press.
TO: STANLEY KUBRICK
CC, 1 p.
Hotel Astoria
Avenue Carnot
Menton, France
January 15, 1960
Dear Mr. Kubrick,
I am replying to your letter of January 7th.1 I think I did not convey to you my husband's suggestions with sufficient clarity. He is quite willing to start the work on the basis you suggest. In his opinion it might have been more practical to begin discussions between you, Mr. Harris and him on the basis of a short written draft. But you can have it your way.
More about Lattuada. One paper reports his script as dealing with a teenager who becomes frightened of an affair with a coeval, looks for a "cure" in an affair with a man of forty, gets "cured" of whatever inhibitions she had, and, tired of her aged lover, goes back, this time happily, to the original (or a different) teenager. Unless the middle part of the story bears too much resemblance to LOLITA, there is nothing to worry about except the title (Le Ninfette) and Mr. Lattuada's own declarations to the press that he is adapting LOLITA. In Italy, my husband was continuously asked if he knew that his novel was being filmed by Lattuada. And there are other movies, on similar lines, in preparation both in Italy and France.
My husband was very much interested to know that fine actors are interested in Humbert's part.
We are reserving passages on the United States, sailing on Feb. 19th. It will be a pleasure to see you and Mr. Harris.
Sincerely yours,
(Mrs. Vladimir Nabokov)
TO: IRVING P. LAZAR
CC, 2 pp.
Hotel Astoria
Avenue Carnot
Menton, France
January 16, 1960
Dear Mr. Lazar,
My husband received your cable which read "HAVE CONCLUDED NEGOTIATIONS WHEREBY NABOKOV IS REQUIRED TO BE IN HOLLYWOOD ON OR BEFORE MARCH FIRST AND NABOKOV RECEIVES THE SUM OF FORTY THOUSAND DOLLARS TO BE PAID AS FOLLOWS TWENTY THOUSAND DOLLARS PRO RATA OVER A PERIOD OF TWENTYSIX WEEKS OR ACCELERATED IF NABOKOV FINISHES SOONER AND THE OTHER TWENTY THOUSAND DOLLARS TO BE PAID UPON COMMENCEMENT OF PRINCIPLE PHOTOGRAPHY BUT IN ANY EVENT NOT LATER THAN JULY FIRST i960 PLUS AN ADDITIONAL THIRTYFIVE THOUSAND DOLLARS BONUS IF IT IS A SOLO SCREEN PLAY PLUS WEEKLY EXPENSES OF THREE HUNDRED DOLLARS FOR i960 EACH WEEK IN CALIFORNIA PLUS FIFTEEN HUNDRED DOLLARS ROUND TRIP TRANSPORTATION STOP PLEASE ADVISE ME IF ALL THIS IS SATISFACTORY AND WHEN YOU ARE ARRIVING STOP WE WILL MAKE RESERVATIONS TEMPORARILY AT A HOTEL AND SUBSEQUENTLY GET YOU A FLAT OR HOUSE STOP HARRIS AND KUBRICK ARE PROCEEDING WITH LAUGHTER IN THE DARK AND IT IS IMPOSSIBLE TO IGNORE THE COMMITMENT WE MADE SINCE IT MIGHT INVOLVE A LAWSUIT AND MORE ABOUT THIS WHEN I SEE YOU BEST."
and replied:
"I ACCEPT HARRIS KUBRICK OFFER REGARDING MY WRITING LOLITA SCRIPT AS STATED IN YOUR CABLE NUMBER 131 OF JANUARY 13 STOP BOOKING PASSAGES FEBRUARY NINETEENTH MANY THANKS."
My husband wants me to say again that he appreciated very much your efforts on his behalf and is very pleased with the results. Our reservations on the United States, sailing on the 19th of February from Le Havre have been confirmed by Cook's. We shall stop for a couple of days in New York so as to arrive in Hollywood on March 1st. It would be very kind if you could reserve for us living quarters at the Beverly Hills hotel. If you think that we shall be able to find a house or flat within a day or two, one large room with two beds would suffice; if this takes more time, we would like to have a bungalow, though smaller than the very large one we had last time, but still having bedroom and livingroom.
We have written Mr. Sidney L. Posel, of Paul, Weiss, Rifkind, Wharton & Garrison, 575 Madison Ave., NYC, and asked him to write the contract. They will be in touch with you or perhaps you could get in touch with them. We have asked Messrs. Posel and Iseman to see if the contract can be written not between my husband and Kubrick-Harris but rather between the trust my husband has set up in New York last year and H.-K., in such a way that the $40.000 and the less certain $35.000 would go to the trust while the expense and traveling money would go to the author.
LAUGHTER IN THE DARK. This contract, too, would have to be signed between the trust and H.-K. or whoever buys the rights. It might be unwise to quarrel with H.-K. about this matter while collaborating with them on the script for LOLITA, but otherwise, I mean, legally, they do not have "a leg to stand on". They wanted an option on condition of paying for it; they never paid, and thus can hardly claim to have acquired the option. They might, at least, agree to match the Lewis Allen offer, don't you think? But, as you suggest, this can be discussed when we have a chance to talk.
With best wishes,
Sincerely yours,
(Mrs. Vladimir Nabokov)
TO: MORRIS BISHOP
TLS, 1 p. Mrs. Morris Bishop.
Hotel Astoria
Menton (A.M.)
January 28, 1960
Dear Morris,
Many thanks for your letter, and welcome home!—to both Alisons.
We are coming back next month: my producers want me to come to Hollywood and write there the script for LOLITA. As you know, I had refused to write it last summer. But ever since then I regretted it because a pleasing and elegant solution of the problems involved suddenly dawned upon me in the gardens of Taormina. And then the offer was repeated (in more sonorous terms), and was accepted—especially since I am dreadfully homesick for the States.
We shall stay at Hollywood (Beverly Hills Hotel, at first; then, pr
obably, a house) about half a year, and perhaps join Dmitri next autumn in Europe. Europe is not a hit with me. I feel bored and dejected, despite LOLITA's noisy triumphs. Time has tampered with the places I knew, and those I visited now for the first time did not promise any memories worth storing. Moreover, there are too many motorcycles.
We are sorry we missed your radio talk.
Dmitri has commenced his studies in Milan with a first-rate teacher who thinks highly of D.'s voice. Dmitri delights both in his singing master and in the Sestriere skiing slopes. And, of course, in his Triumph sport car in which he travelled from Southampton to Milan. We spent together with him some time in Milan and in San Remo.
We both send our love to all three of you.
Yours ever,
V
Vladimir Nabokov
TO: GLENWAY WESCOTT1
CC, 1 p.
Hotel Astoria
Menton (A.M.)
France
February 7, 1960
Dear Mr. Wescott,
This is a difficult letter to write. I have to choose between bad manners and the betrayal of principle. Sadly, but without hesitation, I choose the first. Believe me, I am deeply touched and feel greatly honored by the distinction you propose to confer upon me, and the little rosette is perfectly charming but, alas, I must return it.
I could not imagine belonging to an organization without being active in it—yet, in my case, any organizational activity is utterly out of the question. Socially, I am a cripple. Therefore all my thinking life I have declined to "belong". I have never joined any union or club (not even a faculty club), have never served on any committees, taken part in faculty meetings, or been a member of any organization whatsoever. I have gratefully accepted grants from organizations I respected—but would never accept a honorary degree from a university no matter how much I respected it. What should I do, what could I do, as member of your Department of Literature? Even making a speech at a public ceremony is as impossible for me as saying grace is for a good atheist. In consequence, my name on your distinguished list would be meaningless.
So let me repeat again that I fully appreciate the Institute's kindness in electing me but must decline that honor.
Very truly yours,
Vladimir Nabokov
TO: STANLEY KUBRICK
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, Calif.
March 23, 1960
Dear Mr. Kubrick,
Here is Act One of "Lolita". I shall now climb on to the next two acts, and then do the prologue (the view will be clearer from the pass).
This Act One is, of course, still very rough and incomplete. But structurally it does hang together rather neatly. You will note the seeds I have planted and followed up (the dog, the gun, etc.). You will also note that some scenes are sketched in greater detail than others, and that I still have to write in many things relating to action, gestures, scenery, etc.
Do please ring me up as soon as you have a chance to read this.
Sincerely yours,
Vladimir Nabokov
TO: JAMES HARRIS
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, California
April 20, 1960
Airmail, Special Delivery
Dear Mr. Harris,
I am informed that a French motion picture company is about to make a picture entitled "The Nymphets" ("Les Nymphettes"). The use of this title is an infringement of my rights since this term was invented by me for the main character in my novel Lolita and has now become completely synonymous with Lolita in the minds of readers throughout the world.
In other words, any title with the term "nymphet" in it would naturally and inevitably suggest Lolita, whether she is named or not.
Could you please find out the exact name and address of the French company in question. It is my intention to sue them without delay.
Sincerely yours,
Vladimir Nabokov
TO: NEW YORK TIMES BOOK REVIEW
CC, 1 p.1
2088 Mandeville Canyon Road
Los Angeles 49, Calif.
April 22, 1960
Sir,
Mr. Popkin, in his recent article on Monsieur Girodias,2 the first publisher of my Lolita, says that I "did some rewriting at Girodias' request". I wish to correct this absurd misstatement. The only alterations Girodias very diffidently suggested concerned a few trivial French phrases in the English text, such as bon, c'est moi, mais comment etc., which he thought might just as well be translated into English, and this I agreed to do.
Yours truly,
Vladimir Nabokov
TO: STANLEY KUBRICK
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, Calif.
April 25, 1960
Dear Mr. Kubrick,
I am sending you Act Two of the LOLITA screenplay. The concatenation of scenes proved to be very troublesome and I don't know how many times I rewrote the motel sequence. I think that it now makes some structural sense.
When you have studied the act, please give me a ring.
Sincerely yours,
Vladimir Nabokov
TO: STANLEY KUBRICK
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, Calif.
June 7, 1960
Dear Mr. Kubrick,
I am sending you four new scenes, two for Act One, and two for Act Two.
In Act One; page 60 a (beginning of honeymoon sequence), and pp. 85 a—89 a (the Jack Beale scene), which should go at the end of the act to replace pp. 85–86 (I think we should retain pp. 83–84).
In Act Two: four new pages, 14–17 (scene of the dresses) should follow old page 13; then, after new 14–17, the old 14 becomes new 18, and so on, to old p. 24 which is now p. 28. After this there are two new pages, 29–30 (scene of her telling about Charlie). From there on the pagination must be changed to the end of the act (old 26 is now 31, and so on).
I am now working on the prologue. This is more complicated than it might seem because the murder sequence must be related to still unwritten scenes in Act Three.
Sincerely yours,
Vladimir Nabokov
Encl.: 12 pp. screenplay
TO: STANLEY KUBRICK
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, Cal.
June 17,1960
Dear Mr. Kubrick,
I am sending you the Prologue, a batch of 25 pages. You will find therein certain allusions, as for instance to the mask, which will be cleared up in my Third Act. The whole play with the mask can, of course, be omitted if you are quite convinced you want the audience to see Humbert's face in the prologue. You will also note that several scenes pertaining to Humbert's European past can be expanded if necessary.
After considerable thought, I am leaving out, at least for the time being, the scene we discussed in which Humbert was to be engaged in some amusing job. To be amusing it would have to present various colorful details and new characters which, of course, I could invent, but I have come to the conclusion that artistically it would be all wrong because it would tend to bulge out and upset the unity and symmetry of the whole play as it is planned now.
I am now going to tackle the Third Act.
I am attaching a page from the Spring issue of The Partisan Review which you may have already seen.1
Sincerely yours,
Vladimir Nabokov
Encl.
TO: STANLEY KUBRICK
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, Cal.
June 25, 1960
Dear Mr. Kubrick,
I am sending you fourteen new pages to replace or amplify certain scenes in the prologue. Pages 14 a to 21 a should replace the old pages 14 to 16 so that the old pages 17 to 23 become now 22 a to 28 a, after which come the new pages 29 a to 34 a.
As you
will see, I have let Humbert talk about his first love but no matter how I fussed with it in my own mind I could not get him to discuss his marriage without encroaching upon the tone of his scenes with Charlotte. Therefore I have had Dr. Ray take over again (p. 20 a) after Humbert has finished with Annabel. It seems to me that it is very trim this way but if you still object to Ray's handling the Valeria scenes, we can have another discussion and try to find another way.
We shall leave on Monday, 27th, and return soon after 5th of July. The address will be: Glacier Lodge, Big Pine, Calif.; there is no phone at the lodge but messages can be left at Big Pine 351.
Sincerely yours,
Vladimir Nabokov
Encl.
TO: STANLEY KUBRICK
CC, 1 p.
2088 Mandeville Canyon Rd.
Los Angeles 49, Calif.
July 9, 1960
Dear Mr. Kubrick,
I am sending you the Third Act of the LOLITA screenplay. As you will see, I have several scenes between Quilty and the nymphet since otherwise he would have remained a ghostly, uncharacterized and implausible figure.