In 1961, composer Dimitri Tiomkin had completed The Guns of Navarone and was looking for another film. For every successful motion picture in Hollywood, composers and other creative types often spend considerable time pursuing potential projects. Scheduling conflicts, creative differences, and lack of funding are just a few of the many causes that can nix a credit from one’s filmography.
During the early 1960s American film studios were breaking up and independent productions were on the rise. Tiomkin sought to widen his film choices by scoring pictures being made in Europe. To this end he was in contact with Alain Bernheim. Shortly after visiting Bernheim in Paris, Tiomkin wrote to the producer and agent on May 26, 1961. Two projects on the horizon that interested Tiomkin were Marco Polo and The Longest Day. About the latter he wrote, “with my many years on the war orientation films with Capra, this is right down my alley.”
In the letter, Tiomkin confirmed that he would pay Bernheim ten percent of any deal arranged. (Tiomkin was represented in the U.S. by Famous Artists and he believed that there would be no conflict if Bernheim made deals on his behalf in Europe.) Bernheim replied on June 2 that he met twice with Raoul J. Levy, the producer of Marco Polo. The picture was to be shot in the Middle East in November.
By mid-summer there was no forward progress and a third film was mentioned, director Billy Wilder’s One Two Three. (Andre Previn ultimately scored the film.)
Tiomkin wrote Levy directly in September to see where things stood with Marco Polo.
Bernheim met with Levy in mid-September to continue the conversation and went on to inform Tiomkin that Levy would be in California soon. Producer Levy, president of his own production company Han Productions, had just completed La vérite starring Brigitte Bardot. Levy produced a previous Bardot vehicle, …And God Created Woman, directed by Roger Vadim.
Tiomkin took a conference with Levy at the Beverly Hills Hotel on October 2 and reported on the meeting to Bernheim.
News of the project, now referred to as Travels of Marco Polo, made it into a film trade paper announcing Levy was negotiating with Seven Arts for financing and worldwide profit participation. The film was to star Alain Delon and an international cast. Filming was now being considered in January 1962 in 70mm widescreen.
The article gives the film’s format as “Universal International Trapanavision 70.” Since Universal International was commonly referred to as “UI,” the writer apparently misinterpreted the Ul in “Ultra” as “UI,” and substituted the company name Universal International for the initials. The result was “Universal International Trapanavision 70” instead of the correct moniker, “Ultra Panavision 70.” Ultra Panavision 70, which uses an anamorphic lens to create an unusually wide aspect ratio, was employed on a handful of films in the 1960s, notably for It’s a Mad, Mad, Mad, Mad World. Last seen in 1966 for Khartoum, last year director Quentin Tarantino resurrected Ultra Panavision 70 for The Hateful Eight.
Bernheim’s letter of October 10 to Tiomkin states that Levy may need to hire a “certain percentage of French participants” in order to receive a French subsidy.
In response, Tiomkin wrote directly to Levy to make his case by reminding the producer he is a member of SACEM, the French performing rights organization, and the French Legion of Honor.
Levy and Tiomkin planned to rendezvous in Paris in November, when Tiomkin would be traveling to Rome.
A letter agreement dated November 13, 1961, was drawn up bet
ween Han Productions and Erosa Music, Tiomkin’s publishing company. Curiously, the agreement included a provision for Tiomkin to engage a [music] cutter at the production company’s expense as soon as a dupe negative was received.
As the year ended, Levy sent Tiomkin a postcard from India with the inscription, “…the picture will be terrific, that I can promise you.”
Tiomkin expected to receive a $5,000 advance as specified in the letter agreement and sent a telegram to Bernheim on January 30, 1962, to inquire about the funds. Bernheim reported Levy couldn’t pay before February 20. A week later Tiomkin was still awaiting payment.
With still no payment forthcoming, Bernheim, who said he was talking to Levy daily, wrote to Tiomkin with an update on the film. Some “beautiful film” was shot in Belgrade, but Levy was facing an assortment of difficulties, not the least of which was 200 starving elephants in Nepal that he didn’t have money to feed.
After Bernheim read in Variety about Tiomkin’s illness he wrote the composer that he too has been laid up in the hospital after he broke his leg in fourteen places in a skiing accident. (Timken had an eye operation in San Francisco in March 1962.)
The saga winds down with Bernheim’s letter of July 2, in which he states, “I’m very sorry about what happened with Levy and I told him so. Be quite sure that I am not forgetting you, and that I will look out for something interesting for you in this part of the world.”
The story of Marco Polo didn’t end with Tiomkin’s parting of ways with Levy. Levy’s production company owed monies for the production facilities and to others and the project was abandoned after director Christian-Jacque had shot and completed about eight minutes of film.
Lead actor Alain Delon left the fledgling production of Marco Polo some time prior to November 1962, to star in director Luchino Visconti’s film, The Leopard. In December 1963 a new version of Marco Polo emerged starring Orson Welles, Anthony Quinn, and Peter Ustinov. That film wrapped in July 1964 and Marco Polo became known as The Chessboard of God. Levy claimed ownership of the film, with rights as producer and writer of the screenplay. In 1966, MGM stepped in, and for the first time in that company’s history, the studio acquired a film for domestic release through a third party. Now titled for U.S. audiences Marco the Magnificent, the review in Time magazine said the film may look great on paper, but on film, unfortunately, it looks terrible.
This film was never completed. Producer Raoul Levy ran out of money after assembling a distinguished cast and shooting a few scenes. He later raised more money, and actually made a film, albeit with difficulty. It was entitled “La Fabuleuse Aventure De Marco Polo” and was belatedly released in Britain and America as “Marco The Magnificent” – it was a huge box-office flop.
IMDB on Marco Polo (the long-delayed and eventually abandoned version)
In 1962, with Marco Polo looking like a bust, Alain Bernheim wrote to Sam Spiegel suggesting Tiomkin score Lawrence of Arabia.
Correspondence courtesy of Olivia Tiomkin.
“Curtis Plays ‘Polo’ For Raoul Levy,” Variety, November 19, 1962
“First Scenes of New ‘Marco Polo’ Completed,” Variety, December 25, 1963
“‘Marco the Magnificant’ to Metro; French-Italian-Yugo Partnership Survives an Obstacle Course,” Variety, July 13, 1966
“Marco the Magnificent,” Time, September 30, 1966
“Marco Polo (II) (1962)” on IMDB, accessed on February 22, 2016