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{
"id": 396124623,
"image": {
"id": 1029,
"uuid": "dfa0db79-de62-4bea-bd1b-a1d11979ba3a",
"name": "Affiche speelfilm",
"title": "Affiche speelfilm",
"alt": "Fotograaf: Studio Buitenhof. Collectie: Anne Frank Stichting.",
"url": "",
"path": "https://research.annefrank.org/media/Speelfilm.jpg",
"filetype": "image",
"description": "Op basis van het toneelstuk schreven Frances Goodrich en Albert Hackett ook het script voor de film The Diary of Anne Frank. George Stevens tekende voor de regie. De film ging op 18 maart 1959 in première in New York.",
"author": "De collectie kan worden ingezet voor het publiek,",
"copyright": ""
},
"url": "https://research.annefrank.org/en/onderwerpen/056db7c0-e6bc-4968-a370-6950d4344792/",
"published": true,
"uuid": "056db7c0-e6bc-4968-a370-6950d4344792",
"name": "Otto Frank and the film 'The Diary of Anne Frank'",
"name_nl": "Otto Frank en de film 'The Diary of Anne Frank'",
"name_en": "Otto Frank and the film 'The Diary of Anne Frank'",
"description": "<p>In the contract with Contact Publishers (1946) on the publication of the diary, Otto Frank had explicitly included that he retained the translation and film rights to the diary.<sup data-footnote-id=\"mupn5\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup></p>\r\n\r\n<p>American writer/journalist Meyer Levin was convinced of the potential for a stage and/or film adaptation of the diary after reading the diary in its French translation<strong> (September 1950</strong>).<sup data-footnote-id=\"c4rql\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Otto Frank, on the other hand, was not so sure of this:</p>\r\n\r\n<blockquote><em>' As far as the film is concerned I am a layman and cannot imagine a good solution to bring out the thoughts and ideas. I am afraid that the exciting and thrilling actions would prevail, to please the public. But if you see it in another way just go on and I shall not interfere. It even would be possible to film the original place and I would try my best to overcome my inner feelings.</em> '<sup data-footnote-id=\"gyx8h\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup></blockquote>\r\n\r\n<p>With Otto Frank's permission, Meyer Levin tried unsuccessfully to establish contacts with film producers.<sup data-footnote-id=\"rflvf\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> Only after the diary's success in the United States did theatre and film producers show interest. For instance, according to Otto Frank, the American publisher Doubleday received daily requests for film, radio and television adaptations.<sup data-footnote-id=\"icsrc\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup> Otto Frank saw more in a film adaptation independent of the play and did not think '<em>that Hollywood would be the right sphere'. </em><sup data-footnote-id=\"wsl7e\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup></p>\r\n\r\n<p>When Cheryl Crawford threatened to withdraw as producer of the play, and before there was an agreement with producer Kermit Bloomgarden, Otto Frank briefly considered stopping the stage adaptation and starting negotiations on a film adaptation, for which there was sufficient interest.<sup data-footnote-id=\"qrfm2\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p>But when Italian producers and directors showed interest in the film adaptation after the Italian translation appeared in the <strong>summer of 1954</strong>, Otto Frank decided that, as long as there was no stage play, he still thought it was too premature. <sup data-footnote-id=\"c1xtm\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup></p>\r\n\r\n<p>Later, Otto Frank agreed with producer Kermit Bloomgarden and the Hacketts, the play's writers, not to negotiate film rights with third parties before the play's premiere on Broadway in New York on <strong>5 October 1955</strong>.<sup data-footnote-id=\"up8qb\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> After the try-outs in Philadelphia and the premiere, there were negotiations with several film companies.<sup data-footnote-id=\"xrf3s\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup></p>\r\n\r\n<p>On <strong>30 April 1957</strong>, Otto Frank and the Hacketts signed a contract with Twentieth Century Fox for the film adaptation based on the English and American editions of the diary in Barbara Mooyaart's translation.<sup data-footnote-id=\"qsebt\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> The US premiere of the film <em>The Diary of Anne Frank</em>, directed by George Stevens, was on <strong>18 March 1959</strong>. The Dutch premiere followed on <strong>16 April 1959</strong>.<sup data-footnote-id=\"teef3\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>Auguste van Pels' sister, Greta Goldsmith, reacted angrily to the film:</p>\r\n\r\n<blockquote>'Ich hoerte schon durch Anni v. Pels, durch Ida und mehrere andere Familiemitglieder von der wenig sympathischen Rolle, die "Schwager Hermann" drin spielte. (...) ich war entzetst, dass Sie so etwas erlaubt haben, dass Sie werter Otto Frank sich nicht dagegen gewehrt haben. (...) (aber musste man eine "Streicherfigur" wählen????) \\u2014 und somit einem Menschen, der schon durch seinen fuertlichen Tod im Konzentrtionslager so best punished worden ist, derartig verunglimpfen??????? '</blockquote>\r\n\r\n<p>In the same letter, Greta Goldschmith suggested that Otto Frank publish a tribute to her brother-in-law Hermann van Pels in the German emigrant magazine <em>Aufbau</em>.<sup data-footnote-id=\"3eg7e\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> No sources are known to indicate that this actually happened.</p>\r\n\r\n<p>After seeing the Dutch premiere - with a reception attended by Queen Juliana - Miep Gies, Bep van Wijk-Voskuijl and Joke Kleiman (now the widow of Johannes Kleiman) wrote to Otto with their thoughts on the film. <sup data-footnote-id=\"kn45l\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"mupn5\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_089: Correspondentie van Otto Frank met Uitgeverij Contact, augustus-september 1946. <em> </em></cite></li>\r\n\t<li data-footnote-id=\"c4rql\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, OFA reg.code_59, Meyer Levin aan Otto Frank, 10 maart 1951. [MM745C-300043_168] </cite></li>\r\n\t<li data-footnote-id=\"gyx8h\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 29 september 1950.</cite></li>\r\n\t<li data-footnote-id=\"rflvf\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin, 1950-1952.</cite></li>\r\n\t<li data-footnote-id=\"icsrc\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Japp (Vallentine Mitchell and Co.), 19 juli 1952. Zie ook: AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 28 februari 1953.</cite></li>\r\n\t<li data-footnote-id=\"wsl7e\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Meyer Mermin aan Otto Frank, 11 augustus 1952.</cite></li>\r\n\t<li data-footnote-id=\"qrfm2\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met Meyer Mermin, januari-juni 1953.</cite></li>\r\n\t<li data-footnote-id=\"c1xtm\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Correspondentie van Otto Frank met Meyer Mermin, 2-14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"up8qb\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Praesens-Film AG, 23 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"xrf3s\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>Zie o.a.: AFS, AFC, reg. code OFA_202: Correspondentie van Calvin L. Fox met Otto Frank, 1 en 5 november 1955. </cite></li>\r\n\t<li data-footnote-id=\"qsebt\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Contract Otto Frank, Frances Goodrich en Albert Hackett met Twentieth Century Fox.</cite></li>\r\n\t<li data-footnote-id=\"teef3\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>AFS, AFC, B_film_I_003: toegangsbewijs Europese filmpremiere 20th Century Fox, 16 april 1959. </cite></li>\r\n\t<li data-footnote-id=\"3eg7e\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_076: Grete Goldschmidt aan Otto Frank, 16 mei 1959.</cite></li>\r\n\t<li data-footnote-id=\"kn45l\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_81: Elly van Wijk-Voskuijl aan Otto Frank, 19 april 1959, Joke Kleiman aan Otto Frank, 20 april 1959, Miep Gies aan Otto Frank, 21 april 1959.</cite></li>\r\n</ol>\r\n</section>",
"description_nl": "<p>In het contract met Uitgeverij Contact (1946) over de publicatie van het dagboek had Otto Frank expliciet opgenomen dat hij de vertaal- en filmrechten van het dagboek behield.<sup data-footnote-id=\"mupn5\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup></p>\r\n\r\n<p>De Amerikaanse schrijver/journalist Meyer Levin wass na lezing van het dagboek in de Franse vertaling (<strong>september 1950</strong>) overtuigd van de mogelijkheden voor een toneel- en/of een filmbewerking van het dagboek.<sup data-footnote-id=\"c4rql\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Otto Frank daarentegen was hiervan niet zo zeker:</p>\r\n\r\n<blockquote><em>' As far as the film is concerned I am a layman and cannot imagine a good solution to bring out the thoughts and ideas. I am afraid that the exciting and thrilling actions would prevail, to please the public. But if you see it in another way just go on and I shall not interfere. It even would be possible to film the original place and I would try my best to overwin my inner feelings.</em>'<sup data-footnote-id=\"gyx8h\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup></blockquote>\r\n\r\n<p>Met toestemming van Otto Frank probeerde Meyer Levin tevergeefs contacten te leggen met filmproducenten.<sup data-footnote-id=\"rflvf\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> Pas na het succes van het dagboek in de Verenigde Staten toonden theater- en filmproducenten belangstelling. Zo kreeg de Amerikaanse uitgever Doubleday volgens Otto Frank dagelijks verzoeken voor verfilming, radio- en televisie-bewerkingen.<sup data-footnote-id=\"icsrc\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup>Otto Frank zag meer in een verfilming onafhankelijk van het toneelstuk en dacht niet ' <em>that Hollywood would be the right sphere.' </em><sup data-footnote-id=\"wsl7e\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup></p>\r\n\r\n<p>Toen Cheryl Crawford zich dreigde terug te trekken als producente van het toneelstuk en voordat er een overeenkomst was met producent Kermit Bloomgarden, overwoog Otto Frank even om de toneelbewerking te stoppen en te starten met onderhandelingen over verfilming, waarvoor wel voldoende belangstelling bestond.<sup data-footnote-id=\"qrfm2\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p>Maar als toen het verschijnen van de Italiaanse vertaling in de <strong>zomer van 1954</strong> Italiaanse producenten en regisseurs interesse toonden voor de verfilming, besloot Otto Frank dat hij dat, zolang er geen toneelstuk was, toch te voorbarig vond. <sup data-footnote-id=\"c1xtm\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup></p>\r\n\r\n<p>Later kwam Otto Frank met producent Kermit Bloomgarden en de Hacketts, de schrijvers van het toneelstuk overeen niet met derden over filmrechten te onderhandelen vóór de première van het toneelstuk op <strong>5 oktober 1955</strong> op Broadway in New York.<sup data-footnote-id=\"up8qb\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> Na de try-outs in Philadelphia en de première waren er onderhandelingen met verschillende filmmaatschappijen.<sup data-footnote-id=\"xrf3s\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup></p>\r\n\r\n<p>Op <strong>30 april 1957</strong> sloten Otto Frank en de Hacketts een contract met Twentieth Century Fox voor verfilming op basis van de Engelse en Amerikaanse editie van het dagboek in de vertaling van Barbara Mooyaart.<sup data-footnote-id=\"qsebt\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> Op <strong>18 maart 1959</strong> was de Amerikaanse première van de film <em>The Diary of Anne Frank</em>, geregisseerd door George Stevens. De Nederlandse première volgde op <strong>16 april 1959</strong>.<sup data-footnote-id=\"teef3\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>De zus van Auguste van Pels, Greta Goldsmith, reageerde boos op de film:</p>\r\n\r\n<blockquote>'Ich hoerte schon durch Anni v. Pels, durch Ida und mehrere andere Familiemitglieder von der wenig sympathischen Rolle, die „Schwager Hermann“ drin spielte. (…) ich war entzetst, dass Sie so etwas erlaubt haben, dass Sie werter Otto Frank sich nicht dagegen gewehrt haben. (…) (aber musste man eine „Streicherfigur“ wählen????) – und somit einem Menschen, der schon durch seinen fuertlichen Tod im Konzentrtionslager so bestraft worden ist, derartig verunglimpfen??????? '</blockquote>\r\n\r\n<p>Greta Goldschmith stelde in diezelfde brief voor dat Otto Frank in het Duitse emigrantentijdschrift <em>Aufbau</em> een eerherstel voor haar zwager Hermann van Pels zou publiceren.<sup data-footnote-id=\"3eg7e\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> Er zijn geen bronnen bekend waaruit blijkt dat dit ook is gebeurd.</p>\r\n\r\n<p>Na het zien van de Nederlandse première - met ontvangst door koningin Juliana - schreven Miep Gies, Bep van Wijk-Voskuijl en Joke Kleiman (inmiddels weduwe van Johannes Kleiman) hun bevindingen aan Otto. <sup data-footnote-id=\"kn45l\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"mupn5\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_089: Correspondentie van Otto Frank met Uitgeverij Contact, augustus-september 1946. <em> </em></cite></li>\r\n\t<li data-footnote-id=\"c4rql\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, OFA reg.code_59, Meyer Levin aan Otto Frank, 10 maart 1951. [MM745C-300043_168] </cite></li>\r\n\t<li data-footnote-id=\"gyx8h\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 29 september 1950.</cite></li>\r\n\t<li data-footnote-id=\"rflvf\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin, 1950-1952.</cite></li>\r\n\t<li data-footnote-id=\"icsrc\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Japp (Vallentine Mitchell and Co.), 19 juli 1952. Zie ook: AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 28 februari 1953.</cite></li>\r\n\t<li data-footnote-id=\"wsl7e\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Meyer Mermin aan Otto Frank, 11 augustus 1952.</cite></li>\r\n\t<li data-footnote-id=\"qrfm2\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met Meyer Mermin, januari-juni 1953.</cite></li>\r\n\t<li data-footnote-id=\"c1xtm\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Correspondentie van Otto Frank met Meyer Mermin, 2-14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"up8qb\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Praesens-Film AG, 23 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"xrf3s\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>Zie o.a.: AFS, AFC, reg. code OFA_202: Correspondentie van Calvin L. Fox met Otto Frank, 1 en 5 november 1955. </cite></li>\r\n\t<li data-footnote-id=\"qsebt\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Contract Otto Frank, Frances Goodrich en Albert Hackett met Twentieth Century Fox.</cite></li>\r\n\t<li data-footnote-id=\"teef3\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>AFS, AFC, B_film_I_003: toegangsbewijs Europese filmpremiere 20th Century Fox, 16 april 1959. </cite></li>\r\n\t<li data-footnote-id=\"3eg7e\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_076: Grete Goldschmidt aan Otto Frank, 16 mei 1959.</cite></li>\r\n\t<li data-footnote-id=\"kn45l\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_81: Elly van Wijk-Voskuijl aan Otto Frank, 19 april 1959, Joke Kleiman aan Otto Frank, 20 april 1959, Miep Gies aan Otto Frank, 21 april 1959.</cite></li>\r\n</ol>\r\n</section>",
"description_en": "<p>In the contract with Contact Publishers (1946) on the publication of the diary, Otto Frank had explicitly included that he retained the translation and film rights to the diary.<sup data-footnote-id=\"mupn5\"><a href=\"#footnote-1\" id=\"footnote-marker-1-1\" rel=\"footnote\">[1]</a></sup></p>\r\n\r\n<p>American writer/journalist Meyer Levin was convinced of the potential for a stage and/or film adaptation of the diary after reading the diary in its French translation<strong> (September 1950</strong>).<sup data-footnote-id=\"c4rql\"><a href=\"#footnote-2\" id=\"footnote-marker-2-1\" rel=\"footnote\">[2]</a></sup> Otto Frank, on the other hand, was not so sure of this:</p>\r\n\r\n<blockquote><em>' As far as the film is concerned I am a layman and cannot imagine a good solution to bring out the thoughts and ideas. I am afraid that the exciting and thrilling actions would prevail, to please the public. But if you see it in another way just go on and I shall not interfere. It even would be possible to film the original place and I would try my best to overcome my inner feelings.</em> '<sup data-footnote-id=\"gyx8h\"><a href=\"#footnote-3\" id=\"footnote-marker-3-1\" rel=\"footnote\">[3]</a></sup></blockquote>\r\n\r\n<p>With Otto Frank's permission, Meyer Levin tried unsuccessfully to establish contacts with film producers.<sup data-footnote-id=\"rflvf\"><a href=\"#footnote-4\" id=\"footnote-marker-4-1\" rel=\"footnote\">[4]</a></sup> Only after the diary's success in the United States did theatre and film producers show interest. For instance, according to Otto Frank, the American publisher Doubleday received daily requests for film, radio and television adaptations.<sup data-footnote-id=\"icsrc\"><a href=\"#footnote-5\" id=\"footnote-marker-5-1\" rel=\"footnote\">[5]</a></sup> Otto Frank saw more in a film adaptation independent of the play and did not think '<em>that Hollywood would be the right sphere'. </em><sup data-footnote-id=\"wsl7e\"><a href=\"#footnote-6\" id=\"footnote-marker-6-1\" rel=\"footnote\">[6]</a></sup></p>\r\n\r\n<p>When Cheryl Crawford threatened to withdraw as producer of the play, and before there was an agreement with producer Kermit Bloomgarden, Otto Frank briefly considered stopping the stage adaptation and starting negotiations on a film adaptation, for which there was sufficient interest.<sup data-footnote-id=\"qrfm2\"><a href=\"#footnote-7\" id=\"footnote-marker-7-1\" rel=\"footnote\">[7]</a></sup></p>\r\n\r\n<p>But when Italian producers and directors showed interest in the film adaptation after the Italian translation appeared in the <strong>summer of 1954</strong>, Otto Frank decided that, as long as there was no stage play, he still thought it was too premature. <sup data-footnote-id=\"c1xtm\"><a href=\"#footnote-8\" id=\"footnote-marker-8-1\" rel=\"footnote\">[8]</a></sup></p>\r\n\r\n<p>Later, Otto Frank agreed with producer Kermit Bloomgarden and the Hacketts, the play's writers, not to negotiate film rights with third parties before the play's premiere on Broadway in New York on <strong>5 October 1955</strong>.<sup data-footnote-id=\"up8qb\"><a href=\"#footnote-9\" id=\"footnote-marker-9-1\" rel=\"footnote\">[9]</a></sup> After the try-outs in Philadelphia and the premiere, there were negotiations with several film companies.<sup data-footnote-id=\"xrf3s\"><a href=\"#footnote-10\" id=\"footnote-marker-10-1\" rel=\"footnote\">[10]</a></sup></p>\r\n\r\n<p>On <strong>30 April 1957</strong>, Otto Frank and the Hacketts signed a contract with Twentieth Century Fox for the film adaptation based on the English and American editions of the diary in Barbara Mooyaart's translation.<sup data-footnote-id=\"qsebt\"><a href=\"#footnote-11\" id=\"footnote-marker-11-1\" rel=\"footnote\">[11]</a></sup> The US premiere of the film <em>The Diary of Anne Frank</em>, directed by George Stevens, was on <strong>18 March 1959</strong>. The Dutch premiere followed on <strong>16 April 1959</strong>.<sup data-footnote-id=\"teef3\"><a href=\"#footnote-12\" id=\"footnote-marker-12-1\" rel=\"footnote\">[12]</a></sup></p>\r\n\r\n<p>Auguste van Pels' sister, Greta Goldsmith, reacted angrily to the film:</p>\r\n\r\n<blockquote>'Ich hoerte schon durch Anni v. Pels, durch Ida und mehrere andere Familiemitglieder von der wenig sympathischen Rolle, die "Schwager Hermann" drin spielte. (...) ich war entzetst, dass Sie so etwas erlaubt haben, dass Sie werter Otto Frank sich nicht dagegen gewehrt haben. (...) (aber musste man eine "Streicherfigur" wählen????) \\u2014 und somit einem Menschen, der schon durch seinen fuertlichen Tod im Konzentrtionslager so best punished worden ist, derartig verunglimpfen??????? '</blockquote>\r\n\r\n<p>In the same letter, Greta Goldschmith suggested that Otto Frank publish a tribute to her brother-in-law Hermann van Pels in the German emigrant magazine <em>Aufbau</em>.<sup data-footnote-id=\"3eg7e\"><a href=\"#footnote-13\" id=\"footnote-marker-13-1\" rel=\"footnote\">[13]</a></sup> No sources are known to indicate that this actually happened.</p>\r\n\r\n<p>After seeing the Dutch premiere - with a reception attended by Queen Juliana - Miep Gies, Bep van Wijk-Voskuijl and Joke Kleiman (now the widow of Johannes Kleiman) wrote to Otto with their thoughts on the film. <sup data-footnote-id=\"kn45l\"><a href=\"#footnote-14\" id=\"footnote-marker-14-1\" rel=\"footnote\">[14]</a></sup></p>\r\n\r\n<section class=\"footnotes\">\r\n<header>\r\n<h2>Footnotes</h2>\r\n</header>\r\n\r\n<ol>\r\n\t<li data-footnote-id=\"mupn5\" id=\"footnote-1\"><sup><a href=\"#footnote-marker-1-1\">^</a> </sup><cite>Anne Frank Stichting (AFS), Anne Frank Collectie (AFC), Otto Frank Archief (OFA), reg. code OFA_089: Correspondentie van Otto Frank met Uitgeverij Contact, augustus-september 1946. <em> </em></cite></li>\r\n\t<li data-footnote-id=\"c4rql\" id=\"footnote-2\"><sup><a href=\"#footnote-marker-2-1\">^</a> </sup><cite>AFS, AFC, OFA reg.code_59, Meyer Levin aan Otto Frank, 10 maart 1951. [MM745C-300043_168] </cite></li>\r\n\t<li data-footnote-id=\"gyx8h\" id=\"footnote-3\"><sup><a href=\"#footnote-marker-3-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Otto Frank aan Meyer Levin, 29 september 1950.</cite></li>\r\n\t<li data-footnote-id=\"rflvf\" id=\"footnote-4\"><sup><a href=\"#footnote-marker-4-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_159: Correspondentie van Otto Frank met Meyer Levin, 1950-1952.</cite></li>\r\n\t<li data-footnote-id=\"icsrc\" id=\"footnote-5\"><sup><a href=\"#footnote-marker-5-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Otto Frank aan Japp (Vallentine Mitchell and Co.), 19 juli 1952. Zie ook: AFS, AFC, reg. code OFA_171: Meyer Mermin aan Otto Frank, 28 februari 1953.</cite></li>\r\n\t<li data-footnote-id=\"wsl7e\" id=\"footnote-6\"><sup><a href=\"#footnote-marker-6-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_132: Meyer Mermin aan Otto Frank, 11 augustus 1952.</cite></li>\r\n\t<li data-footnote-id=\"qrfm2\" id=\"footnote-7\"><sup><a href=\"#footnote-marker-7-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_171: Correspondentie van Otto Frank met Meyer Mermin, januari-juni 1953.</cite></li>\r\n\t<li data-footnote-id=\"c1xtm\" id=\"footnote-8\"><sup><a href=\"#footnote-marker-8-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Correspondentie van Otto Frank met Meyer Mermin, 2-14 juni 1954.</cite></li>\r\n\t<li data-footnote-id=\"up8qb\" id=\"footnote-9\"><sup><a href=\"#footnote-marker-9-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Otto Frank aan Praesens-Film AG, 23 mei 1955.</cite></li>\r\n\t<li data-footnote-id=\"xrf3s\" id=\"footnote-10\"><sup><a href=\"#footnote-marker-10-1\">^</a> </sup><cite>Zie o.a.: AFS, AFC, reg. code OFA_202: Correspondentie van Calvin L. Fox met Otto Frank, 1 en 5 november 1955. </cite></li>\r\n\t<li data-footnote-id=\"qsebt\" id=\"footnote-11\"><sup><a href=\"#footnote-marker-11-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_202: Contract Otto Frank, Frances Goodrich en Albert Hackett met Twentieth Century Fox.</cite></li>\r\n\t<li data-footnote-id=\"teef3\" id=\"footnote-12\"><sup><a href=\"#footnote-marker-12-1\">^</a> </sup><cite>AFS, AFC, B_film_I_003: toegangsbewijs Europese filmpremiere 20th Century Fox, 16 april 1959. </cite></li>\r\n\t<li data-footnote-id=\"3eg7e\" id=\"footnote-13\"><sup><a href=\"#footnote-marker-13-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_076: Grete Goldschmidt aan Otto Frank, 16 mei 1959.</cite></li>\r\n\t<li data-footnote-id=\"kn45l\" id=\"footnote-14\"><sup><a href=\"#footnote-marker-14-1\">^</a> </sup><cite>AFS, AFC, reg. code OFA_81: Elly van Wijk-Voskuijl aan Otto Frank, 19 april 1959, Joke Kleiman aan Otto Frank, 20 april 1959, Miep Gies aan Otto Frank, 21 april 1959.</cite></li>\r\n</ol>\r\n</section>",
"summary": "In 1959, the American film adaptation of Anne Frank's diary was released in cinemas.",
"summary_nl": "In 1959 werd de Amerikaanse verfilming van het dagboek van Anne Frank in de bioscoop uitgebracht.",
"summary_en": "In 1959, the American film adaptation of Anne Frank's diary was released in cinemas.",
"same_as": null,
"parent": 396124643,
"files": []
}
