For Jules Schulback, staring the glamour of Hollywood in the face took more than a ten-block walk. But, against all logic, here he was, front and center, ready to capture Marilyn Monore.
Jules dove straight in. He’d never been a timid man; if he had been, he wouldn’t be here walking the Earth. Gently pushing his way through the crowd using his free hand and a few German-accented “Pardon mes” and “Excuse mes”—he was a gentleman after all—he got as close as he could to the commotion. There was the gaffer he had met yesterday, who tipped him off about tonight. They nodded in recognition.
It was September 15, 1954, and it was no accident he was here. Jules was a thoughtful man who had always planned everything very carefully. Befriending that gaffer was just one of many steps that brought this furrier and amateur filmmaker to the front row of one of the most iconic moments in twentieth-century film history, one that he—and he alone—would save for posterity in living, moving color.
For Jules, staring the glamour of Hollywood in the face took more than a ten-block walk. His long, complicated journey to New York City, like those of most immigrant Jews during World War II, had taken bravery and cunning. But, against all logic, here he was, front and center, smack in the middle of the waking dream that was America.
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