Los Angeles: Twentieth Century-Fox 1974. Vintage borderless photograph of Luis Bunuel Julien Bertheau and Michel Piccoli on the set of the 1974 film. With holograph annotations on the verso.<br/><br/>A nonlinear surrealist comedy that challenges bourgeois notions of morality. <br/><br/>9.5 x 6.25 inches. Near Fine. <br/><br/>Criterion Collection 290. Rosenbaum 1000. Twentieth Century-Fox unknown books
Los Angeles: Twentieth Century-Fox 1974. Vintage borderless photograph of Luis Bunuel Pierre Lary Jean Rochefort and Julien Bertheau on the set of the 1974 film. With holograph annotations on the verso. <br/><br/>A non-linear surrealist comedy that challenges bourgeois notions of morality.<br/><br/>9.5 x 17.75 inches. Near Fine. <br/><br/>Criterion Collection 290. Rosenbaum 1000. Twentieth Century-Fox unknown books
Glendale CA: Allied Artists 1968. Collection of eight vintage studio still photographs from the US release of the 1967 French film. <br/><br/>Bunuel's first color film about a bored and directionless young housewife who begins working in a brothel while her husband is at work with tragic consequences for him and a jealous client involved in organized crime. Winner of the Golden Lion at the 1967 Venice Film Festival. <br/><br/>Set in and shot on location in Paris. <br/><br/>8 x 10 inches. Near Fine. <br/><br/>Complete collation details available on request.<br/><br/>Godard Histoires du cinema. Vogel Film as a Subversive Art. Rosenbaum 1000. Ebert I. Criterion Collection 593. Allied Artists unknown books
Paris: Robert et Raymond Hakim 1967. Vintage reference photograph of Catherine Deneuve and Genevieve Page from the 1967 film. "Property of The New York Public Library" and "DUPL NYPL" stamps on verso.<br/><br/>Bunuel's first color film about a bored and directionless young housewife who begins working in a brothel while her husband is at work with tragic consequences for him and a jealous client involved in organized crime. Winner of the Golden Lion at the 1967 Venice Film Festival. <br/><br/>Set in and shot on location in Paris. <br/><br/>10.25 x 8 inches. Near Fine with light edgewear at corners and small title annotation in holograph pencil in bottom margin.<br/><br/>Criterion Collection 593. Ebert I. Godard Histoires du cinema. Vogel Film as a Subversive Art. Rosenbaum 1000. Robert et Raymond Hakim unknown books
Paris: Robert et Raymond Hakim / Sud-Films Distribution 1967. Vintage borderless photograph of Michel Piccoli Catherine Deneuve and Luis Bunuel on the set of the 1967 film. With holograph annotations and agency stamp on the verso. <br/><br/>Buñuel's first color film about a young housewife who begins working in a brothel while her husband is at work with tragic consequences for him and a jealous client involved in organized crime. Winner of the Golden Lion at the 1967 Venice Film Festival. <br/><br/>9 x 6.5 inches. Near Fine. <br/><br/>Criterion Collection. Ebert I. Godard Histoires du cinema. Rosenbaum 1000. Vogel Film as a Subversive Art. Robert et Raymond Hakim / Sud-Films Distribution unknown books
Mexico: Producciones Barbachano Ponce 1958. Draft script for the 1959 film. Presentation copy belonging to director Luis Bunuel and SIGNED by Bunuel on the front wrapper. Also laid in is a program from the film's American premiere on May 18 1960 also SIGNED by Bunuel. Blue ink holograph annotations in the same hand to the verso of the last page of the script. Also laid in are two vintage photographs: one of Bunuel getting a haircut on the set of the film and another with Bunuel seated next to cinematographer Gabriel Figueroa composing a shot in his viewfinder. All items housed in a red quarter-leather clamshell box with gilt titles. <br/><br/>Based on the 1895 novel by Benito Perez Galdos. A priest with radical but very philosophical notions leaves his order to go on a pilgrimage learning much about the nature of human suffering as his life mimics that of Jesus Christ all the way through to his untimely end. One of the mostly highly regarded films from Bunuel's Mexican period one of director Andrei Tarkovsky's ten favorite films and one of 15 religious films selected by the Vatican for their list of 45 great films celebrating the 100th anniversary of cinema. Nominated for the Palme d'Or.<br/><br/>Set in Mexico and shot there on location. <br/><br/>Green titled wrappers dated 1958 with credits for screenwriters Luis Bunuel and Julio Alejandro novelist Benito Perez Galados and director Luis Bunuel. Title page present noted as copy No. 3 in holograph pencil dated 1958 with credits for screenwriters Bunuel and Alejandro novelist Perez Galados and director Bunuel. 106 leaves with last page of text numbered 105. Mimeograph duplication rectos only. Pages Fine wrapper Very Good plus housed in a Near Fine red leather presentation binding with a few tiny bruises at the extremities.<br/><br/>Photograph 8 x 10 inches archive stamp and several holograph annotations to the verso. Near Fine.<br/><br/>Rosenbaum 1000. Producciones Barbachano Ponce unknown books
N.p.: N.p. 1964. Two vintage borderless reference photographs from the set of the 1964 film one showing actress Jeanne Moreau embracing director Luis Bunuel the other showing Bunuel and Moreau in conversation between takes with a camera crew in the background. With a provenance stamp on the verso along with holograph pencil and ink annotations. <br/><br/>Based on Octave Mirbeau's 1900 novel which follows a chambermaid in 1930s France whose Parisian beauty and sophistication at turns alienate and arouse the bourgeoisie members of the country house where she has recently found employment. <br/><br/>Shot on location in Seine-Maritime Saint-Maurice and Essonne France.<br/><br/>7.25 x 9.5 inches. Near Fine. <br/><br/><br/>Criterion Collection 117. N.p. unknown books
N.p.: N.p. 1977. Vintage borderless reference photograph of Luis Bunuel discussing a scene with Fernando Rey and Angela Molina on the set of the 1977 film. <br/><br/>Based on the 1898 novel "Le femme et le patin" "The Woman and the Puppet" by Pierre Louys.<br/><br/>The tempestuous relationship between a wealthy middle aged Frenchman and a poor young Spanish dancer. The woman is played by both Carole Bouquet and Angela Molina interchangeably demonstrating the character's mercurial nature a decision Bunuel came to in desperation after original actress Maria Schneider proved a poor fit but that ultimately helped define the film as one of his late masterpieces. <br/><br/>Nominated for two Academy Awards for Best Foreign Film and Best Screenplay.<br/><br/>Shot on location in Switzerland Andalucia and Madrid Spain and Hauts-de-Seine and Paris France. <br/><br/>9.25 x 6.5 inches. Near Fine. <br/><br/>Criterion Collection 143. Rosenbaum 1000. Schrader Canon Fodder 33. N.p. unknown books
Paris: Greenwich Film Productions 1977. Vintage borderless color photograph of Fernando Rey and Carole Bouquet from the 1977 film. With holograph annotations and an agency stamp on the verso. <br/><br/>Based on the 1898 novel "Le femme et le patin" "The Woman and the Puppet" by Pierre Louys about the tempestuous relationship between a wealthy middle aged Frenchman and a poor young Spanish dancer. The woman is played by both Carole Bouquet and Angela Molina interchangeably demonstrating the character's mercurial nature a decision Bunuel came to in desperation after original actress Maria Schneider proved a poor fit but that ultimately helped define the film as one of his late masterpieces. Nominated for both a Best Foreign Language and Best Adapted Screenplay Oscar. <br/><br/>11.5 x 7.75 inches. Near Fine. <br/><br/>Criterion Collection 143. Rosenbaum 1000. Schrader 33. Greenwich Film Productions unknown books
France: Greenwich Film Productions 1977. Vintage borderless photograph from the set of the 1977 film. <br/><br/>Based on the 1898 novel "Le femme et le patin" "The Woman and the Puppet" by Pierre Louys about the tempestuous relationship between a wealthy middle aged Frenchman and a poor young Spanish dancer. The woman is played by both Carole Bouquet and Angela Molina interchangeably demonstrating the character's mercurial nature a decision Bunuel came to in desperation after original actress Maria Schneider proved a poor fit but that ultimately helped define the film as one of his late masterpieces. Nominated for both a Best Foreign Language and Best Adapted Screenplay Oscar. <br/><br/>7 x 5 inches. Fine. <br/><br/>Criterion Collection 143. Rosenbaum 1000. Schrader 33. Greenwich Film Productions unknown books
Paris: Films sans Frontieres 1934. Collection of three vintage reference photographs from the 1934 French release of the 1933 Spanish short film. With mimeo snipes on the verso along with holograph ink annotations numbering the photographs.<br/><br/>A short pseudo-documentary focusing on the inhabitants of Las Hurdes a mountainous region near La Alberca Spain with an exaggerated depiction of their suffering. Originally shot as a silent film with live narration provided by director Luis Bunuel at the premiere in Madrid in December 1932. The uproar caused by what the Spanish government termed "defamation of the good name of the Spanish people" caused the film to be banned until 1936.<br/><br/>Set and shot on location in Spain.<br/><br/>5 x 3.5 inches trimmed irregularly. Very Good plus slightly wavy.<br/><br/>Complete collation details available on request. Films sans Frontieres unknown books
N.p.: N.p. 1962. Draft script for the 1962 film. With director Luis Bunuel's holograph pencil and ink annotations throughout noting changes and additions to dialogue and the name of Russian-American director Victor Stoloff in holograph ink to the front of the folder housing the script. Stoloff was associated with Bunuel during Bunuel's brief sojourn in America and is interviewed in the 2000 documentary "Bunuel in Hollywood." <br/><br/>Included with the script is an English translation of Bunuel's revisions.<br/><br/>An impossibly rare script for Bunuel's masterpiece and the penultimate film the director made in Mexico. An incisive eerie surrealist comedy about a group of bourgeois guests at a dinner party who realize they inexplicably cannot leave the house. Nominated for the Palme d'Or at Cannes.<br/><br/>Set and shot on location in Mexico.<br/><br/>Tall lacking wrappers and title page housed in a light blue folder. 94 leaves with last page of text numbered 94. Mimeographed rectos only. Pages Near Fine very lightly foxed to the first leaf unbound.<br/><br/>Criterion Collection 459. Ebert I. Rosenbaum 1000. N.p. unknown books
Mexico: Producciones Barbachano Ponce 1959. Three vintage photographs from the set of the 1959 film. All likely shot on the same day and on a set in a rural location. Buñuel appears in each photo wearing a pith helmet in the first with cinematographer Gabriel Figueroa the second with lead actor Francisco Rabal and the third eating lunch alone on a makeshift table. <br/><br/>Each photo with the Paris address stamp for Telecine as well as annotations and penciled press markings on the verso. <br/><br/>All photos 5 x 7 inches. Near Fine. <br/><br/>Rosenbaum 1000. Producciones Barbachano Ponce unknown books
Paris: Robert et Raymond Hakim / Sud-Films Distribution 1967. Vintage black-and-white borderless still photograph of Catherine Deneuve and director Luis Bunuel on the set of the 1967 film. With the French producer's stamp on the verso "Robert et Raymond Hakim" and a printed list of credits in French. <br/><br/>Buñuel's first color film about a young housewife who begins working in a brothel while her husband is at work with tragic consequences for him and a jealous client involved in organized crime. Winner of the Golden Lion at the 1967 Venice Film Festival. <br/><br/>5 x 7 inches. Near Fine. <br/><br/>Criterion Collection. Ebert I. Godard Histoires du cinema. Rosenbaum 1000. Vogel Film as a Subversive Art. Robert et Raymond Hakim / Sud-Films Distribution unknown books
Paris: Greenwich Film Productions 1971. Original double weight wide margin photograph of Luis Bunuel and screenwriter Jean-Claude Carriere by Mary Ellen Mark taken outdoors during the shooting of Bunuel's "The Discreet Charm of the Bourgeoisie." Notated on the verso as having been taken in 1971 with a separate rubber stamp showing a date of 1980 presumably when the photograph was struck. <br/><br/>Carriere was Bunuel's most significant screenwriting collaborator authoring or co-authoring many of Bunuel's greatest films including "Diary of a Chambermaid" 1964 "Belle de Jour" 1967 "The Milky Way" 1969 "The Discreet Charm of the Bourgeoisie" 1972 "The Phantom of Liberty" 1974 and "That Obscure Object of Desire" 1977. <br/><br/>Print 8 x 10 inches image 5 x 7 inches wide margin. Fine. In a custom museum-quality frame archivally mounted with UV glass. <br/><br/>Criterion Collection 102. Schrader 33. Greenwich Film Productions unknown books
Paris: Greenwich Film Productions 1972. Vintage borderless photograph from the set of the 1977 film. With holograph annotations on the verso. <br/><br/>Six bourgeois friends try to sit down to a meal together and are repeatedly interrupted by surreal dream-like happenings. <br/><br/>7 x 9.5 inches. Near Fine. <br/><br/>Criterion Collection 102. Schrader 33. Greenwich Film Productions unknown books
Paris: Robert et Raymond Hakim / Sud-Films Distribution 1967. Vintage black-and-white borderless press photograph of director Luis Bunuel with cinematographer Christian Matras and the cast on the set of the 1967 film. With a European press agency stamp on the verso "Photo exclusive / EUROPANEWS" a date stamp of April 8 1969 and a few other annotations. <br/><br/>8 x 10 inches. Very Good to Near Fine. Robert et Raymond Hakim / Sud-Films Distribution unknown books
Los Angeles: Twentieth Century-Fox 1974. Collection of 6 vintage black-and-white studio still photographs from the 1974 film. <br/><br/>8 x 10 inches. Near Fine. <br/><br/>Complete collation details available on request. Twentieth Century-Fox unknown books
Paris: Twentieth Century-Fox 1974. Vintage borderless photograph showing director Luis Bunuel wearing badass sunglasses and producer Serge Silberman conferring during the shooting of the 1974 film. <br/><br/>A non-linear surrealist satire of Bunuel's usual targets in this case bourgeois morality and class-based societal structures. <br/><br/>9.5 x 6.5 inches. Near Fine. <br/><br/>Criterion Collection 290. Rosenbaum 1000. Twentieth Century-Fox unknown books
Madrid: Alenda Distribucion / Jose Esteban 1978. Collection of 7 vintage black-and-white studio still photographs from the 1978 Spanish release and first release in Spain of the 1930 film. <br/><br/>8 x 10 inches. Near Fine. Alenda Distribucion / Jose Esteban unknown books
Paris: Transcontinental Film Productions 1961. Vintage borderless photograph of director Sidney Lumet playwright Arthur Miller and actors Ralf Vallone and Raymond Pellegrin on the set of the 1962 film. With the stamp of photographer Jacques Moreau a mimeo snipe and holograph annotations on the verso. Based on the 1955 play by Arthur Miller about an unhappily married man whose obsession with his niece leads to tragedy when she falls for an immigrant who is staying with them. The first American film to feature a kiss between two men though ultimately it is an act of accusation against one of the men rather than a romantic one. Filmed in both French and English versions. Shot on location in New York City and Rome. 9.5 x 7 inches. Near Fine. Transcontinental Film Productions unknown
Beverly Hills CA: United Artists 1977. Collection of five vintage studio still photographs from the 1977 film. Based on the Tony Award-winning 1973 play by Peter Shaffer and adapted by Shaffer for the film. Photographs have been hand-retouched adhered to a backing board and prepared for use in advertising. A haunting film in which a psychiatrist slowly loses faith in himself while doggedly attempting to aid a teen obsessed with mutilating horses. Nominated for three Academy Awards and winner of two Golden Globes for Best Actor and Best Supporting Actor. Shot on location in Toronto. Photos 8 x 10 inches on 10 x 15 inch mat board. Very Good to Near Fine. Complete collation details available on request. United Artists unknown
Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1975. Draft script for the 1976 film. SIGNED by starring actress Faye Dunaway and cinematographer Owen Roizman on the front cover in holograph ink. A highspot among director Sidney Lumet's many cinematic achievements with an original screenplay written by Paddy Chayevsky and a host of major actors all working at the peak of their powers. A savage and very entertaining indictment of American television culture in the mid-1970s portraying an overemphasis placed on newscasts to achieve higher ratings and a powerful commentary about global media conglomerates. Winner of 4 Academy Awards and nominated for 6 others. Set in New York shot on location in Canada and New York. Blue titled wrappers rubber-stamped copy No. 45 dated November 1975 with credits for screenwriter Chayefsky producer Howard Gottfried and director Lumet. 148 leaves with last page of text numbered 147. Xerographically reproduced. Pages and wrapper Near Fine bound with two gold brads. Friedman US. Metro-Goldwyn-Mayer [MGM] unknown
Beverly Hills CA: Orion 1981. Two vintage black-and-white studio still photographs from the 1981 film. Based on the 1978 book by Robert Daley. Both photos featuring actor Treat Williams. 8 x 10 inches. Near Fine condition with rubber stamp at the verso. Orion unknown
Beverly Hills CA: United Artists 1960. Vintage black-and-white reference photograph of Marlon Brando on the set of the 1960 film. 8 x 10 inches. Near Fine. With a Hollywood bookshop stamp on the verso along with an inked price notation. Complete collation details available on request. Criterion Collection 515. United Artists unknown
Beverly Hills CA: United Artists 1960. Vintage black-and-white reference photograph from the 1960 film. Shown are Marlon Brando and Anna Magnani. 8 x 10 inches. Near Fine. Complete collation details available on request. Criterion Collection 515. United Artists unknown
Beverly Hills CA: United Artists 1966. Two vintage borderless black-and-white reference photographs from the 1966 film. Based on the 1963 novel by Mary McCarthy. 8 x 10 inches. Near Fine. Complete collation details available on request. United Artists unknown
London: National Screen Service 1965. Collection of 8 vintage black-and-white still photographs from the 1965 UK film. Based on the play by Ray Rigby about a British disciplinary camp on the Libyan desert. Winner at the 1965 Cannes festival for Best Screenplay. 8 x 10 inches. Light toning overall else Near Fine. National Screen Service unknown
London: National Screen Service 1965. Vintage black-and-white still photograph from the 1965 UK film. Based on the play by Ray Rigby about a British disciplinary camp on the Libyan desert. Winner at the 1965 Cannes festival for Best Screenplay. 8 x 10 inches. Very Good plus with light creases. National Screen Service unknown
Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1969. Vintage reference photograph from the 1969 film. Anouk Aimee walks down a Rome street toward the camera while director Sydney Lumet and crew look on. With a printed mimeo snipe on the verso. Lumet was nominated for a Palme d'Or at Cannes for the film about a man who becomes suspicious that his new wife is really a high priced escort. Set and shot on location in Italy. 8 x 10 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
Los Angeles: American Film Institute AFI 1973. Vintage borderless photograph of director David Lynch actor Jack Nance and cinematographer Herbert Cardwell on the set of the 1977 film. holograph annotations on the verso. Lynch's film was shot piecemeal on an AFI backlot in Los Angeles over a period of five years. Two years into the project cinematographer Herbert Cardwell died in his sleep at the age of 35 dating this photo sometime around 1973. David Lynch's first feature film. The AFI provided the director with use of their lot where he also lived during much of filming at no charge but he had difficulty getting financial assistance from them on the basis of his 20-page script and decidedly unorthodox methods. Terence Malick screened the film at one point for a financial backer who walked out calling the movie "bullshit." A bad call as the film's wild success on the midnight movie circuit-and subsequent success as a legitimate art film gained the vocal admiration of everyone from Charles Bukowski to Stanley Kubrick. 7x 4.5 inches. Fine. National Film Registry. Criterion Collection 725. Rosenbaum 1000. American Film Institute [AFI] unknown
Los Angeles: American Film Institute AFI 1977. Collection of six vintage oversize borderless double weight photographs from the 1977 film. With agency stamps on the verso of five of the photographs and a label with the film's title in French and English affixed to the recto of four photographs at the lower left corner. David Lynch's first feature film. The AFI provided the director with use of their lot where he also lived during much of filming at no charge but he had difficulty getting financial assistance from them on the basis of his 20-page script and decidedly unorthodox methods. Terence Malick screened the film at one point for a financial backer who walked out calling the movie "bullshit." A bad call as the film's wild success on the midnight movie circuit-and subsequent success as a legitimate art film-gained the vocal admiration of everyone from Charles Bukowski to Stanley Kubrick. 12 x 9.5 inches. Near Fine. National Film Registry. Criterion Collection 725. Rosenbaum 1000. American Film Institute [AFI] unknown
N.p.: N.p. 2002. Draft script for an unproduced film. A young man suffers frequent blackouts often waking with strange injuries all over his body and becomes convinced he is being stalked due to his role in a nefarious unknown plot. White titled self wrappers. Title page present copyrighted 2002 to Philip S. Lyren. 74 leaves with last page of text numbered 73. Typescript rectos only. Pages Very Good plus bound with two gold brads. N.p. unknown
Burbank CA: Buena Vista Pictures 2000. Archive of two scripts for the 2000 film including the shooting script with blue and pink revisions bound in and yellow revisions bound separately with the studio's production number rubber stamped randomly on the pages throughout. Copy belonging to Bruce Willis' stand-in Allen Strange with a detailed and nicely anecdotal typed letter signed providing provenance. With director Shyamalan's initials signing off on the script on the last leaf of the shooting script. <br/><br/>An interesting insight into a quiet auteur film that has become a cult favorite here evidenced as the result of some extreme editing. This early draft shows numerous differences between what Shyamalan shot and what made the finished film. Staneruck notes that "Many of the scenes that were shot which in my opinion were stunningly great were discarded after rewrites and lost in the editing . one incredible sequence that was cut shows . Bruce Willis in the shower naked.slowly overcome by emotion and breaks down crying." Staneruck also describes a very expensive shot of the train crash "which was on a 3 axis gimble with 20 stunt people falling about and dying violently. A Big Bucks scene. Gone."<br/><br/>Self wrappers. Title page present dated march . twenty second . two thousand noted as shooting script with credits for screenwriter Shyamalan. 129 leaves mechanical duplication with pink and blue revision pages throughout dated either April 7 2000 or April 12 2000 with 37 yellow revision pages laid in dated April 28 2000. Pages about Near Fine bound with two silver screw brads. Buena Vista Pictures unknown books
New York: Cinema Center Films 1970. Original Pressbook for the 1970 film directed by Robert Clouse written for the screen by Ed Waters based on the John D. MacDonald novel and starring Rod Taylor Theodore Bikel Suzy Kendall and Jane Russell. The only time Travis McGee was ever put to celluloid and a fine film too but one that has become virtually unobtainable in the 21st century. 16 pages saddle stitched 8.5 x 14 inches. Near Fine with some light rubbing and a small spot of offsetting at the bottom of the verso of the rear wrapper and facing page. Cinema Center Films unknown
Burbank CA: Warner Brothers 1966. Original pressbook for the 1966 film based on the Lew Archer novel "The Moving Target" by Ross Macdonald. The name of the main character was changed purportedly at Newman's insistence following the success of his previous two "H" named films "Hud" and "The Hustler." He followed this one up with the classic Western "Hombre" so he may have been on to something. 11 x 17 inches. 19 pages saddle stitched with two advertising inserts one regarding the release of the soundtrack. Very Good plus with some light foxing. Grant US. Hardy BFI Companion to Crime. Silver Classic Noir. Spicer US. Warner Brothers unknown
Burbank CA: Warner Brothers 1966. Two pieces of original artwork from the 1966 film likely created for proposed advertisement content. Both illustrations depict Paul Newman and Janet Leigh in bed together Newman reclining and Leigh in a partial state of undress. Based on the 1949 Lew Archer novel "The Moving Target" by Ross Macdonald. The name of the main character was changed purportedly at Newman's insistence following the success of his previous two "H" named films "Hud" 1963 and "The Hustler" 1961. He followed this one with the classic Western "Hombre" 1967 so he may have been on to something. Shot on location in California. 22 x 15 inches and 20.5 x 17 inches. Charcoal and gouache on illustration board. Very Good with moderate toning and soil to the margins. Glue residue to Leigh's midriff on one image an apparent attempt at propriety with a sheet of acetate laid over the other. Grant US. Hardy BFI Companion to Crime. Silver Classic Noir. Spicer US. Warner Brothers unknown
Np: Paramount 1965. 4pp. leaflet. Folio 47 x 31 cm. Heavily illustrated. Horizontal fold some edge creasing else very good. Publicity pressbook for the US release of the film adaptation of MacDonald's 1958 novel SOFT TOUCH. Directed by Edmond O'Brien starring Jeffrey Hunter David Janssen and Stella Stevens. Press cuttings and promotional paper. Paramount unknown
N.p.: N.p. 1971. Revised Draft script for an unproduced film. Based on the 1965 novel by John D. MacDonald his fifth book in his Travis McGee series. McGee is a self-described "salvage consultant" which differs him from the usual police investigator. Set in South America. Red titled wrappers. Title page present dated September 9 1971 noted as REVISED DRAFT with credits for screenwriter Tom Mankiewicz. 108 leaves with last page of text numbered 106. Mechanical duplication. Pages Near Fine wrapper Near Fine bound internally with two gold brads. N.p. unknown
Np: Paramount 1965. 4pp. leaflet. Folio 47 x 31 cm. Heavily illustrated. Horizontal fold some edge creasing else very good. Publicity pressbook for the US release of the film adaptation of MacDonald's 1958 novel SOFT TOUCH. Directed by Edmond O'Brien starring Jeffrey Hunter David Janssen and Stella Stevens. Press cuttings and promotional paper. Paramount unknown books
Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1960. Collection of six full color vintage lobby cards from the 1960 film. From one perspective a fairly one-dimensional representation-perhaps even a caricature-of Beat culture but culturally fascinating in that it was made at the height of the Beat era with A-list talent by a top studio and until Walter Salles' 2012 adaptation of "On the Road" was the only feature-length film ever made from a Kerouac novel. Kerouac was paid $15000 by MGM for the rights to the book and bought his first home with the proceeds on Long Island. A film that rarely screened today and has never been available on any kind of home viewing format. While its perspective on the actual Beat scene may be skewed or wildly misinterpreted it is nonetheless important as an interpretation of Kerouac's world from the outside looking in. Shot on location in San Francisco California. 17 x 13 inches. Very Good with pin holes and a holograph ink notation to the recto of one lobby card. Complete collation details available on request. Metro-Goldwyn-Mayer [MGM] unknown
Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1960. Vintage Italian Locandina poster for the 1960 US film. From one perspective a fairly one-dimensional representation-perhaps even a caricature-of Beat culture but culturally fascinating in that it was made at the height of the Beat era with A-list talent by a top studio and until Walter Salles' 2012 adaptation of "On the Road" was the only feature-length film ever made from a Kerouac novel. Kerouac was paid $15000 by MGM for the rights to the book and bought his first home with the proceeds on Long Island. A film that rarely screened today and has never been available on any kind of home viewing format. While its perspective on the actual Beat scene may be skewed or wildly misinterpreted it is nonetheless important as an interpretation of Kerouac's world from the outside looking in. Shot on location in San Francisco California. 13 x 27 inches folded. Near Fine with light wrinkling. Metro-Goldwyn-Mayer [MGM] unknown
Beverly Hills CA: MGM 1960. Original vintage photograph of Janice Rule and Gerry Mulligan from the 1960 film. With a type written description and holograph annotations in red crayon and graphite on the verso. From one perspective a fairly one-dimensional representation-perhaps even a caricature-of Beat culture but culturally fascinating in that it was made at the height of the Beat era with A-list talent by a top studio and until Walter Salles' 2012 adaptation of "On the Road" was the only feature-length film ever made from a Kerouac novel. Kerouac was paid $15000 by MGM for the rights to the book and bought his first home with the proceeds on Long Island. Shot on location in San Francisco. 10 x 8 inches. Near Fine. MGM unknown
Universal City CA: Steve Krantz Productions / American International Pictures AIP 1977. Third Revised Draft script for the 1978 film. Based on a story by producer Steve Krantz. Jennifer Pelikan is a young woman just entering a new private school where the other students torment her to the breaking point. Her only course of action is revenge which she enacts by communicating telepathically with snakes. A beautiful example of exploitation at its best borrowing from both from its obvious antecedent "Carrie" 1976 and another mind-over-animal film "Willard" 1971 where rats became tools of justice. Green titled wrappers. Title page present dated October 26 1977 noted as THIRD REVISION with credits for screenwriter Johnson and story writer Krantz. 118 leaves with last page of text numbered 102. Xerographically reproduced. Pages Near Fine wrapper Very Good plus bound with three gold brads. Muir 1970s. Steve Krantz Productions / American International Pictures [AIP] unknown
Hollywood: RKO Radio Pictures 1933. Final script for the 1934 film. Copy belonging to a unknown cast member with his signature on front wrapper. With some holograph pencil annotations. A pre-Code comedy featuring a stranded actress in a small town who becomes a manicurist and inadvertently has a great impact on the lives of the local citizenry. Red titled wrappers noted as Final Script on the front wrapper rubber-stamped copy production No. 722 dated October 14 1933 with credits for screenwriters Richard Schayer and Russell Mack. 135 leaves with last page of text numbered "H:7-8." Mimeograph duplication with revision pages throughout dated variously between October 12 1933 and October 19 1933. Pages Very Good plus wrapper Very Good plus bound with three gold brads. RKO Radio Pictures unknown
London: Twentieth Century-Fox 1965. Vintage black-and-white still photograph from the 1965 UK film. Mimeograph snipe and distributor rubber-stamp on the verso. Based on Richard Hughes' 1929 novel about children sent to England from Jamaica when their ship is boarded and commandeered by pirates. Chavez Anthony Quinn the pirate captain befriends one of the children to the chagrin of the other pirates. 8 x 10 inches. Faint creases else Near Fine. Twentieth Century-Fox unknown
Dusseldorf Germany: Alfried Holle / Atlas Films 1962. Original German A1 poster for a circa 1962 re-release of the 1955 UK film. From the collection of noted film historian Amos Vogel. Full provenance available. Music professor Alec Guinness rents a London flat from sweet old lady Katie Johnson. He tells her that from time to time several other musicians will visit in order to rehearse. In truth Guinness can't play a note nor can his visitors-he's a criminal mastermind holding court over a gang of thieves including the likes of punkish Peter Sellers homicidal Herbert Lom and punchdrunk Danny Green. The gang uses Guinness' flat as headquarters as they conceive a daring 60000 pound robbery. Nominated for an Academy Award Best Screenplay and a BFA award for veteran character actress Johnson. 23.25 x 33 inches rolled. Very Good or better overall. Alfried Holle / Atlas Films unknown
Toronto: Telepix Canada 1985. Final Draft for the 1986 television film. Based on the book of the same name recounting the corruption of the 1969 United Mine Workers' presidential election and the murder of Joseph "Jock" Yablonski that followed. Set in Pittsburgh PA and environs shot on location in Pitsburgh and Nemacolin Pennsylvania and Ontario Canada. Self-wrappers with title page integral to the front wrapper dated August 8 1985 noted as Final Draft with credits for screenwriter Scott Spencer. 114 leaves with last page of text numbered 107. Xerographic duplication with white revision pages throughout dated variously between 8/19/85 and 8/22/85. Pages Fine wrapper Fine bound with three gold brads. Telepix Canada unknown
Hollywood: Paul Kohner 1950. Draft script for an unproduced film. Wild Bill Hickok must play a high stakes poker game in order to win back his beloved mare. The script is a partial treatment draft with a moderate amount of script still in full paragraphs. Set in Deadwood Dodge City and the Chisholm Trail in 1867. Lacking wrappers presumably as issued. Title page present with credits for screenwriter AEneas MacKenzie. 55 leaves with last page of text numbered 54. Mimeograph duplication. Pages Fine bound with three gold brads. Paul Kohner unknown
N.p.: N.p. Treatment script for an unproduced film. Four interrelated vignettes about life in the American West featuring Will Bill Hickok praised Indian killer coming a wild town without law enforcement and him acting as sheriff until he humiliated by a woman followed by a story in which he is found in a different town drinking himself to death. A different woman helps him get back on his feet which ultimately leads to him enforcing justice again only to be gunned down. The final two stories involve vengeance on the part of Hickok's friends seeking retribution for their gunned-down friend. Mint green titled wrappers. Title page present with credit for screenwriter MacKenzie. 59 leaves mimeograph duplication. Pages Fine wrapper Near Fine bound with two gold brads. N.p. unknown
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