Alfred Hitchcock; Tippi Hedren (subjects); Daphne du Maurier (story); Luc Fournol (photographer)ABAA
10.032 resultados
1963ref. 147455N.p.: N.p. 1963. Vintage borderless press photograph of director Alfred Hitchcock and actor Tippi Hedren attending Cannes in 1963 with Hitchcock making a bird gesture. With a stamp for photographer Luc Fournol on the verso noting the date 14 Mai 1963. Loosely based on a 1952 short story by Daphne du Maurier. Often regarded as Hitchcock's last great film made all the more terrifying by the lack of motivation or explanation given to the violence. The first film screened at a prestigious invitational showing at Cannes in 1963 attended by both Hitchcock and Hedren. 11 x 8 inches. Very Good plus with light curling and a diagonal crease to the lower left corner. N.p. unknown books
1960ref. 172946N.p.: Classic Cinemas 1960. Seven vintage borderless reference photographs from the circa 1960s British release of the 1967 Soviet film. With mimeo snipes affixed to the versos. Based on the 1898 short story "Ionych" by Anton Chekhov. A doctor moves to a small town to start his practice and falls for a young woman who shortly moves to Moscow leaving him bored and apathetic to his new life. Set in the Soviet Union. Six photographs 8 x 10 inches one photograph trimmed 7.25 x 9.5 inches. Very Good plus slightly wrinkled overall and one photograph with faint emulsion irregularities. Classic Cinemas unknown
1960ref. 172946N.p.: Classic Cinemas 1960. Seven vintage borderless reference photographs from the circa 1960s British release of the 1967 Soviet film. With mimeo snipes affixed to the versos. Based on the 1898 short story "Ionych" by Anton Chekhov. A doctor moves to a small town to start his practice and falls for a young woman who shortly moves to Moscow leaving him bored and apathetic to his new life. Set in the Soviet Union. Six photographs 8 x 10 inches one photograph trimmed 7.25 x 9.5 inches. Very Good plus slightly wrinkled overall and one photograph with faint emulsion irregularities. Classic Cinemas unknown books
1953ref. 137621Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1953. Draft script for the 1953 film musical. Based on the original story "Why Should I Cry" by I.A.R. Wylie first seen in the 1949 Saturday Evening Post. Joan Crawford's first Technicolor feature. Ruthless and demanding Broadway musical star Jenny Stewart Joan Crawford meets her match in a blind rehearsal pianist Tye Graham Michael Wilding who unbeknownst to Jenny has held a soft spot for the tyrannical star since his days as a novice Broadway reporter. Blue titled wrappers noted as VAULT COPY on the front wrapper rubber-stamped copy No. 5537 dated 02/25/53 with credits for producer Henry Berman and screenwriter John Michael Hayes. Title page integral with first page of text dated 02/25/53. 107 leaves with last page of text numbered 78. Mimeograph on yellow stock dated variously between 02/24/53 and 02/28/53. Pages Near Fine wrapper Near Fine bound with two gold brads. Hirschhorn p. 338. Metro-Goldwyn-Mayer [MGM] unknown
1953ref. 137621Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1953. Draft script for the 1953 film musical. Based on the original story "Why Should I Cry" by I.A.R. Wylie first seen in the 1949 Saturday Evening Post. Joan Crawford's first Technicolor feature. Ruthless and demanding Broadway musical star Jenny Stewart Joan Crawford meets her match in a blind rehearsal pianist Tye Graham Michael Wilding who unbeknownst to Jenny has held a soft spot for the tyrannical star since his days as a novice Broadway reporter. Blue titled wrappers noted as VAULT COPY on the front wrapper rubber-stamped copy No. 5537 dated 02/25/53 with credits for producer Henry Berman and screenwriter John Michael Hayes. Title page integral with first page of text dated 02/25/53. 107 leaves with last page of text numbered 78. Mimeograph on yellow stock dated variously between 02/24/53 and 02/28/53. Pages Near Fine wrapper Near Fine bound with two gold brads. Hirschhorn p. 338. Metro-Goldwyn-Mayer [MGM] unknown books
1957ref. 141710N.p.: N.p. 1957. Draft script for an unproduced film. Copy belonging to Ben Colman after previously being owned by screenwriter Maxwell Shane with both of their names and addresses on the first page. Based in part on an adventure story by Daniel Defoe. The film opens with a man trying to drown himself in the ocean as he reflects on his journey to this point of his life. Maxwell Shane began as a screenwriter and found his greatest recognition as a director of five key films noir in the 1940s and 1950s including "Fear in the Night" and "City Across the River." Blue titled wrappers. Title page present with credits for screenwriter Maxwell Shane and author Daniel Defoe. 145 leaves with last page of text numbered 142. Mechanical duplication. Pages Near Fine wrapper Near Fine bound internally with three gold brads. N.p. unknown
1957ref. 141710N.p.: N.p. 1957. Draft script for an unproduced film. Copy belonging to Ben Colman after previously being owned by screenwriter Maxwell Shane with both of their names and addresses on the first page. Based in part on an adventure story by Daniel Defoe. The film opens with a man trying to drown himself in the ocean as he reflects on his journey to this point of his life. Maxwell Shane began as a screenwriter and found his greatest recognition as a director of five key films noir in the 1940s and 1950s including "Fear in the Night" and "City Across the River." Blue titled wrappers. Title page present with credits for screenwriter Maxwell Shane and author Daniel Defoe. 145 leaves with last page of text numbered 142. Mechanical duplication. Pages Near Fine wrapper Near Fine bound internally with three gold brads. N.p. unknown books
1924ref. 312270NY: MOVIE WEEKLY PUBLISHING CORP. Very Good with no dust jacket. 1924. First Edition; First Printing. Stapled Wrappers. Near fine in sepia toned stapled wrappers. 12 1/2" X 9 1/4" 32pp. Split at base of spine leaving the rear cover neatly detached. Features a continuation of actress Marion Davies story "The true story of my life." A cut autograph of Marion Davies laid-in loosely. Also Ramon Navarro. Photo of Kenneth Harlan and Marie Prevost on cover. BC; 9 1/2" X 12 1/2" . MOVIE WEEKLY PUBLISHING CORP. unknown
1941ref. 137043Universal City CA: Universal Pictures 1941. Draft script for the 1941 film. Copy belonging to studio secretary Marion Pecht with her name in manuscript pencil at the top right corner of the front wrapper. File copy rubber-stamped on the front wrapper. Housed in a custom black cloth clamshell box. From the Richard Manney collection of horror film scripts. The 1941 version of "The Black Cat" is neither a remake of Edgar G. Ulmer's 1934 Karloff-Lugosi film of the same name nor does it bear much relation to the Edgar Allan Poe story though in fairness neither did the 1934 version. It is more of a horror-comedy affair than its predecessor with Broderick Crawford and Hugh Herbert in the lead Bela Lugosi reappearing now in the more minor role of "Eduardo" and Basil Rathbone ably handling the part of the shady Mr. Hartley. Shot by the legendary Stanley Cortez of "Magnificent Ambersons" fame. Hal Erickson Rovi Gray titled wrappers rubber-stamped copy No. 6856 dated February 15 1941. 117 leaves with last page of text numbered 117. Mimeograph duplication. Pages Near Fine wrapper Very Good plus bound with three gold brads. Weaver Universal Horrors. Universal Pictures unknown
1941ref. 137043Universal City CA: Universal Pictures 1941. Draft script for the 1941 film. Copy belonging to studio secretary Marion Pecht with her name in manuscript pencil at the top right corner of the front wrapper. File copy rubber-stamped on the front wrapper. Housed in a custom black cloth clamshell box. From the Richard Manney collection of horror film scripts. The 1941 version of "The Black Cat" is neither a remake of Edgar G. Ulmer's 1934 Karloff-Lugosi film of the same name nor does it bear much relation to the Edgar Allan Poe story though in fairness neither did the 1934 version. It is more of a horror-comedy affair than its predecessor with Broderick Crawford and Hugh Herbert in the lead Bela Lugosi reappearing now in the more minor role of "Eduardo" and Basil Rathbone ably handling the part of the shady Mr. Hartley. Shot by the legendary Stanley Cortez of "Magnificent Ambersons" fame. Hal Erickson Rovi Gray titled wrappers rubber-stamped copy No. 6856 dated February 15 1941. 117 leaves with last page of text numbered 117. Mimeograph duplication. Pages Near Fine wrapper Very Good plus bound with three gold brads. Weaver Universal Horrors. Universal Pictures unknown books
1985ref. 166915N.p.: N.p. 1985. Final Draft script for the 1986 film. Fred Williamson directs and stars as a cigar-smoking swaggering private investigator hired by a millionaire to find his missing niece in Europe. Set and shot on location in Cannes Los Angeles Rome and Venice. Front wrapper integral with title page dated June 3 1985 noted as FINAL DRAFT. 81 leaves with last page of text numbered 79. Xerographic duplication rectos only. Pages Very Good plus with light soiling to the title page side-stapled. Moore The Good the Tough and the Deadly: Action Movies and Stars 1960s-2015. N.p. unknown
1985ref. 166915N.p.: N.p. 1985. Final Draft script for the 1986 film. Fred Williamson directs and stars as a cigar-smoking swaggering private investigator hired by a millionaire to find his missing niece in Europe. Set and shot on location in Cannes Los Angeles Rome and Venice. Front wrapper integral with title page dated June 3 1985 noted as FINAL DRAFT. 81 leaves with last page of text numbered 79. Xerographic duplication rectos only. Pages Very Good plus with light soiling to the title page side-stapled. Moore The Good the Tough and the Deadly: Action Movies and Stars 1960s-2015. N.p. unknown books
1951ref. 162338N.p.: N.p. 1951. Four vintage reference photographs from the 1951 film including three showing Gene Kelly dancing with Leslie Caron and one showing a dejected Kelly with four military officers. Inspired by George Gershwin's 1928 jazz-influenced orchestral composition and featuring a show-stopping 17-minute ballet choreographed to the piece as well as a number of other Gershwin tunes including the classics "Embraceable You" "Nice Work if You Can Get It" and "I Got Rhythm." Winner of six Academy Awards including Best Screenplay and Best Picture and nominated for two others including Best Director. Also nominated for the Palme d'Or at Cannes in 1952. 10 x 8 inches. Near Fine with light age toning on a few margins. National Film Registry. Godard Histoires du cinema. Schrader 34. N.p. unknown
1951ref. 162338N.p.: N.p. 1951. Four vintage reference photographs from the 1951 film including three showing Gene Kelly dancing with Leslie Caron and one showing a dejected Kelly with four military officers. Inspired by George Gershwin's 1928 jazz-influenced orchestral composition and featuring a show-stopping 17-minute ballet choreographed to the piece as well as a number of other Gershwin tunes including the classics "Embraceable You" "Nice Work if You Can Get It" and "I Got Rhythm." Winner of six Academy Awards including Best Screenplay and Best Picture and nominated for two others including Best Director. Also nominated for the Palme d'Or at Cannes in 1952. 10 x 8 inches. Near Fine with light age toning on a few margins. National Film Registry. Godard Histoires du cinema. Schrader 34. N.p. unknown books
1947ref. 156254Los Angeles: Monogram Pictures 1947. Collection of eleven vintage studio still photographs from the 1947 film noir. Based on the 1941 short story "He Looked Like Murder" by Cornell Woolrich about a manhunt for the murderer of a woman with a twin told through a series of flashbacks and plot twists. Set in New York City. 10 x 8 inches. Very Good with moderate edgewear and age toning. Grant US. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US. Monogram Pictures unknown
1947ref. 156254Los Angeles: Monogram Pictures 1947. Collection of eleven vintage studio still photographs from the 1947 film noir. Based on the 1941 short story "He Looked Like Murder" by Cornell Woolrich about a manhunt for the murderer of a woman with a twin told through a series of flashbacks and plot twists. Set in New York City. 10 x 8 inches. Very Good with moderate edgewear and age toning. Grant US. Selby US Masterwork. Silver and Ward Classic Noir. Spicer US. Monogram Pictures unknown books
1972ref. 309357NY: VIKING. Fine. 1972. First Edition. 0670511293 . SIGNED by Kitty Carlisle Sig Ruman Allan Jones Walter Woolf King & Jonathan Hale on tipped-in plates on front inside cover & endpaper. About fine in a near fine dj. A few short edge tears in dj. B . VIKING. unknown
1948ref. 160687London: The Rank Organization 1948. Five vintage reference photographs from the 1948 British film showing the film's famous and impressionistic "ballet sequence." Three with printed mimeo snipes affixed to the versos and all five with stamps of The Rank Organisation on the versos. Loosely based on the 1845 fairy tale by Hans Christian Andersen following an up-and-coming prima ballerina whose personal life is strained by her ballet master's obsessive demand that she devote herself entirely to her career. Michael Powell's tenth collaboration with his longtime partner Emeric Pressburger a critical success and worthy successor to their 1947 Technicolor classic "Black Narcissus." Nominated for five Academy Awards winning two. 9.5 x 8 inches. Near Fine to Very Good plus some with light toning. Criterion Collection 44. Ebert III. Rosenbaum 1000. Schrader 41. The Rank Organization unknown
1948ref. 160687London: The Rank Organization 1948. Five vintage reference photographs from the 1948 British film showing the film's famous and impressionistic "ballet sequence." Three with printed mimeo snipes affixed to the versos and all five with stamps of The Rank Organisation on the versos. Loosely based on the 1845 fairy tale by Hans Christian Andersen following an up-and-coming prima ballerina whose personal life is strained by her ballet master's obsessive demand that she devote herself entirely to her career. Michael Powell's tenth collaboration with his longtime partner Emeric Pressburger a critical success and worthy successor to their 1947 Technicolor classic "Black Narcissus." Nominated for five Academy Awards winning two. 9.5 x 8 inches. Near Fine to Very Good plus some with light toning. Criterion Collection 44. Ebert III. Rosenbaum 1000. Schrader 41. The Rank Organization unknown books
1966ref. 150834N.p.: N.p. 1966. Vintage borderless double weight photograph of Michelangelo Antonioni on the set of the 1966 film with provenance stamp of film scholar and author "J. P. Berthome" on verso. Inspired by the 1959 short story "Las Babas del Diablo" by Julio Cortazar. Michelangelo Antonioni's first English-language film marking the beginning of the final phase of his work co-produced by companies in Italy the United States and the United Kingdom and featuring an international cast. The director's brash use of color set design non-standard editing techniques and typical emphasis of atmosphere over plot would carry over into the two major films that followed "Zabriskie Point" 1970 and "The Passenger" 1975. In his 2009 essay on the film Danny Lyon notes "It is apt that through his established style Antonioni made a movie that is perhaps closest to communicating the myth of the swinging Sixties scene but also the confusion of the time. . Britain's new and very chaotic cultural revolution was perhaps most effectively captured by an Italian." Winner of the Palme d'Or. Nominated for two Academy Awards for Best Director and Best Screenplay. 10 x 8 inches. Light edgewear and creasing in far corners else Near Fine. Criterion Collection 865. Ebert I. Grant UK/Italy. N.p. unknown
1966ref. 150834N.p.: N.p. 1966. Vintage borderless double weight photograph of Michelangelo Antonioni on the set of the 1966 film with provenance stamp of film scholar and author "J. P. Berthome" on verso. Inspired by the 1959 short story "Las Babas del Diablo" by Julio Cortazar. Michelangelo Antonioni's first English-language film marking the beginning of the final phase of his work co-produced by companies in Italy the United States and the United Kingdom and featuring an international cast. The director's brash use of color set design non-standard editing techniques and typical emphasis of atmosphere over plot would carry over into the two major films that followed "Zabriskie Point" 1970 and "The Passenger" 1975. In his 2009 essay on the film Danny Lyon notes "It is apt that through his established style Antonioni made a movie that is perhaps closest to communicating the myth of the swinging Sixties scene but also the confusion of the time. . Britain's new and very chaotic cultural revolution was perhaps most effectively captured by an Italian." Winner of the Palme d'Or. Nominated for two Academy Awards for Best Director and Best Screenplay. 10 x 8 inches. Light edgewear and creasing in far corners else Near Fine. Criterion Collection 865. Ebert I. Grant UK/Italy. N.p. unknown books
1937ref. 150759N.p.: N.p. 1937. Vintage double weight reference photograph of director Mitchell Leisen demonstrating how to kiss Jean Arthur while Ray Milland looks on from the 1937 film. Based on the 1937 short story by Vera Caspary. During the Great Depression obscenely wealthy baker J.B. Ball Edward Arnold angered at his wife's Mary Nash spending throws her very expensive sable coat off the roof where it lands on the head of stenographer Mary Smith Arthur leading to a life-altering chain of events. Set in New York City. 10 x 8 inches. Some edgewear else Near Fine. Byrge and Miller The Screwball Comedy Films A History and Filmography: 1934-1942. N.p. unknown
1937ref. 150759N.p.: N.p. 1937. Vintage double weight reference photograph of director Mitchell Leisen demonstrating how to kiss Jean Arthur while Ray Milland looks on from the 1937 film. Based on the 1937 short story by Vera Caspary. During the Great Depression obscenely wealthy baker J.B. Ball Edward Arnold angered at his wife's Mary Nash spending throws her very expensive sable coat off the roof where it lands on the head of stenographer Mary Smith Arthur leading to a life-altering chain of events. Set in New York City. 10 x 8 inches. Some edgewear else Near Fine. Byrge and Miller The Screwball Comedy Films A History and Filmography: 1934-1942. N.p. unknown books
1895ref. 5527New York: The Cassell Publishing Co. 1895. First Edition. Hardcover. Very good. A Very Good or better copy -- a little fading to the spine and some loss at the top of the cloth spine where it yaps folds over the textblock no bumps. Pencil period gift inscription contents otherwise clean. A nice solid copy. Red cloth with white contrasts. Over 50 very striking full-page illustrations. OCLC 16349500. Rare -- only one copy in Worldcat. The Cassell Publishing Co. hardcover
1943ref. 148600Culver City CA: Metro-Goldwyn-Mayer MGM 1943. Draft script for the 1944 film here under the working title "Russia" with annotation in manuscript ink above title of "Song of" amending it to its release title date annotation in manuscript pencil on top right and "Rerun" "Mar 9 1943" stamps to the lower right all on front wrapper. Annotations in manuscript pencil on verso of front wrapper on screenwriter revision check sheet printed on verso of wrapper. Bold annotations in manuscript pencil on recto and verso on ten leaves likely written by a child some responding to the action of script some appearing unrelated. One annotation of page number and one of a name not in the same hand as above both in manuscript pencil and two copied annotations of revision dates in script. Laid in is an additional page 85 dated 3/3/85 and a newspaper clipping circa 1944 of a photo of two Army personnel with mortars. Famed conductor John Meredith Robert Taylor tours Soviet Russia shortly before the 1941 invasion by NAZI Germany falling in love with sweet peasant girl Nadya Susan Peters. A positive portrayal of the Soviet Union during the wartime alliance with the US which after the end of the war would be cited by the House Un-American Activities Committee HUAC as an example of "pro-Soviet propaganda films" made by Hollywood. Cited and derided by Ayn Rand during her 1947 testimony before HUAC. Set in the Soviet Union. Yellow titled wrappers noted as COMPLETE on the front wrapper rubber-stamped production No. 195 dated 1-15-43 with credits for screenwriters Paul Jarrico and Richard Collins. Title page integral with first page dated 3/13/43. 124 leaves with last page of text numbered 107. Mimeograph duplication rectos only with pink and white revision pages throughout dated variously between 1/15/43 and 4/5/43. Pages Near Fine wrapper Very Good plus with light soiling and cello tape to verso and recto of rear wrapper and closed tear at spine of rear wrapper bound with two gold brads. Metro-Goldwyn-Mayer [MGM] unknown
