10 264 résultats
1933réf. 131380Hollywood: Paramount Pictures 1933. Second Script for the 1933 film. Rubber-stamped on the front wrapper "FILE COPY / RETURN TO SCRIPT DEPT. / PARAMOUNT STUDIO - HOLLYWOOD" and "1837 / MASTER FILE." The film's original title "Don't Call Me Madam" is present on the front wrapper crossed through with the new title "Tillie and Gus" written in manuscript ink above it. Based on a short story entitled "Don't Call Me Madame" by Rupert Hughes about Tillie and Gus Winterbottom Alisone Skipworth and W. C. Fields and their tribulations involving a deceased family member's inheritance. Even with the ensuing events including a riverboat race and a baby-toting bathtub that floats downstream reminiscent of Moses in a basket the film is remembered as one of Fields' "sleepers" one less punchy than others. "Tillie and Gus" was one of three pairings of Skipworth and Fields the others being "Six of a Kind" 1934 and "If I Had a Million" 1932. Tall side stapled salmon self wrappers noted as SECOND SCRIPT on the front wrapper rubber-stamped copy production No. 1837 dated March 10 1933 with credits for screenwriters Jones McNutt and Harris. Title page integral with the first page of the script. 137 leaves mimeograph on salmon colored stock. Pages about Near Fine rear wrapper detached but present else wrappers Very Good plus. Paramount Pictures unknown books
réf. 131876Rome: C C. Champion 1972. Draft script for the 1972 film. Bound at the rear are an additional 11 pages that include a complete Cast List and Unit List. Filmed on location in Italy as "Che" the film also saw later release in the US as "Diary of Forbidden Dreams." A lesser known film in the director's oeuvre a comedic and highly sexualized homage to Alice in Wonderland starring Sydne Rome as an American hitchhiker who stumbles upon an increasingly bizarre and decadent party at an Italian villa. Blue wrappers as originally used. Title page present noted as copy No. 4 in pink manuscript ink with credits for screenwriters Brach and Polanski. 122 leaves mechanical duplication. Pages Near Fine wrapper Very Good bound internally with two gold brads. C C. Champion unknown books
1973réf. 133028London: Harbour Productions / Cineman Films 1973. Collection of six vintage black-and-white still photographs from the 1973 UK film. In a film tailor made for his unique screen presence Price plays a Shakespearean actor who exacts bloody revenge on the critics who denied him an acting award using scenes from the Bard's plays as inspiration for each murder. An undeniably appealing cult crossover between high literature and lowbrow horror-comedy. A story set and shot on location in London. 8 x 10 inches. About Fine. Harbour Productions / Cineman Films unknown books
1976réf. 133549London: Cinema International 1976. Vintage black-and-white still photograph from the 1976 UK release of the 1975 US film. Mimeo tag affixed to the verso with layout annotations in manuscript pencil and a UK distributor stamp. Lt. Phil Gaines Reynolds is a tough Los Angeles detective investigating the death of a young woman and having a troubled relationship with a call girl Deneuve. Features an early role by Robert Englund Fred "Freddy" Krueger in the "Nightmar on Elm Street" films. An often overlooked entry in the late cycle of film noir. Set in California and shot on location there. 8 x 10 inches. About Near Fine. Grant US. Silver Classic Noir. Spicer US. Cinema International unknown books
1970réf. 133268Los Angeles: American International Pictures AIP 1970. Eight vintage black-and-white still photographs from the 1970 UK film. In Elizabethan England a coven of witches is massacred by evil Lord Whitman Price but the coven's leader invokes a magical servant a "banshee" for revenge. A prime vessel for Vincent Price who basically carries the film. Shot on location in Middlesex England. 8 x 10 inches. Light creases overall else Near Fine. American International Pictures [AIP] unknown books
1972réf. 133422Beverly Hills CA: Levy-Garner-Laven / United Artists 1972. Eight vintage full-color still photographs from the 1972 film. A poorly publicized but well regarded film about an aging rodeo champion a "honker" whose arrogance hurts everyone around him including his family. A must for Slim Pickens and James Coburn fans. Shot on location in New Mexico. 8 x 10 inches. Near Fine. Levy-Garner-Laven / United Artists unknown books
1973réf. 133031Los Angeles: American International Pictures AIP 1973. Two vintage black-and-white still photographs from the 1973 US film. De Palma does "Rear Window" sort of in the breakthrough film that would signal his move toward both Hollywood and the psycho-sexual thrillers that would come to be his signature as much as his virtuosic visual style. Set and shot on location in New York City. 8 x 10 inches. Near Fine with some light toning. Arrow 919. Criterion Collection 89. Grant US. Spicer US. American International Pictures [AIP] unknown books
réf. 132794Universal City CA: Universal Pictures 1986. Archive of three title card maquettes hand lettered by Harold Adler for the 1963 film. Also included are two fascinating autograph letters both elaborately designed and executed in a calligraphic style from Adler to author illustrator and editor Fridolf Johnson relating to Adler's work with Hitchcock. Harold Adler was a calligrapher who created hand lettered titles on over 100 films worked frequently with Alfred Hitchcock and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Birds" 1963 his credits include "Comanche!" 1956 "The Man with the Golden Arm" 1955 "The Seven Year Itch" 1955 "Carmen Jones" 1954 "Psycho" 1960 "In the Heat of the Night" 1967 and "Justine" 1969. In 2012 an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation Kansas City. In the first letter dated May 16 1986 Adler describes after touching on other topics meeting Hitchcock and then presenting him with layout ideas for the titles. He then goes into detail regarding his answer to a question about the techniques of artist Eric Gill stating that Hitchcock "was amazed" by this answer and after that would "request 'to be sure to bring that nice young man along" meaning Adler whenever he had a job for Adler's firm. The second letter dated June 10th 1986 focuses almost exclusively on Adler's work on "The Birds" going into some detail regarding both the creative and technical processes of producing hand lettered titles for films. He also describes Hitchcock as "an unusual person to work with. He was a master at what he did knew what he wanted and smoked the finest cigars." He then concludes the letter with some brief remarks on how his approach to title lettering evolved over the course of his career. The letters themselves are works of art executed in a variety of inks in Adler's detailed penmanship with Johnson's name on each in particular receiving full calligraphic treatment. Also included are draft title cards for the film stylistically similar to each other but much different from the titles used in the finished film. Two of the cards are marked as "camera ready" in manuscript colored pencil with titles executed in white paint on black board. The third card photo stat on black paper which accompanied the June 10th letter has been annotated by Adler on both the recto and verso explaining the in more detail the technical process of putting the lettering on film. Overall a significant collection of material illuminating a little explored aspect of film design with a direct and significant connection to a seminal work by a director known for personally overseeing all aspects of production. Each letter 19 x 24 inches single leaf rectos only. May 16th letter folded twice for mailing June 10th letter folded. Two long diagonal creases to the May 16th letter else both are Fine. Original mailing envelope for the May 16th letter included. "Camera ready" title cards 22 x 14 inches. Lightly rubbed and about Near Fine. Third card 18 x 4 inches. Near Fine. National Film Registry. Clover Men Women and Chainsaws. Godard Histoires du cinema. Universal Pictures unknown books
1979réf. 132250New York: New Yorker Films 1979. Original US promotional window poster for the 1979 German film issued in small numbers by New Yorker Films who distributed Herzog's film in the US. From the collection of noted film historian Amos Vogel. Full provenance available. 11 x 17 inches folded as issued. Near Fine. New Yorker Films unknown books
1979réf. 132786Los Angeles: Golan-Globus Productions 1979. Three original draft title card maquettes hand lettered by Harold Adler for the 1979 film. Based on the 1960 novel by Isaac Bashevis Singer. The three sketches show different approaches to the title all distinct from the final lettering design used. Harold Adler was a calligrapher who created hand lettered titles on over 100 films worked frequently with Alfred Hitchcock and was a favorite of legendary title sequence designers Saul Bass and Pablo Ferro. In addition to "The Magician of Lublin" his credits include "Comanche!" 1956 "The Man with the Golden Arm" 1955 "The Seven Year Itch" 1955 "Carmen Jones" 1954 "Psycho" 1960 "The Birds" 1963 "In the Heat of the Night" 1967 and "Finian's Rainbow" 1969. In 2012 an exhibition of Adler's work was organized by noted typographer and design historian Jill Bell at the American Advertising Federation Kansas City. At the turn of the Twentieth century a Jewish stage magician and con man whose career has been ruined by womanizing gets one more shot at the big time by attempting to pull off a never before seen trick. Two leaves. First leaf: 19 x 18 inches. About Near Fine with creasing to the edges. Two designs executed in black ink on white paper with a manuscript notation to the side in blue pencil. Second leaf: 15.5 x 5.5 inches. Black ink on white paper. Near Fine with manuscript annotations in blue pencil. Golan-Globus Productions unknown books
1990réf. 134461Los Angeles: Discovery Productions 1990. Draft script for an unproduced film. Based on the 1949 Jim Thompson novel. The story of a small town movie theater owner who gets mixed up in a murderous love triangle with his wife and lover. Though a film from this script was never made the original Thompson story adapted by a different writer remains in possible development. Lacking front wrapper with a red rear wrapper. Title page present dated June 1 1990 with credits for screenwriter Birkin and novelist Thompson. 113 leaves photocopy. Fine condition bound with three gold brads. Discovery Productions unknown books
1975réf. 133484Burbank CA: Warner Brothers 1975. Collection of 10 vintage black-and-white still photographs from the 1975 UK film. Mimeo snipes and layout annotations on the versos of two stills. A made-for-television movie based on the 1933 novel "Some Must Watch" by Ethel Lina White and a remake of the 1945 Hitchcockian noir about a small-town psycho who chooses disabled women as his victims. 8 x 10 inches. Near Fine. Warner Brothers unknown books
1960réf. 132925Paris: Nouvelles Editions de Films NEF 1960. Three vintage black-and-white still photographs from the 1960 French film. An anarchic Louis Malle comedy one of his finest films where ten-year-old Zazie from a provincial town escapes the custody of her cross-dressing Uncle George and sets out to explore Paris on her own-all while her mother is off spending time with a lover. Story set and shot on location in Paris. 8 x 10 inches. Near Fine with very light toning. Criterion Collection 570. Nouvelles Editions de Films [NEF] unknown books
1970réf. 134464Culver City CA: Columbia Pictures 1970. Draft British script for the 1971 UK film. Working copy belonging to actress Billie Whitelaw SIGNED by Whitelaw on the front wrapper with her manuscript annotations throughout in pencil and red and blue ink. Included are four vintage black-and-white still photographs from the film. Director Stephen Frear's debut feature film and the first film to feature an original musical score by Andrew Lloyd Weber. A whodunit verging on spoof Albert Finney plays a standup comedian and aspiring private detective. When he advertises his detective services in the local newspaper he may actually have to solve a real mystery. Set in Liverpool and London and shot there on location. Tall orange studio wrappers with a die-cut title window in the British style. Title page present dated 1st October 1970 with credits for screenwriter Neville Smith. 123 leaves mimeograph duplication. Pages Very Good wrapper Good bound internally with three silver brads. Grant US. Indicator 37. Columbia Pictures unknown books
1955réf. 134037Culver City CA: RKO Radio Pictures 1955. Vintage black-and-white still photograph from the 1956 film. Notations in manuscript pencil and an RKO rubber stamp UK on the verso. Presumably the film was released in the United Kingdom in late 1956. Margaret O'Brien plays the owner of a racing filly named Glory with Walter Brennan as the horse's trainer. Despite the fact that the horse seems to be a dud Margaret insists upon entering Glory in race after race including the Kentucky Derby. Shot on location in Kentucky. 8 x 10 inches. Very Good corners hole-punched toning a few tiny creases and the still series number obscured on the front. RKO Radio Pictures unknown books
1973réf. 133026London: Amicus Productions 1973. Eight vintage black-and-white still photographs from the 1973 UK film based on the novel "Fengriffen" by David Case. The ghost and severed hand of a 18th century servant terrorizes the descendant of the nobleman who maimed him along with the descendant's new wife. A darker and more serious film than the typical Amicus horror films of the era. A story shot on location in the UK. 8 x 10 inches. Photos slightly wavy Near Fine. Amicus Productions unknown books
1961réf. 129837Los Angeles: Paul Kohner Inc 1961. Draft script for an unproduced film titled "Penelope" written for screen by Thornton O'Reilly. With a label from the Paul Kohner talent agency Hollywood CA and associate Ilse Lahn's name in manuscript ink on the front wrapper Lahn also credited on the title page. A story set in ancient Greece at the palace of Odysseus involving Penelope daughter of Icarius of Sparta wife of Odysseus mother of Telemachus Telemach Telemachus Antinous Parakles and other Greek personalities. Homer's "Odyssey" tells the story of how during her husband's long absence after the Trojan War many chieftains of Ithaca and nearby islands became Penelope's lovers. Light blue titled wrappers with credit for screenwriter O'Reilly. Title page present with credit for screenwriter O'Reilly. 60 leaves mimeograph on onionskin stock with the last leaf of text numbered 58. Pages Near Fine wrapper Near Fine bound with two gold brads. Paul Kohner Inc unknown books
1958réf. 134797Beverly Hills CA: United Artists 1958. Original lobby card for the Quebecois release of the 1958 film "Anna Lucasta" a remake of the 1949 film directed by Irving Rapper adapted from screenwriter Yordan's 1936 play. Lobby card number three in the set with the Quebec Censorship board's approval seal to the top right corner. An early Eartha Kitt film with a predominantly black cast in which Kitt plays a prostitute estranged from her family who reconciles with her father through marriage to a "respectable" college graduate. 14 x 11 inches. Very Good plus condition with cello tape to each corner. United Artists unknown books
1952réf. 133067Culver City CA: RKO Radio Pictures 1952. Original Pressbook for the 1952 film released on a double-bill with "The Secret Sharer" and collectively given a new title "Face to Face." This pressbook was produced prior to release and only advertises for 1 film. Based on the story of the same name Stephen Crane and written for the screen by James Agee. A two-part film released as "Face to Face" in 1952 with the second half of the film based on Crane's story "The Bride Comes to Yellow Sky" and the first half based on a Joseph Conrad story "The Secret Sharer" starring James Mason and Gene Lockhart. Equal parts nautical drama and hilarious western unique during its time with no apparent connection between the two segments. 4 pages folded 11 x 17 inches. Very Good plus with a horizontal fold at the middle a corner crease and light soil. RKO Radio Pictures unknown books
1976réf. 133392Los Angeles: American International Pictures AIP 1976. Original one sheet poster for the 1976 Blaxploitation film "The Monkey Hustle." A classic entry in the action comedy subset of Blaxploitation films in which a neighborhood must band together in order to prevent the city from demolishing their homes to build a highway. Set in Chicago and shot there on location. Largely low-budget and geared towards a young urban audience Blaxploitation films often depicted African Americans overcoming hostile authorities through cunning and violence as well as conflicts internal to the culture. Though some of the first mainstream films to feature predominantly black casts and introduce previously non-represented elements of black culture including the notable use of funk and soul music in soundtracks they were also panned for furthering stereotypes about black people. Despite the controversy that the genre instilled its motifs remain culturally relevant to this day often parodied acknowledged and imitated in modern films and music. 27 x 41 inches folded. Near Fine. Parish and Hill 149. Howard Blaxploitation Cinema p. 43-44 174-175. American International Pictures [AIP] unknown books
1960réf. 134754Hollywood: Andrews-Vagemann Productions 1960. Two treatment scripts for an unproduced television series "The Brutes." Written by Jerome B. Thomas occasional writer for shows like "The Outer Limits" and the 1965 "Branded." This listing contains two scripts "HERE COME THE BRUTES" and "THE BRUTES: THE IDOLS I HAVE LOVED SO LONG." "HERE COME THE BRUTES" introduces the principle characters two whimsical womanizing electrical linemen traveling the country during the Great Depression and "THE IDOLS I HAVE LOVED SO LONG" is written about the linemen crew's confrontation with and attraction towards a fiery woman preacher. HERE COME THE BRUTES: Lacking wrappers. Title page present with credits for screenwriter Thomas. 21 leaves with last leaf of text unnumbered. Original typescript. Pages about Fine bound with two gold brads. THE BRUTES: THE IDOLS I HAVE LOVED SO LONG: Lacking wrappers. Title page present with credits for screenwriter Thomas. 45 leaves with last page of text numbered 43. Original typescript. Pages Near Fine unbound sheets. Andrews-Vagemann Productions unknown books
1961réf. 134942Hollywood: Paramount Pictures 1961. Final White script for the 1962 film "Escape from Zahrain" here under the film's working title "Zahrain" with ESCAPE FROM in manuscript ink just above it. Notations in manuscript ink and pencil on the front wrapper recto and verso though the associations are unknown. Based on Michael Barrett's 1960 novel "Appointment in Zahrain." A wanted revolutionary Brynner and his gang including a protege played by Sal Mineo travel through the desert in an attempt to elude the Arab security forces. A story set in the Middle East shot on location in the Mojave Desert in California. Self wrappers noted as FINAL WHITE SCRIPT on the front wrapper rubber-stamped copy No. 122 and production No. 11541 dated June 6 1961 with credits for producer-director Neame and screenwriter Estridge. Title page integral with front wrapper. 111 leaves with last page of text numbered 111. Mimeograph duplication dated variously 6/5/61 and 6/6/61. Near Fine overall bound with two silver brads. Paramount Pictures unknown books
1952réf. 135028Beverly Hills CA: United Artists 1952. Vintage US program for the 1952 film. Autobiographically reflective of Chaplin's fears of being left behind in the fading vaudeville and silent film era "Limelight" depicts the final years of a washed up stage clown who briefly maintains an impossible relationship with a young dancer representative of a new generation of performers. The first and only time that Charlie Chaplin and fellow silent film star Buster Keaton would appear onscreen together "Limelight" is also notable for being the only Chaplin picture to win an Academy Award albeit for the original score of the 1972 re-release. 9 x 12 inches 16 pages saddle stapled two-color wrappers. Very Good plus with light rubbing at the extremities. Criterion Collectiopn 756. United Artists unknown books
1962réf. 131830London: Albatross 1962. Shooting script for the 1962 film. Date notation of "12 Sept 1982" in manuscript pencil on the front wrapper label. Hal Erickson at AllMovie: "The Fur Collar" is the principal clue in a mystery involving an espionage ring. Reporter John Bentley assigned to the Paris beat does his best to route out the spies. When his enemies try to assassinate him Bentley pretends to be dead the better to work undercover. Martin Benson co-stars as Inspector Legrain Bentley's friendly enemy. Burgundy titled wrappers noted as Shooting Script on the front wrapper. Title page present noted as Shooting Script in master scenes. 116 leaves carbon typescript. Pages Near Fine wrapper Very Good plus internal prong binding. Albatross unknown books
1931réf. 135170Los Angeles: Fox Film Corporation 1931. Post-production Screen Continuity script for the 1931 film. Based on the 1908 play "Father and the Boys" by George Ade. A comedy of errors in which a wealthy meatpacking company owner in Chicago has two sons both who treat their father's company as a means to their own extravagant ends. When he turns the tables evading his work responsibilities and traveling around with a French singer they fear that the singer is out to blackmail him. Pale blue studio wrappers dated April 27 1931 noting footage of 7000 feet. Mimeograph duplication. Very Good plus condition. Fox Film Corporation unknown books
