4,062 results
1939ref. 152589Culver City CA: RKO Radio Pictures 1939. Estimating script for the 1939 film. In his 1970 biography of Nathanael West Jay Martin notes: "On June 6 1938 West was hired for his 'established' salary of $350 a week by RKO Pictures-the first of five major studios to employ him-to make a screenplay from an original story by Richard Carroll. Putting everything else aside within a week he outlined his plans for treating the material. He fretted all weekend over whether the outline would be accepted knowing that he could be out of a job again on Monday. On late Monday afternoon he was persuaded to telephone the executive producer Lee Marcus who told him to go ahead at once to the screenplay. On July 20 West finished a first draft for what would be one of his most successful films. After eight weeks in all having polished his script West was released by RKO. At this point it appeared that West had a good chance to earn a single credit for this high budget B-quality movie but the studio called in a hack writer Jerry Cady to polish West's script. After Cady's work on it proved unsatisfactory Dalton Trumbo came in to do a revision before the film went into production. Trumbo eliminated most of the revisions made by Cady restored some of West's material and made still other alterations. By this time West had returned to New York and although his secretary demanded that he ask the guild to arbitrate the credits he appeared indifferent and nearly missed getting any screen credit at all." An aerial melodrama about nine passengers on a commercial flight from Los Angeles to Panama City who crash-land in the Amazon rainforest. The production helped launch the career of a then-unknown Lucille Ball and paved the way for later disaster epics of the 1970s as well as the popular television sitcom "Gilligan's Island." Set in Los Angeles and the Amazon rainforest. Green titled wrappers stamped ESTIMATING DRAFT on the front wrapper dated March 15 1939 with credits for screenwriters Jerry Cady and Dalton Trumbo. Title page integral with the first page of text. 133 leaves with last page of text numbered 133. Carbon typescript on yellow onionskin stock. Pages and wrapper Near Fine bound with three gold brads. RKO Radio Pictures unknown
1959ref. 139477Paris: Les Films du Carrosse 1959. Original French Grande poster for the 1959 film. Poster design by Boris Grinsson. Truffaut's auspicious debut winner of Best Director at Cannes nominated for the Palme d'Or and also nominated for a Best Original Screenplay Oscar the following year. 47 x 62 inches. Linen backed and rolled. Bright and Fine. Capitaine 207. Warren Vol. 1 p. 159. Les Films du Carrosse unknown
1957ref. 151146London: J. Arthur Rank 1957. Third Draft script for an unproduced film. Copy belonging to novelist and screenwriter John Masters with his name in manuscript pencil on the front wrapper his manuscript pencil annotations to virtually every page and two handwritten pages stapled to the verso of the front wrapper noting concerns about the script and deletions. Based on Masters' 1952 novel about a British officer who goes undercover to infiltrate a thuggee cult ritually murdering travelers in colonial India. Masters who served in the Indian Army from 1933 to 1949 was best known for his historical fiction set in India most notably his 1954 novel "Bhowani Junction" which was adapted for film by director George Cukor in 1956. Modern scholars have acknowledged Masters' influence on British historical fiction and in later works his relative sympathy towards Indian nationalists while simultaneously criticizing his revisionist occasionally imperialist tone. Masters also released three successful autobiographical volumes "Bugles and a Tiger" 1956 "Road Past Mandalay" 1961 and "Pilgrim Son" 1971. Beige titled wrappers noted as Draft Script on the front wrapper dated 26-3-57 with a typed label affixed to the front wrapper dated 26.3.57 crediting novelist and screenwriter John Masters and screenwriter Anthony Perry and noting Masters' annotations throughout. Title page present noted as DRAFT THREE with credits for novelist and screenwriter John Masters. 114 leaves with last page of text numbered 112. Mimeograph duplication rectos only. Pages Near Fine wrapper Very Good plus bound internally with a silver prong. J. Arthur Rank unknown
1969ref. 144659New York: Jerome Hellman Productions 1969. Draft script for the 1969 film. Copy belonging to the film's still photographer Ron Munkasci with his name in red manuscript ink at the top right corner of the title page. Based on the 1965 novel by James Leo Herlihy about an unlikely friendship between a would-be gigolo and an ailing con artist. Cornerstone film of the New Hollywood cinema nominated for seven Academy Awards winning Best Adapted Screenplay Best Director and Best Picture. Set in New York City shot on location in Miami Manhattan and Big Spring Texas. Dark blue titled wrappers noted as DRAFT SCREENPLAY at the bottom right and with the logo for JEROME HELLMAN PRODUCTIONS at bottom center. Title page present with credits for screenwriter Waldo Salt novelist James Leo Herlihy producer Jerome Hellman and director John Schlesinger noted as "A JEROME HELLMAN-JOHN SCHLESINGER PRODUCTION." 122 leaves with last page of text numbered 121. Mimeograph duplication rectos only. Pages Near Fine with some offsetting to the title page due to a newspaper clipping still present laid in wrapper Very Good plus. National Film Registry. Jerome Hellman Productions unknown
1964ref. 147167Los Angeles: Villa di Stefano Productions 1964. First Draft script for the 1964 television film originally aired on CBS. With actor Martin Landau's copied annotations throughout. Included are a set of synopses for proposed episodes a shooting schedule a distributor's announcement booklet and various other documents related to production. Also included is an original celluloid print of the film on a single reel in its original mailing case with cloth straps dated 2/18/65 addressed from director Joseph Stefano to Landau on the mailing label in manuscript black ink and INSCRIBED by Stefano to Landau at the top left corner of the case in the same ink: "To Martin / Whose splendid brilliance and warmth put the special spark in this bright fire / Your grateful and admiring friend / Joe Stefano." Fearful of being buried alive a woman installs a phone in the crypt in which she plans to be in case of emergencies. Months after her death the phone begins to ring presenting a new ghostly case for Landau's paranormal investigator. The film was intended to be the pilot for a new paranormal thriller series tentatively titled "The Haunted" as titled on the front wrapper but the series wasn't picked up and the pilot was released as a television movie after additional footage was shot. Black titled wrappers with credits for director-screenwriter Joseph Stefano noted as PILOT SCRIPT ONE. Title page present dated July 27 1964 noted as PILOT SCRIPT ONE with credits for director-screenwriter Joseph Stefano. 77 leaves with last page of text numbered 76. Early Xerox rectos only. Pages Near Fine wrapper Near Fine bound internally with three silver brads. Film reel and film stock are unexamined. Villa di Stefano Productions unknown
1966ref. 160717Burbank CA: Warner Brothers / Jalem Productions 1966. Draft script for the 1967 film. Specially bound copy belonging to producer Gordon Carroll bound in full blue leather with Carroll's name in gilt on the bottom right corner of the front board. Based on the 1965 novel by Donn Pearce who co-wrote the screenplay about the experiences of a hard-nosed Vietnam veteran after he is sentenced to two years on a chain gang in a prison camp. Winner of a Best Supporting Actor Oscar for George Kennedy and nominated for three others including Best Adapted Screenplay. Set in Florida. Title page present dated 9/29/66 with credits for screenwriters Frank R. Pierson and Hal Dresner and novelist Donn Pearce. 152 leaves with last page of text numbered 143A. Mimeograph duplication on eye-rest green stock rectos only with blue revision pages throughout dated variously between 10/23/66 and 2/9/67. Pages Near Fine. National Film Registry. Ebert III. Warner Brothers / Jalem Productions unknown
1966ref. 141453Tokyo: Toho Company 1966. Draft script for the 1966 film. Text in Japanese. A pornographer is keeping a low profile to keep out of the way of the mob while also is trying to keep the various people in his life happy including his stepdaughter stepson mistress and wife who believes her first husband was reincarnated as a carp. White titled perfect-bound wrappers. Title page present. 178 leaves with last page of text numbered 27. Mechanical duplication. Pages Near Fine wrapper Near Fine. Criterion Collection 207. Toho Company unknown
ref. 171865Los Angeles: Antler Productions 1987. Shooting Script for the 1987 hybrid VHS board game copy belonging to screenwriter Stephen Sustarsic with manuscript pencil and ink annotations of his name and an address on the title page. An internally duplicated copy with the majority of pages with copied punch holes with occasional manuscript pencil annotations checking characters or scenes. A unique and important example of video game construction from the heart of its era one that pulled Sherlockiana into its concept. Deluxe 304-page script housed in a large generic pink three-ring binder with ten-page dividers nine labeled for each of the game's ten mysteries. Each mystery includes a title page noting screenwriters and draft date a one or two page Short Rundown and a cast page followed by the segment's script. Three "Promo" segments are interspersed throughout the script to assist and instruct players through gameplay. Bound in following the script is a six-page Staff List two copies of a 15-page Shooting Schedule dated 8/3/87 and a 15-page Shooting Schedule dated 8/7/87. Laid in the binder's pockets are two copies of a four-page Shooting Schedule dated 8/9/87 and a copy of directions to "The Complex" in West Los Angeles. "221B Baker Street" was a popular board game developed by Jay Moriarty and produced by Antler Productions in 1975 in which players solve up to 75 mysteries with Sherlock Holmes and his associate Dr. Watson by using clues provided by visiting locations on the game board and using Scotland Yard Badges and Skeleton Keys cards to control opponents' access to locations. In 1987 on the centennial anniversary of Arthur Conan Doyle's first published Sherlock story Moriarty and Antler released two new adaptations of the board game: a video game produced by Datasoft and a VCR board game the latter featuring ten new mysteries and a videocassette of dramatized briefings and reenactments-represented by the script on offer here. VCR board games were a short-lived fad in the mid-to-late-1980s in which board games would include a VHS tape to be played at certain points in the game to act as a timer reveal clues or advance a plot. The concept was an attempt by the game developers to remain relevant by incorporating the latest technological innovations prior to the ascension of modern video game consoles. Screenwriter and producer Sustarsic is best known as an Emmy Award winning screenwriter for the 1988-1991 animated Disney series "The New Adventures of Winnie the Pooh" the 2004 Independent Comedy Horror film "Lucky" and the 2017 animated Disney XD series "Xiaolin Chronicles - Special Edition." Other screenwriting credits from Sustarsic's 35 year career in television and film include episodes for "The Jeffersons" 1981 "One Day at a Time" 1982 "Alice" 1985 "Newhart" 1989 "Alf" 1990 and "Dilbert" 2000 among many others. Front wrapper integral with first uncredited title page dated 1987 noted as SHOOTING SCRIPT. Second title page dated 1987 with credits for screenwriters Mark Chambers Jay Moriarty and Stephen Sustarsic. 304 leaves with last page of text numbered 13. Xerographic duplication rectos only. Pages Near Fine overall with first title page separated housed in a Near Fine generic pink three-ring binder. Staff List and Shooting Schedules saddle-stapled with a single staple to the top left corner. Near Fine. Antler Productions unknown
ref. 171961Universal City: Medway Productions 1981. Draft script for the 1981 film. Dated June 3 1979 a full two years prior to its release. A well-loved homage to the serialized Saturday matinee films of the 1930s and 1940s "Raiders" is the first entry in the lauded Spielberg/Lucas high-adventure trilogy starring Harrison Ford as roguish archaeology professor Indiana Jones. Still one of the highest grossing films of all time. Winner of five Academy Awards and nominated for four others including Best Picture. Set in Peru Egypt Nepal and Washington DC shot on location in England France Tunisia California and Hawaii. Self wrappers. Title page present undated with credits for George Lucas and Lawrence Kasdan. 103 leaves with last page of text numbered 102. Xerographic duplication rectos only. Pages Near Fine bound with two gold brads. National Registry. Ebert II. Medway Productions unknown
1969ref. 137209Burbank CA: American Broadcasting Company ABC 1969. Collection of 217 individually numbered contact sheets amounting to 2650 images from the 1969 film. Housed in two original three-ring binders from the film's publicity department. The occasional frame is circled or crossed through in red marker. A robust collection that documents nearly every facet of the film's production including numerous candid images of the cast and crew at work. Woody Allen's first film as a director one of the great American comedies the film that set the template for Allen's 1970s work. A massive archive documenting the birth of an utterly new and unique voice in cinema one that would become something even bigger in 1979. Set and shot in San Francisco and inside the walls of San Quentin State Prison. Sheets 8 x 10 inches most in three-hole mylar sleeves some with holes punched directly in left margin others laid in. Very Good overall few frames excised general modest edgewear. Binders with signs of use as expected one spine label missing other partially lacking but with titles intact. American Broadcasting Company [ABC] unknown
ref. 168810N.p.: Silverworld Films 1980. Large archive including two heavily annotated Revised Draft scripts one lined 30 pages of storyboards a large blueprint of the military compound in the film story two maps a "The Dogs of War / New York" folder of location facts and contacts a 30-page shooting schedule and over 200 pages of daily revised shooting schedules call sheets and various memos from the 1980 film. Detail as follows: A heavily annotated Revised Draft script dated November 5 1979 with manuscript pencil ink marker and orange highlighter annotations on nearly every page. A heavily annotated Lined Revised Draft script dated February 12 1980 with manuscript ink and marker annotations on nearly every page. 30 matte-finish prints of storyboards most containing eight storyboards per page. A large blueprint of the military compound with several pencil and ink annotations. Two matte-finish prints of maps one of the final battle garrison and one of the Belize airstrip with annotations in blue ink. A folder with the label "The Dogs of War / New York" on the front wrapper containing a three page Memo six pages of New York shooting schedules 14 location fact sheets and a two-page location contact List. A 30 page Shooting Schedule and over 200 pages of daily Revised Shooting Schedules call sheets and memos many with manuscript ink annotations. Based on Frederick Forsyth's 1974 novel about a ruthless mercenary who after being tortured and deported is hired to lead a group of soldiers in a coup against a small African dictatorship so a British tycoon can plunder the nation's platinum resources. Set in the fictional African country of Zangaro shot on location in Belize City London Miami and New York. November 5 1979 Revised script: Black untitled wrappers with a die-cut window in the British fashion. Title page present dated November 5 1979 noted as Revised with credits for screenwriter Gary M. Devore and author Frederick Forsythe. 117 leaves with last page of text numbered 115. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with two silver brads. February 12 1980 Draft script: Black titled Studio Duplicating Service wrappers. Title page present dated February 12 1980 noted as Revised with credits for screenwriter Gary M. Devore and author Frederick Forsythe. 124 leaves with last page of text numbered 122. Xerographic duplication on blue leaves rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Storyboards and Maps: 8 x 10 inches. Near Fine. Blueprint: 48.5 x 25.25 inches folded. Very Good plus with light toning light edgewear pinholes tape shadows and cello tape at the extremities. "New York" Folder: Generic green folder 9 x 11.5 inches. Near Fine. Shooting Schedules Call Sheets and Memos: 8.5 x 11 inches 8 x 13 inches and 8.5 x 14 inches. Very Good plus overall with wear commiserate with production use. Silverworld Films unknown
1930ref. 166622Paris: Studio 28 1930. Vintage review-program for Luis Buñuel's 1930 surrealist masterpiece created for the film's public premiere at Studio 28 cinema in Montmartre. Program in two parts bound dos-a-dos. Text in French. The first section of the review-program is dedicated to "L'Age d'or" presenting the film's scenario alongside subtitles and dialogue accompanied by a manifesto on surrealism and a catalog of 20 works by Max Ernst Salvador Dalí Man Ray and others which were exhibited alongside the film's screenings at Studio 28. The second part of the program is an overview of film programs at Studio 28 with stills from films by Epstein Ivens Melies and others. The violence of the uproar "L'Age d'Or" created remains almost as shocking as the film itself: days into the first screenings at Studio 28 on December 3 1930 the theatre was stormed by fascist youths enraged at the film's perceived anti-patriotic and anti-Christian message. Demonstrators threw ink at the screen shouted antisemitic death threats smashed the theatre windows and completely destroyed the exhibition of surrealist books and artwork in the foyer. In response the Board of Censors re-reviewed the film and on December 10 the film was banned from further public showings in France. The film's producers subsequently withdrew "L'Age d'or" from commercial distribution and public exhibition for more than 40 years although three years later in 1933 the film was privately exhibited at the Museum of Modern Art in New York. Page edges faintly foxed else about Near Fine in perfect-bound gold wrappers with a single annotation in manuscript ink censoring a line relating to one of the film's characters and Jesus Christ. Lacking the errata slip. Studio 28 unknown
ref. 172189N.p.: Interstar 1979. Substantial archive of material belonging to actress Samantha Eggar relating to the 1980 crime-exploitation film. Included are Eggar's annotated working script with blue and pink revisions signed in round-robin fashion on the title page by actor Christopher George director James Glickenhaus producer Mark Buntzman and others. Archive also includes six pages of contact information regarding crew members and 36 black-and-white reference photographs from the film most featuring Eggar with various cast and crew members on the set. A Vietnam veteran turns to vigilante justice after his close friend is beaten and left paralyzed by a street gang and his employer is threatened by the Mafia. Shot on location in New York City and at the Indian Dunes in Valencia California. A cult classic of the highest order bridging aspects of both 1970s and 1980s exploitation. Script: Red titled Studio Duplicating Service wrappers with credit for screenwriter James Glickenhaus on the front wrapper. Title page present dated 8/9/79 noted as copy No. 64 with credit for Glickenhaus. 175 leaves with last page of text numbered 170. Xerographic duplication rectos only with blue and pink revision pages throughout dated variously between 8/24/79 and 9/5/79. Pages Near Fine wrapper Very Good or better bound with two gold brads. Photographs: 10 x 8 inches. Generally Near Fine some with light toning to the margins. Housed in a white cardboard Ilford photograph box. Arrow Films. Interstar unknown
ref. 155115Hollywood: Occult Productions 1973. Draft script for the 1973 film. Working production copy housed in a black leather binder with production materials bound in before and after the script including handwritten cast and crew contact information and call sheets. A young woman joins a black magic coven governed by a psychic witch queen with dubious and eventually murderous intentions. Considered one of the best and arguably most polished releases from noted psychotronic Z-budget horror director Ted V. Mikels heavily inspired by "Rosemary's Baby" 1968 and the occult concerns of the Age of Aquarius. Pink titled wrappers. Title page present undated with credits for director-screenwriter Ted V. Mikels. 67 leaves with last page of text numbered 64. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine. Nightmare USA. Occult Productions unknown
ref. 150822Culver City CA: Culver City Studios 1973. Third Revision Draft script for the 1973 film with the name "Jim Woods" in manuscript ink on top right of front wrapper and page two of screenplay likely uncredited Set Painter James T. Woods with copy numbers "76" on top left of front wrapper and "13" on top right of title page in manuscript marker and on back wrapper are numeric entries in manuscript ink. Following script is a one page "APPENDIX A -- TV PLATE -- LUNA'S PARTY" featuring dialogue between a mother and child regarding a holiday party. Woody Allen is a health food store owner who is cryogenically frozen in 1973 only to be revived 200 years later to help lead a rebellion against an inept totalitarian government. Winner of a Hugo Award for Best Dramatic Presentation. Shot on location in Colorado and California. Beige titled wrappers. Title page present dated March 1 1973 noted as REVISION #3 with credits for screenwriters Woody Allen and Marshall Brickman. 131 leaves with last page of text numbered 129. Mimeograph duplication rectos only with yellow and blue revision pages throughout. Pages Very Good plus with silverfish damage to outer edge of last 15 pages wrapper Very Good plus with silverfish damage to outer edge of back wrapper bound with two gold brads. Culver City Studios unknown
ref. 149056New York: Greenwich Film Productions 1985. Draft script for the 1985 film. With manuscript pencil annotations throughout. Text titles and annotations in Japanese. Based on Shakespeare's play "King Lear." An elderly warlord in medieval Japan divides his vast empire among his three sons. The power corrupts them and turns them on each other as well as their father. Nominated for four Academy Awards including Best Director for Kurosawa winning one. Set in medieval Japan shot on location in Kumamoto Shizuoka Himeji Oita Aichi Yamagata and Tokyo Japan. Bright blue titled wrappers. Title page present. 96 leaves with last page of text numbered 176. Xerographic duplication printed on rectos and versos. Pages Very Good plus wrapper Very Good plus with a lightly faded spine perfectly bound. Greenwich Film Productions unknown
1966ref. 140604Los Angeles: Expanding Cinema 1966. Shooting final for the 1966 film. Copy belonging to actor Peter Haskell with his manuscript annotations throughout and his shooting schedule laid in. Mary Ellen Bute's final film and the first cinematic adaptation of James Joyce's masterfully complex work of fiction. Shot over a two year period Bute was tasked with transforming Joyce's impenetrable prose without losing any of the work's surreal lyrical essence. The subsequent film maintains the original novel's oneiric style. Bute and her husband Ted Nemeth were longtime collaborators and Nemeth worked as both cinematographer and producer of the film. In 1965 it was honored at the Cannes Film Festival as Best Debut and remains Bute's sole feature length film. Shot on location in New York City and Dublin. Brown untitled wrappers. Title page present dated March 4 1963 and December 3 1962 noted as Shooting Final with credits for screenwriters Mary Ellen Bute Romana Javitz and T. J. Nemeth Jr and editor A.I.M.S. Street. 148 leaves with last page of text numbered 139. Mimeograph duplication with onionskin revision pages throughout. Pages Very Good plus wrapper Very Good plus. Some pages detaching and wrapper slightly cracked. Bound internally with prong binding. Expanding Cinema unknown
1966ref. 152454Los Angeles: The Mirisch Corporation 1966. Revised First Draft script for the 1967 film. Laid in is a Call Sheet from the production dated Tuesday November 29 1966. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small bigoted Mississippi town. Winner of five Academy Awards including Best Picture and Best Actor for Rod Steiger nominated for two others. After the success of the film version the characters were developed further for a police procedural television series in 1988 developed by James Lee Barrett and starring Carroll O'Connor and Howard Rollins which aired on NBC then CBS from 1988 to 1995. Set in the fictional town of Sparta Mississippi and shot largely on location in Illinois. Poitier insisted the movie be filmed in the North because of a 1964 incident in Mississippi in which he and Harry Belafonte had been run off the road and almost killed by Klansmen while in the state to support the SNCC Student Non-Violent Coordinating Committee. Goldenrod titled wrappers noted as REVISED FIRST DRAFT on the front wrapper rubber-stamped copy No. 84 dated July 1 1966. Title page present dated July 1 1966 noted as REVISED FIRST DRAFT with credits for screenwriter Stirliing Silliphant. 134 leaves with last page of text numbered 140. Mimeograph duplication rectos only with blue pink and white revision pages throughout dated variously between 7/27/66 and 8/10/66. Pages with damp stain on top right of last several pages else Near Fine wrapper Very Good plus bound with two gold brads. Call Sheet 8.5 x 14 inches folded horizontally. Near Fine National Film Registry. Criterion Collection 959. Penzler 101 Greatest Films of Mystery and Suspense. The Mirisch Corporation unknown
1957ref. 1717261957. Draft script for the 1957 Japanese film. Text and titles in Japanese. Akira Kurosawa's visceral ghostly adaptation of Shakespeare's "Macbeth" transposed to feudal Japan with elements drawn from Noh theatre. Shot on location in Shizuoka Tokyo and on Mount Fuji Japan. Brown titled wrappers. Approximately 57 leaves. Mimeograph duplication printed on rectos and versos. Pages Very Good wrapper Good perfect-bound with moderate toning throughout wrappers foxed and small chips and creases to page edges. BFI 2017. Criterion Collection 190. unknown
1957ref. 172280N.p.: N.p. 1957. Final script for the 1957 film. Specially bound copy belonging to actress Jacqueline Evans who played the uncredited role of Mrs. Braddock with her annotations in manuscript pencil underlining dialogue on several leaves. SIGNED in round-robin fashion by numerous cast and crew members on the first seven leaves some with inscriptions. Signatures include director Henry King and actors Ava Gardner Mel Ferrer Tyrone Power and Errol Flynn humorously signing as "E. Hemingway" among others. Full provenance available. The first screen adaptation of the 1926 novel by Ernest Hemingway. One of the most honest film adaptations of its era attributable mainly to the screenplay by novelist and Hemingway acolyte Peter Viertel. Featuring a standout performance by Errol Flynn as the hedonistic hard-drinking burned-out Mike Campbell. in other words as himself. Shot on location in Pamplona Paris Biarritz and Mexico. Title page present noted as Final Script dated February 20 1957. 147 leaves with last page of text numbered 142. Mimeograph duplication on eye-rest green stock rectos only with blue revision pages throughout dated variously between March 11 and 14 1957. Pages Near Fine binding Very Good plus specially bound in textured brown cloth with an orange ribbon bookmark. N.p. unknown
1962ref. 171100Stockholm: Svensk Filmindustri SF 1962. Draft script for the 1963 Swedish film. Copy belonging to actor Bertha Sånnell with her name in manuscript ink on a label affixed to the front wrapper her annotations in manuscript ink and pencil on two script pages and on a sheet of lined paper bound in at the rear of the script. The second entry in Ingmar Bergman's legendary and highly personal "Faith" trilogy a series of films that launched an important phase in the director's career. A quiet relentless meditation on the nature of faith imperfection and beauty. Red untitled wrappers. Title page present undated with credit for Bergman. 135 leaves with last page of text numbered 133. Mimeograph duplication rectos only. Pages Very Good plus wrapper Good perfect-bound with the spine of the wrapper and the first two leaves detached from the text block. Criterion Collection 210. Ebert III. Svensk Filmindustri [SF] unknown
1934ref. 144598Culver City CA: RKO Radio Pictures 1934. Draft script for the 1935 film. In a custom quarter leather clamshell box. The second of two films based on Liam O'Flaherty's 1925 novel the first being Arthur Robison's 1929 British feature about a former Republic Army member during the Irish War of Independence who turns in one of his comrades to the British in order to use the bounty money to book passage to America for himself and his girlfriend who has been forced into prostitution. Winner of four Academy Awards including Best Adapted Screenplay Best Director and Best Actor for McLaglen nominated for two others including Best Picture. Screenwriter Dudley Nichols became the first person to decline an Academy Award when his refused his Oscar due to an ongoing dispute between the Screen Writers Guild and the Academy though he would eventually claim it three years later. Detached green wrappers noting the title screenwriter and director on the spine in manuscript ink. Title page integral with first page of text with credits for screenwriter Nichols and novelist O'Flaherty. 105 leaves with last page of text numbered 105. Mimeograph duplication. Pages Near Fine wrapper Very Good side-stapled. National Film Registry. RKO Radio Pictures unknown
1932ref. 169144N.p.: N.p. 1932. A small archive of five vintage French pamphlets flyers and broadsides announcing 1931 and 1932 screenings of the banned 1930 surrealist film. All items are housed loose in a custom bound volume with a "L'Affaire de L'Age d'Or" label on the spine with each item laid in on separate leaves overlaid with heavy protective tissue housed in a custom slipcase. Rare. The archive includes: "L'Affaire de 'L'Age d'Or'" bi-fold pamphlet printed on rectos and versos with a satin-finish photo illustrated insert also printed on the recto and verso published by Nancy Cunard on the occasion of her January 1931 private screening of the film in London. The bi-fold includes the essay "Exposé des Faits" "Statement of Facts" describing the film's initial riotous reception "Extraits du Programme" "Excerpts from the Program" a "Questionnaire" regarding political and legal actions taken in response to the film and an extensive "Extraits de la Presse" "Excerpts from the Press" followed the names of signatories Maxime Alexandre Aragon André Breton René Char René Crevel Salvador Dali Paul Eluard Georges Malkine Benjamin Péret Man Ray Georges Sadoul Yves Tanguy André Thirion Tristan Tzara Pierre Unik and Albert Valentin. Two satin-finish variants of a flyer printed on rectos only for a screening of the film on April 27 1932 by Les Spectateurs de l'Avant-Garde at La Bellevilloise a workers' cooperative theatre with each flyer featuring a different image from the film. A second screening was later added on April 30 not noted on the flyers. The screenings were decidedly low-key private events with Buñuel insisting "No protests." French director Jean Vigo was reportedly among the participants of the screenings. And two items relating to a screening presented by Le Club de L'Ecran at Cine-Casino in Belgium on May 10 1932: A 4 x 5.5 inch announcement for the screening printed on the recto only noting the film as being presented by P.G. van Hecke Paul-Gustave Van Hecke followed by seating and ticket prices purchase locations and Club de L'Ecran membership prices. A large newsprint broadside printed on the recto and the verso for Le Club de L'Ecran announcing the May 10th screening with articles on the recto regarding the film club's activities and an excerpt from the Surrealist manifesto published upon the film's premiere with the verso dedicated entirely to numerous texts and articles on "L'Age d'Or" featuring two images from the film and a portrait of Buñuel. A key and archetypal work of Surrealist cinema alongside "Un Chien Andalou" 1929 also written by Buñuel and Dali and directed by Buñuel featuring a series of absurdist vignettes scathingly and sardonically rebuking the sexual hypocrisy of bourgeois society the Catholic Church and 20th century European society in general. The violence the uproar "L'Age d'Or" created remains as shocking as the film itself: days into the first screenings at Studio 28 on December 3 1930 the theatre was stormed by fascist youths enraged at the film's perceived anti-patriotic and anti-Christian message. Demonstrators threw ink at the screen shouted anti-Semitic death threats smashed the theatre windows and completely destroyed an exhibition of surrealist books and art in the foyer. In response the Board of Censors re-reviewed the film and on December 10 the film was banned from further public showings in France. The film's producers subsequently withdrew "L'Age d'or" from commercial distribution and public exhibition for more than 40 years although three years later in 1933 the film was privately exhibited at the Museum of Modern Art in New York. "L'Affaire de 'L'Age d'Or':" Bi-fold 7.5 x 10.5 inches. About Near Fine with a Very Good plus 7.5 x 10 inch insert with both items previously folded horizontally. Two Les Spectateurs April 27 Flyers: 8.25 x 10.5 inches. One Near Fine. One Very Good plus with light creasing faint toning and a .25 inch closed tear to the top edge. Le Club de L'Ecran Announcement: 4 x 5.5 inches. Near Fine. Le Club de L'Ecran Broadside: 14.25 x 21.75 inches folded as issued. About Near Fine with an additional lightly toned horizontal fold. Housed in a 9.25 x 12 inch custom bound Near Fine volume with a 9.5 x 12.25 inch Near Fine slipcase. BFI. Rosenbaum 1000. Vogel Film as a Subversive Art. N.p. unknown
ref. 166560N.p.: N.p. 1972. Early Draft script for the 1974 film file copy belonging to director Sam Peckinpah. Dated July 8 1972 over a year before production commenced and notably featuring the original ending with Bennie getting away-in true Peckinpah fashion the director would later rewrite the ending to show Bennie dying in a shootout. With Peckinpah's brief annotations in manuscript ink on the title page and two leaves of the script. Warren Oates stars as Bennie a bartender who travels through the Mexican underworld accompanied by his sex worker girlfriend to collect the bounty on the head of a gigolo. The only Peckinpah film not re-cut by the studio. Shot on location in Mexico. Yellow titled wrappers. Title page present dated July 8 1972 with credits for Peckinpah and screenwriter Gordon Dawson. 128 leaves with last page of text numbered 126. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads. Ebert II. Nilsen Warped and Faded. Rosenbaum 1000. Twilight Time 497. N.p. unknown
1931ref. 151422Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1931. Draft script for the 1931 film with annotations in manuscript pencil primarily in later half of script largely regarding dialogue but also setting and shots. A largely fictionalized account of the life of Mata Hari exotic dancer and courtesan who was executed by France for espionage during World War I. A sensation in the US and Europe it was Greta Garbo's most commercially successful film. The pre-Code film was censored upon its reissue in 1936 which was the only version believed to exist until 2005 when an uncut French and Dutch subtitled version was screened at the Cinematheque Royale de Belgique in Brussels. Set in 1917 Paris shot on location in Agoura California. Tan titled wrappers with credits for screenwriters Benjamin Glazer and Leo Birinski and M-G-M label dated "Copied May 4 1931." Title page present with credits for screenwriters Benjamin Glazer and Leo Birinski. 172 leaves with last page of text numbered 169. Mimeograph duplication rectos only with six white revision pages dated June 5 1931. Pages Very Good plus with foxing and edgewear and stain to upper right of title page Wrapper Very Good with light soiling and chipping and closed tears to extremities and spine and upper right section cut from rear wrapper bound with two gold brads. Metro-Goldwyn-Mayer [MGM] unknown
