11,046 results
1968ref. 130703Los Angeles: Columbia Broadcasting System CBS 1968. Third Revised Final Draft script for the 1970 television movie. A marshal returns home to find his town has been nearly wiped out by Mexican bandits and with the help of a young Mexican boy and his mother seeks to hunt them down. Set in New Mexico territory shot on location in Utah. Rust colored titled wrappers noted as Third Revised Final Draft on the front wrapperdated September 24 1968 with credit for screenwriter Savage. 127 leaves mechanical duplication with blue white yellow pink and green revision pages throughout dated variously between 9-30-68 and 10-24-68. Pages Near Fine wrapper Near Fine bound with two gold brads. Reyes 131. Columbia Broadcasting System [CBS] unknown books
1944ref. 128914Universal City CA: Universal Pictures 1944. Draft script for the 1945 film. Copy belonging to studio secretary Marion Pecht with her name in manuscript pencil at the top right corner of the front wrapper. The sixth and final Inner Sanctum installment featuring spiritualists a haunted house and a murder by suffocation in what was seemingly a last gasp from the studio's film series. Sadly the film's failure superseded its potential even with all the right elements of a chilling melodrama. ChaneyJr. plays attorney Wayne Fletcher who is engaged in an affair with his secretary Donna Joyce who is tied to a rich family. He arrives home after a late night at the office to discover his wife has been murdered a death by asphyxiation with Wayne as the suspect. With the help psychic Julian Julian Bromberg the police investigate the murder. The psychic's motives are questionable but he says he can contact Wayne's dead wife. At a seance to reach Vivian's spirit the reluctant Wayne hears what he thinks is her voice but discovers Julian Julian in the shadows and accuses him of conspiracy. After several sleepless nights haunted by the voice of his lost wife Wayne finally "gives in" to her spirit and attempts to kill Donna with a pillow but is overpowered by police and leaps from a window to his death per his wife's instructions. Gray card titled wrappers lacking rear wrapper rubber-stamped production No. 7285 dated February 19 1945 with credits for screenwriter Bricker and story writer Babcock. 106 leaves mimeograph duplication. Pages Near Fine wrapper Good lacking rear wrapper bound with two gold brads. Weaver Universal Horrors. Universal Pictures unknown
1944ref. 128914Universal City CA: Universal Pictures 1944. Draft script for the 1945 film. Copy belonging to studio secretary Marion Pecht with her name in manuscript pencil at the top right corner of the front wrapper. The sixth and final Inner Sanctum installment featuring spiritualists a haunted house and a murder by suffocation in what was seemingly a last gasp from the studio's film series. Sadly the film's failure superseded its potential even with all the right elements of a chilling melodrama. ChaneyJr. plays attorney Wayne Fletcher who is engaged in an affair with his secretary Donna Joyce who is tied to a rich family. He arrives home after a late night at the office to discover his wife has been murdered a death by asphyxiation with Wayne as the suspect. With the help psychic Julian Julian Bromberg the police investigate the murder. The psychic's motives are questionable but he says he can contact Wayne's dead wife. At a seance to reach Vivian's spirit the reluctant Wayne hears what he thinks is her voice but discovers Julian Julian in the shadows and accuses him of conspiracy. After several sleepless nights haunted by the voice of his lost wife Wayne finally "gives in" to her spirit and attempts to kill Donna with a pillow but is overpowered by police and leaps from a window to his death per his wife's instructions. Gray card titled wrappers lacking rear wrapper rubber-stamped production No. 7285 dated February 19 1945 with credits for screenwriter Bricker and story writer Babcock. 106 leaves mimeograph duplication. Pages Near Fine wrapper Good lacking rear wrapper bound with two gold brads. Weaver Universal Horrors. Universal Pictures unknown books
1978ref. 161019Los Angeles: Twentieth Century-Fox 1978. Complete set of eight color studio still photographs for the 1978 film. Stamp of Consolidated Theatre Services of Canada on the versos. Director Walter Hill's existential neo-noir heavily influenced by Jean-Pierre Melville's "Le Samourai" 1967 with some of the finest car-chase sequences ever committed to celluloid. The film follows a skilled getaway driver whose elusive escapes torment a self-assured police detective driving the detective to the brink of obsession. 10 x 8 inches. Near Fine. Silver and Ward US Neo-Noir. Spicer US. Twilight Time 53. Twentieth Century-Fox unknown
1978ref. 161019Los Angeles: Twentieth Century-Fox 1978. Complete set of eight color studio still photographs for the 1978 film. Stamp of Consolidated Theatre Services of Canada on the versos. Director Walter Hill's existential neo-noir heavily influenced by Jean-Pierre Melville's "Le Samourai" 1967 with some of the finest car-chase sequences ever committed to celluloid. The film follows a skilled getaway driver whose elusive escapes torment a self-assured police detective driving the detective to the brink of obsession. 10 x 8 inches. Near Fine. Silver and Ward US Neo-Noir. Spicer US. Twilight Time 53. Twentieth Century-Fox unknown books
ref. 232448 September no year. On letterhead of 23 Bruton Street W.1. London. Maschwitz wrote the lyrics to 'A Nightingale Sang in Berkeley Square' and 'These Foolish Things' and was nominated for an oscar for co-writing the screenplay of 'Goodbye Mr Chips'. See his entry in the Oxford DNB. 2pp 12mo. Twenty-nine lines of text. In fair condition lightly aged. Folded once. Maschwitz begins by congratulating him 'on a really enthralling book! Loved every page of it!' With reference to Sir Herbert Beerbohm Tree he explains that the previous day he 'had a talk with old Dennis Grayson who with Mrs Corey Wright is one of Tree's executors. He told me that they had recently opened a dusty old Pall Mall Safe Deposit box containing masses of records etc of His Majesty's Theatre - the "complete works" from 1897 to 1917 and there was so much of interest among them'. Included is an item relating to Claude Rains: 'a call boy's note book with C. Rains written inside it in a boyish hand'. Grayson 'wondered whether you would be interested in doing a book on the Theatre. Of course it wouldn't make anything as grand as Drury Lane but certainly something grander than Daly's'. He makes a few suggestions about topics MP might wish to include in the book including the play 'Balalaika' with 'the cops coming for the backer on the opening night'. If MP is interested 'Grayson who lives up North and comes to town occasionally would be delighted to lunch you and tell you what he has. Let me know and I'll fix it'. MacQueen-Pope does not appear to have taken Grayson up on his offer unless the letter dates from before the 1947 publication of 'Carriages at Eleven'. 8 September [no year]. On letterhead of 23 Bruton Street, W.1. [London] unknown
ref. 34521939. French actor and dramatist 1885-1957. Dimensions roughly 7 inches by 9 inches. In good condition though somewhat grubby with 'SACHA GUITRY in 1939' in manuscript written in white ink on Guitry's collar. A striking head and shoulders portrait shot from below out of doors of Guitry staring intently ahead and to the left. He wears a white panama hat with black band a patterned tie dark shirt and grey jacket with specks. Gum marks from previous mounting around edges of reverse. See Images. 1939. unknown
ref. 020436Claude Autant-Lara (1901-2000), réalisateur, acteur, scénariste, homme politique. L.A.S. + enveloppe, 24 février 1971, 1p in-4. Amusante lettre à madame Canestrier : « Que vous dire, sinon que Paris, ville folle et ville de fous où j'exerce - dans un métier de fous ! - devient de jour en jour plus "invivable". Mais qu'y faire ? Ce monte est entrainé dans une ronde non moins folle. et absurde ? ». Il est ensuite question d'un autre film qu'il qualifie de folie et qui ne verra peut-être pas le jour, de Madeleine Gug qui travaille à « un film de fou », de son fils Le Diable au corps qui semble projeté sans autorisation d'Autant Lara, des séquelles de son accident de 1970 (il boite. Madeleine Gug, qui était avec lui, mourra des conséquences de cet accident). On joint la copie d'une lettre d'Autant-Lara à la même, du 10 septembre 1970, peu après l'accident et une photo de la tombe de la famille Autant-Lara après 1971 : Madeleine Gug est enterrée dans cette tombe. Jolie lettre. [492]
ref. 020437Claude Autant-Lara (1901-2000), réalisateur, acteur, scénariste, homme politique. L.A.S. + enveloppe, 2 décembre 1970, 2p in-4. Longue lettre donnant des nouvelles, notamment de sa jambe après son accident. Il boite encore et a des difficultés à travailler correctement. Sa santé est toujours bonne et « l'activité reprend peu à peu, dans un Paris de plus en plus affreux à habiter et à vivre, malodorant, bruyant, frénétique et compliqué. Je regrette le Midi. terriblement ». Belle lettre. [492]
ref. 12028In 12 broché, faux-titre, titre, 213 pages, 1 page de table. Gallimard le 3 août 1948. Mention fictive de 4ème édition, édition originale sur papier ordinaire dont il n’a pas été tiré de grand papier
1964ref. 170747N.p.: N.p. 1964. Vintage borderless reference photograph from the 1964 film showing Frank A. Coe as Frankenstein's monster holding a nude woman. Layout annotations in manuscript pencil on the verso. An alien lands on Earth in order to kidnap the perfect human woman to use to create a race of servants for his home world. He finds the answer in the laboratory of mad scientist Dr. Breedlove. Originally titled "Dr. Breedlove or How I Learned to Stop Worrying and Love" then retitled "Kiss Me Quick" in order to exploit Billy Wilder's "Kiss Me Stupid." 8 x 10 inches. Very Good plus. N.p. unknown
1964ref. 170747N.p.: N.p. 1964. Vintage borderless reference photograph from the 1964 film showing Frank A. Coe as Frankenstein's monster holding a nude woman. Layout annotations in manuscript pencil on the verso. An alien lands on Earth in order to kidnap the perfect human woman to use to create a race of servants for his home world. He finds the answer in the laboratory of mad scientist Dr. Breedlove. Originally titled "Dr. Breedlove or How I Learned to Stop Worrying and Love" then retitled "Kiss Me Quick" in order to exploit Billy Wilder's "Kiss Me Stupid." 8 x 10 inches. Very Good plus. N.p. unknown books
1968ref. 161669N.p.: Boxoffice International 1968. Three vintage studio still photographs from the 1968 sexploitation film. All three photographs with provenance stamps on the versos. A fanciful account of the Marquis de Sade and the women who are irresistibly drawn to him. 8 x 10 inches. Very Good plus. Boxoffice International unknown
1968ref. 161669N.p.: Boxoffice International 1968. Three vintage studio still photographs from the 1968 sexploitation film. All three photographs with provenance stamps on the versos. A fanciful account of the Marquis de Sade and the women who are irresistibly drawn to him. 8 x 10 inches. Very Good plus. Boxoffice International unknown books
1949ref. 161687Burbank CA: Warner Brothers 1949. Four vintage studio still photographs from the 1949 film. In approaching the film adaptation of Ayn Rand's 1943 work director King Vidor dispensed with typical Hollywood production techniques and focused on creating an expressionistic film one that literally echoed the architectural underpinnings of its characters' philosophies motives and ambitions. Unusual choices included modernist cinematography expressionistic set designs and wardrobe and having Rand herself write the heady screenplay. 8 x 10 inches. Near Fine. Warner Brothers unknown
1949ref. 161687Burbank CA: Warner Brothers 1949. Four vintage studio still photographs from the 1949 film. In approaching the film adaptation of Ayn Rand's 1943 work director King Vidor dispensed with typical Hollywood production techniques and focused on creating an expressionistic film one that literally echoed the architectural underpinnings of its characters' philosophies motives and ambitions. Unusual choices included modernist cinematography expressionistic set designs and wardrobe and having Rand herself write the heady screenplay. 8 x 10 inches. Near Fine. Warner Brothers unknown books
1985ref. 161051N.p.: N.p. 1985. Two vintage borderless reference photographs from the 1985 film both showing actress Melanie Griffith. A former boxer turned nightclub promoter joins together with a police detective to investigate a serial killer targeting strippers. Set in Manhattan and shot on location in New York and Los Angeles. N.p. unknown
1985ref. 161051N.p.: N.p. 1985. Two vintage borderless reference photographs from the 1985 film both showing actress Melanie Griffith. A former boxer turned nightclub promoter joins together with a police detective to investigate a serial killer targeting strippers. Set in Manhattan and shot on location in New York and Los Angeles. N.p. unknown books
1959ref. 149472Beverly Hills CA: United Artists 1959. Vintage borderless reference photograph of Alan Ladd in a dynamic pose with the image manipulated for effect from the 1959 film noir. Based on the 1956 novel by Hugh Wheeler under the pseudonym Patrick Quentin. A struggling artist Alan Ladd is accused of murdering his unstable alcoholic wife Carolyn Jones when she goes missing and must flee from the lynch mob forming amongst the townsfolk. Set in fictional Stoneville Connecticut shot on location in Woodstock and Thompson Connecticut and Framingham Massachusetts. 8 x 10 inches. Light edgewear and faint toning at edges else Near Fine. Selby US. Spicer US. Grant US. United Artists unknown
1959ref. 149472Beverly Hills CA: United Artists 1959. Vintage borderless reference photograph of Alan Ladd in a dynamic pose with the image manipulated for effect from the 1959 film noir. Based on the 1956 novel by Hugh Wheeler under the pseudonym Patrick Quentin. A struggling artist Alan Ladd is accused of murdering his unstable alcoholic wife Carolyn Jones when she goes missing and must flee from the lynch mob forming amongst the townsfolk. Set in fictional Stoneville Connecticut shot on location in Woodstock and Thompson Connecticut and Framingham Massachusetts. 8 x 10 inches. Light edgewear and faint toning at edges else Near Fine. Selby US. Spicer US. Grant US. United Artists unknown books
1967ref. 152322London: The Rank Organization 1967. Vintage reference photograph from the 1967 film showing director-actor Albert Finney. With a printed mimeo snipe affixed to the verso along with the stamp of The Rank Organization. From the archive of film historian and author Joel Finler. A wealthy famous English writer with working class roots is forced to reconnect with his emotions and sense of humanity when he takes a trip to visit his estranged wife and son. Finney's first and only directorial attempt. Set and shot on location in London and Manchester. 10 x 8 inches. Very Good plus lightly creased to the edges. The Rank Organization unknown
1967ref. 152322London: The Rank Organization 1967. Vintage reference photograph from the 1967 film showing director-actor Albert Finney. With a printed mimeo snipe affixed to the verso along with the stamp of The Rank Organization. From the archive of film historian and author Joel Finler. A wealthy famous English writer with working class roots is forced to reconnect with his emotions and sense of humanity when he takes a trip to visit his estranged wife and son. Finney's first and only directorial attempt. Set and shot on location in London and Manchester. 10 x 8 inches. Very Good plus lightly creased to the edges. The Rank Organization unknown books
1971ref. 158638N.p.: Audubon Films 1971. Two vintage studio still photographs from the 1971 US release of the 1970 West German film. A sexploitation film about a small-town girl who moves to the big city where she begins a career as a sex worker eventually falling in with a group of revolutionaries. 10 x 8 inches. Near Fine. Audubon Films unknown
1971ref. 158638N.p.: Audubon Films 1971. Two vintage studio still photographs from the 1971 US release of the 1970 West German film. A sexploitation film about a small-town girl who moves to the big city where she begins a career as a sex worker eventually falling in with a group of revolutionaries. 10 x 8 inches. Near Fine. Audubon Films unknown books
1995ref. 164081N.p.: My Heart Inc 1995. Draft script for the 1996 film copy with the manuscript marker annotation of copy number 73 on the title page. From the archive of crew member Chris Scher. Loosely inspired by the career of Carole King. Illeana Douglas stars as Edna Buxton an aspiring singer/songwriter from Philadelphia who hopes to make it in the music industry in the early 1960s. After changing her name to Denis Waverly and moving to New York she finds success as a songwriter in the Brill Building music scene. Featuring music written in the styles of the era by Burt Bacharach Elvis Costello Joni Mitchell Gerry Goffin and Jill Sobule. Chris Scher has worked in American films from 1994 to the present. She was a propmaker construction accountant/estimator/buyer and carpenter on over 20 movies including "The Last Seduction" 1994 "Pulp Fiction" 1994 "From Dusk Till Dawn" 1994 "The Horse Whisperer 1998 "Joy Ride" 2001 and others. She also performed the same work for prestige television dramas including "The Bridge" 2014 "Ozark" 2017 and "Yellowstone" 2018. Set in and shot on location in New York and Los Angeles. Front wrapper integral with title page dated February 15 1995 with credits for screenwriter Allison Anders. 109 leaves with last page of text numbered 108. Xerographic duplication rectos only. Pages Near Fine bound with three gold brads. My Heart, Inc unknown
