6,063 results
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
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 books
ref. 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
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 books
1955ref. 156909Burbank CA: Warner Brothers 1955. Draft script for the 1956 revisionist Western. Near the end of Randolph Scott's career producer Harry Brown Scott and director Budd Boetticher began work on a series of intelligent films that would combine Scott's minimalist acting style with Boetticher's lean approach to filmmaking. The result was a series of films today referred to as the "Ranown" cycle a rich canon that formed a strong stylistic whole. Boetticher's approach to storytelling was traditional in the sense that it involved traditional Western characters but revisionist in that his protagonist invariably worked alone and sought his own brand of morality rather than one established by tradition government and family. Apart from ardent fans of Westerns these films went unrecognized by most until Martin Scorsese made a case for them in his 1995 BFI documentary "A Personal Journey with Martin Scorsese Through American Movies." Gray titled wrappers dated September 15 1955 with credits for screenwriter Burt Kennedy. Title page present dated September 15 1955 with credits for screenwriter Burt Kennedy. 100 leaves with last page of text numbered 99. Mimeograph duplication rectos only with blue revision pages throughout dated variously between 9/19/55 and 9/20/55. Pages and wrapper Very Good plus with tide marks on the bottom edges of the title page and front wrapper bound internally with three gold brads. Housed in a custom brown quarter-leather clamshell box. Pitts 3788. Schrader 52. Scorsese A Personal Journey Through American Movies. Warner Brothers unknown books
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 books
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 books
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 books
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 books
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 books
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 books
ref. 166485Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1972. Draft script for the 1975 film. Annotation in manuscript ink on the front wrapper noting incorrectly we would argue "We all lost when the studio took this picture away from Peckinpah the hed" sic. A very nearly experimental Western made by Sam Peckinpah at his peak a highspot of genre revisionism. Comparable to "McCabe and Mrs. Miller" 1971 and "The Shooting" 1966 in terms of sheer impressionism being laid upon the genre with iconic imagery and super-stylization in every frame. Shot on location in Durango Mexico. Beige titled Metro-Goldwyn-Mayer front wrapper dated July 7 1972 with credits for Peckinpah and screenwriter Rudolph Wurlitzer. Missing rear wrapper. Title page integral with front wrapper. 125 leaves with last page of text numbered 134. Mimeograph duplication rectos only with blue and gray revision pages throughout dated variously between July 3 and 25 1972. Pages Very Good plus wrapper Very Good bound with two gold brads. Metro-Goldwyn-Mayer [MGM] unknown books
1936ref. 147033Burbank CA: Warner Brothers 1936. Collection of nine vintage oversize photographs from the 1936 film. Each with a mimeo snipe on the verso. Based on the 1930 Pulitzer Prize winning play by Marc Connelly itself based on "Ol' Man Adam an' His Chillun" a 1928 collection of pseudo African American folk tales by Roark Bradford. One of only a handful of films to feature an all-Black cast made by a major Hollywood studio during the Golden Age becoming the highest grossing such film and remaining so until surpassed by "Carmen Jones" in 1954. 14 x 11 inches. Very Good with light edgewear and light vertical creasing down the center. Warner Brothers unknown books
1938ref. 163880N.p.: N.p. 1938. James Hilton's typescript draft screenplay for the 1939 film an adaptation of his own 1937 novel the only such adaptation he ever completed. With the author's profuse manuscript ink annotations as well as many pages executed entirely in manuscript ink throughout. Included is a privately commissioned essay by Hilton scholar Kurt Kausler detailing both the history of Hilton's work on the film an analysis and a breakdown of the manuscript. Almost certainly Hilton's first corrected manuscript screenplay for the film. After Jack Warner raised concerns about the script being too long screenwriter Milton Krims was employed to clean up and shorten it-though in the end Hilton received sole credit as screenwriter. A man hires an Austrian governess and both are suspected of murder when his wife is discovered to be dead. 123 leaves a gathering demonstrating the author's method his attention to detail and his extreme frugality with the use of paper the last most likely due to wartime shortages. The script consists of a ribbon copy typescript leaves on both onionskin and paper stock with manuscript emendations on virtually every page in many cases both recto and verso with some leaves executed on the versos of unrelated previous work by Hilton b leaves consisting entirely of text executed in manuscript ink c hand-cut partial leaves and d a handful of later Xerographically duplicated facsimiles of Hilton's original annotated typescript leaves. Included is a very detailed analysis of the manuscript as well as the events surrounding its creation along with a detailed breakdown of the manuscript elements. Hilton's manuscript leaves Very Good to Fine quite supple and well preserved. Housed in a modern white three-ring binder. Leaves individually held in modern mylar page protectors. N.p. unknown books
