4,915 results
1970ref. 129692New York: Delia Productions 1970. Mimeograph play reproduction of William Alfred's 1954 play "Agamemnon" for an unproduced film based on the play. A verse play retelling of the Greek myth in which King Agamemnon is murdered by his wife upon his return to Mycenae after the Trojan War. Navy wrappers with a die-cut title window. Title page present with credits for screenwriter Alfred. 102 leaves mechanical duplication. Pages Very Good plus wrapper Very Good plus bound internally with three silver brads. Delia Productions unknown
1940ref. 129720N.p.: N.p. 1940. Treatment script for an unproduced film. Two brothers with a patchy relationship both end up becoming competent jockeys and one who had previously slighted the other throws the important race so the other can win. Self wrappers with integral title page present showing credits for screenwriter Pinkham. 9 leaves original typescript. Pages Very Good plus bound with three gold brads. N.p. unknown
1963ref. 132580London: National Screen Service / MGM 1963. Collection of 6 vintage full-color and 3 black-and-white still photographs from the 1963 UK film. A star-studded drama that takes place in a New York airport at the V. I. P. lounge. Taylor's jewelry in the film came mostly from her own collection and this is Taylor's and Burton's second collaborative film credit. Margaret Rutherford won an Academy Award for her supporting role. 8 x 10 inches some slightly smaller. Faint creases overall else Near Fine. National Screen Service / MGM unknown
1958ref. 132741London: Unviersal International Pictures 1958. Eight vintage full-color still photographs from the UK country of origin release of the 1958 film. Based on Erich Maria Remarque's 1954 novel about a company of German soldiers on the Russian front during WWII. One of the soldiers is sent home where finding his home bombed he struggles for his sanity and survival with the help of the daughter of a political prisoner. Set on the Russian front and in Germany during World War II shot on location in Berlin. 8 x 10 inches. Faint creases else Near Fine. Masters of Cinema 65. Davenport p. 358. Hyams p. 129. Unviersal International Pictures unknown
1956ref. 132779London: Twentieth Century-Fox 1956. Eight vintage hand-tinted still photographs from the 1956 UK release of the 1956 US film. Based in Georges Simenon's 1949 novel "Le fond de la bouteille" "The Bottom of the Bottle" published in the US in the 1954 collection "Tidal Wave". The film centers around a wealthy rancher Cotten in the border town of Nogales Arizona and his brother Johnson a drunk who escapes from prison and hides in his garage. Johnson wants his brother the rancher to help him across the Santa Cruz River into the Mexico where his wife Shirley Patterson as Shawn Smith lives in squalor. A story set and shot on location in the Arizona. 8 x 10 inches. Light rubbing overall else Near Fine. Twentieth Century-Fox unknown
1965ref. 133553London: Twentieth Century-Fox 1965. Two vintage black-and-white still photographs from the 1965 UK release of the 1965 US film. On the versos are studio rubber stamps UK and one still has a mimeo tag affixed to the verso with the reissue title "Sabateur: Code Name Morituri." Based on the 1963 novel by Werner Joerg Luedecke and one of the most underrated war films of the 1960s about Robert Crain Brando a German living in India during World War II who is blackmailed by Colonel Statter Howard to impersonate an SS officer onboard a cargo ship with Captain Mueller Brynner in charge leaving Japan for Germany. 8 x 10 inches. Faint creases and a brief evidence of cello tape removal to one still else Near Fine. Twentieth Century-Fox unknown
1988ref. 129772N.p.: N.p. 1988. Two Draft scripts from 1987 and 1988 for an unproduced film. Both drafts SIGNED by screenwriter David Henderson in manuscript ink on the title page in 1992 and each has a lengthy inscription about the development of the script noting "Michael L. Parker" and his investment in the film the script's general plot and characters a proposed directorial role for Robert N. Zagone "San Francisco Rock: A Night at the Family Dog" 1970 television movie and revisions Henderson made in order to "make the film roughly a page a minute." A cursory look at the script leads us to believe the story is set in a desolate perhaps post-apocalyptic Southwest landscape and the overall theme seems to have crime/thriller elements i.e. murder guns swords. 1987 draft: Blue stiff titled wrappers. Title page present dated 1987 with credits for screenwriters Henderson and Zagone. 138 leaves mechanical duplication. Pages Fine wrapper Near Fine internally prong binding. 1988 draft: Light blue stiff titled wrappers. Title page present dated 1988 with credits for screenwriters Henderson and Zagone. 111 leaves mechanical duplication. Pages Fine wrapper Near Fine internally prong binding. N.p. unknown
1980ref. 133617New York: New World Pictures 1980. Draft Agency script for the 1980 film. Adapted for the screen by noted screenwriter Frederic Raphael based on his 1973 novel. A woman begins an affair with her late husband's mistress after his death using each other to cope with the grief of his loss. Black titled wrappers with the William Morris Agency logo on the front wrapper and with credits for screenwriter Frederic Raphael. Title page present with credits for screenwriter Raphael. 122 leaves mechanical duplication. Pages about Fine wrapper Near Fine bound internally with three gold brads. New World Pictures unknown
1976ref. 129783Los Angeles: Twentieth Century-Fox 1976. Draft script for the 1977 film. Presumed estimating script with "Budgeting" in manuscript ink on the front wrapper. Notations in manuscript blue and black ink throughout. A film made at what was arguably the maturation point for the Women's Liberation movement that began in the mid-late 1960s in which MacLaine and Bancroft portray former dance colleagues whose lives have gone separate ways one becomes a professional dancer the other a settled domestic woman and whose unexpected reunion yields dramatic consequences. Nominated for 11 Academy Awards including Best Picture Best Director and Best Screenplay. Mustard titled wrappers noted as "Budgeting" on the front wrapper. Title page present dated 3/2/76 with a credit for screenwriter Laurents. 116 leaves mechanical duplication. Pages Near Fine wrapper Near Fine bound with two gold brads. Twentieth Century-Fox unknown
1957ref. 133039N.p.: N.p. 1957. Oversize double weight photograph of screenwriter Ben Hecht standing with his boss producer and mogul extraordinaire David O. Selznick on a snow covered set in the Italian Alps during the 1957 filming of Selznick's "A Farewell to Arms." Based on the 1929 novel by Ernest Hemingway directed by Charles Vidor and starring Rock Hudson and Jennifer Jones. The second time the novel was filmed following the 1932 version directed by Frank Borzage and preceding a three part British television miniseries in 1966. 11 x 13.5 inches. Near Fine with a small corner crease at the bottom right. In a custom museum-quality frame archivally mounted with UV glass. N.p. unknown
2001ref. 133189Paris: Jean-Louis Seigner 2001. Vintage oversize photograph of Roman Polanski on location in Warsaw in 2001 during the production of his 2002 film. Based on the 1946 memoir by Wladslaw Szpilman about his survival in the Nazi-occupied Warsaw Ghetto during World War II. Winner of the Palme d'Or at Cannes and three Academy Awards including Best Director and Best Screenplay. Nominated for four others including Best Picture. Set in Warsaw shot on location in Brandenberg and Berlin and Warsaw. 9.5 x 12 inches. Fine. In a custom museum-quality frame archivally mounted with UV glass. Jean-Louis Seigner unknown
1969ref. 133199N.p.: N.p. 1969. Vintage oversize double weight candid photograph of Alan Arkin Art Garfunkel and Martin Sheen on the set of Mike Nichols' "Catch-22" in 1969. Shot and struck by the film's still photographer Bob Willoughby. The photographer has written at the top of the verso in manuscript pencil: "Candid during rehearsal / The boys break up in briefing room scene / Art Garfunkel Alan Arkin Martin Sheen." Also with Willoughby's ASMP rubber stamp for both his New York and Ireland addresses. Full provenance available. After studying with Saul Bass at the Kann Institute of Art in Los Angeles photographer Robert Willoughby began working for magazines such as "Life" "Look" and "Harper's Bazaar" in the late 1940s. He spent the next 20-plus years as a set photographer for every major studio and magazine with his images seen in print literally every week of his career. Willoughby's photographs are in the permanent collections of ten museums including The National Portrait Galleries in Washington DC and London the Bibliotheque Nationale de France The Museum of Modern Art and The Tate Modern. In a custom museum-quality frame archivally mounted with UV glass. 13.5 x 10 inches. Near Fine. National Film Registry. N.p. unknown
1949ref. 133084Culver City CA: Columbia Pictures 1949. Vintage studio still photograph of director Douglas Sirk working on the set of the 1949 film noir. A wonderful photograph of the entire crew shooting a scene where Cornel Wilde and Patricia Knight are parting at an airport. Sirk is standing on a crane support at the left and cinematographer Charles Lawton Jr. is seated just below. A key American noir from an original screenplay by Samuel Fuller. Shot on location throughout Los Angeles and notably in the Bradbury Building on Broadway now an architectural landmark originally built in 1893 by Los Angeles mining millionaire Lewis L. Bradbury and designed by George Wyman. In a custom museum-quality frame archivally mounted with UV glass. 7 x 9 inches borderless with a studio stamp and a mimeograph snipe on the verso. Near Fine. Selby US. Silver Classic Noir. Spicer US. Columbia Pictures unknown
1928ref. 132454London: Fritz Lang Film / UFA / W and F. 1928. Vintage UK program for the 1928 German film released in the UK as "The Spy." Lang's followup to "Metropolis" and penultimate silent film an underrated spy versus spy thriller containing some of the most virtuosic set pieces of the director's career including a spectacular train crash at the film's climax. 9.5 x 12 inches 12 pages side stapled in card wrappers. Wrappers Very Good plus overall interior bright and Near Fine. Fritz Lang Film / UFA / W and F. unknown
1961ref. 132742London: Unviersal International Pictures 1961. Five vintage full-color still photographs from the 1961 UK release of the 1961 US film. Based on Howard Rigsby's novel "Sundown at Crazy Horse" about a cowboy who on the lam from the law travels to visit an old flame in Mexico only to find her married to a drunk. Screenwriter Dalton Trumbo was also at work writing the script for Otto Preminger's "Exodus" while he wrote for this film. A story set and shot on location in Mexico. 8 x 10 inches. Faint creases overall else Near Fine. Unviersal International Pictures unknown
ref. 133045Burbank CA: Walt Disney Pictures 1981. Revised script for the 1983 film. Written for the screen by Ray Bradbury based on his 1962 novel. After a carnival comes to Green Town the good citizens are compelled to follow their deepest desires caught under the spell of the malevolent Mr. Dark Jonathan Pryce who can grant those desires on one condition: that the grantees will forever join his freak show. In 1977 Bradbury sold the film rights to his novel to Paramount. He and director Jack Clayton whom Bradbury had previously worked with on Moby Dick produced a completed script. However production never began and the film was eventually put into turnaround. At the time Walt Disney Pictures was concentrating on films with more mature themes in an attempt to break free from their stereotype as an animation and family film studio. After the success of darker children's fantasy pictures by competing studios such as Time Bandits and The Dark Crystal Disney decided to purchase the adaptation's rights and hired Bradbury to produce a new script from scratch. .Set in Greentown Illinois but shot on location in Morrisville and Waterville Vermont. Gray titled wrappers noted as Revised on the front wrapper marked production No. 0233 dated 8/24/81 with credits for novelist and screenwriter Bradbury. Title page wit integral with the first page of the text dated 8/24/81. 127 leaves mechanical duplication with blue revision pages throughout dated 9/30/81. Pages about Fine wrapper Near Fine bound internally with three gold brads. Walt Disney Pictures unknown
1966ref. 132301Poland: N.p. 1966. Original Polish A1 poster circa 1966 for the 1959 US film. Kirk Douglas and Earl Holliman reunite in this film after Gunfight at the OK Corral 1957 again under the direction of John Sturges. The story brings together elements of "High Noon" "3:10 to Yuma" and Sturges' "Bad Day at Black Rock." Remade in 1985 as the Indian film "Bhawani Junction." Shot by Charles Lang on location in Old Tucson Arizona and set in the fictitious neighboring towns of Pauley and Gun Hill. Artwork by Jerzy Flisak. 22.5 x 32 inches rolled. A few minor professional repairs on archival linen. Fine. Pitts 2240. N.p. unknown
1958ref. 132462Culver City CA: Waterlow and Sons / Columbia Pictures 1958. Eight vintage black-and-white still photographs from the 1958 UK release of the 1957 French-American film first released at the 1957 Venice Film Festival. Based on the French novel by Rene Hardy about a group of WWII British commandos who have raided a German outpost at Benghazi. They make their way across the desert facing starvation thirst and the delusions of their leader Captain Brand. 8 x 10 inches. Light toning and creasing overall else Near Fine. Waterlow and Sons / Columbia Pictures unknown
1969ref. 133623Beverly Hills CA: United Artists 1969. Vintage black-and-white borderless reference photograph from the US release of the 1969 film. Jon Voight plays a naive Texan who moves to New York to hustle his body and finds himself in an unlikely friendship with an ailing con artist played by Dustin Hoffman. Winner of three Academy Awards including Best Picture and nominated for four others. Set in New York and Texas shot on location in New York Texas Florida and New Jersey. 8 x 10 inches. Fine. In a custom museum-quality frame archivally mounted with UV glass. National Film Registry. United Artists unknown
1937ref. 130886Universal City CA: Universal Pictures 1937. Continuity and Dialogue script for the 1938 film. Based on the 1936 novel by William Edward Haynes. The second installment of the Universal Crime Club mysteries. A man finds a black doll after murdering his business partner and is then later murdered himself. A detective tries to solves the mystery with multiple suspects. White self-wrappers with credits for director Otis Garrett. 106 leaves with last page of text numbered 15. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads along the top edge. Universal Pictures unknown
1956ref. 133745N.p.: N.p. 1956. Draft script for an unproduced film "Just Before Laughter" based on the 1955 novel "A Change of Climate" by Stanley Kauffman. Copy belonging to screenwriter Partos with a Jaffe Agency label on the title page. The story of a professor who leaves his teaching position to become a salesman at a company he later finds had corrupt dealings with the US Army. Set in New York and Florida. Tan titled wrappers. Title page present with credits for screenwriter Partos and novelist Kauffmann. 131 leaves mimeograph on eye-rest green stock. Pages Fine wrapper Near Fine bound with three gold brads. N.p. unknown
1944ref. 133742N.p.: N.p. 1944. Treatment script and copy of the original story for an unproduced film "The Murder on Jefferson Street" based on the 1944 short story by Dorothy Canfield. Copy belonging to screenwriter Frank Partos with his name in manuscript pencil. Also included with the script are contracts from Dorothy Canfield Story Magazine and Harcourt Brace and Company signing over the story's film and television rights to Partos. A psychological thriller set in a Middle Western town called Huntsville the story follows the career paths of two men who work in the same office as one attempts to psychologically damage the other in order to take his better position. Housed in a blank black spring binder. Title page present with credits for screenwriter Partos and story writer Canfield. 128 leaves carbon typescript. Pages Near Fine spring binder Near Fine. N.p. unknown
1970ref. 134169Beverly Hills CA: United Artists 1970. Draft script for the 1970 film. Set in Italy in 1944 where the entire population of a village has been massacred by the SS except for a group of young boys. Rock Hudson the only US paratrooper left alive after a failed mission to blow up a nearby dam decides to lead the boys on the mission instead. White titled wrappers with credits for screenwriters Schweitzer and Colbert. Title page present with credits for screenwriters Schweitzer and Colbert. 143 leaves mimeograph duplication. Scrip bent at the foredge else pages about Fine in Very Good plus wrappers bound with three gold brads. United Artists unknown
1959ref. 134256Los Angeles: Pad-Ram Enterprises 1959. A Eight vintage still photographs from the 1959 film. Included are 4 stills from the US release and 4 stills from the UK release under the title "Mr. Teas and His Playthings." From a cursory glance one can immediately see the differences with regard to nudity paid by both US and UK publicists the UK stills decidedly more liberal with regard to the "forbidden flesh." The US stills were taken directly from scenes of the film and the UK stills appear to be from either a deleted scene or a mock setup designed for foreign publicity with Mr. Teas seen in a bathhouse with the "Buxom Bath House Beauties" Baby Dahl Chicky Fricase Frenchie Tost Teri Clawthe that were not seen in the final cut. The UK stills purport "Monstrous Murder!" and "Sizzling Suspense!" taglines however the final cut features neither murder nor suspense. The story finds the shy Mr. Teas played by William Ellis Teas a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision as in "seeing through women's clothes." He also overcomes all of his inhibitions leading to ribald encounters with his dental nurse his therapist his secretary a girl in a bar etc. Russ Meyer's first feature produced by Pad-Ram Enterprises a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy" with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television Meyer and DeCenzie who spent years on the burlesque and night club circuits released an independent naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut Russ Meyer did even more of the crew work than usual shooting in four days during the spring of 1958 with a budget of $24000 ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film with a "French" sensibility but exhibited all the distinctive traits for which Meyer would soon become known including large bosoms insane plots a somewhat feminist perspective campy dialogue and guerilla cinematography. Shot on location in various California destinations including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. All stills 8 x 10 inches some differ slightly in size. Two US stills Very Good plus others Near Fine. UK stills Near Fine. Pad-Ram Enterprises unknown
1961ref. 134255Los Angeles: Pad-Ram Enterprises 1961. Original pressbooks two variants for 1961 re-releases of the 1959 film. Featured are the two most commonly seen layouts used for publicity: the full-color illustrated "hat" variant and the other with Mr. Teas surrounded by a bevy of well-developed women the female leads of the film from left to right: Ann Peters Michele Roberts Dawn Danielle and Marilyn Wesley. The story finds the shy Mr. Teas played by William Ellis Teas a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision as in "seeing through women's clothes." He also overcomes all of his inhibitions leading to ribald encounters with his dental nurse his therapist his secretary a girl in a bar etc. Russ Meyer's first feature produced by Pad-Ram Enterprises a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy" with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television Meyer and DeCenzie who spent years on the burlesque and night club circuits released an independent naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut Russ Meyer did even more of the crew work than usual shooting in four days during the spring of 1958 with a budget of $24000 ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film with a "French" sensibility but exhibited all the distinctive traits for which Meyer would soon become known including large bosoms insane plots a somewhat feminist perspective campy dialogue and guerilla cinematography. Shot on location in various California destinations including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. Both pressbooks 11 x 17 inches folded horizontally. "Hat" variant includes a 9 x 12 ad mat dated "Fri. Aug. 18 1961." Light rubbing overall rubber stamps from "Sack Amusement Enterprises" in Dallas Texas and a few light creases and tiny closed tears else Near Fine. Pad-Ram Enterprises unknown
