10,264 results
1958ref. 141439Tokyo: Nikkatsu 1958. Draft script for the 1958 film. Text in Japanese. The first film to be credited to Suzuki by his assumed name a man released from prison needs money and goes to retrieve diamonds sought after by fellow yakuza members. White titled perfect-bound wrappers. Title page present. 107 leaves with last page of text numbered 12. Mechanical duplication. Pages Very Good plus wrapper Very Good plus. Nikkatsu unknown books
1961ref. 141438Tokyo: Nikkatsu 1961. Treatment script for the 1961 film. Text in Japanese. A 1920s playwright meets a beautiful woman who might be the ghost of his patron's deceased wife. White titled perfect-bound wrappers. Title page present. 39 leaves with last page of text numbered 38. Mechanical duplication. Pages Very Good plus wrapper Very Good plus. Nikkatsu unknown books
1991ref. 141425N.p.: Genjiro Amato 1991. Draft script for the 1991 film. Text in Japanese. A semi-fictional account of Japanese artists Yumeji Takehisa who falls in love with a widow and then becomes a rival with the ghost of her dead husband and her husband's murderer. Purple titled perfect-bound wrappers. Title page present. 116 leaves with last page of text numbered 101. Mechanical duplication. Pages Near Fine wrapper Near Fine. Genjiro Amato unknown books
1954ref. 148043Glendale CA: Allied Artists 1954. Vintage photograph from the 1954 film. Promotional headshot of John Hodiak. Set months before the beginning of the Korean War an American Air Force instructor Major Matt Brady Hodiak is assigned to a Kungju base where he is set with the formidable task of completely transforming the South Korean pilots into unstoppable fighting machines in 25 days. Originally intended for release as a 3D film and filmed in dual 53mm Polaroid 3-D by the time the film premiered in 1954 public interest in 3D had declined and the film was shown as a flat print. Set in South Korea and shot on location in California. 8 x 10 inches. Near Fine with some light edgewear. Allied Artists unknown books
1962ref. 168175N.p.: Davis-Royal Films 1962. Three vintage studio still photographs from the US release of the 1962 French film. Based on the 1958 novel by Bernard Eschassériaux who also co-wrote the screenplay. A neglected eleven-year-old girl befriends a traumatized amnesiac veteran although their unusual relationship begins to concern the members of their community. Winner of the Best Foreign Language Film Academy Award. Set and shot on location in Ville-d'Avray Paris. 10 x 8 inches. Near Fine. Davis-Royal Films unknown books
1933ref. 131892Munich / Paris: UFA / L'Alliance Cinematographique Europeenne 1933. Two vintage black-and-white still photographs from the original French release of the 1933 film. With the UFA logo at the lower left corner of each. Each still mounted on UFA / ACE boards as issued with credit for both studios and text in French. A late attempt by UFA to reach a broader European market this joint production was filmed in French shot in Spain and Germany and released to the French market. Featuring an early supporting appearance by Simone Simon shown in a still here with Jean Gabin with whom she would go on to co-star in Jean Renoir's classic "La Bete Humaine." Both photographs 10.5 x 8.5 inches Near Fine with some faint scratching. Boards 15.75 x 13.25 inches Very Good condition with multiple pinholes a few brief dampstains and minor chipping. UFA / L'Alliance Cinematographique Europeenne unknown
1933ref. 131892Munich / Paris: UFA / L'Alliance Cinematographique Europeenne 1933. Two vintage black-and-white still photographs from the original French release of the 1933 film. With the UFA logo at the lower left corner of each. Each still mounted on UFA / ACE boards as issued with credit for both studios and text in French. A late attempt by UFA to reach a broader European market this joint production was filmed in French shot in Spain and Germany and released to the French market. Featuring an early supporting appearance by Simone Simon shown in a still here with Jean Gabin with whom she would go on to co-star in Jean Renoir's classic "La Bete Humaine." Both photographs 10.5 x 8.5 inches Near Fine with some faint scratching. Boards 15.75 x 13.25 inches Very Good condition with multiple pinholes a few brief dampstains and minor chipping. UFA / L'Alliance Cinematographique Europeenne unknown books
1976ref. 152868N.p.: N.p. 1976. Vintage borderless reference photograph from the 1976 film showing actress Jane Birkin nude on a bathroom floor. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 9 x 6.5 inches. Near Fine. N.p. unknown
1976ref. 162553Paris: Sygma 1976. Vintage oversize borderless reference photograph from the 1976 film showing Jane Birkin raising her skirt to reveal that she is not wearing underwear. Mimeo snipe and Sygma stamp on the verso. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 8 x 11.75 inches. Very Good plus lightly worn at the corners. Sygma unknown
1976ref. 161103N.p.: N.p. 1976. Four vintage oversize borderless double weight color reference photographs from the 1976 film. Gold labels specific to the film's French release affixed to the rectos as issued. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 11.25 x 9 inches. Pinholes at the corners else about Near Fine. N.p. unknown
1976ref. 160556N.p.: N.p. 1976. Vintage oversize borderless double weight color reference photograph from the 1976 film showing a nude wet Jane Birkin. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 11.25 x 9 inches. With sets of pinholes at the edges else Near Fine. N.p. unknown
1976ref. 151965Paris: President Films 1976. Vintage borderless reference photograph of Jane Birkin from the 1976 film. "Societe Nationale" stamp on verso. Waitress Johnny works and lives in a truck stop lonely and longing for love. She develops a crush on the garbage truck driver Krassky although her sleazy boss Boris warns her that Krassky is gay. Krassky likes Johnny too perhaps because of her boyish physique. But both of them fail to notice the growing jealousy of Krassky's boyfriend Padovan and trouble sets in. Billy Stevenson of notes in the "A Film Canon" blog: "Serge Gainsbourg directed this film based on his iconic song and it plays as an extended gloss on that song an attempt to visualize what was happening during those infamous sighs and pants . It is a testament to Gainsbourg's commitment to the song and his own status as sexual outlaw that he presents us with a film that's just as confronting and titillating some 30 years later. "Set against a drifting rambling desert backdrop part New Wave part New Hollywood. Johnny and Krassky's attraction is sexually charged and yet it doesn't seem to conform to their sexual proclivities.with an audioverite that makes you wonder whether these scenes might actually involve real sex. In its yearning to experience sex in every conceivable way-as a gay man as a lesbian as a man as a woman as pleasure as pain-the film ends up virtualizing it or at least generalizing it into an undifferentiated sexual access that feels quite incorporeal a clear forerunner to both the Cinema du Look and art porn movements." 6.5 x 9 inches. Near Fine. President Films unknown
1976ref. 161103N.p.: N.p. 1976. Four vintage oversize borderless double weight color reference photographs from the 1976 film. Gold labels specific to the film's French release affixed to the rectos as issued. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 11.25 x 9 inches. Pinholes at the corners else about Near Fine. N.p. unknown books
1976ref. 152868N.p.: N.p. 1976. Vintage borderless reference photograph from the 1976 film showing actress Jane Birkin nude on a bathroom floor. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 9 x 6.5 inches. Near Fine. N.p. unknown books
1976ref. 162553Paris: Sygma 1976. Vintage oversize borderless reference photograph from the 1976 film showing Jane Birkin raising her skirt to reveal that she is not wearing underwear. Mimeo snipe and Sygma stamp on the verso. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 8 x 11.75 inches. Very Good plus lightly worn at the corners. Sygma unknown books
1976ref. 160556N.p.: N.p. 1976. Vintage oversize borderless double weight color reference photograph from the 1976 film showing a nude wet Jane Birkin. A tomboyish waitress at a truck stop develops a crush on a gay garbage truck driver and in spite of all odds they begin a relationship. Serge Gainsbourg's directorial debut. 11.25 x 9 inches. With sets of pinholes at the edges else Near Fine. N.p. unknown books
1976ref. 151965Paris: President Films 1976. Vintage borderless reference photograph of Jane Birkin from the 1976 film. "Societe Nationale" stamp on verso. Waitress Johnny works and lives in a truck stop lonely and longing for love. She develops a crush on the garbage truck driver Krassky although her sleazy boss Boris warns her that Krassky is gay. Krassky likes Johnny too perhaps because of her boyish physique. But both of them fail to notice the growing jealousy of Krassky's boyfriend Padovan and trouble sets in. Billy Stevenson of notes in the "A Film Canon" blog: "Serge Gainsbourg directed this film based on his iconic song and it plays as an extended gloss on that song an attempt to visualize what was happening during those infamous sighs and pants . It is a testament to Gainsbourg's commitment to the song and his own status as sexual outlaw that he presents us with a film that's just as confronting and titillating some 30 years later. "Set against a drifting rambling desert backdrop part New Wave part New Hollywood. Johnny and Krassky's attraction is sexually charged and yet it doesn't seem to conform to their sexual proclivities.with an audioverite that makes you wonder whether these scenes might actually involve real sex. In its yearning to experience sex in every conceivable way-as a gay man as a lesbian as a man as a woman as pleasure as pain-the film ends up virtualizing it or at least generalizing it into an undifferentiated sexual access that feels quite incorporeal a clear forerunner to both the Cinema du Look and art porn movements." 6.5 x 9 inches. Near Fine. President Films unknown books
1975ref. 155637N.p.: N.p. 1975. Six vintage borderless reference photographs from the 1975 French sexploitation film including two photographs taken on location. A sexually frustrated executive assistant goes to see a psychologist and recovers his prowess proceeding to embark on a number of erotic adventures with the secretaries at his office. Shot on location in Calvados France. 7 x 9.5 inches. Very Good with light fading to two of the photographs. Bier 807. N.p. unknown
1975ref. 155637N.p.: N.p. 1975. Six vintage borderless reference photographs from the 1975 French sexploitation film including two photographs taken on location. A sexually frustrated executive assistant goes to see a psychologist and recovers his prowess proceeding to embark on a number of erotic adventures with the secretaries at his office. Shot on location in Calvados France. 7 x 9.5 inches. Very Good with light fading to two of the photographs. Bier 807. N.p. unknown books
1976ref. 159153N.p.: N.p. 1976. Seven vintage borderless reference photographs from the 1976 adult film. After being kidnapped a doctor and his lover plan to shoot the pornographic film of their dreams at a remote French chateau. Four photographs 9.5 x 7 inches three photographs 7 x 5 inches. Very Good plus lightly age toned. Bier 849. N.p. unknown books
1998ref. 173117Culver City CA: Columbia Pictures 1998. Two vintage satin-finished studio still photographs from the 1999 film here under alternate title "Hoofbeats." A foal is separated from its mother when it arrives in a German Southwest Africa mining town but is taken in by a orphan boy. Set in German Southwest Africa shot on location in Namibia and Germany. 8 x 10 inches. Fine. Columbia Pictures unknown books
1966ref. 138830Moscow: Mosfilm 1966. Three vintage borderless black-and-white reference photographs from the 1966 French release of the 1964 film. With the archival stamp of the noted cinema historian Maurice Bessy on the verso of each photo. A stunning set of battle scene photos including one three-part panoramic shot demonstrating the massive scale of the film shot on location in Dorogobuzh a region in the Smolensk province of Russia. An epic film over seven hours long and slavishly faithful to Tolstoy's novel that was for many years the most expensive European movie every made. The lengthy graphic battle scenes which killed a number of horses led to the film being boycotted in many American cities. Winner of the Academy Award for Best Foreign Language film. 8 x 10 inches. Near Fine. Mosfilm unknown
1966ref. 138830Moscow: Mosfilm 1966. Three vintage borderless black-and-white reference photographs from the 1966 French release of the 1964 film. With the archival stamp of the noted cinema historian Maurice Bessy on the verso of each photo. A stunning set of battle scene photos including one three-part panoramic shot demonstrating the massive scale of the film shot on location in Dorogobuzh a region in the Smolensk province of Russia. An epic film over seven hours long and slavishly faithful to Tolstoy's novel that was for many years the most expensive European movie every made. The lengthy graphic battle scenes which killed a number of horses led to the film being boycotted in many American cities. Winner of the Academy Award for Best Foreign Language film. 8 x 10 inches. Near Fine. Mosfilm unknown books
1925ref. 168469N.p.: N.p. 1925. Nine reference photographs from the 1925 Soviet silent film seven borderless and two bordered struck and issued by Cinémathèque Française circa 1936. All seven borderless photographs with the stamp of Archives Cinémathèque Française on the verso. A dramatization of a real-life mutiny which occurred on the Russian battleship Potemkin in 1905. The film's violence led to it being banned in West Germany and the UK until 1954 and even after that given an X rating until 1978. It was shown in a much-edited form in East Germany though the US premiere in December 1926 was shown unedited. A written introduction by Leon Trotsky at the beginning of the film was cut from later Soviet prints due to Trotsky running afoul of Stalin. The film's famous sequence showing a massacre by Tsarist soldiers of civilians on the Odessa Steps is considered the first example of a montage sequence in cinema. All photogaphs 5 x 3.5 inches. Generally Near Fine. BFI 1494. Godard Histoires du cinema. Rosenbaum 1000. N.p. unknown
1925ref. 168469N.p.: N.p. 1925. Nine reference photographs from the 1925 Soviet silent film seven borderless and two bordered struck and issued by Cinémathèque Française circa 1936. All seven borderless photographs with the stamp of Archives Cinémathèque Française on the verso. A dramatization of a real-life mutiny which occurred on the Russian battleship Potemkin in 1905. The film's violence led to it being banned in West Germany and the UK until 1954 and even after that given an X rating until 1978. It was shown in a much-edited form in East Germany though the US premiere in December 1926 was shown unedited. A written introduction by Leon Trotsky at the beginning of the film was cut from later Soviet prints due to Trotsky running afoul of Stalin. The film's famous sequence showing a massacre by Tsarist soldiers of civilians on the Odessa Steps is considered the first example of a montage sequence in cinema. All photogaphs 5 x 3.5 inches. Generally Near Fine. BFI 1494. Godard Histoires du cinema. Rosenbaum 1000. N.p. unknown books
