4,909 results
1971ref. 145842Gadd Productions 1971. Vintage borderless photograph from the 1971 film. Al Pacino's first starring feature role. Schatzberg's bleak and stark portrayal of heroin addiction on the streets of New York City is told through the love story between Bobby Pacino an addict and drug dealer and Helen Winn who is drawn into heroin use through her relationship with Bobby. Nominated for the Palme d'Or at Cannes and Kitty Winn received the award for Best Actress there as well. Set in and shot on location in New York City. 9.5 x 7 inches. Very Good Plus small bruise on lower right faint line rub on top right and very light wear to edges. Twilight Time 221. Grant US. Gadd Productions unknown
1979ref. 149481Beverly Hills CA: United Artists 1979. Vintage borderless black-and-white reference photograph of director J. Lee Thompson and a camera crew directing actress Patricia Neal while filming on location for the 1979 British film. With two printed mimeo snipes affixed to the verso with tape along with manuscript pencil and ink annotations regarding layout. Based on screenwriter Bruce Nicolaysen's 1976 novel "Perilous Passage" wherein a Basque farmer helps a French scientist and his family flee to neutral Spain during World War I. Set and shot on location in the Pyrenees France. 9.5 x 7.5 inches. Very Good plus slightly wavy. United Artists unknown
1975ref. 167105N.p.: N.p. 1975. Vintage borderless reference photograph of actors Maria Schneider and Jack Nicholson on the set of the 1975 film. A cynical war correspondent in northern Africa assumes the identity of a deceased arms dealer to gain information for his documentary. Antonioni's final film in a loose trilogy as well as a three-picture contract with Metro-Goldwyn-Mayer following "Blowup" 1966 and "Zabriskie Point" 1970. Set in Chad shot on location in Germany Spain and England. 8 x 10 inches. Near Fine. Rosenbaum 1000. N.p. unknown
1975ref. 160516N.p.: N.p. 1975. Vintage borderless double weight reference photograph of director Michelangelo Antonioni talking with actors Jack Nicholson and Maria Schneider on the set of the 1975 Italian film. Annotations in manuscript ink on the verso relating to cropping as well as the stamp of Cinema International in London. A cynical war correspondent in northern Africa assumes the identity of a deceased arms dealer to gain information for his documentary. Antonioni's final film in a three picture contract with Metro-Goldwyn-Mayer following "Blowup" 1966 and "Zabriskie Point" 1970. Set in Chad shot on location in Germany Spain and England. 10 x 8 inches. Near Fine. Rosenbaum 1000. N.p. unknown
1975ref. 152317N.p.: N.p. 1975. Vintage borderless reference photograph from the 1975 Italian film showing actors Jack Nicholson and Maria Schneider. A cynical war correspondent in northern Africa assumes the identity of a deceased arms dealer to gain information for his documentary. Antonioni's final film in a three picture contract with Metro-Goldwyn-Mayer following "Blowup" 1966 and "Zabriskie Point" 1970. Set in Chad shot on location in Germany Spain and England. 10 x 8 inches. Near Fine. Rosenbaum 1000. N.p. unknown
1982ref. 167103Paris: Sygma 1982. Five vintage oversize reference photographs from the 1982 film including several photographs of actress Romy Schneider director Jacques Rouffio and others on the set. Mimeo snipes and provenance stamps on the versos. Based on the 1936 novel by Joseph Kessel. Schneider's poor physical health after a kidney operation and mental health after the death of her fourteen-year-old son the previous year delayed production and this film was ultimately her final performance before her death in May of 1982. Shot on location in Berlin and Paris. 12 x 8 inches. Very Good Plus to Near Fine. Sygma unknown
1928ref. 170410N.p.: N.p. 1928. Vintage double weight borderless reference photograph from the 1928 French film showing director Carl Dreyer cinematographer Rudolph Maté and cameraman Louis Née with other crew members on the set. A rare photograph of the director at work on his magnum opus. The film was shot on a large concrete set modeled on medieval architecture in order to realistically portray the Rouen prison where Joan was known to have been held. 10.25 x 8 inches. Very Good plus. N.p. unknown
1961ref. 162066N.p.: Trans-Lux 1961. Vintage studio still photograph from the US release of the 1961 French film. Provenance stamp on the verso. Based on the 1952 novel "La Mort de Belle" by Georges Simenon. Jean Desaily plays everyman Stéphane Blanchon a professor living a quiet life with his wife Christine in Geneva until a beautiful American student Belle living next door is found strangled to death. Shot on location in Geneva Switzerland and Val-de-Marne France. 8 x 10 inches. Near Fine. Selby France. Trans-Lux unknown
1968ref. 147185Stockholm Sweden: AB Svensk Filmindustri 1968. Treatment script for the 1969 film. With a few small manuscript ink annotations to the title page and throughout most noting grammatical revisions. A newly divorced man befriends a woman whose husband and son have recently been killed in a car accident gradually beginning a relationship in spite of their mutual emotional fragility and disconnect. Shot on location in Gotlands Ian Sweden. Blue untitled wrappers. Title page present dated August 1968 with credits for director-screenwriter Ingmar Bergman and translator Alan Blair. 38 leaves with last page of text numbered 37. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good plus bound with three gold brads. AB Svensk Filmindustri unknown
1956ref. 166264London: London Independent Producers 1956. Third Draft script for the 1957 British film copy belonging to Art Director George Provis with his name written on the titled label on the front wrapper with manuscript pencil and ink annotations throughout including rough pencil prop and set sketches on the versos of eight pages. Here under the working title "A Novel Affair" which was used as the title for the US release of the film. Laid in are over 30 production documents including: 17 pages of handwritten Prop Lists eleven dated from May to July 1956. Two pages of rough pencil sketches including several story boards with two film clippings attached by paperclip each containing 3 full frames. Three letters to Provis two autograph letters signed dating from May and June 1956 and one typed letter signed from February 1956. As well as Shooting Schedules Set Lists Locations lists and additional Prop Lists. George Provis was a British Art Director and Production Designer who began his career working on quota quickies low budget features made to comply with Britain's Cinematograph Films Act of 1927 in the 1930s. After the Second World War Provis was appointed by British film producer Sydney Box to head the art department at Gainsborough Pictures and is credited on over 120 films. Novelist Judith Wynter Margaret Leighton gets inspiration for her new novel when her wheelchair-bound husband Ralph Richardson hires a new Italian chauffeur CarloCarlo Giustini. When Carlo reads her lurid tale of adultery and murder the husband mistakenly concludes that she is actually madly in love with Carlo. Green generic file wrappers with a title label noted as 3rd Draft Screenplay on the title label dated 23-4-1956. Title page present noted as Third Draft of Screenplay with credits for screenwriters Muriel and Sydney Box. 97 leaves with last page of text numbered 96. Mimeograph duplication rectos only. Pages Very Good plus wrapper Very Good plus bound internally with a prong binding. London Independent Producers unknown
1947ref. 147742Culver City CA: RKO Radio Pictures 1947. Seven vintage studio still photographs from the 1947 film. Based on the 1947 novella by John Steinbeck who co-wrote the screenplay. A poor Mexican family living in a fishing village believe their fortune is made when they discover a valuable pearl but soon realize the treasure only brings them further trouble. Noted Mexican cinematographer Gabriel Figueroa's twelfth film collaboration with prolific Golden Age director Emilio Fernandez. Set and shot on location in Acapulco Mexico. 10 x 8 inches. Five photographs Very Good plus two photographs Very Good with uniform fading and light creasing. National Film Registry. RKO Radio Pictures unknown
1967ref. 156031N.p.: N.p. 1967. Two vintage borderless reference photographs of Suzy Kendall Terence Morgan and Norman Rodway from the 1967 British film. Loosely based on the 1967 play "The Meter Man" by Scott Forbes. A pair of oafish thugs break into a wealthy London penthouse apartment planning to terrorize the couple they find within-only to discover the couple ready and willing to explore a number of bizarre sexual fetishes. Set in London. 7.25 x 7.25 inches. Near Fine. N.p. unknown
1970ref. 147686Los Angeles: AVCO Embassy Pictures 1970. Collection of 20 vintage black and white reference photographs from the 1970 film. A cautionary tale following a suburban couple who discover their teenage daughter is addicted to LSD and cocaine. Set in New York. 8 x 10 inches. Near Fine. AVCO Embassy Pictures unknown
1973ref. 146856Rome: Audiovisual Editorial Programs 1973. Treatment script for an unproduced thirteen-part documentary series. Laid in with the script is a prospective budget for the film in English and an overview of the film in Italian as well as a typed letter from producer Sam Marx to casting agent Paul Kohner with manuscript ink annotations likely written by Kohner. Screenwriter George A. Vicas was best known for his documentary films for television especially for his involvement in the 1963 film "The Kremlin" notable for being the first time an American film crew was allowed to enter and record footage of Soviet Russia's government. "The Peoples of the USS.R." was intended to follow in its footsteps with each episode focusing on a different region of Russia. Set in the USSR. Green untitled wrappers. Title page present with credits for screenwriter GEORGE A. VICAS. 49 leaves with last page of text numbered XIII/45. Xerographic duplication rectos only. Pages Very Good plus wrapper Very Good plus with light offsetting on the front and rear wrappers bound internally with two gold brads. Audiovisual Editorial Programs unknown
1971ref. 162070N.p.: Manson Distributing 1971. Three vintage studio still photographs from the US release of the Canadian/US film. Provenance stamps and labels on the versos. Barbara Mills stars as a sexually unfulfilled housewife of a film producer. She begins an affair with a writer and the two break down en route to Las Vegas. There they encounter a group of thugs where things take a very dark turn. 8 x 10 inches. Near Fine. Manson Distributing unknown
1959ref. 164252N.p.: N.p. 1959. Four vintage reference photographs from the 1959 film including one of Tony Curtis and others on the set. One with a provenance label and annotations in manuscript pencil on the verso. A sex-starved soldier stationed at an Arctic station wins a date in Paris with a bombshell film star although a couple of military policemen and a female lieutenant are tasked with following the soldier in order to ensure the date stays chaste. 10 x 8 inches. Very Good plus. N.p. unknown
1931ref. 170382Paris: Les Films Osso 1931. Vintage lobby card for the 1931 French film. Annotations in manuscript pencil on the verso. Based on the 1980 novel by Gaston Leroux. Featuring set designs by Russian art director Pierre Schild who worked on a number of notable films throughout the 1930s and 1940s including "L'Age d'Or" 1930. 11.5 x 9.5 inches. Very Good plus with some light soil and wear to the margins. Les Films Osso unknown
1984ref. 168022Los Angeles: The Samuel Goldwyn Company 1984. Two vintage reference photographs from the 1984 softcore film. Loosely based on the bondage-themed comics of John Willie and on his original character Sweet Gwendoline. After being kidnapped at a Chinese port a courageous young woman is rescued by a mercenary kicking off a string of wild adventures. 10 x 8 inches. About Fine. The Samuel Goldwyn Company unknown
1925ref. 3105California: Universal Pictures 1925. First edition. original wrappers. Good. AN EARLY WORKING DRAFT OF THE 1925 PHANTOM OF THE OPERA PRESERVING THE DARKER SCENARIO UNIVERSAL WROTE BEFORE ITS FRONT OFFICE ORDERED THE TERROR TONED DOWN AND INCLUDING AN ORIGIN STORY FOR THE PHANTOM THAT NEVER REACHED THE SCREEN. Lon Chaney's unmasking in The Phantom of the Opera remains one of the most famous moments in film history. The picture that audiences finally saw in 1925 though came out of a long and difficult production shaped by poorly received previews reshoots and repeated re-editing. Its story begins with Universal staff writer Elliott J. Clawson's adaptation of Gaston Leroux's 1910 novel. The present typescript records his scenario at an early stage before the studio's successive revisions reshaped it. THE PHANTOM'S LOST ORIGIN STORY: The most striking feature of the draft is a lengthy origin episode absent from every filmed version of the story. In it a Sultan condemns the Phantom to die on an anthill and the Persian who becomes his lifelong associate rescues him. Leroux's novel only alludes to its Phantom's past in Persia where a police official spared him from the Shah's death sentence. Clawson turned that background into a full dramatic sequence. The episode though was abandoned before filming began. Philip J. Riley mentions it in his narrative account of the production The Making of the Phantom of the Opera 1999 but the present manuscript preserves it as Clawson actually wrote it. Riley records that by the fifth revised shooting script most of the genuinely frightening scenes like the anthill death scene had been removed because the front office feared the original material would drive audiences out of the theater. RELATIONSHIP TO THE KNOWN RECORD: Riley's study draws on two principal script documents: an early Clawson draft which he quotes in places and the fifth revised shooting script which he reproduces in full. The present manuscript shares the general scope and character of the early draft yet it differs in both scene numbering and the wording of specific directions. At the bedchamber scene Riley's source is numbered 286; here the same scene is numbered 289. The three-scene offset indicates that this manuscript contains material Riley's source lacks at that point suggesting either an earlier compositional layer or a fuller parallel version. Riley does not say where his early draft is held so the relationship between the two documents remains open. Our comparison is limited to the passages Riley chose to quote and a full collation may well reveal further differences. THE ANNOTATIONS: Pencil annotations appear intermittently throughout. They are pointed and analytical raising questions of continuity pacing and plot logic. One asks how Christine could communicate with Raoul while held captive and another asks why certain developments do not occur earlier in a sequence. They suggest close review by a reader with editorial authority over the script. Note: Although the draft breaks off during the climactic rescue attempt by Raoul and Ledoux and does not include the full text as we've come to know the story the draft appears complete as it originally existed. There is no sign of removed pages - in fact the last page with type seems to be on a different stock and serves also as the rear wrapper - which is consistent with an unfinished working draft rather than later loss. RARITY: Universal silent-era screenplays rarely survive. Scripts were typed in small numbers on unstable pulp paper and much of the studio's early paper record was later discarded. This draft documents The Phantom of the Opera before commercial pressure and successive rewrites displaced Clawson's original conception. It preserves a version of the film that Universal chose not to make. Typescript working draft. Universal City California: Universal Pictures ca. 1925. More than 200 pages typed on 8.5 x 13 inch legal-size pulp stock; original blue wrapper; pale toned rear wrapper. Pencil annotations throughout. Front wrapper present but detached; leaves brittle with edge chipping creases foxing marginal staining and small losses as is typical of Universal scripts of the period. Housed in custom archival presentation box. Universal Pictures unknown
1944ref. 146004Hollywood: Republic Productions 1944. Shooting script for the 1944 film. Single manuscript pencil notation on the front wrapper. A physician researching life-after-death is possessed by the spirit of an executed murderer who uses the doctor's body to exact vengeance on those involved in his death. A Jekyll-and-Hyde-style supernatural horror B-movie unusual for Republic Productions who were better known for their Western pictures. Tan partial titled wrapper noted as SHOOTING SCRIPT on the front wrapper noted as production No. 1463 dated October 3 1944 with credits for screenwriter John K. Butler. Title page integral to the first page of text dated October 3 1944. 82 leaves with last page of text numbered 80. Mimeograph duplication rectos only with blue revision pages throughout dated 10/14/44. Pages Near Fine wrapper Very Good plus with splashes on the front wrapper bound with two gold brads. Republic Productions unknown
1925ref. 157313N.p.: Wardour Films 1925. Vintage double weight studio still photograph from the US release of the 1925 French silent film showing actress Sandra Milovanoff. Contemporary annotation in manuscript ink on the verso noting the film's title in English. From the archive of film historian and author Joel Finler. A man's soul is released from his body by a hypnotist at the Moulin Rouge nightclub leading him to go on a mischievous havoc-wreaking spree around the city of Paris. Set in Paris. 8 x 10 inches. Good only with brief creasing at the corners and faint overall age toning. Wardour Films 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
1968ref. 154902Dallas: Orbit Films 1968. Vintage pressbook for the 1968 film. Con women steal one million dollars from two mob money couriers forcing the men to find and recover the money before their employers discover the theft. Versatile and prolific cross-genre filmmaker Lee Frost was best known for his string of exploitation films throughout the 1960s and 1970s most notably including "The Animal" 1968 "Chain Gang Women" 1971 and "Policewomen" 1974. 12 pages saddle stapled. 11 x 17 inches. Near Fine. Orbit Films unknown
1968ref. 157623Los Angeles: R.A.C. Films 1968. Vintage studio still photograph from the 1968 film. Con women steal one million dollars from two mob money couriers forcing the men to find and recover the money before their employers discover the theft. Versatile and prolific cross-genre filmmaker Lee Frost was best known for his string of often radical exploitation and adult films throughout the 1960s and 1970s most notably including "The Animal" 1968 "Chain Gang Women" 1971 and "Policewomen" 1974. Shot on location in Las Vegas. 10 x 8 inches. Near Fine with a light crease on the bottom right corner. R.A.C. Films unknown
1993ref. 141095Culver City CA: Columbia Pictures 1993. Draft script for the 1993 film. A formerly powerful but lately unsuccessful director must make a truly great film in order to save his career. Against his better judgment he agrees to direct an truly horrible science fiction movie about Kansas farmers who fly a gigantic pickle into outer space when the executive behind the script offers him a substantial sum of money. Set and shot on location in New York. Red untitled wrappers. Title page present with credit for screenwriter Paul Mazursky. 112 leaves with last page of text numbered 111. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. Columbia Pictures unknown
