9,121 results
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
1959ref. 134256Los Angeles: Pad-Ram Enterprises 1959. A collection of 8 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 books
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 books
1943ref. 146470Universal City: Universal Pictures 1943. Revised Draft script for the 1944 film. With a few small manuscript pencil annotations throughout noting the name of an unknown crew member. A condemned murderer escapes from jail when Nazis bomb the French prison where he is being held. Encountering the body of a dead French soldier he steals the man's identification papers and uniform and escapes to Africa joining the Resistance Movement and in doing so finding new purpose and a sense of patriotism to France. Set in France and French Equatorial Africa. Beige titled wrappers noted as REVISED on the front wrapper rubber-stamped production No. 7126 dated AUGUST 4 1943 with credits for director JULIEN DUVIVIER. Title page integral with the front wrapper as issued. 140 leaves with last page of text numbered 137. Mimeograph duplication rectos only with blue and white revision pages throughout dated variously between 8/12/43 and 10/4/43. Pages Very Good plus wrapper Very Good with front wrapper detached from binding bound with three gold brads. Universal Pictures unknown
1943ref. 146470Universal City: Universal Pictures 1943. Revised Draft script for the 1944 film. With a few small holograph pencil annotations throughout noting the name of an unknown crew member. A condemned murderer escapes from jail when Nazis bomb the French prison where he is being held. Encountering the body of a dead French soldier he steals the man's identification papers and uniform and escapes to Africa joining the Resistance Movement and in doing so finding new purpose and a sense of patriotism to France. Set in France and French Equatorial Africa. Beige titled wrappers noted as REVISED on the front wrapper rubber-stamped production No. 7126 dated AUGUST 4 1943 with credits for director JULIEN DUVIVIER. Title page integral with the front wrapper as issued. 140 leaves with last page of text numbered 137. Mimeographed rectos only with blue and white revision pages throughout dated variously between 8/12/43 and 10/4/43. Pages Very Good plus wrapper Very Good with front wrapper detached from binding bound with three gold brads. Universal Pictures unknown books
1979ref. 127312Burbank CA: Warner Brothers 1979. Vintage one sheet poster for the 1979 film. Alan Arkin stars as Sheldon an unassuming dentist from New Jersey who on the eve of his daughter's wedding meets the groom's father Vince played by Peter Falk a strange mysterious and volatile man who in the next 24 hours draws him into madcap misadventures from New York to Central America. Remade in 2003 directed by Andrew Flemming and starring Michael Douglas and Albert Brooks. Shot on location in Mexico New Jersey New York and California. 27 x 41 inches. Folded as issued. Near Fine. Criterion Collection 823. Warner Brothers unknown
1975ref. 167495London: Reader's Digest Films 1975. Revised Second Draft script for the 1976 British film seen here under the working title "Sarah." Sketch in manuscript pencil likely of a set design on the verso of the colophon page. A dramatization of the storied and frequently scandalous life of French stage actress Sarah Bernhardt. Nominated for two Academy Awards. Shot on location throughout England in London Didcot and Buckinghamshire. Blue wrappers with a die-cut title window in the British style. Title page present dated June 26 1975 noted as Revised Second Draft with copy No. 32 noted in manuscript ink with credit for screenwriter Ruth Wolff. 107 leaves with last page of text numbered 105. Mimeograph duplication on eye-rest green stock rectos only. Pages Near Fine wrapper Near Fine bound internally with two silver brads. Reader's Digest Films unknown
1957ref. 164827Universal City CA: Universal-International 1957. Vintage linen-backed publicity photograph from the 1957 film showing actor Grant Williams being menaced by a gigantic hand holding a pair of tweezers. Printed mimeo snipe affixed to the verso. A landmark science fiction film adapted by Richard Matheson from his own 1956 novel about a man who begins shrinking after being exposed to a strange mist. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1 1901 Jones worked for Paramount Pictures in the early 1930s and went on to be the head of the still photography department at Universal Pictures in 1935 where he worked well into the 1950s. 8 x 10 inches. About Fine. National Film Registry. Universal-International unknown
1957ref. 167613Universal City CA: Universal-International 1957. Two vintage studio still photographs from the 1957 film one showing actor Grant Williams standing alongside a gigantic ball of twine the other showing Williams being menaced by a spider. A landmark science fiction film adapted by Richard Matheson from his own 1956 novel about a man who begins shrinking after being exposed to a strange mist. 10 x 8 inches. Near Fine. National Film Registry. Universal-International unknown
1957ref. 137255Universal City CA: Universal Pictures 1957. Four striking vintage photographs from the 1957 US film. The stills demonstrate the practical effects and extraordinary sets constructed in order to make the picture-at a time when the special effects needed to visualize the world of a man reduced to being only a few inches were essentially nonexistent. A landmark science fiction film adapted by Richard Matheson from his own 1956 novel about a man who begins shrinking after being exposed to a strange mist. 8 x 10 inches. Fine condition with scene descriptions tipped on to the verso of eight of the nine stills. National Film Registry. Universal Pictures unknown
1971ref. 140432Los Angeles: Harlequin Pictures 1971. Vintage studio still photograph from the 1971 film. A twist on the Frenkenstein mad-scientist scenario in which Bruce Dern plays the crazed scientist who transplants a murder's head onto a mentally handicapped young man - next to the boy's own head! Shot on location in California. 8 x 10 inches. Holograph ink notation to the verso else Near Fine. Harlequin Pictures unknown books
1957ref. 137255Universal City CA: Universal Pictures 1957. Collection of four striking vintage photographs from the 1957 US film. The stills demonstrate the practical effects and extraordinary sets constructed in order to make the picture-at a time when the special effects needed to visualize the world of a man reduced to being only a few inches were essentially nonexistent. A landmark science fiction film adapted by Richard Matheson from his own 1956 novel about a man who begins shrinking after being exposed to a strange mist. 8 x 10 inches. Fine condition with scene descriptions tipped on to the verso of eight of the nine stills. National Film Registry. Complete collation details available on request. Universal Pictures unknown books
1990ref. 166471N.p.: Clyde is Hungry Productions 1990. Shooting script for the 1991 film. Noted as Shooting Script and copy No. 20 in manuscript ink on the title page. Incomplete script ending on page 117. Sean Penn's directorial debut based on the 1982 Bruce Springsteen song "Highway Patrolman" about two brothers on opposite sides of the law. The final film performance of Sandy Dennis who died six months after the film's release. Set in 1960s Nebraska shot on location in Plattsmouth and Omaha Nebraska. Self wrappers. Title page present dated June 25 1990 noted as shooting script with credit for Penn. 118 leaves with last page of text numbered 117. Xerographic duplication rectos only. Pages Very Good plus bound with two gold brads with first and last leaves partially detached from the binding. Clyde is Hungry Productions unknown
1935ref. 146988Culver City CA: RKO Radio Pictures 1935. Two vintage oversize double weight photographs from the 1935 film. 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 Victor 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. 11 x 14 inches with irregular margins. Near Fine. National Film Registry. RKO Radio Pictures unknown
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
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 holograph 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
1935ref. 146988Culver City CA: RKO Radio Pictures 1935. Two vintage oversize double weight photographs from the 1935 film. 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 Victor 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. 11 x 14 inches with irregular margins. Near Fine. National Film Registry. RKO Radio Pictures unknown books
1958ref. 144477Los Angeles: Twentieth Century-Fox 1958. Vintage borderless photograph from the set of the 1958 film. With holograph annotations and an agency stamp on the verso. Based on the 1957 biography of Gladys Aylward by Alan Burgess titled "The Small Woman." Gladys Aylward Ingrid Bergman was born in 1902 in England. After being denied the opportunity to become a missionary due to her lack of education she paid her way to China and helped start a mission in Shansi Privince in 1930. In 1938 she guided over 100 orphans to safety over a mountain pass as Japanese forces invaded the area. According to the AFI catalog Aylward denounced the film and stated that the romance between her and a Chinese colonel depicted in the film was false. Nominated for an Academy Award. Shot on location in Wales UK. 8 x 10 inches. Near Fine. Twentieth Century-Fox unknown books
1976ref. 166668N.p.: N.p. 1976. Nine vintage borderless reference photographs from the 1976 Italian film including one photograph of director Luchino Visconti on the set. Stamp of photographer Mario Tursi on the versos. Based on Gabriele d'Annunzio's 1892 novel "The Intruder" about an unfaithful aristocrat who falls back into love with his wife when he suspects her of cheating on him. Luchino Visconti's final directorial effort considered by many among his finest films released three months after his death. Set and shot on location in Rome and Lucca. 9.5 x 7.25 inches. Near Fine. Rosenbaum 1000. N.p. unknown
1963ref. 141423Tokyo: Nikkatsu 1963. Draft script for the 1963 film. Text in Japanese. A metaphor for the experience of Japanese citizens in the postwar era told through the perspective of a woman named Tome born into a lower class family. She finds herself in a cycle of self-defeat repeating the same mistakes that have always plagued her. Yellow titled perfect-bound wrappers. Title page present. 156 leaves with last page of text numbered 29. Mechanical duplication. Pages Near Fine wrapper Near Fine. Criterion Collection 473. Eureka 22. Nikkatsu unknown
1963ref. 143469Tokyo: Nikkatsu 1963. Draft post-production script for the 1963 film. Round robin copy SIGNED by director Shohei Imamura and six members of the cast and crew on the front wrapper including Sachiko Hidari Kazuo Kitamura Shoichi Ozawa Jitsuko Yoshimura and composer Toshiro Mayuzumi with signatures dated in the mid-1990s. Text in Japanese. A metaphor for the Twentieth Century Japanese experience particularly through World War II told through the perspective of a woman named Tome born into a lower class family. She finds herself in a cycle of self-defeat repeating the same mistakes that have always plagued her. White titled perfect bound wrappers with holograph signatures to the front wrappers. Title page present. 83 leaves with last page of text numbered 10-6. Mechanical duplication. Pages Near Fine wrapper Near Fine. Criterion Collection 473. Eureka 22. Nikkatsu unknown books
1963ref. 141423Tokyo: Nikkatsu 1963. Draft script for the 1963 film. Text in Japanese. A metaphor for the Twentieth Century Japanese experience particularly through World War II told through the perspective of a woman named Tome born into a lower class family. She finds herself in a cycle of self-defeat repeating the same mistakes that have always plagued her. Yellow titled perfect bound wrappers. Title page present. 156 leaves with last page of text numbered 29. Mechanical duplication. Pages Near Fine wrapper Near Fine. Criterion Collection 473. Eureka 22. Nikkatsu unknown books
1974ref. 140771Hollywood: Goldwyn Studios 1974. Draft script for an unproduced film. The daughter of a steel magnate is kidnapped from her college and being held for ransom by a group called the Army of the Oppressed whose insane leader demands ten million dollars in food for the poor. His enemy Turkey the leader of the Liberators in Detroit exacts his own revenge by kidnapping Malcolm Z's mother and wife but is apprehended by the FBI. A convict is allowed to escape from jail to lead the local cops to the gang but he too is killed onsite. With all the leads and hopes dashed one investigator risks his life for one more trick in getting the girl home safely. Set in California and Detriot. Yellow titled wrappers. Title page present dated March 7 1974 with credits for screenwriter Charles Martin. 106 leaves with last page of text numbered 98. Xerographic duplication. Pages Near Fine wrapper Near Fine bound with two gold brads. Goldwyn Studios unknown
1983ref. 141726Los Angeles: Sasha and the Greystones 1983. Treatment script for an unproduced film. An unlikely quartet of international spies begins operating in Europe under the control of no particular government in order to thwart a terrorist plan. Blue untitled wrappers dated May 13 1983. Title page present dated March 1983 noted as Revised with credit for screenwriter George Ganchev. Eleven leaves with last page of text numbered ten. Xerographic duplication rectos only. Pages Near Fine wrapper Near Fine bound with two gold brads. Sasha and the Greystones unknown
