11,066 results
1960ref. 125095London: Michael Powell Theatre 1960. Vintage British Advance Poster for the classic 1960 film. The British Double Crown poster for the film turns up from time to time but this Advance issue which does not state the film's title is a rarity. Noted director Powell's most controversial film about a serial killer who films his female victims as they are dying. Reviled by critics on its release and today considered a masterpiece it is the second of three feature films director made after parting ways with his longtime filmmaking partner Emeric Pressburger. Ostensibly a film about a killer with serious Freudian issues but later reassessed as much more conceptual and complex. Roger Ebert pointed out famously in his 1999 review of the film that the audience is implicated as much as the killer."Movies make us into voyeurs. We sit in the dark watching other people's lives. It is the bargain the cinema strikes with us although most films are too well-behaved to mention it." Martin Scorsese is probably the most famous fan of the film and takes Ebert's argument further saying "I have always felt that "Peeping Tom" and "8 " say everything that can be said about filmmaking about the process of dealing with film the objectivity and subjectivity of it and the confusion between the two. "8 " captures the glamour and enjoyment of film-making while "Peeping Tom" shows the aggression of it how the camera violates. From studying them you can discover everything about people who make films or at least people who express themselves through films." 30 x 20 inches. About Near Fine on archival linen with some expert restoration at the top edge and folds. Archivally framed with an acid-free mat and UV plexi. Criterion Collection 58. Grant p. 495. Spicer p. 446. Michael Powell [Theatre] unknown
1985ref. 168490Burbank CA: Mainline 1985. Three vintage studio still photographs from the 1985 film. Based in part on the 1948 Italian film "The Bicycle Thief" directed by Vittorio De Sica in which Pee-wee's beloved bicycle is stolen and he must follow a goofy cross-country trail of leads in order to retrieve it. Director Tim Burton's debut feature film and the first pairing of Burton and his longtime composer Danny Elfman. Shot on location in California and Texas. 10 x 8 inches. Generally Near Fine. Mainline unknown books
1985ref. 168490Burbank CA: Mainline 1985. Three vintage studio still photographs from the 1985 film. Based in part on the 1948 Italian film "The Bicycle Thief" directed by Vittorio De Sica in which Pee-wee's beloved bicycle is stolen and he must follow a goofy cross-country trail of leads in order to retrieve it. Director Tim Burton's debut feature film and the first pairing of Burton and his longtime composer Danny Elfman. Shot on location in California and Texas. 10 x 8 inches. Generally Near Fine. Mainline unknown
1955ref. 149955Santa Monica: RKO Radio Pictures 1955. Vintage reference photograph of Virginia Mayo and Allan Dwan on the set of the 1955 film. Rita Mayo and Bully David Farrar convince her ex Dan Dennis Morgan to join them in an expedition to steal rare black pearls from the natives of a South Pacific island. Shot on location in Hawaii. 8 x 10 inches. Light edgewear and small crease on upper right edge else Near Fine. RKO Radio Pictures unknown books
1955ref. 149955Santa Monica: RKO Radio Pictures 1955. Vintage reference photograph of Virginia Mayo and Allan Dwan on the set of the 1955 film. Rita Mayo and Bully David Farrar convince her ex Dan Dennis Morgan to join them in an expedition to steal rare black pearls from the natives of a South Pacific island. Shot on location in Hawaii. 8 x 10 inches. Light edgewear and small crease on upper right edge else Near Fine. RKO Radio Pictures unknown
1967ref. 147733Beverly Hills CA: Crown International Pictures 1967. Collection of nine vintage studio still photographs from the 1967 film. Two photographs shown. Please inquire to see others. An gun-sharp outlaw tries to leave his past behind in a frontier town but is met with resistance from the locals. Shot on location in Arizona. 10 x 8 inches. Very Good plus lightly faded and toned to the edges. Pitts 3060. Crown International Pictures unknown books
1973ref. 147719Los Angeles: Cinerama Releasing 1973. Collection of 13 vintage studio still photographs and 2 borderless portraits of actors Elayne Heilveil and Rip Torn all from the release of the 1973 film. Six photographs shown. Please inquire to see others. A ruthless manipulative country western singer tours the southern nightclub circuit in his big Cadillac accompanied by a bevy of girlfriends and copious amounts of liquor and drugs. Set in the American South shot on location in Selma Alabama. 13 photographs 10 x 8.25 inches 2 photographs 7.5 x 10 inches. Near Fine. Cinerama Releasing unknown books
1973ref. 147719Los Angeles: Cinerama Releasing 1973. Collection of 13 vintage studio still photographs and 2 borderless portraits of actors Elayne Heilveil and Rip Torn all from the release of the 1973 film. Six photographs shown. Please inquire to see others. A ruthless manipulative country western singer tours the southern nightclub circuit in his big Cadillac accompanied by a bevy of girlfriends and copious amounts of liquor and drugs. Set in the American South shot on location in Selma Alabama. 13 photographs 10 x 8.25 inches 2 photographs 7.5 x 10 inches. Near Fine. Cinerama Releasing unknown
1957ref. 147567Los Angeles: Republic Pictures 1957. Five vintage studio still photographs from the 1957 Western film. A white man raised among the Pawnee tribe is forced to choose between his race and his adoptive clan when corrupt white settlers attempt to claim tribal lands for their own. Set in Pawnee territory which included present-day Oklahoma Nebraska and Kansas. 8 x 10 inches. Very Good with light edgewear and creasing to the top edges and light soil to the verso. Pitts 3058. Republic Pictures unknown books
1983ref. 167723N.p.: N.p. 1983. Nine vintage color transparencies from the 1983 French film. A woman on the verge of divorce takes a trip to the beach with her teenage niece where she rekindles an old flame. The third film in Éric Rohmer's "Comedies and Proverbs" film series following "The Aviator's Wife" 1981 and "Le Beau Mariage" 1981. Winner of the Silver Bear for Best Director. All transparencies 4 x 5 inches. Near Fine. N.p. unknown books
1983ref. 167723N.p.: N.p. 1983. Nine vintage color transparencies from the 1983 French film. A woman on the verge of divorce takes a trip to the beach with her teenage niece where she rekindles an old flame. The third film in Éric Rohmer's "Comedies and Proverbs" film series following "The Aviator's Wife" 1981 and "Le Beau Mariage" 1981. Winner of the Silver Bear for Best Director. All transparencies 4 x 5 inches. Near Fine. N.p. unknown
1955ref. 172378Beverly Hills CA: United Artists 1955. Vintage studio still photograph from the 1956 film. Based on the 1955 teleplay of the same name by Rod Sterling. The head of a corporation adds a new-hire to the team to replace his second-in-command who he is attempting to force out by worsening his working conditions. Set in and shot on location in Manhattan. 8 x 10 inches. Near Fine. United Artists unknown books
1956ref. 135336Beverly Hills CA: Jed Harris / United Artists 1956. Eight vintage studio still photographs from the 1956 film. 8 x 10 inches. Near Fine. Jed Harris / United Artists unknown books
1963ref. 150844N.p.: Herts-Lion International 1963. Three vintage studio still photographs from the 1963 film. One borderless with manuscript pencil annotations on the verso. Three World War II soldiers search for a cache of lost Nazi gold. Two 10 x 8 inches one 9.5 x 7.5 inches. Near Fine. Herts-Lion International unknown books
1957ref. 162245Beverly Hills CA: United Artists 1957. Eight vintage photographs from the 1957 film including one reference photograph and seven studio still photographs. One of the great antiwar films based on the 1935 novel by Humphrey Cobb about a group of French soldiers who are charged with cowardice after refusing to complete a suicidal attack during World War I. 8 x 10 inches. Good with moderate fading and cracking to the finish throughout and several with chips and bruises at the edges. National Film Registry. Criterion Collection 538. United Artists unknown books
1957ref. 162245Beverly Hills CA: United Artists 1957. Eight vintage photographs from the 1957 film including one reference photograph and seven studio still photographs. One of the great antiwar films based on the 1935 novel by Humphrey Cobb about a group of French soldiers who are charged with cowardice after refusing to complete a suicidal attack during World War I. 8 x 10 inches. Good with moderate fading and cracking to the finish throughout and several with chips and bruises at the edges. National Film Registry. Criterion Collection 538. United Artists unknown
1973ref. 150388Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Vintage studio still photograph of director Sam Peckinpah on the set of the 1973 film. A very nearly experimental Western made by Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of revisionism. Comparable only 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. Particularly so in the case of Bob Dylan whose mysteriousness was yet again renewed by his performance as "Alias" in the film. Filmed on location in Durango Mexico. 8 x 10 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1973ref. 170447Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Vintage studio still color photograph from the 1975 film. Provenance label and annotations in manuscript pencil on the verso. A very nearly experimental Western made by Sam Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of Western revisionism. Comparable only 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. 10 x 8 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown books
1973ref. 170446Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Collection of 18 vintage reference photographs from the 1975 film including 17 bordered photographs and one borderless double weight photograph. Eight with mimeo snipes on the verso. A very nearly experimental Western made by Sam Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of Western revisionism. Comparable only 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. 10 x 8 inches. Generally Very Good plus or better. Metro-Goldwyn-Mayer [MGM] unknown books
1973ref. 170446Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Collection of 18 vintage reference photographs from the 1975 film including 17 bordered photographs and one borderless double weight photograph. Eight with mimeo snipes on the verso. A very nearly experimental Western made by Sam Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of Western revisionism. Comparable only 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. 10 x 8 inches. Generally Very Good plus or better. Metro-Goldwyn-Mayer [MGM] unknown
1973ref. 170447Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Vintage studio still color photograph from the 1975 film. Provenance label and annotations in manuscript pencil on the verso. A very nearly experimental Western made by Sam Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of Western revisionism. Comparable only 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. 10 x 8 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1973ref. 150388Beverly Hills CA: Metro-Goldwyn-Mayer MGM 1973. Vintage studio still photograph of director Sam Peckinpah on the set of the 1973 film. A very nearly experimental Western made by Peckinpah at his peak sufficiently strange to have remained of interest only to the most intense fans of revisionism. Comparable only 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. Particularly so in the case of Bob Dylan whose mysteriousness was yet again renewed by his performance as "Alias" in the film. Filmed on location in Durango Mexico. 8 x 10 inches. Near Fine. Metro-Goldwyn-Mayer [MGM] unknown
1949ref. 147812N.p.: Eagle Lion Films 1949. Four vintage studio still photographs from the 1949 film. Residents of the Pimlico region of London discover a treasure trove of documents which reveal the region is actually part of Burgundy France. A classic Ealing Studios comedy. Set in and shot on location in London. 8 x 10 inches. Near Fine. Eagle Lion Films 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. 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
