4 698 résultats
1960150794UK: Warwick Film Productions 1960. Collection of 36 vintage reference photographs from the 1960 UK musical comedy. Two photographs depict camera crews at work on the set. One photograph with the stamp of UK distributor Eros Films on the verso a second photograph with a mimeo snipe from US distributor Columbia Pictures on the verso. <br /> <br /> After bragging about his nonexistent skills as a burglar an electrician gets mixed up with a gang of thieves planning a heist and hides out on jazz boat cruising down the Thames. Featuring music by British big band leader Ted Heath and his orchestra. <br /> <br /> 8 x 10 and 10 x8 inches. Photographs various Very Good plus to Near Fine. Warwick Film Productions unknown
1971165389London: Kestrel Films 1971. Draft script for the 1971 film seen here under the working title "Scenes of Family Life." Copy belonging to an unidentified cast or crew member with their annotations relating to props and set design on several pages in the script.<br /> <br /> Loosely based on David Mercer's 1967 television play "In Two Minds" which was based in turn on a case detailed in psychiatrist R.D. Laing's 1960 book "The Divided Mind." A conservative working class couple is shocked when their unmarried daughter reveals she is pregnant and force her to have an abortion resulting in detrimental effects to her emotional and mental health. Director Ken Loach's third feature film following his breakthrough 1969 film "Kes."<br /> <br /> Red titled wrappers. Title page present undated with credit for Mercer. 69 leaves with last page of text numbered 68. Mimeograph duplication rectos only. Pages Near Fine wrapper Near Fine bound internally with a silver prong. Kestrel Films unknown
1968143231Tokyo: Shochiku Company 1968. Draft script for the 1968 film. Copy belonging to an unknown cast or crew member with their annotations in manuscript pencil throughout.<br /> <br /> Based on Yukio Mishima's 1961 stage adaptation of Edogawa Ranpo's 1934 novel. A cunning lady thief known as the Black Lizard tries to kidnap a wealthy jeweler's daughter as part of a plot to steal her father's priceless Star of Egypt diamond. <br /> <br /> Set in Tokyo. <br /> <br /> White titled perfect-bound wrappers dated 1968.6.17. 126 pages with last page of text numbered d-34. Mimeograph duplication printed on rectos and versos. Pages Near Fine wrapper Very Good lightly foxed overall. Shochiku Company unknown
1943147112Los Angeles: Twentieth Century-Fox 1943. Second Revised Final draft script for the 1944 film. A few annotations of names or checks in manuscript pencil on the top outer corner of verso. <br /> <br /> A dramatization of the trials that took place in Japan during World War II eight American aircrew members are taken prisoner by the Japanese Army. The soldiers are forced to endure systematic torture and abuse and finally accused convicted and executed as war criminals. This film brought opposition from the Department of Defense fearing strong reactions from the Japanese. <br /> <br /> Set in Japan shot on location in Washington DC. <br /> <br /> Beige titled wrappers noted as SECOND REVISED FINAL on the front wrapper rubber-stamped copy No. 229 and production No. 936 dated OCT. 14 1943. Distribution page present with receipt intact. Title page present dated October 14 1943 noted as 2nd Revised Final. 136 leaves with last page of text numbered 131. Mimeograph duplication rectos only with blue revision pages throughout dated variously between 10/20/43 and 12/6/43. Pages Near Fine wrapper Near Fine bound with two gold brads. Twentieth Century-Fox unknown
1967149639Paris: Nouvelles editions de films 1967. Two vintage borderless double weight photographs from the set of the 1967 film. The first photograph shows Louis Malle and Jean-Paul Belmondo who is in costume conferring on the set. With the stamp of photographer Vincent Rossel and the name of the film as well as manuscript annotations regarding layout on the verso. <br /> <br /> The second photograph shows director Louis Malle standing with his back to the camera and other crew members at work on a rooftop in preparation for a scene. A few penciled annotations on the verso.<br /> <br /> Based on the 1897 novel by Georges Darien. After his inheritance is stolen by his uncle a young man embarks on a life of crime to win back what was taken from him.<br /> <br /> Set and shot on location in Paris.<br /> <br /> 10 x 8 inches. Near Fine. Nouvelles editions de films unknown
1968148783Glendale CA: Allied Artists 1968. Eight vintage studio still photographs from the US release of the 1967 French film. <br /> <br /> Buñuel's first color film about a bored and directionless young housewife who begins working in a brothel while her husband is at work with tragic consequences for him and a jealous client involved in organized crime. Winner of the Golden Lion at the 1967 Venice Film Festival. <br /> <br /> Set in and shot on location in Paris. <br /> <br /> 8 x 10 inches. Near Fine. <br /> <br /> Godard Histoires du cinema. Vogel Film as a Subversive Art. Rosenbaum 1000. Ebert I. Criterion Collection 593. Allied Artists unknown
1967135079Paris: Robert et Raymond Hakim / Sud-Films Distribution 1967. Vintage black-and-white borderless press photograph of director Luis Buñuel with cinematographer Christian Matras and the cast on the set of the 1967 film. With a European press agency stamp on the verso "Photo exclusive / EUROPANEWS" a date stamp of April 8 1969 and a few other annotations. <br /> <br /> 8 x 10 inches. Very Good to Near Fine. Robert et Raymond Hakim / Sud-Films Distribution unknown
1992163845N.p.: N.p. 1992. Third Draft script for the 1993 neo-noir film. Actor Charles Hallahan's copy with his lines highlighted in yellow on pages 44 through 46. McCurdy plays the role of the doctor who examines the corpse of what appears to be Madonna's first unfortunate victim.<br /> <br /> Against his better judgment a married lawyer agrees to defend a woman suspected of murdering her husband and soon begins a sadomasochistic affair with her. <br /> <br /> Shot on location in Portland Oregon and Olympia Washington.<br /> <br /> White titled front self-wrapper yellow rear wrapper noted as THIRD DRAFT on the front wrapper with credits for screenwriter Brad Mirman. Title page integral with front self-wrapper. 107 leaves with last page of text numbered 107. Xerographic duplication rectos only. Pages Near Fine wrapper Very Good plus bound with two gold brads.<br /> <br /> Grant US. Silver & Ursini American Neo-Noir. Spicer US Neo-Noir. N.p. unknown
1945150438Paris: Pathe 1945. Two vintage oversize double weight borderless studio still photographs from the 1945 French film one showing actress Arletty in costume as the courtesan Garance reclining on a couch the other showing the interior of the Grand Theatre where actor Pierre Brasseur is performing. <br /> <br /> An influential classic of French cinema following a courtesan in nineteenth century Paris who finds her attentions torn between four possible suitors-a mime an actor a thief and an aristocrat.<br /> <br /> Set and shot on location in France. <br /> <br /> 11 x 9 inches. Very Good plus one with pinholes and brief wear to the corners and one with a small closed tear to the top left corner. <br /> <br /> Criterion Collection 141. Ebert II. Rosenbaum 1000. Pathe unknown
1956164217Los Angeles: Twentieth Century-Fox 1956. Three vintage studio still photographs and three vintage reference photographs from the 1956 film all six showing actress Marilyn Monroe. Annotations in manuscript ink and pencil on the verso and two with provenance stamps and labels on the same.<br /> <br /> Of particular note is a photograph of a large-scale bus advertisement for the film's premiere at Grauman's Chinese Theatre showing Monroe stretched across the top of a Metro Bus in Los Angeles. <br /> <br /> Based on the 1955 play by William Inge about a cowboy who attempts to force his romantic interest a saloon singer to marry him and live together in Montana. <br /> <br /> Shot on location in Arizona Idaho and California. <br /> <br /> 10 x 8 inches. Very Good plus to Very Good three with ink annotations on the recto margins. Twentieth Century-Fox unknown
1995149323Universal City: Universal Pictures 1995. Two truly striking vintage reference photographs taken on the set of the 1995 film each demonstrating the film's true aspect ratio. With manuscript pencil and ink annotations regarding layout and the printed label of the film's still photographer Phillip V. Caruso to the verso. Shown in the two photographs are Scorsese working with actors and crew on the expansive casino floor set. Also shown are Robert De Niro Don Rickles Billy Crystal and others. <br /> <br /> Based on screenwriter Nicholas Pileggi's 1995 nonfiction book "Casino: Love and Honor in Las Vegas." Martin Scorsese's fifteenth film one of his finest a fast-paced bloody tale following a low-level mobster and gambling expert who climbs to power at the Mafia-run Tangiers Casino in the 1970s.<br /> <br /> Set and shot on location in Las Vegas with casino scenes shot at the Riviera.<br /> <br /> 10 x 8 inches. Fine. <br /> <br /> Spicer US Neo-Noir. Universal Pictures unknown
1984163349Burbank CA: Warner Brothers 1984. Revised Estimating Draft script for the 1986 film seen here under both the release title and the working title "Jocks." Another early working title was "First and Goal."<br /> <br /> A divorced high school track coach lands a position as a college football coach in spite of her lack of experience and is tasked with working the team's players into shape.<br /> <br /> Goldenrod titled wrappers. Title page present dated December 21 1984 noted as REV. ESTIMATED DRAFT with credits for screenwriters Ezra Sacks and Michael Leeson. 141 leaves with last page of text numbered 118. Xerographic duplication rectos only with yellow pink and blue revision pages throughout dated variously between 2/11/85 and 3/7/85. Pages Near Fine wrapper Near Fine bound with two gold brads. Warner Brothers unknown
1957144104Paris: Cinedis 1957. Collection of 150 vintage black-and-white keybook contact sheet photographs and 8 loose photographs for the 1957 French-Italian film. The film is represented in test shots set design shots and many candid moments from the set including dramatic high-contrast images of starring actors Bardot amply represented in the collection and seen in nearly every image off-camera with the cast and crew spinning records on a portable player and traveling by plane and train. <br /> <br /> Most keybook photos with 12 images per sheet and a few have been trimmed to only a few images per sheet amounting to over 1700 images captured. Nearly all images with series number bordering the image but unlike similar examples from France all sheets lack credits for the photo laboratory film studio film title and often the photographer. A few with layout annotations in manuscript pencil on the image a few with brief annotations on the verso in manuscript ink and two loose photographs with ditto-style mimeo snipes on the verso crediting original title Boyer Vidal Bardot and Boisrond. Housed in a blue paper 2-ring binder with French title mounted on the front with cello tape. <br /> <br /> Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet Vidal who happens to be a womanizer. Taking control of the situation she has an weekend affair with a prince Boyer and ultimately reunites with her husband after somewhat passive apologies. <br /> <br /> Most keybook contact sheets and 3 loose photos 7 x 9.25 inches binder slightly larger and 5 loose photos 5 x 7 inches. A few contact sheets are cropped slightly smaller and all are 2-hole punched. Very Good Plus overall keybook photos rubbed. Cinedis unknown
1957143131Paris: Cinedis 1957. Collection of 130 vintage black-and-white still photographs and 3 medium-format negatives for the 1957 French-Italian film. The collection consists of two unique but complimentary pieces one being a set housed in the original paper box with "Crumiere / Paris" paper label and annotations on the box top in manuscript ink noting French film title and "B. Bardot" the other being nearly 100 smaller photographs elegantly presented mounted on thick stock in a "Lavis aquarelle" brand spiral bound notebook with maroon faux leather front wrapper and an affixed paper title label featuring the film's poster art of Bardot. Several photographs with series number on the verso in manuscript pencil a few with rubber-stamps crediting film title and starring actors and photos in notebook numbered at the edges prior to being printed. <br /> <br /> Bardot is seen in nearly every image highlighting an array of hairstyles and costumes scenes in the pilot's cockpit snacking between takes dancing being curious at galas. Contact sheets glamour portraits of Madeleine Lebeau action sequences of bar fights and on-the-set images are equally prominent. Negatives show costume design illustrations for men in military uniforms. <br /> <br /> Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet Vidal who happens to be a womanizer. Taking control of the situation she has an weekend affair with a prince Boyer and ultimately reunites with her husband after somewhat passive apologies. <br /> <br /> Photographs in large quarto notebook 4 x 5 inches to 8 x 10.5 inches mounted on thick stock. Boxed photographs 4.75 x 7 inches to 9.25 x 11.75 inches with 3 medium-format negatives 3.5 x 4.5 inches. Photographs Near Fine overall light curling a handful with short creases negatives Very Good notebook Very Good plus box Very Good. Cinedis unknown
1956143200Tokyo: Toho Company 1956. Draft script for the 1956 film. Copy belonging to an unknown cast or crew member with their annotations in manuscript pencil throughout. Text and titles in Japanese.<br /> <br /> A neglected wife begins an affair with a bank teller who offers to loan money for her husband to open a cafe. Actress Hideko Takamine would appear in many of director Mikio Naruse's films usually embodying the plight of contemporary women in Japan longing for emancipation. <br /> <br /> Set in Japan. <br /> <br /> White titled perfect-bound wrappers. 67 pages with last page of text numbered e-26. Mimeograph duplication printed on rectos and versos. Pages Near Fine wrapper Very Good lightly foxed. Toho Company unknown
1967167722Budapest: Hungarofilm 1967. Collection of 23 vintage borderless reference photographs from the 1967 film including one showing director Miklós Jancsó on the set. Annotations in manuscript ink and pencil along with provenance labels on the versos. <br /> <br /> A Russian-Hungarian co-production the film was originally commissioned to celebrate the 50th anniversary of the 1917 October Revolution led by Lenin's Bolsheviks. However Jancsó chose to set the action two years later in 1919 focusing on the Hungarian soldiers supporting the Red Army in fighting the Whites. Instead of an idealized depiction of the revolution the resultant release was bleak and profoundly antiheroic and is today considered one of the masterpieces of Hungarian cinema. <br /> <br /> Generally 7 x 5 inches some with wide bottom margins. Very Good plus to Near Fine. <br /> <br /> Rosebaum 1000. Vogel Film as a Subversive Art. Hungarofilm unknown
1967149503Beverly Hills CA: United Artists 1967. Three vintage borderless black-and-white photographs taken on the set of the 1967 film: 1 director Norman Jewison sitting alone 2 Jewison directing Rod Stieger and 3 Jewison directing a key early scene featuring actors Arthur Malet Sidney Poitier and Rod Steiger. With manuscript ink annotations regarding layout on the verso.<br /> <br /> From the collection of film historian and author Joel Finler.<br /> <br /> Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement and included a controversial scene in which a white actor Larry Gates slaps Poitier in the face at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience or whispers for a predominantly white one. <br /> <br /> Winner of five Academy Awards including Best Picture and nominated for two others.<br /> <br /> Though set in the fictional town of Sparta Mississippi Poitier refused to travel below the Mason-Dixon Line so the film was shot largely in Illinois. <br /> <br /> One photograph 7.5 x 10 inches one photograph 10 x 8 inches. Near Fine.<br /> <br /> National Film Registry. Penzler 101. United Artists unknown
1974160151Burbank CA: Warner Brothers / First Artists / Coleytown / Turman-Foster 1974. Revised Final Shooting script for the 1974 film. <br /> <br /> Based on the 1950 Lew Archer novel by Ross Macdonald. Private investigator Harper returns in this sequel to the eponymous 1966 film investigating a blackmail plot in a Louisiana bayou where he finds himself in between an ex-lover an oil tycoon and the local police. In this early draft of the script Paul Newman's character is named Lew Ryan perhaps evidence that the production did not begin as a direct sequel to "Harper" but simply as an adaptation of the source material. <br /> <br /> Set in Louisiana and shot there on location. <br /> <br /> Blue studio wrappers. Title page present dated September 16 1974 noted as FINAL SHOOTING SCRIPT with credits for screenwriter Keenan Wynn and novelist Ross Macdonald. 128 leaves with last page of text numbered 130. Xerographic duplication rectos only with pink yellow goldenrod and green revision pages throughout dated variously between 9/30/74 and 10/6/74. Pages and wrapper Near Fine bound with two gold brads. <br /> <br /> Grant US. Silver and Ward Neo-Noir. Spicer US Neo-Noir. Warner Brothers / First Artists / Coleytown / Turman-Foster unknown
1923164284Hollywood: Paramount Pictures 1923. Vintage reference photograph taken on the set of the 1923 silent film showing director actress Pola Negri and George Fitzmaurice between takes together consulting a copy of Robert Hichens' source novel. Mimeo snipe provenance stamp and Famous Players-Lasky stamp on the verso.<br /> <br /> Based on Paramount's 1915 film of the same name which was based in turn on Hichens' 1909 novel about the titular seductress and the men who fall into her love trap. Early noir antecedent.<br /> <br /> 10 x 8 inches. Very Good plus with a two-inch flaw in the finish affecting the bottom left corner. Paramount Pictures unknown
1923166685Hollywood: Paramount Pictures 1923. Vintage publicity photograph of Pola Negri in profile taken to promote her appearance in the 1923 film. Paramount stamps and annotations in manuscript pencil on the verso. <br /> <br /> Based on Paramount's 1915 film of the same name which was based in turn on Hichens' 1909 novel about the titular seductress and the men who fall into her love trap. Early noir antecedent.<br /> <br /> 10 x 8 inches. Very Good plus moderately age toned. Paramount Pictures unknown
1921143526US: Metro Pictures Corporation 1921. Vintage photograph from the 1921 film. With a mimeo snipe on the verso. <br /> <br /> Based on the 1916 anti-war novel by Vincent Basco Ibanez about a French and German family on both sides of World War I. Along with "The Sheik" later the same year the film the catapulted Rudolph Valentino to stardom and helped create his "Great Lover" image. The film also launched the career of director Rex Ingram made screenwriter June Mathis one of the most powerful woman in Hollywood inspired a tango craze and was the first to gross over $1000000 at the box office. <br /> <br /> 10 x 8 inches. Very Good plus with a partial and faint studio stamp on the recto light soil and edgewear. <br /> <br /> National Film Registry. Metro Pictures Corporation unknown
1969133199N.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. <br /> <br /> 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. <br /> <br /> In a custom museum-quality frame archivally mounted with UV glass. 13.5 x 10 inches. Near Fine. <br /> <br /> National Film Registry. N.p. unknown
1987149579N.p.: Xanadu 1987. Six vintage borderless reference photographs from the 1987 film. With the label of Xanadu Film on the verso. <br /> <br /> Co-directed by acclaimed photographer and filmmaker Robert Frank his only feature-length fiction film and experimental novelist Rudolph Wurlitzer who wrote the screenplay. A musician's road movie heavily influenced by the lives of Frank and Wurlitzer and featuring a cast full of notable musicians such as Tom Waits Leon Redbone Dr. John Joe Strummer Arto Lindsay and David Johansen.<br /> <br /> Set in and shot on location in New York and Cape Breton Island Nova Scotia. <br /> <br /> Shot on location in New York and Nova Scotia Canada.<br /> <br /> 7 x 5 inches. Fine.<br /> <br /> <br /> Rosenbaum 1000. Xanadu unknown
1969161197New York: New Yorker Films 1969. Vintage studio still photograph taken on the set of the 1969 film showing director Robert Frank capturing a passionate scene between two men. Stamp of photographer Tom Conroy on the verso. <br /> <br /> Frank's first feature film and Sam Shepard's screenwriting debut following Frank as he accompanies poet Peter Orlovsky and Orlovsky's catatonic mentally ill brother Julius through the late 1960s Beat scene. When Julius wanders off he is replaced in the film by actor Joseph Chaikin pushing the boundaries of cinematic reality. <br /> <br /> The film was restored and released by Steidl in 2007 alongside a book publication outlining the film which notes: "Frank's feature debut was first screened in 1968 at the Venice Film Festival. Everything which had defined Frank's art up to that point turns up in this film - the look at America 'from the outside' the poetic libertinage of the Beats the marginal in a central role. It celebrates the return of the poetic essay as assemblage the affirmation of the underground as a wild cinematic analysis in the form of a collage and skillfully weaves together opposites plays counterfeits against the authentic pornography against poetry acting against being Beat cynicism against hippie romanticism monochrome against colored. The story contains bizarre twists and turns and appears to be a rather artless-film-within-a-film being shown at a rundown movie theater."<br /> <br /> 10 x 8 inches. Near Fine. New Yorker Films unknown
1985160776Buenos Aires: Aries Film International 1985. Final Draft script for the 1985 film here under the working title "The Fine White Line" with manuscript ink and pencil annotations on the rectos and/or versos of 36 pages regarding dialogue and character motivation with three pages with annotated post-its regarding wardrobe attached to the versos. Script preceded by a two page "Character Notes."<br /> <br /> An undercover DEA agent played by John Schneider has infiltrated South America's largest cocaine cartel and is ordered by the organization's kingpin to assassinate a journalist running for president. One of ten films produced by Roger Corman in Argentina during the 1980s.<br /> <br /> Set in Bolivia shot on location in Argentina and Mexico. <br /> <br /> Blue untitled wrappers. Title page present dated 2/16/85 noted as FINAL DRAFT - revised with credits for screenwriter Steven M. Krauzer and story by David Vinas and Hector Olivera. 131 leaves with last page of text numbered 114. Xerographic duplication rectos only with goldenrod revision pages throughout dated 3/12/85. Pages Near Fine wrapper Very Good plus bound with three gold brads. Aries Film International unknown
