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  • 12 Issues FILM A DOBA 1967-1978 CZECH FILM JOURNAL Important Artistic Publicaton During Russian Occupation of Czechoslovakia 12 Issues FILM A DOBA 1967-1978 CZECH FILM JOURNAL Important Artistic Publicaton During Russian Occupation of Czechoslovakia

    Twelve Issues of FILM A DOBA, the CZECHOSLOVAKIAN FILM JOURNAL that was, during the Sixties and Seventies, both a well respected publication of reviews of Czech and International Films, and an important intellectual force during the Russian Occupation. Eleven of these issues are from the 1970s and one is from 1967, all years in which the Czech film industry was highly regarded even while being regulated by the Russians. The twelve issues are from: 1967 (1), 1972 (2), 1973 (3), 1975 (2), 1976 (2), 1977 (1), and 1978 (1). Softcover magazines, side stapled, 8x10.5 inches, approximately 50 to 60 pages each. GOOD MINUS condition, the issues all have a vertical crease down the middle (perhaps delivered that way); some of…

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    Twelve Issues of FILM A DOBA, the CZECHOSLOVAKIAN FILM JOURNAL that was, during the Sixties and Seventies, both a well respected publication of reviews of Czech and International Films, and an important intellectual force during the Russian Occupation. Eleven of these issues are from the 1970s and one is from 1967, all years in which the Czech film industry was highly regarded even while being regulated by the Russians. The twelve issues are from: 1967 (1), 1972 (2), 1973 (3), 1975 (2), 1976 (2), 1977 (1), and 1978 (1). Softcover magazines, side stapled, 8x10.5 inches, approximately 50 to 60 pages each. GOOD MINUS condition, the issues all have a vertical crease down the middle (perhaps delivered that way); some of the issues have bumped/creased spine ends, most have some edge and corner wear; the covers have some soiling; there are some small stains and a bit of writing here and there; a couple of the covers are pulling from the staples; internally, the pages are printed on cheap paper that has browned (this was during the Russian occupation, after all), there are creases and other signs of handling; nonetheless these 12 issues are solid and complete. An interesting look at one aspect of the intellectual and artistic life in Czechoslovakia during the Russian occupation. Early issues of Film a Doba are hard to find. INTERNATIONAL BUYERS PLEASE NOTE: These 12 issues will require additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

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  • 12:01 P.M. Film SCREENPLAY by JONATHAN HEAP & STEPHEN TOLKIN based on the SCIENCE FICTION STORY by RICHARD LUPOFF by Jonathan Heap, Stephen Tolkin, Richard Lupoff 12:01 P.M. Film SCREENPLAY by JONATHAN HEAP & STEPHEN TOLKIN based on the SCIENCE FICTION STORY by RICHARD LUPOFF
    Jonathan Heap, Stephen Tolkin, Richard Lupoff

    12:01 P.M. First Revision SCREENPLAY by JONATHAN HEAP and STEPHEN TOLKIN. Based on a Short Story by RICHARD LUPOFF. 12:01 P.M. is a short film based on the 1973 science fiction short story by Richard Lupoff. It was first shown in 1990 and was nominated for an Academy Award. Many believe that Groundhog Day stole the idea for its film from 12:01 P.M. A different film based on the story 12:01 P.M. was released in 1993. Copy machine printed on plain white paper (photocopied drafts were, and still are, used for production and working scripts because they can be easily made and quickly sent to a film's writers, producers, directors, etc.), 8.5x11 inches, 3 hole punched but bound with staples…

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    12:01 P.M. First Revision SCREENPLAY by JONATHAN HEAP and STEPHEN TOLKIN. Based on a Short Story by RICHARD LUPOFF. 12:01 P.M. is a short film based on the 1973 science fiction short story by Richard Lupoff. It was first shown in 1990 and was nominated for an Academy Award. Many believe that Groundhog Day stole the idea for its film from 12:01 P.M. A different film based on the story 12:01 P.M. was released in 1993. Copy machine printed on plain white paper (photocopied drafts were, and still are, used for production and working scripts because they can be easily made and quickly sent to a film's writers, producers, directors, etc.), 8.5x11 inches, 3 hole punched but bound with staples at the upper left corner, 25 pages plus title page, pages printed on one side only. GOOD MINUS condition, the pages are creased at all their corners, the title page is creased with some small tears along its left edge, there is wear around the two upper staples including some extra staple holes and staple impressions, the last page has pulled from the staples (i.e. is loose), otherwise a complete, clean, clear copy. SCARCE FIRST REVISED DRAFT of this groundbreaking science fiction short film. It is the only copy I have and the only copy I have ever seen. About the 1990 film 12:01 P.M. (from Wikipedia): ******12:01 PM is a 1990 short film starring Kurtwood Smith. Directed by Jonathan Heap, it originally aired on cable television in 1990 as part of the Showtime 30 Minute Movie anthology series. It was nominated for an Academy Award.

    It is the first film adaptation of the short story "12:01 PM" by Richard A. Lupoff, which was published in the December 1973 edition of The Magazine of Fantasy and Science Fiction. The major plot device is a time loop or time bounce, and bears great similarity to that of the 1993 film Groundhog Day. Lupoff and Jonathan Heap, director of the 1990 film, were "outraged" by the apparent theft of their idea, but after six months of lawyers conferences and substantial expenses, they decided to drop the case against Columbia Pictures. In the 1990 film, Kurtwood Smith plays Myron Castleman, an everyman stuck in a loop that forces him to constantly relive the same hour of his life over and over, being the only person aware of this. During one loop, he discovers that a scientist named Nathan Rosenbluth has predicted an event that matches his experience. Castleman calls him and explains what is going on, however, Rosenbluth is highly skeptical of his claims. Over the next loops, Myron struggles to get into contact with Rosenbluth again, and in the process becomes frustrated to the point of screaming at his secretary and throwing his suitcase into traffic. Eventually, he does manage to talk to Rosenbluth, who initially dismisses Myron as crazy until Myron describes the transition as the scientist had predicted (including the phrase "Consciousness is an independent variable," which is central to Rosenbluth's theories). The professor sadly informs Castleman that there is nothing that can be done, causing Myron to become hysterical and shoot himself. There is a brief pause until Myron finds himself back at the beginning of the loop, realizing that he is trapped for eternity. This version has NEVER BEEN RELEASED ON DVD IN THE U.S. In the 1993 film the main character keeps reliving the same 24 hour period (which in this case restarts at one minute past midnight, rather than midday as in the other versions). This version differs from the 1990 film in that it features a much lighter and more comedic tone, and that the protagonist ultimately finds a way to correct the time loop over the course of the film. This version was released on DVD in the United States on November 28, 2006.******

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  • 1920 Original PRESS PHOTO of ALMA RUBENS - FILM STARLET & HEROIN ADDICT by Alma Rubens 1920 Original PRESS PHOTO of ALMA RUBENS - FILM STARLET & HEROIN ADDICT
    Alma Rubens

    Glossy 8x10" photo of ALMA RUBENS. This is an original publicity / press photo of Alma Rubens, undated but circa 1920. Rubber-stamped on the backside is "ALMA RUBENS / Appearing in / William Fox Photoplays". Written in pencil on the backside, below the rubber-stamped info is: "Keep one or Both for Files". VERY GOOD condition, toning to the edges, some creasing to the corners, a small piece of tape with "Alma Rubens" typed on to it is attached to the bottom white margin.

    The photo itself is soft-focus. Printed on the photo in white is "Autrey 10". About ALMA RUBENS (from Wikipedia and IMDB): ******Alma Rubens (1897 - 1931) was an American film actress. Alma Rubens was born Alma Genevieve…

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    Glossy 8x10" photo of ALMA RUBENS. This is an original publicity / press photo of Alma Rubens, undated but circa 1920. Rubber-stamped on the backside is "ALMA RUBENS / Appearing in / William Fox Photoplays". Written in pencil on the backside, below the rubber-stamped info is: "Keep one or Both for Files". VERY GOOD condition, toning to the edges, some creasing to the corners, a small piece of tape with "Alma Rubens" typed on to it is attached to the bottom white margin.

    The photo itself is soft-focus. Printed on the photo in white is "Autrey 10". About ALMA RUBENS (from Wikipedia and IMDB): ******Alma Rubens (1897 - 1931) was an American film actress. Alma Rubens was born Alma Genevieve Reubens in San Francisco, California. She was interested in entertaining at an early age. By the time she was 19 she had become a full-fledged star. Her break came in 1916 in the film Reggie Mixes In (1916). Six more films followed that year, and she won critical acclaim in The Half-Breed (1916). In 1917 she again starred in a box-office smash, The Firefly of Tough Luck (1917). She became a busy young actress with role after role and hit after hit. In 1924, as Mildred Gower, she performed magnificently in The Price She Paid (1924). After a busy 1925, Alma suddenly found it difficult to obtain work, but it was not because her star had suddenly dimmed - it was because of her addiction to heroin. The money she made dwindled away in search of the next high. She was in and out of mental asylums, but it didn't really help much because she was still dabbling in drugs. Weakened by her habit, she died in Los Angeles in 1931, of pneumonia. She was less than a month away from her 34th birthday. Her final two films were two years earlier, Show Boat (1929) and She Goes to War (1929).******

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  • 1927 WALLACE BEERY **SIGNED LETTER** on PERSONAL STATIONERY Great Content by Wallace Beery 1927 WALLACE BEERY **SIGNED LETTER** on PERSONAL STATIONERY Great Content
    Wallace Beery

    WALLACE BEERY. Typed HAND SIGNED Letter on PERSONAL STATIONERY. Letter dictated to and typed by his secretary, hand autographed by Wallace Beery. The letter is undated but circa 1927, easily dated by the films he mentions that he just finished and is planning to star in, including THE BIG SNEEZE, whose name was changed to NOW WE'RE IN DUTCH and again to WIFE SAVERS. WIFE SAVERS was released by Paramount in 1927 and reviewed in the NY TIMES also in 1927, but now is a "Lost Film" never to be seen again. All copies of the film were either wiped by the studio to reclaim their silver, or otherwise lost or destroyed. Single page, 7.25x10.5 inches, watermarked paper, personal printed…

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    WALLACE BEERY. Typed HAND SIGNED Letter on PERSONAL STATIONERY. Letter dictated to and typed by his secretary, hand autographed by Wallace Beery. The letter is undated but circa 1927, easily dated by the films he mentions that he just finished and is planning to star in, including THE BIG SNEEZE, whose name was changed to NOW WE'RE IN DUTCH and again to WIFE SAVERS. WIFE SAVERS was released by Paramount in 1927 and reviewed in the NY TIMES also in 1927, but now is a "Lost Film" never to be seen again. All copies of the film were either wiped by the studio to reclaim their silver, or otherwise lost or destroyed. Single page, 7.25x10.5 inches, watermarked paper, personal printed letterhead stating "WALLACE BEERY / HOLLYWOOD". The letter discusses Beery's films and film activities at Paramount, where he was under contract from 1925 through 1929. Films he mentions are: OLD IRONSIDES, WE'RE IN THE NAVY NOW, CASEY AT THE BAT, and THE BIG SNEEZE. These were all silent films produced and distributed by Paramount. Beery left Paramount and signed with MGM in 1930. Many Silent Era stars were let go by Paramount in 1929 at the end of the silent era. GOOD condition. There is a single horizontal fold across the middle of the letter, the fold is split for 1.5 inches starting at its left side; there are some light creases from handling, there is a small chip to the upper right corner tip, the letter is lightly toned; overall bright and clear. A wonderful letter full of Wallace Beery humor and thoughts on working with Paramount on various silent films in 1927, including one that has been lost forever.

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  • 1931 TUSCHINSKI THEATER, AMSTERDAM, FIRST 10 YEARS 1921-1931 ILLUSTRATED TRIBUTE First Edition by (Abraham Tuschinski) 1931 TUSCHINSKI THEATER, AMSTERDAM, FIRST 10 YEARS 1921-1931 ILLUSTRATED TRIBUTE First Edition
    (Abraham Tuschinski)

    TUSCHINSKI THEATER 1921-1931 (Abraham Tuschinski). A tribute to its first 10 years. Published by the Tuschinski Theater Publicity Department and N.V. VOORHEEN VAN STEEL & CO., Rotterdam, The Netherlands, 1931. First Edition. TEXT IN DUTCH. Hardcovers, original decorative silver foil printed boards, no dustjacket as issued, 8x11 inches (19.5x27 cm). Pagination: 105, [6] ads, [1] pages. Published on the TENTH ANNIVERSARY of the famed TUSCHINSKI THEATER located in Amsterdam, The Netherlands. The Theater was built and operated by ABRAHAM TUSCHINSKI. Illustrated throughout with publicity photos of actors, facsimiles of documents, letters of tribute, small film stills, etc. From the book: "DIT HERDENKINGSBOEK IS SAMENGESTELD DOOR DE AFDEELING PUBLICITEIT VAN HET THEATER TUSCHINSKI, AMSTERDAM, IN SAMENWERKING MET DE N.V. VOORHEEN VAN…

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    TUSCHINSKI THEATER 1921-1931 (Abraham Tuschinski). A tribute to its first 10 years. Published by the Tuschinski Theater Publicity Department and N.V. VOORHEEN VAN STEEL & CO., Rotterdam, The Netherlands, 1931. First Edition. TEXT IN DUTCH. Hardcovers, original decorative silver foil printed boards, no dustjacket as issued, 8x11 inches (19.5x27 cm). Pagination: 105, [6] ads, [1] pages. Published on the TENTH ANNIVERSARY of the famed TUSCHINSKI THEATER located in Amsterdam, The Netherlands. The Theater was built and operated by ABRAHAM TUSCHINSKI. Illustrated throughout with publicity photos of actors, facsimiles of documents, letters of tribute, small film stills, etc. From the book: "DIT HERDENKINGSBOEK IS SAMENGESTELD DOOR DE AFDEELING PUBLICITEIT VAN HET THEATER TUSCHINSKI, AMSTERDAM, IN SAMENWERKING MET DE N.V. VOORHEEN VAN STAAL & CO., ROTTERDAM". (THIS MEMORIAL BOOK WAS CREATED BY THE PUBLICITY OF THEATER TUSCHINSKI, AMSTERDAM, IN COLLABORATION WITH N.V. VOORHEEN VAN STEEL & CO., ROTTERDAM.) ***Eleven years after this tribute to the Tuschinski Theater was published, Abraham Tuschinski was captured by the Nazis and sent to a concentration camp where he was murdered.*** GOOD MINUS Condition: The covers are rubbed and soiled, the spine Is sunned and scraped, the spine ends and corner tips are worn through, there are a couple dents to the edges, nonetheless these original covers remain attractive and are doing their job well. Internally, there are some areas of age toning to the endpapers, there is a light crease to the bottom corner of the pages, otherwise the pages are tight, bright, clean, clear and unmarked.

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  • 1933 ORIGINAL RELEASE SCRIPT / SCREENPLAY - PRIVATE LIFE OF HENRY VIII - Starring CHARLES LAUGHTON by Lajos Biro, Alexander Korda, Charles Laughton 1933 ORIGINAL RELEASE SCRIPT / SCREENPLAY - PRIVATE LIFE OF HENRY VIII - Starring CHARLES LAUGHTON
    Lajos Biro, Alexander Korda, Charles Laughton

    ORIGINAL RELEASE SCRIPT / SCREENPLAY of THE PRIVATE LIFE OF HENRY VIII, Starring CHARLES LAUGHTON, Directed by ALEXANDER KORDA, Written by Lajos Biro. This Original "Release Script" is undated, but such documents, created to archive every shot, scene and line of dialogue in the finished film, were normally produced just after a film was "in the can" and just before or just after the finished film was released. The film was Produced and Shot in Britain by London Film Productions Limited, and was Released in the U.S. by United Artists in August 1933, so this "Release Script" would be circa 1933, though it is possible this final record of the film was produced later. Original mimeographed pages in tan paper…

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    ORIGINAL RELEASE SCRIPT / SCREENPLAY of THE PRIVATE LIFE OF HENRY VIII, Starring CHARLES LAUGHTON, Directed by ALEXANDER KORDA, Written by Lajos Biro. This Original "Release Script" is undated, but such documents, created to archive every shot, scene and line of dialogue in the finished film, were normally produced just after a film was "in the can" and just before or just after the finished film was released. The film was Produced and Shot in Britain by London Film Productions Limited, and was Released in the U.S. by United Artists in August 1933, so this "Release Script" would be circa 1933, though it is possible this final record of the film was produced later. Original mimeographed pages in tan paper covers, title typed on to front cover, mimeographed on 8" x 13" paper, mimeographed on one side only on fine paper that is watermarked "64 Mill / Hard Sized", bound with 3 staples at the left margin, 46 pages. Contains 2 pages of credits, followed by a reel by reel, shot by shot continuity of the film, followed by a reel by reel dialogue continuity of the film. Release Scripts and Continuity Scripts (Continuities) were an important part of the film industry in its early days. They were typically created just before or just after a film was released, in order to create a written "copy" of the film. A good "Continuity" provides a transcription of every shot, scene and piece of dialogue, as it occurred in the finished film, something that could obviously not be known until a film was completed and "in the can". Continuities were created both for copyright protection and for an original

    "record" of a film, thus a copy might be kept by the studio and by the studio's legal department. Many early films easily degenerated, and many others were wiped out to recover their silver. A true continuity script was therefore often the only archived, shot-by-shot, scene-by-scene, word-by-word, record of many early films. One could, conceivably, reconstruct a film from a Release Script or Continuity. GOOD condition, the rear cover is disbound, some of the latter pages have pulled from the upper staple, the staples are rusted, the front cover has some edge wear, creases and light soiling, the inner pages are very nice, a spot of foxing here and there, one page is folded at its lower corner (the paper was cut incorrectly, not affecting text), the mimeographed printing runs somewhat dark and light but is always clear and fully legible.

    Rare Original Release Script / Screenplay of Charles Laughton's great film.

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  • 1936 Original SCREENPLAY / SCRIPT "LOVE IS NEWS" Copy of Actress JANE DARWELL Starring TYRONE POWER, LORETTA YOUNG and DON AMECHE by Harry Tugend and Jack Yellen 1936 Original SCREENPLAY / SCRIPT "LOVE IS NEWS" Copy of Actress JANE DARWELL Starring TYRONE POWER, LORETTA YOUNG and DON AMECHE
    Harry Tugend and Jack Yellen

    ORIGINAL FINAL SHOOTING SCRIPT / SCREENPLAY of the TWENTIETH CENTURY FOX film "LOVE IS NEWS".

    The screenplay is dated NOV. 4, 1936. Copy of JANE DARWELL, with her SIGNATURE on the front cover, and her parts marked in pencil throughout - a lesser role, but credited. Printed blue-paper covers, bound with 3 brass brads, stamped #166 on the front cover (presumably this was copy #166), mimeographed inner pages, 8.5x11", 139 pages, printed on one side only. The film stars TYRONE POWER in the first film in which he received top billing, LORETTA YOUNG and DON AMECHE. The screenplay was written by Harry Tugend and Jack Yellen, based on a story by William Lipman and Frederick Stephani. It was released by…

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    ORIGINAL FINAL SHOOTING SCRIPT / SCREENPLAY of the TWENTIETH CENTURY FOX film "LOVE IS NEWS".

    The screenplay is dated NOV. 4, 1936. Copy of JANE DARWELL, with her SIGNATURE on the front cover, and her parts marked in pencil throughout - a lesser role, but credited. Printed blue-paper covers, bound with 3 brass brads, stamped #166 on the front cover (presumably this was copy #166), mimeographed inner pages, 8.5x11", 139 pages, printed on one side only. The film stars TYRONE POWER in the first film in which he received top billing, LORETTA YOUNG and DON AMECHE. The screenplay was written by Harry Tugend and Jack Yellen, based on a story by William Lipman and Frederick Stephani. It was released by 20th Century Fox in 1937. The film was a major box-office success. It was remade in 1947 as "That Wonderful Urge", again starring Tyrone Power. The Script is in GOOD condition, the covers are worn, with creases and closed tears, where they overhang the inner pages; the pages where the actress Jane Darwell has a part are folded at their upper corner and her part is pointed out with pencil marks; overall a used copy that is still tight, bright and clean. SCARCE ORIGINAL SHOOTING SCRIPT from 1936, during the Golden Age of Hollywood - Actual Copy of Jane Darwell, an Actress in the film.

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  • 1941 Rare ORIGINAL TYPESCRIPT TREATMENT for HITCHCOCK'S FILM "SABOTEUR" by Alfred Hitchcock, Joan Harrison 1941 Rare ORIGINAL TYPESCRIPT TREATMENT for HITCHCOCK'S FILM "SABOTEUR"
    Alfred Hitchcock, Joan Harrison

    Carbon Typescript of the "CONTINUATION OF ORIGINAL TREATMENT". The was the treatment for the, yet unnamed, Hitchcock Film SABOTEUR, that was released on April 22, 1942. This Film Treatment was written by ALFRED HITCHCOCK and JOAN HARRISON. It is dated 10/14/41. SABOTEUR originally had some trouble getting produced. Hitchcock was under contract to Selznick Studios, but Selnick passed on the film. Hitchcock had a treatment that he provided to Universal. Universal wanted a longer treatment, which is where this "Continuation of Original Treatment" comes in. Universal agreed to finance the film, but the budget was reduced and the production timetable was substantially shortened. Filming began shortly after the attack on Pearl Harbor. At the time of this treatment, the film's…

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    Carbon Typescript of the "CONTINUATION OF ORIGINAL TREATMENT". The was the treatment for the, yet unnamed, Hitchcock Film SABOTEUR, that was released on April 22, 1942. This Film Treatment was written by ALFRED HITCHCOCK and JOAN HARRISON. It is dated 10/14/41. SABOTEUR originally had some trouble getting produced. Hitchcock was under contract to Selznick Studios, but Selnick passed on the film. Hitchcock had a treatment that he provided to Universal. Universal wanted a longer treatment, which is where this "Continuation of Original Treatment" comes in. Universal agreed to finance the film, but the budget was reduced and the production timetable was substantially shortened. Filming began shortly after the attack on Pearl Harbor. At the time of this treatment, the film's title had not yet been finalized. Carbon sheets, 8.5" x 11", three staples on the left side, 38 pages (numbered 92-129) plus a cover page. Hitchcock story "treatments" are VERY SCARCE, especially his earlier story treatments. About JOAN HARRISON (from Wikipedia): ******Joan Harrison (26 June 1907 - 14 August 1994) was an English film producer and screenwriter. Born in Guildford, Surrey, Harrison studied at St Hugh's College, Oxford and reviewed films for the student newspaper. She also studied at the Sorbonne. In 1933 Harrison became the secretary of Alfred Hitchcock. Eventually she began reading books and scripts for him and became one of Hitchcock's most trusted associates. When Hitchcock moved to Hollywood in March 1939 to begin his contract with David O. Selznick to direct films, Harrison went with him as an assistant and writer. She gained the title of screenwriter when she wrote the film Jamaica Inn (1939) based on the novel by Daphne du Maurier. Harrison continued writing screenplays for films Rebecca (1940), Foreign Correspondent (1940), Suspicion (1941), Saboteur (1942), Dark Waters (1944), and Nocturne (1946).******

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  • 1945 ORIGINAL SCREENPLAY ANNA & KING OF SIAM Presentation Copy to HERBERT RYMAN by Talbot Jennings 1945 ORIGINAL SCREENPLAY ANNA & KING OF SIAM Presentation Copy to HERBERT RYMAN
    Talbot Jennings

    ANNA AND THE KING OF SIAM. SCREENPLAY by TALBOT JENNINGS. PRESENTATION COPY to HERBERT RYMAN, the Great Disney Imagineer. Handwritten in pencil on the front cover is: "to herbert Ryman / July 7, '45". I don't know who presented this copy to Ryman, whether it was Talbot or?? Carbon typescript. Paper Covers, bound with 2 brass brackets, 8.5x11", printed on one side only (rectos), pages numbered in three parts - 87, 74 and 32 pages (193 total pages). Cover has a typed title and author. The script does not have a printed date, but the written presentation on the cover is dated July 7, 1945, and clearly this is a draft that was written prior to Sally Benson being brought…

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    ANNA AND THE KING OF SIAM. SCREENPLAY by TALBOT JENNINGS. PRESENTATION COPY to HERBERT RYMAN, the Great Disney Imagineer. Handwritten in pencil on the front cover is: "to herbert Ryman / July 7, '45". I don't know who presented this copy to Ryman, whether it was Talbot or?? Carbon typescript. Paper Covers, bound with 2 brass brackets, 8.5x11", printed on one side only (rectos), pages numbered in three parts - 87, 74 and 32 pages (193 total pages). Cover has a typed title and author. The script does not have a printed date, but the written presentation on the cover is dated July 7, 1945, and clearly this is a draft that was written prior to Sally Benson being brought on as a co-writer, so early 1945 is most likely the date of this version of the film script. CONDITION: The covers are very worn, the edges have chips, tears and creases, the covers have some stiff creases and lighter creases from handling, nonetheless the covers are still doing their job well, and the typed titling and written presentation on the front cover are bright and fully legible. Internally, the title page has torn from its upper bracket, is coming loose, and has numerous creases; the next couple of pages have a few crease but are still sturdy and in place; all the pages are lightly toned / browned with age; otherwise the pages are just lightly used and still complete, bright, clean and unmarked. A VERY RARE EARLY DRAFT of ANNA AND THE KING OF SIAM with the GREAT ASSOCIATION to HERBERT RYMAN. You can read about Talbot Jennings on Wikipedia and about Herbert Ryman on Wikipedia and many other online sites.

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  • 1947 DUEL IN THE SUN - FILM FOOTAGE SCHEDULE - Ephemera from the GREAT MOTION PICTURE 1947 DUEL IN THE SUN - FILM FOOTAGE SCHEDULE - Ephemera from the GREAT MOTION PICTURE

    DUEL IN THE SUN - Film Footage Schedule for All Domestic Release Prints, Showing All Positive Splices. PRINTS NUMBER 1 to 307. Dated May 1, 1947. Unusual Piece of Motion Picture Ephemera. Heavy stock paper covers, typed title and other info on front cover, two inner pages with mimeographed information, side stapled. Condition: Staples rusted but holding well, some creasing to the corners from handling, overall bright and clean. "Duel in the Sun", one of the great films of the 20th century! Martin Scorsese stated that this was the first film he ever saw and holds it in high regard. He mentioned it in his documentary of American movies. Please be sure you noted that this has only TWO PAGES…

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    DUEL IN THE SUN - Film Footage Schedule for All Domestic Release Prints, Showing All Positive Splices. PRINTS NUMBER 1 to 307. Dated May 1, 1947. Unusual Piece of Motion Picture Ephemera. Heavy stock paper covers, typed title and other info on front cover, two inner pages with mimeographed information, side stapled. Condition: Staples rusted but holding well, some creasing to the corners from handling, overall bright and clean. "Duel in the Sun", one of the great films of the 20th century! Martin Scorsese stated that this was the first film he ever saw and holds it in high regard. He mentioned it in his documentary of American movies. Please be sure you noted that this has only TWO PAGES plus covers. Yes, it's very thin, but it's a RARE and interesting piece of motion picture history.

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  • 1952 Original FILM STUDIO LETTER ACCUSING ITS CO-FOUNDER OF THEFT - SIGNED by Albert Zugsmith 1952 Original FILM STUDIO LETTER ACCUSING ITS CO-FOUNDER OF THEFT - SIGNED
    Albert Zugsmith

    Letter by ALBERT ZUGSMITH, PRESIDENT of AMERICAN PICTURES CORPORATION / RKO - PATHE STUDIOS, on Company Stationery, ACCUSING its CO-FOUNDER, AUBREY WISBERG, and a FILM PRODUCER, JACK POLLEXFEN, of CORPORATE THEFT. Dated April 1, 1952. On 8.5" x 11" Company Stationery with Its Letterhead at the top. Watermarked rag paper. Typed letter, typed on the front side only, typing is tangible on the backside. SIGNED by Albert Zugsmith, President of American Pictures Corp. One of the coolest, insider, back-stabbing, Hollywood Film Industry, letters that I have ever seen! Creasing and toning, primarily to the margins, two horizontal folds where the letter was probably folded to fit into an envelope (no envelope present), overall still GOOD condition, certainly suitable for framing!…

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    Letter by ALBERT ZUGSMITH, PRESIDENT of AMERICAN PICTURES CORPORATION / RKO - PATHE STUDIOS, on Company Stationery, ACCUSING its CO-FOUNDER, AUBREY WISBERG, and a FILM PRODUCER, JACK POLLEXFEN, of CORPORATE THEFT. Dated April 1, 1952. On 8.5" x 11" Company Stationery with Its Letterhead at the top. Watermarked rag paper. Typed letter, typed on the front side only, typing is tangible on the backside. SIGNED by Albert Zugsmith, President of American Pictures Corp. One of the coolest, insider, back-stabbing, Hollywood Film Industry, letters that I have ever seen! Creasing and toning, primarily to the margins, two horizontal folds where the letter was probably folded to fit into an envelope (no envelope present), overall still GOOD condition, certainly suitable for framing! You can read about ALBERT ZUGSMITH, AUBREY WISBERG and JACK POLLEXFEN on Wikipedia (they each have their own page).

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  • 1958 FAREWELL TO ARMS - ORIGINAL DIALOGUE & CUTTING CONTINUITY - 18 REEL MOVIOLA SCRIPT / SCREENPLAY - Selznick Studios by (Ernest Hemingway) 1958 FAREWELL TO ARMS - ORIGINAL DIALOGUE & CUTTING CONTINUITY - 18 REEL MOVIOLA SCRIPT / SCREENPLAY - Selznick Studios
    (Ernest Hemingway)

    A FAREWELL TO ARMS (the 1958 Motion Picture) - COMBINED DIALOGUE AND CUTTING CONTINUITY SCRIPT - "In Cinemascope". Continuity Script dated January 10th, 1958. Length of the film 13,677 Ft. 8 Frs. A SELZNICK STUDIOS FILM of ERNEST HEMINGWAY'S NOVEL. Printed gray paper covers, 8.5" x 11", side-bound with 3 brass brackets, pages numbered consecutively and by reel, 238 pages / Reel 18 Page 5. Pages printed on one side only. The front and rear covers are stained from a spill, the first 2 pages are also heavily stained, the next ten or so pages have staining to their top margin, then the stain disappears. The covers are well worn, have a couple 3" closed tears, lots of edge chips…

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    A FAREWELL TO ARMS (the 1958 Motion Picture) - COMBINED DIALOGUE AND CUTTING CONTINUITY SCRIPT - "In Cinemascope". Continuity Script dated January 10th, 1958. Length of the film 13,677 Ft. 8 Frs. A SELZNICK STUDIOS FILM of ERNEST HEMINGWAY'S NOVEL. Printed gray paper covers, 8.5" x 11", side-bound with 3 brass brackets, pages numbered consecutively and by reel, 238 pages / Reel 18 Page 5. Pages printed on one side only. The front and rear covers are stained from a spill, the first 2 pages are also heavily stained, the next ten or so pages have staining to their top margin, then the stain disappears. The covers are well worn, have a couple 3" closed tears, lots of edge chips and closed edge tears. Internally, after the staining on the beginning pages, all the pages are bright and clear. SCARCE Reel by Reel Dialogue and Cutting Continuity to A FAREWELL TO ARMS, the film based on Hemingway's Masterpiece. Continuities (Continuity Scripts) were an important part of the film industry in its early days. They were typically created after a film was "in the can", but before it was released, in order to create a written "copy" of the film. A good "Continuity" provided a transcription of every shot and scene in detail as it occurred in the finished film, something that could obviously not be known until a film was completed. Continuities were created both for copyright protection and for a "record" of a film. Many early films easily degenerated, and many others were wiped out to recover their silver. A true continuity script was therefore often the only archived, scene-by-scene, record of many early films. Provenance of the late Peter Howard, and his now shuttered Serendipity Books, Berkeley, California. Peter was a long time member, and at one time President, of the Antiquarian Bookseller's Association of American. He was very well known in the antiquarian book arena. Years ago Peter bought much of the archives of Selznick Studios,. This continuity script is from that archive.

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  • 1960 KRISTIN Unproduced SCREENPLAY by ERNEST PASCAL of SIGRID UNDSET Novel KRISTIN LAVRANSDATTER by Ernest Pascal, Sigrid Undset 1960 KRISTIN Unproduced SCREENPLAY by ERNEST PASCAL of SIGRID UNDSET Novel KRISTIN LAVRANSDATTER
    Ernest Pascal, Sigrid Undset

    KRISTIN. Screenplay by ERNEST PASCAL. From the Novel KRISTIN LAVRANSDATTER by SIGRID UNDSET. The screenplay is undated but perhaps circa 1960 (Ernest Pascal died in 1966). The novel Kristin Lavransdatter was first published in 1921 and has been in print ever since. This screenplay by Ernest Pascal was never produced. The only film of the novel that I am aware of is a 1995 Swedish Film directed by Liv Ullmann. That film, in Swedish, has no relation to this screenplay. Photocopied on plain white paper (photo offset copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to the film's writers, producers, directors, etc.), 8.5x11 inches, 170 pages printed on one side…

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    KRISTIN. Screenplay by ERNEST PASCAL. From the Novel KRISTIN LAVRANSDATTER by SIGRID UNDSET. The screenplay is undated but perhaps circa 1960 (Ernest Pascal died in 1966). The novel Kristin Lavransdatter was first published in 1921 and has been in print ever since. This screenplay by Ernest Pascal was never produced. The only film of the novel that I am aware of is a 1995 Swedish Film directed by Liv Ullmann. That film, in Swedish, has no relation to this screenplay. Photocopied on plain white paper (photo offset copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to the film's writers, producers, directors, etc.), 8.5x11 inches, 170 pages printed on one side only, pages are 3-hole punched and bound in heavy stock yellow paper covers with 2 brass brads. VERY GOOD condition, the covers have some light soiling and edgewear, otherwise the script is tight, bright, clean and unmarked. RARE and UNUSUAL screenplay by ERNEST PASCAL of KRISTIN LAVRANSDATTER.

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  • 1960 Unproduced ORIGINAL SCREENPLAY by WALTER REISCH Nazi Escapee / Screenplay Writer of GASLIGHT, NINOTCHKA, +++ by WALTER REISCH 1960 Unproduced ORIGINAL SCREENPLAY by WALTER REISCH Nazi Escapee / Screenplay Writer of GASLIGHT, NINOTCHKA, +++
    WALTER REISCH

    MARIMBAS! MARIMBAS! An Original Draft Screenplay by WALTER REISCH. Undated, but likely circa 1960. WALTER REISCH was an Austrian born screenwriter and director who left Austria to escape the Nazis. He was a prolific and highly successful screenwriter, writing such memorable films as: GASLIGHT, NINOTCHKA, STOPOVER TOKYO, JOURNEY TO THE CENTER OF THE EARTH, and many others. Bound in flexible vinyl covers with metal brackets, there is a large label on the front cover that reads: "Aldea Productions / Motion Pictures / Television / Hollywood, California / Marimbas! Marimbas!". The inner pages are photocopied on 8.5x11 inch white paper (photocopying was, and still is, how original copies of scripts were quickly produced and distributed to actors, producers, directors, editors and…

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    MARIMBAS! MARIMBAS! An Original Draft Screenplay by WALTER REISCH. Undated, but likely circa 1960. WALTER REISCH was an Austrian born screenwriter and director who left Austria to escape the Nazis. He was a prolific and highly successful screenwriter, writing such memorable films as: GASLIGHT, NINOTCHKA, STOPOVER TOKYO, JOURNEY TO THE CENTER OF THE EARTH, and many others. Bound in flexible vinyl covers with metal brackets, there is a large label on the front cover that reads: "Aldea Productions / Motion Pictures / Television / Hollywood, California / Marimbas! Marimbas!". The inner pages are photocopied on 8.5x11 inch white paper (photocopying was, and still is, how original copies of scripts were quickly produced and distributed to actors, producers, directors, editors and others involved in a film production), 136 pages, 3 hole punched. The title page has a PAUL KOHNER label that reads: "Property of / Paul Kohner, Inc. / 9169 Sunset Boulevard / Hollywood, California / Telephone CRestview 1-5165". Paul Kohner was a famous and effective Hollywood super agent who managed many stars and directors. VERY GOOD condition, the covers are sunned and toned, especially at the margins; there are the normal photocopy machine dust marks and small spots; overall the pages are bright, clean and clear. You can read about Walter Reisch on IMDB, Wikipedia, and elsewhere on the Internet. Here is an excerpt from his IMDB bio: ******With the rise of Nazism, Reisch, like most creative talent of Jewish background, was forced to join the mass exodus from Germany. He had a brief resurgence in Vienna, where he worked under Willi Forst on the comedy Masquerade in Vienna (1934) and the Franz Schubert biopic Unfinished Symphony (1934). Both turned out to be solid international hits. By 1936, the political situation in Austria had made it untenable for Reisch to continue his work. Almost penniless, he moved on to join his previous mentor Alexander Korda in London. After writing and directing the comedy Men Are Not Gods (1936), starring Miriam Hopkins, Reisch unexpectedly received an offer from Louis B. Mayer, who was on a tour of European cities scouting for talent. Soon bound for MGM, Reisch crossed the Atlantic aboard the cruise liner Normandie, with ice-skating star Sonja Henie and actors Douglas Fairbanks Jr. and Gertrude Lawrence as fellow passengers. At MGM (1938-48) Reisch had a knack for tailoring scripts to suit a specific star, which he achieved to great effect for Greta Garbo (with Ninotchka, 1939), Clark Gable (with Comrade X, 1940), and Ingrid Bergman (with Gaslight, 1944). Reisch joined 20th Century Fox in 1949. His lengthy tenure at Fox encompassed two massive back to back hits: Niagara (1953) and Titanic (1953). For Titanic he was received the Oscar for Best Writing, Story and Screenplay in 1954. His last worthy effort was a powerful, underrated drama based on a sensational 1906 scandal: The Girl in the Red Velvet Swing (1955) starring Joan Collins, and based on the Thaw-White murder case.******

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  • 1961 HITCHCOCK SPELLBOUND - CUTTING CONTINUITY SCRIPT - From SELZNICK STUDIOS' ARCHIVES by David O. Selznick 1961 HITCHCOCK SPELLBOUND - CUTTING CONTINUITY SCRIPT - From SELZNICK STUDIOS' ARCHIVES
    David O. Selznick

    COMBINED DIALOGUE AND CUTTING CONTINUITY ON A SPELLBOUND - 16 mm Footage - 3017 Feet 32 Frames, 83 min. 50 sec. . May 15, 1961. The Continuity is not from the original release, but probably created for a restoration and re-release of the film. Printed Covers with the following information: "Combined 16mm Continuity on SPELLBOUND. Presented by: Selznick International. Copyright by: Vanguard Films, Inc. Produced by: David O. Selznick. 16 mm footage: 3017 ft. 32 fr. Running time: 83 min. 50 sec. May 15, 1961." Someone has hand written on the covers "10 Sections / 2 Reels", but the item contains FIVE REELS and TEN SECTIONS (two sections for each of five reels). At the bottom of the last page…

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    COMBINED DIALOGUE AND CUTTING CONTINUITY ON A SPELLBOUND - 16 mm Footage - 3017 Feet 32 Frames, 83 min. 50 sec. . May 15, 1961. The Continuity is not from the original release, but probably created for a restoration and re-release of the film. Printed Covers with the following information: "Combined 16mm Continuity on SPELLBOUND. Presented by: Selznick International. Copyright by: Vanguard Films, Inc. Produced by: David O. Selznick. 16 mm footage: 3017 ft. 32 fr. Running time: 83 min. 50 sec. May 15, 1961." Someone has hand written on the covers "10 Sections / 2 Reels", but the item contains FIVE REELS and TEN SECTIONS (two sections for each of five reels). At the bottom of the last page is printed the following information: "Continuity taken from 16mm Composite print by LAURA ROSSER'S FILM CONTINUITY SERVICE / P.O. Box 1603 - Hollywood 28, Calif. / Phone: NO-1-6115 / May 14th, 1961. Printed in U.S.A." Blue paper front cover, lacking its blue paper rear cover, staple-bound with two staples at the top margin, 8.5x14", 71 pages, carbon typescript, printed on one side only. VERY GOOD condition, complete (except blank rear cover), bright, clean and unmarked. Provenance: The late Peter Howard, from his purchase of the Archives of David O. Selznick.

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  • 1961 SHOT ANALYSIS of D.W. GRIFFITH'S BIRTH OF A NATION, by Theodore Huff PUBLISHED by the Museum of Modern Art Film Library by Theodore Huff, D.W. GRIFFITH 1961 SHOT ANALYSIS of D.W. GRIFFITH'S BIRTH OF A NATION, by Theodore Huff PUBLISHED by the Museum of Modern Art Film Library
    Theodore Huff, D.W. GRIFFITH

    A SHOT ANALYSIS (Continuity) OF D. W. GRIFFITH'S THE BIRTH OF A NATION, by THEODORE HUFF. Published by The Museum of Modern Art Film Library, New York, 1961. This 1961 MOMA publication was reportedly printed in a small limited edition. The limitation is unstated, but #93 is written on the title page, presumably indicating that this is copy 93. This is a book published by MOMA in 1961 that put into book form the SHOT ANALYSIS / CONTINUITY that Theodore Huff had prepared for the Museum Film Library in 1939. The shot analysis was based on a 16 mm. print of the original 12 reel version. Softcovers, film still / photograph mounted on the front cover, 8.5x14 inches, mimeographed inner…

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    A SHOT ANALYSIS (Continuity) OF D. W. GRIFFITH'S THE BIRTH OF A NATION, by THEODORE HUFF. Published by The Museum of Modern Art Film Library, New York, 1961. This 1961 MOMA publication was reportedly printed in a small limited edition. The limitation is unstated, but #93 is written on the title page, presumably indicating that this is copy 93. This is a book published by MOMA in 1961 that put into book form the SHOT ANALYSIS / CONTINUITY that Theodore Huff had prepared for the Museum Film Library in 1939. The shot analysis was based on a 16 mm. print of the original 12 reel version. Softcovers, film still / photograph mounted on the front cover, 8.5x14 inches, mimeographed inner pages printed on one side only, 61 pages plus an Introductory page. Shot Analysis, more commonly called Continuities or Continuity Scripts, were an important part of the film industry in its earlier days. They were typically created after a film was In The Can, but before it was released, in order to create a written copy of the film. A good Continuity provided a comprehensive written transcription of the finished film, something that could obviously not be known until a film was completed. Continuities were created both for copyright protection and for a complete written record of a film. Many early films easily degenerated, and many others were wiped out to recover their silver. A true continuity was therefore often the only archived, word-by-word, shot-by-shot, scene-by-scene, record of many films. FAIR condition, the covers have multiple light stains, torn bottom corners, a stiff crease to its bottom front corner area, and edge wear; the photo mounted on the front cover has edge and corner wear and a pea size chip to its bottom edge; internally, the glue is very weak and many of the pages are almost loose or can easily come loose; the pages are lightly toned, the title page a little darker than the rest; the pages have wear to their corners, with the first few pages having their bottom corners torn off (not affecting any text); otherwise the inner pages are just lightly toned and remain bright, clean, clear and unmarked. SCARCE 1961 SHOT ANALYSIS of THE BIRTH OF A NATION (aka THE CLANSMAN).

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  • 1962 THE MANCHURIAN CANDIDATE - ORIGINAL DIALOGUE CONTINUITY SCRIPT / SCREENPLAY by John Frankenheimer 1962 THE MANCHURIAN CANDIDATE - ORIGINAL DIALOGUE CONTINUITY SCRIPT / SCREENPLAY
    John Frankenheimer

    ORIGINAL DIALOGUE CONTINUITY / SCRIPT dated August 27th, 1962, for the film THE MANCHURIAN CANDIDATE by JOHN FRANKENHEIMER. Original, pre-release printing.(the film was released two months later, on October 24, 1962). Plain off-white paper covers, dated August 27th, 1962, on the front cover, mimeographed pages,8.5x 14", printed on one side only, bound with 2 staples at the top. Dialogue Continuity is by "Reel" with Seven Reels of side A and B on 56 numbered pages, plus the cover / title page. The DIALOGUE CONTINUITY is a SHOT BY SHOT / REEL BY REEL breakdown of the SCRIPT. CONDITION: The cover page has a piece torn from the bottom right corner, chipping with associated creasing to its bottom left corner, and…

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    ORIGINAL DIALOGUE CONTINUITY / SCRIPT dated August 27th, 1962, for the film THE MANCHURIAN CANDIDATE by JOHN FRANKENHEIMER. Original, pre-release printing.(the film was released two months later, on October 24, 1962). Plain off-white paper covers, dated August 27th, 1962, on the front cover, mimeographed pages,8.5x 14", printed on one side only, bound with 2 staples at the top. Dialogue Continuity is by "Reel" with Seven Reels of side A and B on 56 numbered pages, plus the cover / title page. The DIALOGUE CONTINUITY is a SHOT BY SHOT / REEL BY REEL breakdown of the SCRIPT. CONDITION: The cover page has a piece torn from the bottom right corner, chipping with associated creasing to its bottom left corner, and creasing to its entire bottom margin; the cover page also has a couple horizontal creases (please see images). The inner pages have light creases to the bottom corners, toning to the margins, and signs of light handling, otherwise complete, bright, clean and unmarked. A RARE and WONDERFUL CONTINUITY SCRIPT for one of the FILM MASTERPIECES of the 20th Century. About THE MANCHURIAN CANDIDATE (from Wikipedia): ******The Manchurian Candidate is a 1962 American Cold War suspense thriller film directed by John Frankenheimer from a screenplay by George Axelrod based on Richard Condon's 1959 novel. It stars Frank Sinatra, Laurence Harvey and Janet Leigh and features Angela Lansbury, Henry Silva, and James Gregory. The central concept of the film is that the son of a prominent, right-wing political family has been brainwashed as an unwitting assassin for an international Communist conspiracy. The Manchurian Candidate was nationally released on Wednesday, October 24, 1962, at the height of the Cuban Missile Crisis. The film was critically acclaimed, and was nominated for two Academy Awards. The Manchurian Candidate was selected for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". In April 2007, Angela Lansbury's character was selected by Newsweek as one of the ten greatest villains in cinema history.******

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  • 1967 IN THE HEAT OF THE NIGHT ORIGINAL CONTINUITY / SCREENPLAY with ACADEMY AWARDS RELATED SIGNED LETTER by Director NORMAN JEWISON by Norman Jewison, Stirling Silliphant 1967 IN THE HEAT OF THE NIGHT ORIGINAL CONTINUITY / SCREENPLAY with ACADEMY AWARDS RELATED SIGNED LETTER by Director NORMAN JEWISON
    Norman Jewison, Stirling Silliphant

    ORIGINAL COMBINED CONTINUITY SCRIPT / SCREENPLAY of IN THE HEAT OF THE NIGHT, the 1967 FILM Directed by NORMAN JEWISON and Starring ROD STEIGER and SIDNEY POITIER. This Combined Continuity (each scene is described in full detail "combining" camera shots, camera angles, dialogue, actions, etc.) is dated June 12th, 1967. At the end of the last page is the statement: "Continuity taken from work picture (a working print) & mag track (magnetic sound track) by Laura Rosser's Film Continuity Service, P.O. Box 1603, Hollywood 28, California, Phone: NO 1-16115". The film was produced by The Mirisch Corporation and Released by United Artists on August 2, 1967. Continuities (Continuity Scripts) were an important part of the film industry. Typically created after…

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    ORIGINAL COMBINED CONTINUITY SCRIPT / SCREENPLAY of IN THE HEAT OF THE NIGHT, the 1967 FILM Directed by NORMAN JEWISON and Starring ROD STEIGER and SIDNEY POITIER. This Combined Continuity (each scene is described in full detail "combining" camera shots, camera angles, dialogue, actions, etc.) is dated June 12th, 1967. At the end of the last page is the statement: "Continuity taken from work picture (a working print) & mag track (magnetic sound track) by Laura Rosser's Film Continuity Service, P.O. Box 1603, Hollywood 28, California, Phone: NO 1-16115". The film was produced by The Mirisch Corporation and Released by United Artists on August 2, 1967. Continuities (Continuity Scripts) were an important part of the film industry. Typically created after a film was "in the can", but before it was released, a continuity created a written "copy" of a film. A good "Continuity", especially a "Combined Continuity", provided a comprehensive transcription of the finished film. Continuities were created both for copyright protection and for a "record" of a film. Many early films easily degenerated, and many others were wiped out to recover their silver. A true continuity script was therefore often the only archived, word-by-word, shot-by-shot, scene-by-scene, record of many films. Mimeographed sheets, yellow front cover, 8.5x14", mimeographed on one side only, 98 pages plus the cover page. Two hole punched at the top and bound by a metal bracket. Laid in a legal size manila folder. The metal bracket has rusted somewhat and has left its rust imprint onto both the front and rear covers of the manila folder. The manila folder has a typed title on its tab: "IN THE HEAT OF THE NIGHT". This script was clearly filed away, perhaps in a legal department, perhaps in the Studio's files. LAID-IN the manila folder, on top of the Continuity / Screenplay, is a TYPED SIGNED LETTER by NORMAN JEWISON. The letter is on NORMAN JEWISON'S PERSONAL STATIONERY. The letter is addressed to PHILLIP LAMBRO, a Composer of Film Scores. The letter is dated APRIL 24, 1968, only 14 days after the April 10, 1968, 40th ACADEMY AWARDS that presented Oscars to films released in 1967. IN THE HEAT OF THE NIGHT won MULTIPLE OSCARS at the 40th Academy Awards, including BEST PICTURE (and, perhaps of interest to Phillip Lambro, BEST SOUND). Norman Jewison's letter to Phillip Lambro clearly refers to the film's success at the Academy Awards. The letter reads: "Dear Phillip: / Thank you for your thoughtful letter. It was muchly appreciated. / It was a very exciting and rewarding night for our picture, and I thank you again for caring. / Yours, / Norman (signed)". (Phillip Lambro is a composer who had a short career as a composer of film scores. Lambro wrote the original score to Polanski's film Chinatown, which, before the film was released, was replaced by a score by Jerry Goldsmith.) Condition: The cover / title page is mostly torn away from the metal bracket at the top, and is worn along its edges with small closed tears; the last few pages are worn along their bottom edge; otherwise a bright, clean copy that clearly has been safely filed away. The laid-in TLS letter has folds from where it was probably folded to fit into an envelope (envelope is not present), and has some general creases from handling, but remains sturdy, bright and clear. One of the 20th Centuries Great Films, with an Associated Letter from the Film's Director. Scarce. About the 40th Academy Awards (from Wikipedia): ******The 40th Academy Awards honored film achievements of 1967. Originally scheduled for April 8, 1968, the awards were postponed for two days until April 10, 1968, because of the assassination of Dr. Martin Luther King, Jr. The big winner was Norman Jewison's IN THE HEAT OF THE NIGHT with FIVE OSCARS for Best Picture, Best Actor, Best Screenplay, Best Film Editing, and Best Sound).******

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  • 1969 SCRIPT RUSSIAN-SWEDISH FILM "MAN FROM THE OTHER SIDE" Emil BRAGINSKY Rare by Volodya SEMITJOV, Emil BRAGINSKY, Yuri EGOROV, and V. SOLOVIEV 1969 SCRIPT RUSSIAN-SWEDISH FILM "MAN FROM THE OTHER SIDE" Emil BRAGINSKY Rare
    Volodya SEMITJOV, Emil BRAGINSKY, Yuri EGOROV, and V. SOLOVIEV

    1969 FILM SCRIPT for the RUSSIAN-SWEDISH FILM "THE MAN FROM THE OTHER SIDE". FILM SCRIPT / "Literary Scenario" by Volodya SEMITJOV, Emil. BRAGINSKY, Yuri EGOROV, and V. SOLOVIEV. This is an English translation of the script, perhaps produced in the hopes of finding financing and distribution in the United States. The English translation (from the Swedish) was by ALAN BLAIR. The SCRIPT / SCREENPLAY was for a RUSSIAN-SWEDISH STUDIOS CO-PRODUCTION. The film was produced, and was released in 1972 by Warner-Columbia International. The title page reads "In co-production: OMEGA FILM (Stockholm) // GORKY FILM STUDIO (Moscow)". The date on the front page is "Moscow, April 1969". Mimeographed pages / printed from typescript, 8" x 11.5", plastic spiral bound, clear plastic…

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    1969 FILM SCRIPT for the RUSSIAN-SWEDISH FILM "THE MAN FROM THE OTHER SIDE". FILM SCRIPT / "Literary Scenario" by Volodya SEMITJOV, Emil. BRAGINSKY, Yuri EGOROV, and V. SOLOVIEV. This is an English translation of the script, perhaps produced in the hopes of finding financing and distribution in the United States. The English translation (from the Swedish) was by ALAN BLAIR. The SCRIPT / SCREENPLAY was for a RUSSIAN-SWEDISH STUDIOS CO-PRODUCTION. The film was produced, and was released in 1972 by Warner-Columbia International. The title page reads "In co-production: OMEGA FILM (Stockholm) // GORKY FILM STUDIO (Moscow)". The date on the front page is "Moscow, April 1969". Mimeographed pages / printed from typescript, 8" x 11.5", plastic spiral bound, clear plastic front cover, heavy stock paper back cover, 91 numbered pages, plus title page, plus a 14 page summary laid-in. The script with its laid-in items are in a Manila Folder with the typed name "MR. PAUL KOHNER", the handwritten title "THE MAN FROM THE OTHER SIDE", and the handwritten info: "(?) only copy" (i.e. somebody's only copy). Paul Kohner was a renowned Hollywood talent agent. The script and its laid-in pages are in VERY GOOD condition, with all the pages bright and clear. The manila folder is very worn and weary, with lots of tears, soiling, creases, etc., nonetheless it provides some nice provenance. Rare and Unusual Russian Swedish Film Production Script from 1969.

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  • 1970s UNPRODUCED ISRAELI SCREENPLAY by MENAHEM GOLAN Copy of Agent PAUL KOHNER by MENAHEM GOLAN and Joseph Gross 1970s UNPRODUCED ISRAELI SCREENPLAY by MENAHEM GOLAN Copy of Agent PAUL KOHNER
    MENAHEM GOLAN and Joseph Gross

    THE SUN BEYOND THE BORDER. ORIGINAL UNPRODUCED SCREENPLAY by MENAHEM GOLAN and JOSEPH GROSS. The screenplay is undated but likely early 1970s. The film was to be an Israeli production. The title states that the screenplay is the Property Of: NOAH FILMS, 32 Allenby Road, TEL-AVIV, ISRAEL. The screenplay is bound in plain black vinyl covers, bound with three metal brads. There is the label of Super Agent Paul Kohner Inc. on the front cover. The inner pages are photocopied on plain white paper (copy machine copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to various writers, producers, directors, and others involved in a film project), 8.5x11 inches, 96 pages…

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    THE SUN BEYOND THE BORDER. ORIGINAL UNPRODUCED SCREENPLAY by MENAHEM GOLAN and JOSEPH GROSS. The screenplay is undated but likely early 1970s. The film was to be an Israeli production. The title states that the screenplay is the Property Of: NOAH FILMS, 32 Allenby Road, TEL-AVIV, ISRAEL. The screenplay is bound in plain black vinyl covers, bound with three metal brads. There is the label of Super Agent Paul Kohner Inc. on the front cover. The inner pages are photocopied on plain white paper (copy machine copies were, and still are, common among production and working scripts; drafts could be quickly made and sent to various writers, producers, directors, and others involved in a film project), 8.5x11 inches, 96 pages plus a title page, pages printed on one side only. GOOD CONDITION: The covers are worn at the edges and corners where they overhang the inner pages; internally the pages are age toned, there are numerous early copy machine dust marks, spots, and smudges, and page 11 is creased and torn at its bottom corner area, otherwise the pages are bright, clean and fully legible. A solid, nice copy, as Paul Kohner received it from Menahem Golan. You can read about MENAHEM GOLAN and PAUL KOHNER on Wikipedia and elsewhere on the Internet.

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