Eleven 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. Ten 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 eleven issues are from: 1967 (1), 1972 (1), 1973 (3), 1975 (2), 1976 (2), 1977 (1), and 1978 (1).

Softcover magazines, side stapled, 8x10.5 inches, approximately 50 to 60 pages each.

The eleven issues are in FAIR to GOOD condition, the issues all have a stiff vertical crease down the middle from being folded in half (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); one page has a long horizontal tear across its face that has been repaired with clear tape; there are creases and other signs of handling; nonetheless these 11 issues are solid and complete.

An interesting look at one aspect of the intellectual and artistic life in Czechoslovakia during the Russian occupation.

Issues of Film A Doba published during the Russian Occupation are hard to find.

INTERNATIONAL BUYERS PLEASE NOTE: These 11 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.

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.******

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).******

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.

Original WUTHERING HEIGHTS CONTINUITY DIALOGUE SCREENPLAY / SCRIPT. Directed by William Wyler. Script by Ben Hecht, Charles MacArthur, and an uncredited John Huston. Starring Laurence Olivier and Merle Oberon. The script is not dated and neither the writers, director or actors are credited on this script. However, the paper, the printing, and the six-reel transcription, and the Provenance, clearly identifies this as an original, 1939 continuity screenplay.

Provenance of Paul Kohner, with his early label "Paul Kohner, Inc." on the blank verso of the last page. Paul Kohner was an noted film producer in the 1930s. Among other films he produced William Wyler's "A House Divided" and Lon Chaney's "The Hunchback of Notre Dame". Paul Kohner later became a film industry super-agent. John Huston was his client and friend for over 40 years, William Wyler and David Niven were also clients. All

were involved with Wuthering Heights, Wyler as Directory, Huston as an uncredited screenwriter, Niven as an actor. (See more about Paul Kohner at the end of this listing.)

Mimeographed pages printed on one side only, 8.5x11 inches, 47 pages, 3-hole punched at the left margin, bound with two brass brads.

The dialogue continuity is transcribed by reel. There are six reels, each with a Part A and Part B, except for Reel Six which only needs Part A to reach the end of the film. The dialogue continuity (and the 1939 film) ends with the classic: "No, not dead, Dr. Kenneth. Not alone. He's with her. They've only just begun to live. Goodbye Heathcliff. Goodbye my wild sweet Cathy."

FAIR CONDITION: The first page is browned, not attached to the brads, and heavily chipped at all its edges, but the text is complete and fully legible; pages 2-47 are age toned, and some edge wear here and there including a few closed tears and small chips.

This is the only Original Wuthering Heights Six Reel Dialogue Continuity that I have ever seen, and I doubt I will ever see another.

About CONTINUITY SCRIPTS:

******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 word of dialogue 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 "true 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, record of many early films.******

About PAUL KOHNER (from his March 19, 1988 New York Times obituary):

************Paul Kohner, b.1902 d.1988, was a prominent Hollywood film producer and super-agent for motion picture actors and directors.

Paul Kohner was born in Teplice-Sanov in what was Czechoslovakia. In the 1920s Kohner came to the United States to work for Universal. He became head of Universal's European division in Berlin in the late 1920's.

He returned to the United States in the mid 1930's, and produced dozens of films, including Lon Chaney's "The Hunchback of Notre Dame," William Wyler's "A House Divided," "The Chinese Parrot" and "Love Me and the World Is Mine".

Kohner opened his talent agency in 1938 while still a film producer. In the 40s and 50s his illustrious client list included John Huston, Ingmar Bergman, Maurice Chevalier, Marlene Dietrich, Greta Garbo, Liv Ullmann, Billy Wilder, Yul Brynner, Henry Fonda, Marcel Pagnol, Douglas Sirk, Lana Turner and Erich von Stroheim.

Ingmar Bergman once said that Paul Kohner's life "includes the history of the movies." And John Huston, a client for more than 40 years, said of Paul Kohner: "We lasted through marriages and wars and good times and disasters - nothing lasts forever except Paul and me."******

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.

EARL CARROLL'S HOLLYWOOD. Program for the SHOWGIRLS stage show that was proclaimed to feature "The Most Beautiful Girls In The World".

The cover features BERYL WALLACE, Earl Carroll's featured pin-up star.

Paper covers, side stapled, 8.5x11 inches, 14 unnumbered pages including covers. Illustrated throughout with b&w photographs.

GOOD condition, there is a thin 1 inch ink line on the face of the pin-up girl on the front cover, a light smudge to the top margin of the front cover, and some creasing to the rear cover; overall just lightly used and still solid, bright and clean.

Here's an interesting tidbit from Wikipedia: "On June 17, 1948, while en route from Los Angeles to New York City, Beryl Wallace and Earl Carroll died in the crash of United Airlines Flight 624 in Aristes, Pennsylvania. They were interred together in the Garden of Memory at Forest Lawn Memorial Park Cemetery, Glendale, California."

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.

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.

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.

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.

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 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", especially a "Combined 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 "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 inches, mimeographed on one side only, 98 pages plus the cover page. Two hole punched at the top and bound by a metal bracket. The entire continuity / screenplay is laid-in a legal size manila folder. This was done quite some time ago because the metal bracket has rusted somewhat and has left its rust imprint on 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, b.1935 d.2015, was a composer, best known for his FILM SCORES and percussion oriented music. (Read more about him on IMDB.)

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.

OSTS & BUDGET BREAKDOWN for the filming of THE SCALPHUNTERS in MEXICO. Includes all costs for an expected 66 day shoot in Mexico. The date of the budget breakdown is 1/25/67, with photography started on 2/23/67. The film was released by United Artists on 4/2/68, more than a year after this working budget.

The film was produced by Norlan Productions / Bristol Pictures. It was directed by Sydney Pollack, and starred Burt Lancaster.

Approximately 70 photocopied 8.5x14 inch pages, printed on one side only, 2-hole punched at the top, bound with a metal bracket, held in a manila folder. (Photocopying was, and often still is, how original copies of working budgets, with changes, were quickly produced and distributed to studios, producers, agents, directors, and others involved in a motion picture production.)

Every page has detailed information regarding the film's budget, including costs of extras, gaffers, stars, makeup and hairdressing, set designs, equipment, etc. etc. etc. This was truly a working budget, with white-out changes here and there throughout as cost estimates changed.

The budget pages are in VERY GOOD condition, lightly age toned, some signs of handling, and some white-out changes here and there (as noted above), otherwise the pages are bright, clean, clear and unmarked. The manila folder holding the budget breakdown has creases, wear, and some small stains.

A wonderful and intimate look at the breakdown of every cost involved in the production of a major motion picture in 1968.

About THE SCALPHUNTERS (from Wikipedia):

******The Scalphunters is a 1968 American Western film starring Burt Lancaster, Ossie Davis and Telly Savalas. The film was directed by Sydney Pollack, with the score written by Elmer Bernstein. Davis was nominated for a Golden Globe for Best Supporting Actor for his performance in the film. Filming took place in Sierra de Organos National Park in the town of Sombrerete, Mexico.******

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.

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.

TALES OF BEATRIX POTTER - Rare POSTER for the EMI FILM starring the DANCERS of the ROYAL BALLET. The poster is 39.5" x 30" oblong. GOOD PLUS Condition: The poster has been FOLDED to a manageable size, creating several HORIZONTAL and VERTICAL FOLDS; there is some light edgewear; someone has written "BEATRIX POTTER" in ink on the blank backside; otherwise bright and clear. Will be shipped folded, as was its stored state. About the 1971 Film TALES OF BEATRIX POTTER (from Wikipedia): ******The Tales of Beatrix Potter is a 1971 ballet film based on the children's stories of English author and illustrator Beatrix Potter. The film was directed by Reginald Mills, choreographed by Sir Frederick Ashton (who danced the role of Mrs. Tiggy-Winkle), and featured dancers from the Royal Ballet. The musical score was arranged by John Lanchbery from various sources such as the operas of Michael Balfe and of Sir Arthur Sullivan, and performed by the Orchestra of the Royal Opera House. Tales of Beatrix Potter is the only feature film directed by Mills, who is best remembered as a film editor. Mills had edited The Red Shoes (1948) and other films directed and produced by Powell and Pressburger which incorporating ballet. The film was given the go ahead by Bryan Forbes during his period as head of production at EMI Films. He recalled that the EMI Board were not enthusiastic, and Nat Cohen had never heard of Beatrix Potter, but he had complete artistic control for any movie made with a budget under £1 million so could gain approval easily. The film was one of the most successful of the Forbes regime at EMI Films. A 1971 review by Roger Ebert was favorable: "The stories are told simply and directly and with a certain almost clumsy charm. Instead of going for perfection in the dancing, the Royal Ballet dancers have gone for characterizations instead. The various animals have their quirks and eccentricities, and they are fairly authentic: The frog dances like a frog, for example, and not like Nureyev." Anthony Nield wrote in 2011, "Tales of Beatrix Potter is one of British cinema's true one-offs, a film quite unlike any other. Ostensibly aimed at children, this adaptation of Potter's various animal-centric stories was mounted by the Royal Ballet and choreographed by Sir Frederick Ashton. The tales are rendered as a series of dances, loosely interconnected by the author as a young girl (played by Erin Geraghty) and her active imagination. There are no words, only music and movement as the performers of the Royal Ballet - in full animal costume - interpret her stories' simple narratives." The film's designer, Christine Edzard, was nominated for BAFTA awards for Best Art Direction and for Best Costume Design.******

NASHVILLE, Original Film Release Dialogue Script dated July 11, 1975. A Robert Altman film. Screenplay by Joan Tewkesbury.

A RELEASE DIALOGUE SCRIPT is a special version of the screenplay, a post production version that provides a log of every visual action and every audible sound for each of the frames and footage on the reels of a film. Basically a written copy of a film. One could conceivably create a duplicate of a film based on its Release Dialogue Script.

COPY of and SIGNED by the film's Title Designer, DAN PERRI, a highly regarded film title designer

who worked on the films Star Wars, Taxi Driver, All The President's Men, Close Encounters Of The Third Kind, Exorcist, and many, many more. It is his personal copy, with his SIGNATURE and his ownership NAME/TITLE LABEL on the first page.

Black textured paper covers, inner pages photocopied on 8.5x11 inch light green paper (photocopying was, and still is, how original copies of screenplays were quickly produced and distributed to actors, producers, directors, editors and others involved in a film production), pages printed on one side only, 3-hole punched and bound with 3 brass brads. Approximately 200 pages (pages are numbered by reel, there being 8 reels, each reel with a part A and B).

VERY GOOD condition, the covers have some light general wear, the three brass brads have oxidized, the inner pages are lightly age toned, the first and last page have creases and light soiling, there is a stiff crease to the bottom corner of the last few pages, "NASHVILLE" is written in black marker on the spine page edges, otherwise the inner pages are just lightly used, tight, bright, clean and clear.

RARE ORIGINAL, SIGNED, RELEASE DIALOGUE SCRIPT of one of the greatest American films of the 20th century.

About Robert Altman's Film NASHVILLE (from Wikipedia):

******Nashville is a 1975 American satirical musical ensemble comedy drama film directed by Robert Altman. The film follows various people involved in the country and gospel music businesses in Nashville, Tennessee, over a five-day period, leading up to a gala concert for a populist outsider running for President on the Replacement Party ticket.

Nashville was released by Paramount Pictures in the summer of 1975, and opened to critical acclaim. Patrick McGilligan of The Boston Globe wrote that it was "perhaps the most talked about American movie since Orson Welles' Citizen Kane." Nashville was nominated for a total of 11 Golden Globe Awards, to date the highest number of nominations received by one film. It was also nominated for five Academy Awards, including Best Picture, Best Director (Altman), and Best Supporting Actress (both Lily Tomlin and Ronee Blakely). Selected for preservation in the United States National Film Registry in 1992, it is now considered Altman's magnum opus, and by many critics to be one of the greatest films of all time.******

About DAN PERRI (from Wikipedia):

******Daniel Richard Perri, b.1945, is a film and television title sequence designer, responsible for the main titles of many films including: The Exorcist (1973), Nashville (1975), Taxi Driver (1976), Star Wars (1977), Raging Bull (1980), Airplane! (1980), and Suspiria (2018).

Possibly Perri's best known title sequence project came about in 1976 when he was introduced to director George Lucas, who invited Perri to Industrial Light & Magic. Perri eventually developed a concept for presenting a textual introduction to the film in which the credits are shown distorted by a sharp perspective and rolling along towards a distant vanishing point. Lucas approved the idea and Perri produced sketches and prototype mechanical artwork that gave birth to the now familiar opening crawl sequence that appears in the Star Wars films.

Perri has stated that Lucas offered him a share of royalties from the film in lieu of his ordinary fee; Perri rejected the offer and has regretted his choice ever since.******

GRAHAM GREENE - EARLY DRAFT SCREENPLAY of his NOVEL "HONORARY CONSUL". Screenplay by John Melson. This draft is dated February 1, 1976, years before the film finally went into production and seven years before the film was released.

It appears that this 1976 draft was being produced by Capricorn Productions of Venice, California. The company name / address / phone stamp is on the title page. It also appears that this project was being shopped by PAUL KOHNER, a Hollywood Super Agent. Laid in is his handwritten note on his letterhead that states: "NO / (Returned?) by (??) / Not very high on it. / Do you still want / discuss with him?" Also in the hand of Paul Kohner is a note on the title page: "Return to Pamela" which is then circled along with the company stamp of Capricorn Productions.

This 1976 John Melson draft was apparently NEVER used. Capricorn Productions abandoned the movie project. Norma Heyman later took on the task of producing a film version of the book and another writer, Christopher Hampton, was brought in to write the screenplay. The title of the film was CHANGED to BEYOND THE LIMIT for its U.S. release, but retained the title HONORARY CONSUL for the U.K.

(Interesting Note: By producing the film The Honorary Consul, Norma Heyman, born 1940, became the first British woman to produce an independent feature film by herself.)

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 the film's writers, producers, directors, etc.), 8.5x11 inches, 132 pages printed on one side only, pages are 3-hole punched and bound in plain orange paper covers with 2 brass brads.

VERY GOOD condition, the covers have some light soiling and a couple marks, the top of the front cover has several paperclip indents and a small associated tear, otherwise the script is tight, bright, clean and unmarked.

RARE and UNUSUAL Early Draft of GRAHAM GREENE Novel HONORARY CONSUL, with Manuscript Note by PAUL KOHNER.

FANNY AND ALEXANDER - A FILM FOR TELEVISION, by INGMAR BERGMAN. Translated (into English) by Alan Blair.

ORIGINAL DRAFT SCREENPLAY for what BERGMAN INTENDED TO BE a FIVE HOUR, FOUR PART FILM for TELEVISION. The Draft is dated Faro (Sweden), 1979.

Plastic Spiral Bound Screenplay, green paper covers, 8.25x11.75 inches, mimeographed or photocopied typescript, 235 pages plus 3 prelim pages (Title Page, Characters), pages printed on one side only.

There are a few very minor hand corrections, mostly grammatical, here and there, and I noticed one page (page 221) had a handwritten margin comment "How about Alexander". No idea if this was written by an assistant, agent, proofreader, or someone else involved in Bergman's film project.

VERY GOOD condition, the plain green paper front cover has a diagonal crease; internally the pages are just lightly toned at the edges, otherwise

complete, tight, bright, clean and clear copy. A very presentable copy.

The full breadth and beauty of Ingmar Bergman's incredible film is only fully realized in the format he originally intended, the four part, five hour television film. This 1979 screenplay draft was the embodiment of that vision.

However, Bergman was convinced to make a drastically cut version (3 hours versus 5 hours) for limited release in Europe in late 1982 so that the film would qualify for the Academy Awards. After the spliced and diced film finished its very limited European release, and after it won 4 academy awards (it was nominated for six), a 5 hour theatrical film was given limited European theatrical release. That five hour film was basically a spliced together version of the intended four part, five hour television film. Finally, also in 1983, the full four part, five hour television film was shown in Sweden (Fanny och Alexander) in the form Bergman originally intended.

I do not believe that Bergman's preferred 5 hour version was ever filmed in English. His original intent was clearly to have the four part, five hour telefilm made and shown on television in both Sweden and the United States. Thus this 1979 English translated draft screenplay. But instead only the drastically shortened film version was ever released theatrically in the United States. That film was released in 1983, four years after this 1979 screenplay for television was looking for U.S. producers.

This Original 1979 Draft Screenplay for the Full Four Part, Five Hour Television Film was sent to Super Agent Paul Kohner (long time agent for Ingmar Bergman and for many of Bergman's film stars). Paul Kohner's ownership label is on the title page, with his early phone number CRESTVIEW 1-5165.

SCARCE. This 1979 INGMAR BERGMAN Draft SCREENPLAY for his vision of a Five Hour, Four Part FILM for TELEVISION, is the only copy I have, and it is the only copy I have ever seen.