alida valli (32 risultati)

DVD. Condizione: Used - Good.

Soft cover. Condizione: VG+. 1st Edition. A VG or better 12-page pressbook with no cuts. Size: 11" X 14". Book.

Soft cover. Condizione: VG+. A VG or better 12-page pressbook with no cuts. Size: 11" X 14". Book.

Soft cover. Condizione: VG. A VG or better folded original release 27 x 41 one sheet. Book.

Soft cover. Condizione: VGF. 1st Edition. A VGF or better 4-page pressbook with no cuts or missing pages. Size: 11" X 14". Book.

No Binding. Lobby card #5 / #50-301. A VG lobby card from the film "The White Tower" based on the novel by James Ramsey Ullman. Size: 11" X 14". Poster.

Soft cover. Condizione: VG+. A VG or better 6-page pressbook with no cuts or missing pages. Size: 11" x 17". Book.

DVD. Condizione: Used - Good.

No Binding. Condizione: VGF. A lot of 10 VG or better original release 8 x 10 stills. Photographic Image.

No Binding. Condizione: VG. A VG or better original release lot of six 11 x 14 lobby cards. Poster.

Condizione: Tres bon. M6 Vidéo collection , 2010. 1 volume format DVD très bon Genre Drame Format Cinémascope, Couleur, PAL, Plein écran Contributeur Alida Valli, Carmelo Bene, Franco Citti, Luciano Bartoli, Ninetto Davoli, Pier Paolo Pasolini, Silvana ManganoAlida Valli, Carmelo Bene, Franco Citti, Luciano Bartoli, Ninetto Davoli, Pier Paolo Pasolini, Silvana Mangano Langue Italien Durée d?exécution 1 heure et 40 minutes Couleur Couleur Nombre de disques 1 Fabricant M6 Vidéo. Livre.

No Binding. Condizione: VGF. A lot of 12 VG or better original release 8 x 10 stills. Photographic Image.

Condizione: Gut. 4 S., 27 x 18 cm, Original-Filmprogramm. 4 ungez. Seiten. Leichte Faltspuren mittig längs und quer. Gutes, sauberes Exemplar, ungelocht. DIES IST EIN PROGRAMMHEFT UND KEINE DVD ODER VHS. THE ITEM IS A PLAYBILL NOT A DVD OR VHS. Originaltitel: Il Mondo le Condanna Sprache: Deutsch Gewicht in Gramm: 260.

Postkarte. Condizione: Gut. Postkarte von Jean Marais und Alida Valli, unsigniert. /// Jean Marais, mit bürgerlichem Namen Jean Alfred Villain-Marais (* 11. Dezember 1913 in Cherbourg; ? 8. November 1998 in Cannes, Alpes-Maritimes), war ein französischer Schauspieler und Bildhauer. Er war der langjährige Lebensgefährte von Jean Cocteau, der ihn in Filmklassikern wie Es war einmal einsetzte. Marais zählte über zwei Jahrzehnte durch Mantel-und-Degen-Filme sowie die Verkörperung des Superverbrechers Fantomas zu den beliebtesten Filmstars seines Landes. Jean Marais war fünf Jahre alt, als seine Eltern sich trennten. Gemeinsam mit seinem Bruder Henri wurde er von seiner Mutter, seiner Tante und seiner Großmutter in einem großen Haus in Le Vésinet bei Paris (Boulevard de Belgique No. 60, heute No. 90) aufgezogen. Schon früh entwickelte er eine Leidenschaft für das Zeichnen und das Theaterspielen. Als turbulenter Schüler wurde er des Gymnasiums verwiesen. Seine berufliche Laufbahn begann er als Fotoretuscheur und Caddie auf einem Golfplatz, die künstlerische Karriere durch die Teilnahme am Salon des Indépendants. Der Filmregisseur und -produzent Marcel L?Herbier sorgte dafür, dass er erstmals als Statist in einem Film mitwirken konnte, versagte ihm jedoch bedeutendere Rollen. Nachdem Marais bei der Aufnahmeprüfung des Konservatoriums gescheitert war, besuchte er die Schauspielkurse von Charles Dullin und bezahlte diese durch seine Tätigkeit als Statist in Dullins Theater. Im Jahr 1937 fand die erste Begegnung mit dem knapp 25 Jahre älteren Jean Cocteau statt, seinem späteren Mentor und Lebensgefährten, die die große Wende in Jean Marais? Karriere herbeiführte und eine ebenso lange wie kreative Freundschaft und Zusammenarbeit einleitete. Marais spielte Malcolm in Macbeth und wurde von Jean Cocteau für die Erstaufführungen von Les chevaliers de la table ronde (Die Ritter der Tafelrunde) und Les parents terribles (Die schrecklichen Eltern) engagiert. Die geplante Verfilmung der Schrecklichen Eltern kam infolge der Mobilmachung zunächst nicht zustande. Trotz seiner Homosexualität war Marais zwischen 1944 und 1946 mit der Schauspielerin Mila Parély verheiratet. Der endgültige Durchbruch gelang Marais durch seine Rollen in Jacques de Baroncellis Film Le pavillon brûle (1941) und der Tristan und Isolde-Adaption Der ewige Bann (1943) von Regisseur Jean Delannoy, zu der Jean Cocteau das Drehbuch beisteuerte. Es folgten weitere bedeutende Filme, darunter Es war einmal (1946), Der Doppeladler (1947) Die schrecklichen Eltern (1949) oder Orpheus (1949). Nachdem er in diesen künstlerisch ambitionierten Filmen bekannt geworden war, trat Marais ab den 1950er Jahren verstärkt in kommerziell ausgerichteten Streifen auf, in denen er häufig in Liebhaber- und Abenteuerrollen zu sehen war. Sein athletisches Auftreten und sein Aussehen prädestinierten ihn für typische Mantel-und-Degen-Filme wie Der Graf von Monte Christo (1954), Des Königs bester Mann (1958), Ritter der Nacht (1959), Mein Schwert für den König (1960), Fracass, der freche Kavalier (1961), Die eiserne Maske (1962) oder Der Graf mit der eisernen Faust (1962). In diesem Rollenfach galt er jahrelang als idealtypischer Hauptdarsteller. Noch 1973 spielte er im Fernsehmehrteiler Cagliostro mit 60 Jahren eine der für ihn typischen Mantel-und-Degen-Rollen. Marais trat außerdem in Liebesfilmen wie Rendezvous in Paris (1950), Geliebte um Mitternacht (1953) oder Weiße Margeriten (1956) auf und spielte regelmäßig in Historienfilmen wie Ruy Blas, der Geliebte der Königin (1948), Das Geheimnis von Mayerling (1949), Versailles - Könige und Frauen (1954), Napoleon (1954), Austerlitz - Glanz einer Kaiserkrone (1960), Kaiserliche Hoheit (1961) oder Der Raub der Sabinerinnen (1961). Im Jahr 1960 trat er in Das Testament des Orpheus ein letztes Mal unter der Regie von Jean Cocteau auf, der 1963 verstarb. Le passe-muraille. Skulptur an der rue Norvins im 18. Arrondissement. Die dargestellten Gesichtszüge sind die des Autors Marcel Aymé. In.

Couverture souple. Condizione: bon. R150146049: Non daté. In-12. Broché. Bon état, Couv. légèrement passée, Dos satisfaisant, Intérieur acceptable. 12 pages. Nombreuses illustrations en couleurs dans le texte. . . . Classification Dewey : 56-Catalogue.

Vintage borderless lobby card for the German release of the 1974 Spanish film. From the collection of artist and author Duncan Hannah. Duncan Hannah was a key figure in the burgeoning New York underground arts scene, befriending Andy Warhol and his superstars, Lou Reed, Allen Ginsberg, Patti Smith, Salvador Dali, and many others. A graduate of the Parsons School of Design, his paintings were exhibited in the influential 1980 Times Square Show alongside work by Keith Haring and Jean-Michel Basquiat, and several of his paintings are held in the permanent collection of the Metropolitan Museum of Art. A sadistic, mentally unstable man tortures the new servant girl at his mother's sprawling countryside estate. Shot on location in Venezuela. 11.5 x 9.25 inches. Very Good plus, with a diagonal crease at the bottom left corner.

No Binding. Condizione: Very Good. THE THIRD MAN. London: Carol Reed Productions, Circa 1948. Vintage candid photograph from the UK release of the 1949 film. Original single weight 7.5" by 9.5" glossy CANDID photo of ORSON WELLES on location amidst the ruins in post-WW2 Vienna, standing and pointing beside a policeman who may or may not be an actor. This photo is in Very Good condition with minor creasing. It is not trimmed, but merely has narrow borders. Reverse bears director Carol Reed's production stamp. The Third Man is considered by many critics to be one of the greatest English films ever made, studio-stamped original stills from its first release are exceedingly scarce. Directed by Carol Reed, starring Joseph Cotton, Trevor Howard, Alida Valli, and Orson Welles. Images of Welles from the making of this film are particularly desirable due to his limited screen time.

No Binding. Condizione: Very Good. THE THIRD MAN. London: Carol Reed Productions, Circa 1948. Vintage candid photograph from the UK release of the 1949 film. Original single weight 7.5" by 9.5" glossy CANDID photo of ORSON WELLES on location amidst the ruins in post-WW2 Vienna, waiting for his next shot. This photo, in Very Good to Fine condition with minor blemishes, is not trimmed, but merely has narrow borders. Reverse bears director Carol Reed's production stamp. The Third Man is considered by many critics to be one of the greatest English films ever made, studio-stamped original stills from its first release are exceedingly scarce. Directed by Carol Reed, starring Joseph Cotton, Trevor Howard, Alida Valli, and Orson Welles. Images of Welles from this film are particularly desirable due to his limited screen time.

Draft English language script for the 1951 French-Italian film, "Les miracles n'ont lieu qu'une fois," here under the English title, "Miracles Only Happen Once." Based on an original scenario by Jacques Sigurd, adapted to English by Hugh Brooke. Claudia (Valli) and Jerome (Marais) meet in Paris shortly before WWII, fall in love and expect to get married. The war interrupts their romance, and the two wait until after the war to rekindle their passion, only the same passion seems to be lacking. Shot on location in France and Italy. Blue titled wrappers. Title page present, dated December 5, 1950, noted as English Screenplay, with credits for screenwriters Brooke and Sigurd. 126 leaves, with last page of text numbered 125. Carbon typescript. Pages and wrapper Near Fine, internally bound with three gray brads.

Videokassette. Condizione: Befriedigend. Artikel stammt aus Nichtraucherhaushalt! NB2-424 Sprache: Deutsch Gewicht in Gramm: 500.

Collection of 14 vintage oversize promotional brochures for Italian and international actresses. Each brochure features a one-page biography in Italian and a full-page black-and-white photograph of each actress. Actresses represented are Sylvana Mangano, Isa Miranda, Annamaria Gerrero, Yvonne Sanson, Alida Valli, Delia Scala, Ingrid Bergman, Silvana Pampanini, Lea Padovani, Lucia Bose, Eleanora Rossi, Gina Lollobrigida, Carla Del Poggio, and Anna Magnani. 11 x 14.25 inches, folded once vertically as issued, with a company statement on the verso. Very Good plus overall, some with light toning and foxing, and a few with short tears.

DVD-Hülle. Condizione: Gut. UK Import. Versand im Luftpolsterumschlag! DVD-Hülle etwas berieben, Disc ist in einem guten Zustand; Case shows some wear, disc in good condition H260610dvdm87 ISBN: 5035673011904 Altersfreigabe FSK ab 16 Jahre Sprache: Französisch Gewicht in Gramm: 130.

Vintage borderless photograph from the 1958 film, showing director Roger Vadim positioning actor Brigitte Bardot's hands as she holds a cape. With manuscript annotations on the verso identifying the film. Based on the 1954 novel by Albert Vidalie, about a young woman who runs away from a convent only to get entangled with the young man her aunt is having an affair with, to deadly consequences. Vadim's second film, and the second of five films he would make with Bardot. Set and shot in Torremolinos, Spain. 9.5 x 7 inches. Near Fine.

Ufpc, 1947. Au recto : affiche du film d'Alida Valli au format 48*64cm avec au recto scénario et photos. Bon état.

Vintage reference photograph of director Carol Reed with his camera crew on the set of the 1949 film noir. With a London Film Studios stamp to the verso. An unemployed pulp fiction novelist travels to postwar Vienna to investigate the death of an old school friend. Screenwriter Graham Greene's first and only original screenplay, and second collaboration with Carol Reed, following "The Fallen Idol" (1948) and preceding "Our Man in Havana" (1959). Set and shot on location in Vienna, Austria and England. 10 x 7.75 inches. Near Fine. Criterion Collection 64. Ebert I. Grant UK. Penzler 101. Rosenbaum 1000. Schrader Canon Fodder 18. Selby UK. Spicer UK.

Vintage reference photograph from the 1940 Italian film, showing a 17-year-old Alida Valli. File stamp and annotations in manuscript ink and pencil on the verso. Valli appeared in bit parts in Italian comedies between 1934 and 1940, finally making her dramatic debut in 1941, in Mario Soldati's "Piccolo mondo antico." She received a special Best Actress award at the Venice Film Festival for her performance, and would go on to star in a number of American, French, and Italian films through the ensuing decades. 7.25 x 9.5 inches. Near Fine.

Two Spanish promotional flyers for the premiere of the epic 1942 Italian film version of Ayn Rand's controversial 1936 novel. One flyer is full-color and in a handbill style, the other cut to look like a book, and opens to reveal the film's details, along with the logo of the Spanish distributor, Una Distribucion. "We the Living" was Ayn Rand's first published statement against communism, and its very faithful adaptation by director Alessandrini, released as two separate films, caused a predictable stir all over Europe. The initial release never left the continent, and was shuttered in a vault for over 25 years. It was then rescued by Rand herself in the late 1960s, restored, and had its US premiere at the Telluride Film Festival in 1986. Both flyers 4 x 6 inches. About Near Fine.

Three vintage postcard photographs from the 1942 Italian film, and four vintage studio still photographs from the 1986 restoration and re-release of the film. Of particular note among the studio still photographs is an image of writer Ayn Rand taken by Leonard McCombe, capturing Rand waiting to testify on communism in Hollywood to the House Un-American Affairs Committee on October 20, 1947. "We the Living" was Rand's first published statement against communism, and its faithful adaptation by director Goffredo Alessandrini, released as two separate films, caused a predictable stir all over Europe. The initial release never left the continent, and was shuttered in a vault for over 25 years. It was then rescued by Rand herself in the late 1960s, restored, and made its US premiere at the Telluride Film Festival in 1986. Studio still photographs: 8 x 10 inches. Fine. Postcard photographs: 3.5 x 5.5 inches. Near Fine. All materials housed together in a white glassine sleeve.

Vintage borderless photograph of actress Alida Valli looking into a mirror, circa 1950s. The Italian-born actress first gained recognition in the US after signing a contract with David Selznick, leading to her appearances in "The Paradine Case" (1947), "The Miracle of the Bells" (1948), and "The Third Man" (1949). She returned to Europe in the early 1950s, breaking her contract with Selznick, and starred in a number of French and Italian films, most notably Luchino Visconti's "Senso" (1954). 8 x 10 inches. Very Good plus, with a light vertical flaw in the finish, affecting the center of the photograph.

Vintage borderless photograph from the set of the 1967 Italian film. Director Pier Paolo Pasolini is seen behind the camera, shooting Silvia Mangana and Franco Citti. Short typescript description in Italian and Roma Press rubber stamp on the verso. A sparse, intensely personal modern adaptation of the Oedipus Rex tale, in which a man and woman have a child, and the man becomes jealous of his wife's attentions to his son. The film's setting then changes back to antiquity, where the legend largely follows its original course, suggesting we may not be as emotionally removed from ancient times as we may believe. Set in modern and ancient Italy, shot on location in Italy. 8 x 12 inches. Near Fine. Masters of Cinema 39. Rosenbaum 1000.