bernhard wicki director (10 risultati)

FOTO, EIGENHÄNDIG SIGNIERT 60'er 'Gefangene der Liebe' SCHÖN ! (dito aus Frau im besten Mannesalter) (verschiedene Motive vorhanden, Abbildung zeigt Muster).

Six vintage black-and-white studio still photographs from the 1964 internationally produced film, here under the US title, "The Visit." Included are two film credits sheets from publicity manager Mort Segal, referring to actress Demick as she visits Tunisia, smokes a hookah, and shops locally. One image from the set is shown. Please inquire for others. Based on Durrenmatt's 1956 play, "Der Besuch der alten Dame." Karla (Bergman) is disgraced as an unwed mother and banished from her hometown. She later returns a fabulously wealthy woman, ready to confront the child's father Serge (Quinn), who denied paternity, and seek revenge. Nominated for a Palme d'Or at the 1964 Cannes Film Festival, and for an Academy Award in 1965. 8 x 10 inches, small white borders. Very Good plus, with brief marginal creasing, light curling and toning. Grant Worldwide.

JENSEITS DER BRÜCKE - BERNHARD WICKI Ein Leben für den Film, von Richard Blank. Econ Verlag München, 1. Auflage 1999, ERSTAUSGABE, 240 SS. gebunden (Hardcover 8 to) mit Schutzumschlag, gut erhalten. BEILAGE : Autogrammkarte (Briefkarte blanko) mit Datum 18.4.73, Unterschrift signiert.

Two vintage black-and-white still photographs from the 1965 UK release of the 1965 US film. On the versos are studio rubber stamps (UK), and one still has a mimeo tag affixed to the verso, with the reissue title "Sabateur: Code Name Morituri." Based on the 1963 novel by Werner Joerg Luedecke, and one of the most underrated war films of the 1960s, about Robert Crain (Brando), a German living in India during World War II, who is blackmailed by Colonel Statter (Howard) to impersonate an SS officer onboard a cargo ship, with Captain Mueller (Brynner) in charge, leaving Japan for Germany. 8 x 10 inches. Faint creases, and a brief evidence of cello tape removal to one still, else Near Fine.

Third Draft script for the 1989 film. Text in English. Based on Joseph Roth's 1923 novel, about a mercenary World War I veteran who swears vengeance on those he deems responsible for Germany's downfall-Democrats, Jews, and and socialists. Set in Germany, shot on location in West Germany. Clear mylar front wrapper, blue rear wrapper. Title page present, dated 01-06-83, noted as 3rd Version, with credits for director Bernhard Wicki, screenwriter Wolfgang Kirchner, and novelist Joseph Roth. 133 leaves, with last page of text numbered 130. Xerographic duplication, rectos only. Pages Very Good plus, wrapper Very Good, bound with two gold brads.

Vintage program for the 1954 German film. Text and titles in German. A German spy finds herself in debt to the man who saved her life during the Spanish Civil War years before, leading her into the dangerous world of illegal weapons smuggling. 7.25 x 10.5 inches. Bifold. Near Fine.

Draft script for the 1978 German film. Text in English. Based on the 1968 novel by George Saiko. In 1934, a young archaeologist returns to his home in Austria only to discover rising social and political tensions, complicating his relationship with his fiancee, an indecisive woman who wants to remain neutral throughout the conflicts. Shot on location in Greece, Germany, and Austria. Blue untitled wrappers. Title page present, undated, with credits for novelist George Saiko and director Manfred Purzer. 181 leaves, with last page of text numbered 177. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, with perfect binding.

Vintage reference photograph of actors Marlon Brando, Janet Margolin, and Yul Brynner from the 1965 film. With a printed spirit duplication snipe affixed to the verso, along with the stamp of Twentieth Century-Fox. Based on Werner Jorg Luddecke's 1958 novel. A German pacifist is blackmailed into helping sabotage a German merchant ship carrying a load of rubber, a product in short supply for both sides. 8 x 10 inches. Very Good plus, slightly wavy.

Three vintage borderless reference photographs from the 1961 Italian film. Stamp of photographer Paul Ronald on the versos of two photographs. The second film in director Michelangelo Antonioni's trilogy that begins with "L'Avventura" (1960) and ends with "L'Eclisse" (1962). Probably no one has ever said it better than Bosley Crowther, who reviewed the film for the New York Times in 1961: "Too sensitive and subtle for apt description are [Antonioni's] pictorial fashionings of a social atmosphere, a rarefied intellectual climate, a psychologically stultifying milieu-and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting. There is, for instance, a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry, exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui, desolation, and despair." Set and shot on location in Milan. 9.25 x 7.5 inches. Near Fine. Criterion Collection 678. Eureka Masters of Cinema 61.

Five vintage borderless reference photographs from the 1961 film, including one oversize photograph showing director Michelangelo Antonioni and a camera crew on the set. French and numeric annotations in manuscript ink and pencil on the versos. The second film in Antonioni's trilogy that begins with "L'Avventura" (1960) and ends with "L'Eclisse" (1962). Probably no one has ever said it better than Bosley Crowther, who reviewed the film for the New York Times in 1961: "Too sensitive and subtle for apt description are [Antonioni's] pictorial fashionings of a social atmosphere, a rarefied intellectual climate, a psychologically stultifying milieu-and his haunting evocations within them of individual symbolisms and displays of mental and emotional aberrations. Even boredom is made interesting. There is, for instance, a sequence in which a sudden downpour turns a listless garden party into a riot of foolish revelry, exposing the lack of stimulation before nature takes a flagellating hand. Or there's a shot of the crumpled wife leaning against a glass wall looking out into the rain that tells in a flash of all her ennui, desolation, and despair." Set and shot on location in Milan. Four photographs 9.5 x 7 inches, one 12.5 x 9.5 inches. Very Good plus. Criterion Collection 678. Eureka Masters of Cinema 61.