jack raymond director (13 risultati)

Vintage keybook photograph of Loretta Young and Gene Raymond on the set of the 1933 Pre-Code film. With a printed snipe and studio stamp on the verso and two holes punched into the left edge. Zani (Gene Raymond), a young zoo keeper, has spent his life inside the zoo in Budapest where his only true friends are the animals. He meets Eve (Loretta Young), an orphan on a tour with her caretakers from the orphanage. They fall in love, and to stay together they must hideout overnight in the zoo, while a search party looks for them. 10 x 8 inches. Near Fine.

Soft cover. Condizione: Good. No Jacket. SMALL FORMAT MAGAZINE, January 1954, 1st Edition, Minor rub scuff Cover, VG, AS-IS, Wood Frame has Former Owner Stamp on Back Cardboard Holder, 4 X 5.75 Inches,

Vintage reference photograph from the 1955 film, showing a humanoid monster in the Arizona desert. Printed mimeo snipe affixed to the verso. A tarantula escapes from a remote desert laboratory, growing in size as it travels, wreaking havoc on the townspeople. Featuring an early, uncredited appearance by actor Clint Eastwood. Set in the fictional town of Desert Rock, Arizona, shot on location in Apple Valley and Lucerne Valley, California. 8 x 10 inches. Near Fine.

Vintage reference photograph of actress Arlette Marchal from the 1926 film. Based on the 1927 novel by Zane Grey (not published until a year after the film's release). A fugitive is left in the desert to die by his outlaw partner, but is rescued by a young rancher, unaware that romantic entanglements with a neighboring rancher's daughter will complicate their friendship. Now considered to be a lost film. Shot on location in Hurricane Bluffs, Utah. 10 x 8 inches. Very Good, with light toning and edgewear, and a small chip to the right edge.

Condizione: Good. Original pictorial wraps. 18.2 x 25.8cm. 34pp.The Motion Picture Library was a pioneering bilingual film publication launched in Tokyo in post-WWII Japan (1946-1948). Aimed at bridging American pop culture and Japanese audiences, it printed full English scripts, actor profiles, and bilingual synopses of imports like Casablanca.The emergence of these bilingual or heavily translated film resources during the mid-1940s marked a dramatic cultural shift. Following wartime censorship and the total ban of foreign films, the sudden influx of Hollywood movies under the Supreme Commander for the Allied Powers (SCAP) created a boom in cine-literacy. ."M?shon pikuch? raiburar?" wa, dainijisekaitaisengo no Nihon (1946-nen ? 1948-nen) ni oite, T?ky? de s?kan sa reta senku-tekina bairingaru eiga shuppan-monodeatta. Amerika no poppukaruch? to Nihon no kankyaku to no kakehashi to naru koto o mezashi, d?shi wa "Kasaburanka" nado no yuny? eiga ni tsuite, kanzen'na eigo kyakuhon, haiy? no purof?ru, soshite nichiei taiyaku no arasuji o keisai shite ita. 1940-Nendai nakaba ni okeru, k?shita bairingaru aruiwa ?habana hon'yaku o hodokoshita eiga kanren shiry? no t?j? wa, gekitekina bunka-teki tenkan o sh?ch? suru monodeatta. Senji-ch? no ken'etsu ya gaikoku eiga no zenmen kinshi o hete, reng?-koku saik? shirei-kan s? shirei-bu (SCAP) no t?chi-ka de Hariuddo eiga ga totsujotoshite tairy? ni ry?ny? shita koto wa, eiga riterash? (eiga o yomitoku chikara) e no kanshin o ikkini takameru b?mu o makiokoshita nodearu.??????????????????????????????????1946??1948????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????????????? ?????1940??????????????????????????????????????????????????? ?????????????????????????????????????????????SCAP??????????? ???????????????????????????????????????????????????????????? ??.).

Draft script for the seventh episode of season five of the 1952-1957 television series, which originally aired on November 13, 1956. Copy belonging to actor Johnny Crawford, with his name stamped on the front wrapper and his manuscript ink annotations throughout. After a near-death experience, an emotionally stunted man decides to trace the sequence of events backwards to understand the incident, gaining a new lease on life in the process. Goldenrod titled wrappers. Title page present, undated, with credits for screenwriter Laszlo Gorog. 48 leaves, with last page of text numbered 43. Mimeograph duplication, rectos only, with blue revision pages throughout, dated 10/5/56. Pages Near Fine, wrapper Near Fine, bound internally with three gold brads. Housed in brown wrappers with a handwritten title label affixed on the front wrapper, dated 1956.

Shooting Script for the 1968 film, copy belonging to Art Director George Provis, with his name on the first revision page (page 4). The title page includes an ink annotation of the name "S. Siddall," Sid Siddall worked as a Property Master or a Production Buyer on British films, and likely worked uncredited in the art department under Provis. Provenance available upon request. George Provis was a British Art Director and Production Designer who began his career working on quota quickies (low budget features made to comply with Britain's Cinematograph Films Act of 1927) in the 1930s. After the Second World War, Provis was appointed by British film producer Sydney Box to head the art department at Gainsborough Pictures, and is credited on over 120 films. Based on the 1964 play by screenwriter Jack Roffey. Ray Milland appeared in the popular 1966 Broadway production of the play (which originally opened on the West End in 1964 starring Michael Denison) and decided to make a feature film from the play with himself directing in 1967. Although the film was completed in 1968 it wouldn't see a British release until 1970. Ray Milland stars as a barrister, who, after his daughter is killed in a hit and run accident, is determined to find the driver and exact vengeance. After his neighbor is killed in a botched robbery, Milland becomes a suspect when a letter is found implicating the neighbor in his daughter's death. Brown untitled wrappers. Title page present, noted as Shooting Script, with credits for screenwriter Jack Roffey. 140 leaves, with last page of text numbered 132. Mimeograph duplication, rectos only, with pink and green revision pages throughout, dated 6.9.67 and 14.9.67. Pages Near Fine, wrapper Near FIne, bound internally with two flat metal brads.

Treatment script for the 1939 film, here under the working title "The Investors." With manuscript ink annotations on the title page and throughout, noting substantive and editorial revisions. Based on the 1925 short story "The Investors" by Edgar Wallace. Elderly Mr. Reeder (Will Fyffe) investigates the mysterious disappearances of 27 people involved in shady financial dealings. The second Wallace adaptation directed by Jack Raymond and featuring Will Fyffe and Kay Walsh, preceded by "The Mind of Mr. Reeder" in 1939. Self wrappers. Title page present, undated, with credits for screenwriter Richard Starr and story credits to Edgar Wallace. 126 leaves, with last page of text numbered 124. Typescript, rectos only. Pages Very Good, lightly edgeworn, with soil to the first ten leaves, bound with three gold brads.

Early Draft script for the 1939 film, "The Mysterious Mr. Reeder," here under the working title (and the title Monogram Pictures used for its 1940 re-release), "The Mind of Mr. Reeder." Copy belonging to screenwriter Bryan Edgar Wallace (Edgar Wallace's son), with his name and manuscript annotations in pencil on the front wrapper. Based on the 1925 collection of short stories "The Mind of Mr. J.G. Reeder" by Edgar Wallace. The second Mr. Reeder film, this time seeing the absentminded detective investigate a gang of counterfeiters. Tan titled wrappers. Title page present, dated October 1, 1935, with credit for writer Wallace. 78 leaves, mimeograph duplication. Pages Near Fine, wrapper Near Fine, bound with a teal cord. Okuda 71.

Two vintage borderless reference photographs from the 1950 film. With mimeo snipes affixed to the versos. Based on Jack London's 1904 novel "The Sea Wolf." Two ex-fugitive employees of a corrupt gold-mine operator try to prove him to be a murderer. Shot on location in southern California. 9.5 x 7.25 inches. Near Fine.

Vintage studio still photograph from the 1938 film, showing a camera crew capturing a scene with Harold Lloyd, Montague Love, Christian Rub, and James Donlan. Mimeo snipe on the verso. A mild-mannered archaeology scholar is wrongly accused of car theft and goes on the lam, heading from New York to Egypt. Shot on location in Kernville and Los Angeles. 10 x 8 inches. Near Fine.

Vintage borderless reference photograph from the 1938 film, showing director Elliott Nugent with a camera crew, directing Harold Lloyd, Spencer Charters, and Lionel Stander in a car scene. Mimeo snipe on the verso, along with a Paramount stamp crediting photographer Talmadge Morrison. A mild-mannered archaeology scholar is wrongly accused of car theft and goes on the lam, heading from New York to Egypt. Shot on location in Kernville and Los Angeles. 9.5 x 7.5 inches. Near Fine.

Three vintage photographs of Patricia Neal applying makeup on the set of the 1949 film. Adapted to the screen by Ayn Rand from her novel, one of only three screenplays she wrote during her brief tenure in Hollywood. In approaching the film adaptation of Rand's iconoclastic work, King Vidor dispensed with typical Hollywood production techniques and focused on creating an expressionistic film, one that literally echoed the architectural underpinnings of its characters' philosophies, motives, and ambitions. Unusual choices included modernist cinematography, expressionistic set designs and wardrobe, and having Ms. Rand herself adapt her own screenplay. Two photographs 7.5 x 9.25 inches. One photograph 7.75 x 9.5 inches. Near Fine with light edgewear.