Jean serge screenwriter (17 risultati)

Vintage borderless double weight studio still photographs from the 1964 French film. Featuring an image of two men boxing in front of a couple onlookers. A woman (Madeline Robinson) begins a relationship with a West Indian boxer (Rene Lefevre) twenty years her junior, who wins the admiration of her young son, until neighborhood drama forces the two apart. Set in Paris, and shot there on location. 8 x 11.75 inches. Near Fine.…

Vintage oversize borderless reference photograph of actress Ingrid Bergman filing her nails on the set of the 1956 film. With the stamps of Match magazine, Photo Garofalo, and Gamma picture agency on the verso. In turn-of-the-century France, a young Polish princess agrees to marry a wealthy older man to save her family from the poorhouse, but finds herself falling in love with a handsome stranger despite her engagement. The third film in director Jean Renoir's romance trilogy, preceded by "The Golden Coach" (1953) and "French Cancan" (1955). Set and shot on location in France. 9 x 11.25 inches. Near Fine.…

Two vintage black-and-white still photographs from the original French release of the 1933 film. With the UFA logo at the lower left corner of each. Each still mounted on UFA / ACE boards as issued, with credit for both studios and text in French. A late attempt by UFA to reach a broader European market, this joint production was filmed in French, shot in Spain and Germany, and released to the French market. Featuring an early supporting appearance by Simone Simon, shown in a still here with Jean Gabin, with whom she would go on to co-star in Jean Renoir's classic "La Bete Humaine." Both photographs 10.5 x 8.5 inches, Near Fine with some faint scratching. Boards 15.75 x 13.25 inches, Very Good condition with multiple pinholes, a few brief dampstains, and minor chipping.…

Collection of 130 vintage black-and-white still photographs and 3 medium-format negatives for the 1957 French-Italian film. The collection consists of two unique but complimentary pieces, one being a set housed in the original paper box with "Crumiere / Paris" paper label, and annotations on the box top in manuscript ink noting French film title and "B. Bardot," the other being nearly 100 smaller photographs elegantly presented mounted on thick stock in a "Lavis aquarelle" brand spiral bound notebook with maroon faux leather front wrapper, and an affixed paper title label featuring the film's poster art of Bardot. Several photographs with series number on the verso in manuscript pencil, a few with rubber-stamps crediting film title and starring actors, and photos in notebook numbered at the edges prior to being printed. Bardot is seen in nearly every image, highlighting an array of hairstyles and costumes, scenes in the pilot's cockpit, snacking between takes, dancing, being curious at galas. Contact sheets, glamour portraits of Madeleine Lebeau, action sequences of bar fights, and on-the-set images are equally prominent. Negatives show costume design illustrations for men in military uniforms. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet (Vidal), who happens to be a womanizer. Taking control of the situation, she has an weekend affair with a prince (Boyer), and ultimately reunites with her husband after somewhat passive apologies. Photographs in large quarto notebook 4 x 5 inches to 8 x 10.5 inches, mounted on thick stock. Boxed photographs 4.75 x 7 inches to 9.25 x 11.75 inches, with 3 medium-format negatives, 3.5 x 4.5 inches. Photographs Near Fine overall, light curling, a handful with short creases, negatives Very Good, notebook Very Good plus, box Very Good.…

Archive of 867 original keybook still photographs from the 1955 French film, pasted on thick stock in three large quarto "Lavis aquarelle" brand spiral bound notebook with maroon faux leather front wrapper and a paper title label affixed to the front wrapper. Nearly all photos numbered in manuscript ink inside a small white border on the recto, and all numbered in mimeograph on the verso. One notebook full of photos crediting photographer Beauvarlet on the rectos. Director Rene's first color film, based largely on his childhood experiences. Winner of two important French film awards, the Prix Louis-Delluc and the Prix Melies. Screened out-of-competition at the 1974 Cannes Film Festival. Still photographer Beauvarlet remains uncredited for the film, perhaps overshadowed by the film's prolific cinematographer, Robert Lefebvre. Beauvarlet stuck close to Bardot throughout her career, snapping stills in "Her Bridal Night" (1956), "Naughty Girl" (1956), "La Parisienne" (1957), and "The Night Heaven Fell" (1958). His quick-draw style is amply captured here, in candid images of the cast and crew, a jovial celebrity signing, and softer, posed studio portraits. Armand (Philipe) is a lieutenant in the French cavalry just before WWI, a notorious womanizer and gambler who bets that he can seduce a woman in time for his company to being its summer maneuvers. The woman is Marie-Louise (Morgan), a divorcee who runs a milliner's shop, and who is also being courted by Victor (Desailly). A subplot involving Armand's friend Felix (Yves Robert) and Lucie (Bardot), a photographer's daughter. Photos 3.5 x 4.5 inches. Very Good overall, several with bruises from offsetting paste, several are loose.…

Vintage photograph of Jean Renoir and Ingrid Bergman on the set of the 1956 French film. Agency stamps on the verso. A romantic-comedy set in 1890, Paris, starring Ingrid Bergman as Elena Sokorowska,a Polish princess who has a reputation for bringing good luck to her lovers. While scheduled to be married to a wealthy family friend, with plans to bring new money to the family's dwindling fortune, she meets Count de Chevincourt (Mel Ferrer), the aide to General Rollan (Jean Marais). Both men are taken by her charm and find themselves in a romantic knot with repercussions for all of France. Shot on location in and around Paris. 5 x 7 inches. Near Fine with single bottom margin. 244 Criterion Collection. Godard, Histoire(s) du cinema. Rosenbaum 1000.…

Vintage borderless reference photograph of director Henri-Georges Clouzot talking with actors Michel Auclair and Cécile Aubry on the set of the 1949 film. Mimeo snipe and stamp of Keystone Press Agency on the verso. Loosely based on Antoine François Prévost's 1731 novel "Manon Lescaut." During World War II, a French Resistance fighter begins a relationship with a woman, soon souring as they become involved in prostitution and murder. Shot on location in Calvados, Val-de-Marne, Paris, and Alpes-Maritimes, France, and in Erfoud and Ksar Es-Souk, Morocco. 7.25 x 5 inches. Very Good plus, lightly age toned.…

Original borderless single weight still photograph from the 1956 French-Italian film. Bergman and Marais enjoy a moment, sharply dressed. Numerical notation in manuscript pencil and a rubber-stamp crediting starring actors, director, and French film title, on the verso. One of director Renoir's final films, a turn of the century romantic comedy about Polish princess Elena (Bergman), and various men of military rank in pre-WWI Paris. Shot on location throughout France. 7 x 9.25 inches. Very Good plus, with pinholes and brief creases at the corners, and a faint dampstain. Criterion Collection 244. Godard, Histoire du cinema. Rosenbaum, 1000.…

Two original uncut Japanese stamp sheets for the 1957 French-Italian film. Bardot is amply represented in red and green variants, 10 stamps per sheet, also with an image of the Eiffel Tower. Produced by the Towa Corporation (Japan) with "BB" and film titles in Japanese represented. The film was released in Japan in December, about one week after the French premiere. Scarce and cool Bardot ephemera, and a unique Japan-France collaboration, circa 1957-1958. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet (Vidal), who happens to be a womanizer. Taking control of the situation, she has an weekend affair with a prince (Boyer), and ultimately reunites with her husband after somewhat passive apologies. Sheets 4.5 x 8 inches, stamps 1.25 x 1.75 inches. Very Good plus overall, with a little light handling and toning.…

Collection of 24 vintage reference photographs from the 1956 French film, here under the French title "Le couturier de ces dames." 13 photographs with numeric annotations on the versos in pencil, and one with "Le couturier de ces dames" in mimeograph duplication to same. A tailor needs to create a lasting fashion line to save his business. He does, but he also cavorts a little with the models, only for his wife to discover his infidelity. A send-up of the new haute couture popular at the time, with notable designers Yves Saint Laurent, Pierre Cardin (who worked on the film), and Japanese native Hanae Mori representing the "new look." Shot on location in Val-de-Marne, France. One photo 3.25 x 4.25 inches, the balance 5 x 7 inches. Generally Near Fine.…

Vintage borderless reference photograph of director Jean Renoir listening while composer Joseph Kosma plays the organ on the set of the 1956 film. With a mimeo snipe on the verso along with a stamp specific to the film's French release. In turn-of-the-century France, a young Polish princess agrees to marry a wealthy older man to save her family from the poorhouse, but finds herself falling in love with a handsome stranger despite her engagement. The third film in director Jean Renoir's romance trilogy, preceded by "The Golden Coach" (1953) and "French Cancan" (1955). Set and shot on location in France. 7 x 5.25 inches. Near Fine.…

Vintage oversize reference photograph from the set of the 1967 film, showing actress Brigitte Bardot laying out in the hay. Metropolitan Films stamp on the verso. A French woman is tempted to stray from her older English husband when she meets a vibrant younger man. Shot on location in London and Paris. 12 x 9.75 inches. Very Good plus, with some foxing at the edges of the verso, not visible on the recto (see images).…

Vintage borderless oversize photograph from the set of the 1960 film, showing Jean Cocteau with Pablo Picasso and his wife Jacqueline, Luis Miguel Dominguin, Serge Lifar, and Lucia Bose-all of whom appeared in cameos in the film. French mimeo snipe and stamp of Sipa Press founder Gök in Sipahio lu on the verso. The final film in Cocteau's "Orphic" trilogy, following "The Blood of a Poet" (1930) and "Orphee" (1950). The only film in the trilogy featuring Cocteau himself, as an aging poet who knows he is dying (as indeed he was), his greatest desire being to experience rebirth so that he can qualify for celestial immortality. A few seconds of color are spliced in at one point, a surreal effect used prior to this film in "Portrait of Jennie" (1948) and later in Samuel Fuller's "Shock Corridor" (1963). Having run out of funds in mid-production, Cocteau was given money to complete filming by François Truffaut, who used the prize money he had won at Cannes, for "Les Quatre Cents Coups" (1959). 11.75 x 8 inches. Light edgewear, else Near Fine.…

Five vintage reference photographs from the 1967 film, all featuring actress Brigitte Bardot. Four with printed mimeo snipes affixed to the verso. From the collection of noted British film producer John Palmer. A French woman is tempted to stray from her older English husband when she meets a vibrant younger man. Shot on location in London and Paris. 8 x 10 inches. Very Good, moderately toned and lightly creased.…

Vintage black and white reference photograph from the set of the 1967 film, showing actress Brigitte Bardot in the bath between takes, with director Serge Bourguignon to her right. With layout annotations in pencil on the verso, along with a provenance stamp. A French woman is tempted to stray from her older English husband when she meets a vibrant younger man. Shot on location in London and Paris. 8 x 10, with wide side margins. Near Fine.…

Archive of 224 vintage borderless single weight keybook contact sheets and film stills, amounting to nearly 2000 numbered images, for the 1962 French-Italian film, here under the original French title. The entire film is represented in minute detail, along with test shots, set design shots, and many candid off-camera shots from the set. Brief cropping and numerical annotations in pencil throughout. Housed in original mailing envelope, noting on the front in manuscript red ink, "Cinedis" and "C.Hesse," the film distributor and still photographer, and "A refreuda" in manuscript red pencil. 153 photographs are keybook contact sheets, nearly all with 12 images per photograph (several with 36), each image with a series number, and photos crediting at the top the photo laboratory Tele-Photo, production studio France Cinema, film title, and photographer (Hesse, Beauvarlet). Remaining photographs are borderless film stills. Both photographers are credited on the keybook photos but went uncredited at the film's release. The archive also extensively features actress Dany Saval, in film scenes answering the phone, in heated moments with male cast members (including some stunningly low-lit images that echo film noir themes), showcasing the variety of hair and clothing styles seen on Saval throughout the film. Based on Annette Wademant's screenplay, one of twelve written by Wademant for director Boisrond. Bernard (Poiret) is a new publisher who falls in love with Sophie (Saval), but their foolish love nearly destroys them and his job. Keybook photos range from 8.25 x 10.75 to 9.25 x 11.75 inches, three slightly smaller, all but ten are 2-hole punched; film stills 7 x 9.25 inches. Very Good overall, with moderate curling, light edgewear, a handful with slight discoloration.…

Collection of 150 vintage black-and-white keybook contact sheet photographs and 8 loose photographs for the 1957 French-Italian film. The film is represented in test shots, set design shots, and many candid moments from the set, including dramatic high-contrast images of starring actors, Bardot amply represented in the collection and seen in nearly every image, off-camera with the cast and crew, spinning records on a portable player, and traveling by plane and train. Most keybook photos with 12 images per sheet, and a few have been trimmed to only a few images per sheet, amounting to over 1700 images captured. Nearly all images with series number bordering the image, but unlike similar examples from France, all sheets lack credits for the photo laboratory, film studio, film title, and often, the photographer. A few with layout annotations in manuscript pencil on the image, a few with brief annotations on the verso in manuscript ink, and two loose photographs with ditto-style mimeo snipes on the verso, crediting original title, Boyer, Vidal, Bardot, and Boisrond. Housed in a blue paper 2-ring binder with French title mounted on the front with cello tape. Boisrond's fourth directorial credit is a comedy starring Bardot as the flirtatious daughter of the prime minister of France who marries a member of the cabinet (Vidal), who happens to be a womanizer. Taking control of the situation, she has an weekend affair with a prince (Boyer), and ultimately reunites with her husband after somewhat passive apologies. Most keybook contact sheets and 3 loose photos 7 x 9.25 inches, binder slightly larger, and 5 loose photos 5 x 7 inches. A few contact sheets are cropped slightly smaller, and all are 2-hole punched. Very Good Plus overall, keybook photos rubbed.…