Norman lee director (15 risultati)

Vintage black-and-white still photograph from the UK release of the 1979 US film. Mimeograph snipe affixed to the verso. Pacino, who was nominated for an Academy award for his performance, stars as a lawyer who must defend both his clients and his career. 8 x 10 inches. About Near Fine.

Vintage studio still photograph of actress Terry Moore from the 1948 film. Terry (Moore) thinks her horse October is the reincarnation of her Uncle Willie (James Gleason) and she is tried for insanity by her cousins to keep her from getting her Aunt Martha's (Dame May Whitty) inheritance. Top psychologist Professor Bassett (Glenn Ford) has written a book on Terry which is used against her in court. Bassett, feeling guilty and with romantic feelings for Terry helps get October in the Derby where Terry and the jury cheer October on, calling him "Uncle Willy." Set in California, shot on location in Santa Anita Park and Racetrack. 8 x 10 inches. Very Good plus, some light creasing and 2 very small closed tears in right margin.…

Soft cover. Condizione: Very Good. ] Saddle-stapled softcover, small folio, appx 10 1/4 x 13 1/2 inches, 32 pages + cover, VG. Generally very clean and not much wear at all. A very light shade of tanning along spine. Quality paper (coated stock) throughout. Most images in color. Includes essays by each of the 3 artist/authors (iillustrated with their works of art) + one by editor Wilwerding. RWR5 Art Painting.…

Vintage studio still photograph from the US re-release of the 1940 horror film. File stamp on the verso. Based on Edgar Wallace's 1926 novel, about a torture-obsessed family physician's unstoppable desire to acquire the family's enormous wealth after the death of the patriarch. The second Wallace adaptation to be released in the US, following "The Dark Eyes of London" (1939), released as "The Human Monster" in the US, starring Bela Lugosi. 10 x 8 inches. Very Good plus, with diagonal creasing at the bottom left corner, and pinholes at each corner.…

Vintage press kit for the 1979 film. Full-color illustrated pocketed folder, containing 8 black and white photographs housed in a brown paper envelope, and 19 gatherings of promotional reading material. An ethical Baltimore defense attorney is forced to take on the case of a guilty judge charged with sexually assaulting a young woman. Set and shot on location in Baltimore. Folder, photographs, and promotional material Near Fine.…

Two vintage reference photographs from the 1945 film. With a library stamp on the verso, along with a manuscript ink annotation noting No. 211. A dramatization of the life of ruthless, cutthroat pirate Captain William Kidd. Set in the Indian Ocean. 8 x 10 inches. Near Fine.

Draft script for the 1946 British film, here under the working title "Christmas Week-End." Copy belonging to uncredited Art Director George Provis, with his name in blue pencil along the top of the front wrapper. With manuscript pencil annotations on seven pages, including rough storyboard sketches and set sketches on the versos. Not to be confused with the 1934 US pre-Code film directed by John Cromwell. 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 1944 hit West End play "A Soldier for Christmas" by Reginald Beckwith. The well-to-do Ferguson family's plans for a quiet Christmas are disrupted by the arrivals of their married eldest daughter, who had a row with her husband, a girl from the Women's Auxiliary Air Force (WAAF), previously a servant in the house, and a Canadian soldier named Bill, who was sent by his Colonel as a punishment for getting into too many fights with British troops. Green untitled wrappers. 187 leaves, with last page of text numbered 187. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound internally with a prong binding.…

Revised First Draft script for the 1967 film. Laid in is a Call Sheet from the production, dated Tuesday, November 29, 1966. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. Winner of five Academy Awards including Best Picture and Best Actor for Rod Steiger, nominated for two others. After the success of the film version, the characters were developed further for a police procedural television series in 1988, developed by James Lee Barrett, and starring Carroll O'Connor and Howard Rollins, which aired on NBC, then CBS, from 1988 to 1995. Set in the fictional town of Sparta, Mississippi, and shot largely on location in Illinois. Poitier insisted the movie be filmed in the North because of a 1964 incident in Mississippi, in which he and Harry Belafonte had been run off the road and almost killed by Klansmen while in the state to support the SNCC (Student Non-Violent Coordinating Committee). Goldenrod titled wrappers, noted as REVISED FIRST DRAFT on the front wrapper, rubber-stamped copy No. 84, dated July 1, 1966. Title page present, dated July 1, 1966, noted as REVISED FIRST DRAFT, with credits for screenwriter Stirliing Silliphant. 134 leaves, with last page of text numbered 140. Mimeograph duplication, rectos only, with blue, pink, and white revision pages throughout, dated variously between 7/27/66 and 8/10/66. Pages with damp stain on top right of last several pages, else Near Fine, wrapper Very Good plus, bound with two gold brads. Call Sheet, 8.5 x 14 inches, folded horizontally. Near Fine National Film Registry. Criterion Collection 959. Penzler, 101 Greatest Films of Mystery and Suspense.…

Vintage borderless photograph from the 1967 film, showing Warren Oates on the set. Based on John Ball's 1965 novel. An African-American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. 8 x 10 inches. Fine. National Film Registry. Penzler 101.…

Condizione: Good. Five Letter-Sized Pages, Signed on Exposition Letterhead by dignitaries and civic officials connected to the Exposition, some stamped with the names of their organizations. Good with losses, marginal tears, creasing, perforations & some staining.Provenance: Letters and Autographs from a Who's Who in California 1914 - 1917, to the author Ellis A. Davis, regarding Davis' Commercial Encyclopedia of the Pacific Southwest, California, Nevada, Utah, Arizona. Sold by Cherokee Book Shop to Frederick Ruffner, Jr., the founder of Gale Research, Detroit.…

Original borderless photograph of director Lawrence Schiller consulting with novelist Norman Mailer regarding the script for the 1982 film. With a printed mimeo snipe affixed to the verso. Based on the 1979 Pulitzer Prize winning novel by Mailer, who adapted his own book for the screen, about the final years in the life of convicted murderer Gary Gilmore, following his release from prison in Illinois and through to his re-incarceration in a Provo, Utah prison and eventual execution for having committed multiple murders in Utah. Nominated for five Emmy Awards, winning two, including Outstanding Lead Actor for Tommy Lee Jones. A turning point in television movies, wherein Jones and Arquette play wholly unsympathetic characters without reservation. One of the finest films of the 1980s, on television or the silver screen. Set in Utah and Oregon, shot on location in Utah. 10 x 8 inches. Near Fine. Reyes, 155.…

Vintage reference photograph from the 1967 film. United Artists stamp on the verso. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. 10 x 8 inches. Near Fine. National Film Registry. Penzler 101.…

Vintage studio still photograph of director Robert Aldrich on the set of the 1956 film, one of only a handful of war films made in the noir style during the classic era. One of Aldrich's finest efforts, a noirish take on the evils of war, with a interesting focus on nepotism. Unpopular on release due to a grim ending and a cynical tone, much the opposite of a flag-waving World War II film. Set in Belgium. 10 x 8 inches. Near Fine. Selby US.…

Collection including four vintage slides and four vintage color transparencies from the 1967 film. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. Transparencies 4 x 5 inches, slides 2 x 2 inches. Near Fine. National Film Registry. Penzler 101.…

Three vintage borderless black-and-white photographs taken on the set of the 1967 film: (1) director Norman Jewison sitting alone, (2) Jewison directing Rod Stieger, and (3) Jewison directing a key early scene featuring actors Arthur Malet, Sidney Poitier, and Rod Steiger. With manuscript ink annotations regarding layout on the verso. From the collection of film historian and author Joel Finler. Based on John Ball's 1965 novel. An African American police detective from Philadelphia is recruited to help solve a murder in a small, bigoted Mississippi town. The film dealt skillfully with the topic of race relations in the South during the Civil Rights movement, and included a controversial scene in which a white actor, Larry Gates, slaps Poitier in the face, at which point Poitier slaps him right back. It was said you could determine the racial makeup of a theater by their verbal reaction to the scene: cheers for a predominantly Black audience, or whispers for a predominantly white one. Winner of five Academy Awards including Best Picture, and nominated for two others. Though set in the fictional town of Sparta, Mississippi, Poitier refused to travel below the Mason-Dixon Line, so the film was shot largely in Illinois. One photograph 7.5 x 10 inches, one photograph 10 x 8 inches. Near Fine. National Film Registry. Penzler 101.…