dan duryea (22 Ergebnisse)

Vintage black-and-white press photograph from the 1954 French release of the 1953 film. "Service de Presse" rubber stamp on the verso. Steve (Stewart) is an ex-GI who, with help from his army buddy Gambi (Duryea), head south to begin their careers in oil drilling. Trouble greets them before their first drill, when local shrimp fishermen boycott their presence. Things get worse when Steve falls in love with Stella (Dru), the daughter of a combative fisherman. Set in the Deep South, shot on location in Louisiana. 8 x 10 inches. Very Good plus, with manuscript annotations on the verso, and evidence of a mimeo snipe removal.

DVD. Zustand: Gut. DVD mit leichten, oberflächlichen Gebrauchsspuren . LÄUFT! ISBN: 5050582254464 Altersfreigabe FSK ab 12 Jahre Sprache: Deutsch Gewicht in Gramm: 550.

Collection of 4 vintage full-color British front-of-house cards from the UK release, circa 1955, of the 1954 US film. A potboiler of sexual repression, based on screenwriter Hugh Brooke's story, "Fear Has Black Wings," about a young woman in a loveless marriage, without hope, until her sister brings her handsome new boyfriend to town. Produced at the tail end of the film noir era. 8 x 10 inches. Light soil on the verso of one still, else Near Fine.

Collection of 4 vintage British front-of-house cards from the UK release of the 1955 US film. Based on a story by Anya Seton, about a half-Apache miner and his wife, who tries to bridge the cultural gaps in a mining town. 8 x 10 inches. One with moderate corner creases, else Near Fine.

Continuity & Dialogue script for the 1957 film. The guilt a fighter pilot feels over accidentally dropping a bomb on a German orphanage during World War II leads him to become a minister upon returning to the US. When this proves insufficient in assuaging his bad conscience, he decides to volunteer his services as a missionary in Korea, opening a large home for orphans in Seoul. Based on the true story of Colonel Dean E. Hess, a US Air Force fighter pilot turned Ohio minister who returned to the Air Force during the Korean War. As depicted in the film, the 1950 Chinese Communist takeover of Seoul led Hess to facilitate an airlift of hundreds of children from the orphanage to the sanctuary island of Cheju. The twenty-five children who appear in the film, moreover, are Korean children from the real Orphan's Home of Korea that Hess founded, and the gold flying helmet sported by Rock Hudson is the actual helmet Hess wore. Set in South Korea, shot on location in Seoul and Arizona. White titled self wrappers, noted as CONTINUITY & DIALOGUE on the front wrapper, noted as production No. 1819, dated OCTOBER 30, 1956, with credits for actors Rock Hudson, Anna Kashfi, Dan Duryea, and other members of the cast. Title page integral with the front wrapper, as issued. Mimeograph duplication, rectos only. Pages Very Good plus, wrapper Very Good plus, with light tearing and creasing, bound at the top edge with two gold brads.

Original pressbook for the 1949 film noir. A crooked detective attempts to steal jewels using information supplied by his girlfriend, a secretary in a psychologist's office. Told in the style of a tabloid newspaper, with Dan Duryea at his lady-killing best. 20 pages, saddle stapled. 12.25 x 15 inches. About Near Fine. Grant US. Lyons US. Selby Canon US. Silver Classic Noir. Spicer US.

Zustand: Very Good. Colour press photograph, promotional device resembling lobby card. 8'' x 10''. In Very Good condition. Member of the P.B.F.A. CINEMA [Front of House Press Photograph].

Post-production Continuity and Dialogue script for the 1957 film. With a single manuscript pencil notation on the front wrapper. The guilt a fighter pilot feels over accidentally dropping a bomb on a German orphanage during World War II leads him to become a minister upon returning to the US. When this proves insufficient in assuaging his bad conscience, he decides to volunteer his services as a missionary in Korea, opening a large home for orphans in Seoul. Based on the true story of Colonel Dean E. Hess, a US Air Force fighter pilot turned Ohio minister who returned to the Air Force during the Korean War. As depicted in the film, the 1950 Chinese Communist takeover of Seoul led Hess to facilitate an airlift of hundreds of children from the orphanage to the sanctuary island of Cheju. The twenty-five children who appear in the film, moreover, are Korean children from the real Orphan's Home of Korea that Hess founded, and the gold flying helmet sported by Rock Hudson is the actual helmet Hess wore. Set in South Korea, shot on location in Seoul and Arizona. White titled self wrappers, noted as CONTINUITY & DIALOGUE on the front wrapper, marked as production No. 1819, dated OCTOBER 30, 1956, with credits for actor Rock Hudson and other cast members. Title page integral with the front wrapper as issued. 154 leaves, with last page of text numbered REEL THIRTEEN PAGE 10. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Very Good plus, with some creasing to the rear wrapper, bound with two gold brads.

Four vintage studio still photographs from the 1960 film. A man travels to a remote military academy to inquire about his son, reported to have died in an unspecified accident, only to learn that the boy's death was caused by a violent hazing ritual. 10 x 8 inches. Lightly toned, else Near Fine.

Post-production Continuity and Dialogue script for the 1949 film noir. A career criminal agrees to help the federal agent who put him behind bars in infiltrating a drug smuggling syndicate. An early film appearance as a mute, murderous henchman by Tony Curtis, here credited as "Anthony Curtis." Partially shot on location in California, Arizona, and Sonora, Mexico. White titled self wrappers, noted as CONTINUITY & DIALOGUE on the front wrapper, production No. 1606, dated JUNE 28, 1949, with credits for director William Castle, actors Howard Duff, Shelley Winters, Dan Duryea, and other cast members. Title page integral with the front wrapper, as issued. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, with light soiling on the front wrapper, bound with two gold brads at the top edge. Grant US. Selby US. Silver and Ward Classic Noir. Spicer US.

Two post-production Continuity and Dialogue scripts for the 1950 film. Included are a script for the feature, dated March 15, 1950, and a script for the film's trailer, dated March 20, 1950. In this key film noir, James Mason reprises in spirit his role from the British film noir, "Odd Man Out," made three years before, as a criminal who steals from the mob and is forced to go on the lam, with mob boss Dan Duryea in no mood for forgiveness. The first American film to be directed by Argentinian import Hugo Fregonese. The AFI Catalog notes that Mexican Vice Consul Ernesto Romero acted as technical advisor, and according to studio production notes, an entire Mexican village was built on the Universal-International lot. Rodolfo Acosta, Emma Roldan and Margarito Luna were all Mexican actors. Finally, popular character actor James Best made his debut in "One-Way Street," appearing briefly in an uncredited role as a "Driver." Titled wrappers, dated March 15, 1950 and March 20, 1950, both rubber-stamped 7684, with credits for actors Mason, Toren, Duryea, Ruysdael, Conrad, Acosta, Donovan, and Espinoza, as well as director Fregonese. Feature script noting nine reels, 116 leaves; trailer script comprised of 7 leaves. Mimeograph on white stock. Feature script bound at the top with two silver brads; trailer script with punch holes, top-stapled. Near Fine overall. Grant US. Selby Canon US. Silver Classic Noir. Spicer US.

Vintage publicity photograph of actor William Bendix from the 1946 film. Printed mimeo snipe affixed to the verso. Based on Rufus King's novel "Double Murder," originally serialized in "Red Book" in 1929. A butler posing as a wealthy man falls in love with a beautiful woman, promising to help her bail out her sister from overwhelming gambling debts. From the archive of noted Hollywood still photographer Ray Jones. Born in Wisconsin on January 1, 1901, Jones worked for Paramount Pictures in the early 1930s, and went on to be the head of the still photography department at Universal Pictures in 1935, where he worked well into the 1950s. Set in New York City. 8 x 10 inches. Near Fine.

Vintage studio still photograph from the 1949 film. With a blindstamp for the National Screen Service on the bottom right corner. A suitcase full of money is thrown into the back seat of a moving car owned by a married couple. The couple fights about if they should keep the money or not while being pursued by its intended recipient, Set in and shot on location in Los Angeles. 8 x 10 inches. Very Good. Flicker Alley 46. Grant US. Selby US. Selby US Canon. Silver and Ward Classic Noir. Spicer US.

First Draft Continuity for the 1942 film. This is a pre-production continuity, not to be confused with a post-production continuity. The "other woman" in this early 1940s Twentieth Century-Fox programmer turns out to be Emily (Virginia Gilmore), faithful secretary to master architect Henry Summers (James Ellison). Hoping to trap her boss into marriage, Emily begins sending "mash notes" to Henry, purportedly from a mysterious female admirer. She then coerces her old pal Ralph (Dan Duryea) to pose as her jealous Southern-fried boy friend of the nonexistent letter-writer. Poor Henry, convinced that Ralph is the gangster who's been threatening him with bodily harm, takes off for parts unknown. Our heroine spends the rest of the picture chasing Henry until he finally catches her (Hal Erickson, Rovi). From the AFI Catalog: "The working title of this film was 'Leap Year,' also the title of Lamar Trotti's original story. According to a September 4, 1941 memo in the Twentieth Century-Fox Records of the Legal Department, located at the UCLA Arts Special Collections Library, Trotti wrote the story "sometime ago" and sold it to the studio for one dollar when producer Walter Morosco decided to make it as a "low budget picture." Although the legal records indicate that Jerry Sackheim worked on a screenplay for the picture, the extent of his contribution to the completed film has not been determined. Orange titled wrappers, noted as FIRST DRAFT CONTINUITY on the front wrapper, rubber-stamped copy No. 185 and production No. 730, dated June 6, 1942. Distribution page present, with receipt intact. Title page present, dated June 6, 1942, noted as 1st Draft Continuity, with a sole credit for screenwriter Jungmeyer. 135 leaves, mimeograph duplication, with revision pages on blue stock dated variously between 6/10/42 and 6/20/42. Pages Near Fine, wrapper Very Good plus bound internally with two gold brads.

Draft script for the 1955 film. With occasional manuscript annotations throughout Based on an unpublished novel by Alan Marcus. A family is caught in a conflict between a squatter and mercenaries hired to remove the squatter from the land. Set in Arizona. Goldenrod titled wrappers, rubber-stamped copy No. 118 and noted as production No. 1664, dated Oct 2, 1954 with credits for producer Arthur Loew Jr., director Gerald Mayer, and screenwriter Earl Felton. Distribution receipt removed from front wrapper. 92 leaves, with last page of text numbered 75. Mechanical duplication, dated variously between 8-16-54 and 9-15-54. Pages Near Fine, wrapper Very Good, bound with two gold brads.

Revised First Draft script for the 1948 film. With faint manuscript pencil annotations, and watermarked CONTRACT FILE COPY throughout. Based on the 1946 Broadway play, and a prequel to the 1941 film "The Little Foxes." In the fictional town of Bowden, Alabama, the wealthy Hubbard family holds onto their old-South prominence and prestige through exploitation and cruelty. A searing portrayal of racism and class privilege in the post-Civil War American South. Set in Alabama. Green titled wrappers, noted as REVISED FIRST DRAFT on the front wrapper, rubber-stamped production No. 7494, dated June 9, 1947, with credits for screenwriter Vladimir Pozner. Title page integral on the front wrapper. 178 leaves, with last page of text numbered 169. Carbon typescript on onionskin stock, rectos only. Pages Very Good plus, wrapper Very Good plus with light foxing to the left edge, bound with three gold brads.

Revised Draft script for the 1945 film. Carbon typescript, with brief annotations throughout in manuscript pencil. Noted as "Cockle Script" on the front wrapper. Leslie Charteris wrote the original screen story (but not the screenplay) for this film, and subsequently published the story as a novel in conjunction with the film's release. A light mystery with a terrific Woolrich-esque plot wherein a young girl (Deanna Durbin) sees a man being murdered from her train car window. Known for her addiction to mystery novels, she is not taken seriously by the police, and begins her own investigation. Gray titled wrappers, undated, with credits for screenwriters Beloin and O'Brien. 200 leaves, with last page of text numbered 131. Carbon typescript on onionskin stock, with revision pages throughout, dated variously between 10/17/44 and 2/22/45. Pages Near Fine, wrapper Very Good, now encapsulated in mylar, bound with three gold brads. Grant, p. 363. Spicer, p. 413.

No Binding. Zustand: Fine. 1st Edition. A superb-condition cinema-used Finnish A2 poster for the 1949 film JOHNNY STOOL PIGEON, starring Howard Duff, Shelley Winters and Dan Duryea. The film was first screened in Finnish cinemas in 1950 with no subsequent theatrical runs. This particular poster is a standard size 60cm x 40cm approx. It is in really excellent shape, Fine condition. There is a fold line near the top - slanted and visible only from the verso but none to the middle. At the top line of the titles in the letter "a" you can see a mounting hole and there is an enclosed tear surrounding the hole but this is almost invisible - I guess the poster was snatched from it's mounting without any ceremony. No further pinholes. At the bottom edge there is a very short tear and a smaller nick. Otherwise no edge wear apart from some minor handling creasing. The paper is extremely thin and has survived the intervening 70+ years fantastically well. Bright, clean and vivid. Excellent graphics and design. Signed in the plate by the artist. A fabulous Film noir poster.

DVD. Zustand: Gut. Die Hülle befindet sich in sehr gutem Zustand, bis auf eine kleine Schramme auf dem Backcover (siehe Foto 3). Das Beiheft ist vorhanden; die Disc selbst weist nur minimale Gebrauchsspuren auf. Siehe Fotos zur eigenen Einschätzung des allgemeinen Zustands. Bei Fragen zum Versand, oder weiteren Details gerne melden. Der Artikel unterliegt der Differenzbesteuerung gemäß § 25a UStG, ein Ausweis der Umsatzsteuer ist nicht möglich. Altersfreigabe FSK ab 16 Jahre Sprache: Deutsch Gewicht in Gramm: 76.

Two vintage photographs from the set of the 1944 film noir, one showing director Fritz Lang closely inspecting a filmstrip, the other showing Lang in conversation with actress Joan Bennett. Based on J. H. Wallis' 1943 novel "Once Off Guard." A married psychology professor gets mixed up with a beautiful young woman who plunges him into a world of blackmail and murder. One 9.5 x 7.5 inches, one 8 x 10 inches. Near Fine. Grant US. Selby US Masterwork. Silver Classic Noir. Spicer US.

Vintage publicity photograph from the 1945 film noir, showing actor Edward G. Robinson. Censor blindstamp at the bottom right corner, and numeric stamps on the verso. Based on the 1930 novel by Georges de La Fouchardiere and the 1931 French film by Jean Renoir, both titled "La chienne" ("The Bitch"). The definitive telling of La Fouchardière's story, grim and relentless, one of the bleakest American noirs of the decade. 8 x 10 inches. Good only, with toning overall, pinholes at the corners, and moderate wear to the emulsion. Grant US. Hardy US. Selby Masterwork US. Silver Classic Noir. Spicer US.

Collection of 14 original preliminary advertising concept art sketches for the release of sultry 1944 B-picture. Executed variously in graphite, charcoal, and gouache on onion skin paper, each leaf tipped on to white paper stock at the corners, some with annotations at the margins. The collection displays a variety of styles and themes, with alternatively seductive and paranoid imagery and tag lines, providing broad insight into the over-archiving advertising campaign of a smaller film at a major studio. Sheets 8 x 11.5 inches to 11 x 15 inches. Very Good or better with faint vertical and diagonal creasing to some pieces and only occasional minor splashes, general signs of light use as expected. Grant US. Spicer US.