robert rossen play (5 Ergebnisse)

Final script for the 1962 film. Early draft, preceding the film's release by five years, credited to screenwriter Robert Rossen. Rossen was ultimately uncredited in the film, but was involved in this early stage of the script's development. Based on Louis O. Coxe and Robert H. Chapman's 1949 play, which was based in turn on Herman Melville's 1924 novella. A seaman's innocence and natural beauty wins him the affection of the entire crew except the abusive master-at-arms, who eventually wrongly accuses the seaman of conspiracy to mutiny. The feature film debut of Terence Stamp, who was nominated for a Best Supporting Actor Academy Award for his performance. Yellow titled wrappers, noted as FINAL SCREENPLAY and dated October 15, 1957, with credit for screenwriter Robert Rossen. 122 leaves, with last page of text numbered 122. Mimeograph duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with three gold brads.

First Draft script for the 1962 film. Based on Louis O. Coxe and Robert H. Chapman's 1949 play, which was based in turn on Herman Melville's 1924 novella. A seaman's innocence and optimism win him the affection of the entire crew except the abusive master-at-arms, who eventually wrongly accuses the seaman of conspiracy to mutiny. The feature film debut of Terence Stamp, who was nominated for a Best Supporting Actor Academy Award for his performance. Yellow wrappers with a die-cut title window in the British style. Title page present, dated March 21, 1961, noted as FIRST DRAFT, with credit for screenwriter Peter Ustinov. 127 leaves, with last page of text numbered 123. Mimeograph duplication, rectos only, with pink and blue revision pages throughout, dated variously between May 5 and August 22, 1961. Title page lightly toned, else pages Near Fine, wrapper about Near Fine, bound internally with three silver brads.

Vintage reference photograph from the seminal 1963 film. Partial label on the verso. Based on the 1960 play by Warren Miller and Robert Rossen, which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke, following "The Connection" (1961). Both films were statements on the limitations of cinema verite, and while appearing improvisational, were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman, who would go on to become a legendary documentary filmmaker, and was scored by noted jazz composer and pianist Mal Waldron, with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 5 x 8 inches, trimmed irregularly, with wide margins, photograph measuring 3.75 x 4.75 inches. Near Fine. National Film Registry.

Two vintage reference photographs from the 1963 film, both showing actor Hampton Clanton. Printed mimeo snipes and date stamps on the versos. Based on the 1960 play by Warren Miller and Robert Rossen, which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke, following "The Connection" (1961). Both films were statements on the limitations of cinema verite, and while appearing improvisational, were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman, who would go on to become a legendary documentary filmmaker, and was scored by noted jazz composer and pianist Mal Waldron, with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 8 x 10 inches. Very Good plus. National Film Registry.

Eight vintage studio still photographs from the 1963 film. Provenance labels on the versos. Based on the 1960 play by Warren Miller and Robert Rossen, which was based on Miller's 1959 novel. The second feature to be directed by independent filmmaker Shirley Clarke, following "The Connection" (1961). Both films were statements on the limitations of cinema verite, and while appearing improvisational, were in fact semi-documentaries with carefully scripted dialogue. Clarke aspired to make a non-judgmental film that resisted the moralizing prevalent in Hollywood "social issue" films. It was the first film to be produced by Frederick Wiseman, who would go on to become a legendary documentary filmmaker, and was scored by noted jazz composer and pianist Mal Waldron, with performances by trumpeter Dizzy Gillespie. Set and shot on location in New York. 10 x 8 inches. Very Good plus to Near Fine. National Film Registry.