Search Results: Blaxploitation from Royal Books, Inc.

N.p.: Gordon Park Jr. Robert Anderson Production, 1974. Draft script for the 1975 film, here under the working title "Aaron and Angela." Gordon Park's Harlem-set coming of age story, wherein the love between an aspiring black basketball player and a Puerto Rican girl from Spanish Harlem not only sparks disapproval from their families, friends, and neighbors, but threatens violence. Featuring excellent location footage of a violent, decaying, half-abandoned 1970s New York. Gordon Park Jr's final film and Irene Cara's screen debut. Set in and shot on location throughout New York. Blue titled wrappers. Title page present, dated December 1, 1974, with credits for screenwriter Gerald Sanford. 142 leaves, with last page of text numbered 140. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound internally with two gold brads. Howard, Blaxploitation Cinema. Parish & Hill 1.

Beverly Hills, CA: United Artists, 1972. Collection of seven vintage color studio still photographs from the 1972 film, including five mounted as issued by the distributor on a presentation card. Based on the 1970 novel by Wally Ferris, about two New York City cops who become involved in a bloody struggle between the Italian mob, the Harlem mob, and a pair of small-time crooks who have stolen thousands of dollars from both groups. Due to its setting in Harlem, this underrated crime drama is often lumped with other blaxploitation pictures of the era, when in truth it belongs to the great pantheon of gritty, violent police procedurals of the early 1970s-something of a New York City companion to Don Siegel's "Dirty Harry," released the year before. Set in Harlem, shot on location in New York City. Cards 10 x 8 inches. Presentation card 14 x 11 inches. Color studio still photographs and presentation cards Very Good plus. Grant US. Parish and Hill 3. Spicer US Neo-Noir. Howard, Blaxploitation… Read More

N.p.: N.p., 1979. Archive of nine Draft scripts for six unproduced blaxploitation and exploitation films, written by screenwriter Frank Saletri between 1974 and 1979. Saletri, a criminal defense lawyer in Los Angeles, harbored a lifelong interest in exploitation films, especially blaxploitation. He worked as a part-time screenwriter and producer, founding FRSCO Productions, headquartered in the Hollywood General Services Studios until Frances Ford Coppola bought the lot in 1980. Saletri's screenwriting work was largely unproduced, with the exception of the 1973 film "Blackenstein," and the possible exception of "Black the Ripper," a questionably apocryphal film whose existence has been debated for decades among grindhouse fans. Saletri would be murdered in 1982 in a mysterious and still-unsolved shooting, widely attributed to the mob. Scripts represented include: One Draft script for "Black the Ripper" (1974) One Draft script for "Black Frankenstein Meets White Werewolf" (1974) First Draft,… Read More

Burbank, CA: Warner Brothers, 1974. Collection of nine vintage studio still photographs from the 1974 film. Based on Jeff Jacks' 1971 novel "Murder on the Wild Side." A former police officer turned private eye investigates a silent film star's death, which is linked to a mysterious religious cult moonlighting as a drug ring. Set and shot on location throughout California. 10 x 8 inches. Near Fine. Grant US. Spicer US Neo-Noir. Howard, Blaxploitation Cinema, p. 64, 95.

Los Angeles: Cinerama Releasing, 1972. Complete set of eight vintage color studio still photographs from the 1972 film. Based on J.E. Franklin's 1969 play. The youngest daughter in a working-class African American family dreams of becoming a dancer, and is determined to avoid the fate of her mother and two older sisters, who married and had children at a young age, and who express dissatisfaction and frustration with their stagnant lives. One of the few Blaxsploitation films of the 1970s to depict the everyday lives and dreams of blue collar Black women. Shot on location in Los Angeles. 10 x 8 inches. Near Fine. Howard, Blaxploitation Cinema, p. 97-98.

N.p.: N.p., 1972. Revised Version Draft script for the 1972 film, belonging to actor Martin Landau, with his manuscript ink and pencil annotations throughout, most in reference to his character Capelli, including action and dialogue changes. Also included are a 21-page shooting schedule and call sheet, with the name of uncredited crew member Jim O'Roarke in manuscript ink on the shooting schedule, and manuscript annotations to both. From the estate of Martin Landau. British director Robert Hartford-Davis originally conceived of the story for the film based on the Black Power movement in contemporary Britain and hired Robert Shearer to write the screenplay. The first American feature-length film for Hartford-Davis and the film debuts of baseball star Vida Blue and football player Gene Washington. Set in and shot on location in Los Angeles. Orange untitled wrappers. Title page present, noted as Revised Version Screenplay, with credits for story by Robert Hartford-Davis and screenwriter Franklin… Read More

Culver City, CA: Champion Production Company / Columbia Pictures, 1970. Vintage double weight photograph of famed blaxploitation actor Jim Brown and noted British director Robert Hartford-Davis conferring on the set of the 1972 film. With a bold production company stamp on the verso, crediting Brown, Hartford-Davis, and producers John Heyman and Norman Priggen. British director Robert Hartford-Davis originally conceived of the story for the film based on the black power movement in contemporary Britain and hired Robert Shearer to write the screenplay. First American feature-length film for Hartford-Davis and the film debuts of American baseball star Vida Blue and NFL football player Gene Washington. Set in and shot on location in Los Angeles. 8 x 10 inches. Near Fine condition. Howard, Blaxploitation Cinema, p. 60, 98-99.

New York: American International Pictures [AIP], 1972. Collection of 10 vintage studio still photographs from the 1973 film, housed in their original envelope stamped "Savage Sisters / 10 Stills / Story in Tens," with the original three-page press release of descriptions for all ten photographs. Pam Grier and Margaret Markov escape from a remote women's prison, aided in part by Markov's revolutionary boyfriend. What follows is an almost comical series of bloody shootouts pitting revolutionaries and drug dealers and the authorities all against each other. Shot on location in the Philippines. 8 x 10 inches. Near Fine. Arrow Films.

Beverly Hills, CA: Sean Inn, Inc, 1973. Shooting script for the 1973 film. The mafia attempts to muscle in on an African American numbers-running ring. Shot on location in Cleveland. Black wrappers with red titles. Title page present, dated Revised May 12, 1973, noted as SHOOTING SCRIPT, with credits for screenwriter Don Williams. 128 leaves, with last page of text numbered 119. Mimeograph duplication, rectos only, with blue and white revision pages throughout, dated variously between 5/24/73 and 6/6/73. Pages Near Fine, wrapper Very Good plus, bound internally with three gold brads.

Hollywood: R and R Productions, 1970. Draft script for an unproduced film comedy. A young wealthy boy runs away to the Marines and ends up competing on their boxing team. Though he is an unusually talented boxer, his true ambition is to become a musician. Luckily for him the entire boxing team is also musically talented. Blue untitled wrappers. Title page present, with credits for screenwriters Ron Rich and Paul C. Ross. 148 leaves, with last page of text numbered 146. Xerographically reproduced. Pages Fine, wrapper Near Fine, prong bound internally.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1972. Complete set of eight vintage color studio still photographs from the 1972 film. Four photos shown, please inquire to see the others. Loosely based on the 1950 film "The Asphalt Jungle," which was in turn based on W. R. Burnett's 1949 novel. A former inmate decides to gather a gang of criminals to execute a diamond heist, in the hopes of using the profits to start a community bank for black-owned businesses. Set in Los Angeles and San Quentin. 10 x 8 inches. Near Fine. Lee, The Heist Film. Parish and Hill 66. Spicer US Neo-Noir. Howard, Blaxploitation Cinema, p. 69, 119-121.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1972. Collection of seven black and white studio still photographs from the 1972 film. Loosely based on the 1950 film "The Asphalt Jungle," which was in turn based on W. R. Burnett's 1949 novel. A former inmate decides to gather a gang of criminals to execute a diamond heist, in the hopes of using the profits to start a community bank for black-owned businesses. Set in Los Angeles and San Quentin. 10 x 8 inches. Near Fine. Lee, The Heist Film. Parish and Hill 66. Spicer US Neo-Noir. Howard, Blaxploitation Cinema, p. 69, 119-121.

N.p.: N.p., N.d.. Typescript draft for an unproduced film. A soldier's father is killed when witnessing a gang hit in Los Angeles and the soldier, on 30 day leave from his tour in Vietnam in order to attend his father's funeral, is out for revenge. A blunt condemnation of violent gangs. Lacking wrappers, as issued. Title page present, with credits for screenwriter Edward A. Townsend. 106 leaves, with last leaf of text numbered 104. Typescript. Pages Near Fine, bound with two gold brads.

Los Angeles: Dimension Pictures, 1975. Collection of seven vintage studio still photographs from the 1975 film. A former pimp attempts to regain control of his nightclub, which has been taken over by his rival, several corrupt cops, and drug dealers. Set and shot on location in Los Angeles. 10 x 8 inches. Near Fine. Howard, Blaxploitation Cinema, p. 43, 130-131.

N.p.: N.p., 1970. Draft script for an unproduced blaxploitation horror film. A reclusive Black music producer named Dr. Rocula lures young would-be musicians into his home, where he feasts on their blood. Set in Los Angeles. Orange wrappers with a typed title label affixed to the front wrapper. Title page present, undated, with credits for screenwriter Edward Medard. 120 leaves, with last page of text numbered 119. Xerographic duplication, rectos only. Pages Very Good plus, with light wear on the bottom page edges, wrapper Good, with front wrapper detached from the binding, bound with two gold brads.

N.p.: N.p., 1988. First Draft script for an unproduced film. A comedy about the titular fictional music variety show. The cast list notes several heavyweight comedic actors, including Richard Pryor, Lilly Tomlin, Dan Ackroyd, and Eddie Murphy, but it's unclear if they were attached to the project or if it's a wish list, as the script also calls for cameos by a diverse collection of celebrities, such as Rodney Dangerfield, Kareem Abdul Jabbar, Madonna, and Mr. T. Red untitled wrappers, with the a tipped on title label. Title page present, dated January 18, 1988, noted as First Draft, with credits for screenwriter Homer Taylor. 122 leaves, with last page of text numbered 120. Xerographically reproduced. Pages Fine, wrapper Very Good plus, bound with two gold brads.

Los Angeles: Miramax, 1984. Draft script for the 1986 film, here under an alternate working title. Draft credited to producer Ron Rich, who would go uncredited on the final film. With occasional brief manuscript corrections to the text. A supernatural comedy, in which two police officers become trapped in a haunted plantation, encountering ghosts, vampires, and zombies, including the racist spirit of the former plantation owner. After the film's initial release, it was re-cut by the studio and re-released in March 1987, leading director Lee Madden to remove his name from the film, crediting it to Alan Smithee. White titled self wrappers, with credits for screenwriter Ron Rich. Title page integral on the front wrapper. 123 leaves, with last page of text numbered 111. Xerographic duplication, with blue revision pages throughout, dated variously between 3/4/84 and 3/9/84. Pages Near Fine, wrapper Very Good plus, bound with two gold brads.

London: Island Records, 1972. Collection of three vintage matte-finish studio still photographs from the 1972 film. Loosely based on the early years of real-life Jamaican outlaw Rhyging, who rose to prominence as a folk hero in the 1940s. Ska and reggae musician Jimmy Cliff's film debut, in which Cliff stars as a young man from rural Jamaica who moves to Kingston with dreams of fame and fortune as a singer, but is waylaid by corrupt record producers and criminal enterprises. One of the first films to feature black Jamaicans speaking Jamaican Patois, and whose soundtrack played a key role in popularizing reggae music worldwide. Set and shot on location in Kingston, Jamaica. 10 x 8 inches. Very Good plus, lightly and evenly toned. Criterion Collection 83. Howard, Blaxploitation Cinema, p. 50, 150.

N.p.: N.p., 1973. Vintage contact sheet from the 1973 film, showing 34 images of cast and crew members on the set, including several of actor Fred Williamson. A fearless crime boss takes on a corrupt district attorney who seeks to control the city's drug trade. Sequel to the 1973 film "Black Caesar." 11 x 8.5 inches. Very Good plus, with light wear to the corners, and a few manuscript pencil annotations to the recto, selecting images. Olive Films 1361. Silver and Ward Neo-Noir. Howard, Blaxploitation Cinema, p. 26-28, 63, 150.

Hollywood: Paramount Pictures, 1972. Draft script for the 1973 film. Nick (Williams) is a federal agent tracking down a heroin ring, with the help of a few recruits he's trained, and seeking revenge for his deceased daughter. Prostitution, Vietnam War vets, and a Jewish ex-con make the nearly three-hour hit an explosive dose of action. Set in France, shot on location there and in Washington, Illinois and California. Stiff blue titled wrappers. Title page present, dated May 20, 1972, with credits for screenwriter Trustman and property owners Furis and Trustman. 121 leaves, with last page of text numbered 118. Xerographic duplication, with photocopied punch holes to a few pages. Pages and wrapper Near Fine, bound internally with a silver prong binding. Parish and Hill 112. Howard, Blaxploitation Cinema, p. 51, 151.