Search Results: World War I from Royal Books, Inc.

N.p.: N.p., 1940. First Draft Continuity script for an unproduced film. Presentation copy belonging to screenwriter George Bruce, bound in full brown leather with gilt titles and rule, and Bruce's name on the bottom right corner of the front board. Single manuscript pencil annotation on the verso of page 174. Loosely based on the experiences of veterans of the 14th Regiment, a volunteer militia regiment composed primarily of abolitionists from Brooklyn, New York. The group is now best remembered for serving in the American Civil War, although it later served in the Spanish-American War and World War I. Screenwriter George Bruce was best known for "The Duke of West Point" (1938), "South of Pago Pago" (1940), and "Two Years Before the Mast" (1946). Housed in a brown paper slipcase. Title page present, noted as FIRST DRAFT CONTINUITY SCRIPT and dated October 23, 1940, with credits for screenwriter George Bruce. 177 leaves, with last page of text numbered 174. Carbon typescript, rectos only. Near… Read More

N.p.: Mafilm, 1977. Dialogue script for the 1979 Hungarian film "Allegro Barbaro." The second of Jancso's two-part dramatized history of Hungary, from the turn of the century to World War II, as told by the conflicted son of a wealthy landowner. Shot on location in Hungary. Gray titled wrappers, dated 1977. Title page not present, presumably as issued. 122 leaves, with last page of text numbered 122. Mimeograph duplication. Pages Fine, wrapper Near Fine side stapled.

Los Angeles: Paramount Pictures, 1926. Vintage reference photograph from the 1926 film, showing actors Wallace Beery and Raymond Hatton from behind. Printed mimeo snipe affixed to the verso. Two adversaries gradually become best friends as they stumble through World War I together. 8 x 10 inches. Very Good plus, lightly edgeworn, with paper tape reinforcements on the verso.

Beverly Hills, CA: Metro-Goldwyn-Mayer [MGM], 1925. Vintage program for the 1925 silent film. With the stamp of Grauman's Hollywood Egyptian Theatre on the rear wrapper. Laid in with the program is a smaller black-and-white bifold program, also produced for showings at Grauman's. During World War I, a wealthy, idle young man joins the US Army's Rainbow Division, and is sent to France to fight, where he befriends two working class men, is hardened by the horrors of war, and falls in love with a French woman. Notable for its realistic depiction of trench warfare, a predecessor to Lewis Milestone's epic antiwar film "All Quiet on the Western Front" (1930). Color program: 9 x 12 inches. Six leaves, side stapled, with illustrated wrappers. Very Good, splitting at the binding, with moderate edgewear and age toning. Black-and-white program: 4.5 x 7 inches. Bifold. Near Fine. National Film Registry. Rosenbaum 1000. Scorsese, A Personal Journey Through American Movies.

London: Twentieth Century-Fox, 1965. First Draft script for the 1966 film. Based on Jack D. Hunter's 1964 novel, about a selfish German aviator determined to gain the highest medal for valor, the Blue Max, by shooting down 20 aircraft. Set in Germany and France, shot on location in Dublin, Ireland. Blue titled wrappers. Title page present, dated April, 1965, noted as First Draft Screenplay, with credits for screenwriters David Pursall and Jack Seddon, and novelist Jack D. Hunter. 136 leaves, with last page of text numbered 134. Mimeograph duplication, rectos only, with blue undated revision pages throughout. Pages Near Fine, wrapper Very Good plus, with a few small splashes on the front and rear wrappers, bound internally with two silver brads.

Los Angeles: Cinerama Releasing, 1972. Complete set of eight original color studio still photographs from the 1972 film. An Austrian aristocrat and war hero secretly murders his wives when he tires of them, and hides their bodies in his castle vault. Shot on location in Budapest, Hungary and Rome, Italy. 10 x 8 inches. Near Fine.

Los Angeles: Cinerama Releasing, 1972. Collection of six vintage studio still photographs from the 1972 film. Three stamped production No. 72-327 on the bottom right corner of the recto. An Austrian aristocrat and war hero secretly murders his wives when he tires of them, and hides their bodies in his castle vault. Shot on location in Budapest, Hungary and Rome, Italy. 10 x 8 inches. Near Fine.

New South Wales: Embassy Pictures, 1963. Collection of 16 vintage studio still photographs from the 1963 film. Based on French serial killer Henri Desire Landru. During World War I, Henri Landru (Charles Denner) supplements his income by luring middle-class women through newspaper ads, to a villa outside Paris where he seduces and kills them, burns their bodies, then helps himself to their bank accounts, keeping himself, his wife, his mistress, and his four children in the lifestyle to which they are accustomed. Shot on location in Paris and Gambais, France. 8 x 10 inches. Very Good plus. Light creasing in margins, three with pinholes to corners, one with notable creasing in left margin. Grant France.

Culver City, CA: Columbia Pictures, 1957. Vintage borderless photograph of David Lean on the set of the 1957 film. Based on Pierre Boulle's 1952 novel "Le Pont de la riviere Kwai," about Allied POWs forced to build a railway over a bridge during WWII. Under the leadership of Colonel Nicholson (Guinness), they are persuaded that the bridge should be constructed as a symbol of British perseverance. Unknown to him, the Allies have sent a mission into the jungle, led by Major Warden (Hawkins) and an American, Shears (Holden), to blow up the bridge. Winner of several Academy Awards (Best Picture, Best Actor, Best Director, etc.), and was elected to the National Film Registry in 1997. 10 x 8 inches. Near Fine, some light creasing. National Film Registry. Ebert II.

New York: Jean Wick, 1915. First Edition. First Edition. Review Copy, with publisher's review slip laid in. Association Copy, lengthily INSCRIBED on the front endpaper by author Marshall Kelly to Senator Robert M. "Fighting Bob" La Follette Sr. Additionally SIGNED by La Follette on the front endpaper. In 1917, while most American politicians supported US intervention in World War I, La Follette became one of the few politicians advocating neutrality. In a fiery speech before the Senate on April 2, 1917, La Follette argued that American involvement in the war would line the pockets of already wealthy munitions industrialists but would lead to the deaths of countless working class Americans, and draw attention from important domestic reform measures. Although his opposition led to him being widely branded a traitor, La Follette held firm, opposing the military draft and Espionage Act-correctly predicting that the latter would be used to suppress free speech-and pushing for the war to be funded… Read More

New York: Batten, Barton, Durstine and Osborn, 1948. Draft script for "Perfect Union," an episode of the popular anthology drama radio show "The Cavalcade of America," originally broadcast on January 26, 1948. With a few manuscript annotations in pencil and ink on the front wrapper. The anthology series was part of a campaign by the DuPont chemical corporation to rehabilitate its image following the public exposure of its arms race profiteering during World War I. In lieu of traditional advertising, Roy Durstine, the creative director of Batten, Barton, Durstine & Osborn, proposed that DuPont sponsor "Cavalcade," which integrated the company's slogan ("Better Things For Better Living Through Chemistry") and agenda into its stories of American achievement and inspiration. The show was an early experiment in propagandistic corporate brand-building, virtually unprecedented for a company that had no commercially available products to market to the public. To further promote their clean, humanitarian… Read More

Los Angeles: First National Pictures, 1930. Archive of 68 vernacular photographs, housed in a contemporary photo album, each photo with descriptions in silver manuscript ink just below it, and distributed in three sections as follows: (1) 34 photos taken on the set of "The Dawn Patrol" (Howard Hawks, 1930), an aviation drama set during World War I. Included are shots of planes in flight, and several others of star Douglas Fairbanks Jr. With manuscript annotations to the album pages identifying most of the photographs; (2) 16 vernacular photographs taken on the set of the pre-Code film "The Life of the Party" (Roy Del Ruth, 1930), and 18 vernacular photographs of the sinking of the RMS Tahiti off cost of Rarotonga in the Cook Islands on August 16-17, 1930, taken from the nearby SS Ventura. The front cover of the photo album identifies the photographer as J.N. Boucher, and he appears four times in the album, twice dressed as a pilot in "The Dawn Patrol" section, and twice in "The Life of the Party"… Read More

N.p.: N.p., 1979. Revised Final Draft script for an unproduced film. Laid in are two additional half sheets of paper. Copy belonging to casting director Marvin Paige, with his name on label tape, adhered on the front wrapper. Based on Raymond Radiguet's novel "Le Diable au corps," this unpublished novel features a young married woman with a husband away fighting a war and her affair with a sixteen year old boy. Published in France, it was incredibly scandalous, especially as it was published after France had exited World War I and the novel was proven later to be partly autobiographical. Two movies, one in 1947 and another in 1986, were produced based on this book, and despite being written, this screenplay was never adapted for full production. Thomas Thompson was a screenwriter best known for his extensive work writing and producing episodes of the television series "Bonanza," which ran from 1959 until 1969. Set in France. Brown untitled vinyl three-ring binder with logo of the Von-Young… Read More

Paris: Transcontinental Films, 1947. Collection of five vintage borderless reference photographs, shot on location during the making of the 1947 French film noir. Included are: Michelene Presle revealing a French "Devil in the Flesh" street sign, a charming photograph of Gerard Philipe and Presle, Presle and Philipe posing with the cast, and two of the cast and crew celebrating with champagne. All with French annotations in manuscript ink, a blue French legal stamp, a red stamp requesting the return to the French Embassy in Brussels (in French), and each with it's own corresponding stamped number ("3442," "3443," "3444," "3445," and "3447"), all on verso. Four with an additional red stamp also requesting return to French Embassy in Brussels (also in French), also on verso. Photographs presumably were released for the film's premiere at the Festival Mondial du Film et des Beaux-Arts in Brussels on June 15, 1947. Based on the 1923 novel "Le Diable au corps" by Raymond Radiguet. Marthe, her husband… Read More

New York: Arthur Langer Productions, 1970. Draft script for an unproduced musical, circa 1970. Annotation in manuscript ink on the title page, noting copy No. 18. From the estate of actress Monique van Vooren. Book and lyrics written by Julian Barry, screenwriter and playwright, perhaps best known for his Academy Award nominated script for Bob Fosse's 1974 film "Lenny." Music written by Claibe Richardson, whose most notable Broadway theatre score was for the briefly run 1971 musical adaptation of Truman Capote's 1951 novel "The Glass Harp," a production that has since developed a devoted cult following. Boston University's Howard Gotlieb Archival Research Center, in their "Inventory of the Julian Barry Collection #950" records two much shorter drafts of "Escadrille," a first draft dated 7/15/66 (42 pages), and a second draft dated 12/31/66 (63 pages). In July, 1971, Arthur Langer, whose production company produced the script, attempted to form a partnership, unsuccessfully, for the purpose of… Read More

Los Angeles: Twentieth Century-Fox, 1957. Draft script for the 1957 film. In Selznick Studio wrappers, with the insignia on the front wrapper. An original production script, with a perforated distribution leaf preceding the title page. The second film version of Ernest Hemingway's 1929 novel, and also the last film produced by David O. Selznick. Frederick Henry (Hudson) is an American serving in the Italian Army during WWI, where he meets Catherine Barkley (Jones), a Red cross nurse. They have a torrid affair, which results in pregnancy. The two gradually lose contact with one another. But Henry makes it to Switzerland, where Barkley is hospitalized. The baby is stillborn, and Barkley dies shortly afterward. Set in Europe, shot on location in Italy. White titled wrappers, with credits for screenwriter Hecht, (original), director Vidor, and producer Selznick. Title page present, dated 1957, with a credit for screenwriter Hecht. 177 leaves, with last page of text numbered 173. Mimeograph on… Read More

US: Metro Pictures Corporation, 1921. Vintage photograph from the 1921 film. With a mimeo snipe on the verso. Based on the 1916 anti-war novel by Vincent Basco Ibanez, about a French and German family on both sides of World War I. Along with "The Sheik" later the same year, the film the catapulted Rudolph Valentino to stardom and helped create his "Great Lover" image. The film also launched the career of director Rex Ingram, made screenwriter June Mathis one of the most powerful woman in Hollywood, inspired a tango craze, and was the first to gross over $1,000,000 at the box office. 10 x 8 inches. Very Good plus, with a partial and faint studio stamp on the recto, light soil and edgewear. National Film Registry.

Paris: Cinedis, 1955. 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 on 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… Read More

Beverly Hills, CA: United Artists, 1930. 16 page vintage program for the 1930 film, announcing its showing at Broadway theaters in New York, with abundant black and white photographs of actors, aerial stunts, and Howard Hughes throughout. Hughes' most expensive and ambitious production, a story about World War I combat pilots, today still a dazzling work of blockbuster action and actual aerial biplane footage. Originally conceived as a silent film and then retooled as a talkie in the wake of "The Jazz Singer." Most of the film is shot in black and white, but one sequence is in color-the only color footage ever released of actress Jean Harlow before her untimely death. James Whale was hired by Hughes to direct the talking sequences, Whale's first major effort in Hollywood, but the overall production took so long, that Whale's subsequent directorial effort, "Journey's End," was released first. Nominated for an Academy Award for Best Cinematography. Card wrappers, saddle stapled, 5 x 6.5 inches. 16… Read More

Los Angeles: Twentieth Century-Fox, 1961. Revised Final Draft script for the 1962 film. Based on Ernest Hemingway's "A Farewell to Arms," as well as his "Nick Adams" stories, about a 19-year-old who leaves his Michigan home, holding various jobs before signing up to become an ambulance driver for the Italian Army during World War I. Nominated for five Golden Globes, including Best Drama and Best Supporting Actor. Shot on location in Mellen, Wisconsin and in Verona, Italy. Red titled wrappers, noted as REVISED FINAL on the front wrapper, dated October 17 1961. Title page present, dated October 17, 1961, noted as Revised Final, with credits for screenwriter A.E. Hotchner. 167 leaves, with last page of text numbered 67. Mimeograph duplication, rectos only, with blue revision pages throughout, dated variously between 10/23/61 and 11/27/61. Pages with silverfish damage to the top of the confidentiality page and a small amount to the top of the title page, else Near Fine, wrapper Very Good plus,… Read More