Search Results: Titles starting with H from Royal Books, Inc.

N.p.: N.p., 1941. Vintage photograph of director King Vidor, his wife and screenwriter Elizabeth Hill, and actors Hedy Lamarr and Robert Young, taken to publicize the 1941 film. With provenance stamps on the verso, along with a stamp noting No. 81-422. From the archive of film historian and author Joel Finler. Based on John P. Marquand's 1941 novel. A married businessman locked in a monotonous life recalls his passionate relationship with a beautiful, independent young woman twenty years prior. Lamarr's second film with Vidor, following "Comrade X" in 1940. Set in Boston. 10 x 8 inches. Very Good plus, with light soil to the top edge.

Tokyo: Toho Company, 1958. Vintage photograph from the 1958 Japanese film. Manuscript annotations in pencil and black ink on the verso. A drug smuggler's death stumps the police until they are convinced by a young scientist of the presence of "H-Men," slimy radioactive creatures who dissolve anything they come into contact with. The scientist refers to a ghost ship that washed up in the harbor as evidence of the H-bomb tests role in creating these monsters. Shot on location in Tokyo, Japan. 8 x 10 inches. Near Fine.

N.p.: N.p., 1978. Final Draft script for an unproduced film. Laid in is a note to agent Paul Kohner, dated 2/8/1978. Text and titles in German. Red titled wrappers, noted as Endfassung on the front wrapper, with credits for screenwriters Andreas Rosgony and Dorothea Dahlen. Title page present, with credits for screenwriters Andreas Rosgony and Dorothea Dahlen. 223 leaves, with last page of text numbered 218. Xerographic duplication, rectos only. Pages Near Fine, wrapper Near Fine, bound with three gold brads.

Los Angeles: Times-Mirror Press, 1923. First Edition. First Edition. A collection of lighthearted stories by Zanuck, published at a point when his writing career (if one could call it that) was on the ropes, his screenwriting career was well on its way, and his great fame as a producer was yet to begin. An unusually sharp copy, Fine in a Fine dust jacket.

New York: Dodd, Mead, 1973. First Edition. First Edition. INSCRIBED by the author on the front endpaper to American journalist Edgar Mowrer and his wife Lillian: "To Edgar and Lillian Mowrer / with affection / Alice Hunt Sokoloff / And Hadley's love to you both!" Considered by many to be "the dean of American foreign correspondents," Edgar Mowrer was born in Bloomington in 1892. He began working as a reporter in France in 1914, having been pressed into service alongside his brother, the first journalist to receive a Pulitzer Prize for Correspondence in 1929. Perceiving the growing power of the Nazi Party, Mowrer began reporting on the rise of Adolf Hitler, publishing day-by-day dispatches from Berlin that would win him a Pulitzer Prize in 1933. Viewed as a serious threat to Nazi power, Mowrer became the first American correspondent to be driven from Germany, taking a post in Paris, where he remained until France's defeat by German forces in 1940. An outspoken antifascist, Mowrer returned to the US… Read More

Los Angeles: Goldstone Film Enterprises, 1966. Vintage black-and-white still photograph from the US release of the 1965 French-Italian film. A well-made, low-budget drama about two hit men sent to assassinate a man in France. Sprawling French countryside and a cool jazz-combo score set the tone for the two hit men to get to know each other on the way to kill someone. Considered a forgotten gem, with overtones of noir and French New Wave. 7.5 x 9.5 inches. Pinholes, and the extremities have been roughly trimmed, else Near Fine.

New York: New Yorker Films / JLG Films, 1986. Original US one sheet poster advertising the 1986 US re-release of Godard's "Hail Mary" (1985) in a double bill with Anne-Marie Neville's "The Book of Mary." Both films were France-Switzerland co-productions under Godard's "JLG Films" moniker, and Neville's film was released in France a year after Godard's. Both debuted in the US in 1986, where Godard's film was a magnet for controversy, condemned by Pope John Paul II, and drawing out the usual fundamentalist protesters at cinema houses. Conversely, "Time Out" magazine praised the film, and John Waters called it one of the great art film of the 1980s, in an essay ultimately collected in his 1987 collection, "Crackpot." In the perspective of time, an example of a film so drenched in (perhaps intentional) controversy that it has taken decades for a proper evaluation to be made. 27 x 41 inches. Three horizontal folds, else Near Fine.

London: National Film Archive, 1944. Vintage reference photograph from the 1944 film, showing director Preston Sturges filming a railroad scene on a camera crane. National Film Archive stamp on the verso, along with annotations in manuscript ink and pencil, identifying subjects. From the archive of film historian and author Joel Finler. Sturges' eighth and last film for Paramount Pictures, a satire about a small-town boy who pretends to be away fighting in the war after he has been discharged from the Marines due to his hay fever. Nominated for an Academy Award for Best Screenplay. 10 x 8 inches. Near Fine, lightly worn at the corners. National Film Registry.

Beverly Hills, CA: United Artists, 1979. Collection of four promotional newspaper ad mats for the 1979 film, made for use by distributors, exhibitors, and the press. Based on the 1968 Broadway musical, following a naive Vietnam draftee who befriends and eventually joins a group of drug-fueled, antiwar hippies on his way to the army induction center. 12.5 x 19 inches. Four leaves, unbound, on standard glossy ad mat stock. Generally Very Good plus, with a few nicks and light creasing.

Beverly Hills, CA: United Artists, 1979. Vintage press kit for the 1979 film, containing 13 black and white photographs, and 2 gatherings of promotional reading material. Based on the 1968 Broadway musical, following a naive Vietnam draftee who befriends and eventually joins a group of drug-fueled, antiwar hippies on his way to the army induction center. Photographs and promotional material Near Fine. Olive Films.

New York: Natoma Productions, 1969. Vintage program for the seminal 1969 musical "Hair" SIGNED by actor and R&B singer Frankie Karl, who played the role of Hud in both the Los Angeles and touring productions. Near Fine in stapled wrappers, with just a touch of rubbing to the edges and some shallow creasing at the fold, but otherwise bright and unfaded. 24 pages, with brief biographies of the creators, producers, and designers, and numerous photos of various international productions, including New York, Los Angeles, Stockholm, and London, throughout.

London: Jack Parsons, 1953. Draft script for the 1962 film. With a few annotations in manuscript pencil. A manager at a razor factory grows a beard after developing a rash due to shaving. His superiors are displeased. The manager then decides to organize a strike in order to get his point across. Green titled wrappers, dated May 1953, with credits for screenwriters John O'Gorman, and George Moore. Title page present, dated May 1953, with credits for screenwriters John O'Gorman and George Moore. 101 leaves, with last page of text numbered 100. Mimeograph duplication. Pages Very Good plus, wrapper Very Good plus bound with two gold brads.

N.p.: N.p., 1988. Vintage test photograph from the 1988 film, showing actors Ricki Lake, Divine, and Jerry Stiller. Globe Photos stamp on the verso, along with manuscript annotations in pencil and ink. Perhaps John Waters' most enduring film, serving as the basis for the long running 2002 Broadway musical adaptation, which itself became the basis for both the 2007 film starring John Travolta, Michelle Pfeiffer, and Queen Latifah, and the 2016 broadcast "Hairspray Live!" on NBC. 8 x 10 inches. Very Good plus, with light wear on the bottom right corner. Rosenbaum 1000.

N.p.: N.p., 1988. Vintage reference photograph of actors Divine and Jerry Stiller from the 1988 film. Cult independent director John Waters' most enduring film, following a kindhearted, overweight teenager who becomes an overnight sensation on a Baltimore television dance show, and subsequently uses her newfound fame to speak out in support of integration. Basis for the Tony Award winning 2002 musical, and subsequent 2007 film adaptation directed by Adam Shankman and starring Nikki Blonsky, Michelle Pfeiffer, and John Travolta. Set and shot on location in Baltimore, Maryland. 10 x 8 inches. Near Fine.

N.p.: N.p., 1937. Small archive of letters from the Hal Roach Studios archive, all relating to the promotion of the 1937 film. 11 letters in all, dated throughout 1937. Very nice content, 3 of which are address to the Hal Roach Studios, having to do with the promotion of Constance Bennett in the film. Noteworthy among these are letters from George Hurrell (regarding his photographs of Miss Bennett), radio personality Terry Donovan, and Lord & Thomas advertising. The remaining 8 letters are all office carbons of letters from Roach relating to advertising tie-ins (Wonder Bread), invitations to the set, lunches with the press (Associated Press), the Los Angeles Police Department, distributors, and a tie-in with the Golden Jubilee. All letters 8.5 x 11 inches, typescript and carbon typescript, non-carbon letters all on original letterhead. Very Good or better overall, pages supple.

N.p.: N.p., 1984. Second Draft agency script for the 1986 film. From the collection of novelist William Hjortsberg, who worked as a screenwriter in Hollywood between 1977-1985. Hjortsberg is best known for the film adaptation of "Angel Heart" (1987), based on his 1978 novel. Based on the 1984 novel "Doctor Slaughter" by Paul Theroux. An American research fellow at the Arab-Anglo Institute in London moonlights as a high-priced escort to bolster her income, but soon finds herself unwittingly drawn into a dirty political scheme through one of her clients. Set and shot on location in Hertfordshire and London. Brown generic ICM wrappers. Title page present, dated October 20, 1984, noted as Second Draft, with credits for screenwriters Bob Swaim and Edward Behr, and novelist Paul Theroux. 125 leaves, with last page of text numbered 120. Xerographic duplication, rectos only. Pages Near Fine, wrapper Very Good plus, bound internally with three gold brads.

Hollywood: National Screen Service / Paramount Pictures, 1967. Vintage full-color British front-of-house card from the 1967 UK film. Based on the 1905 H. G. Wells novel, "Kipps," starring Tommy Steele as Arthur Kipps, an orphan apprenticed to a tyrannical owner of a mercantile. His grandfather dies and leaves him a vast wealth, prompting a sudden life change. 8 x 10 inches. Ink notation on the verso, and faint creases, else Near Fine. Hirschhorn, p. 389.

Culver City, CA: RKO Radio Pictures, 1951. Collection of six vintage reference photographs from the 1952 film. A man comes to town and attempts to facilitate communication between the half-Apache leader of the Apache tribe and the white townspeople who believe there is gold under the ground of the reservation. Set in Arizona, shot on location in Los Angeles, California, and Flagstaff, and Sedona, Arizona. Five photographs 10 x 8 inches, one photograph 8 x 10 inches. Near Fine.

Los Angeles: RKO Radio Pictures, 1952. Vintage German program for the 1952 film. A man comes to town and attempts to facilitate communication between the half-Apache leader of the Apache tribe and the white townspeople who believe there is gold under the ground of the reservation. Set in Arizona, shot on location in Los Angeles, California, and Flagstaff, and Sedona, Arizona. 8 x 11.25 inches folded bi-fold. 16.25 x 11.25 inches unfolded. Very Good, with creasing at the top left and right corners and one small tear at the bottom right edges through both pages folded. Also one large crease across the center of the program.

N.p.: N.p., 1983. Treatment script for an unproduced film. A divorce court judge awards a family's three children the house, forcing the two parents to alternate living there every week. Of course the expected high jinx occur: Dad lets them be messy and eat junk food, Mom requires they clean and eat green vegetables, and the kids misbehave at every opportunity. Self wrappers, with integral title page present, dated January 17, 1983, with credits for screenwriter Zindel. 15 leaves, with the last leaf numbered 14. Photocopied. Pages Near Fine, bound with a single staple.