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

Manhattan Beach, CA: Carolco Pictures, 1990. Draft screenplay for the 1991 film. Steve Martin's love letter to Los Angeles, about a goofy meteorologist who receives messages from an electric freeway billboard encouraging him to pursue a romance with a British journalist. Set and shot on location in Los Angeles. Front wrapper integral with title page, dated 2/23/90, with credit for screenwriter Steve Martin. 112 leaves, with last page of text numbered 111. Xerographic duplication, rectos only. Pages Near Fine, bound with two gold brads.

Paris: Editions de Minuit, 1961. First Edition. First Edition. INSCRIBED by the author on the half-title page: "Pour Dominique Aury / avec toute mon amitie / Alain Robbe-Grillet." ("For Dominique Aury / with all my friendship / Alain Robbe-Grillet."). Photo-illustrated with stills from the film. Text in French. Screenplay for the 1961 film, Last Year at Marienbad, directed by Alain Resnais, and starring Delphine Seyrig, Sacha Pitoeff, and Giorgio Albertazzi. Very Good plus with no dust jacket as issued. Faint foxing to the upper page edges and bottom right corner of the front panel, with a lightly bumped crown and brief creasing along the spine.

Milan: Edizioni Futuriste di Poesia, 1916. First Italian Edition, preceding all others. A book length expansion of the musical theories first put forth by Russolo in a 1913 manifesto to fellow Futurist composer Francesco Balilla Pratella. Text in Italian. Perhaps the earliest treatise on the use of noise as an element in modern music, and one that would come to influence countless musicians and movements, including John Cage and Pierre Schaeffer. Very Good in wrappers. Light foxing and toning to the wrappers and endpapers, with faint tidemarks to the some pages.

London: Contemporary Films, 1960. Collection of eight vintage double weight studio still photographs from the 1960s UK re-release of the 1934 French film. Manuscript ink annotations identifying scenes on the versos. From the archive of film historian and author Joel Finler. A classic of French cinema, Jean Vigo's only theatrical feature, a film that in the minds of many (including Francois Truffaut) predicted and even helped define the French New Wave that would come 20 years later. Shot on location in Paris, Yvelines, and Seine-Maritime, France. 10 x 8 inches. Four Near Fine, four Very Good plus, with faint dampstains to the bottom edges. Ebert I. Rosenbaum 1000.

Various cities: Societe Internationale Cinematographique [SIC] / Nero Film, 1932. Vintage oversize reference photograph from the French-language version of the 1932 film, showing actors Brigitte Helm and Pierre Blanchar. Nero Film blindstamp on the bottom right corner of the recto, and letter stamp ("A") on the verso. A sound remake of the 1921 silent film, in turn based on the 1919 fantasy novel by Pierre Benoît, about two French Algerian officers who are kidnapped by the queen of Atlantis. In an attempt to compete with American films, the adaptation was shot in three languages-German, English, and French, with actress Brigitte Helm appearing in all three as Antinéa, Atlantis' queen. Partially shot on location in the Sahara Desert. 11.25 x 8.5 inches. Near Fine, lightly age toned.

N.p.: N.p., 1970. Vintage borderless double weight reference photograph from the 1970 French film, showing actress Simone Signoret and an unknown crew member. With manuscript pencil and ink annotations on the verso regarding cropping, and the stamp of Pariscope. Based on the 1968 book by Artur London, which detailed London's own experiences as a defendant during the Slansky trial, a 1952 show trial held by the Czechoslovak Republic against 14 members of the Communist Party of Czechoslovakia which resulted in the deaths of 11 defendants. Set in Czechoslovakia, and shot on location in France. 9 x 6 inches. Very Good plus, with brief wear to the left edge. Criterion Collection 759.

Rome: Cino del Duca, 1960. Vintage oversize double weight borderless glossy press photograph by Enrico Appetito from the 1960 film. Bold notation on the verso noting that the photograph is from the archives of the French cinephile magazine, "Cinema 60." The first film in Antonioni's famed trilogy, followed by La Notte and L'eclisse. A classic scene from the film, from the section shot on location in Rome, where actresses Lea Massari and Monica Vitti stare wonderingly at the soulless void before them. 9.25 x 11.75 inches. Near Fine. Criterion Collection 98.

N.p.: N.p., 1960. Vintage borderless reference photograph of director Michelangelo Antonioni on the set of the 1960 film. With the stamp of Promopress agency on the verso, along with manuscript pencil annotations. A young woman disappears during a cruise in the Mediterranean, leading her lover and best friend to search for her. The first film in Antonioni's famed trilogy, followed by "La Notte" (1961) and "L'eclisse" (1962). Shot on location throughout Italy, including in Rome, the Aeolian Islands, and Sicily. 7 x 9.5 inches. Very Good plus overall. Criterion Collection 98. Ebert I. Godard, Histoire(s) du cinema. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.

Burbank, CA: National Broadcasting Company [NBC], 1987. Final Revised Draft script for the 1987 television film. Here under the working title, "LBJ." The years 1934 through 1963 of future president Lyndon Baines Johnson's tumultuous career are chronicled, following his political beginnings, style, and progression to presidency following the assassination of John F. Kennedy. Set in Washington and Texas. Tan titled wrappers, noted as FINAL REVISED DRAFT on the front wrapper. Title page present, noted as REVISED FINAL DRAFT, with credits for screenwriters Ken Trevey, Guerdon Trueblood, and Louis Rudolph, and producers John Brice, and Sandra Saxon Brice. 164 leaves, with last page of text numbered 163. Xerographically reproduced. Pages Near Fine, wrapper Near Fine bound with two gold brads.

Rome: Cineriz, 1962. Vintage borderless reference photograph of director Michelangelo Antonioni and actors Monica Vitti and Alain Delon during a cafe scene on the set of the 1962 film. With a mimeo snipe on the verso, along with the stamps of Keystone Photo and Publifoto, and a stamp noting No. 8710. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy, all starring Vitti, preceded by "L'avventura" (1960) and "La notte" (1961). Awarded the Jury Special Prize, and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona, Italy. 10.5 x 8.5 inches. Near Fine. Criterion Collection 278. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.

N.p.: N.p., 1962. Two vintage borderless reference photographs from the 1962 film, one of Michelangelo Antonioni with Alain Delon and Monica Vitti, and one of Antonioni and crew shooting a scene in Rome from scaffolding built in the water. One with French "L'Eclipse" stamp, and provenance stamp of film historian "Maurice Bessy" on verso, one with "P.I.P." and "Copyright" stamps on verso. A woman's newfound relationship with a power-hungry stockbroker gradually erodes as she becomes dissatisfied with his shallow interests. The final film in Antonioni's modernity trilogy, all starring Vitti, preceded by "L'avventura" (1960) and "La notte" (1961). Awarded the Jury Special Prize, and nominated for the Palme d'Or at the 1961 Cannes Film Festival. Shot on location in Rome and Verona, Italy. 6.75 x 9.25 inches and 9.5 x 7 inches. Very Good plus with light creasing and edgewear. Criterion Collection 278. Rosenbaum 1000. Scorsese, My Voyage to Italy. Vogel, Film as a Subversive Art.

Paris: L'Alliance Cinematographique Européenne, 1936. Vintage program for the French release of the 1936 German film, seen here under the French title "L'Etudiant pauvre." Illustrated with photographs from the film. In Poland, a governor sets a haughty countess up with a penniless student in order to embarrass her after a failed marriage proposal. 8.25 x 10.75 inches. Four pages, with side-stapled wrappers. Very Good plus, with faint rusting at the binding.

Paris: L'Exploitation Cinématographique, 1959. First Edition. First Edition. No. 237 of the bimonthly French film publication, published from 1930-1973. "L'Exploitation Cinématographique" presented contemporary news regarding filmmaking, with a focus on film technology and inventions, with a goal of establishing a "indispensable link between the research laboratory and the [film] technician." 9.5 x 12.5 inches. Eight leaves, side stapled. Very Good, with light creasing overall.

N.p.: N.p., 1963. Vintage borderless reference photograph of director Alain Robbe-Grillet on the set of the 1963 film. French "L'Immortelle" and "57- -3" stamp on verso. Directorial debut of novelist and filmmaker Alain Robbe-Grillet, his first film project after writing the screenplay for Alain Resnais' "Last Year at Marienbad" (1961). Robbe-Grillet's eliptical, narrative-defying tale of a withdrawn French man, Jacques Doniol-Valcroze, in a strange city (Istanbul), unable to speak the language, falling in love with a mysterious woman, Francoise Brion, who shortly thereafter disappears. Set in and shot on location in Istanbul, Turkey. 6.75 x 5 inches. Near Fine. BFI 1188.

London: Chatto and Windus, 1960. First UK Edition. SIGNED on the title page. Basis for the 1962 film directed by Bryan Forbes, starring Leslie Caron and Tom Bell. Near Fine in a Very Good plus dust jacket. Jacket lightly dampstained on the rear panel, with a small splash on the front panel, and nicks at the corners.

N.p.: N.p., 1987. Vintage double-weight satin-finish reference photograph from the 1987 film, showing Lou Diamond Phillips onstage as Ritchie Valens. Stamp of photographer Sam Emerson on the verso. A dramatization of the rise to fame and unexpected death of Mexican-American singer Ritchie Valens. Shot on location in Los Angeles, San Jose, Hollister, and Fillmore, California. 10 x 8 inches. Near Fine.

Culver City, CA: Columbia Pictures, 1987. Vintage Italian 2-fogli poster for the 1987 film. A dramatization of the rise to fame and unexpected death of Mexican-American singer Ritchie Valens. Shot on location in Los Angeles, San Jose, Hollister, and Fillmore, California. 39 x 55 inches. Folded as issued. Very Good, with moderate creasing and wear at the folds.

N.p.: Continental Distributing, 1961. Vintage studio still photograph from the 1961 French film. An unlucky man's life is made worse by the sudden acquisition of an expensive vehicle. Shot on location in Paris and Haut-de-Seine, France. 10 x 8 inches. Near Fine, with light red fingerprints to the verso.

Paris: Paris Film, 1938. Vintage oversize black-and-white double weight still photograph from the 1938 film, a strong image of Jean Gabin in full train engineer regalia. Shot by acclaimed portrait photographer Sam Levin, who worked with Renoir on several other productions, including "La Grande Illusion" (1937) and "The Rules of the Game" (1939), and whose early photographs of Brigitte Bardot helped create her image as a "sex kitten." Based on Zola's social realist novel, Renoir's film remains true to the proletarian source material, while grafting on elements of film noir and his own humanist philosophy. One of the director's biggest commercial successes, with a powerful lead performance by Jean Gabin. Remade in the US by Fritz Lang in 1954 as "Human Desire." 11.5 x 12 inches. Near Fine. Criterion Collection 324.

Paris: Paris Film, 1938. Vintage oversize double weight reference photograph from the 1938 film, showing actors Jean Gabin and Julien Carette. Based on the 1890 social realist novel by Emile Zola. Director Jean Renoir's film remains true to the proletarian source material, while grafting on elements of film noir and his own humanist philosophy. One of the director's biggest commercial successes, with a powerful lead performance by Jean Gabin. Remade in the US by Fritz Lang in 1954 as "Human Desire." 15.75 x 12 inches. Very Good plus, with creasing to far bottom corners, with a small bruise on right side, small crease to top right, and a very small closed tear in top margin. Criterion Collection 324. Godard, Histoire(s) du cinema. Grant France. Rosenbaum 1000.