Search Results: Film noir from Walter Reuben, Inc. / WalterFilm

Paramount. Softcover/Paperback. Just About FIne. Kenneth Fearing (source) [Hollywood]: Paramount Pictures, 1948. Vintage original pressbook, printed wrappers, 15 x 12 1/4" (38 x 31 cm.), 20 pp., JUST ABOUT FINE. Kenneth Fearing's classic crime novel was the basis for this film noir thriller directed by John Farrow and starring Ray Milland, Maureen O'Sullivan, and Charles Laughton -- a story of a ruthless magazine publisher who commits murder and then frames his lead editor for it.

United Artists. Softcover/Paperback. Near Fine. Clifford Odets (source) [Hollywood]: United Artists, 1955. Vintage original pressbook, 16 3/4 x 11" (43 x 28 cm.), 20 pp.. pictorial wrappers, light creasing at spine, NEAR FINE.Robert Aldrich directed this devastating film noir, in which movie star Charles Castle (Jack Palance) is being blackmailed by studio boss Stanley Shriner Hoff (Rod Steiger) into renewing his contract, even though it goes directly against all his professional and artistic aspirations -- and his wife (Ida Lupino) is threatening to divorce him if he does. The film, masterfully adapted by James Poe from Odets' 1949 play, is a true ensemble film, with a host of venal and troubled characters, played by Wendell Corey, Jean Hagen, Shelley Winters, Ilka Chase and others.

Raymond Chandler (screenplay) [Hollywood]: Paramount Pictures, 1946. Vintage original pressbook, 15 x 12 1/2" (38 x 32 cm.), 24 pp. Folded once (as issued), printed wrappers, NEAR FINE.Producer John Houseman had to keep screenwriter Raymond Chandler equipped with cases of expensive scotch while Chandler was writing this screenplay. Although Chandler did work on other screenplays in the 40s and early-50s, all the other efforts were collaborations, and this was Chandler's only solo screenwriting effort, for this now classic film noir which starred Alan Ladd and Veronica Lake.It is a story of a returning war veteran who discovers his wife is having an affair, and then finds her murdered, with him as the lead suspect.

No binding. Very Good. Fine Art Print Vintage original 11 x 14"" (28 x 35 cm.) lobby card, USA. Alan Ladd, Veronica Lake, William Bendix, Howard Da Silva, dir: George Marshall; Paramount. One of the finest classic film noir titles and written by the master of the genre, Raymond Chandler. The story involved a war vet who returns home to see his wife with another man. She is murdered and he is the prime suspect. The Blue Dahlia is a nightclub where much of the action takes place. Chandler initially had the returning vet (Bendix) as the murderer, but the patriotic atmosphere of the time would not permit a war vet to be seen in that light, so he had to rewrite the story and character. Alan Ladd (as Johnny Morrison) addresses Doris Dowling (as Helen Morrison) and her guests at a cocktail party. Four pin holes at top center blank white margin, two at top right corner. Slight soil at bottom left corner and in border, NEAR FINE.

No binding. Very Good. Fine Art Print Vintage original 22 x 28" (56 x 71 cm.) half sheet poster style A, USA. Claude Rains, Margo, Whitney Bourne, Stanley Ridges, Leslie Adams, dir: Ben Hecht, Charles MacArthur, Lee Garmes; Paramount. Paper-backed, originally unfolded, minor touch-ups to white margins, near fine.Controversial screenplay by Ben Hecht (with Charles MacArthur) based on Hecht's story CABALLERO OF THE LAW. This was one of the first true independent productions (Hecht-MacArthur) and was filmed at Paramount's Astoria Studios in Long Island and released by Paramount. The story opens with the theme of sinners of the city and then concentrates on a lawyer who accidentally shoots his girlfriend during an argument. Thinking her dead, he does whatever it takes to cover up the crime as he descends into insanity. Cinematographer Lee Garmes actually directed much of the film, as filming was scheduled to start at 9 each morning. Hecht or MacArthur would not show up until 11. By then Garmes had a few… Read More

RKO Radio. Softcover/Paperback. Very Good+. [Hollywood]: RKO Radio Pictures, 1947. Vintage original pressbook, printed wrappers, 18 x 12" (46 x 30 cm.), 16 pp. Folded once horizontally (as issued), VERY GOOD+. Classic film noir, one of the few noir films of the 1940s to be nominated for a Best Picture Oscar. A story about a serviceman on leave who kills a Jewish man due to anti-Semitic hatred. It was adapted from the Richard Brooks novel The Brick Foxhole ( in which the serviceman kills a gay man, but that was too controversial for a Hollywood studio to contemplate in those days.)

RKO. No binding. Very Good+. [Hollywood}: RKO Pictures, 1947. Archive of seven (7) photos -- six 8 x 10" (20 x 25 cm.) photos and one borderless 7 ¼ x 9 1/8" (19 x 23 cm.) photo. One with text affixed on front; 3 are date stamped; 3 have photographer's stamp on verso, and 3 have studio text on verso. One with neatly mended archival paper to address marginal tear. Overall, very good+.Edward Dmytryk directed Robert Ryan, Robert Mitchum, Robert Young and Gloria Grahame in this film noir. Selby, p. 36: "One of four soldiers on a binge beats Jewish man to death. Homicide detective and army sergeant investigate." Grant, p. 150: "CROSSFIRE is littered with excellent performances and one truly terrific one: Ryan as the cold-hearted bigot Montgomery." Code numbers: CF-3, 17, 21, 28, 45, ADV-80, ADV-134.

Universal. Softcover/Paperback. Near Fine. Universal City, CA: Universal Pictures, 1949. Vintage original film script, 11 x 8 1/2" (28 x 22 cm.), noted as Revised First Continuity script, here under the film's working title Death on a Side Street. That title has been struck through in pencil, with the film's final title One Way Street written just above it. Copy belonging to studio secretary Marion Pecht, with her name in manuscript pencil on a second title page. Brief annotations throughout in manuscript pencil. Green titled wrappers, noted as FIRST DRAFT CONTINUITY on the front wrapper, rubber-stamped production No. 7684, dated September 14, 1949. Title page present, noted as REVISED FIRST DRAFT, with a credit for screenwriter Lawrence Kimble. Brad bound, 137 leaves, with last page numbered 95. Mimeograph on yellow stock, dated variously between 9/6/49 and 10/4/49, with blue and yellow revision pages throughout, dated variously between 9/22/49 and 10/7/49. Pages and wrapper near fine, Grant US.… Read More

Ciné-Alliance. No binding. Just About Fine. [Paris: Ciné-Alliance, 1938]. Two (2) vintage original 7 x 9" (18 x 23 cm.) double weight French photos, just about fine. Grant, p. 525: "A gloomy yet beautifully made early French noir, made as the shadow of impending war hung over Europe." Both show lead actress Michèle Morgan, one is with co-star Michel Simon. Original French photos from this first 1938 release are very scarce.

Warner Brothers. No binding. Just About Fine. [Los Angeles: Warner Brothers, 1941]. Vintage original 11 x 14" (28 x 35 cm.) black-and-white double weight glossy silver gelatin print photo. Print is borderless, there is one stain on Bogart's shoulder at far right. Just about fine.
Humphrey Bogart toiled on screen for nearly 10 years in all kinds of supporting and second-billed roles, with an occasional lead in a B film. High Sierra's Roy "Mad Dog" Earle was the role which catapulted Humphrey Bogart to first-billed star status. The following year he was considered a romantic lead as well. He excelled in this emotionally charged character, sprung out of prison and hiding from the authorities in the Sierra mountains.
Seldom were guns allowed in publicity stills, moreso with them being pointed at the viewer; this portrait violates both counts. This oversized print came from the files of the Photoplay magazine library and is ink stamped as such three times on the verso. Photo coded HB 238.

Vintage original 12 x 16" (30 x 40 cm.) campaign book, 16 pp., USA. Humphrey Bogart, Gloria Grahame, Frank Lovejoy, Carl Benton Reid, dir: Nicholas Ray: Columbia. Lightly folded and has been stored flat. There is some wear at the fold on various pages, ABOUT FINE.Classic film noir, now on the National Film Registry, about a screenwriter asked to adapt a trashy bestseller. Finding it difficult to read, he has a hat check girl tell him the story in her own words. She ends up murdered, and he is a prime suspect. Gloria Grahame falls in love with him and then becomes increasingly suspicious that he is the murderer, as his emotional insecurities gradually destroy their relationship.Andrew Solt and Edmund H. North adapted the Dorothy B. Hughes story which was about a much younger man to become a vehicle for Bogart. In her book, Louise Brooks said that the character of Dixon Steele was the closest to the real Humphrey Bogart.This campaign book includes many pre-written newspaper articles, ads, advertising… Read More

Metro-Goldwyn-Mayer. No binding. Near Fine. [Los Angeles]: MGM, 1946. Set of five (5) vintage original 8 x 10" (20 x 25 cm.) black-and-white photos, overall near fine.
Five dramatic images from this film noir classic. Lana Turner is in all five photos, and John Garfield is in four of the five.
Photos coded: 1355-24, 46, 73, 78, 79.

No binding. Very Good. Fine Art Print Vintage original 11 x 14"" (28 x 35 cm.) lobby card, USA. Dick Powell, Claire Trevor, Anne Shirley, dir: Edward Dymtryk; RKO. A tense moment in the story is presented in this scene card. Advertising line is ""Meet the NEW Dick Powell!"" After years of playing the ing�nue male in great Warner Bros. musicals (and briefly at MGM), Powell revitalized his career in film noir. RKO was on the brink of bankruptcy and signed Powell to make some musicals, his stipulation being that he played a dramatic role each year as well. So successful was the film that he need not make musicals. Even writer Raymond Chandler praised his performance. There is minor soiling at the blank white margins, a single pin holes at each top corner, three pin holes at center of top blank margin a pin hole at center bottom blank white margin and one about three-quarters down from top on both the left and right side blank white margins. There is some dark tape on the back of the card at the very… Read More

E-K Corporation. Softcover/Paperback. Near Fine. Los Angeles: E-K Corporation, 1972. Vintage original film screenplay, 11 x 8 1/2" (28 x 22 cm.), printed wrappers, brad bound, mimeograph, with many pages of revisions on colored paper. Near fine or better, signed by screenwriter Leigh Brackett on title page, which indicates it is a revised draft dated May 22, 1972.
The Long Goodbye, an adaptation of the 1953 private eye novel by Raymond Chandler, is a brilliantly written screenplay by one of the all-time great screenwriters, Leigh Brackett (1915-1978), an authoress whose other screen credits include The Big Sleep (another Chandler adaptation), Rio Bravo, El Dorado and The Empire Strikes Back.
Released in 1973, The Long Goodbye was the eighth feature film directed by Robert Altman, a filmmaker praised then and now as a master of genre deconstruction. Here, Altman is deconstructing the private eye genre. However, much of what film buffs admire about The Long Goodbye can be found, at least in blueprint… Read More

Paramount. No binding. Near Fine. [Los Angeles]: Paramount Pictures, [1927]. Vintage original 8 x 10" (20 x 25 cm.) black-and-white print still photo, light crease and rippling from descriptive paper snipe on back, near fine.A portrait of Evelyn Brent, George Bancroft and Clive Brook from Josef von Sternberg's gangster film, often cited as a proto-film noir.Grant, p. 675: "Important precursor of the 1930s US gangster movie and, as such, significant to noir's ancestry." Silver and Ward, p. 301: "Enhanced immeasurably by the exotic visual preoccupations of ... Sternberg, which encompass a range of original symbols and imagery... The script, as written by ex-newspaperman Ben Hecht, realistically details the personalities populating the sordid speakeasies and dingy dwellings of the gangsters."

Metro-Goldwyn-Mayer. No binding. Just About Fine. [Los Angeles]: MGM, [1959]. Vintage original 10 x 8" (25 x 20 cm.) black-and-white double weight print still photo, with mimeographed text on verso, just about fine.
Vampira (Maila Nurmi) here recites poetry, with her pet mouse on her shoulder. Vampira was a 1950s horror hostess on local Los Angeles television. She appeared in a few films, most memorably Ed Wood's Plan 9 from Outer Space.
This movie is a film noir, although compromised by its pseudo "beatnik" milieu. Grant, pp. 54-55.