meyer russ director (31 resultados)

Condición: Good. Two black & white photo prints. 8 x 10". Movie stills featuring Debbie Watson, Frank McGrath. Printed in U.S.A. Very good.

Condición: Good. Two color prints. 8 x 10".

Condición: Good. Four black & white photo prints. 8 x 10". Movie stills featuring Miriam Hopkins, Walter Giller, Alex D'Arcy. Printed in U.S.A. Very good.

Condición: Good. Three black & white photo prints. 8 x 10". Movie stills featuring Stanley Baker, Mai Zetterling, Peter Cushing. Printed in U.S.A. Very good.

Vintage black-and-white double weight British still photograph from the 1968 US film. Rubber stamp on the verso of COLTMAN DISPLAYS LTD, a distributor in Middlesex, England. "Vixen!" was one of Meyer's best, sleaziest, and most commercially successful films, made at the peak of his independent productions (after "Faster Pussycat! Kill! Kill!" in 1965 and before "Beyond the Valley of the Dolls" in 1970). What is less well known is that this film, by way of Ms. Gavin, marked a breakthrough in the onscreen portrayal of women in terms of sexual aggression, using the then-new platform of late 1960s American independent cinema and the aftermath of the Summer of Love as a canvas. Gavin's titular character is a married woman whose sexual boundaries are none, but instead of being a typical sex romp, the film heads off into areas that can be reasonably described as unexplored by sexploitation films, including communism, race relations, political debate, and terrorist activity. But also present in the film are many of the genre's more familiar themes (breast size, incest, nonstop sexual activity) and a generous dose of humor. 8 x 10 inches. Very Good plus, with edge creasing and a single short tear.

Vintage studio still photograph from the 1963 film. Famed director Russ Meyer's documentary about the underground world of sex work in Europe. According to film critic Roger Ebert's article "Russ Meyer: King of the Nudies," published in the Jan/Feb 1973 issue of "Film Comment," Meyer "concealed a 16-mm camera in a suitcase and got footage in the red-light districts of Paris, Amsterdam, and elsewhere." 8 x 10 inches. Near Fine.

Vintage pressbook for the 1961 film. With his fourth feature, a 68-minute quickie, Russ Meyer continued to market the "nudie" film genre he basically invented in 1959 with his first film, "The Immoral Mr. Teas." He also continues to advertise the "French" sensibility ("bon vivant") of his filmsonce described as "a narrated Playboy magazine," with no real plot per se, just lots of buxom women shedding their clothing at every opportunity. One leaf, bifold. 8.5 x 11 inches. Near Fine.

Revised Final script for the 1971 film. Based on the 1969 novel by Irving Wallace, about an unassuming bookstore clerk who is pulled into a highly publicized pornography trial. Red titled Twentieth Century-Fox wrappers, dated August 19, 1970, noted as copy No. 179 and REVISED FINAL on the front wrapper. Title page present, dated August 19, 1970, noted as REVISED FINAL, with credits for screenwriters Richard Warren Lewis and Manny Diez, director Russ Meyer, and novelist Irving Wallace. 195 leaves, with last page of text numbered 190. Xerographic duplication on eye-rest green stock, rectos only, with blue revision pages throughout, dated 8/31/70 and 9/14/70. Pages Near Fine, wrapper Very Good plus, slightly yapped, bound internally with three gold brads.

Two vintage black-and-white still photographs from the 1968 film. Seen in the stills is Erica Gavin (Vixen) and Jon Evans (Judd), and a split image with Erica Gavin and Harrison Page (Niles), the duo responsible for the film's thick racial tensions. "Vixen!" was one of Meyer's best, sleaziest, and most commercially successful films, made at the peak of his independent productions (after "Faster Pussycat! Kill! Kill!" in 1965 and before "Beyond the Valley of the Dolls" in 1970). What is less well known is that this film, by way of Ms. Gavin, marked a breakthrough in the onscreen portrayal of women in terms of sexual aggression, using the then-new platform of late 1960s American independent cinema and the aftermath of the Summer of Love as a canvas. Gavin's titular character is a married woman whose sexual boundaries are none, but instead of being a typical sex romp, the film heads off into areas that can be reasonably described as unexplored by sexploitation films, including communism, race relations, political debate, and terrorist activity. But also present in the film are many of the genre's more familiar themes (breast size, incest, nonstop sexual activity) and a generous dose of humor. 8 x 10 inches. One still with a faint tape ghost and two short tears, else Near Fine overall.

Vintage reference photograph from the 1975 film, showing actress Shari Eubank. After his wife is murdered, a gas station attendant at a remote desert station finds himself sexually pursued by several different (but equally buxom) women. Shot on location in New Mexico, Arizona, and California. 10 x 8 inches. Very Good plus, lightly toned on the right edge.

Vintage oversize borderless reference photograph from the set of the 1970 film, showing actresses Erica Gavin and Cynthia Myers, with cinematographer Fred J. Koenekamp behind the camera at the far left. With the film's French 1975 release title, "Orgissimo" at the bottom right. After nearly a decade as one of America's most successful independent filmmakers, sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic and most entertaining cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." The film follows three members of an all-girl rock band called The Kelly Affair who relocate to Hollywood in search of fame and fortune. Their success comes at the price of their friendship and integrity, however, and the girls eventually succumb to a nonstop train of decadence, drugs, and betrayal. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future Blaxploitation icon Pam Grier, "Beyond the Valley of the Dolls" proved to be Meyer's biggest box-office success. Set and shot on location in Hollywood. 12 x 9.5 inches. Near Fine, with light wear to the corners. Criterion Collection 836.

Vintage photograph of director Russ Meyer in 1970 on the set of the 1970 film. Date stamp and stamp of "The Inquirer" newspaper on the verso, along with newspaper clippings and annotations in manuscript ink and pencil. Meyer is best known for his campy, satirical sexploitation films, including "Faster, Pussycat! Kill! Kill!" (1965) and "Beyond the Valley of the Dolls" (1970). 8 x 10 inches. Very Good plus.

Vintage reference photograph from the 1970 film, showing actors Cynthia Myers and Erica Gavin. Dealer label adhered to the verso. After nearly a decade as one of America's most successful independent filmmakers, sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic and most entertaining cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." The film follows three members of an all-girl rock band called The Kelly Affair who relocate to Hollywood in search of fame and fortune. Their success comes at the price of their friendship and integrity, however, and the girls eventually succumb to a nonstop train of decadence, drugs, and betrayal. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future Blaxploitation icon Pam Grier, the film proved to be Meyer's biggest box-office success. Set and shot on location in Hollywood. 10 x 8 inches. Near Fine. Criterion Collection 836.

Vintage reference photograph of director Russ Meyer and actor Charles Napier looking through Irving Wallace's 1969 source novel on the set of the 1971 film. Provenance label on the verso. Based on the 1969 novel by Irving Wallace, about an unassuming bookstore clerk who is pulled into a highly publicized pornography trial. 8 x 10 inches. Near Fine.

Original black-and-white program for the 1964 film, printed for the Art Theatre Guild. The Art Theatre Guild (ATG) began in 1961 as an independent agency distributing films (mostly Japanese) rejected by major studios. The company operated until the 1980s, with theaters in Arizona, California, Colorado, Illinois, Kentucky, Massachusetts, Missouri, New Mexico, Ohio, and Tennessee. The first of Meyer's "noir" cycle (1964-1965), or "Gothic" period as Meyer puts it, a series of sexploitation films shot in black-and-white, powerful psycho-sexual female characters, male impotence, and a serious dramatic plot involving less of the "nudie" filmmaking style so prominent in the director's early films. Other films in his "Gothic" period include "Mudhoney" (1965), "Motorpsycho!" (1965), and the epic and legendary, "Faster, Pussycat! Kill! Kill! " (1965). "Fanny Hill" (1964) snuck in right after "Lorna," although that film is generally left out of the "Gothic" period. "Lorna" was written by James Griffith, who stars as the Preacher narrator of the film, and stars Lorna Maitland as a voluptuous, sexually unfulfilled newlywed. Her husband, Jim (Rucker), works in a salt mine all day and studies all night, giving Lorna too much time to herself. One day, while Lorna skinny-dips in a nearby river, an escaped convict (Bradley) rapes her in the reeds. The vile act could otherwise have been exploited, perhaps comically, by Meyer, but here the scene acts as a catalyst for one repressed woman's sexual awakening. Lorna invites the convict into her home while her husband is gone, prompting Jim's coworkers (among them the underrated Hal Hopper) to tease him about Lorna's infidelity. Things take a bitter, fatal turn when Jim returns home to discover Lorna and her object of desire. 5.5 x 8.5 inches, folded once as issued. Two horizontal creases and faint foxing, else Near Fine.

Original Spanish one-sheet poster for the 1986 release of the 1975 US film. Features buxom Christy Hartburg, who starred as SuperLorna. Hartburg, along with Kitten Natividad and Uschi Digard, has become one of the more recognizable faces of Russ Meyer filmdom, even though this was her only film. Meyer's successful return to independent filmmaking, after the big-budget "Beyond the Valley of the Dolls" (1970) and the unfortunate films, "The Seven Minutes" (1971) and "Black Snake" (1973). Arguably the most entertaining Meyer project, with all the trademarks present: strong sexual women, impotent men, and healthy doses of sex, violence, and nudity, with a nod to the desert violence of Italian Euro Westerns of the 1960s. Shot on location in Arizona, California, and New Mexico. 27 x 41 inches, folded as issued. Near Fine. Scarce.

A Eight vintage still photographs from the 1959 film. Included are 4 stills from the US release, and 4 stills from the UK release under the title "Mr. Teas and His Playthings." From a cursory glance, one can immediately see the differences with regard to nudity paid by both US and UK publicists, the UK stills decidedly more liberal with regard to the "forbidden flesh." The US stills were taken directly from scenes of the film, and the UK stills appear to be from either a deleted scene or a mock setup designed for foreign publicity, with Mr. Teas seen in a bathhouse with the "Buxom Bath House Beauties" (Baby Dahl, Chicky Fricase, Frenchie Tost, Teri Clawthe) that were not seen in the final cut. The UK stills purport "Monstrous Murder!" and "Sizzling Suspense!" taglines, however the final cut features neither murder nor suspense. The story finds the shy Mr. Teas, played by William Ellis Teas, a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision, as in "seeing through women's clothes." He also overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy," with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and night club circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut, Russ Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film, with a "French" sensibility, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, a somewhat feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. All stills 8 x 10 inches, some differ slightly in size. Two US stills Very Good plus, others Near Fine. UK stills Near Fine.

Original pressbooks (two variants) for 1961 re-releases of the 1959 film. Featured are the two most commonly seen layouts used for publicity: the full-color illustrated "hat" variant, and the other with Mr. Teas surrounded by a bevy of well-developed women, the female leads of the film (from left to right: Ann Peters, Michele Roberts, Dawn Danielle, and Marilyn Wesley). The story finds the shy Mr. Teas, played by William Ellis Teas, a door-to-door dental appliance salesman who has a chemical reaction with an anesthetic that allows him to have X-ray vision, as in "seeing through women's clothes." He also overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), and the film that basically launched the lighthearted "nudie" pictures of the early 1960s. The film was immediately touted as "ribald" and "Frenchy," with regard to the "genuinely sexy sequences with generous expanses of attractive flesh" that used to be seen strictly in foreign films. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and night club circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. The bigger productions companies would never have made a film as far overboard on sex. For his debut, Russ Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "nudist" film, with a "French" sensibility, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, a somewhat feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. Meyer even shot various scenes at his beach-front home in Los Angeles. Both pressbooks 11 x 17 inches, folded horizontally. "Hat" variant includes a 9 x 12 ad mat dated "Fri., Aug. 18, 1961." Light rubbing overall, rubber stamps from "Sack Amusement Enterprises" in Dallas, Texas, and a few light creases and tiny closed tears, else Near Fine.

Vintage studio still photograph from the 1975 film, showing actress Uschi Digard. From the archive of film historian and author Joel Finler. After his wife is murdered, a gas station attendant at a remote desert station finds himself sexually pursued by several different (but equally buxom) women. Shot on location in New Mexico, Arizona, and California. 10 x 8 inches. Near Fine.

Vintage pressbook for the 1968 film. The owner of a strip club on the Sunset Strip is knocked out and robbed by his girlfriend, the mistress of a brothel. One leaf, bifold. 8.5 x 11 inches. Very Good plus, lightly creased and toned.

Vintage oversize borderless reference photograph from the 1970 film, showing a near-nude Edy Williams. With the stamp of still photographer Willy Rizzo on the verso. After nearly a decade as one of America's most successful independent filmmakers, sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic and most entertaining cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." The film follows three members of an all-girl rock band called The Kelly Affair who relocate to Hollywood in search of fame and fortune. Their success comes at the price of their friendship and integrity, however, and the girls eventually succumb to a nonstop train of decadence, drugs, and betrayal. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future Blaxploitation icon Pam Grier, the film proved to be Meyer's biggest box-office success. Set and shot on location in Hollywood. 8 x 12 inches. Near Fine. Criterion Collection 836.

Vintage pressbook for the 1966 film. A sexploitation "documentary" following several buxom strippers as they discuss their lives in 1960s San Francisco. One leaf, bifold. 11 x 17 inches. Folded once horizontally. Very Good plus overall.

Two vintage borderless reference photographs from the 1963 film. Included is a distributor's pamphlet. A mondo documentary following the sexual exploits of buxom women across Europe. Photographs 7 x 9.5 inches. Near Fine. Pamphlet bi-fold, 8.5 x 11 inches. Very Good, moderately chipped and soiled.

Five vintage borderless reference photographs from the 1970 film. Four with printed mimeo snipes affixed to the versos. After nearly a decade as one of America's most successful independent filmmakers, sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic and most entertaining cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." The film follows three members of an all-girl rock band called The Kelly Affair who relocate to Hollywood in search of fame and fortune. Their success comes at the price of their friendship and integrity, however, and the girls eventually succumb to a nonstop train of decadence, drugs, and betrayal. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future Blaxploitation icon Pam Grier, the film proved to be Meyer's biggest box-office success. Set and shot on location in Hollywood. 9.5 x 7 inches. Near Fine. Criterion Collection 836.

Vintage pressbook for the 1965 film. The final film in Russ Meyer's "noir" cycle (1964-1965), or "Gothic" period, as Meyer puts it, a series of sexploitation films shot in black and white, with powerful and vengeful female characters, male impotence, and a serious dramatic plot involving less of the "nudie" filmmaking style so prominent in the director's early films. One of the first films to discuss post-traumatic stress disorder in a Vietnam War veteran. Six pages, saddle stitched, 11 x 17 inches. Folded once horizontally. Very Good plus overall.

Vintage pressbook for the 1959 film. A door-to-door dental appliance salesman has a chemical reaction to an anesthetic which grants him X-ray vision, as in "seeing through women's clothes." He subsequently overcomes all of his inhibitions, leading to ribald encounters with his dental nurse, his therapist, his secretary, a girl in a bar, etc. Russ Meyer's first feature, produced by Pad-Ram Enterprises (a monogram using the initials of director Russell Albion Meyer and producer Peter A. DeCenzie), the film that basically launched the lighthearted nudie pictures of the early 1960s. At a time when Hollywood moguls were losing audiences to the comfort of in-home cinema through television, Meyer and DeCenzie (who spent years on the burlesque and nightclub circuits) released an independent, naturally sexy endeavor in the tradition of the great Chaplin films. For his debut, Meyer did even more of the crew work than usual, shooting in four days during the spring of 1958 with a budget of $24,000, ultimately making over $1.5 million worldwide. The film was marketed as a "Frenchy," "nudist" film, but exhibited all the distinctive traits for which Meyer would soon become known, including large bosoms, insane plots, an arguably feminist perspective, campy dialogue, and guerilla cinematography. Shot on location in various California destinations, including Malibu Lagoon State Beach. One leaf, bifold. 11 x 17 inches. Very Good plus overall.

Original French grande poster for the 1989 release of the 1970 US film. Scarce. A small-town border sheriff and marijuana smuggler sets out to kill a rival drug dealer, while his girlfriend has a dalliance with another woman. The first Meyer film to feature full frontal male nudity, a rarity even in sexploitation films at the time, and quite the introduction to soon-to-be Meyer's regular Charles Napier. Meyer shot several new sequences late in production, about a quarter of the film's runtime, either to replace footage lost by a photo lab, or because an actress left the shoot early (the reason is disputed). The new sequences, unrelated to the original ones, give the film an almost surreal quality, leading Roger Ebert to call it "possibly the only narrative film ever made without a narrative." The film was one of the most successful of Meyer's career, leading him to return to and refine this style in subsequent films, peaking with Beneath the Valley of the Ultra-Vixens in 1979. 47 x 63 inches, folded as issued. Near Fine.

Vintage pressbook for the 1965 film. Based on Raymond Friday Locke's 1958 novel "Streets Paved With Gold." A melodramatic tale about a drifter who falls in love with his employer's married niece, a beautiful young woman with an abusive, alcoholic husband. The first film in Russ Meyer's "noir" cycle (1964-1965), or "Gothic" period, as Meyer puts it, a series of sexploitation films shot in black and white, with powerful female characters, male impotence, and a serious dramatic plot involving less of the "nudie" filmmaking style so prominent in the director's early films. Set in Spooner, Missouri. Six leaves, saddle stitched, 11 x 17 inches. Folded once horizontally. Very Good plus overall.

Six vintage reference photographs from the 1970 film. One with a mimeo snipe on the verso. After nearly a decade as one of America's most successful independent filmmakers, sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic and most entertaining cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." The film follows three members of an all-girl rock band called The Kelly Affair who relocate to Hollywood in search of fame and fortune. Their success comes at the price of their friendship and integrity, however, and the girls eventually succumb to a nonstop train of decadence, drugs, and betrayal. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future Blaxploitation icon Pam Grier, the film proved to be Meyer's biggest box-office success. Set and shot on location in Hollywood. 10 x 8 inches. Very Good plus. Criterion Collection 836.

Three vintage reference photographs taken on the set of the 1970 film, two showing director Russ Meyer with actress Phyllis Davis between takes, and one showing Meyer directing Dolly Read and Michael Blodgett. One photograph with a printed mimeo snipe affixed to the verso, and all three photographs with library stamps and provenance labels on the versos. After nearly a decade as one of America's most successful independent filmmakers, sexploitation auteur Russ Meyer first reached out for the brass ring of major studio success with this frantic and most entertaining cult favorite, once described by Meyer and screenwriter Roger Ebert as "the first exploitation-horror-camp-musical." The film follows three members of an all-girl rock band called The Kelly Affair who relocate to Hollywood in search of fame and fortune. Their success comes at the price of their friendship and integrity, however, and the girls eventually succumb to a nonstop train of decadence, drugs, and betrayal. Featuring one-hit wonders the Strawberry Alarm Clock, supporting performances by Meyer regulars Charles Napier and Haji, and a bit part from future Blaxploitation icon Pam Grier, the film proved to be Meyer's biggest box-office success. Set and shot on location in Hollywood. 8 x 10 inches. Near Fine. Criterion Collection 836.