Where Film Noir Lives...Too!
The Naked City (Universal International, 1948). Australian One Sheet (27" X 40"). Crime. Starring Barry Fitzgerald, Howard Duff, Dorothy Hart and Don Taylor. Directed by Jules Dassin. This Australian one sheet has a dust shadow over the image, fold separations backed by tape, a three-inch tear near the top of the vertical fold, tack holes with rust marks, fold wear, chips and small tears along the edges, minor corner bumps and losses and stains. One of the top classic crime stories. Fine-...Sold for: $21.00
Starting in 1945, Stanley Kubrick produced thousands of negatives for the biweekly magazine Look. Though his published photographs varied in subjects and locales, many of his images depict the uncanny everyday life in the streets and spaces of his native New York. When Kubrick decided to try his hand at motion pictures, his filmmaking debut, Day of the Fight (1951), was a cinematic adaptation of his own 1949 pictorial essay “Prizefighter” for the magazine about a Big Apple boxer. In addition, the film that he preferred to consider as his feature debut—Killer’s Kiss (1953)—also owed a debt to his work for the magazine and was shot throughout Manhattan.
Naked City (Universal International, R-1956). Lobby Card Set of 8 (11" X 14"). "There are eight million stories in the naked city." NYPD detectives Dan Muldoon and Jimmy Halloran (Barry Fitzgerald and Don Taylor) investigate the murder of a model in this realistic police procedural that was filmed on the streets of New York. This reissue lobby card set has light edge wear, corner creases, and soiling and stains. There is a Quebec censor stamp on each card, and an edge tear on one card. A nice looking set, with great shots of Fitzgerald, Taylor, Howard Duff and Dorothy Hart. Fine/Very Fine...Sold for: $31.00
This series presents ten features shot on location in and around New York during the period when Kubrick was documenting the city, up until and including Killer’s Kiss. Channeled through the tropes of film noir—a genre whose fatalistic tailspins of crime and passion befits New York’s cramped and anarchic cityscape—as the genre brushed against and sometimes cross-pollinated with the salt-of-the-earth lyricism of a budding American Neorealism, these films reveal a restless metropolis where you’re either on your way up, on your way down, or just laying low. It’s a city where you can never really disappear, no matter how dark the back alleys or how crowded the boulevards may be. Cinematically, Kubrick wouldn’t return to New York for another four decades after Killer's Kiss, albeit on a London back lot for his final film Eyes Wide Shut, where he came full circle with this vast, dark wonder of American modernity.
Special support provided by the Academy of Motion Picture Arts and Sciences.