Elstree Studios (30 results)

Original ribbon copy typescript two-page reader's summary and report for the 1955 short story by John Kruse. Made for the Associated British Picture Corporation (ABPC) by ABPC reader J. Ekbery, dated "February 55." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The two-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (noted as sourced from a short story published in 'Argosy' magazine), followed by a summary, a list of characters names and descriptions, then a detailed synopsis followed by the reader's comments on the material's quality and filmic possibilities. ABPC reader Ekbery highly recommended the story as "an exciting short film," with "plenty of drama and tension" and an "emphasis on action," noting "some resemblance to 'The Wages of Fear'." Originally published as a short story in the February 1955 issue of "Argosy" magazine, it was produced as a film in 1957 by ABPC's rival, the "Rank Organization," directed by Cy Endfield, who co-wrote the screenplay with Kruse, starring Stanley Baker and Sean Connery. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript five-page reader's summary and report for the 1957 novel by Patricia Highsmith. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Frank Jackson, dated "2.1.64," with a received stamp dated "7 Jan 1964," with an additional supplementary "Reader's Comments" bound in preceding, by ABPC reader J. Common, undated, with a blue rubber stamp stating "RECEIVED / 29 Jan 1964." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The five-page reader's summary and report includes an anomalous second reader's comments as the first leaf by ABPC reader J. Common, with received stamp dated approximately three weeks after the original summary and report. The summary and report is otherwise written in the ABPC house style, including a breakdown of the source material and publication information at the top of the second page (noted as being submitted in proof format by an agent representing Highsmith), followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the third and fourth pages, and finally the initial reader's comments on the material's quality and filmic possibilities on the fifth page. The initial ABPC reader Jackson found the material "exceptionally literate and well-written" but "cannot find it possible to recommend" as he finds "the author was trying just a little too hard," but the second ABPC reader, Common, found the material "worth buying in" having "considerable possibilities of being a "Rififi" of its genre." Highsmith's ninth published novel, basis for the 2014 film directed by Hossein Amini, starring Viggo Mortensen, Kirsten Dunst, and Oscar Isaac. 8 x 13 inches, perforation binding. Near Fine.…

Two original ribbon copy typescript reader's summary and reports for the 1962 novel by Patricia Highsmith, made for the Associated British Picture Corporation (ABPC) in 1963. Unique. The first three-page report is by ABPC reader R. Groves, dated "April 15th, 1963," with with a blue rubber stamp stating "RECEIVED / 17 Apr 1963." Bound in preceding is a second four-page report by ABPC reader Jack Common, dated "I.5.63.," with a blue rubber stamp stating "RECEIVED / 3 May 1963" and a manuscript ink annotation of "second report" along the top of the first leaf. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. Both reader's summary and reports are written in the ABPC house style including a breakdown of the source material and publication information at the top of the first pages (noted in both as being submitted in proof format by an agent representing Highsmith), followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the second page (the second and third pages on the second report), and finally the reader's comments on the material's quality and filmic possibilities on the final page. ABPC's first reader, Groves, finds the novel "well-written" but "fails to achieve a reasonable credibility from the start." ABPC's second reader, Common, was more intrigued, "there is obviously a possible film here," but is also unpersuaded to recommend the material, finding it "likely to be one [a film] short of human appeal and in danger of a cold reception from audiences." Highsmith's eighth of her 22 published novel, basis for the 1987 French film "Le Cri du hibou," directed by Claude Chabrol and starring Mathilda May. 8 x 13 inches, both reports bound together with a perforation binding. Near Fine.…

Original ribbon copy typescript four-page reader's summary and report for the 1954 novel by Alexander Trocchi. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Gillian Glew, dated "May 1961," with a blue rubber stamp stating "RECEIVED / 8 May 1961." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The four-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (here under the title "The Young Adam" and noted as being submitted in proof format by an agent representing Highsmith), followed by a summary, a list of characters names and descriptions, then a detailed synopsis on the second and third pages, and finally the reader's comments on the material's quality and filmic possibilities on the fourth page. The ABPC reader, Glew, unimpressed with the novel, found "the hero most unsympathetic," the "weak" plot "sqalid and unpleasant," and "as for the hero's complicated love life, this is monotonous and boring." Published in 1954, "Young Adam" chronicles the adventures of a morally bankrupt young Scottish bargeman named Joe (later the subject of Trocchi's 1960 novel, "Cain's Book"), who accidentally kills his young lover and subsequently ignores every opportunity to take the blame for the crime. Basis for the superb 2003 film, made 40 years after the creation of this document, directed by Alexander MacKenzie and starring Ewan McGregor, Emily Mortimer. and Tilda Swinton. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript four-page reader's summary and report for the 1967 novel by Ira Levin. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Frank Jackson, dated "21.2.67," with a blue rubber stamp stating "RECEIVED / 21 Feb 1967." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The four-page reader's summary and report, written in the ABPC house style, includes the source material and publication information at the top of the first page (noted as being submitted in proof format by agents representing Levin), followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the second and third pages, and finally the reader's comments on the material's quality and filmic possibilities on the fourth page. ABPC reader Jackson "found this subject so distasteful that it is difficult to make an objective judgement on it as film material," and if so, "it would be wiser to abandon all attempts at light sophistication from the start and go for straight unsophisticated horror. . though why anyone should pay to see such a nasty, life-denigrating story I cannot image." It is of note that this report was written a month prior to Paramount securing the film rights in mid-March of 1967. Made into the seminal 1968 horror film by director Roman Polanski, one of the best genre pictures ever made, from the earliest days of the New Hollywood cinema, bringing together newcomer Polanski, established producer William Castle, young star Mia Farrow, and Hollywood veteran John Cassavetes. Winner of the Academy Award for Best Supporting Actress for Ruth Gordon and nominated for Best Screenplay. 8 x 13 inches, with a perforation binding and a two-hole punch to the left side. Binding separated between the second and third leaves, with light edgewear to the upper left, else Near Fine.…

Original ribbon copy typescript two-page reader's summary and report for the 1956 novel by Robert Heinlein. Made for the Associated British Picture Corporation (ABPC) by reader Frank Jackson, dated "May 58," with a blue rubber stamp stating "RECEIVED / 20 May 1958." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The two-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (noted as being submitted by an agent representing Heinlein), followed by a summary, a list of characters names and descriptions, then a detailed synopsis, and finally the reader's comments on the material's quality and filmic possibilities. ABPC reader Jackson's comments on the acclaimed Heinlein novel humorously begins with "Oh, dear; oh, dear," finding the material "would involve too much expense and trouble considering the unsensational nature of its central idea and, for this reason, do not recommend it," though Jackson does include the final caveat "though it is brightly written and not without its moral value." Heinlein's novel was first serialized in "Astounding Science Fiction" magazine from February through April 1956 and published by Doubleday the same year. The novel received the 1956 Hugo Award for Best Novel, the first of four Heinlein novels to receive the award, in addition to seven novels awarded "Retro Hugos," given retrospectively for works published before the Hugo Awards came into existence. In 1974 he was the first writer given the Science Fiction Writers Grand Master Award by the Science Fiction and Fantasy Writers Association (SFWA). 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript three-page reader's summary and report for the 1957 novel by Patricia Highsmith. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Frank Jackson, dated "July 58," with a blue rubber stamp stating "RECEIVED / 5 Aug 1958." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The three-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (noted as being submitted in proof format by an agent representing Highsmith), followed by a summary, a list of characters names and descriptions, then a detailed synopsis, and finally the reader's comments on the material's quality and filmic possibilities. ABPC reader Jackson's comments on Highsmith's novel for film adaptation is exuberant, "brilliant, original, intelligent and sophisticated," but notes the "American background" of the story "is so American in essence, in characterisation, in social values that it could not be transferred to a British setting without losing a great deal of it's credibility." Highsmith's fifth published novel, basis for the 1981 French film starring Jean-Louis Trintignant and Isabelle Huppert, and for the 2022 Adrian Lyne film starring Ben Affleck and Ana de Armas. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript three-page reader's summary and report for the 1956 novel by Alfred Bester, here under its original British publication title "Tiger! Tiger." Made for the Associated British Picture Corporation (ABPC) by ABPC reader Jack Common, dated "September, 1956" with a blue rubber stamp stating "RECEIVED / 20 Sep 1956." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The three-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page, followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the second and third pages, and finally the reader's comments on the material's quality and filmic possibilities. ABPC reader Common finds "some good things in this but the fantasy becomes over-elaborated and fatiguing to follow" and "hardly worth taking as far as the script stage." A high spot of science fiction literature, based very subtly on Alexandre Dumas' "The Count of Monte Cristo," hugely influential on the later genre of cyberpunk, and a favorite of many authors, including William Gibson, Michael Moorcock, and Neil Gaiman. First published in the UK in June 1956 as "Tiger! Tiger," the novel was renamed "The Stars My Destination" when subsequently serialized in "Galaxy Science Fiction" magazine in four parts beginning in October 1956. 8 x 13 inches, perforation binding. Near Fine.…

Elstree's Studios' damning original reader's report for Sylvia Plath's The Bell Jar. 3pp. Typed on rectos only. Reader's delivery stamp to first page dated 5th February 1963. Elstree Studios' original reader's report rejecting The Bell Jar, written weeks after Sylvia Plath's only novel was published, and issued just nine days before her death. The Bell Jar was Sylvia Plath's own novel, and was published under the pseudonym Victoria Lucas in January 1963. The reader's report for Elstree notes the Type of Material as "Mental breakdown", and that they obtained the book on 29th January 1963. The man who wrote the reader's report for The Bell Jar was Jack Common [1903-1969]. A regular contributor at Elstree's Reading Department, Common, a working-class socialist, was a novelist and essayist from Newcastle who became friends with George Orwell when both were writing for The Adelphi magazine early in their careers. Common rose to edit The Adelphi in 1935-6, but could never make an adequate living from his published writing despite critical acclaim, and in the last twenty years of his life wrote innumerable reader's reports for Elstree, before his death from lung cancer in 1969. Common, usually a safe pair of hands, did not warm to The Bell Jar. His report's conclusion finds the book not only unfilmic but unliterary: 'This one lacks vividness and passion, reads in fact almost like a second-hand account. The experiences recorded here have been much better handled elsewhere, in THE HA-HA [by Jennifer Dawson, pub. Anthony Blond, 1961] and several others. I see no reason for buying this version.' Plath herself was also unsure about the novel. She doubted its chances of success, and was worried about making public the scenes which were clearly autobiographical. The Bell Jar was published by Heinemann on 14 January 1963 and, like the first edition of the book, this report credits the author as 'Victoria Lucas'. Jack Common's report was written on 2 February and submitted to ABPC's Reading Department three days later, on the fifth. Sylvia Plath died by suicide on 11 February 1963. Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition sixty years ago and has never before been offered for sale.…

From the Macqueen-Pope papers. (See MP's entry in the Oxford DNB.) Nash made around 70 films between 1912 and 1927, and was a key figure in the creation of Elstree Studios. His career as a film maker was effectively ended following the screening of his 1921 film 'How Kitchener was betrayed'. See Bernard Ince, ' "For the Love of the Art": The Life and Work of Percy Nash, Film Producer and Director of the Silent Era', 'Film History', September 2007. Both items in good condition, lightly aged, each with light rust staining at one corner from paper clip. LETTER: 1p, 4to. Signed 'Percy Nash'. He begins by stating that he has enjoyed 'immensely' MP's 'articles re the Theatre World', as well as his book 'Carriages at Eleven'. He continues: 'I got quite a thrill when I read that you appreciated the dance in front of the Act drop in the "merry wives" production at His Majestys. I suggested the idea during rehearsals but Tree didn't catch on to it at the time, but when the Curtain was lowered and raised a dozen times at the end, he screamed "Do what you wanted to do". Naturally a thing like that required rehearsing, but I risked it and luckily, it came off all right.' Although 'past the age for personal publicity to attract me', he is enclosing 'a list of my various adventures in the World of Entertainment'. He will be happy to allow MP to consult his 'good amount of data such as Programmes, Private letters from many Stars of the bygone Firmament etc.' TWO: Signed Typed CV: 2pp: the first a full single-spaced A4 page, the second (last five lines of typed text and autograph name and address) on cut-down top part of A4 page, now 1p, landscape 8vo. Signed on p.2: 'Percy Nash / 2 Bristol Court West / Marine Parade. / Brighton. / Sussex'. The list is headed 'PERCY NASH. born December 5th 1868.' Begins: 'Began thetrical [sic] career as assistant at Theatre Royal Bournemouth in 1889. Whilst there Toured the West Country with John L. Toole, The Gilbert and Sullivan Operas, German Reeds, Georg[e] Grossmith (on leaving the Savoy Theatre). Paderewski (First Tour), Sims Reeves and other famous Concert artistes.' Contains the following: 'Became a pioneer in the British Film World, organised and Directed the first pictures for the original London Film Company. Built the first Film Studios at Elstree. Directed Pictures in Rome for the CINES and TIBER Film Companies and the UNIVERSAL Film Co of America'. / First President of the British Association of Film Directors / Film Producer for the Federation of British Industries / Production Manager of the British Lion Film Corporation'.…

Elstree's Studios' intriguing original reader's report for Excellent Women. 2pp. Typed on rectos only. Dated 20th March 1952. Elstree Studios' original reader's report for Barbara Pym's Excellent Women. The report summarises the plot, and then gives a thoughtful conclusion: "This is very charming. Almost too charming. There are some patches of whimsy which need the pruning shears. But it is very plesant [sic] entertainment. "This is a most distinguished bit of work. It's [sic] accuracy of observation, restraint, and fidelity to life is astonishing. But because there is no suggestion of a plot and the story itself is so very ordinary I don't feel this is at all film material." Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale. …

Nash made around 70 films between 1912 and 1927, and was a key figure in the creation of Elstree Studios. His career as a film maker was effectively ended following the screening of his 1921 film 'How Kitchener was betrayed'. See Bernard Ince, ' "For the Love of the Art": The Life and Work of Percy Nash, Film Producer and Director of the Silent Era', 'Film History', September 2007. See also Macqueen-Pope's entry in the Oxford DNB. The collection of eleven items is in fair overall condition, with minor creasing and aging to some items. Nash's eight letters are all signed 'Percy Nash', and the first (and longest) has a long postscript in autograph. The eight total 9pp: four in 4to and five in 12mo. All are addressed to 'My dear Popie'. (The two men are clearly well acquainted - to one letter Nash adds the autograph note 'Come & see us soon!!!'.) The first letter contains personal information about the 1897 murder of the actor William Terris outside the Adelphi. 'I was producing a Panto for Charles Denton at the time at the Parkhurst Theatre, and I was short of a Chorister, Denton phoned to say that he would have one for me the following morning. I called next day at Maiden Lane and he told me that he had a man but as he had a "Wall" eye he sent him away. It was Prince. [Terris's murderer] E Dagnall (Daggie) was a member of the Adelphi Co at that time and he told me that Prince was a small part merchant who was spasmodically engaged there. He considered himself badly treated by the Management.' He concludes in the same vein. Letter of 3 August 1950 begins: 'I am under the impression that I am the last living "Acting" (Not 'Walk on') member of Irvings Lyceum Theatre Company.' After describing a visit to Irving's centenary service at St Martin's in the Fields he adds, 'I am sure that I am the only one left connected with his Stage Management. Lionel Belmore, who was with me at the time, migrated to America, and, I am informed, passed on, a year or two ago.' On 9 November 1950 he writes intriguingly: 'Re the G. B. Shaw incident you will be surprised at the undignified pranks that they got up to in the film at the behest of the little Scotchman.' Letter of 14 December 1950 describes 'a long queue waiting to book and a slip of a girl solo to do the work [.] I am often in touch with Emily Norton (Freds sister) and she says she is very hard up, perhaps this revival will healp. Jack Gladwin called in on Tuesday and I showed him the great "Write up" of Chue in "Everybodys".' On 24 June 1951 he praises Popie's new book 'Ghosts and Greasepaint': 'Every word and picture takes me back through my whole life, from the 'Fly posting' inside cover of Drink which we used to call "Lets av some more?" to the index pages. I saw Warner first at the Princess in it and I signed the pledge. / My word! as I turn the pages over I see pictures of the "Gone befores" and I feel strangely lonely, but when I pass over (and it can't be long now) I shall tell them all what a Champion they left behind them to keep their memory green.' The last letter, 10 October 1951, concerns a radio broadcast featuring Popie: 'What a glorious night you must have had last Sunday. I listened in to the first part and it all seemed to go so slick and the applause was never allowed to "peter" out. I was connected in one way or the other, with The Nellie Farren, H.I. and Ellen Terry similar shows and they were nothing like I.N's.' The carbons of two of Popie's replies are both unsigned. Each 1p, 4to. The first, 5 July 1949, discusses of the Terris murder. The second is a response to Nash's last letter. The final item is a typescript of reminiscences, titled 'The Tragic Comedians / Laughter and Tears.' 2pp, 4to. Whether this is by Popie or Nash or another party is unclear. There is one autograph emendation. Observations on George Formby ('I have been present at a performance when the audience were screaming with merriment at him during his "Turn" and he was compelled to turn his back on.…

Elstree's Studios' intriguing original reader's report for I Capture The Castle. 5pp. Typed on rectos only. Dated 1st February 1954. Elstree Studios' original reader's report for I Capture The Castle. The report is based on the 1954 musical adaptation of Smith's 1948 novel, with music by Stephen Hancock. After a pre-West End tour, the show opened at the Aldwych Theatre, London, in March 1954. The production starred Virginia McKenna, Bill Travers, Yvonne Furneaux and a young Roger Moore. It ran for only six weeks. The report summarises the plot, and then gives a thoughtful conclusion, considering Audrey Hepburn for a starring role: "This is very charming. Almost too charming. There are some patches of whimsy which need the pruning shears. But it is very plesant [sic] entertainment. "I have not read the novel but understand that the stage play follows it closely. Theatrically, it ingeniously captures what I imagine is the narrative quality of the novel, but makes me think that it is far better suited to film treatment. "It would, I think, film well. One cannot believe in the Mortmain family, crazy as it is, and I do not think a film version could achieve quite the same hectic craziness as that in "FATHER'S DOING FINE"; but what it lacks in sheer madness is made up by its romantic quality. "Everything really depends on the character of Cassandra. She is enchantingly played in this stage production by Virginia McKenna, who could no doubt play her as enchantingly in a film version. Yvonne Furneaux does very nicely as Rose but lacks, I think, the theatrical technique to make her outstanding. She would certainly, I think, be more effective in a film version of the part of Rose. "My chief impression is, however, that this subject might well be considered as a vehicle for Audrey Hepburn in the part of Cassandra, provided that a top-ranking American star could be secured for Simon and that his part be built up rather more fully." Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale.…

Original ribbon copy typescript four-page reader's summary and report for the 1941 novel by James Hilton. Made for the Associated British Picture Corporation (ABPC) by ABPC reader J. Heron Lepper, dated "5th November 1941," with a blue rubber stamp stating "RECEIVED / 12 Nov 1941." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The ABPC reader's summary and report found here, from 1941, is one of the earliest we have seen. The four-page reader's summary and report, written in the ABPC house style, includes a summary, a list of characters names and descriptions, followed by a detailed synopsis, and finally the reader's comments on the material's quality and filmic possibilities. ABPC reader Lepper's comments regarding the novel are enthusiastic, finding the "book simply bristles with opportunities for fine scenes and good acting," and closes with, "I believe a film would be just as successful [as the novel]." Basis for the classic Academy Award nominated 1942 film, directed by Mervyn Le Roy, and starring Ronald Colman and Greer Garson. One of the dreamiest, most surreal romances ever to be committed to celluloid. 8 x 10 inches, perforation binding. Very Good plus, with light overall toning and two hole punches to the left margin.…

Original ribbon copy typescript three-page reader's summary and report for the 1960 novel by Alexander Trocchi. Made for the Associated British Picture Corporation (ABPC) by an unidentified ABPC reader, dated "March 26th, 1963," with a blue rubber stamp stating "RECEIVED / 28 Mar 1963." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The three-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (here under the title "The Young Adam"), followed by a summary, a list of characters names and descriptions, then a detailed synopsis on the second page, and finally the reader's comments on the material's quality and filmic possibilities on the third page. The unidentified ABPC reader here is bluntly antagonistic to the novel, concluding that "nothing comes out of the squalor except squalor of thought, and the total result is depressive and destructive. As there is no story line, no characterisation, no true direction of theme in this book, it does not appear to be a very hopeful movie project. Not recommended." Published in 1960 as a sequel to Trocchi's 1954 novel, "Young Adam," chronicling the continuing aimless adventures of Scottish barge-worker Joe, living and working on a scow on the Hudson River in New York. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript four-page reader's summary and report for the 1959 novel by Derek Bickerton. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Frank Jackson, dated "Jan 60," with a blue rubber stamp stating "RECEIVED / 11 Jan 1960." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The four-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page, followed by a summary, a list of characters names and descriptions, then a detailed synopsis on the second, third, and fourth pages, followed by the reader's comments on the material's quality and filmic possibilities. ABPC reader Jackson enthusiastically recommends the novel as "first-rate" and "a book of such obvious filmmability," despite the "ridiculously gory conclusion." The first of four novels by linguist, novelist, and professor Derek Bickerton, Adapted into a 1961 film directed by Sidney Hayers, starring Michael Craig, Françoise Prévost, and Billie Whitelaw. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript nine-page reader's summary and report for the 1968 screenplay by Eleanor Perry. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Robert Hall, dated "12th August, 1968," with a blue rubber stamp stating "RECEIVED / 13 Aug 1968," and a manuscript ink annotation on the first leaf underlining Perry's name. Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The nine-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page, followed by a summary and a list of characters names and descriptions (here left blank), then a detailed synopsis on the second through the eighth pages, and finally the reader's comments on the material's quality and filmic possibilities on the ninth page. ABPC reader Hal's comments on Perry's screenplay is enthusiastic finding the material "beautifully written and a penetrating study of early youth," "authentic" and "intelligent" and "is whole-heartedly recommended as likely to prove both an artistic and commercial success." Based on the 1968 novel by Evan Hunter writing as Ed McBain, Perry's script was made into the 1969 film directed by Frank Perry, starring Barbara Hershey and Richard Thomas, produced in the US by Alsid Productions. Three teens bond while spending a summer on Fire Island. When they're joined by a fourth, the dynamic between the trio is thrown, causing one to become increasingly jealous and unstable, with violent results. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript five-page reader's summary and report for the 1963 revised screenplay "The Pitt" by Nigel Kneale. Made for the Associated British Picture Corporation (ABPC) by ABPC reader Barbara Klavir, dated "19/2/63," with a blue rubber stamp stating "RECEIVED / 27 Feb 1963." Unique. Bound in preceding the report is a two-page carbon copy typescript "Elstree Studios Inter-Departmental Communication," on truncated pages, dated "25th February 1963," with a blue rubber stamp stating "RECEIVED / 27 Feb 1963" on the second leaf. Communication with red copy typescript along the top edge noting copy "to be filed with 'original' reports" and "Copy for Miss K. Leaver," and a manuscript ink annotation of the name of screenwriter "Nigel Kneale" alongside the title. The communication is signed from "G.T. Jones, Elstree Studios" (who worked in ABPC's script department) to "J.R. Wallis, Golden Square" (Managing Director and Head of Production for ABPC), rejecting the screenplay for production and returning a letter from "Colonel Carreras" (James Carreras, British film producer and co-founder of Hammer Films), the "Revised Screenplay," and the reader's summary and report, found here. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The five-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material type and method of receipt (noted as submitted directly by Carreras) at the top of the first page, followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the second through the fourth pages, and finally the reader's comments on the material's quality and filmic possibilities on the fifth page. ABPC reader, Klavir's comments on Kneal's screenplay is largely positive, that "consideration [for production] would seem advisable" with the caveats that it would require "the technical resources of the cinema," and would be "far more impressive and enthralling on film" than its predecessor the original 1958-1959 BBC Television serial "Quatermass and the Pit." Kneale's highly influential "Quatermass" science fiction television and films series began in 1953 with the live BBC television series "The Quatermass Experiment," followed by the second BBC television series "Quatermass II" in 1955, and "Quatermass and the Pit" in 1958-1959. Hammer Films made three films based on the television series, "The Quatermass Xperiment" in 1955, "Quatermass 2" in 1957, and in 1967 Hammer Films released "Quatermass and the Pit," believed to be the screenplay found here entitled "The Pit," though we found no other references to a screenplay by Kneale without "Quatermass" in the title. The original telev. …

Original ribbon copy typescript six-page reader's summary and report for the 1961childdren's novel by Roald Dahl, made for the Associated British Picture Corporation (ABPC) by ABPC reader Kathleen Connors, dated "June 17th/68," with a blue rubber stamp stating "RECEIVED / 19 Jun 1968." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The six-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (noting it was submitted directly for consideration by Dahl's literary agent Laurence Pollinger), followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the second to fifth pages, and finally the initial reader's comments on the material's quality and filmic possibilities on the sixth page. The ABPC reader Connors found the material as a "Walt Disney kind of Fantasy story" with "plenty of material here to adapt into a Children's Television Serial." Dahl's second novel for children following his 1943 novel "Gremlins." It was adapted into a musical fantasy live-action and stop-motion animation film in 1996, directed by Henry Selick and produced by Tim Burton and Denise Di Novi, and starred Paul Terry as James. 8 x 13 inches, perforation binding. Binding separated between the fourth and fifth leaves, else Near Fine.…

Original ribbon copy typescript two-page reader's summary and report for the 1952 French novel by Pierre Boulle. Made for the Associated British Picture Corporation (ABPC) by ABPC reader R. Groves, dated "April 15, 1954," with a blue rubber stamp stating "RECEIVED / 20 Apr 1954." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The two-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page, followed by a summary, a list of characters names and descriptions, then a detailed synopsis followed by the reader's comments on the material's quality and filmic possibilities. ABPC reader Groves did not recommend the book for adaptation finding the novel "not suitable for film purposes, unless the ending is changed," having found the action of the British Colonel in "the final episode does not ring true." Boulle's 1952 novel "Le Pont de a rivière Kwaï" was translated by Xan Fielding and published in English in 1954. It was adapted into the 1957 Academy Award Winning Best Picture directed by David Lean, starring "William Holden and Alec Guinness. 8 x 13 inches, perforation binding. Near Fine.…

Original ribbon copy typescript three-page reader's summary and report for the 1954 novel by Patricia Highsmith. Made for the Associated British Picture Corporation (ABPC) by ABPC reader R. Groves, dated "February 16th, 1956," with a blue rubber stamp stating "RECEIVED / 22 Feb 1956." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The three-page reader's summary and report, written in the ABPC house style, includes the source material and publication information at the top of the first page, followed by a summary, a list of characters names and descriptions, then a detailed synopsis on the second and third pages, and finally the reader's comments on the material's quality and filmic possibilities. ABPC reader Grove did not recommend the novel, noting it was "well-constructed," but found the plot "unconvincing," the characters "unpleasant," and that the American locale and characters "could not be transferred to another locale." Highsmith's third published novel was the basis for two film adaptations, the 1963 French film "Le Meurtrier," directed by Claude Autant-Lara, starring Marina Vlady and Robert Hossein, and the 2016 US film, "A Kind of Murder," directed by Andy Goddard, and starring Patrick Wilson and Jessica Biel. 8 x 13 inches, perforation binding. Perforation binding beginning to separate at the bottom, else Near Fine.…

Original ribbon copy typescript four-page reader's summary and report for the 1960 novel by Patricia Highsmith, made for the Associated British Picture Corporation (ABPC) by ABPC reader Gillian Glew, dated "March, 1961," with a blue rubber stamp stating "RECEIVED / 6 Mar 1961." Unique. One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. The four-page reader's summary and report, written in the ABPC house style, includes a breakdown of the source material and publication information at the top of the first page (noted as being submitted by a literary agent for Highsmith), followed by a summary and a list of characters names and descriptions, then a detailed synopsis on the second through the fourth pages, and finally the reader's comments on the material's quality and filmic possibilities on the fifth page. ABPC reader, Glew's comments on Highsmith's novel is enthusiastic yet trepidatious, noting "the gradual deterioration of the hero's mind is horrible, yet gripping. It is, however, very morbid, it could have filmic possibilities." Highsmith's seventh published novel, basis for the 1962 episode "Annabel" of "The Alfred Hitchcock Hour" television series, and the 1977 French film "Tell Her That I Love Her," directed by Claude Miller, and starring Gérard Depardieu and Miou-Miou. 8 x 13 inches, perforation binding. Near Fine.…

Two original ribbon copy typescripts and one carbon copy typescript of reader's summary and reports for the 1950 book by Paul Brickhill, made for the Associated British Picture Corporation (ABPC) in 1951. Unique. One four-page ribbon copy typescript report by ABPC reader E. Rutherford, dated "April 1951," with a purple rubber stamp stating "RECEIVED / 6 Apr 1951." And a five-page ribbon copy typescript report by ABPC reader T.J. Morrison, dated "31st May, 1951," with a purple rubber stamp stating "RECEIVED / 6 Jun 1951." The carbon copy typescript is of the four-page "April 1951" report, with two purple rubber stamps stating "RECEIVED / 6 Apr 1951," with one stamp also noting for "Mr. Robert Clark's Office" (Robert Clark was the head of production at ABPC during the late 1940s and 1950s). One of the most powerful media conglomerates in British cinema history, the Associated British Picture Corporation (ABPC) was founded in 1927 when John Maxwell acquired British National Pictures Studios and its Elstree Studios complex, first named British International Pictures (BIP). The company was renamed ABPC in 1933 after acquiring British Pathé, enabling the company to become a fully vertically integrated studio capable of producing, distributing, and exhibiting its own pictures. Following Maxwell's death in 1940, Warner Bros. purchased a large stake in the company, allowing ABPC to distribute its films into the lucrative US market, as well as taking an active stake in television by launching the Associated British Corporation (ABC). Amid the downturn in the British film industry by the late 1960s, EMI staged an aggressive takeover of ABPC in 1969, and by 1970 the name was officially retired. At the height of ABPC's success in the 1950s and 1960s, its readers reviewed nearly everything being published, from established authors to those with recent screen success, to emerging new authors, in search of material for film adaptation. The resulting reader's summary and reports are an extraordinary record of mid-twentieth century literature never intended for public consumption and unseen since their composition. Both reader's summary and reports are written in the ABPC house style, with source material information at the top of the first page (each noting submission by a literary agent for Brickhill), followed by a summary and main characters, then a detailed synopsis followed by the reader's comments on the material's quality and filmic possibilities. The four-page "April 1951" report by ABPC reader Rutherford notes as main characters only "the guards and prisoners of Stalag Luft III," and is notably succinct in the comments, "Would make a good film if the "Wooden Horse" hadn't already been done." ("The Wooden Horse" was a 1950 British film based on the 1949 book by screenwriter Eric Williams.) The five-page "31st May, 1951" report by ABPC reader Morrison notes five of the characters under principal characters, and includes a five paragraph comment in which Morrison addresses the difference between this story and "The Wooden Horse" brought by the former reader. Morrison also concludes however, that the story is not "cinematic" enough, as "the major part of the book is devoted to the preparation rather than to the escape itself," and "the grisly aftermath when, . fifty of the recaptured men were butchered piecemeal in cold blood." Morrison concludes "This true story is on historical record for all time so it would not, in my opinion, be possible to fictionalise it for 'box office' reasons." Australian author Paul Brickhill's insider's account of the March 1944 mass escape from the Nazi German Luftwaffe prisoner of war camp Stalag Luft III by British and Commonwealth enemy airmen was published in 1950. It was adapted for live television as an episode of the NBC television series "The Philco Television Playhouse" in 1951, and in 1963 for the classic epic US film directed by John Sturges, starring Steve McQueen, James Garner, and Richard Attenb.…

An archive of seven Elstree Studios reader's report for Evelyn Waugh's novels. Comprising: 1. BRIDESHEAD REVISITED. 11pp. Typed on rectos only. Dated 24th July 1945. "This is a very brilliant picture of an English Catholic family and provides first class background and character material that could, of course, be used in the screen medium. Unfortunately the plot has little dramatic semblance and would need very radical reconstruction, and the semi-reiligious theme and its moral implications might well bring one face to face with knotty problems vis a vis the censor." 2. BRIDESHEAD REVISITED. 3pp. Typed on rectos only. Dated June 1945. A second contemporary assessment of the novel: "An extremely well written book with material for more than one story. It has no moral and in parts is unsavoury. Dipsomania as a heritage cannot be glamourised, even with beautiful Brideshead as a setting. There is too much drinking and too much theological discussion." 3. MEN AT ARMS. 2pp. Typed on rectos only. Dated 24th September 1952. "This book is the first part of a trilogy that Mr. Waugh intends to write, and I feel that when the other two books are written, there might be possibilities of making an amusing film of military life. Unfortunately, this one book is not sufficient to form the basis of any film material." 4. SCOOP. 4pp. Typed on rectos only. Dated 11th September 1956. The report is based on an anonymous screenplay: "Good story idea here, poorly scripted. Reader suggests that with tougher, brighter scipting [sic scripting] this story - taken from the Evelyn Waugh novel of the same name - might make a good movie. Recommended - but with emphasis on need for more vigorous, more sophisticated script." 5. DECLINE AND FALL. 7pp. Typed on rectos only. Dated 10th October 1963. The report is based on an anonymous screenplay and concludes: "This is a charade that appears feeble and uninventive". The report has additional opinions appended to it which argue that the present script is unsuitable for film adaptation, but that "scripted by someone of the calibre of Brian Forbes and with an actor who has the necessary youth, charm, and naivety to make the character of 'Pennyfeather' both likeable and credible, it might well prove a success." 6. UNCONDITIONAL SURRENDER. 5pp. Dated 6th November 1961. "In spite of its high literary virtues, I can't see this subject as film material." 7. THE SWORD OF HONOUR TRILOGY. 8pp. Dated 29th November 1961. "There is, quite definitely, not sufficient in any one book of this Trilogy for a film. I do not think the three put together would prove a good basis for a picture. If the second and third volume had been even as lively as the first (or better still more so) a film story might have been possible. As it is, however, the story becomes steadily more and more downbeat as it progresses." An extraordinary contemporary and hitherto unseen record of the assessment of Evelyn Waugh's work for screen adaptation. Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale. …

An archive of three Elstree Studios reader's report for E.M. Forster's novels. Comprising: 1. A ROOM WITH A VIEW. 3pp. Typed on rectos only. Dated 18th September 1952. "But in the lack of an under-plot to play against Lucy's little triangle, it is always going to seem too this for a film demanding first-class acting." 2. A PASSAGE TO INDIA. 5pp. Typed on rectos only. Dated 14th April 1960. Based on Santha Rama Rau's stage adaptation of the novel: "This piece is playing to full houses in Oxford and is rapturously received." 3. HOWARD'S END. 3pp. Typed on rectos only. Dated 25th August 1965. This report actually has two reports on Lance Sievking and Richard Cotterill's stage adapation of the novel. The earlier of the two was based on a performance at the Cambridge Arts Theatre in July 1965, and was negatively reviewed. The second, based on a performance at the Theatre Royal, Brighton, is more generous, suggesting that the studio should review the novel itself for further adaptation potential. Two Elstree Studios reader's report for E.M. Forster's three major novels A Room With A View, A Passage To India and Howard's End. Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale.…

Elstree's Studios' conflicting original reader's report for Patrick Hamilton's Hangover Square. 6pp. Typed on rectos only. Dated "Read: K. Leaver. 12.2.42." Elstree Studios' original reader's report for Patrick Hamilton's Hangover Square, which had been published in 1941. The reader who prepared the report thought highly of it, writing: "In my opinion this story presents interesting film possibilities. Although it savours the 'Jekyll and Hyde' theme, it is much less gruesome, the characters are portrayed more realistically, and depict a common type of social parasite found in most London pubs. George, a loving, pitiful type of misunderstood manhood would make an excellent starring vehicle for ROBERT NEWTON; Netta, hard-boiled and sophisticated could be played by LILLI PALMER; and Peter, a typical parasite, by Emlyn Williams. The title is good." But a further comment is appended to this, initialed J.F.A. which disagrees: "This subject, although well written, is much too slow, sordid and depressing for wartime audiences. It would be a most inadvisable proposition at the present time. Peoplw [sic "People"] want cheering up right now." Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale.…

An archive of three Elstree Studios reader's report for P.G. Wodehouse's novels. Comprising: 1. FRENCH LEAVE. 3pp. Typed on rectos only. Dated 6th February 1956. "If Wodehouse still means anything, then perhaps the story would be worth consideration as film material on the strength of his name, in spite of all its weaknesses. But if the world at large has forgotten him then this story, too, can be forgotten as being no better and no worse than thousands of others of the kind." 2. COCKTAIL TIME. 3pp. Typed on rectos only. Dated 29th September 1958. "Wodehouse as before and well up to standard. This is not the one to choose for filming, however." 3. JEEVES IN THE OFFING. 4pp. Typed on rectos only. Dated 5th September 1960. "With Jeeves as main character, the Wodehouse stories might succeed as a series for Television." Three Elstree Studios reader's report for P.G. Wodehouse's Jeeves In The Offing, Cocktail Time and French Leave. Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale.…

Elstree's Studios' intriguing original reader's report for Ulysses. 5pp. Typed on rectos only. Reader's delivery stamp to first page dated 19th March 1963. Elstree Studios' original reader's report for Ulysses, based on Jack Cardiff's long-awaited but ultimately fruitless attempt to film Joyce's novel. He acquired the rights in 1962, but ceded them to Joseph Strick in 1964, whose 1967 film was made from a different screenplay. The report gives a synopsis of the plot, then delivers their view: "The authors have made a valiant and praiseworthy attempt to evolve a film script out of a great sprawling literary masterpiece of our time. They have been forced to leave out as much as they have put in, such is the length, complexity and all-embracing nature of the original. The result is that the screenplay is more like an index to the book than a complete transference of the whole vast work into terms of cinema. Thus, for example, lengthy discussions on the nature of Art, in the book appear here only in a sentence or two; the birth of the child, symbolised at great length in the book by passages of literary styles from ancient to modern, flashes by in a few seconds; and, of course, the Nighttown brothel sequence has had to be severely censored. Even so, the Censor, I imagine, would take objection to several portions of the script on the grounds of obscenity or blasphemy. "There seems to be a James Joyce revival just now (witness the phenomenal success of the play Stephen D) but I doubt if it goes wide enough or deep enough to make a film of Ulysses a viable commercial risk. As I see it, to make the story acceptable to mass audiences, further compromises would have to be made I can't, for example, see working-class audiences coping with the many interior monologues, which often proceed side by side with the actual speech. Nor, from the point of view of a normal cinemagoer, is there much in the way of a central story line. The screenplay as a whole suggests episodes strung together somewhat haphazardly more than a complete work. "But, of course, every compromise made to win the favour of the groundlings will annoy the literati for whom James Joyce is a Bible. So that, as it seems to me, this screenplay must fall between two stools. It would be wiser, then, either to make no concessions at all (in which case we would be lucky if the finished article earned its keep at the Box Office) or to retailor the present screenplay into something more normally understandable and acceptable." Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale.…

Elstree's Studios' damning original reader's report for The Prime Of Miss Jean Brodie. 4pp. Typed on rectos only. Dated April 15th 1966. Elstree Studios' original reader's report for The Prime Of Miss Jean Brodie. The report is based on the 1966 stage adaptation of the play, which premiered on the West End premiere production, but was here seen at a pre-London performance at the Theatre Royal, Brighton, starring Vanessa Redgrave and Olivia Hussey. The 1969 film, was directed by Ronald Neame and starred Maggie Smith, who won the Oscar and Bafta for her performance. Mr. R. Witcombe, the compiler of the report, seems only to have worked for ABPC very briefly. Witcombe gives a synopsis of the plot, then delivers their view: "As a parable on the conflict between latterday romanticism and youthful disengagement, extremely telling; as a miniature saga of a little-documented area of thirties reaction (that of the Bloomburyish attitudes to political unrest in Europe), little-documented at any rate, in terms of drama, since the Wesker/Naughton sect concentrate on such events from a working-class/fundamental socialist view of things, it has that curious blend of vividness and obliquity that one expects from Muriel Spark. "Production was good, so smooth that the occasional clumsiness (like that of a travelling scene from classroom to Mackay's study) was magnified out of proportion. Performances were good all round; VANESSA REDGRAVE and VICKERY TURNER were excellent. "Adaptation was in part very good. The main weakness was the narrator device that for some reason did not work, only obtruding on the central structure of the play in a mannered and rather arch poke in the audience's ribs. Certain created scenes, such as that with MARY and JENNY practising a tango in the gym while discussing the value of "sexual intercourse", was very clever. In genreal [sic general] the quality of the original novel was faithfully preserved, so well that one wonders if Miss Spark had a hand in the stage version. One minor liberty was the telescoping of the characters so that the Brodie Set, in the novel a quintet, in the play becomes a quartet. This was quite justified and no loss was suffered since the qualities of two girls were [typed over corrections] condensed into Jenny. "Film potential is negligible, I should say. Certain of Muriel Spark's books might make fine movies, particularly perhaps "The Mandelbaum Gate" and "The Bachelors" (which has already been adapted for TV using a lot of filmed inserts). But much of the quality and power of "Miss Brodie" derives from the carefully established enclosure technique, whereby the world is this schoolroom. To see Mary being bombed in a Spanish troop train, to take just one scene that would presumably figure in a movie version, would clearly [crossed-out word] unbalance both the significance of the scene in itself and the overall atmosphere of the work. Just as, for different reasons maybe, to see RAFE at work in the factory and away from his home would wreak the same sort of havoc with "Spring and Port Wine". "Commercially, any recent summary of plays into films: for example, "The Kitchen", "The Connexion", "Long Day's Journey Into Night", would reveal, I think, that all were and are still, box-office flops, frequently not even gaining any but limited distribution." Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition seventy years ago and has never before been offered for sale.…

Elstree's Studios' glowing original report on The Hobbit and The Lord Of The Rings 11pp. Typed on rectos only. Reader's delivery stamp to first page dated 27th February 1968. Elstree Studios' original reader's report on The Hobbit and The Lord Of The Rings, made at a significant moment in the history of the film rights for Tolkien's work. Tolkien's Hollywood agent had first sold the film rights for The Hobbit in 1962 to Rembrandt Films, resulting in the first ever screen adaptation of Tolkien's work, Gene Dietch's 1967 film for The Hobbit. Following this, Sassoon sought to sell the future rights for both The Hobbit and The Lord Of The Rings to a single rights holder. Clearly working to a tight schedule, ABPC's Mr. R. Groves borrowed The Hobbit and The Lord of the Rings from Boreham Wood Public Library on 13 February 1968, spent six days reading them, and then wrote a lengthy, highly detailed report, synopsising the cycle over nine typed, single-space, highly detailed pages. Groves' analysis of the books' long-term commercial prospects was astute: "The Hobbit' seems the most promising subject -- either for film or TV use. It introduces those strange, attractive creatures, hobbits, it has a hobbit as a main character, and the story-line is fairly straightforward. Gollum and Smaug are other figures likely to win wide popularity, and perhaps afford opportunity for exploitation on a large scale. This strange world and its creatures can be realised visually only in the cartoon film, on Disney lines -- and a feature film might therefore be preferable to a TV series or serial. Success with 'The Hobbit' might then make possible a series, based on the various parts of 'The Lord of the Rings. These books tell a series of most complicated, involved stories, contain hundreds of characters, and include massive spectacular scenes. [.] By centring the story on the four hobbits, and seeing the vast events through their eyes, as it were, it might be possible to make one or more films from the three books." On the basis of Groves's recommendation, ABPC would have presumably tried to secure the new rights package being offered by Tolkien's agent. However, in the end, these rights were secured on 3rd May 1968 by Katza-Berne Productions, who then sold the rights to United Artists Corporation. In 1976, they sold the rights to Saul Zaentz, who have licenced all subsequent adaptations of Tolkien's work through Midde-earth Enterprises. Film production companies have been basing themselves at Elstree since 1914, and in most cases, their archives have been dispersed, lost or destroyed. This unique and hitherto unknown document from surviving ABPC reader reports has not been seen since its composition sixty years ago and has never before been offered for sale.…