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The Major and the Minor (1942): Ginger Rogers with Book Front:
Susan Applegate (Rogers) looks up from an intricately decorated book.
Back:
Stamp for Gene D. Phillips, addressed:
201 Canisius House
Dempster Street, Evanston
Handwritten label, “Major + the Minor” marked #5. Sticky note added marked “Phillips 5.”
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Ball of Fire (1941): Gary Cooper and Barbara Stanwyck Front:
Professor Bertram Potts (Cooper), collar and tie undone, and Sugarpuss O’Shea (Stanwyck), in fur and a headscarf, chat in a hallway.
Back:
Stamp for Gene D. Phillips, addressed:
201 Canisius House
Dempster Street, Evanston
Handwritten label, “Ball of Fire” marked #4. Sticky note added marked “Phillips 4.”
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Five Graves to Cairo (1943) BTS with Billy Wilder, Erich von Stroheim, Anne Baxter, and Franchot Tone Front:
(L-R) Wilder, von Stroheim, Baxter, and Tone sitting shoulder-to-shoulder on a couch. Baxter is smiling at Wilder while holding a script.
Back:
2 Stamps for Gene D. Phillips, addressed:
201 Canisius House
Dempster Street, Evanston
Handwritten label “Five Graves to Cairo,” marked #6. Sticky note added marked “Phillips 6.”
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Midnight (1939): Don Amenche, Claudette Colbert, and John Barrymore Front:
Image of the three leads (Amenche as Tibor Czerny, Colbert as Eve Peabody, and Barrymore as Georges Flammarion) posing for the camera. Amenche’s arm is around Colbert’s shoulders as he leans into her. Colbert smiles into the camera as Barrymore gives her a goofy wide-eyed stare.
Back:
Stamp for Gene D. Phillips, addressed:
201 Canisius House
Dempster Street, Evanston
Handwritten label “Midnight,” marked #3. Sticky note added marked “Phillips 3.”
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Ninotchka (1939): Greta Garbo and Melvyn Douglas Front:
Count Leon d’Algout (Douglas) takes the hand of Soviet diplomat of Nina “Ninotchka” Ivanovna Yakushova (Garbo). Ninotchka, notably, is wearing her iconic hat designed by Adrian for the film.
Back:
Stamp for Gene D. Phillips, addressed:
201 Canisius House
Dempster Street, Evanston
Handwritten label “Ninotchka” and marked #2. Sticky note added marked “Phillips 2.”
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Gene D. Phillips, SJ Author photo, from dust jacket of The Films of Tennessee Williams (1980).
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Polaroid of John Schlesinger with Gene D. Phillips Front: Gene Phillips and John Schlesinger are seated at a table, going over material for the biography in Schlesinger’s Hollywood office.
Note: this is the image for the inside cover of Phillips’ biography of Schlesinger for the Twayne Theatrical Arts series.
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Terminus (1961) BTS with Dir. John Schlesinger, Margaret Ashcroft, and her son Matthew Perry Front: John Schlesinger speaks with Margaret Ashcroft as they prepare to film the scene of a little boy (her son, Matthew Perry, not related to the Friends costar) getting lost in the terminal.
Back: Stamp for Gene D. Phillips. Handwritten description: “John Schlesinger (center) ‘TERMINUS.’” Marked #2 twice.
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Yanks (1979) BTS with John Schlesinger Front: Schlesinger, seated and bundled up for outdoor filming in the Northern English spring weather, looks in the distance with a small smile as he is surrounded by filming equipment covered in plastic (likely to protect from rain.)
Back: Stamp for Gene D. Phillips. Handwritten description: “John Schlesinger. Yanks.” Multiple number marks scribbled out, marked #49 with an arrow pointing to it and 74% below.
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Darling (1965) BTS with Laurence Harvey, Julie Christie, Dir. John Schlesinger, and Dirk Bogarde Front: Apparently candid image of (L-R): Harvey, looking on with scrunched eyebrows; Christie, laughing as she puts on her gloves; Schlesinger, smiling at Christie’s reaction; and Bogarde, staring into the camera while leaning against the doorframe, cigarette in one hand and the other on his hip.
Back: Handwritten description: “The film was influenced by his background + experience in [illegible, possibly ‘making docs of ???’].” Marked #8. Stamp for notice about reproduction scribbled out.
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John Schlesinger BTS at Camera Front: John Schlesinger gestures while standing at the camera.
Back: Handwritten label: “Possible for cover.”
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Darling (1965) with Julie Christie and Dirk Bogarde, Interview Scene Front: Robert Golde (Bogarde) interviews Diana Scott (Christie) on the street. He holds a microphone up to her, waiting for an answer.
Back: Stamp for Gene D. Phillips. Handwritten description: “Julie Christie. Dirk Bogarde.” Marked #9 in top right and #12 in top left.
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Darling (1965) with Julie Christie and Laurence Harvey Front: Diana Scott (Christie) stands on the runway above Miles Brand (Harvey), smiling at him. She is dressed in an evening gown, gloves and a beehive updo. She holds a small handbag and a glass of white wine.
Back: Stamp for Museum of Modern Art/Film Stills Archive. Handwritten description: “Julie Christie/ Laurence Harvey.” Marked #50 in top left corner and #67 ¾ in top right corner.
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Far From the Madding Crowd (1967) with Peter Finch Front: William Boldwood (Finch), dressed in a full tuxedo while aiming a rifle he pulled from the rack behind him.
Back: Stamp for Gene D. Phillips. Handwritten description: “Peter Finch. Far from the Madding Crowd.” Three number marks crossed out in top right corner next to mark #12 and below it #14.
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Far From the Madding Crowd (1967) with Julie Christie and Terrence Stamp Front: Bathsheba Everdene (Christie) look up at Sgt. Francis Troy (Stamp), who is in uniform, hand behind his back, and sword drawn.
Back: Stamp for Gene D. Phillips. Handwritten description: “Julie Christie and Terrence Stamp in John Schlesinger’s Far From the Madding Crowd. MGM (1967).” Three number marks crossed out in top right corner next to mark #11 and below it #13.
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Midnight Cowboy (1969) with Jon Voight and Dustin Hoffman at Grave Front: Joe Buck (Voight) and Ratso/Rico (Hoffman), the latter holding some fern leaves, stand over the grave of Ratso/Rico’s father.
Back: Stamp for Gene D. Phillips. Handwritten description: “Jon Voight, Dustin Hoffman. Midnight Cowboy.” Marked #15 and #6.
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Midnight Cowboy (1969) with Dustin Hoffman and Jon Voight Front: Joe Buck (Voight) helps Ratso/Rico (Hoffman) onto a bus while carrying a bag. Ratso/Rico grimaces in pain from illness.
Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Typed description:
“MC-35 Joe Buck (JON VOIGHT, right) helps the critically ill Ratso (DUSTIN HOFFMAN) to the bus which will take them to Florida in ‘Midnight Cowboy.’
A Hellman-Schlesinger production, the picture stars Dustin Hoffman and Jon Voight. It was produced by Jerome Hellman and directed by John Schlesinger based on a novel by James Leo Herlihy. The screenplay is by Waldo Salt. It is in Color by DeLuxe, and is released by United Artists, an entertainment service of Transamerica Corporation.” Four handwritten number marks crossed out, marked #51 or #15 in top left corner, #61 ¾ in top right corner.
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Sunday Bloody Sunday (1971) with Peter Finch, Murray Head, and Glenda Jackson Front: Peter Finch and Glenda Jackson face different directions. In the background, Murray Head looks on.
Back: Stamp for Gene D. Phillips. Handwritten description: “Peter Finch, Murray Head, [‘Glenda’ added in blue ink] Jackson. Sunday, Bloody Sunday.” Marked #19 in top right corner and #18 in top left corner.
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Sunday Bloody Sunday (1971) BTS with Cinematographer Billy Williams and Dir. John Schlesinger Front: Billy Williams crouches down and looks into the camera; John Schlesinger lies on the ground next to him, mid-gesture toward the set.
Back: Handwritten description: “John Schlesinger (right) directing Sunday, Bloody Sunday on location in London. United Artists (1971.” Marked “BS-4205.” A small sticker with Schlesinger’s address is attached, printed in a sans serif font with blue ink:
John Schlesinger
28 Peel Street
London, W.8
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Day of the Locust (1975) with Karen Black Front: Karen Black smiles as the sits in the boot of a car, leg sticking up with high-heeled toe pointed, smoking a cigarette.
Back: 2 stamps for Gene Phillips (one typical return information, the other made to look handwritten). Typed description on Paramount Publicity Department paper:
“Paramount Pictures Presents A Jerome Hellman Production, A John Schlesinger Film, ‘The Day of the Locust.’ Starring Donald Sutherland, Karen Black, Burgess Meredith, William Atheron and Geraldine Page as Big Sister. Associate Producer Sheldon Schrager. Director of Photography Conrad Hall, A.S.C. Based on the Novel by Nathaniel West, Screenplay by Waldo Salt. Produced by Jerome Hellman. Directed Schlesinger. A Paramount Picture.”
Three handwritten marks scribbled out, marked #56. Label “Use Pix #1 55%” also crossed out.
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Day of the Locust (1975) BTS with Conrad Hall and Dir. John Schlesinger Front: Dir. John Schlesinger behind the scenes of Day of the Locust (1975), standing among crew, including cinematographer Conrad Hall.
Back: Stamp for Gene D. Phillips. Handwritten description: “Conrad Hall (eye to camera) cinematographer with John Schlesinger behind him on the Los Angeles street built at Paramount. Day of the Locust. Hall also shot Marathon Man.” Marked #24, in bottom corner 79% p. 98. In center, 51 ST-11 and “Use 76%” circled.
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Marathon Man (1976) with William Devane, Richard Bright, and Dustin Hoffman Front: Janeway (Devane) stabs Karl (Bright) as Babe (Hoffman) cowers on the bed below.
Back: Marked #22. Two typewritten descriptions printed on stationery from Paramount Pictures. They read:
“William Devane (left) stabs Richard Bright after the gruesome torture of Dustin Hoffman (on bed) in Paramount Pictures’ ‘Marathon Man,’ a Robert Evans-Sidney Beckerman production of a John Schlesinger film. The drama of suspense and intrigue, with a screenplay by William Goldman from his novel, also stars Laurence Olivier, Roy Schneider and Marthe Keller. Robert Evans and Sidney Beckerman produced with George Justin as associate producer. John Schlesinger directed.”
“Paramount Pictures Presents a Robert Evans-Sidney Beckerman Production. A John Schlesinger Film. Dustin Hoffman, Laurence Olivier, Roy Schneider, William Devane, Marthe Keller. ‘Marathon Man.’ Associate Producer George Justin. Director of Photograph Conrad Hall, A.S.C. Screenplay by William Goldman From His Novel. Produced by Robert Evans and Sidney Beckerman. Directed by John Schlesinger.”
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Marathon Man (1976): Dir. John Schlesinger, Dustin Hoffman, and Laurence Olivier Front: In an empty brick cell, Laurence Olivier looks on as John Schlesinger, looking into the camera, stands over Dustin Hoffman, who is strapped to his chair with a lamplight shining in his eyes.
Back: 2 stamps for Gene D. Phillips: one with return address and another meant to look like his signature. Handwritten description: “Laurence Olivier, John Schlesinger, Dustin Hoffman / Marathon Man.” Multiple numbers written and crossed out in the corners, ultimately marked #52. “MM5165-15” written along the side and crossed out.
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Yanks (1979) with Richard Gere and Chick Vennera Front: Matt (Gere) and Danny (Vennera) wait for the train among a crowd of fellow GIs. Below, information about reproduction allowed for newspapers and periodicals.
Back: Stamp for Gene D. Phillips. Two typewritten descriptions on stationery from Universal Studios, taped to the document. They read:
“GIs Matt (RICHARD GERE) and Danny (CHICK VENNERA) wait for the train, they hope to see their women one last time, in John Schlesinger’s World War II romance ‘Yanks.’ A Universal release.”
“‘Yanks’ is A John Schlesinger Film for Universal release. A Joseph Janni and Lester Persky Production starring Richard Gere, Vanessa Redgrave, William Devane, Lisa Eichhorn, Rachel Roberts, Chick Vennera, Arlen Dean Snyder and Annie Ross, the film was produced by Joseph Janni and Lester Persky, and directed by John Schlesinger from a screenplay by Colin Welland and Walter Bernstein.” Marked #24, crossed out, remarked #22.
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The Falcon and the Snowman (1985) with Timothy Hutton Front: Christopher Boyce (Hutton) looks up amongst a cheering crowd.
Back: Stamp for Gene D. Phillips. Handwritten description: “Timothy Hutton in The Falcon + the Snowman (1985).” Marked #52 and 68 3/4.