Elstree Studios (12 results)
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Published by Associated British Productions Limited, London, 1963
- Softcover
- First Edition
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketElstree'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 be…fore 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.
Published by Letter: 12 November On letterhead of 2 Bristol Court West Marine Parade Brighton. CV undated but with autograph address 'Percy Nash / 2 Bristol Court West / Marine Parade. / Brighton. / Sussex', 1948
- Signed
- Manuscript / Paper Collectible
Seller: Richard M. Ford Ltd, London, United KingdomRichard M. Ford Ltd
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Add to basketFrom 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'.
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Published by Associated British Productions Limited, London, 1952
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketElstree'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.
Published by Nash's eight TLsS from between 4 July and 10 October 1951; all on letterheads of 2 Bristol Court West Marine Parade Brighton. Macqueen-Pope's carbons from 1949 and 1951. 'The Tragic Comedians' undated, 1949
- Manuscript / Paper Collectible
Seller: Richard M. Ford Ltd, London, United KingdomRichard M. Ford Ltd
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Add to basketNash 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 Direct…or 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.
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Published by Associated British Productions Limited, London, 1954
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketElstree'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 tou…r, 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.
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Published by Associated British Productions Limited, London, 1952
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketAn archive of five Elstree Studios reader's report for Evelyn Waugh's novels. Comprising: 1. 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." 2. 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." 3. 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." 4. UNCONDITIONAL SURRENDER. 5pp. Dated 6th November 1961. "In spite of its high literary virtues, I can't see this subject as film material." 5. 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." Five Elstree Studios reader's report for Evelyn Waugh's novels. 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.
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Published by Associated British Productions Limited, London, 1952
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketAn archive of two 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." Two Elstree Studios reader's report for E.M. Forster's A Room With A View and A Passage To India. 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.
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Published by Associated British Productions Limited, London, 1966
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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US$ 1,026.64
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Add to basketElstree'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.
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Published by Associated British Productions Limited, London, 1956
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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US$ 1,026.64
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Add to basketAn 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. Bu…t 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.
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Published by Associated British Productions Limited, London, 1963
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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US$ 1,300.41
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Add to basketElstree'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.
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Published by Associated British Productions Limited, London, 1966
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketElstree'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, b…ut 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.
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Published by Associated British Productions Limited, London, 1968
Seller: Tom W. Ayling, Wallingford, United KingdomTom W. Ayling
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Add to basketElstree'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 Tolki…en'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.
