Billy Wilder's Witness For The Prosecution and similar items
Billy Wilder's WITNESS FOR THE PROSECUTION ('57) Elsa Lanchester Agatha Christie
$45.00
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OBO - Seller accepts offers on this item.
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Refunds available: See booth/item description for details
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View full item details »
Shipping options
Offer policy
OBO - Seller accepts offers on this item.
Details
Return policy
Refunds available: See booth/item description for details
Details
Purchase protection
Payment options
PayPal accepted
PayPal Credit accepted
Venmo accepted
PayPal, MasterCard, Visa, Discover, and American Express accepted
Maestro accepted
Amazon Pay accepted
Nuvei accepted
Item traits
Category: | |
---|---|
Quantity Available: |
Only one in stock, order soon |
Condition: |
Unspecified by seller, may be new. |
Country/Region of Manufacture: |
United States |
Size: |
8 x 10 inches |
Industry: |
Movies |
Object Type: |
Photograph |
Original/Reproduction: |
Original |
Style: |
Black & White |
Year: |
1950-59 |
LOC: |
MJ binder |
Film Title: |
Witness for the Prosecution |
Item Number: |
MJ-WITNESS-S01 |
Studio: |
United Artists |
Modified Item: |
No |
Listing details
Seller policies: | |
---|---|
Shipping discount: |
No combined shipping offered |
Posted for sale: |
More than a week ago |
Item number: |
1213617782 |
Item description
Vintage original 8 x 10 in. US single-weight glossy photograph from the 1950's mystery crime drama, WITNESS FOR THE PROSECUTION, released in 1957 by United Artists and directed by Billy Wilder.
The image features a close interior shot of Elsa Lanchester in costume as "Miss Plimsoll." It is in fine+ condition.
Elsa Lanchester used to delight in broadcasting Marlene Dietrich's secrets. Although Dietrich was never secretive about her famous "tape lifts", Lanchester detailed their use to anyone who would listen. (One of the most avid listeners was Charles Laughton, who urged a make-up man to steal one so he could try it.) The lifts were stuck to the side of Dietrich's head where she wanted skin to be lifted, then the long threads hanging from them were woven into hair at the back of her head, forcing the tabs to pull the skin very tight. A wig then covered the network of tabs and threads. Lanchester joked that Dietrich wouldn't dare to pull or twist her face for fear of loosening a lift. In the film, one can see how Dietrich rarely breaks the cold passiveness of her expression and moves her whole body rather than her head.
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