Paris: Les Films Ariane, 1964. Collection of 343 vintage black-and-white photographs from the set of the 1964 film, "That Man from Rio," here under the original French title, "L'homme de Rio." Most are rubber-stamped on the versos indicating film studio, Les Films Ariane, still photographer Trigo, Brazilian magazine "O Cruzeiro " and French film title, several with annotations in holograph ink, also on the verso, several with Trigo's name in holograph ink. Over 100 smaller photos bear white borders and credit for photographer Voinquel. Also included is an issue of French magazine "Telérama" (Sunday, August 18, 1963, No. 709), featuring cover and editorial on Belmondo and the film, an original Somarco accordion folder (dated 1963), and original mailing envelope addressed to Maryse Martres, Ariane Films (Champs-Élysées), from Télé-photo (Paris). Martres (Martin) was a prolific French actress who was later involved in press relations at Cinedis, a notable film agency in operation since the Silent Film era.
Airman Adrien Dufourquet (Belmondo) is in Paris on shore leave, eager to see his Agnes (Dorléac). When he finally sees her, only briefly before she's kidnapped and held for ransom by a treasure-hungry family friend. A James Bond spoof, in the wake of Belmondo's swashbuckling success, "Cartouche" (1962, opposite Claudia Cardinale), with puzzle solving, murder in Brasilia, art thieves, and a pursuit to find sacred Amazon treasure. Nominated for an Academy Award for Best Writing, Story and Screenplay: Written Directly for the Screen (1965), and winner of a New York Film Critics Circle Award for Best Foreign Language Film (1964).
Members of the cast and crew are featured throughout the collection, including director de Brocca (who earlier worked under directors Claude Chabrol and François Truffaut), Belmondo, cameramen, and an extensive look at the scenery of Brazil and Paris. Boats racing, Belmondo dangling from a speeding car, and languid down times as cast and crew break for naps in the shade, photographer Trigo's often provocative angles capture the director in dimly lit, noirish scenarios, and a glimpse of the action-packed thrill-ride of shooting a Bond spoof with elements of MacGuyver. Coincidentally, photographer Voinquel's direct approach shows stills from a more casual standpoint, not without generous documentation of the crew behind the camera.
Photographs 7 x 9.25 inches, and 3.5 x 5 inches, some varying slightly overall. Mailing envelope and folder each 10 x 12.5 inches. Photos Very Good Plus overall, moderate curling, several with bruises or insect wear at the edges, several with moderate dampstains. Envelope and folder Good, with short tears and similar dampstains. Magazine Very Good, wavy, brief toning.