Gregory Peck COLOR still THE MAN IN THE GRAY FLANNEL SUIT 1956 mini lobby card

Description

(It looks much better than the picture above.)
Gregory Peck COLOR still THE MAN IN THE GRAY FLANNEL SUIT 1956 mini lobby card studio Vintage & Original MINT –
This card may be one of the last pieces of memorabilia from the original release of this historic film. It would look great framed on display in your home theater!
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This 8” by 10” mini lobby card (notice it is numbered just like a lobby card) it’s vintage, original and not a copy or reproductions.
DESCRIPTION:
The Man in the Gray Flannel Suit is a 1956 American drama film based on the 1955 novel The Man in the Gray Flannel Suit by Sloan Wilson. The film focuses on Tom Rath, a young World War II veteran trying to balance his marriage and family life with the demands of a career while dealing with the after-effects of his war service and a new high-pressure job. The film stars Gregory Peck as Rath and Jennifer Jones as his wife Betsy, with Fredric March, Lee J. Cobb, Keenan Wynn and Marisa Pavan in supporting roles. It was entered at the 1956 Cannes Film Festival.
CONDITION:
This original AND vintage 8” x 10” MINI lobby card/color still is in VERY GOOD condition.  It shows scuffing, patina (dirt), edge bumps and some creases. SEE PIX FOR MORE DETAILS.
SHIPPING:
Domestic shipping would be FIRST CLASS and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. International shipping depends on the location, and the package would weigh close to a pound with even more extra ridge packing.
PAYMENTS:
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BACKGROUND:
Nunnally Johnson’s The Man in the Gray Flannel Suit (1956) is adapted from the 1955 novel of the same name by Sloan Wilson. One of the great publishing successes of its day, the book--or it least its title--became a symbol for conformism in the business world. In that respect, it connected with a number of non-fiction books published around the same time, including: The Lonely Crowd (1950), Is Anybody Listening? (1952) and The Organization Man (1956). On-going interest in the novel spurred a 2002 reprint with a new foreword by the National Book Award-winning novelist Jonathan Franzen. Today, its influence appears in the popular television series Mad Men. While The Man in the Gray Flannel Suit is often thought to represent the typical experience of a corporate man in the Fifties, it is very much drawn from Wilson’s own life story. After returning from the war, he struggled to get his career off the ground while raising a family. His mother, who wrote for The New Yorker, had long encouraged him to seek work there as well. While he did publish a few stories there, he ended up instead as a writer for the house organ of Time, Inc. Roy Larsen, the company’s President, invited Wilson to work for the nonprofit National Citizen’s Commission for the Public Schools, also known as Better Schools, Inc. Much of Wilson’s work there consisted of writing speeches, not unlike Tom Rath in the novel. Larsen recommended Wilson to Richard Simon of Simon and Schuster, who offered Sloan Wilson an advance to write a novel. While his first book, Voyage to Somewhere (1947), was not a great success, Simon’s faith paid off with the immense popularity of The Man in the Gray Flannel Suit and his next book after that, A Summer Place (1958). Wilson himself followed up the novel with a sequel entitled The Man in the Gray Flannel Suit II (1984). The film’s director, Nunnally Johnson, was a much-respected scriptwriter who had worked on films such as The Grapes of Wrath (1940) and The Dark Mirror (1946). His own directing career started in the mid-fifties with the widescreen Gregory Peck vehicle Night People (1954). Although never regarded as a distinctive stylist, he does use the widescreen format effectively in The Man in the Gray Flannel Suit, especially in the scene Jennifer Jones has a breakdown and Peck runs after her in the night. To add to the sense of visual authenticity, parts of the film were shot in New York City and in Westport, Connecticut. To be sure, when Sloan Wilson saw the finished film he balked at the impossibly spacious ,000 Rath family house, but for the most part he liked Nunnally Johnson’s more or less faithful script. In preparation for his role, Peck visited advertising agencies and the NBC headquarters in New York and rode on a commuter train. He also read the novel carefully and kept detailed notes about it as he worked on the film. Jennifer Jones had played opposite him previously in King Vidor’s delirious Technicolor Western Duel in the Sun (1946). During the aforementioned breakdown scene Jones threw herself into her role so thoroughly that she clawed Peck’s face with her fingernails. Peck reportedly complained to Nunnally Johnson, I don’t call that acting, I call it personal. While the film was fairly successful on its initial release, The Man in the Gray Flannel Suit received somewhat mixed reviews. The reviewer for Variety especially liked the flashback sequences and the performances of Gregory Peck and Fredric March. At the same time, he noted that despite the film’s abundance of elegant sets and a solid array of marquee names […] all that is missing is the spirit of the author. On the other hand, Bosley Crowther of the New York Times dubbed it a mature, fascinating and often quite tender and touching film. He considered the film an improvement over the novel in that it presented the characters’ problems in a more clear and forceful way. Producer: Darryl F. Zanuck Director and Screenwriter: Nunnally Johnson Based on the novel by Sloan Wilson Director of Photography: Charles G. Clarke Art Director: Lyle R. Wheeler and Jack Martin Smith Film Editor: Dorothy Spencer Music: Bernard Herrmann Principal Cast: Gregory Peck (Tom Rath); Jennifer Jones (Betsy Rath); Fredric March (Ralph Hopkins); Marisa Pavan (Maria); Lee J. Cobb (Judge Bernstein); Ann Harding (Mrs. Helen Hopkins); Keenan Wynn (Caesar Gardella); Gene Lockhart (Bill Hawthorne); Gigi Perreau (Susan Hopkins); Portland Mason (Janie Rath); Arthur O'Connell (Walker); Henry Daniell (Bill Ogden). C-153m.