LovelyClose-up Deborah Kerr COLOR still TEA and SYMPATHY 1956 mini lobby card #7

Description

(It looks much better than the picture above.)
Lovely close-up Deborah Kerr COLOR still TEA and SYMPATHY 1956 mini lobby card #7 studio Vintage & Original
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!
PLEASE BE PATIENT WHILE ALL PICTURES LOAD
After checking out this item please look at my other unique silent motion picture memorabilia and Hollywood film collectibles! SHIP SEVERAL ITEMS TOGETHER AND SAVE $
See a gallery of pictures of my other auctions
HERE!
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:
Tea and Sympathy is a 1956 American drama film and an adaptation of Robert Anderson's 1953 stage play of the same name directed by Vincente Minnelli and produced by Pandro S. Berman for MGM in Metrocolor. The music score was by Adolph Deutsch and the cinematography by John Alton. Deborah Kerr, John Kerr (no relation) and Leif Erickson re-created their original stage roles. Also in the cast were Edward Andrews, Darryl Hickman, Norma Crane, Tom Laughlin, and Dean Jones.
CONDITION:
This original AND vintage 8” x 10” MINI lobby card/color still is in VERY GOOD condition with scuffs, minor crease marks, a couple small pinholes and someone has crossed out the date in the bottom righthand corner and written in ink another date. (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:
Please pay PayPal! All of my items are unconditionally guaranteed. E-mail me with any questions you may have. This is Larry41, wishing you great movie memories and good luck…
BACKGROUND:
“A cultured actress renowned for her elegance and dignity, Deborah Kerr was one of the leading ladies of Hollywood's Golden Age. Born Deborah Kerr-Trimmer in Helensburgh, Scotland, on September 30, 1921, she was first trained as a dancer at her aunt's drama school in Bristol, England. After winning a scholarship to the Sadlers Wells Ballet School, Kerr made her London stage debut at age 17 in Prometheus. Meanwhile, she developed an interest in acting and began getting bit parts and walk-ons in Shakespeare productions. While continuing to appear in various London stage plays, Kerr debuted onscreen in 1940 and went on to roles in a number of British films over the next seven years, often playing cool, reserved, well-bred young ladies. Her portrayal of a nun in Black Narcissus (1947) earned a New York Film Critics Best Actress award and led to an invitation from Hollywood to co-star opposite Clark Gable in The Hucksters. She remained in Hollywood, playing long-suffering, prim, proper, ladylike types until 1953, when she broke her typecast mold by portraying a passionate adulteress in From Here to Eternity, a part for which she had fought. Kerr's range of roles broadened further after that, and she began to appear in British films again. In 1953, Kerr debuted on Broadway to great acclaim in Tea and Sympathy, later reprising her role in the play's 1956 screen version. That same year, she starred as an English governess sent to tutor the children of the King of Siam in one of the most popular films of her career, The King and I. Kerr retired from the screen in 1969, having received six Best Actress Oscar nominations without an award, although she did receive an honorary Oscar in 1994. She had been honored with a special BAFTA award three years earlier in Britain, and, in 1998, she was further honored in her native land with a Companion of the Order of the British Empire. Kerr, who graced the screen one last time in the The Assam Garden (1985), died of complications related to Parkinson's Disease in October 2007. She was 86.”   "In retrospect, it wasn't a very shocking picture, but it might have set up a brouhaha at the time. Ostrich-wise, the censors refused to admit the problem of sexual identity was a common one." Vincente Minnelli, on Tea and Sympathy A movie which caused a considerable stir with the Production Code office and the ever-feared Catholic Legion of Decency, Tea and Sympathy (1956), based on a landmark Broadway play, now seems too tame to be deserving of such outrage. As director Vincente Minnelli wrote, "the drama told of a young man at a boys' school who's falsely accused of being homosexual because of his off-beat interests in tennis, "classical" music, and poetry, instead of baseball and dormitory bull sessions." After witnessing the cruel taunting of the other boys, the schoolmaster's wife Laura takes pity on the sensitive student Tom and tries to help him, ultimately offering herself to him in an ending that features one of the most famous last lines of American theater: "Years from now, when you talk about this - and you will - be kind." The play opened on Broadway in 1953 and was a huge hit critically and commercially, running over 700 performances. Directed by Elia Kazan, it starred Deborah Kerr as Laura, Leif Erickson as her schoolmaster husband Bill, and John Kerr (pronounced as it is spelled, as opposed to Deborah's "Car") as the student, Tom. All three were hired by MGM to reprise their roles for the film, but Minnelli replaced Kazan in the director's chair. In his autobiography, Minnelli wrote that the actors knew their parts so well that he needed to lend them little direction: "They'd confronted many kinds of audiences [and] shaded their delineations of their characters over the many times they'd performed it...There was no need to gild it with any ornamentation." As for the story's content, the mere hint of the presence of homosexuality in any movie raised red flags with Production Code officials Geoffrey Shurlock and Jack Vizzard. Moreover, the climactic act of adultery, if not eliminated from the story, had to be answered with penance for the adulterer. Playwright and screenwriter Bob Anderson therefore tacked on a flashback structure, bookending the main drama with a visit to the school by the grownup John Kerr and his family. He remembers the story that then unfolds, afterwards learning what happened to Deborah Kerr after he left the school; needless to say, her character did not enjoy a happy life. This satisfied the Production Code office but not the Legion of Decency, which threatened to slap the picture with a "C" rating ("Condemned"). In the end, after much arguing, the Legion gave the film a "B" ("Morally objectionable in part for all"). For his part, playwright Anderson wrote in a letter to Minnelli that, "I have always seen the play basically as a love story...Of course the meanings of the play are various, the chief one being that we must understand and respect differences in people. Along with this is the whole concept of what manliness is. I attack the often-fostered notion that a man is only a man if he can carry Vivien Leigh up a winding staircase. I stump for essential manliness which is something internal, and consists of gentleness, consideration, other qualities of that sort, and not just of brute strength." While the flashback structure that Anderson was forced to add considerably softened the story, the fact that the film was made at all, with any of the sexuality-themed content intact, was a tiny step in the right direction for Hollywood studios. Furthermore, as Anderson said, "we had to make too many changes for censorship, but [the picture] serves its purpose in preserving the performances of Deborah and John Kerr and Leif Erickson." Famed cinematographer John Alton, best known for his shadowy, black and white film noir lighting, also created some beautiful color films. This is an example of the master at work with a lush color palette, on the fourth of five films he shot for director Minnelli. Producer: Pandro S. Berman Director: Vincente Minnelli Screenplay: Robert Anderson Cinematography: John Alton Film Editing: Ferris Webster Art Direction: Edward C. Carfagno, William A. Horning Music: Adolph Deutsch Cast: Deborah Kerr (Laura Reynolds), John Kerr (Tom Robinson Lee), Leif Erickson (Bill Reynolds), Edward Andrews (Herb Lee), Darryl Hickman (Al), Norma Crane (Ellie Martin). C-122m.