This is an ORIGINAL 12" x 16" Uncut 8 page PRESSBOOK from famed diretor, WILLIAM CASTLE. It has great photos, biographies, synopsis ad slicks for newspapers and promotional tie-ins to promote the 1954 Western Drama motion picture,

Charge of the Lancers

Director: William Castle

Screenplay by: Robert E. Kent


The downward spiral of the quality of films Paulette Goddard appeared in in the 1950's would cause a gravitational blackout to anyone viewing them in a single day, but with some of the all-time great schlock names serving as the producers---Sam Katzman, the Danziger brothers, Albert Zugsmith and---gasp---Sigmund Neufeld--- the results easily met the low expectations. This one is set during the time of the Crimean War and the efforts of the Allies to take the Russian naval base at Sebastopol. Jean Pierre Aumont and Richard Stapley are guardians of a new cannon that can pierce the walls of the Russian fortress, and also rivals for the favors of nurse Karin Booth who, as it turns out, is a Russian spy. Not a spoiler ... somebody had to be. The Russians kidnap Stapley (in his pre-Richard Wyler days)to learn from him the secret of the new cannon. Aumont is assigned to rescue him. Oh, okay he says and sets out. On the way he encounters a gypsy family that includes Paulette Goddard as a daughter---beginning to sound like Ray Milland and Marlene Dietrich in "Golden Earrings" in a different time and another war--- and Aumont disguises himself as a gypsy and locates Stapley. The success of his task was guaranteed the instance the name of writer Robert E. Kent appeared on the screen about 58 minutes earlier, allowing 10-12 more minutes for Aumont and Stapley to win the war. Miss Goddard had already phoned in her performance and gone home.

The entire cast included:

Paulette Goddard ... Tanya
Jean-Pierre Aumont ... Capt. Eric Evoir
Richard Wyler ... Major Bruce Lindsey (as Richard Stapley)
Karin Booth ... Maria Sand
Charles Irwin ... Tom Daugherty
Ben Astar ... Gen. Inderman
Lester Matthews ... Gen. Stanhope
Gregory Gaye ... Cpl. Bonikoff
Ivan Triesault ... Dr. Manus
Louis Merrill ... Col. Zeansky (as Lou Merrill)
Tony Roux ... Asa

Pressbook is in good shape for its age with slight edge wear. Great for fans of this classic film!

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MORE INFO ON PAULETTE GODDARD: Paulette Goddard (June 3, 1910 April 23, 1990) was an American film and theatre actress. A former child fashion model and in several Broadway productions as Ziegfeld Girl, she was a major star of the Paramount Studio in the 1940s. She was married to several notable men, including Charlie Chaplin, Burgess Meredith and Erich Maria Remarque. Goddard was nominated for an Academy Award for Best Supporting Actress for her performance in So Proudly We Hail! (1943)

Paulette Goddard was born Marion Pauline Levy. She was an only child, born in Whitestone Landing, Queens, Long Island. Her father, Joseph Russell Levy, was Jewish, and her mother, Alta Mae Goddard, was Episcopalian and of English heritage. Her parents divorced while she was young, and she was raised by her mother. Her father virtually vanished from her life, only to resurface later in the late 1930s after she became a star. At first, their relationship seemed genial enough, as they used to attend film premieres together, but then he sued her over a magazine article that claimed he abandoned her when she was young. They were never to reconcile and upon his death, he left her just one dollar in his will. She remained very close to her mother, however, as both had struggled through those early years, with her great uncle, Charles Goddard (her grandfather's brother) lending a hand.

Charles Goddard helped his great niece find jobs as a fashion model, and with the Ziegfeld Follies as one of the heavily-decorated Ziegfeld Girls from 1924 to 1928. She attended Washington Irving High School in Manhattan at the same time as Claire Trevor.

Her stage debut was in the Ziegfeld revue No Foolin in 1926. The next year she made her stage acting debut in The Unconquerable Male. She also changed her first name to Paulette and took her mother's maiden name (which also happened to be her favorite great uncle Charles' last name) as her own last name. She married an older, wealthy businessman, lumber tycoon Edgar James, in 1926 or 1927 and moved to North Carolina to be a socialite, but divorced him in 1930 and received a huge divorce settlement.

Goddard in Dramatic School (1938)

In 1929 she came to Hollywood with her mother after signing a contract with Hal Roach Studios, and appeared in small parts of several films over the next few years, starting with Laurel & Hardy shorts.

At Samuel Goldwyn Productions, she also joined other such future notables as Betty Grable, Lucille Ball, Ann Sothern, and Jane Wyman as "Goldwyn Girls" with Eddie Cantor in films such as The Kid from Spain, Roman Scandals and Kid Millions.

In 1932, she met Charlie Chaplin and began an eight-year personal and cinematic relationship with him. Chaplin bought Goddard's contract from Roach Studios and cast her as a street urchin opposite his Tramp character in the 1936 film Modern Times, which made Goddard a star. During this time she lived with Chaplin in his Beverly Hills home.

Their actual marital status was and has remained a source of controversy and speculation. During most of their time together, both refused to comment on the matter. At the premiere of The Great Dictator in 1940, Chaplin first introduced Goddard as his wife. The couple split amicably soon afterward, and Goddard allegedly obtained a divorce in Mexico in 1942, with Chaplin agreeing to a generous settlement. For years afterward, Chaplin stated that they were married in China in 1936, but to private associates and family, he claimed they were never legally married, except in common law.

Goddard began gaining star status after appearing in The Young in Heart (1938), Dramatic School (1938), and a supporting role in The Women (1939), in role of Miriam Aarons, which starred Norma Shearer, Joan Crawford and Rosalind Russell.

During filming of The Women, Goddard was considered as a finalist for the role of Scarlett O'Hara in the 1939 film Gone with the Wind, but after many auditions and a Technicolor screen test, lost the part to Vivien Leigh. Although, it has been suggested that questions regarding her marital status with Chaplin, in that era of the Production Code and the morals clauses, may have cost her the role, the reality was that Selznick felt that Vivien Leigh's screen tests showed that she was perfectly suited for the part.

Nonetheless, in 1939, Goddard signed a contract with Paramount Pictures and her next film The Cat and the Canary (1939) with Bob Hope, was a turning point in the careers of both actors.

Goddard starred with Chaplin again in his 1940 film The Great Dictator, and then was Fred Astaire's leading lady in the musical Second Chorus (1940), where she met Burgess Meredith. One of her best-remembered film appearances was in the variety musical Star Spangled Rhythm (1943) in which she sang a comic number "A Sweater, a Sarong, and a Peekaboo Bang" with contemporary #sex symbols Dorothy Lamour and Veronica Lake.

She received her only Academy Award nomination, for Best Supporting Actress, in 1944 for So Proudly We Hail! (1943). Her most successful film was Kitty (1945), where she played the title role. In The Diary of a Chambermaid (1946), she starred opposite Meredith, by then her husband.

Her career faded in the late 1940s. In 1947 she made An Ideal Husband in Britain for Alexander Korda films, being accompanied on a publicity trip to Brussels by Clarissa Churchill, niece of Sir Winston and future wife of Prime Minister Anthony Eden. In 1949, she formed Monterey Pictures with John Steinbeck. Her last starring roles were the English production A Stranger Came Home (known as The Unholy Four in the USA), and Charge of the Lancers in 1954. She also acted in summer stock and on television, including in the 1955 television remake of The Women, playing a different character than she played in the 1939 feature film. In 1964, she attempted a comeback in films with a supporting role in the Italian film Time of Indifference, but that turned out to be her last feature film. Her last acting role was in The Snoop Sisters (1972) for television.

Goddard was married to actor Burgess Meredith from 1944 to 1949. She suffered a miscarriage while married to him. She had no children. In 1958 she married the author Erich Maria Remarque. They remained married until his death in 1970.

Goddard was treated for breast cancer, apparently successfully, although the surgery was very invasive and the doctor had to remove several ribs. She later settled in Ronco sopra Ascona, Switzerland, where she died of emphysema a few months before her 80th birthday. She is buried in Ronco cemetery, next to Remarque and her mother.

In her will, she left US$20 million to New York University (NYU), in recognition of her friendship with the Indiana-born politician and former NYU President John Brademas. Goddard Hall, an NYU freshman residence hall on Washington Square, is named in her honor.

MORE INFO ON WILLIAM CASTLE: William Castle (April 24, 1914 May 31, 1977) was an American film director, producer, and actor.William Schloss was born in New York City to a Jewish family. Schloss means "castle" in German, and Castle probably chose to translate his surname into English to avoid the discrimination often encountered by Jewish entertainers of his time. He spent most of his teenage years working on Broadway in a number of jobs ranging from set building to acting. This put him in a good stead to become a director, and he left for Hollywood at the age of 23, going on to direct his first film 6 years later. He also worked an as assistant to director Orson Welles, doing much of the second unit location work for Welles' noir classic, The Lady from Shanghai.

Castle was famous for directing films with many gimmicks which were ambitiously promoted, despite being reasonably low budget B-movies. Five of these were scripted by adventure novelist Robb White. Recently, two of his films have been remade, House on Haunted Hill in 1999, and Thirteen Ghosts in 2001 (the latter retitled Thir13en Ghosts).

He also produced, and had a brief non-speaking role in, Roman Polanski's film Rosemary's Baby (1968). Castle is the grey-haired man lurking outside the phone booth while Mia Farrow is attempting to get in touch with the obstetrician. According to the documentary featured on the film's DVD release, Castle had wanted to direct the film as well, but the studio insisted on hiring another director due to the reputation Castle had gained through his previous work. They felt that the novel deserved a better treatment than Castle was able to give it.

After a long career, William Castle died in Los Angeles, California, of a heart attack. He is interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.

A documentary focusing on Castle's life, Spine Tingler! The William Castle Story, directed by Jeffrey Schwarz, had its premiere at AFI FEST 2007 in Los Angeles on November 8, 2007. It won the Audience Award for Best Documentary.

Castle's gimmicks Macabre (1958): A certificate for a $1,000 life insurance policy from Lloyd's of London was given to each customer in case he/she should die of fright during the film. Showings also had fake nurses stationed in the lobbies and hearses parked outside the theater.

House on Haunted Hill (1959): Filmed in "Emergo". An inflatable glow in the dark skeleton attached to a wire floated over the audience during the final moments of some showings of the film to parallel the action on the screen when a skeleton arose from a vat of acid and pursued the villainous wife of Vincent Price. The gimmick did not always instill fright; sometimes the skeleton became a target for some audience members who hurled candy boxes, soda cups or any other objects at hand at the skeleton.

The Tingler (1959): Filmed in "Percepto". In the film a docile creature that lives in the spinal cord is activated by fright, and can only be destroyed by screaming. In the film's finale one of the creatures removed from the spine of a mute woman killed by it when she was unable to scream is let loose in a movie theatre. Some seats in theatres showing the Tingler were equipped with larger versions of the hand-held joy buzzers attached to the underside of the seats. When the Tingler in the film attacked the audience the buzzers were activated as a voice encouraged the real audience to "Scream - scream for your lives." The effect caused more giggles than shock.Articles regarding this often incorrectly state the seats in the theatre were wired to give electrical jolts.

13 Ghosts (1960): Filmed in "Illusion-O". A hand held ghost viewer/remover with strips of red and blue cellophane was given out to use during certain segments of the film. By looking through either the red or blue cellophane the audience was able to either see or remove the ghosts if they were too frightening. The similarity to anaglyph 3-D glasses often causes this film to be listed as 3-D when in fact there are no 3-D segments in the film.

Homicidal (1961): This film contained a "Fright break" with a 45 second timer overlaid over the film's climax as the heroine approached a house harboring a sadistic killer. A voiceover advised the audience of the time remaining in which they could leave the theatre and receive a full refund if they were too frightened to see the remainder of the film. To ensure the more wily patrons did not simply stay for a second showing and leave during the finale Castle had different color tickets printed for each show. In a trailer for the film, Castle explained the use of the Coward's Certificate and admonished the viewer to not reveal the ending of the film to friends, "or they will kill you. If they don't, I will." About 1% of patrons still demanded refunds, and in response:

"William Castle simply went nuts. He came up with 'Coward's Corner,' a yellow cardboard booth, manned by a bewildered theater employee in the lobby. When the Fright Break was announced, and you found that you couldn't take it anymore, you had to leave your seat and, in front of the entire audience, follow yellow footsteps up the aisle, bathed in a yellow light. Before you reached Coward's Corner, you crossed yellow lines with the stenciled message: 'Cowards Keep Walking.' You passed a nurse (in a yellow uniform? ... I wonder), who would offer a blood-pressure test. All the while a recording was blaring, "'Watch the chicken! Watch him shiver in Coward's Corner'!" As the audience howled, you had to go through one final indignity -- at Coward's Corner you were forced to sign a yellow card stating, 'I am a bona fide coward.' Very, very few were masochistic enough to endure this. The one percent refund dribbled away to a zero percent, and I'm sure that in many cities a plant had to be paid to go through this torture. No wonder theater owners balked at booking a William Castle film. It was all just too damn complicated."

Mr. Sardonicus (1961): In this gothic tale set in 1880 London a baron's face is frozen into a permanent grotesque hideous smile after digging up his father's grave to retrieve a lottery ticket left in the pocket of his father's jacket. The audiences were allowed to vote in a "punishment poll" during the climax of the film - Castle himself appears on screen to explain to the audience their options. Each member of the audience was given a card with a glow in the dark thumb they could hold either up or down to decide if Mr. Sardonicus would be cured or die during the end of the film. Supposedly, no audience ever offered mercy so the alternate ending was never screened.

Zotz! (1962): Each patron was given a "Magic" (gold colored plastic) coin which, of course, did absolutely nothing.

13 Frightened Girls (1963): Castle launched a worldwide hunt for the prettiest girls from 13 different countries to cast in the film.

Strait-Jacket (1964): Joan Crawford. Advised by his financial backers to eliminate gimmicks, Castle hired Crawford to star and sent her on a promotional tour to theatres. At the last minute, Castle had cardboard axes made and handed out to patrons.

I Saw What You Did (1965): The film was initially promoted using giant plastic telephones but after a rash of prank phone calls and complaints, the telephone company refused Castle permission to use them or mention telephones. So he turned the back rows of theatres into "Shock Sections". Seat belts were installed to keep patrons from being jolted from their chairs in fright.

Bug (1975): Castle advertised a million-dollar life insurance policy taken out on the film's star, "Hercules" the cockroach.

This item is part of our in-store inventory from our shop which is located in the heart of Hollywood where we have been in business for the past 40 years!

Item #BMM0002193