Lot of 6 MINT, James Caan studio stills HIDE IN PLAIN SIGHT (80) Jill Eikenberry

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Lot of 6 MINT, James Caan studio stills HIDE IN PLAIN SIGHT (80) Jill Eikenberry:
$8.40

(They ALL look MUCH better than these pictures above. The circle with the words, “scanned for , Larry41” does not appear on the actual photograph. I just placed them on this listing to protect this high quality image from being bootlegged.)

Use BUY-IT-NOW and get FREE domestic FIRST CLASS shipping!Lot of 6, James Caan MINT studio stills HIDE IN PLAIN SIGHT (1980) Jill Eikenberry, Danny Aiello, Tom Signorelli, Robert Viharo, Joe Grifasi, Jimmy DeCloss– GET SIGNED!

This lot of approximately 8X10 photos will sell as a group. The first picture is just one of the group, please open and look at each still in this lot to measure the high value of all of them together. The circle with the words, “scanned for , Larry41” does not appear on the actual photographs. I just placed them on this listing to protect these high quality images from being bootlegged. They would look great framed on display in your home theater or to add to your portfolio or scrapbook! Some dealers by my lots to break up and sell separately at classic film conventions at much higher prices than my low minimum. A worthy investment for gift giving too!

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! COMBINE SHIPPING COST AND SAVE $ See a gallery of pictures of my other sales HERE!

These photographs are original photo chemical created pictures (vintage, from original Hollywood studio release) and not a copies or reproductions.

DESCRIPTION:

Star James Caan made his directorial debut in the fact-based Hide in Plain Sight. Caan plays a divorced husband and father who comes to visit his ex-wife and children, only to discover that they\'ve evidently disappeared from the face of the earth. Running up against the stonewall tactics of the authorities, Caan eventually learns that his wife\'s present husband is a witness against the mob, and that his family members have been given a new home and new identities via the Justice Department\'s new witness relocation program. Denied information concerning his children\'s whereabouts, Caan desperately attempts to find them himself. Hide in Plain Sight was adapted by Spencer Eastman from the book by Leslie Waller.

CONDITION:

These quality vintage and original release stills are all in MINT, uncirculated condition (none of them has any signs of wear). I doubt there are better condition stills on this title anywhere! Finally, they are not digital or repros. (They came from the studio to the theater during the year of release and then went into storage where the collector I bought them from kept them for over 30 years!) They are worth $10 each but since I have recently acquired two huge collections from life long movie buffs who collected for decades… I need to offer these choice items for sale on a first come, first service basis to the highest buyer.

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 three quarters of 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: Hide in Plain Sight is such a gritty, realistic slice of working-class life in Buffalo that it disregards several key elements of narrative filmmaking, most notably a suspenseful build toward an emotionally rewarding climax. This is both a strength and a weakness of James Caan\'s stridently uncommercial directorial debut. One applauds Caan and screenwriter Spencer Eastman for sticking close to the facts of the true story, which has the inherent sensationalism of involving the mob and a custody battle complicated by the secrecy of the witness relocation program. The authenticity of these characters and the situations they face is unquestioned. Caan in particular plays his frustrations with minimal drama, railing against the bureaucracy with controlled rather than exaggerated outbursts. But Hide in Plain Sight can\'t achieve more than a middling level of affection because of this restrained naturalism. The final showdown is made possible by a lucky break that doesn\'t get adequately explained. It arrives so suddenly that it leaves the viewer unprepared. Still, Caan is clearly operating on his own terms, free from Hollywood dictates, and the result is a triumph of quiet independence, one that parallels Thomas Hacklin Jr.\'s underdog quest to find his children.

Like so many other prominent actors of the 1970s, the versatile James Caan rose to success on the strength of his riveting performance in The Godfather. Born March 26, 1939, in the Bronx, NY, Caan decided to pursue a career in acting while attending college and in 1960 was accepted by Sanford Meisner into the Neighborhood Playhouse. After making his debut off-Broadway in I Roam, he landed in the Broadway production of Mandingo but exited after just four performances because of artistic difficulties with star Franchot Tone. Caan then landed in television, where he became a busy character actor; he made his film debut in an unbilled performance in 1963\'s Irma La Douce, followed by a meatier role in Lady in a Cage the following year. The 1965 Howard Hawks auto-racing drama Red Line 7000 was his first starring role, followed two years later by the Hawks Western El Dorado, which cast him opposite John Wayne and Robert Mitchum; in 1968, Caan starred in Robert Altman\'s Countdown, and in 1969, he appeared in Francis Ford Coppola\'s The Rain People. Caan shot to fame thanks to a poignant performance in the 1970 television movie Brian\'s Song, in which he played the ill-fated Chicago Bears star Brian Piccolo; his turn as the similarly ill-fated Sonny Corleone in Coppola\'s 1972 masterpiece The Godfather solidified his stardom and earned him an Academy Award nomination, but his subsequent films, including 1973\'s Slither and the next year\'s Freebie and the Bean, failed to live up to expectations. After earning a Golden Globe offer for his work in 1974\'s The Gambler, Caan briefly appeared in 1974\'s The Godfather Pt. 2 before co-starring with Barbra Streisand in the hit Funny Lady, followed by Norman Jewison\'s futuristic parable Rollerball. When both 1975\'s Sam Peckinpah thriller The Killer Elite and 1976\'s Harry and Walter Go to New York met with failure, Caan\'s career took a downward turn, and apart from cameo appearances in both Mel Brooks\' Silent Movie and the star-studded A Bridge Too Far, he was largely absent from screens for a time. He also made any number of ill-considered decisions; he and Coppola were unable to come to terms for Apocalypse Now, and he also rejected roles in hits including One Flew Over the Cuckoo\'s Nest, Superman, and Kramer vs. Kramer. By the end of the decade, Caan\'s career had hit the skids, as projects including the 1978 Western Comes a Horseman (co-starring Jane Fonda) and the following year\'s Neil Simon drama Chapter Two all failed to live up to expectations. His directorial debut in 1980\'s Hide in Plain Sight fared no better, although Michael Mann\'s thriller Thief garnered a cult following; when 1982\'s Kiss Me Goodbye bombed, Caan disappeared from sight for the next five years. Finally, in 1987, Caan resurfaced, starring in Coppola\'s war drama Gardens of Stone; the next year\'s science fiction picture Alien Nation was a hit, as was his next major project, Rob Reiner\'s 1990 feature Misery. After 1991\'s For the Boys failed to connect with audiences, Caan spent much of the decade in prominent supporting roles which showcased his smart, edgy persona; among the more high-profile were 1992\'s Honeymoon in Vegas, 1996\'s Eraser, and the wonderful indie hit Bottle Rocket. Caan would prove over the coming decades that he liked to work, appearing in projects that ran the gamut from big to small. He\'d appear in comedies like Mickey Blue Eyes and Elf, thrillers like City of Ghosts and In the Shadows, indie films like Lars Von Trier\'s Dogville and Tony Kaye\'s Detachment. Caan would also delight audiences on the small screen with a starring role on the TV series Las Vegas from 2003 to 2007.

Jill Eikenberry had been a stage actress for over a decade when she made her film bow in Joan Micklin Silver\'s Between the Lines (1977). That same year, she was seen in her first television project, the TV movie The Deadliest Season. Gravitating to comedy roles in films, Eikenberry was at her strident best as Dudley Moore\'s wealthy bride-to-be in Arthur (1981). On the weekly-TV scene, Eikenberry had a regular role on the short-lived series Nurse, and a longer engagement as attorney Ann Kelsey on LA Law (1986-1994). Co-starring on that series with Jill Eikenberry was her husband Michael Tucker, who has also teamed with Eikenberry in the made-for-TV feature films Assault and Matrimony (1987) and The Secret Life of Archie\'s Wife (1990).

An Italian-American character actor with a beefy physique, no-nonsense expression, and intimidating presence, Danny Aiello came to acting late in life, having been a bus driver, a transport labor official, a night-club bouncer, and (he claims) an occasional thief. He began performing at an improvisational night spot. As he was approaching middle age, he appeared in a regional theater production of Jason Miller\'s That Championship Season, for which he won a Most Outstanding Newcomer award. Aiello made his screen debut in Bang the Drum Slowly (1973), and he went on over the next 15 years to play a succession of tough guys, cops, brutes, slobs, and \"ordinary guys\" in a wide variety of movies, but broke out of that mold when he portrayed Cher\'s fiancée in Moonstruck (1987). For his portrayal of a pizza parlor owner in Spike Lee\'s Do the Right Thing two years later, Aiello received a Best Supporting Actor Oscar nomination. He went on to become one Hollywood\'s more prolific character actors; between 1989 and 1996, he appeared in 26 feature films. The actor\'s first lead role came in the title part of Ruby (1992). In addition to his screen work, Aiello has also appeared frequently on Broadway, and in 1976, he won a Theater World Award for his Broadway debut in Lampost Reunion. His work in TV movies includes the acclaimed A Family of Strangers (1980).

Stage actor Joe Grifasi was 33 when he made his inaugural movie appearance during the lengthy opening wedding sequence in 1978\'s The Deer Hunter as the bandleader. The actor has since been seen in such films as Still of the Night (1982) and Presumed Innocent (1990), appearing in the latter as Tommy Molto. In 1990, Joe Grifasi was cast in the regular role of TV-station public relations man Tony Pro on the brief TV series WIOU. A graduate of the Yale School of Drama, Grifasi first gained professional experience on the New York stage. In addition to his acting credits, Grifasi frequently appears in television commercials.