These posters are for trade purposes only and are not for sale. Please refer to my want list for things that are of interest.
With the war over, the baby boom was on. Times were good, but the memories were bad. The wholesome artificiality of the Production Code that made everything so shiny and clean now seemed a mockery of the death, rot and corruption those mid-west farmboys and girls had just survived. The war had forever changed the American psyche, and the films mirrored that change.
Gradually, filmmakers started testing the boundaries of what was allowed, subverting cliches, and reaching back into territory that hadn't been visited in almost 20 years. The advent of television and the collapse of the studio system hastened the end of the Production Code as Hollywood was forced to tackle stories that would never be allowed on TV. Fully "mature" films were being made once again in Europe, but the US film industry was quickly catching up.
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|O CANGACEIRO (aka BANDIT, THE) (1953) - One of the first native Brazilian films to be screened outside of Brazil, Lima
Barreto's "old west" inspired story also won best music at Cannes in '53.
This original poster is extremely rare and represents one of the high points of Brazilian cinema. Featuring graphics by renowned Brazilian artist, Carybé, (noted for his murals at JFK airport), its rarity is only surpassed by its modernist, and uniquely South American, beauty. I suspect this poster might have been used for the film's showing at Cannes, as I got it from a French dealer.
|Trade Only (T.O.)|
|CAINE MUTINY (aka OURAGAN SUR LA CAINE) (1954) - Style A, original release French grande.
Dynamic and exciting poster showing one of the most thrilling scenes from the Bogart classic. Far superior to any of the truly horrid US paper.
|CAINE MUTINY (aka OURAGAN SUR LA CAINE) (1954) - Style B, original release French grande.
I have to say, I think this is the possibly the best poster for "The Caine Mutiny" there is. Really superior art showing all the stars in very representative poses.
|CHIKAMATSU MONOGATARI (aka THE CRUCIFIED LOVERS) (1954) - Unusual and rare original english language poster (for the most part anyway),
printed in Japan for use by overseas distributors. These posters were occasionally done for the more important films, and Kenji Mizoguchi's entry
for the Cannes Film Festival would have been an important film.
One of Mizoguchi's best, the film tells a story based on Chikamatsu Monzaemon's 17th century play. Mizoguchi, along with Kurosawa and Ozu were the key directors whose work brought Japanese cinema to the attention of the west. This film played an important role in that discovery.
|SEVEN SAMURAI (aka SHICHININ NO SAMURAI) (R. 1967) - The epic masterpiece that sealed director Akira Kurosawa's place in the
pantheon of world cinema directors. A virtually perfect film.
Original Japanese 1967 re-release.
|THEM (aka DEMONS ATOMIQUE) (1954) - The granddaddy of all giant bug movies, this Belgian release does more for me
than the US releases. For some reason, the colors on the US paper look flat to me, but that's certainly not the case with this one.
These are some badass ants.
Couple of misfolds and the top seems to be trimmed, but nothing to get in a twist about.
|CONQUEST OF SPACE (aka CONQUETE DE L'ESPACE, LA) (1955) - Once again the Belgians outdo their US counterparts. The US
art is quite lackluster, but this one really throws it all into an appropriately Technicolor poster.
Master George Pal is at it again, this time going for more "realism" as he shows a trip to Mars, and all the problems that we'll expect.
|DIABOLIQUES, LES (R. 1960) - Consensus on this poster has changed over the years. Until recently, it was generally believed
that they were designed and used
for the film's bookings outside of Paris during the original release. Now, collectors feel that it is from a somewhat later, 1960 release.
Henri-Georges Clouzot raises the bar in this very modern thriller starring the incomparable Simone Signoret.
|KILLER'S KISS (1955) - Stanley Kubrick burst onto the mainstream film world with this almost entirely self-made production.
Utilizing his skills as a photographer, Kubrick creates a brooding world, loaded with grim tension and noir atmosphere.
This original release one sheet has delightfully lurid graphics and tagline. I'm not sure what Stanley thought of it, I suspect it may have influenced his insistence on approving the poster art for his films when he finally had enough clout.
|MAN WITH THE GOLDEN ARM, THE (1955) - Original release Belgian, features art based on the Saul Bass designs.
As far as I've seen, this is the only poster that shows Mr. Sinatra about to shoot up. I can't imagine Frank's people were very thrilled about that. It's interesting that that image was chosen in Belgium, while being so scrupulously avoided everywhere else in the world. Well worth having.
|RIO Y LA MUERTE, EL (aka THE RIVER AND DEATH) (1955) - After turning the avant garde film world upside down with
"Un chien andalou" and "L'Age d'Or," both collaborations with Salvador Dali, Luis Bunuel was destined for greatness. However, it's only
after he relocates to Mexico does he start making "commercial" films that get him worldwide attention once again.
This dramatic Mexican one sheet vividly portrays the grim, surrealistic story about a town where death and vengeance are the rule. Country of origin posters for Mexican era Bunuel films are extremely desirable for aficionados.
|EARTH VS. THE FLYING SAUCERS (aka SOUCOUPES VOLANTES ATTAQUENT, LES) (c. 1956) - Ray Harryhausen has a go at invading
spacemen, cashing in on the UFO craze that swept the country after World War 2. Whether it was the fluoride in the water, the commies
under the bed, or all the atomic fallout from nuclear bomb testing, the world was preoccupied with flying saucers and alien invaders.
Like all of Harryhausen's
'50s films, it remains quite watchable today.
This French grande absolutely takes the baguette for best designed poster for the film.
|GODZILLA (aka KAIJU O GOJIRA) (c. 1956) - Original release French petite.
If you have only ever seen the Raymond Burr abomination, do yourself a favor and find a copy of the original Japanese version of "Godzilla," it will positively blow you away. Dark and depressing, Godzilla is more than just a comic foil to guys in rubber suits, he is a creation of the modern atomic age, with all the known (particularly by the Japanese) and unknown horrors that the age had to unleash.
Seriously, watch the original version.
|GIANT (aka GIGANTE, IL) (1956) - If you're one of those people who've wondered
just what the heck was the big deal about James Dean, you need to forget about all the "Rebel" kitsch, it's a scene like
this from "Giant" that explains it without
the 1000 words of prose that would otherwise be necessary. Dean was capable of using The Method to draw performances from places ordinary actors feared
to tread. What IS going on in this scene? It's as if Dean can see that highway intersection that is going to make him immortal.
Quite possibly one of the most unusual James Dean posters ever. Original release Italian photobusta.
|KILLING, THE (1956) - Stanley Kubrick moves into a big-time production following the success of "Killer's Kiss." A brutal
take on the heist of a lifetime, with enough shady characters to fill a Jim Thompson novel. Unrelentingly grim and cynical, needless to say,
Original US release one sheet.
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