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.
|< <||1||2||3||4||5||> >|
|LES MEPRIS (aka CONTEMPT) (1963) - Jean-Luc Godard's inspiring meditation on filmmaking features Jack Palance, Fritz Lang, and the
luminous Brigitte Bardot. I challenge any straight man to watch Bardot's first appearance in the film and not feel all tingly in their special
Allard's artwork is rightfully acknowledged as one of the key posters of French cinema. Original release petite.
|NAKED COMPLEX (1963) - An early nudist film, "Naked Complex" tells the story of a hapless parachutist who ends up in one of Florida's
"naturist" camps, and not one of the ones with fat 50 year olds, one of the good ones.
I purchased this out of Canada and wonder if this is a special release for our friends in the great white north, as it is slightly smaller than regular US one sheets. Happily, in a tribute to our Canadian friend's more permissive attitudes for mammary glands, it doesn't have the usual snipes that covered up the dirty bits on the only other poster I've seen for this film.
|STRIP TEASE (1963) - One of the icons of '60s counterculture, Krista Nico was around many of the major artistic upheavals at the time.
Made in her European days, "Strip Tease" offers viewers a rare taste of early Paris sleaze, plus healthy doses of a stunning, young Nico in the altogether.
After leaving Europe and moving to New York, Nico (as she became known) was an integral part of the Andy Warhol "factory" scene. Eventually she teamed up with John Cale and the seminal rock band, "The Velvet Underground," to make a series of legendary recordings, that remain important landmarks from the era. The sixties would not have been the sixties had their been no Nico.
This is an original release French grande, with the flawless Nico and her dainty underthings prominently on display.
|DR. STRANGELOVE OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964) - Stanley Kubrick's blackest of black comedies about
mutually assured destruction. What could be funnier than that?
Tomi Ungerer's artwork perfectly captures the insanity of the cold war and of Kubrick's film. Original release US one sheet on linen.
We'll meet again, don't know where, don't know when...
|JAKOMAN TO TETSU (1964) - Original Japanese release.
Directed by noted filmmaker Kinji Fukasaku with a script written by master Akira Kurosawa. Tells the story of fishing village terrorized by a one-eyed bully and the young man who decides to rebel against the thug. Pure Kurosawa, since it could just as easily be told against a samurai setting.
Posters for films only written by Kurosawa are difficult to come by. There is some damage in the upper border, fortunately the missing edge pieces are still glued to the verso, as it was apparently glued rolled to itself at one time.
|PARAPLUIES DE CHERBURG, LES (aka UMBRELLAS OF CHERBURG) (1964) - Jacques Demy's astonishingly original musical with French beauty
extraordinaire, Catherine Deneuve. If you don't have Michel Legrand's music clanging through your skull for days after watching this, you didn't watch
Original folded French grande.
|ROBINSON CRUSOE ON MARS (1964) - Quite possibly one of the last, old school "'50s" science fiction films ever made,
that is, one that has all of the conventions we grew to love,
"RCoM" signals the end of an era. As the '60s progress, filmmakers will abandon goofy monsters and aliens on the loose in favor
of much more, dare I say, "intelligent" science fiction such as "2001" or "Planet of the Apes." "RCoM" is still tops though, and a great way to
finish off the genre.
Original US release on linen.
|< <||1||2||3||4||5||> >|
For detailed condition descriptions please contact me.
Thanks for looking!
© 2010, all rights reserved