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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|JULES ET JIM (aka JULES AND JIM) (1961) - The film that cemented Truffaut's reputation as a director. Telling the story of
the quintessential love triangle, the range of emotions Truffaut was able to put on film are just incredible. The lovely Jeanne Moreau stars
as the object of all the romantic interest, and it doesn't take a great leap of suspension of disbelief to see why that would be.
Iconic image for the original French release.
|Trade Only (T.O.)|
|MISFITS, THE (1961) - Was "The Misfits" cursed, or was it pre-ordained to be the end of several eras? The final released film
for both Marilyn Monroe and Clark Gable, two icons of the screen, a nearing to the end of the cinematic road for Montgomery Clift, plus
maverick master John Huston
directs a script by the former Mr. Monroe, Arthur Miller. If one was so inclined, a case could be made that this film truly represents the end of
the "studio" film. It's unlikely a better end could have been planned.
Original US one sheet.
|WORLD BY NIGHT, THE (aka IL MONDO DI NOTTE) (1961) - Italian director Luigi Vanzi suckered investors into paying for his trip
around the world to film strippers, female impersonators,
dog acts, and other bits of low-brow burlesque, (is there any other kind?). Paving the way for other mondo films, "World By Night" is to be thanked for opening the
door, however ineptly, to an entire genre of sleaze that we are most grateful for.
Original Japanese release blows the doors off of most paper from any other country, certainly the astoundingly weak US material.
|CARNIVAL OF SOULS (1962) - The best poster for the super-creepy low budget masterpiece of atmosphere, bar none. US material for "Carnival..." is
hampered by craptastic black and white art that does an incredible disservice to this horror landmark. You know it's bad when folks covet the
pressbook for it's colored images.
This original Japanese release makes up for a lot of crappy posters, all of the key scenes are represented, and are not too chaotic as they are in some Japanese posters. Couldn't ask for anything better, well, maybe less Kanji, but that's it.
|LOLITA (1962) - Linen backed, original release US one sheet.
I definitely prefer the "Lolita" US paper that doesn't have the age disclaimer. Put on as a toadying attempt to get the religious nuts off their backs, to me it represents art bowing to religion, and that just shouldn't happen. Kubrick's film is a brilliant re-telling of Nabokov's tale of pervy Humbert Humbert and his obsession with the nymphet daughter of man-crazy Shelly Winters. Hysterically funny in places, the film is a training manual to new filmmakers for how books should be adapted.
This image of Sue Lyons has been etched into cinema history.
|SANJURO (R. 1968) - With the success of "Yojimbo," Toshiro Mifune returns as the wily ronin, this time helping a group of
young samurai root out corruption within their clan. One of the most astonishing endings of any Kurosawa movie.
Original 1968 Japanese re-release poster.
|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.
|CONTEMPT (aka LES MEPRIS) (1963) - This original release US one sheet is fairly rare, as are most US posters for early nouvelle vague films. Plus, it has the benefit of not being plagued by quotes from know-it-all critics splashed all over it as most of it's contemporaries did. While not as racy as the French art, it still nicely gives an idea of what viewer can expect - a healthy dose of Brigitte Bardot at her absolute peak.||SOLD|
|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.
|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...
|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.
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