On a bit of a Rory Calhoun kick these days. Here he is with the missus, Lita Baron, in a 1955 Chesterfield ad, hawking smokes and Four Guns To The Border (1954).
Archive for the ‘Ads, posters & art’ Category
These don’t require much explanation. It’s the cover and one spread from the original program for Anthony Mann’s Bend Of The River (1952). Click on ‘em, they get bigger. Enjoy.
In a recent comment, John Knight mentioned Stage To Tucson (1950), a Rod Cameron picture produced by Harry Joe Brown and shot in the Alabama Hills.
Reminded me of its gorgeous poster art. Wonder who painted that one?
Baltimore was a good place to be on February 23, 1957 — judging from this page out of The Baltimore Afro-American. Take a look at what was playing:
The Searchers (1956), which needs no explanation.
7th Cavalry (1957), a Columbia Randolph Scott picture directed by Joseph H. Lewis — followed by The Gamma People (1956).
The Brass Legend (1956) stars Hugh O’Brien, Nancy Gates and Raymond Burr. It was directed by Gerd Oswald.
Robert Taylor and Eleanor Parker in Many Rivers To Cross (1955).
Drango (1957) with Jeff Chandler, paired with The Peacemaker (1956), an early feature credit for Ted Post.
Then there’s Stagecoach To Fury (1957), a Regalscope picture with Forrest Tucker and Mari Blanchard. Looks like a rare booking as the top of the bill.
And sprinkled around other theaters: Clark Gable in Raoul Walsh’s The King And Four Queens (1956); Flesh And The Spur (1957), an AIP Western with John Agar, Marla English and Touch Connors; Phil Karlson’s They Rode West (1954); even James Cagney and Humphrey Bogart in The Oklahoma Kid (1939).
Not sure where I would’ve had my mom drop me off.
UPDATE: Each of these theaters (The Roosevelt, The Met, The New Albert and The Regent) are gone.
In case you ever wondered what Gene Autry’s letterhead looked like. What a beautiful illustration, complete with camera crew.
This print ad is part of the current American Express campaign. (Click on it and it’ll get bigger.) There’s a web component as well. Being in Advertising (copywriter/creative director) and a fan of Westerns, a couple things struck me about it.
• With the genre declared dead or dormant or whatever, it’s interesting that a Western image still symbolizes The Movies, much in the way stock footage of a cavalry charge — complete with audio of a bugle, gunfire and rampaging Indians — used to represent someone watching TV.
• The widescreen image in the theater illustration suffers when placed on the handheld device. Note that the sides are cropped off.
Don’t strain your eyes to read the copy in the ad. There’s no mention of Randolph Scott. (And I promise this is the closest this blog will get to including advertising — until I start plugging my book!)
Showing all next week at New York’s Film Forum is Delmer Daves’ 3:10 To Yuma (1957). Above, Daves and Glenn Ford discuss just how creepy Glenn Ford will be in the next scene. Ford, playing against type, gets all the attention, but Van Heflin is just as good as the rancher in way over his head.
Thanks to Henry Cabot Beck.
It’s the night before Christmas, 1954, in Youngstown, Ohio. You’ve got your kerchief or cap on, and you’re about to settle down for a long winter’s nap. Winding down, you open the newspaper and you come across the ads above — two ads for the same film! — spread across the gutter. And you think to yourself: After the presents and the turkey and the in-laws, maybe we should head over to the Palace.
Someone commented on the upcoming Blu-Ray of Vera Cruz (1954) and the lack of aesthetic value in its packaging. That spurred me to revisit the film’s posters and ads. These ads were full-page height, so you can imagine how striking it would’ve been.
I’m really getting stoked about this Blu-Ray. Anybody out there know anything about the transfer and source materials?
By the way, opening the same day at the State — George Montgomery in Sam Katzman and William Castle’s Masterson Of Kansas.