Archive for the ‘Ads, posters & art’ Category

This blog post, featuring beautiful Polish posters for Western films, was brought to my attention. The one above is for Winchester ’73 (1950).

Well worth a look.

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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.

Below, the US one sheet. This picture had one of the best advertising campaigns of any 50s Western. “Time for another great one…” indeed.

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Thanks to Henry Cabot Beck.

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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.

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Thomas Allen, Chromogenic print, 2009.

I love Thomas Allen’s photographs, which make incredible use of old pulp and paperbacks covers — even though I cringe at the thought of these things being mauled in the process. You can see a number of them, many of them Westerns, here.

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The Violent Men (1955)

If you aren’t familiar with it, The Friends Of Marty Melville is an amazing blog focusing on movie advertising. Here’s an ad for a Toronto showing of The Violent Men (1955). Note that CinemaScope gets billing as big as the film itself.

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The Rawhide Trail (1958) is a 67-minute Allied Artists picture starring Rex Reason and Nancy Gates. Its pressbook offered up the following “seat-selling copy” for live radio spots.

THE RAWHIDE TRAIL! … The story of the killer-Comanches, gathering for the bloodiest night of terror in the west! Creeping by dawn … burning by day … slowly encircling the terror-stricken nine men and an Indian girl. See “The RAWHIDE TRAIL” starring Rex Reason and Nancy Gates.

All you had to do was hand that to your local station, get them to include the name of your theater, and watch the tickets go like hotcakes.



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Haven’t seen Tension At Table Rock (1956). It was directed by Charles Marquis Warren, who I’ve been reading up on lately — his Little Big Horn (1951) is really good (and 1969’s Charro is awful).

But while I can’t say a whole lot about the picture itself, RKO gave Tension At Table Rock an incredible one-sheet. Anybody know who the artist was?

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Western Pennsylvania’s a long way from The West, but thanks to the Spotlight 88 Drive-In Theatre, it was crawling with cowboys in May of 1957.

Stagecoach To Fury (1957) is a Forrest Tucker Regalscope picture, directed by William Claxton. The year before, Tucker and Claxton gave us The Quiet Gun (1956), one of the better Regalscope films. Scope must’ve looked really cool on that wide drive-in screen (right).

Gun Duel In Durango and The Iron Sheriff are both United Artists pictures from 1957 directed by Sidney Salkow.

The Spotlight 88 closed in 1985 after being hit by a tornado. It boasted a train, rollercoaster and other attractions to keep the kids occupied while you watched people shoot each other. Those were the days.

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Baltimore, Maryland. December, 1955.

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