Best And The Worse Daybills, Locally Produced Artwork - Australia vs New Zealand A No Contest.
Wolf Larsen ( 1958 ). Australian Richardson Studio daybill and a New Zealand first release daybill distributed there by a different distributor. One has to feel sorry for collectors ( if any ) of New Zealand printed daybill film posters.
The majority of films released in New Zealand were from the same film distributor that was the case in Australia, and the Australian daybills were used there. The remaining product that was released in New Zealand by other distributors, that were different from the Australian distributors had to have their own daybills designed and printed in New Zealand. The daybills printed were almost all inferior in design, as you can see above with the Wolf Larsen example. Very little time and effort and pride in their work was put into whoever was responsible in producing all the New Zealand product.Whether is was a cost and time factor or / and a complete lack of talent in the designing department, who knows. I will possibly show some of the better and the worse examples at a later time.
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Seance On A Wet Afternoon ( 1964 ), A striking Robert Burton Australian daybill and the New Zealand release daybill.
The Big Circus ( 1959 ) Australian Richardson Studio daybill and the New Zealand daybill for this title that iIdon't mind at all. One of their better efforts.
Angel Baby ( 1961 ) Australian daybill and a basic New Zealand daybill, which I must admit I don't mind at all.
Bluebeard's 10 Honeymoons ( 1960) Australian daybill and the New Zealand daybill version.
Doctor in The House ( 1954 ). Australian daybill and the New Zealand daybill poster.Thumbs up or down for the N. Z. version ?
However, if I wanted to own one, I'd go for the aussie in this case.
Matt said:
I'm still searching.
Above Us The Waves ( 1955 ) Australian daybill ( Matt's one of a kind image ) and the New Zealand daybill. No contest.
The Constant Husband ( 1955 ). New Zealand daybill. I cannot locate an Australian daybill of this title that was released in Australia by London Films in 1956. Whatever was printed in Australia would have to be miles better than the N.Z, effort. What happened to the bottom half of the female's body? Anyone have an image of an Australian daybill of this title?
Robbery ( 1967 ). Australian daybill and the New Zealand printed for Paramount Pictures New Zealand release daybill. Robbery was released in the U.S.A. by Embassy Pictures, but was released throughout most of the remainder of the world by Paramount Pictures. For some reason Australian distribution rights were acquired by BEF.
Revolt In The Big House ( 1958 ). Australian daybill and a less than impressive New Zealand daybill. The weapon the convict is holding on the New Zealand version looks a bit wonky. The film wasn't released in Australia until 1961. Had the film been released a year or so before, it would have been designed by Richardson Studio. One wonders what the Richardson poster would have looked like.
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This Is A HiJack ( 1973 ). Australian daybill and the New Zealand daybill. International Film Distributors Ltd. in New Zealand just adapted some the Australian Filmways poster artwork onto a stock poster.
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Alyse And Chloe ( 1970 ). Original French poster, the Australian daybill with artwork copied from the French poster, then there is the New Zealand poster. A better than average result from the New Zealanders this time around.
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Billy Budd ( 1962 ). An above average looking Australian daybill and a New Zealand produced daybill. The time and effort put into the N.Z. poster artwork is certainly underwleming. Note that Terence Stamp's name has been elevated on the poster.
Whether the film only obtained a late release in N.Z. years later after Terrence Stamp had gained fame in The Collector ( 1965 ) is unknown. International Films was the N.Z. distributor with no Paramount involvement at all.
Call Of the Wild ( 1972 ). Australian daybill and an Australian printed for New Zealand stock poster produced for the N.Z. release over there for a different film distributor.
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The Secret Door ( 1964 ). Original Australian daybill and a bare- bones New Zealand daybill produced for a different distributor in New Zealand, most likely International Films. A clear cut winner here.
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Whistle Down The Wind ( 1961 ). Australian daybill and an original country of origin British one sheet that would have been most likely used in New Zealand and \that their daybill was copied from..
This New Zealand daybill is the winner of the first ''Well done'' award ever given here by me to film poster artwork originating from New Zealand. There have been a few images posted here on this thread in the past that were above average, but certainly the vast majority of the New Zealand poster artwork that I have presented here has certainly been sub standard.
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Moment Of Danger ( 1960 ) ( retitled Malago! in the U.S.A. ). Australian daybill and a well above above average New Zealand poster.
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( Wil )
Man From God's Country ( 1958 ) attractive Australian Richardson Studio Paramount daybill and a bare-bones first release New Zealand daybill from International Films. Paramount were the Australian distributors of Allied Artists product at this period ot time, while International Films were the New Zealand distributor.
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A Gunfight ( 1971 ) Australian daybill and a New Zealand stock poster adapted for it's release over there.
Interesting worldwide distribution with this film. Released by Paramount Pictures in the U.S.A., MGM - EMI in the U.K., Seven Keys in Australia and International Film Distributors in New Zealand.
Commandos In Viet-Nam 1965 Paramount released Australian daybill, aka A Yank In Viet-Nam ( 1964 ) in the U.S.A.
The unexciting New Zealand daybill version. Not credited, but most likely an Internationasl Films release there.
My thanks to Charlie for reinstating the last two of my postings that were temporarily missing on the transfer over of the forum contents.
( John and Nga Taonga Sound And Vision images )
The Seekers ( 1954 ) Australian colour daybill and a New Zealand duotone daybill. In comparison the N.Z. version is well above the usual standard we are used to seeing in New Zealand produced daybill artwork. What is interesting also is that this New Zealand poster has a printer's credit appearing on it, which certainly wasn't a common practice in the 1950's for this to happen. The printer's credit belongs to Wright & Jaques., Printers, Auckland.
( Rewi's Last Stand image courtesy of New Zealand's Nga Taonga Sound And Vision, with the remainIng two images courtesy of the National Library Of New Zealand ).
Rewi's Last Stand ( 1940 ) film poster, Nicola And His Brilliant Company 1938 live theatre poster and Paul Pedrini And His Royal Zambesi Baboons 1929 live theatre poster, which also includes a snipe for the film Our Dancing Daughters starring Joan Crawford which was also appearing on the same progamme. These are only three more examples of Wright & Jaques poster artwork. There are many other examples of their live theatre posters artwotk to be found on Google. Wright & Jaques were printers of numerous live stage production posters with the occasional film poster designed as well. A little more effort was given to their live stage posters than with the film posters it would appear. The company operated from 1887 to the 1950s.
Peter
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The Marksman (1953) original U.S.A. Allied Artisrs insert poster, and a New Zealand produced daybill poster.
Something a little different this time around as the film wasn't picked up for Australian distribution by United Artists or any other distributor.
It certainly appears the N.Z. poster artist wasn't given any U.S. artwork from the film to work with. No sign of the rifle that appears on the American poster.
I do find amusing in that the pictured cowboy is wearing two gun belts but no attached holsters on them. Certainly an inferior bare bones poster
The following image from the film shows the gun belt used in the film.