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The "mystery" daybill is rare and some were clearly printed for NZ without censor details but it was also printed for the Australian release with Australian censorship.
Here is an incredible photograph
found in the June 5th, 1920 Moving Picture World magazine that shows a 24-Sheet
Grim Game Poster on a stand at the Broadway of Leichart, New SouthWales: https://harryhoudinicircumstantialevidence.com/
Two 24 sheets of The Grim Game ( 1919 ) & It Pays To Advertise ( 1919 ) films appearing side by side in Leichhardt Sydney in 1920 on a large billboard.
Leichhardt spelt twice incorrecrly above as being Leichart with two letters missing. The comment under the image regarding import tax is interesting. The two well dressed gentlemen certainly highlight the huge size ot the billboard.
An enlargement of the Houdini film The Grim Game image showing some great artwork that must have made for spectacalar viewing in colour in 1920.
A clearer image that I found of the 24 sheet poster of The Grim Game sourced from a U.S.A. press book.
British adaptation of the German film which
records the U-35 sinking merchant shipping in the western Mediterran and
west of Gibraltar, 31st March-6th May 1917. The captions describe heroic fights
put up by British vessels with additional film of U-boats at Harwich after the
Armistice, proving that "Britannia rules the waves"
A scene from the British made 1948 film Againt The Wind showing Jack Warner at the bar with a great product placement for Smith's Crisps.
''I have always wondered about the Simmons daybill
of Annie Get Your Gun being an original. Now that I have been informed about a
W.E.Smith daybill as well and there happened to be one on eMovieposter.com that
I have checked out. No definite proof but I firmly believe the following.The
W.E.Smith version is the original daybill as they were the preferred
printer at that time. Simmons printed a good number of MGM daybills in 1956
which co-insides with a 1956 re-release around Australia of Annie Get Your Gun.
The Simmons version is more available to obtain than to the rare W.E.Smith
version and usually re-release posters are more easily available.''
Australian newspaper advertisements for Melbourne screenings in 1956.
Another newspaper advertisement this time advertising later 1958 screenings in Canberra ACT, Norice the ''Re-Presenting'' tagline.
To sum it all up I wish to confirm that I am of the firm belief that the W.E.Smith daybill was printed for the 1950 release and that the Simmons version, for all the reasons and information that I have provided here, was the Australian 1956 re-release version.
Australian wartime 10 X 30 daybills new and more detailed researched information.Examples above of an MGM colour daybill ( no duotone in this size produced ) and three different examples of the styles that Paramount produced in the 10 x 30 size.Part 3 will cover the more complicated Paramount involvement which includes, apart from the full 10 x 30 colour versions, the similar duotone versions produced by Richardson Studio also in both 10 x 30 and also 13 x 30 b&w and also colour versions of the same design. I will also cover the limited number of 10 x 30 photographic style non Richardson Studio duotone style versions that were produced in blue and white versions. Overall I found the Paramount details far more involved than the MGM details. .
Australian wartime 10 X 30 daybills new and
more detailed researched information.
Five Graves to Cairo - I can't remember where I got the image from.
Such wonderful information! Thanks for sharing.I have to re-read a couple more times to get the dates clear in my head, but is there any thinking around why the duo tones have no rating?Also, is it possible that the vast majority of film output during this time simply came from those two studios?