You must be having fun receiving all those consignments . Great to see some boggy material , even though later release its a gem. And added bonus of less men with lipstick than the first release Casablanca . Keep bringing it on Dave! :P
They're not in the Aussie Auction, all Listings for that will be in it's own section (under Special Events on the left side) besides they wouldn't qualify as they are not Aussie paper and/or Aussie paper...
The Phantom Stockman (1953) - A Rare Original Australian Daybill
Captain Thunderbolt and The Phantom Stockman are the only Australian
features produced in 1953. Filmmaking was declared a non-essential
industry at the time and budgets in excess of £10,000 were not
permitted. Unable to realise large-scale projects each had been
planning, Chips Rafferty and Lee Robinson decided to collaborate on The
Phantom Stockman, a modestly-priced outback drama centred on a heroine
whose situation bears more than a passing resemblance to that of cattle
heiress Lady Sarah Ashley in Baz Luhrmann’s big budget ‘Aussie western’,
Australia (2008).
It was the beginning of a significant creative partnership between
Robinson and Rafferty, which also produced King of the Coral Sea (1954),
Walk Into Paradise (1956) and Dust in the Sun (1958). Australia’s most
popular actor in the immediate postwar era and an undisputed national
cinema icon, Rafferty spent ten years as a bushman before entering the
movies and is perfectly cast as the Sundowner. Fair-minded and morally
upright, the Sundowner is an Australian equivalent of the no-nonsense
cowboy in American westerns who rides gallantly into trouble and ‘sorts
things out’
Also noteworthy is a cameo by the great and influential Indigenous
painter Albert Namatjira. Namatjira appears as himself and is greeted by
the Sundowner as an old friend. This brief scene does not add much to
the story but is valuable as the artist’s sole feature film appearance. A
Sydney model making her film debut, Jeanette Elphick changed her screen
name to Victoria Shaw and enjoyed a successful American film and
television career with major roles in The Eddy Duchin Story (1956), The
Crimson Kimono (1959) and Alvarez Kelly (1966).
The Phantom Stockman was a major success. Prior to Australian release in
June 1953 it notched up £23,000 (more than double its budget) in
overseas sales. It played in the UK as Cattle Station and was retitled
Return of the Plainsman for its US release on 15 September 1953.
Article by and reproduced (in part) with permission: Richard Kuipers of Australian Screen Online
Mammy (1930) - An Original Australian Long Daybill
Mammy was Al Jolson's fourth feature, following earlier screen efforts
as The Jazz Singer (1927), The Singing Fool (1928) and Say It With Songs
(1929).
Originally named Asa Yoelson, Al was born in a log cabin in Srednik, a
small town in Lithuania - in 1889, Morris Yoelson, Asa's father,
emigrated to the USA alone. Five years later he brought his family to
Washington, D. C., where Yoelson was appointed cantor of a large
synagogue. His deepest ambition was that his youngest son should become a
great cantor, and he gave Asa singing lessons from the age of five.
When Asa was ten his mother died, and he became somewhat of a 'juvenile
delinquent', often playing truant to go to vaudeville shows, he hung out
a gang of what his father called “loafers.†(The “loafers†included a
skinny Negro lad with magic in his feet who grew up to become Bill
Robinson, greatest of all tap dancers.) In 1903, Asa, his brother Harry
and Joe Palmer did a singing-and-comedy vaudeville act. Harry played a
doctor, Asa a bellboy and Palmer a sick man in a wheel chair. James
Francis Dooley, a blackface monologuist, told Asa he would make a much
funnier bellboy if he put on burnt cork. “Blackface goes perfectly with
that southern accent of yours,†he explained. For the next 25 years Asa
was never seen on a stage in white face.
When the act broke up he changed his name to Al Jolson and played in the
West for five years. He began to develop his intimate style of singing,
his way of enfolding an audience to his bosom as if it were a single
giant human being. He also began acting out every song as if the words
and the melody had just occurred to him and were a genuine expression of
his feelings. His mannerism of getting down on one knee, however, was
prompted by a prosaic accident. One night an ingrown toenail hurt
unbearably. So Al knelt to get the pressure off his toe. The trick was
so effective that he adopted it permanently...
Amazing poster! He's not listed ( not sure why the early posters did not include full credits for producers/directors/writers) but an early directed film by Michael Curtiz.
I suspect it was all about the film company and the stars in those days - movies were practically on a production line they were whipping them out so fast so I imagine the public would go see the movies based on the star and to a certain degree the production company.
Charlie Chaplin's The Gold Rush (1925) - An Original Australian Long Daybill; believed to be the only Australian poster for this title to have surfaced.
Charles Spencer Chaplin was born in London in 1889; his mother, part
Irish, part Spanish, was playing there in a stock company. His father
was a small-time music hall favourite. Chaplin father died of natural
causes, and his widow (known to the boards as Lily Harley) went into
dressmaking, and taught Charles and his brother Sidney to hem flounces.
At 13 however, he was taking juvenile parts. A British critic hailed him
as a baby wonder. A year later he was playing with William Gillette in
"Sherlock Holmes." He got a part in a vaudeville skit, "A Night in an
English Music Hall," and toured the U.S.A. In 1914 the Keystone Film
Corporation enlisted his services for 40 dollars a week.
His first efforts to be funny in celluloid were dismal. Keystone
directors, fearing that he was overpaid, offered to cancel the contract.
But one day Chaplin told Roscoe Arbuckle that he needed a pair of shoes
Arbuckle tossed him a pair of his own enormous brogues. "There you are,
man," he said; "perfect fit!" Chaplin put them on, cocked his battered
Derby over his ear, and twisted the ends of his prim moustache. His face
was very sad. He attempted a jaunty walk, which became, inevitably, a
heart-breaking waddle. He put his hand on the seat of his trousers, spun
on his heel. Arbuckle told him that he was almost funny...
The Gold Rush, was released in the USA in June of 1925 (there is
evidence that suggest it was being released in London in April 1925?)
and played around Australia from late 1925 enjoying it's first Melbourne
release in May 1926.
This silent comedy film was written, produced, directed by and starred
Charlie Chaplin in his Little Tramp role, Chaplin declared several times
that this was the film for which he most wanted to be remembered. In
its original 1925 release, The Gold Rush was generally praised by
critics and although a silent film, it received an Academy Awards
nomination for Best Sound Recording when Chaplin re-released it with a
new sound track in 1942.
As well as this fabulous poster (could this be an
advance movie poster?), I've also included a copy of an advert for the film I
dug up, published in Jan 1926 in The Mirror (Western Australia).
Very nice! Not sure how popular Chaplin was in 1925, but showing him from behind seems to indicate just how popular he was known for his physical characteristics so early in his career!
Very nice! Not sure how popular Chaplin was in 1925, but showing him from behind seems to indicate just how popular he was known for his physical characteristics so early in his career!
It is telling. Chaplin isn't even mentioned at all on the poster. The Little Tramp was already iconic enough (even from behind!)
Hold 'em Yale (1928) - An Original Australian Long Daybill Movie
Poster (The Only Poster Believed To Exist For This Title)
Hold ’Em Yale was the first of three films released by DeMille
Pictures in 1928 that paired director Edward Griffith and star Rod
La Rocque. The film was adapted from a 1906 stage play, At Yale,
written by Pulitzer Prize–winning playwright Owen Davis and heavily
modified for the screen by writer George Dromgold. Jaime Emmanuel
Alvarado Montez (La Rocque), a young man from “the Argentine,†heads
to Yale University at the behest of his father. He finds success on
the football field and love in the arms of a professor’s daughter,
but must constantly evade a police detective convinced that the
collegian is a wanted criminal.
Hold ’Em Yale suffered in critics’ eyes as a just another entry in a
glut of college-themed films, a craze that had exploded with the
release of Harold Lloyd’s The Freshman in 1925. By 1928, at least a
dozen “college pictures†were being released each year, and Hold ’Em
Yale seems to have been lost among the flood.
A review of the film found in The Mecury (Hobart, Tasmania): "...
It Is pure farce, and does not profess to be anything else. There
are many highly humorous situations, which arouse boundless mirth,
and that is enough to justify the production. Rod la Bocque is
seen as a young man from the Argentine, with plenty of money and
energy, a combination which lands him in all kinds of tight
corners, from which ha escapes with ridiculous ease in order, in
the end, to win the heart of the girl for whoso eyes he travelled
from South America to Yale. There is a football match to account
for the title, but it is not as obtrusive as such games are wont
to be in American films. Rod Ia Rocque is largely helped by a very
clever monkey..."
Hold ’Em Yale was preserved in 2012 at Film Technology Company, Inc.
from a 35mm tinted nitrate release print provided by the New Zealand
Film Archive and is held in the files of the National Film
Preservation Foundation a non profit organization created by the
U.S. Congress to help save America's film heritage.
When Duty Calls (1926) - An Original Australian Long Daybill
Movie Poster
This silent feature was originally released in Germany in 1926
as Der Mann im Feuer (literally: The Man in the Fire), it
was released the UK and its colonies in 1929 under the title
When Duty Calls. The director Erich Waschneck received the
co-operation of the Berlin fire brigade to obtain the many gigantic
fire scenes in the UFA feature 'When Duty Calls' shown in the first
half of the film.
One reviewer in Adelaide, Australia in 1930 had cause to write "Those
who remember the magnificent photography in the B.I.P Picture
"Moulin Rouge" (1928) will certainly look forward to the
UFA Production, "When Duty Calls", which was also photographed by
Werner'
Brandes. The trick photography in this feature plainly,
shows marked signs of genius." "The theme deals with a man who is discharged from the fire
brigade, because of his old age. Through the pleadings of his
daughter to the Superintendent Fix he is given a theory test
whereby he may return to his old job. How he falls In the test,
but proves himself in a big theatre fire will hold one entranced
throughout the film. The cast is filled by several popular
players, including Henry Stuart, Helga Thomas, and Rudolf
Rittner."
Rudolf Rittner retired from theatre acting at the peak of his career
in 1907 (aged just 38). However in 1922 he returned as actor in
several German movies, especially in Fritz Lang's 1924 silent
masterpiece Die Nibelungen with Rittner starring as Markgraf Rüdiger
von Bechlarn.
From Sweden starring the German actress Lil Dagover, once declared the most beautiful woman in Berlin...
Matrimony (1927) - Original Australian Long Daybill
Movie Posters
Matrimony: "A vivid love drama enacted amid the lumberlands of the North" starring Lil Dagover and Gosta Ekman.
First released in Australia in 1929 it was originally released in Sweden
in 1927 under the title Hans Engelska Fru (released in the US as Discord and His English Wife
in the UK). Part of the film is set among high society in London, with
German actress Lil Dagover as a widow once more attending dinner parties
and charity events, while the rest is set in the countryside of
northern Sweden, where Finnish actor Urho Somersalmi (most renowned for
his performance as the stranger in Stiller’s Johan) portrays a rich
landowner who also happens to be the main creditor of her family’s
fortune.
The poster was produced by the famed Richardson Studio which was
founded by John Richardson in the early 1920s. He had been a poster
artist prior to this and had produced the artwork for a number of
posters for silent films during this era. In the very early 20s posters
produced by The Richardson Studio would carry a tag at the bottom of the
poster "Drawn by Richardson Studio" and later "The poster produced by
Richardson Studio". A very few posters have been found that bear the
signature of John Richardson and these are highly desired among poster
collectors around the world...
I've also included a couple of photographic
images from the movie, the first from which (now obviously) the poster
was designed the second shows the director Gustaf Molander instructing
Lil Dagover and Urho Somersalmi during the shooting.
The Postman Always Rings Twice (1946) - Original Australian One Sheet Movie
Poster
This 1946 drama-film noir is based on the 1934 novel of the same
name by James M. Cain. The movie starred Lana Turner, John Garfield,
Cecil Kellaway, Hume Cronyn, Leon Ames, Audrey Totter, and was directed
by Tay Garnett. This film centres on the passionate affair that
violently erupts between a mysterious wanderer and the wife of a diner
owner and the trouble that starts when the lovers decide that the only
way to be together and have the money is to murder her husband.
It is rated as one of Turner's best performances Turner gave in her
career, often trading on her looks in this movie she gives an
outstanding portrayal a complex woman. Hume Cronyn as the shyster lawyer
plays a memorable part as well.
There are different versions of how the author came up with the title,
the most popular was that it was inspired by writer Vincent Lawrence.
When the manuscript was being rejected by publishers, Lawrence told
James M. Cain how he had mailed out his first play and sat by the window
waiting for a letter accepting it until he realised that the postman
always rang twice.
The working title for the film was 'Bar-B-Q' and when MGM publicity
released photos of Lana Turner and John Garfield's love scene on the
beach, they got complaints from the Federal Council of Churches of
Christ in America about the film's sexual tone (also see attached
article). The films was banned in Indonesia, Switzerland and Spain.
Despite the theme being somewhat familiar in many movies since then the
book has actually been adapted for screen a number of times, including
twice before this 1946 adaptation:
Interesting that the film was mentioned seemingly nearly a year before it was actually released. Must have some intrigue behind it seeing as it took so long to get a version to screen...
Nice poster! It always baffles me-but good for collectors- that sometimes the images are from US posters and some are "redrawn" by other artists with sometimes completely different designs! Love seeing the variety!
Interesting that the film was mentioned seemingly nearly a year before it was actually released. Must have some intrigue behind it seeing as it took so long to get a version to screen...
I think the MGM marketing machine was in full swing well in advance on this one...they probably needed it to be a success as they acquired the rights some 12 years earlier.
Nice poster! It always baffles me-but good for collectors- that sometimes the images are from US posters and some are "redrawn" by other artists with sometimes completely different designs! Love seeing the variety!
I don't think 'replicated' posters are that uncommon the world over, but 'redrawn' ones can often lead to some interesting interpretations - more so from some of the European artists/posters (Polish ones come to mind).
However, sometimes Australian artists have done a better job than the original USA ones too...got one of those to share this week-end.
Hop-A-Long Cassidy (1935) - Original Australian Long Daybill
Movie Poster
This is the first poster for the first movie of 66 Hopalong
Cassidy films produced between 1935 and 1948, all 66 films starred
William Boyd in the title role.
Born in 1895, William Boyd arrived in Hollywood around 1918 and
quickly became a fully fledged leading man during the silent era,
including many films for Cecil B. DeMille. But roles in the early
1930s Boyd found it tough to find roles, some said it was because of
his prematurely greying hair, other said it was due to his constant
womanising, partying and alcohol...surely the latter three
contributing to the former?!
An independent producer by the name of Harry 'Pop' Sherman convinced
Paramount to release a series of westerns based on the Hopalong
Cassidy novels and short stories authored by Clarence E. Mulford and
ultimately Boyd got the role. The first in the series, Hop-A-Long
Cassidy was released in the USA in August of 1935, and in Australia
from November 1935 (it would late be renamed Hopalong Cassidy
Enters, for this reason perhaps it is difficult to find movie
posters under the film's original title).
William Boyd’s Hopalong Cassidy was multi-faceted. He was good,
honest, brave, and tough. He was also funny, caring, loyal and not
afraid to show his emotions. He wasn't a Superman—he got shot, tied
up, put in jail, and knocked around. He was the smartest cowboy,
fastest gun, toughest fighter, and best rider in the West. William
Boyd appeared in 66 Hop-A-Long Cassidy movies and a further
fifty-two television episodes playing a much beloved icon of the
silver and small screen.
The Wizard of Oz (1939) - An Original Australian One Sheet Movie
Poster
They say in you will be lucky to see one of these posters in your
lifetime... you are in luck!
The Australian One Sheet is considered to be the superior design of
all the original Wizard of Oz movie posters; this 75 year old poster
is so rare it had to be removed from beneath some floorboards just
to bring it to our auction! I can say as I have physically seen it,
the colours on this poster are outstanding! This will be a jewel in
anyone's collection.
The movie itself was released in Australia on the 24th
November 1939 - imdb has the release date as 18th April 1940,
that is simply incorrect. It had an early morning showing at The
Liberty Theatre (Pitt Street, Sydney), 9:00am on the 24th November
1939 and continued from then to enjoy an extended season into 1940.
Grandfather was a projectionist, built his house circa 1940s, threw some used rubbish posters he had lying around under the floorboards to insulate the house.
Grandfather died, house is just now being renovated, up came the floorboards, out came a small pile of posters, most worth nothing or less - except there was this Wizard of Oz poster.
Comments
Captain Thunderbolt and The Phantom Stockman are the only Australian features produced in 1953. Filmmaking was declared a non-essential industry at the time and budgets in excess of £10,000 were not permitted. Unable to realise large-scale projects each had been planning, Chips Rafferty and Lee Robinson decided to collaborate on The Phantom Stockman, a modestly-priced outback drama centred on a heroine whose situation bears more than a passing resemblance to that of cattle heiress Lady Sarah Ashley in Baz Luhrmann’s big budget ‘Aussie western’, Australia (2008).
It was the beginning of a significant creative partnership between Robinson and Rafferty, which also produced King of the Coral Sea (1954), Walk Into Paradise (1956) and Dust in the Sun (1958). Australia’s most popular actor in the immediate postwar era and an undisputed national cinema icon, Rafferty spent ten years as a bushman before entering the movies and is perfectly cast as the Sundowner. Fair-minded and morally upright, the Sundowner is an Australian equivalent of the no-nonsense cowboy in American westerns who rides gallantly into trouble and ‘sorts things out’
Also noteworthy is a cameo by the great and influential Indigenous painter Albert Namatjira. Namatjira appears as himself and is greeted by the Sundowner as an old friend. This brief scene does not add much to the story but is valuable as the artist’s sole feature film appearance. A Sydney model making her film debut, Jeanette Elphick changed her screen name to Victoria Shaw and enjoyed a successful American film and television career with major roles in The Eddy Duchin Story (1956), The Crimson Kimono (1959) and Alvarez Kelly (1966).
The Phantom Stockman was a major success. Prior to Australian release in June 1953 it notched up £23,000 (more than double its budget) in overseas sales. It played in the UK as Cattle Station and was retitled Return of the Plainsman for its US release on 15 September 1953.
Article by and reproduced (in part) with permission: Richard Kuipers of Australian Screen Online
Mammy was Al Jolson's fourth feature, following earlier screen efforts as The Jazz Singer (1927), The Singing Fool (1928) and Say It With Songs (1929).
Originally named Asa Yoelson, Al was born in a log cabin in Srednik, a small town in Lithuania - in 1889, Morris Yoelson, Asa's father, emigrated to the USA alone. Five years later he brought his family to Washington, D. C., where Yoelson was appointed cantor of a large synagogue. His deepest ambition was that his youngest son should become a great cantor, and he gave Asa singing lessons from the age of five.
When Asa was ten his mother died, and he became somewhat of a 'juvenile delinquent', often playing truant to go to vaudeville shows, he hung out a gang of what his father called “loafers.†(The “loafers†included a skinny Negro lad with magic in his feet who grew up to become Bill Robinson, greatest of all tap dancers.) In 1903, Asa, his brother Harry and Joe Palmer did a singing-and-comedy vaudeville act. Harry played a doctor, Asa a bellboy and Palmer a sick man in a wheel chair. James Francis Dooley, a blackface monologuist, told Asa he would make a much funnier bellboy if he put on burnt cork. “Blackface goes perfectly with that southern accent of yours,†he explained. For the next 25 years Asa was never seen on a stage in white face.
When the act broke up he changed his name to Al Jolson and played in the West for five years. He began to develop his intimate style of singing, his way of enfolding an audience to his bosom as if it were a single giant human being. He also began acting out every song as if the words and the melody had just occurred to him and were a genuine expression of his feelings. His mannerism of getting down on one knee, however, was prompted by a prosaic accident. One night an ingrown toenail hurt unbearably. So Al knelt to get the pressure off his toe. The trick was so effective that he adopted it permanently...
Sources: Wikipedia, Esquire (1949)
Charles Spencer Chaplin was born in London in 1889; his mother, part Irish, part Spanish, was playing there in a stock company. His father was a small-time music hall favourite. Chaplin father died of natural causes, and his widow (known to the boards as Lily Harley) went into dressmaking, and taught Charles and his brother Sidney to hem flounces.
At 13 however, he was taking juvenile parts. A British critic hailed him as a baby wonder. A year later he was playing with William Gillette in "Sherlock Holmes." He got a part in a vaudeville skit, "A Night in an English Music Hall," and toured the U.S.A. In 1914 the Keystone Film Corporation enlisted his services for 40 dollars a week.
His first efforts to be funny in celluloid were dismal. Keystone directors, fearing that he was overpaid, offered to cancel the contract. But one day Chaplin told Roscoe Arbuckle that he needed a pair of shoes Arbuckle tossed him a pair of his own enormous brogues. "There you are, man," he said; "perfect fit!" Chaplin put them on, cocked his battered Derby over his ear, and twisted the ends of his prim moustache. His face was very sad. He attempted a jaunty walk, which became, inevitably, a heart-breaking waddle. He put his hand on the seat of his trousers, spun on his heel. Arbuckle told him that he was almost funny...
The Gold Rush, was released in the USA in June of 1925 (there is evidence that suggest it was being released in London in April 1925?) and played around Australia from late 1925 enjoying it's first Melbourne release in May 1926.
This silent comedy film was written, produced, directed by and starred Charlie Chaplin in his Little Tramp role, Chaplin declared several times that this was the film for which he most wanted to be remembered. In its original 1925 release, The Gold Rush was generally praised by critics and although a silent film, it received an Academy Awards nomination for Best Sound Recording when Chaplin re-released it with a new sound track in 1942.
As well as this fabulous poster (could this be an advance movie poster?), I've also included a copy of an advert for the film I dug up, published in Jan 1926 in The Mirror (Western Australia).
=D> =D> =D> =D> =D> =D> =D> =D> =D>
Hold ’Em Yale was the first of three films released by DeMille Pictures in 1928 that paired director Edward Griffith and star Rod La Rocque. The film was adapted from a 1906 stage play, At Yale, written by Pulitzer Prize–winning playwright Owen Davis and heavily modified for the screen by writer George Dromgold. Jaime Emmanuel Alvarado Montez (La Rocque), a young man from “the Argentine,†heads to Yale University at the behest of his father. He finds success on the football field and love in the arms of a professor’s daughter, but must constantly evade a police detective convinced that the collegian is a wanted criminal.
In the film’s climax, Montez has a chance to prove himself to his girl and his classmates at the all-important Yale-Princeton game at the Yale Bowl. Stock shots of the Bowl, filled with 70,000 football fans, are intercut with close-up sequences of Montez and his teammates. According to a New York Times note published during the production of the film, “The famous Yale Bowl, the first of the huge football stadiums, makes its screen début as a setting for a motion picture†in this film.
Hold ’Em Yale suffered in critics’ eyes as a just another entry in a glut of college-themed films, a craze that had exploded with the release of Harold Lloyd’s The Freshman in 1925. By 1928, at least a dozen “college pictures†were being released each year, and Hold ’Em Yale seems to have been lost among the flood.
A review of the film found in The Mecury (Hobart, Tasmania): "... It Is pure farce, and does not profess to be anything else. There are many highly humorous situations, which arouse boundless mirth, and that is enough to justify the production. Rod la Bocque is seen as a young man from the Argentine, with plenty of money and energy, a combination which lands him in all kinds of tight corners, from which ha escapes with ridiculous ease in order, in the end, to win the heart of the girl for whoso eyes he travelled from South America to Yale. There is a football match to account for the title, but it is not as obtrusive as such games are wont to be in American films. Rod Ia Rocque is largely helped by a very clever monkey..."
Hold ’Em Yale was preserved in 2012 at Film Technology Company, Inc. from a 35mm tinted nitrate release print provided by the New Zealand Film Archive and is held in the files of the National Film Preservation Foundation a non profit organization created by the U.S. Congress to help save America's film heritage.
This silent feature was originally released in Germany in 1926 as Der Mann im Feuer (literally: The Man in the Fire), it was released the UK and its colonies in 1929 under the title When Duty Calls. The director Erich Waschneck received the co-operation of the Berlin fire brigade to obtain the many gigantic fire scenes in the UFA feature 'When Duty Calls' shown in the first half of the film.
One reviewer in Adelaide, Australia in 1930 had cause to write "Those who remember the magnificent photography in the B.I.P Picture "Moulin Rouge" (1928) will certainly look forward to the UFA Production, "When Duty Calls", which was also photographed by Werner' Brandes. The trick photography in this feature plainly, shows marked signs of genius."
"The theme deals with a man who is discharged from the fire brigade, because of his old age. Through the pleadings of his daughter to the Superintendent Fix he is given a theory test whereby he may return to his old job. How he falls In the test, but proves himself in a big theatre fire will hold one entranced throughout the film. The cast is filled by several popular players, including Henry Stuart, Helga Thomas, and Rudolf Rittner."
Rudolf Rittner retired from theatre acting at the peak of his career in 1907 (aged just 38). However in 1922 he returned as actor in several German movies, especially in Fritz Lang's 1924 silent masterpiece Die Nibelungen with Rittner starring as Markgraf Rüdiger von Bechlarn.
Matrimony (1927) - Original Australian Long Daybill Movie Posters
Matrimony: "A vivid love drama enacted amid the lumberlands of the North" starring Lil Dagover and Gosta Ekman.
First released in Australia in 1929 it was originally released in Sweden in 1927 under the title Hans Engelska Fru (released in the US as Discord and His English Wife in the UK). Part of the film is set among high society in London, with German actress Lil Dagover as a widow once more attending dinner parties and charity events, while the rest is set in the countryside of northern Sweden, where Finnish actor Urho Somersalmi (most renowned for his performance as the stranger in Stiller’s Johan) portrays a rich landowner who also happens to be the main creditor of her family’s fortune.
The poster was produced by the famed Richardson Studio which was founded by John Richardson in the early 1920s. He had been a poster artist prior to this and had produced the artwork for a number of posters for silent films during this era. In the very early 20s posters produced by The Richardson Studio would carry a tag at the bottom of the poster "Drawn by Richardson Studio" and later "The poster produced by Richardson Studio". A very few posters have been found that bear the signature of John Richardson and these are highly desired among poster collectors around the world...
I've also included a couple of photographic images from the movie, the first from which (now obviously) the poster was designed the second shows the director Gustaf Molander instructing Lil Dagover and Urho Somersalmi during the shooting.
Information partially sourced from: John Reid
Photos: Svenska Filminstitutet, Stockholm © 1927 AB Svensk Filmindustri. All rights reserved.
This 1946 drama-film noir is based on the 1934 novel of the same name by James M. Cain. The movie starred Lana Turner, John Garfield, Cecil Kellaway, Hume Cronyn, Leon Ames, Audrey Totter, and was directed by Tay Garnett. This film centres on the passionate affair that violently erupts between a mysterious wanderer and the wife of a diner owner and the trouble that starts when the lovers decide that the only way to be together and have the money is to murder her husband.
It is rated as one of Turner's best performances Turner gave in her career, often trading on her looks in this movie she gives an outstanding portrayal a complex woman. Hume Cronyn as the shyster lawyer plays a memorable part as well.
There are different versions of how the author came up with the title, the most popular was that it was inspired by writer Vincent Lawrence. When the manuscript was being rejected by publishers, Lawrence told James M. Cain how he had mailed out his first play and sat by the window waiting for a letter accepting it until he realised that the postman always rang twice.
The working title for the film was 'Bar-B-Q' and when MGM publicity released photos of Lana Turner and John Garfield's love scene on the beach, they got complaints from the Federal Council of Churches of Christ in America about the film's sexual tone (also see attached article). The films was banned in Indonesia, Switzerland and Spain.
Despite the theme being somewhat familiar in many movies since then the book has actually been adapted for screen a number of times, including twice before this 1946 adaptation:
Le Dernier Tournant (1939 French film) directed by Pierre Chenal
Ossessione (1943 Italian film) directed by Luchino Visconti
The Postman Always Rings Twice (1981 film) directed by Bob Rafelson
The Postman Always Rings Twice (1982 opera)
Szenvedély (1997 Hungary film) directed by Fehér György
Jerichow (2008 German film) directed by Christian Petzold (in German)
I've also included an article that appeared in the Mirror (Perth, Western Australia) on Page 1 no less, on November 10 1945
This is the first poster for the first movie of 66 Hopalong Cassidy films produced between 1935 and 1948, all 66 films starred William Boyd in the title role.
Born in 1895, William Boyd arrived in Hollywood around 1918 and quickly became a fully fledged leading man during the silent era, including many films for Cecil B. DeMille. But roles in the early 1930s Boyd found it tough to find roles, some said it was because of his prematurely greying hair, other said it was due to his constant womanising, partying and alcohol...surely the latter three contributing to the former?!
An independent producer by the name of Harry 'Pop' Sherman convinced Paramount to release a series of westerns based on the Hopalong Cassidy novels and short stories authored by Clarence E. Mulford and ultimately Boyd got the role. The first in the series, Hop-A-Long Cassidy was released in the USA in August of 1935, and in Australia from November 1935 (it would late be renamed Hopalong Cassidy Enters, for this reason perhaps it is difficult to find movie posters under the film's original title).
William Boyd’s Hopalong Cassidy was multi-faceted. He was good, honest, brave, and tough. He was also funny, caring, loyal and not afraid to show his emotions. He wasn't a Superman—he got shot, tied up, put in jail, and knocked around. He was the smartest cowboy, fastest gun, toughest fighter, and best rider in the West. William Boyd appeared in 66 Hop-A-Long Cassidy movies and a further fifty-two television episodes playing a much beloved icon of the silver and small screen.
They say in you will be lucky to see one of these posters in your lifetime... you are in luck!
The Australian One Sheet is considered to be the superior design of all the original Wizard of Oz movie posters; this 75 year old poster is so rare it had to be removed from beneath some floorboards just to bring it to our auction! I can say as I have physically seen it, the colours on this poster are outstanding! This will be a jewel in anyone's collection.
The movie itself was released in Australia on the 24th November 1939 - imdb has the release date as 18th April 1940, that is simply incorrect. It had an early morning showing at The Liberty Theatre (Pitt Street, Sydney), 9:00am on the 24th November 1939 and continued from then to enjoy an extended season into 1940.
The Liberty Theatre opened on 31st March 1934 and the décor was well accounted for in papers and magazines: “...the Rayner Hoff panel is typical of the artistic mural decorations. The foyer was furnished in the modern manner by Bebarfalds Ltd., and the picture shows the graceful lines of the chairs and lounge. The ushers (ten exceptionally pretty girls) arc all beautifully gowned in modern slim-fitting frocks of brown velvet relieved with gold. Across the front of each dress is embroidered the symbol of the Liberty—a torch, embossed in tangerine and gold. The girls wear halos of gold lame. The frocks are the work of David Jones..."
The theatre seated 401 in the stalls and 252 in the circle.