In light of David's new thread ''Montone & Duotone Posters - So Ugly They Are Collectable!'' I though any new members who may not have viewed this thread previously may like to do so and also any members who previously may have viewed it can revisit this thread which contains numerous duotone and monotone poster images.
I think the red being printed off register has a lot to do with it...I'll give them the benefit of the doubt and assume it is a printing error.
One man's trash...
Full disclosure - I recently deliberately acquired this poster. This thread makes me realize why it was such a good deal!
This is what The Man In The Net daybill, printed by another printer, actually should have looked like. Using Wil's image to make the point that New Zealand through Wil's acquision, is coming up with a lot of interesting material.
Welcome To Blood City ( 1977 ). An original daybill and a follow up stock poster daybill, with Jack Palance's image looking more like Alain Delon on a bad day after cutting himself shaving.
The Big Brawl ( 1980 ). An original Roadshow release daybill and a later daybill printed without the distributor's name appearing. Notice these two daybill images, along the following previously featured daybill images of Winning and Dunkirk, have something in common. You quessed it. The poster artist /s love of applying what looks like lipstick on all the main actor's lips.
Wait, there is one more lipstick example. Audie Murphy poster artwork from The Guns Of Fort Petticoat (1957 ).
U.S.A. poster artwork
. Australian daybill artwork ( if you can call it that ).
I once saw a study for a 1950s daybill done in about quarter size. Makes me think they simply traced the images from press books and then used an enlarging tool to scale them up once the design was approved. Along the way the accuracy got lost.
I once saw a study for a 1950s daybill done in about quarter size. Makes me think they simply traced the images from press books and then used an enlarging tool to scale them up once the design was approved. Along the way the accuracy got lost.
U.S.A. insert image of lovely Maureen O'Hara from Lady Godiva ( aka Lady Godiva Of Coventry ) ( 1955 ), and the terrible copied Australian daybill version of her. F. Cunninghame were responsible for this artwork, if one can call it that. The full daybill has been previously featured in May 2015, but the closeup here of the Australian artwork deserves another expanded showing, if only because it is so bad.
Sign Of The Pagan ( 1954 ) original U.S. insert and the Australian daybill version again from F.Cunninghame. Who's the pretty boy ?
Finally Ride A Crooked Trail ( 1958 ) original U.S. insert and the Australian daybill version. You probably guessed it's another F.Cunninghame botch up. A reasonable attempt at Gia Scala, but Audie Murphy's image is laughable. Is that a little double image I see also?
The Green Scarf ( 1954 ). Actually a not too bad F. Cunninghame full colour daybill effort and the follow up duotone daybill assigned to the lipstick specialist poster artist, which to be honest is terrible. F. Cunninghame most likely were responsible for the duotone version as well, but along with hundreds of other duotone posters in the 1950's they were probably too ashamed to print their name on the posters.
Blood On The Arrow ( 1964 ). Previously discussed on another thread but now a comparison. From a U.S.A. one sheet an image of Dale Robertson and the lovely Martha Hyer, and the completely botched attempt at their posted images taken from a New Zealand produced and printed daybill. No Australian paper found on this title and it appears the film may not have been screened theatrically in Australia. To me N.Z. poster artists artwork is worse than Australia's F. Cunninghame and Robert Burton's 'B' team efforts.It seems the N.Z. artists liked some lipstick as well. A nagging thought is was this poster possibly printed in Australia for the N.Z. distributor? If this was the case
Jedda ( 1955 ). The original Colorcraft Priinting Co. first release design was beautiful as you can see above. Then a follow up daybill was required by Columbia Pictures so they entrusted this task to F. Cunninghame, and don't we all love the result above, that appears on the duotone daybill image.
Night Passage ( 1957 ) second printing one sheet and The Wild One ( 1953 ) F. Cunninghame second printing or re-release one sheet, with the preferred prominent overuse of lipstick favoured by some poster artists applied freely to the male leads.
Great news for eager buyers. This Australian copy is currently available on Google selling for a bargain price only $ 2.95. Get in early or you may miss out.
Tap Roots ( 1948 ). U.S.A. one sheet artwork and some slightly below par artwork on the Australian W.E. Smith one sheet. Note another pistol added to the Australian artwork for more dramatic effect and the way the added arm is extended doesn't look quite right to me.
Australian daybill version then the full Australian one sheet image.
The W.E. Smith Australian daybill is nice and colourful and the main image of Susan Hayward I like, but the top left side image of Van Heflin is poorly drawn.
Even when W.E. Smith weren't on their "A' game they were still miles ahead of most of F. Cunninghame's artwork.
Now while on the subject of W.E. Smith a repeat of something that I had earlier posted on the W.E.Smith thread that I feel deserves to appear on this thread as well.
The Nevadan ( 1950 ) U.S.A. insert and the Australian daybill and close up images of Randolph Scott from both.
I will repeat my original comments - '' This is most likely the worse example of an Australian daybill image that I have ever seen from W.E.Smith. The attempt to draw Randolph Scott's image was atrocious and looks like a bald Adolph Hitler to me.They usually got it right but had a bad day here. "
Comments
Aside from it being in color, it isnt too too much better than the one shown above. Poor Charlton Heston is missing his left arm on both examples.
Winning ( 1969 ). Who's the pretty Boy ?
Ouch...
Whether it be in Australia or New Zealand the poster artists seemed to have problems sometime getting a good likeness on paper of Sir John Mills.
Welcome To Blood City ( 1977 ). An original daybill and a follow up stock poster daybill, with Jack Palance's image looking more like Alain Delon on a bad day after cutting himself shaving.
The Big Brawl ( 1980 ). An original Roadshow release daybill and a later daybill printed without the distributor's name appearing. Notice these two daybill images, along the following previously featured daybill images of Winning and Dunkirk, have something in common. You quessed it. The poster artist /s love of applying what looks like lipstick on all the main actor's lips.
Wait, there is one more lipstick example. Audie Murphy poster artwork from The Guns Of Fort Petticoat (1957 ).
U.S.A. poster artwork
.
Let's not forget The Good, The Bad And The Ugly daybill with Clint's image looking a little like Eli Wallach as well.
U.S.A. insert image of lovely Maureen O'Hara from Lady Godiva ( aka Lady Godiva Of Coventry ) ( 1955 ), and the terrible copied Australian daybill version of her. F. Cunninghame were responsible for this artwork, if one can call it that. The full daybill has been previously featured in May 2015, but the closeup here of the Australian artwork deserves another expanded showing, if only because it is so bad.
Sign Of The Pagan ( 1954 ) original U.S. insert and the Australian daybill version again from F.Cunninghame. Who's the pretty boy ?
Finally Ride A Crooked Trail ( 1958 ) original U.S. insert and the Australian daybill version. You probably guessed it's another F.Cunninghame botch up. A reasonable attempt at Gia Scala, but Audie Murphy's image is laughable. Is that a little double image I see also?
The Green Scarf ( 1954 ). Actually a not too bad F. Cunninghame full colour daybill effort and the follow up duotone daybill assigned to the lipstick specialist poster artist, which to be honest is terrible. F. Cunninghame most likely were responsible for the duotone version as well, but along with hundreds of other duotone posters in the 1950's they were probably too ashamed to print their name on the posters.
Blood On The Arrow ( 1964 ). Previously discussed on another thread but now a comparison. From a U.S.A. one sheet an image of Dale Robertson and the lovely Martha Hyer, and the completely botched attempt at their posted images taken from a New Zealand produced and printed daybill. No Australian paper found on this title and it appears the film may not have been screened theatrically in Australia. To me N.Z. poster artists artwork is worse than Australia's F. Cunninghame and Robert Burton's 'B' team efforts.It seems the N.Z. artists liked some lipstick as well. A nagging thought is was this poster possibly printed in Australia for the N.Z. distributor? If this was the case
Jedda ( 1955 ). The original Colorcraft Priinting Co. first release design was beautiful as you can see above. Then a follow up daybill was required by Columbia Pictures so they entrusted this task to F. Cunninghame, and don't we all love the result above, that appears on the duotone daybill image.
Night Passage ( 1957 ) second printing one sheet and The Wild One ( 1953 ) F. Cunninghame second printing or re-release one sheet, with the preferred prominent overuse of lipstick favoured by some poster artists applied freely to the male leads.
Great news for eager buyers. This Australian copy is currently available on Google selling for a bargain price only $ 2.95. Get in early or you may miss out.
Tap Roots ( 1948 ). U.S.A. one sheet artwork and some slightly below par artwork on the Australian W.E. Smith one sheet. Note another pistol added to the Australian artwork for more dramatic effect and the way the added arm is extended doesn't look quite right to me.
Australian daybill version then the full Australian one sheet image.
The W.E. Smith Australian daybill is nice and colourful and the main image of Susan Hayward I like, but the top left side image of Van Heflin is poorly drawn.
Even when W.E. Smith weren't on their "A' game they were still miles ahead of most of F. Cunninghame's artwork.
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Now while on the subject of W.E. Smith a repeat of something that I had earlier posted on the W.E.Smith thread that I feel deserves to appear on this thread as well.
The Nevadan ( 1950 ) U.S.A. insert and the Australian daybill and close up images of Randolph Scott from both.
I will repeat my original comments - '' This is most likely the worse example of an Australian daybill image that I have ever seen from W.E.Smith. The attempt to draw Randolph Scott's image was atrocious and looks like a bald Adolph Hitler to me.They usually got it right but had a bad day here. "
This original baby monster is comical enough, but the Australian poster artists version is hilarious.