According to Bruce this star child poster was for a 1971RR. Obviously that happened in NZ, but no idea about here in Aust.
Important Added Info:Note 2001: A Space Odyssey opened in 70mm in 1968 in a roadshow release. In 1969 it went into wide release in 35mm, and the movie was not as successful. The film was then given an entirely new 70mm New York City ad campaign in March 1970. That proved successful and the movie received a national release in 1970 (part of the continuous first release since 1968), and the one-sheet for this release shows the star child (but it has less color than the "wildposting" one-sheet used in New York). However, after being out of the theaters briefly, the movie was re-released in 1971, and this 1971 re-release one-sheet has the same image as the March 1970 wilding poster, and like it, the coloring is part purple and part a blue-green, making the poster much more effective.
New Zealand film distributors frequently used imported U.S.A. and other overseas countries film posters there as well as using Australian printed posters.
There was it would appear screenings of 2001: A Space Odyssey at many Metro city and suburban cinemas in Sydney and Melbourne in late 1971. Whether the imported 1971 U,S. poster was also used in Australian is not known.
I think that 3 colour db is R71. Probably never know for sure, but seems a high probability if you found evidence of screenings that year.
One of The 1971 Metro cinema release screenings of the film occurred on at least the 4th of September 1971 at the St. James Sydney theatre, and certainly was screening there sometime a little before this.
The G rating classification took over from the For The General one happened on October 1, so your thinking that the 3 colour version daybill is probably from 1971 is within the realms of possibility
The thing here though is that there isn't any evidence to support that this particular daybill version, or in fact any of the other three examples were printed in any particular order.
A mystery that will remain a mystery that will never be solved is something we will have to live with..
A subject that certainly has interested me for many years. I have a large file containing images of 1960's United Artists released films that were produced in this format.The titles range from B grade to major films that had these follow up in lesser quality duotone versions printed for.
Just four of the many examples follow below.
Interested in hearing if anyone has any comments to make on the history of why this may have taken place. I don't know the answer, but I am happy to contribute my thoughts regarding this matter in the future.
I couldn't find a regular Aus 1sht image for Kid G. My buddy, who was a projectionist in the 1950s & ran the Lithgow Cinema in the 1970s, told me that UA were particularly tight. They would often run out of posters, and also jacked up the film hire on popular titles. 007 doubled in cost once the franchise took off. Other than that, I got nothing!
I haven't an image either, or ever seen one, of the original Australian full colour Kid Galahad one sheet either. From memory I don't think Rick has one either.
I'm guessing this is from the first Aussie release, sometime in the 1960s. They seemed to prefer yellow in that decade. Nice art & gotta love dread sex drug cigarette.
A great find. The one sheet poster of She Shoulda Said No! ( 1949 ) is indeed from the 1960's, but it wasn't produced for the film's first release The poster was actually printed for a 1961 re-release.
( Trove )
A rare BEF daybill that was printed for the original Australian first release in 1951. The W.E. Smith printing credit, and the BEF distributor's credit confirm this. Following above also is a 1951 Australian newspaper advertisement that was placed for the original release.
The Australian one sheet poster was printed by Robert Burton who were not printing movie posters until later in 1951. The poster is minus a distributor's credit also.
What I do find interesting though is that the devil and the cigarette appearing on the original daybill are nowhere to be seen on the one sheet, The one sheet image being solely concentrating on a sexy female image.
She Shoulda Said No!, among some other alternative names was also titled The Devil's Weed overseas as well.
Original 1949 Australian daybill of Secrets of Life ( original U.S.A. title Mom And Dad ), and a 1949 Australian Sydney N.S.W. first release newspaper advertisement placed for the film's release. Also an original U.S.A. Titled Mom And Dad one sheet poster.
( Trove )
The Australian 1961 double bill re-release of Secrets Of Life and She Shoulda Said No! by an unknown, most likely small independent film distributor.This is where the Australian one sheet in discussion of She Shoulda Said No! would have been printed for.
Thanks for that info. I am surprised they went with a one sheet for the RR, especially on a double bill. I haven't seen many Burton posters printed before late 1950s. Here is a nice daybill. Couldn't find any other images online.
Although aimed to be primarily booked and screened on a double bill programme with Secrets Of Life, the She Shoulda Said No! film was also made available to be booked by its self. For some cinema owners who were not wanting to screen the double to segregated audiences the film She Shoulda Said No! was booked separately.
Thanks Matt for the indeed rare One Way Street ( 1950 ) daybill. I haven't to my recollection ever sighted another image of this particular daybill previously. I recorded the film recently from a rare presentation on the local Foxtel pay television 'service. Yet to view it though.
For anyone interested in old films, Tubi has a great range of classics available. Many silents including Metropolis, Chaplin, Chaney, Clara Bow, Buster Keaton etc. If you want to see a good silent, Dr Jekyll & Mr Hyde with John Barrymore is a beauty. Plenty of horror, westerns, serials and 1950s sci-fi all streamed free.
Here is another research project you might like to undertake. Could be a challenge, as no-one I've contacted has ever seen this poster before. Rolled, 20 x 30 inches & came from a cinema in country Victoria.
Here is another research project you might like to undertake. Could be a challenge, as no-one I've contacted has ever seen this poster before. Rolled, 20 x 30 inches & came from a cinema in country Victoria.
A difficult request indeed. I have not sighted this poster previously.
Although coming from a cinema in country Victoria, I do think that this poster wasn't printed specifically for cinema display usage, but for promotion for the car itself and its makers..
I have done some research, and apparently the Aston Martin pictured is publicity car #1, owned by Eon Productions. No idea if Aston Martin cars were even available in Australia at that time. Seems odd that a tractor company would try and leverage off 007. Nevertheless, the posters got distributed somehow! Anyway, if you find anything new, please let me know.
The initials DB have graced every iconic model of Aston Martin from 1950 to 1972, and again from 1994 onwards. They have become so widely known that few car fans these days stop to question what these initials stand for. However, for fans of classic machinery whether lithe and sporting or solid and agricultural, the meeting of these two names provides a fascinating snapshot into how a small family business from Yorkshire ended up leading the world in both exotic cars and agriculture at the same time.
Based in Huddersfield, Yorkshire, the family-owned David Brown & Sons foundry and metalworks had forged a cast iron reputation as a leader in the production of heavy-duty parts and machinery. As the steam age drew to a close, and in the run up to World War Two, however, the UK’s rising demand for food production meant that the manufacturing of tractors seemed a logical route into diversification for the company. An initial foray into this world of farming was trialed with a failed partnership with Harry Ferguson (of Little Grey Fergie fame), however when this relationship broke down, and the short-lived Ferguson-Brown tractor sold more than 1000 units, it led to the first-ever in-house designed David Brown tractor being launched in 1939.
The VAK 1 (Vehicle Agricultural Kerosene 1) tractor may not have had a snappy name, but it was an instant success. Well priced, reliable and well built, its distinctive bright red paintwork was reputedly taken from the colour hunting jacket worn by Sir David. The VAK1 tractors were both stylish and practical at the same time, with farmers wowed by the engineering of its power take-offs and easy-to-operate linkage arrangements, more than 3000 orders were taken at its launch. The press at the time loved it too; of great note was the arrangement of the cockpit for the operator, which offered farmers a shelter from the elements for the very first time – it had never been considered of importance before that point.
Sales were helped in no small part by World War Two, which saw a further 4000 of these tractors sold in just six years. Alongside the lucrative contracts that were won for the production of military spec units alongside the civilian VAK1s meant that by the end of the war, Sir David Brown was a wealthy man at the head of his own a manufacturing empire.
Sportscar history was set in motion in 1947, when Sir David responded to an advert placed in The Times newspaper proffering a ‘High Class Motor Business For Sale’. Sir David’s wealth allowed him to snap up the beleaguered sports car company Aston Martin for the reasonable sum of £20,500, at a time when few others in the country would have had the funds to do so, and he followed this up with the purchase of Lagonda a year later. By combining the Aston Martin brand with the Bentley-derived engines of Lagonda, a winning formula was hit upon, and a new range of cars were launched with the model designation of DB, or David Brown.
Under his ownership, the sportscar brand flourished, producing winning racing cars and sportscars for the road throughout the 50s and 60s, a winning streak that continued until sales faltered and Aston Martin hit difficulties in the early 1970s. While the company was sold off in 1972, the DB model designation had become so firmly ingrained into the brands identity that it was re-introduced two decades later with the launch of the DB7. Though the connection to David Brown tractors, and the tractor company itself had long since disappeared by 1994, a legend had been born, which lives on to this day.
Whatever the poster origins are for this rare poster it certainly would be well sort after by both Aston Martin and James Bond collectors if placed in the marketplace.
Gorgo ( 1961 ) Australian daybill, and the Australian printed daybill printed especially for New Zealand, minus the rare Australian censorship rating.
A question is if you had the opportunity to obtain either one of the two versions, which one then would you choose? Would you prefer rare censorship on your poster, or have the censorship free version? I am curious to know which one would appeal to you the most
An interesting daybill that isn't straight forward enough in it's appearance to be able to able to 100% identify it's exact origin. I notice at least six problems with the details on the poster.
I have my thoughts about when it was printed and used. Before I do comment though would anyone else like to comment on anything at all regarding this poster?
Comments
Important Added Info: Note 2001: A Space Odyssey opened in 70mm in 1968 in a roadshow release. In 1969 it went into wide release in 35mm, and the movie was not as successful. The film was then given an entirely new 70mm New York City ad campaign in March 1970. That proved successful and the movie received a national release in 1970 (part of the continuous first release since 1968), and the one-sheet for this release shows the star child (but it has less color than the "wildposting" one-sheet used in New York). However, after being out of the theaters briefly, the movie was re-released in 1971, and this 1971 re-release one-sheet has the same image as the March 1970 wilding poster, and like it, the coloring is part purple and part a blue-green, making the poster much more effective.
There was it would appear screenings of 2001: A Space Odyssey at many Metro city and suburban cinemas in Sydney and Melbourne in late 1971. Whether the imported 1971 U,S. poster was also used in Australian is not known.
The G rating classification took over from the For The General one happened on October 1, so your thinking that the 3 colour version daybill is probably from 1971 is within the realms of possibility
The thing here though is that there isn't any evidence to support that this particular daybill version, or in fact any of the other three examples were printed in any particular order.
A mystery that will remain a mystery that will never be solved is something we will have to live with..
Does anyone know the story on these Elvis reprints? I've seen them for quite a few of his films. No printer details.
The Kid Galahad daybill reprint version.
A subject that certainly has interested me for many years. I have a large file containing images of 1960's United Artists released films that were produced in this format.The titles range from B grade to major films that had these follow up in lesser quality duotone versions printed for.
Just four of the many examples follow below.
Interested in hearing if anyone has any comments to make on the history of why this may have taken place. I don't know the answer, but I am happy to contribute my thoughts regarding this matter in the future.
My buddy, who was a projectionist in the 1950s & ran the Lithgow Cinema in the 1970s, told me that UA were particularly tight. They would often run out of posters, and also jacked up the film hire on popular titles. 007 doubled in cost once the franchise took off. Other than that, I got nothing!
The Valiant ( 1962 ) film had a very fleeting theatrical release here in Australia.
My question is why then was a duotone copy required to be printed?
Follow That Dream ( 1962 ) being the other United Artists Elvis film with a one sheet example produced in this style.
United Artists released B grade western movie The Dalton Girls ( 1957 ). Released in Australia in 1958.
One has to wonder why a second daybill version was required?
In this particular case would the female's exposed back have had anything to do with it. Was the second duotone daybill perhaps a replacement poster?
Nice art & gotta love dread sex drug cigarette.
A great find. The one sheet poster of She Shoulda Said No! ( 1949 ) is indeed from the 1960's, but it wasn't produced for the film's first release The poster was actually printed for a 1961 re-release.
A rare BEF daybill that was printed for the original Australian first release in 1951. The W.E. Smith printing credit, and the BEF distributor's credit confirm this. Following above also is a 1951 Australian newspaper advertisement that was placed for the original release.
The Australian one sheet poster was printed by Robert Burton who were not printing movie posters until later in 1951. The poster is minus a distributor's credit also.
What I do find interesting though is that the devil and the cigarette appearing on the original daybill are nowhere to be seen on the one sheet, The one sheet image being solely concentrating on a sexy female image.
She Shoulda Said No!, among some other alternative names was also titled The Devil's Weed overseas as well.
Original 1949 Australian daybill of Secrets of Life ( original U.S.A. title Mom And Dad ), and a 1949 Australian Sydney N.S.W. first release newspaper advertisement placed for the film's release. Also an original U.S.A. Titled Mom And Dad one sheet poster.
The Australian 1961 double bill re-release of Secrets Of Life and She Shoulda Said No! by an unknown, most likely small independent film distributor.This is where the Australian one sheet in discussion of She Shoulda Said No! would have been printed for.
I haven't seen many Burton posters printed before late 1950s.
Here is a nice daybill. Couldn't find any other images online.
Although aimed to be primarily booked and screened on a double bill programme with Secrets Of Life, the She Shoulda Said No! film was also made available to be booked by its self. For some cinema owners who were not wanting to screen the double to segregated audiences the film She Shoulda Said No! was booked separately.
Thanks Matt for the indeed rare One Way Street ( 1950 ) daybill. I haven't to my recollection ever sighted another image of this particular daybill previously. I recorded the film recently from a rare presentation on the local Foxtel pay television 'service. Yet to view it though.
Mom And Dad & She Shoulda Said No circa 1950s U.S.A, re-release double bill one sheet.
Rolled, 20 x 30 inches & came from a cinema in country Victoria.
Although coming from a cinema in country Victoria, I do think that this poster wasn't printed specifically for cinema display usage, but for promotion for the car itself and its makers..
Anyway, if you find anything new, please let me know.
DAVID BROWN, FROM TRACTORS TO ASTON MARTIN
The initials DB have graced every iconic model of Aston Martin from 1950 to 1972, and again from 1994 onwards. They have become so widely known that few car fans these days stop to question what these initials stand for. However, for fans of classic machinery whether lithe and sporting or solid and agricultural, the meeting of these two names provides a fascinating snapshot into how a small family business from Yorkshire ended up leading the world in both exotic cars and agriculture at the same time.
Based in Huddersfield, Yorkshire, the family-owned David Brown & Sons foundry and metalworks had forged a cast iron reputation as a leader in the production of heavy-duty parts and machinery. As the steam age drew to a close, and in the run up to World War Two, however, the UK’s rising demand for food production meant that the manufacturing of tractors seemed a logical route into diversification for the company. An initial foray into this world of farming was trialed with a failed partnership with Harry Ferguson (of Little Grey Fergie fame), however when this relationship broke down, and the short-lived Ferguson-Brown tractor sold more than 1000 units, it led to the first-ever in-house designed David Brown tractor being launched in 1939.
The VAK 1 (Vehicle Agricultural Kerosene 1) tractor may not have had a snappy name, but it was an instant success. Well priced, reliable and well built, its distinctive bright red paintwork was reputedly taken from the colour hunting jacket worn by Sir David. The VAK1 tractors were both stylish and practical at the same time, with farmers wowed by the engineering of its power take-offs and easy-to-operate linkage arrangements, more than 3000 orders were taken at its launch. The press at the time loved it too; of great note was the arrangement of the cockpit for the operator, which offered farmers a shelter from the elements for the very first time – it had never been considered of importance before that point.
Sales were helped in no small part by World War Two, which saw a further 4000 of these tractors sold in just six years. Alongside the lucrative contracts that were won for the production of military spec units alongside the civilian VAK1s meant that by the end of the war, Sir David Brown was a wealthy man at the head of his own a manufacturing empire.
Sportscar history was set in motion in 1947, when Sir David responded to an advert placed in The Times newspaper proffering a ‘High Class Motor Business For Sale’. Sir David’s wealth allowed him to snap up the beleaguered sports car company Aston Martin for the reasonable sum of £20,500, at a time when few others in the country would have had the funds to do so, and he followed this up with the purchase of Lagonda a year later. By combining the Aston Martin brand with the Bentley-derived engines of Lagonda, a winning formula was hit upon, and a new range of cars were launched with the model designation of DB, or David Brown.
Under his ownership, the sportscar brand flourished, producing winning racing cars and sportscars for the road throughout the 50s and 60s, a winning streak that continued until sales faltered and Aston Martin hit difficulties in the early 1970s. While the company was sold off in 1972, the DB model designation had become so firmly ingrained into the brands identity that it was re-introduced two decades later with the launch of the DB7. Though the connection to David Brown tractors, and the tractor company itself had long since disappeared by 1994, a legend had been born, which lives on to this day.
Gorgo ( 1961 ) Australian daybill, and the Australian printed daybill printed especially for New Zealand, minus the rare Australian censorship rating.
A question is if you had the opportunity to obtain either one of the two versions, which one then would you choose? Would you prefer rare censorship on your poster, or have the censorship free version? I am curious to know which one would appeal to you the most
Peter
An interesting daybill that isn't straight forward enough in it's appearance to be able to able to 100% identify it's exact origin. I notice at least six problems with the details on the poster.
I have my thoughts about when it was printed and used. Before I do comment though would anyone else like to comment on anything at all regarding this poster?
Peter