Australian poster and advertising material produced for follow up re-releases and screenings.
It would appear that BEF only had the Australian distribution rights for five years ending in 1979. After this Sandy Harbutt self distributed the film himself for a few years . and produced the following two daybill and one sheet posters.
Sometime after this he handed over the Australian distribution rights to the film distributor Garland Productions for an undetermined period of time.
Finally a very rare designed Australian daybill poster of Stone from an unknown period of time. The only sighting of this poster by me ever.
An interesting fact is that when Cinemascope films were first introduced into Australia in the early 1950's MGM decided on their Australian produced film posters they would not include the word Cinemscope. This occurred between 1954 and part of 1955. Then later in 1955 the Cinemscope credit commenced being used on MGM's posters. The following Brigadoon (1954) and Jupiter's Darling (1955) Australian daybills show the original produced posters, and also examples where Cinemascope snipes were added. The snipe attached to Brigadoon would have been served attached on the top of the poster similar to what is seen on the Jupier's Darling poster example. A question is does anyone have any other examples of this practice having taken place with daybills, or even one and three sheets, that they can share with us here?
Perhaps the Cinemascope credit was meant to be contractual and the local artists weren't aware of it? Hence the snipes.
Thanks Peter for your thoughts. I don't know the answer, but my thinking is that the heads to be at M-G-M Australian knew that many Australian cinemas hadn't yet converted to Cinemascope projection, so to distribute their posters to non cinemascope equipted theatres the word cinemascope was left off the posters. In the early days of widescreen adaption during the 1950's Cinemascope films were also released in alternative anamorphic standard 4.3 shot academy format versions to accommodate the theatres that had not yet upgraded their equipment to be able to screen cinemascope films.'
The 1955 U.S.A. insert poster and the Australian daybill adverting material for the 2-D and Cinemascope screened versions of the film To Hell And Back. The film was released in Australia on December 2, 1955. Universal International Australia were very slow in including the Cimemascope credit on their film posters. Still more in the pipeline on this subject to come.
The first Universal-International CinemaScope film was The Black Shield Of Falworth that was released in the U,S.A.. on Septemfer 2, 1954,The Australian release happened just over a year later on September 30, 1955. The following Australian daybill and one sheet are minus a Cinemascope credit.
Interestingly the original U.S,A. inset poster appearing below was also printed minus a CinemaScope credit as well. A CinemaScope sticker was applied to posters where screenings in CinamaScope took place.
The following Australian press sheet mentions the film being available in both CinemaScope and 2-D versions.
More information regarding this topic is still to come. Any comments on what has been included here so far would be most appreciated.
The above RKO Radio Pictures Australian daybill and one sheet of 20,000 Leagues Under The Sea (1954) is one of the earliest examples of a CinemaScope credit appearing on an Australian poster. The film was released in Sydney Australia on December 15, 1955.
The following features an original Australiab daybill of Drums Across The River (1954),, a U.S.A. original release one sheet, and a later printed duotone. Australian daybill. Any thoughts regarding the duotone poster?
As no one has so far commented I will now mention that Audie Murphy only used one pistol in this film, which was his normal practice to do in his western films.
The poster artist who designed the duotone daybill obviously didn't have any original poster material to work with, The artwork design of Audie Murphy was adapted from the Rod Cameron artwork previously used on the 1948 film Panhandle.
Obviously, those duotone re-releases didn't involve a lot of artistic work, but you wonder if they were worth the effort instead of just reprinting the originals.
Obviously, those duotone re-releases didn't involve a lot of artistic work, but you wonder if they were worth the effort instead of just reprinting the originals.
I am thinking that the unknown printer of the duotone Drums Across The River daybill didn't have access to the original F.Cunninghame artwork. This also being the case with the unknown printer or printers of the crude duotone posters not having any access to original poster artwork in general from the major printers who had printed the original posters.
The printer may not have had access to artwork or ad blocks but they surely could access a dictionary - color has a u added to it in our world.
I'll leave it to someone else to comment on the above statement.
These spelling anomalies were very common. They used the American version of English many times with movies that were produced in the US and shown in Australia. It really is beyond me why it was felt that the English language needed to be changed with so many words but it is what it is.
There are literally hundreds of words that have been changed. Colour - Color, Favourite - Favorite, Apologise - Apologize, etc etc. I think it's pretty bizarre that you have to choose whether you want to use Traditional English or American English on computers these days and even more annoying when spellcheck tries to tell me that the English version is not correct.
Comments
Australian daybill and one sheet.
Three lobby cards.
Glass lantern slide.
Press sheet page.
If anyone has any other different BEF film advertising material please let us see it here.
Some re-release material imagesl to follow in part 2 soon.
It would appear that BEF only had the Australian distribution rights for five years ending in 1979. After this Sandy Harbutt self distributed the film himself for a few years . and produced the following two daybill and one sheet posters.
Sometime after this he handed over the Australian distribution rights to the film distributor Garland Productions for an undetermined period of time.
Finally a very rare designed Australian daybill poster of Stone from an unknown period of time. The only sighting of this poster by me ever.
Peter
Agree with Rick, its the best one by a mile.
An interesting fact is that when Cinemascope films were first introduced into Australia in the early 1950's MGM decided on their Australian produced film posters they would not include the word Cinemscope. This occurred between 1954 and part of 1955. Then later in 1955 the Cinemscope credit commenced being used on MGM's posters.
The following Brigadoon (1954) and Jupiter's Darling (1955) Australian daybills show the original produced posters, and also examples where Cinemascope snipes were added. The snipe attached to Brigadoon would have been served attached on the top of the poster similar to what is seen on the Jupier's Darling poster example. A question is does anyone have any other examples of this practice having taken place with daybills, or even one and three sheets, that they can share with us here?
The original U,S.A, insert posters of Brigadoon and Jupiter's Darling with Cinemascope advertising prominently displayed.
Peter
The 1955 U.S.A. insert poster and the Australian daybill adverting material for the 2-D and Cinemascope screened versions of the film To Hell And Back. The film was released in Australia on December 2, 1955. Universal International Australia were very slow in including the Cimemascope credit on their film posters.
Still more in the pipeline on this subject to come.
The following Australian daybill and one sheet are minus a Cinemascope credit.
Interestingly the original U.S,A. inset poster appearing below was also printed minus a CinemaScope credit as well. A CinemaScope sticker was applied to posters where screenings in CinamaScope took place.
The following Australian press sheet mentions the film being available in both CinemaScope and 2-D versions.
More information regarding this topic is still to come. Any comments on what has been included here so far would be most appreciated.
The above RKO Radio Pictures Australian daybill and one sheet of 20,000 Leagues Under The Sea (1954) is one of the earliest examples of a CinemaScope credit appearing on an Australian poster. The film was released in Sydney Australia on December 15, 1955.
later printed duotone. Australian daybill. Any thoughts regarding the duotone poster?
The poster artist who designed the duotone daybill obviously didn't have any original poster material to work with, The artwork design of Audie Murphy was adapted from the Rod Cameron artwork previously used on the 1948 film Panhandle.
There are literally hundreds of words that have been changed. Colour - Color, Favourite - Favorite, Apologise - Apologize, etc etc. I think it's pretty bizarre that you have to choose whether you want to use Traditional English or American English on computers these days and even more annoying when spellcheck tries to tell me that the English version is not correct.