This is the Thai poster for the release of the follow up to the action classic First Blood (1982). Coming three years after the original, Rambo: First Blood Part II – note the addition of the character’s surname to the title – had a script that was co-written by James Cameron and Sylvester Stallone. George P. Cosmatos was chosen to direct the film and the legendary partnership of Mario Kassar and Andrew Vajna, who were behind many of the best action films of the 1980s and 90s, were executive producers. 

The film picks up where the original left off, with ex-commando John Rambo (Stallone) serving time in prison for the events of the first film. His former commander Colonel Trautman (Richard Crenna) visits him whilst he’s cracking rocks in a quarry with other prisoners and asks him if he’d help with a mission to locate MIA / Prisoners of War (POWs) in Vietnam. The public believe there are still American soldiers out there in the country, despite denials by the US and Vietnamese government. This was a very topical issue in the early 1980s and First Blood Part II was one of the first films to tackle the issue directly. Promised a pardon for his previous actions, Rambo accepts and travels to Thailand from where we he will be covertly dropped into Vietnam. He’s given orders that it’s just a reconnaissance mission – photographs can be shot but nothing else.

During the parachute drop things go awry when his parachute is caught in the door of the plane and he’s forced to cut away his bag of equipment before managing to untangle himself. Landing with only a large knife and a fold-out bow, Rambo manages to meet up with his contact Co-Bao (the stunning Julia Nickson) who helps him locate the camp in which it’s believed the prisoners may be held. Sneaking in during the night, he locates the American prisoners and breaks one out of the camp, intending to rescue the others with more support. The trio head to the pre-arranged rendezvous point with the Vietnamese guards in hot pursuit. Desperately trying to climb onto the rescue helicopter, they discover that the government agent overseeing the mission, Marshall Murdock (Charles Napier), orders his men not to pick them up. The whole thing was intended as a kind of PR mission to appease the American public angry about the POW situation. Murdock incorrectly believed that no prisoners would be located.

Rambo and the prisoner are captured by the Vietnamese and returned to the camp whilst Co-Bao manages to escape. They soon discover that the Soviets are arming and training the local soldiers. They meet the local commander, Lt. Col. Podovsky (Steven Berkoff) and his henchman Sergeant Yushin who torture Rambo and force him to disavow the POWs over the radio. When they threaten the life of a prisoner and Co-Bao attacks the hut in which they’re in, Rambo seizes his chance, rampaging out of the camp with Co-Bao following. The Russian and Vietnamese soldiers soon realise they messed with the wrong man as he proceeds to kill them one by one in a famous sequence during which the body count rises into the 70s.

The film was critically mauled on release but was a huge box-office hit, being the first film released in America to open on over 2000 screens. It accrued several times its original budget with a worldwide take of north of $300m. First Blood Part II is one of the defining action films of the 1980s and has been much imitated and parodied (particularly by Charlie Sheen in Hot Shots! Part Deux) since. A far less successful sequel would follow three years later before the series took a long hiatus prior to being resurrected in 2008 with Rambo.

The artwork on this poster is by Tongdee Panumas who was an incredibly prolific film poster artist during the 70s, 80s and 90s. I’ve been unable to find out much about him, other than that he was born in 1947, so if anyone has any more details please get in touch. The central image of Stallone holding a bazooka was redrawn from the photograph used for the American one sheet, which can be seen here.

Note that the dark line seen across the centre of the poster is actually where two painted canvases have been joined together by the artist – the art was then copied and the text and other details overlaid.

A unique design by the designer and illustrator Andrzej Klimowski features on this Polish B1 poster for Jim Jarmusch’s Stranger Than Paradise. Following the 1980 release of Permanent Vacation, the director’s debut feature, he began work on what would become Stranger Than Paradise. A shorter version of the film was created first and shown at film festivals before it was expanded to full length and released in 1984. It’s considered to be a landmark in the independent / arthouse film movement and inspired many filmmakers over the following years. The film stars jazz musician John Lurie and former Sonic Youth guitarist Richard Edson as two friends, Willie and Eddie, and deals with their interaction with the former’s Hungarian cousin, Eva (Eszter Balint).

Told over three separate acts, the plot is minimalist and begins with Eva arriving at Willie’s spartan New York flat to stay for ten days. Aunt Lotte, with whom Eva was meant to be staying, is in hospital and Willie begrudgingly takes Eva in. After a while he begins to warm to his guest and is sad when she leaves to go to Cleveland. A year later, Willie and Eddie travel to visit Eva but end up just as bored as they were in New York. In act three, the pair decide to travel to Florida on a whim and end up taking Eva with them. The story culminates with the trio getting mixed up at the airport as Eva plans to fly back to Hungary.

Made on a budget of around $100k, the film was a relative success and earned over $2.4m. It was also a hit with critics and won a host of awards, including at festivals like Cannes and Sundance, where it won the coveted Special Jury Prize.

Andrzej Klimowski is a celebrated designer and illustrator who was born in London to Polish émigré parents in 1949. After studying at Saint Martin’s School of Art he moved to Poland to train at Warsaw’s famous Academy of Fine Art. Beginning in the 1970s Klimowski has worked on book covers for celebrated authors including PG Wodehouse and Kazuo Ishiguro. In the mid-1970s he was given the opportunity to work on film posters and turned in work for titles including Roman Polanski’s Chinatown and Robert Altman’s Nashville. He also began to work on theatre posters around the same time and began teaching illustration during the 1980s. He has won multiple awards over the years, including ones for his film posters.

This article in Eye Magazine is an excellent read and details the development of his unique style that he came to whilst working on posters and book covers. Here’s an excerpt that’s pertinent to this poster:

‘I was interested in an image without surface,’ explains Klimowski, ‘an illusion, which is like the projected image in the movies, or a printed image, not fine print like lithography or etching, but offset litho for the masses.’ Photocollage allowed him to cut into reality, sometimes crudely so the cut-lines show, manipulate it, and reassemble it with a degree of verisimilitude – ‘a deposit of the real world’ – that the paintbrushes preferred by his fellow Polish poster artists could not achieve. Montages made from his own photographs and other elements were transferred to lith film, the film image was traced on to paper, colour (crayon, paint or pastel) and other textures were applied, then the two layers were taped together so the colour shone through from inside.

Klimowski continues to create illustrations and book covers today and is now Professor Emeritus at the Royal College of Art in London, having served as head of the illustration course for many years. His own website is here and features a short biography. The one on the RCA’s website is more extensive. Polishposter.com features a decent gallery of his film poster work, including the five that he worked on for Jim Jarmusch films.

This is the Japanese B2 poster for the release of Luc Besson‘s 1985 comedy drama Subway. It followed on from the director’s first film, The Last Battle, which was released two years earlier. Subway reunited him with several of the actors and crew from that film, including Jean Reno, who who would go on to feature in many of Besson’s directorial efforts. French-American actor Christopher Lambert appears in the lead role of Fred, a grifter who steals documents from a rich businessman and escapes into the Paris Metro.

Lambert stars alongside Isabelle Adjani who appears as Héléna, the frustrated wife of the businessman from whom Fred has stolen the documents. The film is set largely on location in the Metro and makes great use of the halls, concourses and even the areas usually off-limits to the public. After being locked in overnight, Fred begins to explore and eventually meets Le Roller (Jean-Hugues Anglade), a petty thief who has made a home in an abandoned storage room. Le Roller introduces Fred to the other characters who called the underground their home, including the musclebound Big Bill (Christian Gomba) and The Florist (Richard Bohringer). 

The admittedly slight plot sees Fred continue to evade a bunch of hired goons sent by the businessman, as well as the subway police. The commissioner (a great performance by Michel Galabru) gets increasingly frustrated as his men, including one he’s nicknamed Batman (Jean-Pierre Bacri) fail to catch Le Roller time and time again. Héléna becomes increasingly infatuated with Fred, eventually realising his carefree attitude is the perfect antidote the marriage she feels trapped in. The film features a typically great score by regular Besson collaborator Éric Serra who also appears in the film as a member of a band that Fred brings together. The film was a success with critics as well as the French box-office. A year later Lambert would star in Highlander, a film that shot him to international stardom and lead to him winning multiple Hollywood roles.

This Japanese poster features the same artwork that was used on the French poster. It appears that the Japanese designer simply took a copy of a French poster, including all the flaws which that particular copy had. If you look closely at some of the images you can see hairs, scratches and other blemishes that must have been present on the poster. The artwork is credited to an artist called Bernard Bernhardt about whom I’ve been able to discover very little. Some of his other film posters can be seen on Cinematerial. According to this translated interview he was born in Paris in 1950 and worked on posters for several famous directors, including Roman Polanski and Michael Mann, over a thirty year period.

A unique design features on this UK poster for the video release of David Cronenberg‘s sci-fi classic, The Fly. Loosely based on a 1957 short story of the same name by George Langelaan, which was first adapted for the big screen in 1958, the screenplay was written by Cronenberg himself and based on an initial draft by Charles Edward Pogue. The director rewrote most of the characters and dialogue and added themes of identity, sexuality and body horror with which he’d become synonymous.

Cronenberg cast Jeff Goldblum as the gifted but eccentric scientist Seth Brundle who has secretly been working on teleportation of objects from one place to another instantly. He works for Bartok Science Industries but has been working on a pair of ‘telepods’ at his home laboratory. When he’s introduced to the journalist Veronica Quaife (Geena Davis) at a ‘meet the press’ event he decides to risk taking her to see his work, which he demonstrates by teleporting inanimate objects. Impressed, Veronica agrees to keep quiet in return for exclusive rights to the story.

Soon afterwards the pair start a romantic relationship as Brundle continues to work on the pods. He decides that he wants to have the pods teleport living tissue and eventually manages to do so successfully with a baboon he’s borrowed from his company. Flushed with success Brundle begins drinking and starts to get paranoid that Veronica has rekindled her relationship with her editor and former lover Stathis Borans John Getz. He decides to try teleporting himself but unbeknownst to him a housefly gets inside the pod with him.

He emerges in the other pod seemingly fine and initially feels he’s come out of the pod an ‘improved’ human with higher strength and stamina. However over the following weeks Brundle’s mood becomes highly erratic and he begins a bodily transformation that starts out with unwanted hairs and fingernails falling out but begins to progress into something much more destructive as he realises his pod had been contaminated. The transformation into ‘Brundlefly’ sees the scientist scrambling for a cure before it’s too late, desperately imploring a pregnant Veronica to help him.

Goldblum’s performance was rightly celebrated and it remains one of his most memorable roles to date. The special effects depicting Brundle’s deterioration were executed by Chris Walas‘ company and ended up rightfully winning an Academy Award. The film is as impressive as it was 30 years ago and is definitely one of Cronenberg’s best.

The close-up image of a fly’s eyes is, I believe, unique to this poster but note that it also features the illustrated telepod that appeared on the US one sheet, which was painted by Richard Mahon. The logo is also the same one seen on the American poster and British quad.

Here’s the film’s original trailer.

Although considered by most Bond fans to be one of the weakest of the series, I know I’m not the only one to have a soft spot for Moonraker, Roger Moore‘s fifth outing as James Bond. Thanks to endless TV showings during the 1980s and early 1990s I’ve probably seen this more than any other in the series and, like Live and Let Die, it had a huge impression on my young mind.

Looking at it through the cynical fog of adulthood it’s easy to sneer at the camp script, supremely daft action sequences (motorised Gondola anyone?) and painfully obvious attempt to cash in on the success of Star Wars (a very common theme amongst films released in its wake). The film is probably the quintessential outing for Moore as Bond and only he could have pulled it off as well as he did, particularly when it comes to the hokey script and madcap action.

The film features several memorable sequences, including a stunning cable car fight over Rio de Janeiro, and a memorable bad guy in Richard Kiel‘s inimitable ‘Jaws’ who used to scare me senseless as a kid. Also notable is John Barry‘s soundtrack, which marked a departure from his previous Bond work by mainly using strings instead of the typical brass. The film also features one of the most (literally) eyebrow-raising character names in the form of Dr Holly Goodhead (Lois Chiles) and one of the best/worst sign-offs of the entire series:

Sir Frederick Gray, Minister of Defence:  My God, what’s Bond doing? 
Q: I think he’s attempting re-entry, sir.

This particular poster is the advance international one sheet with artwork by Dan Goozee who is responsible for several other Bond posters, including the US one sheet. Other posters I’ve collected by him can be seen here.

This version has the phrase ‘Blasting off in June!’ at the bottom, but I also have one which says ‘Blasting off This Summer’ – see the last photos for images of it. I know there is also at least one other alternative version that has the phrase ‘Blasting off Soon’ (image taken from emovieposter.com).

The original trailer for the film is on YouTube.

This is the Japanese B1 poster for the release of Hal Ashby‘s 1979 comedy-drama Being There. The film is based on the novel of the same name by Jerzy Kosiński, who was also involved in the initial effort to craft the screenplay, with an uncredited Robert C. Jones. Being There was the penultimate film for the legendary British comedy actor Peter Sellers who would pass away only a year after its release at the untimely age of 54.

Sellers plays Chance, a simple-minded gardener who has lived and worked in the same Washington DC house since he was a young boy. He has never left the house, is unable to read or write and everything he has learnt has come from the TV set in his bedroom. When the owner of the house passes away, Chance is forced to wander the streets wearing the tailored suit of his old employer, unsure what to do next. An accidental encounter with the Eve Rand (Shirley MacLaine), the wife of the elderly billionaire business mogul Ben Rand (Melvyn Douglas), sees him transported in a limousine to the sprawling residence of the Rands. There he meets Ben who mistakenly assumes him to be Chauncey Gardener, a cultured and wise gentleman, who endears himself to the mogul. Rand mistakes his simple proclamations about gardening to be deep metaphors about the state of the economy. Chance even meets the President (Jack Warden), a friend of Rand’s, and influences a major speech he makes. Eventually people around Rand and the President begin to investigate Chauncey Gardener’s background, whilst Ben Rand’s health begins to fail and Eve becomes smitten with Chance.

The film was a critical success and was award-winning, with Sellers being given the Golden Globe for Best Actor (Musical or Comedy) and Melvyn Douglas snagging the Best Supporting Actor at the 1980 Academy Awards. The Rand’s home was the incredible Biltmore Estate in North Carolina.

The artwork on this Japanese B1 also featured on an international one sheet and the the German poster. I’m unsure who is responsible for the art so if anyone has any ideas please get in touch.

A simple design features on this one sheet for the US release of the 1971 crime-caper $ (AKA Dollars AKA The Heist). The film was written and directed by the late American director Richard Brooks who is best known for Blackboard Jungle (1955), Cat on a Hot Tin Roof (1958) and In Cold Blood (1967). It stars Warren Beatty who was arguably at the height of his career following his appearance in Bonnie and Clyde a few years earlier. He had just finished work on Robert Altman’s McCabe and Mrs Miller which was released the same year as $. The film also marked the third screen appearance of Goldie Hawn and features Goldfinger himself Gert Fröbe. $ is notable for being filmed on location, including in Hamburg, Germany (where it is largely set) as well as in Sweden and San Diego, California.

The film’s plot is described on IMDb:

[$ is a] caper film about crooks robbing crooks, set in Germany where American bank security expert Joe Collins (Beatty) plots with call-girl Dawn Divine (Hawn) to rob three safety deposit boxes from three criminals; a local drug dealer known as the Candy Man, a Las Vegas mobster, and a crooked U.S. Army sergeant. The heist goes off with few complications. But when Candy Man and the Sarge find their money gone and figure out that Dawn (whom they all have gotten to know) is behind it, they team up to try to get their money back.

Despite receiving solid critical notices $ failed to set the box-office alight and was considered something of a flop on release.

This is one of several one sheets printed for the release of the film and some of the others can be seen by checking out this page on emovieposter.com. I’m unsure who was responsible for the design of this particular poster (known as ‘style A’) so if anyone has any ideas please get in touch.

A detailed piece of art by Tom Jung features on this US one sheet for the release of the 1975 Western Bite the Bullet. The film was written and directed by the late American director Richard Brooks who is best known for Blackboard Jungle (1955), Cat on a Hot Tin Roof (1958) and In Cold Blood (1967). The story was inspired by a 1908 horseback race that traveled 700 miles from Evanston, Wyoming to Denver, Colorado.

The nine contestants include a pair of former Rough Riders, Sam Clayton (Gene Hackman) and Luke Matthews (James Coburn) who are both out for the prize fund, despite their friendship. Also in the group is a former prostitute (Candice Bergen), a cocky kid (Jan-Michael Vincent) and an Englishman (Ian Bannen). A train containing the people from the newspaper who created the competition sets off along the route and meets up with the group at various points. We watch as they all suffer from various perilous situations, including attacks from bandits, large wildlife (bear!) and a group of dangerous prisoners. 

The film is a fairly lightweight but enjoyable watch and the main cast are all decent. Hackman and Coburn are, as usual, convincing in their parts and bring needed gravitas to their roles. A speech by Hackman recalling his time during the Spanish-American war is a particular highlight. Reviews were mixed, however, and I don’t believe the film was a great success as the box-office.

As well as the iconic one sheet for Star Wars, Tom Jung is also known for the style B one sheet for The Empire Strikes Back. He was a prolific designer and illustrator for film campaigns from the 1950s through to the 1980s. IMPAwards features a gallery of his work and his Wikipedia article has a selected list of the many posters he worked on. Rather unusually, at least in comparison to other film poster artists, Jung was also a designer of his posters as well as the artist. The other posters I’ve collected by him can be seen here.

This is a screen print by the American artist Mark Englert for the 1990 TV version of Stephen King’s classic novel ‘It’, which was recently remade to great critical acclaim (and box office success). Originally shown as a two-part mini series, then later released on DVD and blu-ray as an edited single movie, the film is set in the fictional Maine town of Derry during two time periods (1960 and 1990). The story focuses on a group of children who are menaced by a shapeshifting creature that preys on their worst fears in order to attack and eat them. The creature appears once every 30 years and over the previous century many of the town’s children have disappeared. The group (nicknamed by themselves as The Losers Club) decide to take on It who most often appears as the malevolent clown Pennywise (Tim Curry). After driving it back underground in 1960, the group make a promise to return and put a stop to It once and for all 30 years later.

Note that this is the regular edition and it glows in the dark which reveals hidden details, including Pennywise’s face in a hidden moon, and the spider form of It in the top left corner glows too.

This print was created in 2012. Englert, whose official website is here, first appeared on collectors’ radars with his print for The Thing that was released earlier in 2012. Since then he has worked on a number of landscape format prints (typically 12″ x 36″) featuring scenes from cult films and TV shows. One of his most popular releases was one for The Walking Dead that was released around the same time as this print. Each is given a name that relates to the property in some way. In this case ‘They All Float’ is part of the famous line spoken by Pennywise.

Check out this interview with Englert on Collider.com which was carried out at the 2012 Comic Con and they also featured him in their first ever ‘Limited Paper’ column. Englert’s own site features the posters and other items he’s worked on so far, which includes vinyl sleeves and more. There’s a short biography on his website which mentions he was born in 1979. There’s an excellent interview with Mark on 411posters.com here.

He has a store here and you can follow him on Twitter here.