French acting legend Alain Delon stars in this 1975 film featuring the character of Zorro, originally created by American pulp writer Johnston McCulley in 1919. Zorro has appeared in countless films, TV shows, radio plays, comics and more, and is an enduring favourite across the globe.

This particular film was directed by Italian Duccio Tessari, perhaps most famous as the screenwriter for  ‘A Fistful of Dollars’, which lead to this version being dubbed ‘The Spaghetti Zorro’. Apparently the film was heavily edited for its release outside of France and had around half an hour cut from it, including several explanatory scenes. The uncut DVD is available through Amazon.fr and features English subtitles.

This Japanese poster was for the film’s first release there in 1975. A friend helped me to translate the main text on the poster. At the top it reads:

アラン・ドロン主演50本記念作品 that roughly reads ‘Commemorating Alain Delon’s 50th film’

The other section is:

世界5000万部の超ベストセラーが生んだヒーローに
人気最高ドロンが挑んだ
剣と愛のロマン・スペクタクル巨編

The original book sold 50 million copies
Alain Delon is challenged to act the hero
A film featuring Swordplay and romantic love

Delon was, and still is, a hugely popular actor in Japan.

The bizarrely catchy theme tune from the film can be viewed here.

Unique artwork on this poster for the Japanese release of the much-loved Coen Brothers classic, The Big Lebowski. To say the film has become something of a cultural phenomenon since its release 13 years ago would be an understatement. There’s the annual Lebowski-Fest, which started in 2002 in Louisville, Kentucky and has since been held in several other cities. Jeff Bridges iconic ‘The Dude’ character is even the focus behind a form of religion called Dudeism.

I have a hard time choosing between this and Fargo as my favourite Coen Brothers film, although Raising Arizona and Barton Fink are also strong contenders.

The image on this poster is a shot from the brilliant dream sequence, after The Dude has his drink spiked by Jackie Treehorn. It’s clear that the designer was experimenting with 3D text effects in Photoshop (v4.0, as it would have been at the time).

I recently spotted this rather excellent GIF.

One of my top three Coen brothers films (along with ‘Fargo’ and ‘The Big Lebowski’) and probably my favourite ever Nic Cage performance, the other contender being ‘Wild at Heart’. Raising Arizona is a brilliant comedy caper featuring some of the Coen’s most memorable characters, including Holly Hunter‘s Ed, the exasperated police officer bride of Cage’s bumbling criminal H.I. McDunnough.

After the pair fail to conceive naturally they make the fateful decision to steal Nathan Jr., one of the quintuplets born to wealthy store owner Nathan Arizona (Trey Wilson) and his wife. The pair must then contend with a series of increasingly frantic encounters after Arizona Sr. enlists the help of the enigmatic bounty hunter Leonard Smalls (memorably played by Randall ‘Tex’ Cobb).  John Goodman and William Forsythe are superb as a pair of prison escapees whose friendship with H.I. leads to their involvement in the shenanigans.

This Japanese poster features the illustration of Nathan Jr. as seen on the UK quad (with some adjustments) and the illustration of Ed and H.I. is from the American one sheet.

The original trailer is on YouTube.

The car’s the star on this Japanese poster for the classic 1971 road movie, Vanishing Point, starring the then unknown actor Barry Newman as the legendary delivery driver Kowalski. Tasked with driving a 1970 Dodge Challenger (R/T 440 Magnum) from Colorado to San Francisco, Kowalski accepts a bet that he can’t get the car to its destination in less than 15 hours.

After a run in with two motorcycle cops a pursuit commences and the driver does his best to stay on target and evade arrest, helped along the way by an enigmatic DJ named Super Soul (Cleavon Little). During the pursuit Kowalski meets an array of characters, including a snake-catching prospector (Dean Jagger), gun-toting gay hitchhikers and a hippie biker with a girlfriend who rides stark-naked (as featured on this poster).

There are actually two versions of the film and the one that was shown in the cinema in the UK is actually longer than the US cut, featuring an extra scene of a drug-taking hitchhiker played by British actor Charlotte Rampling. Both versions are available on the recently released blu-ray.

The film has had an undeniable cultural impact, influencing multiple other films and even musicians, with Brit group Primal Scream naming their 1997 album after the film and lead singer  Bobby Gillespie saying that, “The music in the film is hippy music, so we thought, ‘Why not record some music that really reflects the mood of the film?’ It’s always been a favourite of the band, we love the air of paranoia and speed-freak righteousness … It’s a pure underground film, rammed with claustrophobia”

Quentin Tarantino‘s half of Grindhouse, Death Proof, continually references the film and features an almost identical Dodge Charger in one of its key car chases. I hadn’t realised but there was actually a TV remake of the film made in 1997 and starring Viggo Mortensen as Kowalski.

The original trailer is on YouTube.

A wild design on this Japanese poster for director Spike Lee’s first full-length feature film. The story is set in the New York City borough of Brooklyn and focuses on Nola Darling (Tracy Camilla Johns) a young, independent woman who is juggling three different lovers, each with different qualities, and struggling against societal expectations of how she should behave.

Lee himself starred as one of her suitors, a bike courier called Mars Blackmon, and he portrayed the character several times in the following years promoting the Nike Air Jordan line of trainers. Several of these adverts can be seen on Youtube, including this one.

The film is also credited with putting the borough of Brooklyn firmly on the map and helping to foster better social pride in the area’s residents. Several of Lee’s films have been set there, including the brilliant Do the Right Thing. His upcoming film Red Hook Summer is apparently set in Brooklyn.

I’m guessing that the design featured on this Japanese poster is supposed to represent the ‘moral maze’ that the characters in the film are trapped in, but that’s just pure speculation!

Considered by many to be Italian horror maestro Dario Argento‘s best, Suspiria is an absolutely stunning supernatural horror film and has influenced countless imitations ever since its release in 1977. The visual style is superb and the film features an incredible colour palette throughout; something that would become an Argento trademark. The memorable soundtrack is by the Italian rock band Goblin who are frequent collaborators with the director.

The film sees American student Suzy Banyon (Jessica Harper) travel to the German city of Freiburg to attend a prestigious dance academy there. After a student is brutally murdered, Suzy begins to suspect all is not as it seems at the school and it’s not long before she’s forced to confront the sinister forces responsible.

The film is the first in Argento’s ‘Three Mothers’ trilogy of films. It would be followed by 1980’s Inferno and end 27 years later with the disappointing Mother of Tears.

This Japanese poster features Stefania Casini, who plays Sara, bathed in green light during one of the more terrifying sequences in the film. Jessica Harper can be seen at the bottom of the poster. The bloody ballet figure features on the superior Italian poster (image taken from eatbrie.com).

The bonkers US trailer for the film can be seen on YouTube.

The distinctive German filmmaker Werner Herzog directed his frequent collaborator, the equally eccentric Klaus Kinski, for the first time in this 1972 German New Wave adventure film Aguirre, Wrath of God. The story follows a 16th Century Spanish expedition from the mountains of Peru into the jungle surrounding the Amazon river as a band of conquistadors search for the mythic city of El Dorado and the riches that supposedly dwell within. After struggling through the difficult terrain the leader of the group selects a small band of people to scout ahead. Commanded by Don Pedro de Ursua (Ruy Guerra), with Don Lope de Aguirre (Kinski) as his second in command, they soon encounter further difficulties and the expedition descends into a nightmare from which there may be no return.

Tales of Herzog and Kinski’s battles behind the scenes are legendary and the film is known to have had a very high pressured shoot. Apparently, before every shot featuring Kinski, the director would deliberately infuriate the actor in order to get the performance he desired. The story goes that when Kinski made the decision to leave the set and return home, Herzog pulled a gun and threatened to shoot him and then turn the gun on himself.

Herzog once said of Kinski: “People think we had a love-hate relationship. Well, I did not love him, nor did I hate him. We had mutual respect for each other, even as we both planned each other’s murder”.

This is the poster for the film’s first release in Japan in 1983.

The original trailer for Aguirre is on YouTube.

Yes, this is the film where Vincent Gallo drives a motorbike around looking glum, crying occasionally and meeting random women before receiving an un-simulated blowjob from Chloë Sevigny. Gallo plays racer Bud Clay who is on a cross country trip to a track in California and is trying to repress memories of his one true love, Daisy (Sevigny), by meeting different women along the way. The actor was also the film’s director, screenwriter, editor and took care of almost all of the other technical details.

The film’s first cut was roughly 25 minutes longer than the one that was eventually released worldwide. Its re-editing was as a result of the savaging it received at the Cannes Film Festival. Legendary critic Roger Ebert declared the film to be the worst in the history of the festival, which saw him and Gallo enter into a war of words, with the director calling Ebert a ‘fat pig with the physique of a slave trader.’ The critic responded by paraphrasing a statement attributed to Winston Churchill, saying that ‘one day I will be thin, but Vincent Gallo will always be the director of The Brown Bunny.’ When the new cut was released in the US Ebert surprised many by giving it his signature thumbs up.

For a cool $1,000,000 you can actually purchase the main man’s little swimmers, should you want to birth the next generation Gallo, whilst $50,000 will net you a night with him (ladies only).

This Japanese poster features a still from the infamous sex scene and the yellowing around the edge is part of the design.

David Cronenberg‘s 1999 sci-fi thriller eXistenZ is not one of the director’s best, in my opinion, but it does contain typically excellent future-thinking concepts and his trademark body horror. The film is set in the near future and is focused on the idea of virtual reality gaming, far in advance of the ridiculous headgear and black plastic stands that briefly appeared in gaming arcades towards the end of the 1980s.

Jennifer Jason Leigh plays a revered game designer called Allegra Geller who is forced to flee an exhibition of her latest product when an assassin attempts to kill her using a bizarre organic gun that fires human teeth. Ted Pikul (Jude Law) works for the games company and is instructed to accompany Allegra as she escapes with her damaged product. The software is stored on a living organic pod and a connection between players is made by plugging into the system via a ‘bioport’ at the bottom of the spine (hello creepy body invasion!). Allegra and Ted must start a new game in order to determine how badly damaged the pod is and it’s not long before the line between reality and the game world blurs completely. Who is responsible for the failed assassination attempt and who can Allegra trust to save the game, and ultimately her life?

The ideas that Cronenberg explores are unquestionably interesting but the low budget nature of the film doesn’t always support them very well, particularly when it comes to the sets and environments, which are mostly all drab and uninteresting. Jude Law and Christopher Eccleston both have painfully bad American accents and some of the actors playing minor parts are terrible. You could argue that this is intentional and part of the ‘game world’ but I’m not sure they can be forgiven. The ending is also pretty cliched and frustrating. Some hail the film as a masterpiece but I’m hard-pressed to understand why.

This Japanese poster features a unique image and is significantly more interesting than the drab and misleading US one sheet (lick the light!) or the ugly UK quad. The flesh coloured shapes around the edge are organic and include human hands and other body parts. The little pink lizard in the credit area is featured in the film as a stop-motion creature.

The original trailer is on YouTube.

A striking piece of artwork by Seito, one of my favourite Japanese poster artists, for this 1976 horror film. The story sees loyal pet dogs grouping together and turning against their owners, which may have something to do with sinister experiments being conducted at a nearby university.

The only bit of trivia for the film on IMDb made me laugh:

There was to be a sequel, appropriately entitled “Cats”. But when “Dogs” failed at the box office, production was canceled. 

The final photo in the gallery is a behind the scenes shot of what happened when one of my cats, Little Brown (she was the runt of the litter and she’s brown – I know, I know!), jumped in front of the poster whilst I was photographing it.

The full film can be seen on YouTube.

The other posters I’ve collected by Seito can be seen here.

A unique design on this Japanese poster for the classic sci-fi thriller The Andromeda Strain, which was based on Michael Crichton’s book of the same name. Despite clearly being a product of the early 1970s the film still stands up today and the events depicted are no less terrifying than they were 41 years ago; the threat of an unknown and deadly disease hangs over us all.

The story focuses on the mysterious deaths of the inhabitants of a small town in Arizona after a satellite crashes back to earth nearby. It’s suspected that the satellite was carrying an unknown extraterrestrial organism and a specialist team of scientists is despatched to investigate. They recover the satellite and also discover there are two survivors in the town; a delirious elderly man and a baby.  The team then heads to the specially constructed ‘Wildfire’ underground bunker where they must race against time (and the threat of nuclear destruction) to neutralise the alien threat with the help of the two survivors.

The visual effects were designed by Douglas Trumbull who has worked his magic on multiple classic films over the years, including 2001, Blade Runner and recently on The Tree of Life. Using techniques he’d honed on 2001, Trumbull was able to create realistic looking (for the time) screen displays without the need for an actual computer. The production design by Boris Leven is also fantastic with the bunker interior being particularly notable.

The US one sheet features the same shot of James Olson in the hermetically sealed suit with the uninfected baby.

The original trailer is available on YouTube.

This was cult director Walter Hill’s debut feature film and starred action legend Charles Bronson in one of his more memorable roles. A mysterious drifter named Chaney (Bronson) arrives in New Orleans and has a chance meeting with Speed (James Coburn) an organiser of illegal bare-knuckled boxing matches. Chaney asks Speed to set him up with a fight and he quickly proves himself as a fearsome boxer. He also meets and begins a relationship with Lucy Simpson (Jill Ireland – Bronson’s wife at the time) but it’s not long before Speed’s chaotic nature and addiction to gambling begins to threaten more than just their partnership.

This was to be the only time Hill and Bronson would team up together with the director later recalling “We had kind of a falling out over the film. He thought I’d been a little too… how do I put this? Too draconian in my editing of his wife’s scenes.”

The film was originally released as Hard Times in the US.

The trailer can be watched on YouTube. Writer Josh Olson adds a commentary on the great Trailers From Hell site.

An arresting design on this poster for the release of Shikoku, a Japanese psychological horror film released in 1999. The story sees Hinako (Yui Natsukawa) return to the village she grew up in on the island of Shikoku after spending several years in Tokyo. She discovers that her childhood friend Sayori (Chiaki Kuriyama) died when she was sixteen under mysterious circumstances and, after Hinako sees the spirit of her friend, it becomes clear that Sayori’s grieving mother has spent the past few years attempting to bring her daughter back from the dead.

Chiaki Kuriyama, who features on the poster,  is best known for her role as mace-wielding Gogo Yubari in Quentin Tarantino’s Kill Bill. The film was released on DVD in several countries but the UK disc seems to be currently out of print.

An exciting montage on this Japanese poster for the 1974 re-release of Thunderball, Sean Connery‘s fourth outing as the legendary spy. The plot sees Bond on the trail of two nuclear bombs stolen from a British Vulcan bomber by Emilio Largo (Adolfo Celi), an agent of Spectre, which takes him to the islands of The Bahamas. Spectre requests £100million in uncut diamonds with a threat of detonating the bomb over a major city and Bond must track the weapons down before time runs out. The gorgeous Claudine Auger plays Domino, Largo’s mistress and an eventual ally of Bond; to my mind one of the better Bond girls.

The film features a series of groundbreaking underwater action scenes and a number of memorable gadgets, including a jetpack used in the opening sequence. Viewed today, however, the final section featuring a fight onboard Largo’s runaway jet-powered boat is completely cringeworthy as it uses sped-up footage with badly matched rear-projection that was meant to give the feeling of speed. Whilst it may have been acceptable in 1965, time has not been kind and it now looks unforgivably poor. I count Thunderball as one of the weakest of Connery’s official Bond films.

With that being said, the advertising campaign and accompanying artwork used for the British and American releases was arguably the best of any in the series, and Robert McGinnis and Frank McCarthy‘s wonderful designs and illustrations are quintessential Bond.

This montage appears to have been colour-tinted by hand, as evidenced by the bronze Aston Martin seen between Domino and her giant spear gun. The image of Connery with the large, silenced pistol was previously used on a Japanese poster for From Russia With Love.

Italian director Franco Prosperi is best known as the co-creator of the infamous Mondo Cane ‘shockumentary’, which consisted of a series of travelogue-style vignettes looking at strange cultural practices from around the world with the intention of shocking Western audiences. Made in 1962, the film had an emphasis on taboo subjects including sex, death, ritual killings and cannibalism, and it was such a success that it spawned a slew of sequels and copycat films, and created it’s own mondo genre of exploitation films. Despite being presented as genuine documentary footage, many of the scenes in mondo movies were clearly staged by the producers.

One recurring aspect of the genre was animal deaths and cruelty, and Prosperi continued this theme when he directed Wild Beasts, a 1984 horror set in an unnamed European city (actually Frankfurt in Germany). The film sees PHP inadvertently being released into the water supply for the local zoo and the crazed animals wreaking havoc on the city. Some of the carnage sees an elephant trampling a car (and the heads of the occupants), a guide-dog turning on his blind owner and rats devouring a series of unlucky victims. Working with animal handlers Prosperi used editing to achieve most of the attack scenes but unfortunately the film does feature moments of actual animal cruelty, including the live torching of the aforementioned rats. Because of these scenes I don’t believe the film was ever given a cinema release in the UK, although it appears to now be available here via import DVD.

This is the poster for the Japanese release of the film and it features brilliantly exaggerated scenes of carnage, overselling the sequences from the film. The artist appears to be someone called Kazumi Akutsu according to the signature featured on the side of the speeding train, although it could be that I have one of the letters wrong in the surname. I’ve been unable to find out anything about the artist so please get in touch if you have any ideas. I’d strongly advise you not to perform a google image search for the name with safe search off!

The original Italian trailer is on YouTube.

David Lynch‘s brilliant The Straight Story is an uncharacteristically warm and natural film, quite unlike anything else in the director’s filmography, although it still features unmistakably Lynchian touches. The plot is based on the true story of elderly World War II veteran Alvin Straight who, unable to obtain a driver’s licence, travelled over 240 miles on a sit-down lawnmower to visit his brother who had suffered a stroke. Richard Farnsworth, a former stuntman turned character actor, played Alvin in a oscar-nominated performance, and Sissy Spacek featured as his mentally disabled daughter Rose. Legendary actor Harry Dean Stanton appears as Alvin’s brother. Farnsworth was suffering from terminal cancer at the time he made the film and he sadly took his own life only months after filming had wrapped.

This Japanese poster features a unique design with a profile shot of Alvin riding the tractor at night underneath a hand-scrawled title. The film is frustratingly unavailable on blu-ray at the moment but I hold out hope that Disney will see fit to release it sometime soon.

Remember the giant snail sitting on the shoulder of the titular statue as it burns during the climax of the British classic The Wicker Man? The designer of this poster for the first release of the film in Japan (in March 1998) must have seen a different print than the rest of us; perhaps the infamous lost footage is safe and well over there, and also features the appearance of a large mollusc? As for the naked torsos with the animal heads – your guess is as good as mine!

The Wicker Man is a true British classic and even though it started life as a low-budget b-feature the film has lost none of its power since its release forty years ago this year. Based on a script by celebrated screenwriter Anthony Shaffer, who had previously seen great success with the play Sleuth (1970), The Wicker Man was helmed by first time director Robin Hardy and was filmed on location around Scotland, with several coastal settings chosen to stand-in for the fictional island of Summerisle. It’s unfair to call the film a horror as it’s a mix of murder-mystery with occult undertones and features an unforgettable finale that lingers in the mind for a long time after the credits roll.

Edward Woodward stars as Sergeant Howie, a strait-laced policeman sent from the Scottish mainland to to investigate the mysterious disappearance of a local girl. After encountering indifference and hostility from the inhabitants, Howie decides to investigate the islands’ de facto leader Lord Summerisle (A memorable Christopher Lee) and soon discovers that this charismatic figure’s influence and beliefs hold sway over the population. The policeman realises too late that he has been brought to the island for reasons more sinister than the supposed disappearance of a local girl, and things are about to get very heated indeed for the unlucky Sergeant Howie.

This poster features images from the film, including the scenes where the islanders dress up for a procession (hence the animal masks) and a sinister-looking Lee in the make-up his character wears during these moments. Over the years the actor has repeatedly claimed that The Wicker Man was the finest script he’d ever read and is very proud of his role in the film, even if he does express annoyance about the missing scenes. Note that the paper snipe in the top right features details of the film’s showtimes and other details, which features on every copy of this poster that I have ever seen.

In addition to this poster I also have the UK one sheet and the large American 40×60 poster.

Cult Canadian director David Cronenberg’s Videodrome was released with this unique poster design when it hit Japanese cinemas in 1985. Like much of the director’s output, Videodrome is definitely not for the faint of heart and contains some utterly unforgettable moments of Cronenberg’s patented body-horror mutations. James Woods stars as Max Renn the sleazy CEO of a minor cable TV station who is constantly on the lookout for cheap exploitation fare to broadcast. Renn is told about Videodrome, a new and mysterious signal apparently being broadcast out of Malaysia which purports to depict real ‘snuff’ movies of victims being tortured and killed.

Renn decides to start pirating the show and broadcasting it to his audience. This soon attracts widespread attention that puts him into contact with sadomasochistic psychiatrist Nicki Brand (Debby Harry) and Professor Brian O’Blivion (Jack Creley). When he discovers that the signal is actually being broadcast out of Pittsburgh, Renn decides to investigate further and he plunges into a nightmarish conspiracy that goes deeper than he ever imagined. As the American tagline says ‘First it controls your mind. Then it destroys your body’. Fans of Cronenberg’s proclivity for unnatural cavities and the melding of flesh with inorganic substances are not left disappointed, and the gun on this poster hints towards the finale.

In addition to this Japanese poster I also have the American one sheet and the British quad.

A minor sci-fi classic, The Last Starfighter is one of those perennial favourites that seemed to be on TV every month and, along with films like Flight of the Navigator and The Goonies, became a cult favourite for children of the 1980s. The film’s plot is fairly straightforward; Alex Rogan (Lance Guest) is a frustrated teenager who dreams of leaving his small American town to study at university, despite the protestations of his girlfriend Maggie (Catherine Mary Stewart). One day he beats the high score of an arcade game called Starfighter that is secretly a recruiting tool for the Star League, a team of space pilots who are battling against an overwhelming force threatening the entire galaxy. When an alien recruiter arrives and takes Alex to the headquarters of the defence force, the teenager is at first reluctant to join the war, but when a surprise attack from the enemy force destroys most of the command centre and the other starfighters, Alex decides to step up to the challenge.

Ably directed by Nick Castle, a friend and former classmate (at USC) of John Carpenter – Nick actually played the part of Michael Myers in Halloween – the film has a sweet story filled with memorable characters, such as the late, great character actor Robert Preston as the alien benefactor who recruits Alex and Dan O’Herlihy as Grig, his alien co-pilot (as seen to the right of Alex on this poster). The film is perhaps most notable for being a milestone of technical achievement for its pioneering use of CGI to depict most of the scenes involving space battles, or ‘digital scene simulation’ as it’s (unusually) credited as on the bottom of this poster.

A company called Digital Productions was hired to work on these sequences and, as detailed in the excellent making-of documentary found on the blu-ray of the film, the artists and technicians were pushing the boundaries of what was possible with the available hardware – a giant supercomputer called Cray – on a daily basis. It was the first time that CGI was used to depict scenes in a film that weren’t explicitly part of a computer simulation (like Tron, for example) and the team had to battle against time and a plentiful supply of naysayers who were trying to push Castle and the producers to use the more traditional model work seen in other films of the period. The director stood his ground and the results speak for themselves. Viewed now it’s clear how far the technology has come, but audiences must have been thrilled back in 1984 and some of the sequences still look pretty decent even today.

This Japanese poster features a montage of images from the film, including some of Alex’s fellow starfighters, although fans of the film will notice that the designer of the poster has taken some liberties by placing a starfighter helmet on the head of one of the main bad guys (the brown-faced alien with the eye glass). I’m assuming it had something to do with making the design more symmetrical, unless there’s a deleted scene that I’m unaware of!

This is the Japanese poster for the release of the little-seen 1976 mondo documentary about sharks that was filmed by the Italian director Bruno Vailati (who’s probably best known for the 1961 version of The Thief of Baghdad) and released in a handful of countries that included France (I don’t believe it reached the UK). There are no prizes for guessing which Hollywood blockbuster, released only a year earlier, was the reason this documentary was put together. The IMDb page for the film is bare and features not a single review of the film. I had to dig around a bit before I found out any details of what the documentary features via this review of the VHS release on Amazon.com:

“This is the English language version of the 1976 Italian documentary “Uomini e squali” (‘Sharks and Men’), from director Bruno Vailati, narrated by Joseph Campanella, with a score by Daniele Patucchi (“Death Played the Flute”, “Frankenstein 80”) and featuring an on-screen appearance by Ray Cannon, author of “The Sea of Cortez.” Traveling all over the world (the Red Sea, the Yucatan, Tahiti and Australia), we’re treated to footage of all different species of sharks (bull, hammerhead, Great White), as well as other forms of sea life, like elephant seals, tuna and killer whales.

For those sensitive to such issues, there is a fair amount of casual cruelty in this film, including an “improvised Caesarean” of a pregnant shark (though, mercifully, her brood is cut loose and then freed to the sea) and gruesome shots of sharks being butchered. Still, an informative if somewhat outdated documentary with lots of great underwater photography (even if a few of the shots have been tampered with in post-production, e.g. net lines matted in during the opening tuna-fishing segment).”

This French trailer for the film (it was released in France as ‘Les Dents de la Mort’, or The Teeth of Death) features a section at the end where a diver is bitten in the leg by a Great White in what is clearly a mondo-style faked sequence. This was obviously used by the artist of this poster as the basis for this image of an unlucky diver with a missing leg (there’s nothing like a bit of oversell!). A friend of the site identified the artist as Susumu Masukawa about whom I’ve been unable to discover many details. If anyone has any more information about the artist please get in touch.

A colourful illustration by the artist known as Seito on this Japanese poster for the release of The Silent Flute (released in many countries as Cross of Iron), a strange cult oddity from the end of the 1970s. Originally conceived by Bruce Lee, James Coburn, and Stirling Silliphant at the end of the 1960s, the film was intended to be an introduction to Eastern philosophy and martial arts, but the project floundered following Lee’s untimely death. Silliphant and screenwriter Stanley Mann completed the screenplay in the mid-1970s and the rights were acquired by legendary actor David Carradine, at that time famous as the star of the TV series Kung Fu.

Carradine appears in the film in four roles that were originally intended for Bruce Lee but the lead character of Cord, a poodle-haired warrior, was played by the Canadian ‘actor’ Jeff Cooper, who somehow manages to get upstaged by his own abdominal muscles. To say he’s the weak link in the film would be an understatement and it’s literally impossible to take him seriously as the supposedly determined and proud hero who sets out on quest to find a wizard called Thetan and discover what is so important about the mysterious book he is said to protect. Almost all of Cord’s lines are uttered with a shit-eating grin and he has one of the most unintentionally hilarious laughs I’ve ever heard.

It doesn’t help that the script is at times impenetrable cod-philosophical twaddle, which was clearly meant to be profound but must have left most audiences expecting some martial arts action scratching their heads in confusion. One can only speculate that some of the ‘teachings’ were hangovers from the original script versions overseen by Bruce Lee, and you can’t help but wonder if he’d been partaking in a little bit too much Mary Jane at the time. Carradine is at least entertaining enough in his various roles, although he sports some questionable attire, terrible monkey make-up and a spectacularly bad moustache. Not even the appearance of Christopher Lee as Thetan can save the film since he seems to be wearing a costume better suited for a character from the Moomins. He was clearly in it for the bottom line.

Whilst the film isn’t much cop, this Japanese poster is rather excellent and the artwork is unique to the Japanese campaign. Seito is one of my favourite Japanese artists who was responsible for several fantastic illustrated posters during the 1970s and 1980s. Little is known about the man himself, even in his native country. 

To see the other posters I’ve collected by Seito click here.