This is the Japanese B2 poster for the release of the first of two sequels to the 1967 drama In the Heat of the Night, starring Sidney Poitier as the eponymous police detective. The actor had made history in 1964 by becoming the first African American to win the Oscar for Best Actor (for Lilies of the Field), and 1967 saw him star in three hit films that all dealt with the issue of race and race relations. This included Guess Who’s Coming to Dinner, which tackled the controversial issue of interracial marriage that was still illegal in several states, and To Sir, with Love, a British drama that dealt with racial issues in an inner-city school. It was In the Heat… that was the biggest hit that year and the film would go on to win 5 Academy Awards, including Best Film and Best Actor for Rod Steiger, who played alongside Poitier.

Three years later, the original film’s producer Walter Mirisch decided there was an opportunity to try and create a franchise around Virgil Tibbs. Without a source novel to base a screenplay on Mirsch hired to two successful screenwriters in Alan Trustman (Bullitt) and James R. Webb (the original 1962 Cape Fear), as well as the prolific director Gordon Douglas (Them!). They Call Me MISTER Tibbs! (the capitalisation is intentional and part of the original title) was named after a famous line spoken by Poitier in the first film and saw the detective, now based in San Francisco, investigating the murder of a prostitute. The death has been pinned on Logan Sharpe (Martin Landau), a street preacher with whom we’re told Tibbs has a long-standing friendship. The film follows the detective as he attempts to prove Sharpe’s innocence whilst dealing with domestic family issues and ends on something of a down note, which I won’t spoil. 

The film was criticised for being a very routine police procedural and certainly had none of the cultural urgency that the first film was able to capitalise on. It was something of a damp squib both critically and at the box-office but that didn’t stop Mirisch producing another sequel called The Organization only a year later. Again that film failed to make an impact, even though it was able to capitalise on the then popular blaxploitation subgenre, but by then Poitier had started to field accusations of typecasting. Virgil Tibbs would thus hang up his badge for 17 years until the TV series In The Heat of the Night, based on the original film and novel and starring Howard E. Rollins Jr., which was aired between 1988 and 1992.

A nice photo montage on this poster for the Japanese release of Trick Baby, a 1972 crime caper, often placed in the blaxploitation genre, despite featuring a lot more in the way of plot and character development than many of the films under that banner.  Based on the novel of the same name by the infamous former pimp Iceberg Slim, the film follows two conmen, ‘White Folks’ (Kiel Martin)  and ‘Blue’ Howard (Mel Stewart), as they pull off the biggest score of their lives and inadvertently raise the ire of the local Mafia and a corrupt cop.

The former was given the odd moniker after he was born to mixed-race parents and can pass as a white man, which proves useful for the pair’s criminal antics. The title Trick Baby comes from the other nickname he is given because of his prostitute mother and ‘trick’ father.

The original trailer is on YouTube.

This is the photo style Japanese B2 for the release of The Spy Who Loved Me, which was the tenth James Bond adventure and the third to star Sir Roger Moore as the legendary spy. Felt by many to be the best Moore era film, it shares only the title with Ian Fleming’s original novel (at the author’s request) and the screenplay was written by Christopher Wood and Bond regular Richard Maibaum. When Russian and British submarines mysteriously disappear whilst on patrol, each country sends their top spies to discover who is responsible. The trail leads Bond to Egypt where he discovers that the plans for a submarine tracking device are on sale to the highest bidder.

Whilst in Egypt, Bond encounters his Russian rival, the KGB Agent Triple X (!) Major Anya Amasova (played by the beautiful Barbara Bach) and after a few initial hostile encounters the pair agree to team up to track down the plans and deal with the mute but deadly assassin Jaws (the late Richard Kiel‘s first appearance as the fan-favourite baddy). The pair identify shipping tycoon and scientist Karl Stromberg (Curd Jürgens) as the man behind the device and travel to Sardinia on his trail. There they visit Stromberg’s underwater base, Atlantis, posing as husband and wife scientists but their cover is soon blown and Bond’s infamous Lotus Esprit-cum-submarine makes an appearance. Eventually Bond and Anya are onboard a submarine captured by Stromberg’s submarine-swallowing supertanker and a final showdown takes place.

The Spy Who Loved Me opens with arguably the best pre-credits sequence of any Bond film that apparently even had Prince Charles on his feet applauding at the Royal Premiere back in 1977. The locations, sets and special effects work (particularly the models) are all first rate and you really feel that the budget was well spent. The ridiculous camp humour of later Moore outings is thankfully restrained too. The film was very well received by both critics and audiences and raked in healthy worldwide box-office takings.

As well as this photo montage poster there was also a B2 that featured Bob Peak’s great artwork for the film, as seen on the US one sheet and UK quad.

Ridley Scott‘s seminal sci-fi classic needs no introduction and is on many people’s ‘top 10 films of all-time’ list, including my own.

This British quad is based on the French poster credited to Jouineau Bourduge which is the combined surnames of two French poster designers/artists (both with the first name Guy) who were responsible for many classic posters from 1960s through to the 1980s. MoviePostersGallery.com has a gallery of posters by him, as does cinemaffiche.com. I’ve been unable to find anything in the way of a biography online so please get in touch if you have more information.

I’ve always found it interesting that Deckard (Harrison Ford) is given a very stylistic representation on the poster whilst the other two characters are displayed using photographs. It’s also slightly bizarre that the studio decided to promote a tie-in to win a Volkswagen Polo – talk about a mismatch of content and product!

One interesting thing to note is that the book tie-in shown in the bottom right corner features artwork by Drew Struzan. The design was proposed for the American one sheet but the production team ultimately went with John Alvin’s illustration instead. Drew would later be asked to design the poster for the release of the final cut in 2007.

The other Blade Runner posters I have collected can be seen here.

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.

A Japanese double-bill poster for re-release of ace director Werner Herzog‘s two masterpieces. Made ten years apart, both films star Klaus Kinski, a frequent collaborator, and the stories behind the making of the films are legendary.

Fitzcarraldo tells the true story of  one man’s obsession to build an opera house in the Peruvian jungle, a task that sees him having to drag a full-sized steamer boat over a mountain from one river to another. Rather than rely on special effects or clever editing, Herzog and the crew actually did drag a steamer boat over a mountain! The story of the shoot was told in the excellent documentary Burden of Dreams.

Aguirre, Wrath of God was a similarly chaotic and pressured shoot and the story goes that when Kinski decided to leave the set and return home, Herzog pulled a gun on him 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”.

I believe this double-bill poster was for a Japanese release in either 2000 or 2001 and the artwork is by an artist called Suzuki Cohjizukin about whom I know very little. Some of his other works can be found with a google search but if anyone knows anything more about him please get in touch.

Here are the original trailers for Fitzcarraldo and Aguirre.

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.

Wes Anderson‘s superb Moonrise Kingdom is my favourite film of 2012 and this American one sheet is in the running for poster of the year too. Arguably the director’s best to date (although I’d have a hard time justifying picking this over Rushmore) the film is set on a fictional New England island in the 1960s and follows the exploits of a pair of young lovers who decide to elope (her from home, him from scout camp) and trigger a series of events as the islanders set out on the hunt for them. The pair at the centre of the film (as depicted on this poster) are played by two unknowns, Kara Hayward and Jared Gilman. They are surrounded by Anderson regulars, including Bill Murray and Jason Schwartzman, as well as a handful of first-time collaborators like Bruce Willis and Edward Norton.

This poster is the result of a pairing of two considerable talents; the British artist Michael Gaskell and the American letterer and illustrator Jessica Hische. Gaskell, born in 1963, is an award-winning painter of still-life, landscapes and portraits who has been the subject of five solo shows in London and has twice been awarded second prize in the BP Portrait Award. His official website features a biography as well as a gallery of his work. I’m not sure how his involvement in this poster came about and have been unable to find out any details online. I intend to try and contact him to discover more.

Jessica Hische is responsible for the design of the typography that was used on the posters as well as the credits during the film itself. Hische is a multi-talented letterer and illustrator who has worked on projects for advertising, editorial, branding and books. Her official website features a biography as well as an extensive portfolio of her work. The site used to have a page on which the designer wrote about her involvement in the project:

“I worked directly with Wes and his small team of co-producers to bring his vision to life. […] The initial direction was based on Ed Benguiat’s Edwardian Script, but the direction shifted toward something more hand-hewn looking and lightly referencing titles from a Chabrol film. I was hired to create the 20 or so credits in the beginning of the movie, and a typeface to be used for the end credits. I ended up creating two fonts—a display and a text weight of the same typeface. […] Working with Wes was an absolute dream and I was amazed and impressed at just how involved he is with every aspect of his films.”

The page notes that art direction was given from Jeremy Dawson and Molly Cooper who were producer and co-producer respectively.

The trailer for the film is on YouTube and if you’re yet to see the film I strongly urge you to hunt down a copy of it ASAP, with the only caveat being that if you’re not a fan of Wes Anderson’s output then this film will not convert you!