Released as Damnation Alley in the USA, this dystopian sci-fi adventure (set after the nuclear destruction of World War 3) pretty much disappeared at the box office, but later gained something of a cult status. It’s interesting to note that the studio, 20th Century Fox, were making two sci-fi films in 1977 and saw this as their big hope for a box-office blockbuster. The studio suits didn’t have much faith in the other project, a little film called Star Wars…

The film features a couple of infamous scenes with mutated creatures, including ‘giant’ scorpions (terribly composited using the blue screen process) and killer cockroaches. It also featured an interesting vehicle known as The Landmaster.

In some cinemas the film was shown with something called Sound 360. From IMDb:

20th Century-Fox developed a rival to Universal’s gimmicky ‘Sensurround’ sound process (popularized in the theatrical release of Earthquake (1974)) that was only used for the theatrical release of “Damnation Alley” called Sound 360. This process was basically a variation of Magnetic-Optical Stereo sound. This technical advancement/gimmick in sound did not last past “Damnation Alley” although it was planned for Walter Hill‘s The Driver (1978) and Damien: Omen II (1978). If you look at the one sheet of “Damnation Alley” the “Sound 360” declaration and logo are prominent at the bottom.

This one sheet by one of my favourite Japanese artists, Seito, is practically identical to one of the American one sheets that can be seen on IMPAwards (credited to artist Paul Lehr).

The film was recently released on blu-ray (in the correct aspect ratio) and a trailer for that can be watched here.

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.

Damnation Alley, released internationally as Survival Run, is a dystopian sci-fi adventure (set after the nuclear destruction of World War 3) that pretty much disappeared at the box office, but later gained something of a cult status. It’s interesting to note that the studio, 20th Century Fox, were making two sci-fi films in 1977 and saw this as their big hope for a box-office blockbuster. The studio suits didn’t have much faith in the other project, a little film called Star Wars…

The film features a couple of infamous scenes with mutated creatures, including ‘giant’ scorpions (terribly composited using the blue screen process) and killer cockroaches. It also featured an interesting vehicle known as The Landmaster.

In some cinemas the film was shown with something called Sound 360°. From IMDb:

20th Century-Fox developed a rival to Universal’s gimmicky ‘Sensurround’ sound process (popularized in the theatrical release of Earthquake (1974)) that was only used for the theatrical release of “Damnation Alley” called Sound 360°. This process was basically a variation of Magnetic-Optical Stereo sound. This technical advancement/gimmick in sound did not last past “Damnation Alley” although it was planned for Walter Hill‘s The Driver (1978) and Damien: Omen II (1978). If you look at the one sheet of “Damnation Alley” the “Sound 360°” declaration and logo are prominent at the bottom.

This teaser one sheet was painted by noted American sci-fi illustrator Paul Lehr who was born in 1930 and studied at the prestigious Pratt Institute before beginning a career that would last up until his death in 1998. He painted hundreds of celebrated book covers for authors including John Wyndham, HG Wells and Frank Herbert and also contributed to several notable specialist magazines including Omni and Weird Tales. In addition he worked on content for more mainstream publications such as Time, Fortune and Playboy. The Encyclopaedia of Science Fiction has an entry on him which can be read here. Check out a gallery of his work here.

There’s an international style one sheet that can be seen on IMPAwards and was apparently also painted by Lehr. The Japanese poster was a repaint of the one sheet by the artist Seito. Lehr also worked on the one sheet for Prophecy (1979).

Note the colour bars on the left of the poster which indicate that this is an untrimmed printers proof one sheet. Proofs were used by the printing house to check that the colours and other details were correct. The final ready one sheets would have been trimmed down to the correct size. A handful of printers proofs have survived for a few different one sheets.

The film was recently released on blu-ray (in the correct aspect ratio) and a trailer for that can be watched here.

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.