Lurid artwork features on this Turkish poster for Steven Spielberg’s 1975 masterpiece Jaws. Apparently the film wasn’t actually released in Turkey until 1981 which explains why the enterprising designer of this poster has used American artist Lou Feck’s illustration of a shark from the poster for Jaws 2 (1978) and inserted a bikini-clad victim into its mouth (as well as blood dripping from the shark’s teeth). Feck’s illustration was used around the world to promote the sequel after originally appearing on the front of the Jaws 2 novel and I have the Japanese B2 in the Film on Paper collection.

The US one sheet’s instantly recognisable image was painted by the American artist Roger Kastel and was originally commissioned for the paperback cover of Peter Benchley’s novel, but when Universal saw the artwork they bought the rights to use it for the poster and following the worldwide success of the film it would go onto become one of the most imitated and parodied images of all time, as well as a merchandising product in its own right.

Friend of the site Steve Guariento got in touch to point out that the bikini-clad lady was also adapted from another piece of art, namely the Italian four sheet for the Hammer film Dracula AD 1972 (click here to see it) that was painted by one of my favourite artists, Renato Casaro. The designer of the poster clearly had a Turkish artist paint some open eyes and an open mouth over the original art since the woman is asleep on Casaro’s poster. All of which makes it a bit of a Frankenstein’s monster of a poster!

Steven Spielberg‘s brilliant Duel was originally made for TV but was later expanded by 16 minutes and released in cinemas around the globe, making it technically the director’s second feature-length film. One of the best thrillers ever made, the story follows businessman David Mann (Dennis Weaver) who is traveling along a two-lane highway on the way to an important meeting. After getting stuck behind a series of slow moving vehicles he decides to overtake a rusty tanker truck and manages to enrage the driver, thus beginning an episode of road rage that escalates beyond Mann’s worst nightmares.

Cleverly, the psychotic truck driver is never fully shown, thus making it seem like it’s the truck itself that’s in deadly pursuit of Mann. The film was based on a short story by the legendary sci-fi author and screenwriter Richard Matheson who has penned countless classic novels, short stories and screenplays, including the original ‘I Am Legend’, and one of the best Twilight Zone episodes ever, ‘Nightmare at 20,000 Feet‘ (a similar kind of ‘single man versus relentless evil’ story).

One of the original trucks used in the film survives to this day and is pictured here along with a similar Plymouth Valiant to the one driven by Mann in the film.

This is one of two Thai posters that I’m aware of for the release of the film there and I believe this to be for a later re-release (though I’m not certain of the year). I have the other style and will be adding it to the site in the future. There is a signature on the poster but I’m not sure which artist it belongs to. If anyone has an idea please get in touch.

The original trailer is on YouTube.

Anyone who’s seen Steven Spielberg‘s 1977 sci-fi classic Close Encounters of the Third Kind will know just how erroneous this painting by the Polish artist and designer Andrzej Pagowski is in representing the aliens seen in the film, but to me that’s part of its charm. It certainly wasn’t the first time that a Polish poster artist chose to reinterpret a creature from a film they were tasked with creating advertising material for, although Pagowski seems particularly fond of doing so as can be seen with his poster for Ridley Scott’s Alien, amongst others.

Spielberg had been developing Close Encounters for several years, with the origins stretching back to his youth and an early fascination with sci-fi and UFOs, but when Jaws became a critical and box-office behemoth in 1975, he was given creative carte blanche by the studio Columbia with whom he had negotiated a deal to develop a sci-fi film. The film’s Wikipedia page details the multiple iterations the screenplay went through, including a draft by Paul (Taxi Driver) Schrader, but the final script was written by Spielberg (with uncredited help from Jerry Belson). The director later revealed that he had been warned off making a film on the subject by both the US government as well as NASA, with the latter reportedly writing him a 20 page letter advising against it. This only served to fuel Spielberg’s passion for the project.

The film begins in the Sonoran desert with French scientist Claude Lacombe (legendary French director François Truffaut) and a group of US government scientists rushing to the site where a group of World War II-era planes that went missing mid-flight 30 years earlier appear overnight without explanation. They later find a ship that went missing in 1925 in the Gobi desert whilst an American air traffic control team overhears two airline pilots discussing a near-miss with an unidentified flying object, but decline to officially report it.

In Indiana, electrical technician Roy Neary (a memorable performance by Richard Dreyfuss) has a close encounter with a UFO whilst responding to a state-wide power outage. He soon becomes obsessed with an image he keeps seeing in his head and his erratic behaviour soon alienates his wife and kids. Neary and a group of others who have come into contact with the unidentified visitors, including single-mum Jillian (Melinda Dillon) whose young son was abducted one night, converge on Devils Tower in Wyoming. There the government have set up a site in preparation for the anticipated arrival of the alien’s mothership and no one is prepared for what happens next.

The film was another critical and commercial success for Spielberg, earning almost $340 million on a $18 million production budget. It would go on to win multiple awards and quickly entered the cultural zeitgeist, sparking the imagination of millions around the world who agreed it’s unlikely that we’re alone in the universe.

Andrzej Pagowski is a prolific film poster artist who was born in Warsaw in 1953 and studied at the celebrated University of Fine Arts in Poznań, graduating in 1978 under the tutorship of the noted artist Waldemar Świerzy. In 1990 he started his own graphic design studio called Studio P, which he developed into an advertising agency by 1993. According to the biography on his official site, Pagowski has illustrated over 1000 posters during his career and has also done work for books, magazines and music covers. In addition, he is also a TV and theatre stage designer and a screenwriter. Undoubtedly a man of many talents!

Pagowski’s official site features an extensive gallery of his work, including several of the posters. Polishposter.com also features multiple pages worth of his movie posters and this culture.pl article is well worth a read too.

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.

This is the original cinema program that was sold at Japanese screenings of Steven Spielberg’s classic 1975 horror, Jaws. The instantly recognisable image was painted by the American artist Roger Kastel and was originally commissioned for the paperback cover of Peter Benchley’s novel, but when Universal saw the artwork they bought the rights to use it for the poster and following the worldwide success of the film it would go onto become one of the most imitated and parodied images of all time, as well as a merchandising product in its own right. Kastel also painted the ‘Gone with the Wind’ style one sheet for The Empire Strikes Back. Check out his official site here.

I also have the original US one sheet which can be seen on my site here.

Note that this program features images of and details about the production, the director and several of the actors. It also includes a hand-written message especially for Japanese ‘movie buffs’.

Unquestionably the most famous image from Spielberg’s 1982 classic, this poster was never actually used to promote the film in cinemas. The ‘fingers touching’ design is the final US one sheet and there is an advance known as the ‘spaceship in the clouds’ .

It is believed that Spielberg himself requested the poster to be designed by B.D. Fox Independent and that they were to be given out to cast, crew and other people associated with the film and his production company. There were two printings done with the only major difference being the dimensions. There are known reprints of this poster and the first time I picked one up I inadvertently bought a fake. I was able to return the poster and eventually found what I believe to be an original.

There are several guides online to recognising an original and I’ve tried to collect as many as I can here.

Mel at the now defunct Moviepostercollectors.com created an excellent guide to spotting a fake along with lots of detailed photographs.

In any event this poster (in any size) was never distributed to theaters.  The exact reason is unknown.  According to reports, it was created solely for the purpose of internal distribution to cast and crew members. (It was reported on MOPO that the posters were placed in the company lobby for employees to pick up.) Many of these posters have personal notes to/from executives and crew members.  It is known that Spielberg used the image as the logo for his company, so perhaps he did not want it released to the public.  I’ve also read speculation that Spielberg believed it gave away a major plot point from the movie.

From Dave at Cinemasterpieces.com (scroll down to find the poster):

The bike/moon one sheet is EXTREMELY RARE. Not intended for theatrical use, but rather a “Studio Issue” for cast and crew. All of the originals we have personally handled (a few came straight from former ILM employees) measure 26 3/4″ x 40 1/2 (or within 1/8″ of those numbers). There are reports from long time highly credible collectors of an authentic full size 27″ x 41″ version. This 27″ x 41″ version if authentic (we believe it is….although we haven’t seen it) is undoubtedly much rarer than the 26 3/4″ x 40 1/2″ version as few have ever come to light within the collecting community. There are also reprints/bootlegs of this poster with varying sizes…..so collectors beware!!

He also has a picture of a known fake for comparison.