A superb portrait of the late, great John Wayne on this British quad for the release of The Duke’s last film, 1976’s The Shootist. Directed by Don Siegel, the film depicts the last days of a legendary gunfighter named J. B. Books and it actually begins with a montage of clips from Wayne’s earlier cowboy films. In the early 20th century, at the ‘end’ of the wild west, Books arrives in Carson City, Nevada and, after seeking an audience with a doctor, is told that he has terminal cancer and has only a couple of months left to live. He rents a room from the widow Bond Rogers (Lauren Bacall) and her son Gillom (Ron Howard) with the intention of planning a quiet and dignified end to his life, but his mere presence in the town sets of a chain of events with various characters keen to take advantage of Books’ predicament. Before long, the legendary shootist realises that he’s going to have to end his life with bang, not a whimper.

This British quad was designed at the London advertising outfit Lonsdales by a gentleman called John Raymer and was painted by the freelance artist Roger Coleman. Unique to the UK campaign, the intimate portrait of a grizzled Wayne was commissioned by Paramount Pictures UK as they felt that the original US poster, painted by Richard Amsel, had contributed to the film’s poor domestic box office performance.

As detailed in Sim Branaghan’s superb British Film Posters book, John Raymer was born in 1933 in South Norwood, South London, and went on to attend the nearby Croydon School of Art where he gained a National Diploma after specialising in book illustration. After completing his National Service he returned home in 1955 and was taken on by a design agency called Greenly’s situated on Berkeley Square in central London. The agency had held the Paramount account since 1922 and Raymer was finally given the opportunity to work on it in 1967, which was a year before the designer Frank Pickford, who had been on the account since day one, retired from the agency.

By the mid 1960s Richard Lonsdale-Hands had taken over the agency and there was clear recognition that the traditional model of adapting a US campaign for the UK market was no longer working. Sim’s book features a fascinating account from Raymer on the way Lonsdales dealt with being given more freedom to create publicity better suited to UK audiences. In 1975 the designer moved to the rival agency Downton’s where he apparently found the change of pace quite difficult to adapt to initially, with the requests for multiple designs per week being quite a change from his experience at the more sedate Lonsdales. When the illustrated cinema poster work began to slow down in the 1980s he started, like many other designers and artists, to work on video covers as well as a handful of quads, often in collaboration with the illustrator Brian Bysouth. He finally retired in 1993, and at the time of the publishing of Sim’s book was painting local scenes that were being sold in local galleries in his native Surrey.

Roger Coleman, one of several freelance illustrators used by Lonsdales, was born in South Wigston, Leicestershire in 1930 and studied painting at Leicester College of Art before winning a national portrait competition in 1952. He then went on to study at the Royal College of Art in London and eventually joined the editorial staff of Design magazine where he wrote about art and design and organised several exhibitions. In 1960 he was taken on by the agency Artist Partners and thus began several years of working on film campaigns, which included posters for films such as Catch 22 (1970) and Bad News Bears (1976) as well as concepts for the posters for Kubrick’s 2001. The Shootist is probably Coleman’s most famous printed poster, which the artist recalls was painted in six days, and the striking image of Wayne undoubtedly helped the film to success at the UK box office.

A great portrait of the legendary country singer Willie Nelson on this poster for the film based on his 1975 album Red Headed Stranger. The film, like the source material, tells the story of a preacher in a Wild West town who seeks redemption after he kills his wife and her lover in an act of revenge.

The film took several years to come to the screen and at one point it looked like Robert Redford would play the preacher, despite Nelson always envisioning the part for himself. Sam Peckinpah was also attached to the project but left after the budget proved to be insufficient. Nelson and the director William D. Wittliff eventually raised the finance themselves through various means, and I believe Wrangler jeans may have been one of the sources – hence the inclusion of a Wrangler logo on the poster. A mock Wild West town nicknamed Willieville was built near to the singer’s home in Texas and filming took place there as well as a few other locations.

The excellent artwork is by American artist Robert Tanenbaum. To see other posters I’ve collected by him click here.

A (VHS) trailer for the film is on YouTube.

A unique design on this Japanese B2 for the 1969 take on the true story of the infamous Wild West outlaws Butch Cassidy and the Sundance Kid, here played by Paul Newman and Robert Redford in arguably their greatest screen roles. George Roy Hill would later go on to direct the pair again in the equally brilliant con men caper The Sting (1973).

The film follows the pair as they rob from money trains with varying success (a botched effort can be seen on the poster) and are forced to flee America after a posse of bounty hunters are unleashed to track them down. Arriving in Bolivia with the Sundance Kid’s lover, Etta Place (played by the gorgeous Katharine Ross), the duo try to make an honest living working as security guards. It’s not long before a violent incident sends them back to their old ways and on a collision course with destiny. The film features arguably the most famous freeze-frame ending in cinematic history.

A number of excellent posters for the film can be viewed here. The original trailer is on YouTube.

A truly international production, Red Sun was filmed in Spain by the British director Terence Young and starring American action legend Charles Bronson,the Japanese actor Toshirô Mifune (best known for Kurosawa’s Seven Samurai), French superstar Alain Delon and the gorgeous Swiss actress Ursula Andress. Terence Young had previously achieved great commercial success directing Sean Connery in three of his outings as James Bond. Bronson had previously starred in The Magnificent Seven, an American remake of Seven Samurai.

The film sees two ruthless robbers, Link (Bronson) and Gauche (Delon) attack a train bound for Washington carrying the Japanese ambassador. During the raid Gauche steals a very valuable sword and then betrays Link, trying to kill him before escaping with the loot. Link must team up with the only surviving Samurai escort of the ambassador (Mifune) and track down Gauche before it’s too late.

This Japanese B2 features photographic portraits of the main actors and is markedly different to the US poster.