The UK quad for the classic submarine film The Boat (AKA Das Boot) was designed by Marcus Silversides and painted by Brian Bysouth. In 2012 I met and interviewed the artist and the resultant article can be read here.

The is the Thai poster for the release of the classic German war film The Boat (AKA Das Boot) which was painted by Tongdee Panumas. Directed by Wolfgang Petersen, who also wrote the screenplay, the film is adapted from the 1973 novel of the same name by Lothar-Günther Buchheim. It tells the fictional story of life aboard U-96, a German U-boat, during World War II and depicts both the excitement of battle but also the tedium and claustrophobia of being trapped in a metal tube deep below the surface of the Atlantic ocean. Jürgen Prochnow gives a memorable performance as the grizzled boat’s captain who looks after a crew made up of seasoned veterans and wide-eyed new recruits, as well as a war correspondent who has been assigned to U-96.

The film is notable for being released in multiple versions over the years, with the original cinema release clocking in at 150 minutes. This is the version that was released in the US, Germany, the UK and elsewhere in 1981 and would go on to garner great critical acclaim, as well as several Academy Award nominations. A few years later a longer version was assembled and shown as a mini-series on UK and German TV. In 1997 Petersen oversaw the production of a director’s cut, which combed through six hours of footage to create a version that runs for 3 and a half hours. This is what is now commonly available on home video for fans of the film.

The excellent artwork on this Thai poster is by Tongdee Panumas (he signs his posters with just his first name) who was an incredibly prolific Thai 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 illustration of the U-boat is almost certain to have been based on the artwork from the international one sheet (painted by Gary Meyer) which can be seen here.

The first in a line of blaxploitation horror films, Blacula was produced by the prolific studio American International Pictures who’d had success in the 1960s with a series of horrors directed by Roger Corman and based on Edgar Allan Poe‘s stories, which included House of Usher and The Raven. During the 1970s they produced multiple blaxploitation films that included Coffy and Foxy Brown, and they are credited with making Pam Grier a household name.

Blacula tells the story of Manuwalde an African prince (played by William Marshall) who is bitten by Count Dracula after visiting him to ask for his help in the ending the slave trade. Imprisoned in a coffin in the 18th century, the prince is unwittingly transported to Los Angeles two hundred years later by antique dealers who sell his casket. Unleashed on the city, Manuwalde goes on the hunt for human blood and later comes across the beautiful Tina (Vonetta McGee) who is the reincarnation of his old wife that was murdered by Dracula. Unfortunately one of Tina’s friends, Dr. Gordon Thomas (played by the brilliantly named Thalmus Rasulala) learns of the prince’s true nature and vows to hunt him down.

The film was followed a year later by a sequel called Scream, Blacula Scream. Another production company put together Blackenstein and Sugar Hill (1974) was AIP’s blaxploitation zombie film.

The original trailer is on YouTube.

Legendary action star Bruce Lee was given his break into acting after being cast as Kato, one half of the crime-fighting duo in the 1960s TV show The Green Hornet. The masked vigilante began life as a radio show that was created by George W. Trendle and Fran Striker and aired in 1936. It went on to be produced as film serials and as comic book series in the 1940s, before being adapted for a TV series in the 1960s.

Van Williams starred as Britt Reid, the playboy owner of The Daily Sentinel who runs his media empire whilst simultaneously fighting criminal gangs as the titular vigilante with assistance from his martial-artist sidekick Kato. The series was to only last for one season of 26 episodes but nevertheless proved popular in the States and elsewhere, with Lee being catapulted to fame on the back of the show. In Japan the series was apparently even aired as The Kato Show.

This Japanese B2 poster was printed for the 1975 release of the first of two films based on the character that were cobbled together from several episodes of the TV show and are apparently as incoherent as that would suggest. As can be seen from the design, the emphasis was placed firmly on Lee’s character, particularly since the studio was clearly keen to cash in on the star’s fame following his run of classic action films that ended with Enter the Dragon (1973) and his untimely death that same year.

1974 was a good year for fans of conspiracy theory thrillers as it saw the release of Francis Ford Coppola‘s masterful The Conversation as well as this lesser known, but no less great, flick directed by Alan J Pakula (All the Presidents Men). It stars a poodle-haired Warren Beatty as a reporter investigating a sinister organisation behind a political assassination and remains one of the definitive cat and mouse thrillers of all time.

I’d argue that this poster features one of the best taglines of all time, certainly of the 1970s; it chillingly suggests that the misconduct of corporations featured in the film is business as usual.

I’m not certain who designed the poster so please get in touch if you have an idea.

The film features this memorable line of dialogue: “They say a martini is like a woman’s breast: one ain’t enough and three is too many.”

Here’s the superb original trailer.

The Wrath of Khan was the follow up to 1979s Star Trek – The Motion Picture, which was the first feature film to hit cinemas following the ending of the original series 10 years previously. Even though the show was cancelled by the network (NBC) after only three seasons, it had garnered a significant cult following and had made a major impact on popular culture, helped greatly by broadcast syndication on channels across the US during the 1970s. Despite earning significant box-office takings, many critics and fans of the original series were disappointed with the first feature film and reviews tended to criticise it as overlong, bereft of any significant action and, worst of all, boring.

A sequel was inevitable, but Gene Roddenberry, the creator of the original series and executive producer of the first film, was removed from its production by Paramount after they claimed that Roddenberry had forced the first film over budget and had muddled the script with too many re-writes. His replacement was Harve Bennett, with Roddenberry given an ‘executive consultant’ role. Bennett studied the original series for inspiration having decided that the film should be more action-packed and regain some of the swashbuckling feel that had been lost in the first film. Deciding that the sequel needed a decent bad guy, Bennett settled on the character of Khan Noonien Singh, a genetically engineered super solider, who had featured in the first series episode Space Seed, which had long been a fan favourite. At the end of that episode Khan and some of his comrades had been banished to the inhospitable planet of Ceti Alpha V so his return in the film would not be against the series’ canon.

Mexican actor Ricardo Montalban agreed to reprise his role as Khan and the story sees him escaping exile and seeking revenge against Captain Kirk, whom he blames for the death of his wife. After commandeering the USS Reliant, Khan learns of the Genesis Device, a torpedo which is intended to reorganise matter to create a hospitable world but can also destroy planets if used in the wrong way. The crew of the Starship Enterprise sets out to stop Khan but their intervention will not be without sacrifice and the ending of the film sees Leonard Nimoy’s Spock seemingly dead after sacrificing himself to save his comrades. This story arc would continue for two more films, concluding with The Voyage Home in 1986. Among several memorable scenes is the moment when Khan taunts Kirk with a threat against his wife, leading to this infamous outburst. KHAAAAAAAAAN!

When Mondo, the incomparable limited-edition screen print outfit, announced they were opening a gallery in their hometown of Austin, anticipation quickly reached fever pitch, with fans desperate to see what artwork would be on the walls when the doors opened for the first time. The answer was kept secret until the evening of March the 10th, 2012 when the opening night was held and the theme of their first show was revealed to be that of classic sci-fi. Most of Mondo’s premier artists turned in some incredible pieces for the show, as can be seen on this recap blog post on their website and on this SlashFilm post.

One of the highlights of the show was fan-favourite artist Tyler Stout’s print for The Wrath of Khan. A brilliantly composed image featuring Ricardo Montalban‘s unforgettable, titular bad guy, the poster was printed in two flavours; a red and gold regular and a silver and gold variant. Whilst adding the regular version to the Film on Paper collection I wanted to interview the man himself about the creation of the poster and that article can be read here.