Hi Rich in the U.K. -- You touch on the very subjects I expanded upon with two
other MoPo'ers off-list during the past 24 hours. Here are excerpts:
** The country-of-origin test is just me. As I say, for me, art takes a back
seat because I grew up with a book-collecting approach where first issue is
prized. "World film premieres" are regularly held in the U.K. or other locales
-- but the country of "first publication" is the U.S. for many films financed
by American $$$. Superior poster art is visible on many foreign posters of
U.S. films. For ex., ten years ago, we visited Audrey Hepburn's grave in
Tolochenaz, Switzerland before access to it and the museum next door was closed
to the public forever. Inside the museum were scripts, Oscars, Audrey letters
and movie posters on display. But the movie posters were NOT U.S. -- they were
Italian, French or British posters of Roman Holiday, Tiffany's, Sabrina, Monte
Carlo Baby, etc., all with superior art over country-of-origin material.
** But my bigger gripe has less to do with posters. It's my exasperation with
people who resist the British masterpieces -- or who errantly misplace or
ignore the influence of Britain's genius on world cinema. I mean, that I feel
compelled to argue that "Third Man," "Lawrence" and "Bridge Kwai" are more
British than American seems ridiculous to me. Things are confusingly
U.S.-centric because of the source of production and distribution money is
commonly America.
** You can see the "American influence" permeating into British stuff by things
like William Holden in "Kwai" -- a blatant example of box office casting
dictated by Hollywood money -- hence people in the U.S. believe and take credit
for Lean's pictures being "American" just because they have a U.S. actor or two
and/or because the U.S. is the "country of first issue." There are people who
believe "Third Man" is American because of Welles, Cotton and Selznick. In
fairness, there are people who think American directors Richard Lester and
Stanley Kubrick are British, as their better known films are not only British
in character, but also shot in Britain.
** And I get irritated with film buffs who forget that most "American" classics
were directed by guys who emigrated from Europe. Hitchcock's later films have
an American sensibility and yes, his freedom to become the first pure auteur in
Hollywood with final cut privileges is important -- but he's a product of the
United Kingdom; his personality and sense of humor when he became a big U.S.
star with his own TV program reflected it, big time. The great directors all
loved America, but look at the list of so-called "U.S. classics" -- and count
how many were directed by men who were born and raised in Britain or Europe
before joining the Hollywood system. Even Michael Curtiz was Hungarian, for
goodness sakes.
** Finally, back to Third Man and how the British sensibility is on brilliant
display in a film that feels undated to me. I am unforgiving of Selznick's
interference with the original cut for U.S. audiences. I cringe when I think
he might have been tempted to even change the ending to ensure U.S. patrons
would leave the theater "happy." The Third Man is vexing to audiences who hate
the ending. But the ending is NOT ambiguous. It doesn't matter that Orson
Welles killed children -- Alida Valli places a greater value on loyalty and
friendship to a murderer with charm -- than to a disloyal Joseph Cotten who
sees himself as "doing the right thing." So Cotten gets the great long "brush
off" at the end that is, rightly or wrongly, closer to the reality of a
post-war Vienna filled with cut-throat black marketeers -- than some dumb
reconciliation that presumes she'd accept the idea of loving a Joseph Cotten
"type." As Martin Scorcese says, we don't care what Harry Lime does, we like
him because he's charismatic and honest about his evils. What a "fork in the
road" picture with a distinctly British style of looking at things. Best, -d.
-----Original Message-----
Date: Sat, 25 Apr 2009 22:40:23 +0100
From: evan...@blueyonder.co.uk
Subject: Re: My frustrations searching for old U.K. posters.
To: MoPo-L@LISTSERV.AMERICAN.EDU
Can't argue with Hitchcock being overwhelmingly an American director.
And, it's difficult to imagine us not being better off for him making the move.
We get compensated with Stan the man settling in Boreham Wood, as well as Losey
off the top of my head.
I genuinely thought Lawrence of Arabia, Bridge on the River Kwai, as well as
the earlier "S.P.Eagle" produced African Queen were all British films.
And wasn't the Royal Premiere of Lawrence the first premiere? Or did general
distribution happen in the US first? Not clear on what the rules are.
Apologies for the defensiveness, hardly matters, but we have comparatively so
little in number, worth hanging on to what is ours.
Though it's usually all about the design for me, other issues can heavily sway
it, and in this case, I'd be plumping for the premiere quad.
On the country of origin question, perfect timing from Stan le homme with
Intemporel's listing of Une Nuit à l'Opera.
I love the Belgian poster, and I'm struggling to think of country of origin
paper that beats it visually, for me anyway.
Though, whether the art is Hirschfield, or after Hirschfield would be an issue,
anyone know?
Given my loyalty to country of origin quads, I can empathize with a collector
wanting to keep the Marx Bros purely American.
Much anticipation for what Bruce is going to unveil on the 28th.
Great Expectations, though I'd prefer a Dead of Night.
Cheers,
Rich
On 24 Apr 2009, at 03:44, David Kusumoto wrote:
** I'm not overlooking anything. My tendency to chase "country-of-origin"
material is a personal preference. For example, I don't care for U.S. posters
of "The 3rd Man" only because they're not first issue -- and the film itself
was altered by Selznick, cutting out director Carol Reed's own voice-over
narration. It just so happens that certain British posters, e.g., "The Third
Man" and "Brief Encounter" -- are superior to their U.S. counterparts.
Conversely, the British quad for "The Graduate" is considered by many to be
more attractive than all U.S. paper for this title. I still prefer U.S. paper
because the U.S. is the country of first issue. Admittedly, my
"country-of-origin" test is narrow-minded, but it is what it is; it's personal.
I collect first edition, first printing books the same way.
** I could take this further and argue that classics like "Lawrence of Arabia,"
"Bridge Over the River Kwai" and "The Third Man" are British
through-and-through -- from conception to direction -- were it not for the
sticky point of full-or-partial American funding and distribution -- e.g., note
the U.S. is the "country of first issue" for "Lawrence" and "Bridge over the
River Kwai." But some so-called "American" classics like "Lawrence" and "Kwai"
are distinctly British in character -- written and directed by British geniuses
-- hence I consider them British films. On the other hand, many U.S. classics
were helmed by directors from other countries, e.g., Hitchcock's thrillers,
Wilder's great dramas and Sturges' great comedies -- that are distinctly
American in character. This is far afield from your point -- but in sum, all
collectors have peculiarities in the way they view their posters.
** Your personal preference for U.S. posters for great British titles -- is as
personal as my preference for "country of origin" material. (If I were a
"Godzilla" collector, I would chase Japanese first issue posters over the U.S.
It doesn't matter that Raymond Burr is in "Godzilla" or William Holden is in
"Bridge on the River Kwai" or Joseph Cotten and Orson Welles are in "The Third
Man.") Some chase great art. I don't. Some chase only U.S. posters. I
don't. I chase only "country of origin" posters. Most don't. Collector
preferences don't have to make sense. -d.
From: dialmbb...@aol.com
Date: Thu, 23 Apr 2009 21:41:11 -0400
Subject: Re: [MOPO] My frustrations searching for old U.K. posters.
To: davidmkusum...@hotmail.com; MoPo-L@LISTSERV.AMERICAN.EDU
with all this talk about british quads, are we overlooking a discussion of
GREAT BRITISH FILMS that have 14x36 inserts and 22x28 half sheets and 27x42 one
sheets?
ironically, i purchased THE BRIGHTON STRANGLER half sheet and THE FALLEN IDOL
insert from bruce Tuesday and tonite, respectively. both items are american
posters and/or displayed in the US theatres.
THE LONG DARK HALL, another british film, has awesome artwork..........and
cheap! this past year i got the one sheet and insert on ebay for 9.99 and
14.99, respectively.
BRIEF ENCOUNTER is a great film for the story, british streets, trains,
restaurants, etc.
>>>>>>>>>>so do not overlook paper used in the USA of the standard US theatre
>>>>>>>>>>sizes to advertise a british film.
michael
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