Bog­art’s pis­tol, Basinger’s dé­col­letage and Scors­ese’s vi­o­lent ci­tyscape... just a few of the eye-catch­ing tricks Hol­ly­wood used to lure us into the cin­ema – cap­tured in a sump­tu­ous new al­bum of iconic movie posters to lure us into the cin­ema...

The Irish Mail on Sunday - - MORE -

Movie posters have changed dra­mat­i­cally since French artist Mar­cellin Au­zolle pro­duced draw­ings for The Waterer Wa­tered in 1895, which shows an au­di­ence laugh­ing at the image of an aproned man squirt­ing him­self in the face with a hose.

Sell­ing The Movie takes us on a stun­ning vis­ual jour­ney through al­most 150 years of movie his­tory.

One of the most sought-af­ter film posters is that of Fritz Lang’s 1927 sci­ence fic­tion clas­sic Me­trop­o­lis, left, which sold for $690,000 in 2005. Char­lie Chap­lin’s Tramp made his first pub­lic ap­pear­ance in The Kid Auto Race (1914) and he be­came ar­guably the first star to re­alise the im­por­tance of creat­ing a per­sonal ‘brand’.

The Thir­ties her­alded Hol­ly­wood’s golden era, be­gin­ning with the ar­rival of Mae West and her film She Done

Him Wrong (1933), which ex­plored sex­u­al­ity frankly – some­thing to­day’s films con­tinue to do through their provoca­tive posters.

Sell­ing The Movie by Ian Hayden Smith is pub­lished by White Lion Pub­lish­ing, priced €40.

CASABLANCA Michael Cur­tiz (1942) Warner Bros loved Bill Gold’s de­sign for this Casablanca poster, which saw Humphrey Bog­art’s hero, Rick, in the fore­ground and In­grid Bergman as his lover, Ilsa Lund, just be­hind as a fig­ment of his mem­ory. But the film com­pany wanted the poster to con­tain more ac­tion, so Gold added a gun – an image taken from Bog­art’s 1941 crime drama High Sierra.

MEAN STREETS Martin Scors­ese (1973) In the poster for Scors­ese’s third fea­ture, which drew on his per­sonal ex­pe­ri­ences of grow­ing up in the gritty and vi­o­lent New York of that pe­riod, vi­o­lence be­comes part of the city – the gun dou­bles as one of the sky­scrapers and the street light re­sem­bles a gal­lows. Iron­i­cally, very lit­tle of the ac­tion was shot in New York as, work­ing on a tight bud­get, Scors­ese was forced to film most of the scenes in Los An­ge­les. Half of the movie’s $500,000 bud­get went on its sound­track, with songs by Eric Clap­ton (I Looked Away) and The Rolling Stones (Jumpin’ Jack Flash).

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