Spanish title: Maciste Contra Los Monstruos (Maciste vs the Monsters)
Stars: Reg Lewis, Margaret Lee
Directed by: Guido Malestesta
Distributor: Embassy Pictures Corporation (US), Telexport (Italy)

"A mysterious world in the prehistoric apocalyptic era, millon of years before Christ!"

In the world of Italian swords and sandals pulp film ‘epics’, Maciste is a fairly regularly-seen character.  In fact, he first appeared on film in Italy in the 1914 silent flick, Cabiria. He’s usually a sort of Hercules, who has incredible strength and gets in all manner of peril trying to help people against injustice.

In this film, despite the title, the story actually focuses on two warring tribes, with Maciste stuck in the middle. Not many monsters to be seen, but when you look at the variety of titles this film has had over the years, it has been clearly named not with story in mind, but box office.

In the US, it was Fire Monsters Against the Son of Hercules, while in the UK it was Collossus of the Stone Age. In Germany, it was Germanicus in the Underworld. And in the original Italian, Maciste contro i mostri (Maciste vs the Monsters).

The lobby card design is all original artwork, though none of it is particularly impressive. There’s a real focus on the monsters, obviously, but the character portrayed looks nothing at all like Reg Lewis, so there’s a good chance this was actually stock art being reused from other films.

Looks good, framed, hanging in a den, though! 

Spanish title: Cleopatra la Serpiente Del Nilo
Stars: Rhonda Fleming, William Lundigan, Raymond Burr, Julie Newmar
Directed by: William Castle
Distributor: Columbia Pictures

"From my bed of silk, I dominate the world with my burning lips… Sin and savagery in matchless spectacle!"

This low-budget version of the Cleopatra story, which is often considered to be as good as the big budget Elizabeth Taylor/Richard Burton opus that followed, used sets from the 1953 Rita Hayworth/Stewart Granger film, Salome, to tell the tale of the infamous Queen of the Nile and her Roman pal, Mark Anthony.

New Westminster, British Columbia’s own Raymond Burr is Rhonda Fleming’s co-star, which led the designers of this piece of cinema promo art to add a "Perry Mason" in brackets under his name, celebrating the actor’s renowned TV character. Julie Newmar also appears in the film (as Julie Newmeyer) in the role of The Gilded Girl – her first credited screen appearance.

The lobby card is attractive enough, but it’s very square and the original artwork is decidedly quick and cheap. For a movie character that relies so heavily on her sexuality to get what she wants, this is a lobby card that you would really expect to ’sex it up’, and yet it really doesn’t.

Our version has one staple hole in the top left corner (which is odd), a small tear on the bottom edge, and some roughing up of the right-side edge. It also features a small piece of handwriting over Cleopatra’s name that seems to say "Cartelera de Ludo" – which translates to ‘billboard of the Ludo’, which was presumably a theater it showed in.

Why do those words appear there? Well, figuring it out is half the fun. 

Spanish title: La Sirena Del Caribe
Stars: Jane Russell, Gilbert Roland, Richard Egan
Directed by: John Sturges
Distributor: RKO Radio Pictures

"Between thousands of pirates and killer sharks, she looks for of a
lost treasure – the most fabulous adventure under the sea!"

Jane Russell was said to have been ‘two of the biggest stars in show business’, and as a result of the fact that her chest was as famous as her name, she appeared in a fair number of films in which, really, the entire shoot was based around getting her as naked as possible, as often as possible. This is one such film.

Having broken free of the clutches of Howard Hughes (who ‘discovered’ her working as a dental assistant, before making her the star of The Outlaw, and paying her a wage to promote it every day for the five years it took to get the film past censors and on to the screen), Russell made many claims that she was going to take on more serious roles, but the fluff paid well enough that it was tough to resist.

In this film, there’s much talk about pirates and sharks and treasure, but really all anyone was turning up for was a look at Jane Russell in her skimpies.

And the film delivers on that front, as is seen on the promo art for the film above; in fact, the image of the star from this lobby card was so successful at grabbing the attention of passers-by, that other (less ethical) Mexican distributors actually stole it and placed it on the promo art for other films – films that Russell had nothing to do with.

I’m a big fan of this card, for all the obvious reasons, but also because if you take Russell and her most marketable assets out of the picture entirely, it’s still a great piece of original art.

Spanish title: Paris en Abril
Stars: Doris Day, Ray Bolger, Claude Dauphin
Directed by: David Butler
Distributor: Warner Bros

"Nights in Paris! Romantic encounters! Endless pleasures! You’ll cheer for this spring-time celebration!"

This lobby card is a great example of how cinema art designers often mixed original art with cut’n'paste images and illustration to create something that looks all hand-painted. On the left hand side of the card is a ‘from scratch’ watercolor portrait of Doris Day (spelled Dorys Day on the poster, oddly enough), with illustrations of Paris in the bottom right hand corner, and what looks like more paintwork on the right hand side, with the image of Day and co-star Ray Bolger. Only, if you look closer, you’ll see that those portraits on the right are actually a cut-out that has been painted over to give it a hand-painted appearance.

This technique was common back in the day, when saving a few days of painting was the difference between beating a deadline and missing it entirely. While high standard original art would stop people in the street, sometimes it just wasn’t possible to hand-paint an entire lobby card, so artists cut corners to achieve ‘the look’ they wanted, as quickly as possible.

The years haven’t been too kind to this particular lobby card, although the colors and artwork lend it to framing in a big way, but someone has had a scratch at Doris Day’s amply presented groin (if she once wore that strapless outfit in the film, I’d be surprised), and a few small tears on the sides and corners make it less than mint in value.

But heck, I like it enough to keep. After all… It’s Doris Day, reimagined by a leering Mexican cinema promo artist… what’s not to like?

Spanish title: El Hijo de Ali Baba
Stars: Tony Curtis, Piper Laurie, Susan Cabot, William Reynolds, Hugh O’Brian, Victor Jory
Directed by: Kurt Neumann
Distributor: Universal Pictures

"Soul of a Prince, heart of a poet… with steel in his hand and a kiss on the lips, the sensational stars of "The Prince Who Was a Thief", together again! And… in love!"

If you’re one of the few people on the planet who think Ali Baba (or his son) would have had a 50’s greaser hairstyle, then Son of Ali Baba might be just for movie for you. 

Fortunately, I doubt many people fall into that category, and thus Son of Ali Baba is generally considered to be an ‘Elvis film’ that doesn’t actually have Elvis in it. 

The Spanish lobby card promoting the release is a good design, albeit very text-boxy (such being Universal’s way in the 50’s), with some painted over cut’n'paste pics of Tony Curtis and Piper Laurie in a romantic embrace, as well as plenty of illustrations of dancing harem girls (which I’ll never complain about – ever).

Our version features a good ensemble sill photo, no pinholes and decidedly little abuse collected over the last 50+ years, which is nice. 

Spanish title: La Dama y el Vagabundo
Stars: Barbara Luddy, Larry Roberts, Peggy Lee
Directed by: Clyde Geronimi, Wilfred Jackson
Distributor: MGM (for Disney)

"She’s from the leash and license set… he’s footloose and collar free!"

With the Walt Disney company not running an office in Mexico, it was left to MGM to distribute this undeniable animation classic south of the border, and more’s the pity. You’d have to think the artistic boffins at Disney would have put together a better lobby card than this collection of cut’n'paste stock imagery.

The film is obviously outstanding, and that’s why it has a place in our collection, but it would be nice to have seen promo art for this film that was as creative as those that made it in the first place.

Spanish title: Moby Dick
Stars: Gregory Peck, Richard Basehart, Leo Genn, Orson Welles, Herman Melville
Directed by: John Huston
Distributor: Warner Bros (for 20th Century Fox and United Artists)

"The White Whale had almost destroyed him…"

The second of our two lobby cards for John Huston’s Moby Dick, this design is by far the superior of the two.

The first relies on photo art and cheap reproductions of the original artwork shown here, whereas this one is just an A-1 design, beautifully put together, with an amazing recreation of Gregory Peck in action, as well as a breaching whale crushing a whaling fleet.

The colors are vivid, the title is well worked into the design, and even the black and white still image is framed with color, so as to work it into the overall design more fully.

The pity of this particular card is that, by the time we got it, someone in a Mexican theater somewhere had used it for a little doodling – there’s ink smudging in the white title font, as a result, along with the hand-written words, "La Panzona" (or "The Fat One"). Why? It’s all a bit of a mystery.

Oh well. With a design this busy, you barely notice a little biro here and there, especially in a frame (which is where we keep it).

Spanish title: Beso de Fuego
Stars: Jack Palance, Barbara Rush, Rex Reason, Martha Hyer, Alan Reed, Leslie Bradley
Directed by: Joseph M. Newman
Distributor: Universal Pictures

"It was the kiss that changed the course of an empire!"

You’ve gotta love the supreme tackiness that was Jack Palance in the 40’s and 50’s. Whenever you needed a bad guy with a heart of gold – a Roman Emperor you loved to hate, or a gunslinger who gets the girl in the end, or a Robin Hood-like rogue in dark green tights – Palance was your man.

This film focused on the story of a Spanish Princess, mourning her recently deceased father, who must get back to Europe from… uh… Santa Fe, New Mexico? …so that she can claim her rightful crown before a contender takes her place. To get there, she needs the help of El Tigre (Palance), a rough and ready guide who can navigate the perils of the assorted bad guys out to stop her from getting home.

And of course, she hates him. And of course, she learns to love him.

Universal lobby cards of this time often followed a similar design template as this one, with a large fonted title up top, a small white box listing cast members off to the side, and several cut’n'paste still images scattered about, that were then painted over to appear like original art.

Despite the unimpressive nature of the film, this is one of the most beautiful lobby cards in our collection, featuring Palance in several dramatic poses; one romantically embracing his co-star, and another on the attack with a pair of knives at hand. And you’ve gotta love the shot of Babs Rush up top, showing a little regal thigh – she puts the ‘rush’ in ‘rush of blood’, don’t you think?

The copy in our collection features three smudges of green ink, likely a result of an awry print run, but because of the dramatic, deep color that abounds in the design, you barely notice them.

One interesting thing to note is a tiny inscription that says "Contreras" on the bottom left hand corner, right by Palance’s tightly-clad behind. We assume that’s the name of the designer of the lobby card, but as they were so rarely signed by the artist in this era (especially when the original art was based on stills and not hand-painted), it could also be the name of the printing company. Any info from readers in the know would be much appreciated.

UPDATE: We were just looking through our collection and noticed something on the back of this lobby card – a hand-scrawled ad for a 1954 film called El Rapto (translated: The Kidnapping), starring Jorge Negrete and Maria Felix.

This was a Mexican western comedy/drama, directed by Emilio ‘El Indio’ Fernández, who served as the model for the Oscar statuette of the Academy Awards… seriously!

"Además" means ‘in addition’, so this was likely some theater manager’s effort at alerting customers that there was a second feature attached to the main bill. Funny what you sometimes find on these lobby cards…

Spanish title: Lawrence de Arabia
Stars: Alec Guiness, Anthony Quinn, Jack Hawkins, Jose Ferrer, Anthony Quayle, Claude Rains, Arthur Kennedy, Omar Sharif, Peter O’Toole
Directed by: David Lean
Distributor: Columbia Pictures 

"The biggest film of the year! 7 Academy Awards!" 

There are few films in existence that have the pedigree of this one, and though the lobby card promoting the Mexican release was a smaller than usual size (such being the habit of Columbia Pictures of Mexico at the time), it’s of a high enough standard to be worthy of the film itself.

A striking portrait of shadows of Lawrence is the centerpiece of the design, with some recreated still imagery bookending that, and a dramatic line sketch of the hero of the piece swinging a mighty sword brings it all together beneath a black and white still of Peter O’Toole in character… glorious.

Our copy of this lobby card is in amazing condition. There are no pinholes, no tears and no signs of abuse at all, and the still image selected shows O’Toole’s Lawrence in all his blue-eyed, blond-haired, fey glory.

One of the highlights of our collection. 

Spanish title: La Guerra Y La Paz
Starring: Audrey Hepburn, Henry Fonda, Mel Ferrer, Vittorio Gassman, Herbert Lom, Oscar Homolka, Anita Ekberg, John Mills, Helmut Dantine, Barry Jones, Anna Maria Ferrero, Milly Vitale, Jeremy Brett
Directed by: King Vidor
Distributor: Paramount Pictures

"Based on the novel by Leo Tolstoy"

This Dino DeLaurentis epic features a lobby card that’s a bit of a rarity: the portrait design. Unlike the usual ‘landscape’ design, in which the lobby card is wider than it is high, this one is turned 90 degrees clockwise, like a mini-movie poster. It’s also printed on much thinner stock (in fact, it’s paper rather than cardboard), which gives the colors a much brighter tinge. The copy in our collection is in surprisingly good shape, considering how easy it would be to damage.

The artwork in the design is all original, but it’s not as well done as many other lobby cards, with Audrey Hepburn coming off looking like she’s seven feet tall, with a giraffe’s neck and cleavage that would make Isaac Newton throw away his notepad.

Apparently, the first draft of this screenplay came out at over 500 pages – five times what a normal screenplay would run to. The film was so epic in nature that 65 doctors were hired to play soldiers in the battle scenes, just in case any extras were injured and needed immediate care. Audrey Hepburn was paid $350,000 for her role – the highest fee for any actress to the point in history.

I thought it was a little overplayed… but that’s me.