£225.00
Film
A Nightmare on Elm Street: Part 4 – The Dream Child
UK Quad (30" x 40") Single Sided
UK / British
Near mint minus; originally rolled (as issued)
Stephen Hopkins
Beatrice Boepple, Danny Hassel, Erika Anderson, Joe Seely, Kelly Jo Minter, Lisa Wilcox, Nicholas Mele, Robert Englund
1989
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Graham Humphreys has once again produced a stunning piece of artwork for the fifth film in the iconic horror series “A Nightmare on Elm Street: Part 5 – The Dream Child”. The now instantly recognisable Freddy Krueger is depicted with his razor bladed glove clawing his way out of the poster, his red, fire-scarred visage contrasted against the mid-blue background of the poster’s background. Each instalment has its own unique tagline with this one a perfectly in tune to the movie’s storyline – Freddie’s Giving Birth to a Brand New Nightmare. Setting a high bench mark for modern horror artwork Humphreys’ imagery was only used for the UK quad design and is one of the most sought after film posters of the 80’s and the horror genre. Graham Humpreys has been dubbed England’s greatest living horror artist and it’s not hard to see why when you see this beautiful film poster from first year of release 1989. Totally original and unrestored, this rolled (as issued) example is presented in excellent condition. Extremely scarce and a must have for the serious collector it represents a fantastic item of horror movie memorabilia.
Trivia: Before the script was written, author Stephen King was approached to write the screenplay for this film but declined. This film is heavily referenced in IT (2017), an adaptation based off of one of King’s well known novels.
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On the day of her graduation in Springwood High School and after having sex with her boyfriend Dan Jordan (Danny Hassel), Alice Johnson (Lisa Wilcox) has a dreadful nightmare with Amanda Krueger (Beatrice Boepple) on the night that she was mistakenly locked up in the asylum with one hundred maniacs and then with Freddy Krueger’s rebirth. During the night, while Dan is in the graduation party in a swimming pool with their common friends Yvonne (Kelly Jo Minter), Mark Grey (Joe Seely) and Greta Gibson (Erika Anderson), Alice calls him and Dan leaves the party and drives his truck to meet Alice at her job. However he is attacked by Freddy Krueger (Robert Englund) and crashes against a large truck instantaneously dying. The shocked Alice goes to the hospital and finds that she is pregnant of Dan’s son. When Greta is killed by Freddy during a dinner party, Alice becomes intrigued since she was not sleeping in both occasions; therefore Freddy could not have used her dreams to reach Dan and Greta. Sooner Alice concludes that Freddy is using her baby’s dreams to kill her friends, and she decides to seek out Amanda to learn how she could defeat and destroy Freddy Krueger.
“A Nightmare on Elm Street: The Dream Child” is the fifth part of this classic horror movie series and is a creepy and underrated sequel. This is the movie of the franchise that uses the greatest number of impressive gruesome special effects. The deaths are very creative, like the one in the comic book or the attack of the motorcycle and one of the scariest scenes is when Alice is dressed like Amanda and surrounded by the crazy guys in the saloon of the mental institution. The beauty of Lisa Wilcox gives a great contrast with the ugliness of the beast Freddy Krueger.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.