£295.00
Film
A Nightmare on Elm Street: Part 4 – The Dream Master
UK Quad (30" x 40") Single Sided
UK / British
Near Mint minus – Very Fine plus / Rolled, Flat/Unfolded (as issued)
Renny Harlin
Brooke Bundy, Duane Davis, John Beckman, Kisha Brackel, Linnea Quigley, Robert Englund, Rodney Eastman, Tuesday Knight, Wanda Bursey
1988
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Graham Humphreys has once again produced a stunning piece of artwork for the fourth film in the iconic horror series “A Nightmare on Elm Street: Part 4 – The Dream Master”. The now instantly recognisable Freddy Krueger once again appears in silhouette (as the original British marketing campaign by Graham) and is a testament to how familiar the fanbase were with his character – the clawed glove, fedora and pose are now his trademark. His defining outline is offset against an amazingly colourful background with the ominous blood red tagline – Greetings From Hell. 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 1988. Totally original and unrestored, this rolled (as issued) example is presented in excellent condition with only minimal handling wear with, unusually for a horror poster some incredibly bright colours. Extremely scarce and a must have for the serious collector it represents a fantastic item of horror movie memorabilia.
Trivia: The name of the diner where Alice works is called the “Crave Inn”, a reference to franchise creator Wes Craven.
…more detailVintage Movie Posters Grading Criteria... read more +
The original ‘A Nightmare on Elm Street’ is still to me one of the scariest and best horror films there is, as well as a truly great film in its own right and introduced us to one of the genre’s most iconic villains in Freddy Krueger. It is always difficult to do a sequel that lives up to a film as good as ‘A Nightmare on Elm Street’ let alone one to be on the same level.
While the best of the sequels from personal opinion is the third, the fourth one is another one of the series’ better sequels. Like the third film it is not on the same level as the original, a very difficult feat, but it does have enough of what is a large appeal of the original and why it works so well. Not perfect, but a lot of very good things.
‘The Dream Master’ is not without its flaws. With a couple of exceptions, the acting is largely wooden (while not the worst offender as such, Tuesday Knight is no Patricia Arquette) and the beginning rock song is really cheesy and feels out of place. The story at times gets a little silly.
However, Lisa Wilcox is a winning lead and Robert Englund continues to terrify as the iconic character that epitomises “what nightmares are made of”. ‘The Dream Master’ is to me the second best directed sequel, courtesy of Renny Harlin, giving a potentially clichéd premise freshness and imagination.
Special effects are neatly executed. The humour is darkly comic and very funny and there are some wickedly cracking one-liners. The scares are aplenty and they are legitimately creepy with some cool deaths (the water bed one is a strong example) and amazing dream sequences thrown into the mix. Alice being flung into the on-screen action from the cinema balcony is one of the series’ most marvellous highlights.
It’s a beautifully photographed film, particularly the dream sequences, and is the most unique-looking ‘A Nightmare on Elm Street’ sequel with its European art-horror visual style. The production design is both dream-like and nightmare while the music is suitably haunting.
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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.