Film
Brides of Dracula – ” Las Novias de Dracula”
1960
Spanish One Sheet
Spain
Near Mint minus – Presented conservation linen-backed with foldlines flattened out and only noticeable on closest inspection.
Terence Fisher
Andree Melly, Peter Cushing, David Peel, Freda Jackson, Martita Hunt, Mona Washbourne, Stephanie Watts, Yvonne Monlaur
“Transylvania, land of dark forests, dread mountains and black, unfathomed lakes. Still the home of magic and devilry as the nineteenth century draws to it’s close. Count Dracula, monarch of all vampires, is dead, but his disciples live on, to spread the cult and corrupt the world.!”
Terence Fisher’s “Brides of Dracula” is my top three favourite Hammer Film. Wonderfully written, superbly acted. Peter Cushing is a joy to behold as Van Helsing. His memorable scene in which he exsises the vampires bite from his neck is iconic. Hammer’s follow up to their hugely successful Dracula (Horror of in some territories). Featuring a version of the beautiful painted artwork used on the British quad, this original Spanish one-sheet from 1960 is a genuine thing of beauty where the imagery (in my humble opinion) suits the portrait format better than the landscape format of the quad. Colours are superb, with the ‘blood’ red of the title particularly vibrant. Originally folded (as issued), this rare example has been conservation linen backed and looks absolutely superb with the fold lines having been touched in it now appears rolled. An extremely desirable and collectable item of horror movie cinematic memorabilia.
Trivia: The front doors of Oakely Court served as the main entrance to Meinster Castle. Oakley Court has been featured in a number of classic horror films, including The Curse of Frankenstein (1957), The Horror of Dracula (1958), The Evil of Frankenstein (1964), Die, Monster, Die (1965), and The Rocky Horror Picture Show (1975).
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“Brides of Dracula” is not as good as 1958’s “Dracula” (or Horror of Dracula), but it is almost as good and a very good follow-up, a near classic in fact. Yvonne Monlaur is rather wooden in the female lead role, the bat effects are truly laughable and the film drags a tad at the halfway mark but that’s it for the flaws personally.
Hammer horrors are always at least visually good, and “Brides of Dracula”certainly looks good. In fact it looks fantastic, to me it’s one of the best-looking Hammer films. The photography is smooth, rich in colour and enhances the atmosphere rather than detracting and the sets are some of the most sumptuous and atmospheric of any Hammer horror. The music in its most haunting parts positively induces tingles down the spine and while there are a couple of clumsy loose ends the script is one of Hammer’s most nuanced. The story is filled with marvellous atmosphere and Gothic ghoulishness and is always compelling and easy to follow, the standout scene is the ending which is like a fairy-tale nightmare come to life.
Terence Fisher‘s direction is unflinching and the performances on the whole are very good, especially from a classy and typically impeccable Peter Cushing as one of the best screen Van Helsings and Martita Hunt as a sometimes sympathetic but genuinely scary Baroness, especially in the scene when she’s standing behind Monlaur. Freda Jackson is chilling also and chews the scenery with glee(and not in a negative way despite how it sounds) and Miles Malleson brings some amusing comedy that doesn’t feel out of place at all. David Peel is nowhere near in the same league as Christopher Lee- then again it’s really difficult to follow Lee in any role really- but while a little fey in places he is a worthy and charismatic substitute.
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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.
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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.
