Film
Curse of the Werewolf, The – “La Nuit du Loup-Garou”
1961
23.75″ x 31″ (60.5 x 79 cm), AFFICHES et PUBLICITE Imp M. Landais 11 r Castex. Paris. Visa Ministeriel de Censure no. 85, French ‘Moyen’ Affiche
France
Fine plus -Very Fine minus ; originally folded (as issued)
Terence Fisher
Anthony Dawson, Catherine Feller, Clifford Evans, Michael Ripper, Oliver Reed, Warren Mitchell, Yvonne Romain
“Half-Man…Half-Wolf… Compelled by the hideous curse of his evil birth to destroy – Even those who loved him !
Despite a long running series of Frankenstein and Dracula releases, Hammer’s only werewolf film was Terence Fisher’s “The Curse of the Werewolf” – La Nuit du Loup-Garou (1961) with Oliver Reed as their lycanthrope in his first starring role. Originally based on Guy Endore’s novel ‘The Werewolf of Paris’, the story was rewritten to take advantage of Hammer’s cancelled Spanish inquisition film “The Rape of Sabena” and it ended up with an epic Madrid setting and incredibly high (for Hammer) production values. With its stone-litho print finish, bold colour colour palette and rich inks, this beautiful unrestored French ‘Moyen’ Affiche movie poster from first year of release 1961 features painted artwork by Guy Gerard Noel, the artist responsible for most of the Studio’s French poster designs. A very rare and collectable example of Hammer Horror memorabilia at its best and a personal favourite.
Trivia #1: The interiors of the inn where Leon is staying is the same interior from Dracula’s castle in “Dracula (1958).” You can notice the same pillars. The basement he runs into is also the same vault where Dracula kept his coffin.
Trivia: #2: Before being released, the B.B.F.C issued “Hammer Films” with an ultimatum. The film company could present their movie “Curse of the Werewolf” with scenes of either sex or violence but not both.
…more detail
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“In Spain, Leon is born on Christmas day to a mute servant girl who was raped by a beggar. His mother dies giving birth and he is looked after by Don Alfredo. As a child Leon becomes a werewolf after having been taken hunting. As a young man, he works in a wine cellar and falls in love with the owner’s daughter Cristina. One full moon, he again turns into a werewolf and terrifies the town.”
The great British Hammer Studio’s only Werewolf film, Terence Fisher‘s “The Curse of the Werewolf“ (1961) is a magnificently atmospheric take on the classic tale of the tragic monster. The film’s protagonist was the first leading role of the great Oliver Reed (then 24 years old), doubtlessly one of the most charismatic British character actors, and the role of a werewolf is doubtlessly one that Reed was predestined for…In 18th century Spain, a mute servant girl gets raped and impregnated by an insane imprisoned beggar. When the mother dies in childbirth, on Christmas day, which is seen as a bad omen, the rich bachelor Don Alfredo Corledo (Clifford Evans), and his maid Teresa (Hira Talfrey) adopt the newborn Leon, and raise him as Don Alfredo’s own son. As the boy grows, it becomes obvious that he has an unhealthy and beastly obsession with blood on full-moon nights. Once he has grown to be a man, Leon (Oliver Reed) is seemingly cured of this unhealthy obsession. This changes, when he leaves his father’s home to stand on his own feet…The film is very slow-going, especially for a Werewolf film. Oliver Reed, who delivers one of his many great performances here, does not show up until half the way into the film. However, the film’s slowness is very effective both in building atmosphere and evoking sympathy for the very likable (but tragic) protagonist. The Werewolf make-up is very good, and, as mentioned before, Reed is a fantastic choice for the lead here. Reed was predestined for characters that had something beastly and sinister about them, and this one is a good example for that. The film has the Hammer-typical eerie Gothic atmosphere with uncanny Gothic buildings and beautiful landscapes, though the Spanish setting here is (understandably) less foggy than most early 60s Hammer horror films (many which were set in England or Middle- and Eastern Europe). The fact that Terence Fisher was Hammer’s most prominent director was no coincidence, this film once again proves the man’s talent for atmosphere and suspenseful storytelling…Overall “The Curse of the Werewolf” is a great film that is both creepy and moving, which makes it lamentable that Hammer didn’t make any other Werewolf films. Not to be missed by my fellow Hammer fans.
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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.
