Film
Darkman
1990
US One-Sheet – Double Sided – 27″ x 40″ (69 x 102 cm)
United States (USA)
Near Mint minus -Very Fine plus; originally rolled (as issued)
Sam Raimi
Arsenio ‘Sonny’ Trinidad, Bruce Campbell, Colin Friels, Frances McDormand, Jenny Agutter, John Landis, Larry Drake, Liam Neeson, Ted Raimi
“They destroyed everything he had, everything he was. Now, crime has a new enemy and justice has a new face.”
An original 1990 US one-sheet movie poster for Sam Raimi’s comic book inspired ant-hero “Darkman”. Raimi’s cult classic creation is one of those movies that has aged better with time than on its first release with a loyal and devoted fanbase. Lead actor, Liam Neeson (in his first starring role) plays the titular hero with real style and features prominently (albeit swathed in bandages) on the John Alvin designed US one-sheet offered here as he’s seen almost as a silhouette set against an explosive city backdrop. Totally unrestored, this rolled (as issued) example displays & presents to very good effect. A great looking piece of horror, comic book style artwork that represents a scarce piece of cinematic movie memorabilia.
Click HERE to view the trailer
Trivia: Although his status as a star of the genre would solidify much later in his career, this was Liam Neeson‘s first starring role in an action film.
…more detailVintage Movie Posters Grading Criteria... read more +
“Mild-mannered scientist Peyton Westlake, who works out of a lab set up in his loft apartment, is beaten within an inch of his life but assumed dead by criminal Robert Durant and his thugs, Durant solely wanting to retrieve a document discovered by Peyton’s lawyer girlfriend Julie Hastings implicating Durant’s developer associate Louis Strack, Jr. of offering bribes to get his latest waterfront development passed by the zoning commission, and about which Peyton ostensibly knew nothing. In the aftermath of the lab being destroyed in an explosion set by Durant, Julie knows nothing about Strack being behind what happened let alone that Peyton was targeted or that Peyton survived in only fragments of his body being discovered in her assumption that he perished in the explosion. She further believes that the document was also destroyed in the explosion, while in reality Durant was able to locate it in the loft. Peyton’s still alive body is discovered, he only a John Doe, and is operated on by an experimental burn unit whose operation is able to keep him alive albeit permanently physically scarred, but change him fundamentally in three ways: that he no longer is able to feel physical pain; that he has increased physical strength; and that he is emotionally more aggressive to the point of being violent if pushed. Able to escape, Peyton returns to his work in developing synthetic skin. He plans to use this synthetic skin to don disguises in exacting revenge not only on Durant and his entire team of thugs, but on Strack. The problem for Peyton is that he is only able to maintain the skin for ninety-nine minutes in open light in the discovery that the material is light sensitive.”
Of all the super-hero movies around, “Darkman“ is a personal favourite. An original creation from Sam Raimi, and not based on any comics, “Darkman“ follows the story of Dr. Peyton Westlake (Liam Neeson), a scientist about to make a breakthrough in synthetic skin. Peyton’s girlfriend, Julie Hastings (Frances McDormand) is a hot-shot lawyer who gets on the wrong side of Robert G. Durant (Larry Drake). Durant and his henchmen destroy Peyton’s lab, and leave him for dead. Horribly burned and scarred beyond recognition, Peyton uses his uncompleted and synthetic skin to get revenge on those who wronged him – he becomes Darkman.
Darkman has no real super-powers – apart from some increased strength and his inability to feel pain – he uses the synthetic skin to assume the alternate identities, and fights his battles that way. Darkman is not a real super-hero. He makes no pledge to rid the world of evil-doers. He is just out for revenge, and every time Darkman acts, Darkman‘s dark-side claims just a little bit more of Peyton.
Others have mentioned the parallels to ‘Robocop‘. I’d like to mention the parallels to Sam Raimi’s recent efforts with ‘Spider-Man’ – the two are very similar style-wise, but Peter Parker/Spider-Man is generally pretty happy and cheerful, where as Darkman finds sadistic pleasure in the way he toys with his enemies before finishing them off. ‘‘Spider-Man’ is family-friendly, ‘“Darkman“ is not the sort of movie you would want to show to parents or younger-siblings.
“Darkman“ is original, and yet another under-rated classic from Sam Raimi,.
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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.
