Film
Dr. Jekyll and Sister Hyde / Blood From the Mummy’s Tomb
1971
UK Quad / (30″ x 40″) / Single Sided / Printed in England by W.E.Berry Ltd. Bradford
British / UK
Very Fine minus ; originally folded (as issued)
Roy Ward Baker, Seth Holt
Andrew Keir, Gerald Sim, Hugh Burden, James Villiers, Martine Beswick, Ralph Bates, Valerie Leon
“The hand that crawls, that grips…that KILLS !”
The early 70’s marked a transitional phase for Hammer horror films, with productions that attempted to keep up with the public’s demand for more lurid content while often stretching the boundaries of taste. Many of Studio’s output from this period attempted to maintain the atmosphere and production values of releases from the past couple of decades, but reflected the changing times. Thanks to a rapidly evolving sensibility and relaxed censorship, filmmakers could now show what could only be implied before. Although the films released by Hammer during this turbulent age were often uneven, the studio still had a few tricks up its collective sleeve, as evidenced here for the 1971 double bill feature “Dr. Jekyll and Sister Hyde / Blood From the Mummy’s Tomb”. An outstanding piece of horror artwork featuring main design for ‘Dr. Jekyll’ by Tom Chantrell (Hammer’s most prolific artist) and some very competent ‘Mummy’ art by Mike Vaughn. …it could only be a Hammer poster. The original UK double bill quad film movie poster offered here is from first year of release 1971 and displays to very good effect. Originally folded (as issued) it is totally unrestored and presents well with beautiful deep vivid colours and striking horror art imagery. Very rare and desirable, an excellent example of original country of origin scarce Hammer Horror movie memorabilia.
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Dr. Jekyll and Sister Hyde / Blood From the Mummy’s Tomb Movie Poster
“WARNING…The sexual transformation of a man into a woman will actually take place before your eyes”
The stiff upper lip and jaw of Ralph Bates finally come into their own in Hammer’s “Dr. Jekyll and Sister Hyde“, which also mixes in good quantities of Jack the Ripper myth and the famous 17th century grave robbers Burke and Hare. Considerably less stiff is Martine Beswick as the doctor’s female alter ego. She is absolutely too loose in her ways, but I am certainly not complaining! Both are just the right persons for their clashing roles and superbly so. The actual physical change between the two supreme parts in one person is shown in subtle manners and without great special effects, which not only was cheaper to do, but also leaves a lot for a viewer to imagine and so makes it in a way easier to accept. A wise decision from the makers.
The plot idea of unifying the two main story lines of such classic origins is nothing short of brilliant. The invention of elixir of human life using female hormones and how to get it by “uncanny goings in late hours” really does the trick. So does the fascinating and at the same time foul results of the experiment, the mixing of selves and struggle for dominance. Of course much more could have been built in and deepened in the script making the story more intriguing and disturbing. Some needed romantic and freshening humor aspect comes from the continuously snooping neighbors with their funnily pretentious “it doesn’t concern us” attitude.
In all, this is once again a fun and stylish horror movie from Hammer studios. The bolder style of company’s early seventies film is very much present with some slight gore and nudity added in the proceedings.
What struck me about“Blood From the Mummy’s Tomb“ is that it bears few of the typical Hammer features. The Egyptian theme is well used, with glittering, sombre relics prevalent; a haunting mood is evoked. The mood was similar to that of “Frankenstein: The True Story” melancholic, sparse and eerie. It is visually excellent, with effective, forboding music from Tristram Cary. The British cast prove very much at home with the dark horror of the script. James Villiers is a smooth, misguided villain, Andrew Keir gives an astute perofrmance as the sombre Fuchs, while George Coulouris and Hugh Burden are both very good at portraying their disturbed characters. The tall, elegant Valerie Leon is perfect for the dual role, with the beauty and dreamlike-quality necessary for the role of the bewitched Margaret. The setting appears to be modern, but the tone and feel of it is Edwardian. Perhaps the only element missing is humour, but when watching the film you don’t really notice this; while it would be nice if there’d been more humour, it’s still very enjoyable. Recommended to lovers of intelligent horror films and of atmosphere.
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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.
