Film
Hellhound: Hellraiser II
1988
UK Quad (30" x 40") Single Sided
UK / British
Near Mint minus – Very Fine plus / Rolled (as issued)
Tony Randel
Andrew Robinson, Ashley Laurence, Clare Higgins, Doug Bradley, Grace Kirby, Nicholas Vince, Oliver Smith, Sean Chapman, Simon Bamford, Imogen Boorman
“Kirsty is brought to an institution after the horrible events of Hellraiser, where the occult-obsessive head doctor resurrects Julia and unleashes the Cenobites and their demonic underworld.”
Dominated by a chilling portrait of Doug Bradley as Pinhead, this striking original UK quad poster for “Hellbound: Hellraiser II” captures the dark imagery of the horror sequel. Cold blue tones emphasise the character’s pale, meticulously scarred face, while receding archways suggest the labyrinthine world beyond. The bold white title, edged in red, anchors a composition with tremendous visual impact.
Directed by Tony Randel and released in 1988, the film continues the story of Kirsty Cotton, played by Ashley Laurence, as she is drawn further into the terrifying realm of the Cenobites. Clare Higgins returns as Julia, alongside Kenneth Cranham as Dr Channard, expanding the mythology established in Clive Barker’s original “Hellraiser”.
Presented rolled, as issued, in superb condition, this impressive UK quad showcases one of horror cinema’s most recognisable figures. A superb display piece for collectors of “Hellraiser”, Clive Barker and cult horror movie memorabilia.
Trivia: The word Cenobite means a member of a monastic order.
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“Doctor Channard is sent a new patient, a girl warning of the terrible creatures that have destroyed her family, Cenobites who offer the most intense sensations of pleasure and pain. But Channard has been searching for the doorway to Hell for years, and Kirsty must follow him to save her father and witness the power struggles among the newly damned.”
“Hellbound: Hellraiser II” of 1988 is an almost perfect sequel to one of the most effective and terrifying achievements ever in Horror cinema, Clive Barker‘s 1987 masterpiece “Hellraiser”. Director Tony Randel‘s sequel keeps up the terrifying atmosphere and genuinely infernal creepiness of its predecessor and is even considerably gorier than the (also very gruesome) original. This second entry to the “Hellraiser” franchise epitomizes pure Horror as its predecessor and takes the viewer on a terrifying journey into the pits of a Hell from the mind of Clive Barker.
The film starts off pretty much where the first part ended. After the horrifying events that took place in part one, survivor Kristy Cotton (Ashley Laurence) awakes in a mental hospital. One might think that psychiatrists are not eager to believe stories about Cenobites, demons from a bizarre, sadomasochistic Hell. The head of the institution, Dr. Channard (Kenneth Cranham), however, is obsessed with occultism and has his own plans with his new cognitions about cenobites and resurrection from Hell.
Trivia: Clive Barker had developed elaborate backstories for the Cenobites in the first film, but their origins were never explored due to the limited budget. In this sequel, which was already planned before the release of the original, Barker wanted to make sure that, at the very least, the audience understood that the Cenobites were once human, and that their own vices lead to their becoming demons. This element was meant to underline the story of Frank (Oliver Smith) and Julia (Clare Higgins) and their corruption by lust, with the latter intended to become the ultimate villain of the series. However, when the first film was released, Pinhead proved much more popular with audiences, so the screenplay was changed and he thus became the centerpoint in further sequels.
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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.
