Film
Lili Marleen
1981
UK Quad / Single Sided / (30″ x 40″) / Printed by Broomhead Litho Ltd. England
UK / British
Very Fine minus ; originally folded (as issued)
Rainer Werner Fassbinder
Giancarlo Giannini, Gottfried John, Hanna Schygulla, Mel Ferrer
A great and skilful poster design by Tom Chantrell for this Rainer Werner Fassbinder WWII Drama, that would have captivated and intrigued the audience enough to buy a ticket by the subject imagery alone; the foreboding presence of the Nazi swastika offset against the sexy black-stocking clad maiden of the title. It rather misleadingly hinted at the promise of sex and violence when in all honesty the viewer was confronted with a rather slow and serious drama by the award winning German director. Offered here is an original 1981 UK quad movie poster that presents and displays very well with only minimal handling wear. Originally folded (as issued) this rare unrestored and very collectable film poster doesn’t come on to market very often and represents a fine piece of desirable original movie memorabilia.
…more detailVintage Movie Posters Grading Criteria... read more +
Many critics have felt offended that R.W. Fassbinder has portrayed both protagonist Willie and the Nazis in this movie in a human-like manner. Connoisseurs of other Fassbinder films, however, will realize that “Lili Marleen“ (1981) belongs to Fassbinder’s “women movies” like “The Marriage of Maria Braun“ (1979) and “Lola“ (1981). Fassbinder was convinced that “stories can be told much better with women than with men”, because, according to Fassbinder, while men usually fulfill their determined roles in society, “women are capable of thinking in a dialectic manner”. Dialectics, however, means that there is not only a thesis and its antithesis like usually in our black-and-white world, but a synthesis where the oppositions coincide. Moreover, dialectic means that because of the third instance of synthesis the absolute opposition of the difference between thesis and antithesis is abolished. Concretely speaking: Starting from a dialect point of view and portraying the fascist state, the underground fighters must necessarily use the basic means like the rulers do, and between offenders and victims there is thus a chiastic relation, so that every offender is also victim and every victim is also offender. Fassbinder has illustrated this abstract scheme, that transcends classical logic, in his play “The City, the Garbage and the Death“ (1975) which was filmed by Daniel Schmid under the title “Shadow of Angels“ (1976).
Therefore, approaching an a priori controversial topic like Nazi Germany, in a dialectic manner, the depiction of this time in the form of a movie gets even more controversial, especially for people who cannot or do not want to see that our recognition of the world is by far not exhausted with a primitive light-switch schema, but needs the third instance of synthesis as controlling instance of its opposite members thesis and antithesis. The mutual relationship between offenders and victims has to scrutinized, since it is simply not true that the offenders are the bad ones and the victims the good ones. In a synthetic viewpoint, the bad ones participate on the goodness as the good ones participate on the badness. They are mutually related. In a world-view based on classical logic, a relation between good and bad cannot even been established, and in an ethics based on this insufficient system of logic, the bad conscience of the survivors of Nazi Germany, feeling (illogically enough) responsible for the deeds of their ancestors, exclude the possibility of a relationship between the two extremes and thus a synthesis in the form a new evaluation based on this relationship as well. From Fassbinder’s dialectic viewpoint, it follows that neither Lili Marleen nor Lola nor Maria Braun can be condemned for their “misuse” of the ruling system for their private purposes, because they don’t misuse them, they just use them. In the opposite, since victims must repeat the actions of the offenders as the offenders must repeat the actions of the victims, because “good” and “bad” are no longer simple mirror images of one another like in two-valued logic, their strategies are legitimated by the chiastic structure of a logic that describes our world, that is not black and white at all, much better than a black-and-white logic.
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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.
