Film
Man-Eater: Blue Water White Death
1971
UK Quad / (30″ x 40″) / Single Sided / Printed in England by Lonsdale & Bartholomew Ltd
UK (Great Britain)
Very Fine Plus / Originally Folded (as issued)
James Lipscomb, Peter Gimbel
James Lipscomb, Peter Gimbel, Peter Lake, Rod Taylor, Rodney Fox, Tom Chapin, Valerie Taylor
Peter Gimbel’s 1971 aquatic documentary “Man-Eater: Blue Water White Death” is rightly regarded as one of the best shark-film documentaries ever made with ground breaking images and camerawork from a hugely talented team of oceanographers and wildlife experts which included the renowned underwater photographers; Valerie and Ron Taylor. This scarce UK Quad film poster from 1971 shows one of the most famous Great White shark images ever captured by a camera. Gimbel’s movie was a huge influence on both Peter Benchley and Steven Spielberg, who four years later released the cinematic blockbuster “Jaws”. The UK quad film poster offered here is from first year of release 1971 and is presented in excellent unrestored originally folded (as issued) condition with very minimal handling and age wear and represents an extremely collectable item of rare original film movie memorabilia.
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The wealthy Peter Gimbel, model for Mr. Hooper of “Jaws“, hires a ship and a crew and staffs it with a truly mixed bag of professional underwater naturalists and photographers (and one folk singer) and sets off in pursuit of the great white shark. By “Man-Eater: Blue Water White Death“ (to give the film its full title) midpoint, cast and crew are in open mutiny. Peter Matthiessen, hired as voyage historian, thought the product of the trip would be the world’s most expensive home movie but it is considerably more interesting, detailing in surprisingly vivid terms some real highs and lows for a trip that is part carnival, part nature study. Contrary to expectations, the most striking sequence involves not a great white shark but a group of sharks (primarily blues) feeding on a sperm whale carcass. By exiting the shark cages and photographing the feeding up close, the divers raised the bar considerably on this kind of filming. There are also memorable moments as when Stan Waterman and Valerie Taylor struggle through high seas to get back aboard the boat and Mr. Waterman promises the cameraman that if he ever films them struggling like that again without helping them, he will find himself in the water with them. The sequences involving the great white are not surprisingly very striking. I suspect there was a little after-action photography added to the sequence showing Peter Lake trying to cut the rope holding the great white to his cage. A minor point in a great film. There are also some great moments under the credits, my favourite being Stan Waterman describing how to drive off a shark with a SCUBA knife. A real treat if you ever get to see this.
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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.
