Film
No Love For Johnnie
1961
UK Quad / (30″ x 40″) / Single Sided / Printed in England by Charles & Read Ltd. London & Harlow
UK / British
Fine plus -Very Fine minus; originally folded / would benefit from light restoration & linen backing
Ralph Thomas
Billie Whitelaw, Donald Pleasence, Mary Peach, Peter Finch, Stanley Holloway
This “X” certificate UK quad from 1961 for Ralph Thomas’ “No Love For Johnnie” features Peter Finch (superbly illustrated by Italian artist Giuliano Nistri) as Johnnie Byrne the MP who is over looked for the cabinet post he was expecting. His Communist wife (Billie Whitelaw) leaves him (hence the Film’s title) and he has an affair with a fashion model (painted Mary Peach as Pauline West). The novel is written by the Labour MP Wilfred Fienburgh was seen as a controversial propaganda piece at the time and a direct attack against the Government. It has also been hinted that Nistri’s use of bright red as the main colour is in direct reference to the ‘RED’ of communism. Whatever political connotations are hinted at there is no denying that Nistri has produced some fine and dramatic imagery for this poster. Presented here in originally folded (as issued to cinemas) unrestored condition this scarce example displays well with amazing graphics and colour. Country of origin UK quad film posters for this political movie don’t come to market very often and represent an incredibly rare piece of 1960’s nostalgia and highly desirable original movie memorabilia.
…more detailVintage Movie Posters Grading Criteria... read more +
Novels about Labour MP’s were enjoying a rich harvest when Wilfred Fienburgh wrote the book on which this film is closely based, and we need to remember the atmosphere of the time – older working-class members being edged-out by smoothies who looked as though they were compromising the soul of the party. Those Northern constituency-meetings would be packed with people who could remember the General Strike, the Depression and the war, while at Westminster, their envoys would be tempted by the charms of the capital into a selfish and cynical mindset that presaged the sixties.
Peter Finch is ideally cast as the protagonist – the right blend of ruggedness and sophistication – and he carries deep conviction as the ambitious newcomer. Soon he is invited to join a left-wing pressure-group, and briefed to embarrass the Prime Minister with a question about a planned military coup in a tiny oil-state. But he is distracted by the much-younger Mary Peach, and cannot tear himself from her bed to attend the session. Presently, unfolding events in the oil-state show that it would have been a blunder to put that question to the PM, but this is only referenced in a single throwaway line. The one unfortunate departure from the novel is the missing scene where he is congratulated on keeping his head and not being panicked into rocking the boat!
The pressure-group is an odd mix of characters that never look united, but all are well-drawn. The inscrutable Donald Pleasance, the chippy Mervyn Johns, the student-like Peter Barkworth. Geoffrey Keen suggests a touch of Attlee as the PM trying to control his quarrelling brood. And Stanley Holloway provides a reassuring Greek chorus as the benevolent veteran. Also displaying benevolence for once is Dennis Price, just before he slid into his alcoholic decline, seen here briefly as the (presumably gay) photographer who is showcasing Mary Peach.
The title ‘No Love for Johnnie‘ is apt enough, and the sad truth of Westminster as the marriage-wrecker is confirmed here. His long and loveless marriage to a Marxist agitator is on the rocks, as she accuses him of moving to the right and selling-out. Emotionally, he is caught between next-door neighbour Billie Whitelaw and party pick-up Mary Peach, the latter falling in love for the first time, but too-frequently reminded that he is a full generation older than her.
Trade Address:
Vintage Movie Posters (UK) Limited
The Malthouse
The Broadway
Old Amersham
HP7 0HL
© 2025 Vintage Movie Posters
Registered Office Address: Vintage Movie Posters (UK) Limited, Aston House, Cornwall Avenue, London N3 1LF GB
Registered Company No: 07664517
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.
All photographs and images used on our site are photographs of the actual poster/item you are buying, we do not use stock photographs.
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.
