Film
Only God Forgives
2013
Advance July 19, US One Sheet (27" x 40") Double Sided
United States (USA)
Near mint minus; originally rolled (as issued)
Nicolas Winding Refn
Gordon Brown, Kirstin Scott Thomas, Vithaya Pansringarm, Ryan Gosling
Although a relatively recent release any paper for Nicolas Winding Refn’s 2013 violent revenge actioner “Only God Forgives” is extremely scarce. His award winning film was complemented with an award winning movie poster created by Gravillis Inc with this advance ‘July 19’ US one-sheet ‘neon devil’ design being hugely sought after. Although a success with audiences and critics alike the movie is considered “art-house” or “independent” and had a very limited cinema release resulting in the scarcity of the poster. Originally rolled (as issued) this looks and displays to excellent effect with minimal handling wear; the neon colours of the blues and red really ‘pop’ from the black background. Designed to look like a neon sign the poster is printed in a distressed style….note this is only the printing style, the poster is in very high grade condition. An extremely scarce, modern original collectable movie memorabilia from a truly talented director that looks very very cool !
Trivia: Writer and Director Nicolas Winding Refn states that Bangkok is a radically different city depending on the time of day. If it is daytime, it is, in his words, like Disneyland. By night, however, things are far more sinister..
…more detailVintage Movie Posters Grading Criteria... read more +
Basically, there are two kinds of films. Firstly, there are genre-pictures, using established cinematographic conventions, trying to please the audience. They may be good or bad, but are never shocking, disturbing or ground-breaking. Secondly, there are films ignoring conventions, and deliberately keeping distance from mainstream movie-making. Their aim is not necessarily to entertain, but rather to provoke, to shock or to disturb. They may be good or bad, but they don’t leave the audience indifferent.
Clearly, “Only God Forgives“ belongs to the latter group. The quality of this film is not about the plot twists, the character developments or the witty dialogue. There aren’t any. This film is pure style. The only thing that matters is cinematography and atmosphere. And there’s a lot of that.
The film is set in Bangkok, which is shown as a dimly lit cityscape full of violent characters without any moral feeling. There’s almost no daylight in the film, and neither any emotion. A senseless killing sets in motion a series of extremely violent acts. These are shown in settings full of contrasts – the most memorable and most violent scene takes place in a karaoke bar full of young women, watching the bloody proceedings in a state of pure indifference.
The very effective soundtrack, adds to the sinister atmosphere. One great scene shows a sort of garden, with a man and a young boy sitting in a corner. Very slowly, the camera moves towards them, while the music indicates something creepy is about to happen. You keep looking out for the danger that is supposed to be hiding in a corner, but then the film cuts and the camera angle reverses 180 degrees, so that the audience sees what the man and the boy see: an army of corrupt cops, with the most sadistic one in the front row.
In this film, the acting is not about showing emotions, but rather about hiding them. An easy job for Ryan Gosling, who only has to show a poker face and act cool. It’s Kristin Scott Thomas who’s stealing the show in this film. Her role is miles away from the British stiff-upper-lipped parts or the French character roles she is most famous for. She plays a super vulgar woman without any conscience, and she does it so well that I doubt if I would have recognized her if I wouldn’t have known she was in the cast.
The thing that struck me most about this film is how Asian it seems to be. Not only the emotionless acting and the stylish cinematography, but also the extreme, almost sadistic violence is something you wouldn’t expect from a Danish director. He himself seems indeed to emphasize this, by using Thai characters for the opening and end credits.
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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.
