Film
On The Buses
1971
UK Quad / Single Sided / (30" x 40"), Printed in England by Lonsdale & Bartholomew (Nottingham) Ltd
British / UK
Very Fine plus; originally folded (as issued)
Harry Booth
Anna Karen, Bob Grant, Doris Hare, Michael Robbins, Reg Varney, Stephen Lewis, Wendy Richard
“On The Buses” was one of only a handful of British TV sitcoms that successfully transferred to the big screen, largely due in this case to the excellent performances (and comedic chemistry) of the ensemble cast headed by Reg Varney (Stan Butler) and more than ably supported by comedy veterans Stephen Lewis (Blakey), Bob Grant (Jack), Anna Karen as Stan’s sister Olive and his Mum played to comedic perfection by Doris Hare. This original 1971 UK quad film poster features some excellent caricatured Arnaldo Putzu artwork of the cast that captures the very fun essence of this British comedy classic. Originally folded (as issued) this excellent unrestored example displays and presents superbly… A huge and loving fanbase exists for this British comedy and this original film poster certainly brings back plenty of happy memories and represents outstanding original and hugely collectable country of origin film movie memorabilia…British TV comedy nostalgia at it’s finest and very cool and colourful…A personal favourite TV series of my youth that still makes me chuckle today whenever I get chance to watch one…When released by Hammer Productions in 1971 this movie was the highest grossing film of the year, out earning a certain 007 in “Diamonds Are Forever” and producing enough profit for the financially beleaguered Studio to operate well into the mid 70’s.
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“Stan gets a little annoyed when his Mum and Sister keep buying expensive items on hire purchase, but the money he earns for overtime working as a bus driver means that he can afford it… just! His job is secure, as bus drivers are hard to come by, and his overtime prospects are good, until the bus company decide to revoke a long standing rule and employ women bus drivers. Aghast at the thought of no overtime and, therefore, less wages, he joins forces with his long time work colleague Jack to sabotage the new female employees.”
This 1971 big screen adaption of London Weekend Television’s long running ‘On The Buses’ is remembered chiefly for being that year’s biggest box office seller, even outdoing the ‘007’ picture ‘Diamonds Are Forever’. The main reason for its astonishing box office performance lay purely down to the fact that it saved British cinemas from the threat of closure ( big American studios had cut their funding to make films ).
The idea to make ‘On The Buses’ into a film was obviously inspired by the success of the cinematic release of ‘Till Death Us Do Part’ in 1969. The cast were all present and correct, Messrs Wolfe & Chesney inherited the writing duties yet again while Harry Booth directed.
This is how it begins – Stan and Jack have been securing a hefty amount of overtime recently thanks to the lack of available staff at the bus depot. Blakey, ever destined to ease the staff shortage crisis, suggests to the management that they take on women as drivers, a suggestion with which the management agree to. Realising their jobs are on the rocks, Stan and Jack devise a complex scheme in order to eliminate the use of female drivers. Dirty tricks come into play, such as placing spiders in the female drivers cabs, placing laxative pills in their tea and so on.
A sub-plot is also used here in which Olive becomes pregnant and later gives birth to Little Arthur. This distanced the film from its television counterpart as Little Arthur was absent from the series. Also, as another poster has pointed out, the buses here are red, not green.
Despite overall having the feel of a ‘Carry On’ film, ‘On The Buses’ still manages to appeal and in my opinion is probably the best of all sitcom to movie offerings. Some scenes from the television series are given a reworking here, such as Olive getting a job in the bus depot’s canteen as a cook and making a pig’s ear of everything. A catchy singalong item entitled ‘It’s A Great Life On The Buses’ ( sung by Quinceharmon ) is used as the film’s theme music.
Andria Lawrence is cast here as ‘turnaround Betty’ ( didn’t this woman corner the market on playing sex-pots? ), with Nosher Powell as her disgruntled husband. Also in the cast are Pat Coombs, Pamela Cundell, Brian Outlon, the late Terry Duggan ( husband of Anna Karen ), Eunice Black and Pat Ashton. Wendy Richard has a small role as a young woman who accuses Blakey of stealing her laundry.
The success of this picture led to two sequels – ‘Mutiny On The Buses’ ( 1972 ) and ‘Holiday On The Buses’ ( 1973 ) but the first in my view remains the best.
‘On The Buses’, while not a patch on the series, is nevertheless still a pleasurable way to relax on a Sunday afternoon with a cup of tea and a biscuit ( what else but Tunnock’s Tea Cakes? ). A word of warning to the feminists though! Steer clear! It will probably give you a fit! Funniest moment – At the London Transport testing centre, Stan is instructed to perform a left and right skid ( he has been made to resit his test following reckless driving ), which he successfully does. Unfortunately, Blakey is aboard the bus and ends being flung around like a rag doll!
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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.
