£125.00
Film
RASPUTIN The Mad Monk
1966
US Lobby Card / Full Set of 8/ single sided / (14" x 11"), NSS 66/155
United States (USA)
Near mint minus; originally flat (as issued), Very Fine plus – Near mint minus; originally flat / unfolded as issued
Don Sharp
Christopher Lee, Barbara Shelley, Dinsdale Landen, Francis Matthews, Richard Pasco, Suzan Farmer
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One of Hammer’s quirkier, over-looked gems from 1966; Don Sharp’s ‘historical’ horror thriller “RASPUTIN The Mad Monk”. The usual Hammer trademarks are all in place; busty, glamorous women, lots of screaming, long hypnotic stares, staccato musical score but best of all Christopher Lee as the titular Mad Monk RASPUTIN. Lee is featured on seven (Numbers 1,2,4,5,6,7,8,)of this eight card set, with Barbara Shelley the remaining one (Number 3). A fantastic full set of 8 US lobby cards with great border artwork and some magnificent black & white scene cards featuring Lee in all of his mesmeric glory; card 8 is particularly striking. Incredibly scarce (this is the only time I have come across a full set) as a complete set of 8…Rare and collectable Hammer Horror memorabilia presented in excellent condition makes this complete lobby card set a highly desirable item.
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The story of the monk that rose through Russia’s hierarchy to become, arguably, more powerful than the Tsar and Tsarina seems, to me anyway, to be a rather strange choice of film for Hammer to take on. Of course, there are definite horror elements in the tale, but of all the stories in the world, this one is a rather odd choice in spite of this. However, Hammer are known for being innovative and doing things that most studios wouldn’t even dream of, and I for one am very glad they did do a take on this tale; as it’s actually a very good film. As you might expect, the film follows the story of Grigori Rasputin; a Russian monk with the power to heal. However, Rasputin is also a blasphemer; and the film follows his tribulations after he is thrown out of the monetary, as he drinks, sleeps and hypnotises his way across Russia, until he eventually falls in with Sonia; lady in waiting to the Tsarina. The rest, as they say, is history. Well, sort of…more of a history lesson, the Hammer way.
As you might expect, the film isn’t very historically accurate and Don Sharp appears to be more keen to focus on Rasputin himself than his place in history, which is no bad thing in my opinion as it makes for better horror. This film is a very different kind of horror to what we’re used to from Hammer, as it’s very character based and doesn’t rely on blood and monsters to tell its story. Now don’t get me wrong, I like blood and monsters as much as the next Hammer fan; but this film is a welcome departure in my opinion. The history surrounding Rasputin (some of which is shown in the film) is, actually, quite scary; how a blaspheming, crazy monk can rise through Russia’s hierarchy like he did is surreal, and is made more so by the fact that it is actually true. The excellent Christopher Lee brings the monk himself to life. Who else but Christopher Lee could have played Rasputin? I wager that nobody else could have, and Lee is awesome in this role. His screen presence and charisma combine with what we expect Rasputin would have been like to great effect and although this is a campy horror film and cant really be taken seriously as a historical study; I think Lee has captured the essence of Russia’s finest love machine to a tee, and I doubt it will ever be done to the same standard again.
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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.