The Good, The Bad and The Ugly
UK / British
Near mint minus; originally rolled (as issued)
Claudio Scarchilli, Clint Eastwood, Eli Wallach, John Bartha, Lee Van Cleef, Livio Lorenzon, Luigi Pistilli, Rada Rassimov
“I’m looking for the owner of that horse. He’s tall, blonde, he smokes a cigar, and he’s a pig !”
Sergio Leone’s “The Good, The Bad and The Ugly” is lauded (rightly so) as the greatest spaghetti western ever made with any paper from the film extremely sought after which makes this incredibly scarce 2008 Park Circus release British quad a real find. Not only very rare it arguably boasts one of the best images of Eastwood from any of his movie posters. Designed by the creative arts agency Randak of Glasgow this ‘aged photograph’ look, sepia tinted, distressed finished artwork of ‘Blondie’ – the man with no name is the ultimate spaghetti western Eastwood poster; impressive with a capital I. Park Circus releases are very very limited and only shown for a short time, sometimes only one night. And with probably only around 100 of these posters produced they are a truly collectible ‘modern’ piece of Eastwood /movie memorabilia. This is one of the best examples available today, unrestored, originally rolled,(as issued) and presented in excellent condition…A truly great eye-catching item of cinema memorabillia from the last in the “man with no name” trilogy…“There are two kinds of spurs, my friend. Those that come in by the door; those that come in by the window”
Trivia: Clint Eastwood wore the same poncho through all three “Man with No Name” movies without replacement or cleaning.…more detail
Vintage Movie Posters Grading Criteria... read more +
“Blondie (The Good) is a professional gunslinger who is out trying to earn a few dollars. Angel Eyes (The Bad) is a hit man who always commits to a task and sees it through, as long as he is paid to do so. And Tuco (The Ugly) is a wanted outlaw trying to take care of his own hide. Tuco and Blondie share a partnership together making money off Tuco’s bounty, but when Blondie unties the partnership, Tuco tries to hunt down Blondie. When Blondie and Tuco come across a horse carriage loaded with dead bodies, they soon learn from the only survivor (Bill Carson) that he and a few other men have buried a stash of gold in a cemetery. Unfortunately Carson dies and Tuco only finds out the name of the cemetery, while Blondie finds out the name on the grave. Now the two must keep each other alive in order to find the gold. Angel Eyes (who had been looking for Bill Carson) discovers that Tuco and Blondie met with Carson and knows they know the location of the gold. All he needs is for the two to lead him to it. Now The Good, The Bad and The Ugly must all battle it out to get their hands on $200,000 worth of gold.”
“The Good, the Bad and the Ugly“ is a bizarrely sublime and a uniquely aesthetic masterpiece. The actors in title roles have given such extraordinarily superb performances, that it would be impertinent and disparaging to merely regard their swell work as acting. In fact their brilliant portrayals have immortalized Blondie, Sentenza/ Angel Eyes and the enigmatic Tuco. Lee Van Cleef is fiendishly unforgiving as the merciless Angel Eyes. Clint Eastwood is rugged yet suave, cocky yet adorable as laconic cigar-smoker Blondie, a role that laid the foundations of his illustrious career. But it is Eli Wallach, who steals the show with his captivating portrayal of Tuco, a portrayal that is as entrancing as it is enlightening. Wallach is amusing, capricious, nonchalant, uncanny and yet tenacious as Tuco, perturbed by his insecurities and dampened by his solitude. It is the tacit amicability between Blondie and Tuco and their mutual hostility towards the evil Angel Eyes owing to the vestiges of virtue present in them, redolent of their moribund morality, which gives the story, the impetus and the characters, a screen presence that is not only awe inspiring but also unparalleled…Sergio Leone’s magnificent and ingenious direction in synergy with Ennio Morricone’s surreal music, Tonino Delli Colli’s breathtaking cinematography and Joe D’Augustine’s punctilious editing makes the movie, a treat to watch and ineffably unforgettable. Initially aimed to be a tongue-in-cheek satire on run-of-the-mill westerns, The Good, the Bad and the Ugly, continues to stand the test of time in its endeavor to attain truly iconic status. It will always be remembered as European cinema’s greatest gift, not only to the Western genre, but to the world of cinema.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
27 X 40″, printed on paper. Very rarely used size.
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.
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.
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
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.