Film
The Quatermass Xperiment
1967, 2024 4K Release
UK Quad / Single Sided / (30" x 40")
UK / British
Near mint minus; originally rolled (as issued)
Brian Donlevy, Gordon Jackson, Jack Warner, Margia Dean, Richard Wordsworth, Sam Kydd, Thora Hird
“It’s coming for YOU from Space to wipe all living things from the face of the Earth! CAN IT BE STOPPED?”
Blending horror and science fiction in the way that only Hammer can, “The Quatermass Xperiment” delivers a haunting vision of the terrifying consequences of unchecked exploration. In this tense, suspenseful tale of scientific ambition gone awry, a space expedition takes a nightmarish turn when an astronaut crash-lands on Earth—only to begin mutating into something horrifyingly inhuman. As his transformation accelerates, his struggle to contain violent urges proves increasingly futile. Scientists and authorities race to understand the catastrophe unfolding before them, in a desperate attempt to prevent a monstrous disaster. Created by the legendary Nigel Kneale and directed by the great Val Guest, “The Quatermass Xperiment” is available for the first time ever in 4K UHD and the poster offered here is from the 4K release in 2024. Released by Hammer for a very limited cinematic run that coincided with the newly remastered Blu Ray, this extremely rare UK quad is from the cinema release and not one of the 10 offered as an incentive on Hammer’s website. It really is an incredible poster with some outstanding horror artwork by Graham Humphreys. It presents to excellent effect and is a must have Hammer Horror collectable.
Trivia: The decision to drop the “e” from the title The Quatermass Xperiment was a deliberate and strategic choice by Hammer Films. When the film was released in 1955, the British Board of Film Censors had recently introduced the ‘X’ certificate, restricting admission to those aged 16 and over. Hammer sought to highlight the film’s mature themes and unsettling content by integrating the letter ‘X’ directly into the title. This subtle yet effective alteration served not only as a marketing tool but also as a signal to audiences that this was a bold and provocative work—one that pushed the boundaries of what was typically shown in British science fiction cinema at the time.
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“In the English countryside, a rocket crashes on a farm and Professor Bernard Quatermass and Scotland Yard Inspector Lomax arrive in the spot. The rocket was launched by Prof. Quatermass with the astronauts Victor Carroon, Greene and Reichebheim; however only Carroon is found very sick in the cabin. He is transported to a private clinic to stay under observation despite the protests of his wife Mrs. Judith Carroon. She bribes a nurse to bring Carroon to her and she finds that he is transforming into a monster. Carroon escapes, killing people and animals during his metamorphosis while the Scotland Yard is hunting him down and Dr. Quatermass discovers that his process is an alien invasion.”
Well written and terminally fascinating British sci-fi thriller from director Val Guest and writer Nigel Neale. “The Quatermass Xperiment” is a film of big ideas and planet-sized concepts that stares up into the unknown with a combination of wonderment and dread.
Originally a highly popular TV series, it spawned two excellent sequels and decades of creative Hollywood pilfering.
Brian Donlevy is wonderful as Quatermass, a scientist with the bullying manner of a military drill Sargent and a fierce, pragmatic streak. After a rocket that he sent into space crashes back to Earth, Quatermass and unofficial partner-in-crime Inspector Lomax (Jack Warner) uncover a bizarre alien conspiracy in which a surviving astronauts’s body has been “borrowed” by extraterrestrials keen on relocating.
Director Val Guest gives the drama a no-nonsense, almost documentary feel. The special effects are perfectly acceptable for the period and the brooding sense of mid-century paranoia is well conveyed.
The hero is the script, though. The dialogue is fresh and colourful and writers Guest and Nigel Kneale always keep the scientific jargon interesting. All the characters are believable and the performances are top notch.
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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.
