Film
Thunderbirds: Trapped in the Sky and Terror in New York City
1965, 2025 – 60th Anniversary release
UK Quad (30" x 40") Double Sided
UK / British
Near mint minus; originally rolled (as issued)
David Lane, Alan Pattillo, David Elliott
Christine Finn, David Graham, David Holliday, Matt Zimmerman, Peter Dyneley, Ray Barrett, Shane Rimmer, Sylvia Anderson
“Excitement is GO! Adventure is GO! Danger is GO!”.
“Thunderbirds” is perfect entertainment. Everyone can appreciate a good puppet show, and everyone can appreciate a good model; but this show took puppet shows and models to a bold new level of detailing and production complexity. On paper it must have looked crazy, but believe me, it works and is like a world of toys come to vibrant life. For the 60th anniversary two of the series’ finest episodes “Trapped in the Sky” and “Terror in New York City” have received a 4K upgrade and restoration and released (only in the UK) as a double-bill for an exclusive one-night only cinematic presentation. Not just incredibly scarce, the UK quad film poster (designed by the creative agency Mister S) that accompanied the release is stunning and features nearly all (sorry Thunderbird 5 fans) the iconic International Rescue vehicles in all their glory, the Tracy Family and of course Lady Penelope and her chauffeur Parker. The colours just pop on this beautiful rolled (as issued) example. Bringing back the nostalgia, it’s impressive to see how well Gerry Anderson’s assorted Supermarionation projects have held up over the years, but it was Thunderbirds that was always my favourite, and it’s heartwarming to see that even after 60 years it still provides majestic, feelgood entertainment for all ages.
Trivia: The faces of the Tracy family members were composites of those of famous celebrities of the day:
Jeff Tracy was modeled upon actor Lorne Greene of Bonanza (1959) fame.
Scott Tracy was modelled upon actor Sean Connery, who starred in the early James Bond films.
Alan Tracy was modeled upon actor Robert Reed of The Defenders (1961).
John Tracy was modeled after British pop singer Adam Faith and Hollywood actor Charlton Heston.
Whilst Virgil is an older-looking Alan and Gordon a younger version of John.
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Trapped in the Sky and Terror in New York City
“The year is 2065. The location is a secret island base. The Tracy family run International Rescue – a top secret organization whose ongoing mission is to aid humanity. With the support of five incredible THUNDERBIRDS craft, the London agent Lady Penelope Creighton-Ward, her butler and ex safe-cracker Parker and genius Brains, the Tracy family battle the forces of evil.”
Thunderbirds is justly remembered as Gerry and Sylvia Anderson‘s best series, and its mixture of memorable characters, superb production values, strong scripts, and tense action remains enticing. The concept of a “free-lance” rescue organization using highly advanced machinery for rescues in exceptionally dangerous situations hits home immediately, and the characterization (enhanced by the show’s one-hour format) adds enormously to the tension and sympathy within the show’s 32 episodes.
Anderson recruited a superior voice cast in Peter Dyneley, Shane Rimmer, David Holliday,Matt Zimmerman, veteran AP Film voices David Graham and Ray Barrett, Christine Finn, Gerry’s then-wife Sylvia, and John Tate. Though some of the dialogue can be a bit cheesy, it still works, imbuing each character with sympathy and draw. It all enhances the enjoyably lavish sets, props, and special effects that create the intriuguing mixture of future with circa-1964 present. Adding a sweep and majesty to the procedings is the score of Barry Gray, using a large orchestra and displaying an often clever grasp of its strength, from the opening teaser and main march openings to each episode through the many incidental cues used, employing multiple instruments down to a solo by banjo or guitar to create the proper atmosphere.
When it all comes to conclusion, the show wins on almost every level, making for an immortal series.
“Trapped In The Sky” – is the first ever Thunderbirds episode and the hour that nailed Thunderbirds. This is it, best episode of the series and even better than the two Thunderbird motion pictures! Why is it so good? From Jeff Tracy’s deep voiced talk of “Boys, I think we are in business”, to Scott Tracy’s more unique voice tones, to the now topical storyline involving a bomb on a plane, to the miniature effects of Fireflash, to the corny Fireflash pilot saying “I saw her too, she is kind-of cute”, to the first ever wonderful visions of the Thunderbird aircrafts, and finally, that almost non-stop run of quality Barry Gray music. That is why.
“Terror in New York City” – A Texas oil well fire is extinguished by International Rescue, but stewing over the proceeding is Ned Cook, a famous TV news personality, who has been barred from taping IR in action. As Scott and Virgil take off for home, Cook has his cameraman, Joe, record Thunderbird One’s takeoff and flight, which brings on pursuit of Ned and Joe’s TV truck by Scott. Scott uses an energy ray to erase Cook’s recording, then resumes course for home. But the delay proves fortuitous for Scott, for over the Pacific Ocean Virgil is tracked by the USS Sentinal, a surface combatant capable of hundreds of knots. The ship scans Thunderbird Two and cannot identify the craft, and gets word from Washington to treat the unidentified aircraft as hostile. Missiles are launched at Virgil, who radios a distress call to Tracy Island before a second salvo blasts the tail section of Thunderbird Two and injures Virgil. Jeff Tracy contacts Washington and the Sentinel finally learns of Thunderbird Two’s identity, but even though Virgil nurses the crippled craft home, his injury and the craft’s heavy damage put Thunderbird Two out of action until parts and pieces for the ship can arrive for IR’s mammoth robot repair station to go into action. In the interregnum, as Virgil recovers, the family watch a live telecast of the world’s most audacious engineering project – the moving of the Empire State Building to a new location in downtown New York City. Covering the event is Ned Cook, but as the mammoth skyscraper is moved, the ground begins to crack, and just before signing off Cook and Joe are swallowed in a mammoth sinkhole, just before the building collapses into the ground, burying both men alive. They somehow survive, but with Thunderbird Two crippled there is no possibility of IR pulling off a rescue – until Virgil realizes the help they need is available from an unlikely source.
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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.
