Film
Victory (Escape to Victory)
1981
US Half Subway – 29.5″ x 45.5″ (75 x 116 cm) – Single Sided
United States (USA)
Near mint minus; originally rolled (as issued)
John Huston
Bobby Moore, Co Prins, Hallvar Thoresen, Kazimierz Deyna, Michael Caine, Mike Summerbee, Osvaldo Ardiles, Paul Van Himst, Pele
John Huston’s “Victory” (Escape To Victory) has probably seen so much critical scorn it’s mind boggling. Is this movie Oscar material? Certainly not, but it’s a great film in many ways. It would be fair to say that this is most probably, the first real Football movie of its time. With stars like Michael Caine and Sylvester Stallone on board, along with an array of football stars including the one and only Pele (featured, in all their glory by the artist, Jarvis) and a true gentleman of the sport – Bobby Moore, it is truly a classic. Some people say that the story is old hat, but I disagree. Even without the football it is a very solid War film. You don’t have to be a football fan to enjoy the film, any sports fan can relate to the story that is thrust upon you…It is the classic David and Goliath type battle with football being the medium. I can remember the first time I saw the film, the cinema erupted every time the prisoners scored a goal, that was the intensity of the movie. If you are not a football fan, this movie might just convert you. Originally rolled (as issued) this US half-subway poster (printed for use in New York) presents to excellent effect with fantastic Jarvis imagery of Caine, Stallone and Pele that perfectly suits the portrait format.
Trivia: Fate brought “Victory” to Stallone’s attention. In 1979, Stallone was looking to buy a beach house in Malibu, CA. One of the houses he looked at was owned by producer Freddie Fields. After Stallone looked over the house, he met Fields out on the sundeck to tell him that, unfortunately, the house was too small. Not to let a good opportunity pass, Fields began to tell Stallone the story of a new film he wanted to make entitled “Victory.” Fields happened to have an available script on him. Stallone was intrigued enough to to take the script home with him. Three days later, Stallone announced he wanted to play Captain Hatch in the movie.
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“In World War II, a group of Nazi officers come up with a propaganda event in which an all-star Nazi team will play a team composed of Allied prisoners of war in a soccer (football) game. The prisoners agree, planning on using the game as a means of escape from the camp.”
Despite being universally derided by everyone I know, I still believe that “Victory” (Escape To Victory) is one of the greatest feel good movie ever made – unlike Steve McQueen’s heroics in “The Great Escape”, (spoiler ahead) these prisoners make it. For anyone who has a passion for football this is an absolute must see, if just for a chance to see legends such as Bobby Moore and Pelé playing in the same team.
However, while the football is marvellous, the drama is on a similar level. Everyone always goes on about this film being cheesy, but I really believe it has some great dramatic moments: Michael Caine telling Sylvester Stallone “I won’t be responsible for your death”, the tragedy of the Eastern European prisoners, and of course the performance of Max von Sydow.
He really does make the film what it is with a hugely dignified portrayal of a man who has no interest in the war going on around him. When he tells Caine “if all the nations of the world could solve their problems on the football field, wouldn’t that be something?”, it may be a hugely naive (and slightly corny) sentiment, but you honestly believe that he means it.
There are some minus points, however; it’s clear that Stallone has never played as a goalkeeper before (I should know because it’s my position), some of the lines delivered by the footballers do sound enormously false, and many of the British and German officers are incredibly caricatured. Also, as a war movie it’s about as far removed from the terrible reality of war as it’s possible to get.
However, to state that “Victory” (Escape To Victory) is unrealistic is to miss the point entirely. It’s pure escapism. As such, it can lay claim to being one of the few specifically male-oriented feel good movies around,
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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.
