This Mexican lobby card is puzzling. The inset scene is from Boris Karloff's The Terror, but the title translates to Boris Karloff's Bedlam. The jumble of illustrations seems like a different lobby card was used and Karloff's face was added for obvious reasons (hint: El Maestro Del Terror) to create this one. Still colorful enough to catch attention. I don't recall seeing big...chains...in The Terror either.
Nice publicity inset photo on this Mexican lobby card for The Spider Woman (La Mujer Arana). I'm a bit confused by the couple shown at the bottom left, however, as they detract from the main illustration.
A fantastic Mexican lobby card for Tarzan and the Huntress (Tarzan Y La Cazadora), the color, main image of Tarzan, and the inset scene are well balanced for dramatic effect. Leaving the left hand hidden behind the picture does slightly mar an otherwise eye-catching layout.
These scans for the Captive Wild Woman pressbook are courtesy of Tony Rivers (Teenage Horror Factory), whose crush on Acquanetta knows no bounds. I'm glad I didn't bid on this one on emovieposter.com since Tony would have gone ape if I had even tried to outbid him. But gracious collector that he is, he always shares. Some critics and fans consider the "ape movies" an oddity in the various movie studios' B movie productions. I don't (well, okay, maybe Robot Monster is an exception). I like them. I would also argue that movies like The Monster and the Girl and Captive Wild Woman tap into a social vibe and a stylish art form that make them more than just watching a man in a gorilla costume. I'll be writing more about The Monster and the Girl in the upcoming Unsung Horrors, Vol. 2, from the We Belong Dead magazine gang.
Here's the tabloid herald for Shock Corridor. Lots of exploitation-sell, such as "shocking world of psychos and sex-maddened women exposed!" and "the snake-pit world revealed in all its outrages!" Now, of course, it sounds like just another day in politics. Back then, though, it meant something!
I'll list Shock Corridor under non-horror but it terrified me when I first saw it on television in cathode ray tube black and white. So, yes, I was too young for it. But it still scares me. A journalist fakes insanity to go after a story. The story starts to go after him instead. Here's the pressbook to serve as a warning to you. But definitely see it. It just may scare and unsettle you as much as it did me.
Here's Devilina issue 1 from Atlas. I'll refrain from any "hot" jokes. The cover for this issue was flipped to grace the cover of Vampirella issue 111, and the artist, Pulojar, also used the rather sexy pose for Lassiter issue 21. Lots of devilish illustrations, with an article by Gary Gerani titled Filmdom's Vampire Lovers, to help keep you from over-heating. Oh, shoot, I made a "hot" joke, didn't I?
An engaging read could be found in each issue of The House of Hammer (later changing titles to House of Horror then Halls of Horror) edited by Dez Skinn. With illustrated adaptations of Hammer movies such as Dracula and Captain Kronos Vampire Hunter, and the host-slanted Van Helsing's Terror Tales to round out the first issue, there was still room for well-written articles, usually themed around the main adaptation. While the original thought was to only cover Hammer's oeuvre, the studio's production mill ran too slow to fill out each issue, so horror movies beyond Hammer were covered. Eye-catching covers by Brian Lewis and other artists, and article writers including Tony Crawley, John Brosnan, and Denis Gifford, made each issue a satisfying reading experience.
Here's my slightly waterlogged copy of Monsters of the Movies issue 8. Gives it a nice monsterkid patina, don't you think? Peter Cushing, Hammer, Amicus, Jonathan Frid, and the Seven Golden Vampires light up this issue. So jump in, the water is fine.