Action Movie Mexican Lobby Cards
Nothing like a little action to kick off your Monday. These Mexican lobby cards reuse the original poster art, but they are still action-packed!
February 19, 2024
The Year of the Cannibals (1969) Pressbook
While It Came From Hollywood, some films in American theaters from AIP in the 1950s through 1970s came from Italy. American International Pictures had a successful formula for making budget productions that made a profit by targeting male teenagers. But competition latched onto the Arkoff Formula (Samuel Arkoff and James H. Nicholson started AIP as American Releasing Corporation), leading AIP to look to foreign movies for a fresh, cost-effective source of movies. Part of that formula included releasing two B movies on a double-bill, when the usual approach was to release one A and one B. A movies were more expensive, so having two Bs kept costs low. Their competitors, other independent companies, followed suit and AIP looked to Italy to distribute Italian productions while they figured out a new approach for production at home. One notable success from Italy, for horror fans, was Black Sunday 1960. By the 1960s, AIP teamed with Roger Corman to produce another successful run of horror movies with Vincent Price, and of course, there were the beach party movies with Frankie Avalon and Annette Funicello. Then came the motorcycle cycle and the psychedelic cycle of movies. Notice a trend here? AIP used focus groups to keep on top of what movies their target audience wanted to see.
The Year of the Cannibals is an updated retelling of Antigone, the Greek play by Sophocles, where two warring factions leave the dead in their wake. Britt Ekland plays Antigone. In this version, bodies are left openly in the streets and young people start to defy authorities to bury them. AIP distributed the dubbed movie in 1971 (IMDb).
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Allotment Wives (1945) Pressbook
A Monogram studio B movie, Allotment Wives notably starred Kay Francis, Otto Kruger, and Paul Kelly. From the poverty row studio that brought us wonderful pop culture Bs like Charlie Chan, the Bowery Boys, Bela Lugosi’s weird but wonderful horrors, and more than a tumbling tumble-weeds’ worth of westerns, came this military insurance scam film noir. Kay Francis was the highest paid actress for Warner Brothers of the 1930s, after a successful run at Paramount. When she openly disagreed with the quality of the work she was getting from Warner Brothers, they relegated her to the backlot for speaking out. Picture deals became harder to find and she eventually signed with Monogram. The term ‘poverty row’ evolved from the smaller B movie studios that produced movies during the 1920s through 1950s, with a lot less money, lesser known actors (or known actors on a downward spiral), and production schedules that didn’t allow for retakes and elaborate staging. But many of those movies remain endearing to movie fans today, especially this one. This pressbook is a more prestigious example of a Monogram pressbook mostly due to Kay Francis’s presence.
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Konga Movie Radio Spots!
KONGA! Yep, I go ape every time I think of this movie!
It hadn’t been since 1933 when King Kong came out that the screen had exploded with such mighty fury and spectacle or so the posters exclaimed. The boys at American International Pictures went all out in hyping this movie, creating awesome poster art and an over-the-top marketing campaign. Speaking of posters, the 40×60 inches (ZC Note: also known as the bus stop or subway poster) is spectacular. In fact, seeing that particular poster in the snack bar lobby of the Parkway Drive-in was what caused my nephew, Crazy Gary, to start collecting movie posters.
Although not nearly as good and awe inspiring as King Kong or Mighty Joe Young, Konga does have its moments. The split-screen visual effects are good, the miniatures are excellent, the music exciting, and the performances adequate. Michael Gough (pronounced “Goff”), as Dr. Charles Decker, is his usual maniacal driven self.
The movie is interesting, although rather slow-paced to begin with. It isn’t until Konga is injected with a super dose of growth serum and bursts out of Decker’s house that the movie really takes off. His walk through the streets of London with Decker in hand is really impressive. I especially like actor Paul Stockman’s eye movements as the giant Konga.
The radio spots, released on a 7-inch, 45 rpm record, are interesting and full of excitement, although they paint a more stupendous picture than the movie actually delivers. But, no matter: The last fifteen minutes provide enough “fury and spectacle” to make for an enjoyable experience. So, enough monkeying around: Listen to Konga!
Konga 20, 30, and 60 second spots from Granny C.
See the pressbook!
Do you have any radio spots you would like to share? Contact Granny (Gary Fox) at [email protected].