A good, lightweight, Hammer horror movie with social commentary undertones, with similarities to the plot line in The Creature from the Black Lagoon. The revelations that ensue show humankind's weaknesses compared to the Yetis strengths, showing the true monsters of the movie.
An overly talky movie, yet still has its charms; especially with the monster hanging around the lighthouse for food scraps. In-between the gabfests, the unexpected gore (monster holding severed head, crab crawling over severed head) must have jolted kids in their theater seats, making it a must see movie for them. I saw it on local television in the 1960s and was nicely scared, thank you very much. The creature suit was fashioned by Universal veterans involved with the Creature from the Black Lagoon.
The usual mad scientist on lonely island performs experiments they shouldn't kind of movie. Only done very very badly. You can watch this one on YouTube. Lucky you. There's something about this Mexican lobby card, though, that's kind of cool and very spook show stylish.
This Mexican lobby card for Diary of a Madman, based on the Guy de Maupassant short story, The Horla, makes sure to show Vincent Price's patented sinister stare to best effect. The essential model of the Horla, an unseen, unknown, maliciously intending alien entity moving from host to host, is now an often used one in science fiction and horror movies. The Horla is often mentioned as H.P. Lovecraft's inspiration for The Call of Cthulhu.
Here's the Mexican lobby card for Son of Godzilla (El Hijo De Godzilla).
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.
Still the best version of A Christmas Carol on film. At least for me. Eagle-eyed viewers will catch a camera goof: watch closely the mirror that Ebenezer Scrooge (Alastair Sim) looks into on Christmas morning. In the right corner of the mirror the camera catches a member of the crew. Oops. There are other goofs, but you'll not notice them. Alastair Sim's Scrooge is too entertaining to miss and the milieu of old London too depressing to ignore.
One of the essential film noir movies of the 1950s, D.O.A's grim, deterministic, storyline is captured well in this Mexican lobby card. Film buffs will usually point out the opening tracking shot that follows Bigelow (Edmund O'Brien) as he makes his way to the police detectives who already know who he is, but need the background story to connect the dots. The movie kicks in from there and you feel for the guy. For his neglected gal. And for the crazy, one-in-a-million reason he's dying. The dialog's a bit literary at times, but the momentum from the opening to the ending is always on the mark.
The action pose shown here can also be seen in the lobby for La Furia De Los Karatekas. It’s reminiscent of Jack Kirby’s style, right? This Mexican lobby card is a bit choppy with the graphic, title, and inset scene placement, but still conveys the fisticuffs and action thematic well enough.
A colorful and sexy Mexican lobby card for La Furia De Los Karatecas provides eye appeal. The pose for Santo is reminiscent of other lobbies, so perhaps some repurposing of artwork was used to cut costs.