Amando de Ossorio (he did the Blind Dead movies and other horrors) serves up a tale of sorcery and warlocks, decapitation, and leopard skin clad women. This Mexican lobby card incorrectly lists his name as "Armando."
By now you may have noticed I'm a horror AND western movie fan. (Well, toss in science fiction, fantasy, film noir…) Here's a tidy Hopalong Cassidy Mexican lobby card, with the requisite gun and tussle illustration. This one's unusual in that the English title isn't mentioned. While Hasta el Ultimo Cartucho translates to "until the last cartridge," I'm not sure which Hopalong movie this lobby relates to. I haven't watched all of them, so I can't match up the scene to its movie.
Lively colors, bared shoulder with a little bit more, and a rough and tumble wrestle with guns drawn. What more can you want from a rip roarin' western movie? Or lobby card? Although I doubt the seductive skin baring in this lobby card ever made it into the movie.
A thrilling Mexican lobby card for The Black Whip.
One of James Stewart's best performances. Straightforward illustration with Stewart's face commanding attention makes this Mexican lobby card effective.
Laurel and Hardy pretend to be detectives. The usual mayhem ensues. My favorite L&H movie? Babes in Toyland (1934). The wedding scene is priceless. What's yours?
It's not one, not two, but three fantastic supermen in this Italian movie. And there were sequels, taking our superheroes around the world. Though, with those utility belts, they looked more like Batman than Superman.
House of Terror, with Lon Chaney Jr. and comedian Tin Tan, involves a wax museum, a mummy that changes into a werewolf when the full moon rises, and a mad doctor of course.
A striking Mexican lobby card for The Mugger with James Franciscus and Kent Smith.
Michael Curtiz (Casablanca) directs Boris Karloff in The Walking Dead.
You haven't seen film noir until you've seen Gun Crazy. This Mexican lobby card captures the explosive movie through color and framing. The expressions on husband and wife in the illustration say it all.
I, Monster was planned as a 3D movie using the Pulfrich Effect. Yeah, I'm not familiar with it either, but you can find out more about this interesting camera movement technique on Wikipedia. Brian McFadden in his Amicus Horrors, Tales from the Filmmaker's Crypt, notes that Christopher Lee wasn't keen on I, Monster, his last Amicus film, because of the constant camera movement the Pulfrich Effect required, which made editing the movie difficult. I can imagine the challenges with the setups for the camera were pretty vexing too and time-consuming.