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Pressbooks (Non-Horror)

Bulldog Drummond in Africa (1938)
Pressbook

Bulldog Drummond heads to Morocco in this thirteenth outing in a whopping twenty-five movie run. It’s a shame audiences are no longer thrilled by foreign intrigue themes with their spys and mysteries of foreign locales. I’m sure to theater audiences in the 1930s through the 1940s, it must have been thrilling to think about other countries and cultures. Now, of course, politics, easier global travel, and the Internet pretty much take the mystery and intrigue out of it.

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River Gang (1945) Pressbook

Here’s another pressbook courtesy of director Joe Dante (Trailers from Hell).  What makes this one rather special is the inclusion of a cost sheet, typed on onion paper (you young whippersnappers can Google onion paper). The cost of 8000 pressbooks (six pages for this one) for this movie was a stiff .13 cents per pressbook (rounded off).

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Lawrence of Arabia (1962)
1963 Release Pressbook

You can’t simply live by horror movies alone, no matter how much of a fan you are. There are so many movies that are beautiful, ugly, happy, sad, and just plain mind-expanding or my eyes! dreadful. That’s the wonder of cinema: you have the trashy to the sublime to the breathtaking; whether in the eye or the ear or the cadence of the story itself, it’s really filled with many emotions. Toward the breathtaking side of things there’s Lawrence of Arabia. This 1963 release pressbook for the movie, after it had won a box-full of Oscars, is breathtaking too, in its own way.

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Appointment with Murder (1948) Pressbook

Interesting to note that this low budget movie does get a nicely produced pressbook to promote it. I like the mustachioed clock with the skull pendulum. It’s an odd little embellishment that, while not exactly well placed, does hint of pressing danger. I’ve not seen the John Calvert Falcon movies, three in all, but this pressbook does wet my appetite to see this one. My favorite series is Boston Blackie with Chester Morris. I’ve yet to come across any of those pressbooks. But it is only a matter of time.

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Buck Jones in White Eagle (1941) Pressbook

Wasn’t it great knowing the good guys from the bad guys? The early Westerns always kept it simple. Perhaps too simple. By the time they rolled around to television, we expected everything to be wrapped up nice and neat by the end, even with the commercials. Buck Jones starred in the 1932 movie, White Eagle, and followed his role into this serial, the eight from Columbia. From Ron Backer’s The Gripping Chapters, the Sound Movie Serial book: “There were apparently a lot of mountain lions roaming the Wild West, as can be seen in the cliffhanger to Chapter Ten of White Eagle (1941)…One lesson to be learned from many of these serials was how easy it was to dispose of a large ferocious beast with a very small knife.”

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Borderline (1950) Pressbook

It’s unusual for a noir film to toss in humor and a light touch along with the criminal goings-on, but Borderline does that. Not all that well either: with Raymond Burr as the heavy and Claire Trevor and Fred MacMurry as agents not realizing they are on the same side, this story never quite finds its footing. So Borderline may be the film’s title, but it could also mean the way it doesn’t quite decide what’s serious and what’s funny, leaving the viewer precariously watching along that borderline to figure it out.

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The Pearl of Death (1944) Pressbook

This, The Pearl of Death, pressbook comes courtesy of director Joe Dante (Trailers from Hell, Gremlins, The ‘Burbs, The Howling, and more). Interesting story: I received an email from Charlie Largent asking if I’d like a bunch of pressbooks from Mr. Dante. Me, I’m thinking I’m being punked or scammed, but it turned out to be true. We worked out the logistics and, well, here we are. I’m always happy to hear from anyone who likes what I post, but when it comes from people like Joe Dante and Charlie Largent, it makes it especially pleasant. And I could never turn down an offer of pressbooks. Never.

Rondo Hatton is especially effective as the Hoxton Creeper, looming large and menacing, and Evelyn Ankers is always wonderful: a solid entry in the series.

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Call Northside 777 (1948) Pressbook

The Wikipedia article for this movie states it was the first Hollywood feature film to be shot on location in Chicago. One of the main reasons I like watching old movies is the glimpse of town and city life, the buildings, the streets, the storefronts, the old cars; that glimpse of a lifetime ago is always fascinating. Call Northside 777 used the documentary-style crime drama approach and was based on a true story. With James Stewart playing the reporter, how could you go wrong?

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Gas House Kids in Hollywood (1947) Pressbook

Alfalfa (Carl Switzer) and Butch the bully (Tommy Bond) from Our Gang are all grown up (mostly) in Gas House Kids in Hollywood. This is the third and last movie in the franchise. They mix it up with a mad scientist and a haunted house and cute “goils.”

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The Guilty (1947) Pressbook

Monogram pulls down the noir shades with jumeuax identiques, in this crime whodunit based on a Cornell Woolrich story. (His book, Black Alibi, became The Leopard Man, directed by Jacques Tourneur.) For a budget movie, the pressbook is in color and well presented. I’m not sure the twin sundae idea is a good promotion, but crime and pretty dames times two sells seats anyway.

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Kiss Me Deadly (1955) Pressbook

Mickey Spillane wasn’t too happy with how Richard Aldrich’s movie version of his book turned out. Mike Hammer wasn’t nice at all, the dangerous and deadly something in the car trunk proved too hot to handle, and the downbeat storyline spiralling into worse makes Kiss Me Deadly quite an unnerving, unsavory, and brutal experience, permeated with existential fear. Perfect! You want film noir? This is the darkest you’ll come across. Ralph Meeker is brutal. The pressbook may play up the dames angle for all it’s worth, but the movie’s not about dames. It’s about death, violence, and more death. The deadly macguffin in the car trunk would be purloined by Repo Man (1984) with a less violent and fatal wind up.

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Decoy (1947) Pressbook

Ah, the good old days, when promotion contests were all about the beautiful dames in movies. Well, maybe not so good with all that objectification of women in the movies of the time. They were either angels or devils, and the men on screen always had trouble telling the difference. At least in film noir the women usually gave as good (or bad) as they got. Are women more dangerous? You be the judge. As film noir goes, this one may be too much for you to handle. Are you hardboiled enough to take it?

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