Satellite in the Sky (1956)
Mexican Lobby Card
Wally Veevers, who did the special effects for this movie, Satellite in the Sky, went on to 2001: A Space Odyssey and Superman. Here's the pressbook. The Mexican lobby card is colorful but slapdash, and while somewhat stylish, doesn't do much for the actual storyline in the movie.
The Naked Prey (1965) Pressbook
Cornel Wilde was a very good director as well as an actor. In The Naked Prey he uses minimal dialog and relies on the tension of the chase. In the science fiction movie, No Blade of Grass, he again explores the struggle for survival, but on a larger social scale.
Comic reader version: Download Naked Prey Pressbook
See more movie pressbooks From Zombos' Closet.
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Black Sunday (1960) Mexican Lobby Card
Here's the Mexican lobby card for Black Sunday, director Tim Burton's favorite horror movie. Mario Bava was inspired by the horror story Viy.
Republic Pictures Mexican Lobby Cards
Republic Studios produced a lot of B movies and serials up until the 1950s. While you can consider them one of the Poverty Row outfits (and I don't use that term pejoratively), their movies may be cheap, but they were action-packed, fun cliff-hangers that filled the theaters week after week. One of the earliest studios to provide the burgeoning television market with their movies, the shift from theater to television viewing eventually shut down its feature film production. Here are some Mexican lobby cards to savor.
Trader Tom of the China Seas (1954)
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Tarzan’s Secret Treasure (1941)
Pressbook Exhibitor Aid
Here's a fun pressbook exhibitor aid for Tarzan's Secret Treasure. Every weekend for me as a kid, showing on local television, would be the Tarzan and Abbott and Costello movies. Comic reader version: Download Tarzan's Secret Treasure
See more movie pressbooks From Zombos' Closet.
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Tarzan’s Secret Treasure (1941)
Pressbook Exhibitor AidRead More »
The Last Man on Earth (1964)
Mexican Lobby Card
According to Wikipedia's entry on this movie, Hammer had acquired the rights to make the movie in 1958, but the British censors wouldn't allow its production (no reason for this is cited in the entry), so the rights were then sold to AIP. I wonder what a British production would have done, compared to this Italian-American one. You can read the pressbook here.
