Friday, April 18, 2014

Robert McGinnis and Titillating Movie Poster Art

My college dorm room always had a few movie posters up on the walls. My roommates and I would discuss switching things up if a semester's mood took a turn. If you love the movie posters of old with their focus on artwork and not so much on photography that just plastered the actors face for zombie consumers to see, check out the work of Robert McGinnis. McGinnis, great Scottish name, was definitely a fan of the .70 ratio and sexy dames. His work is like taking Elvgren's poster work and moving it ahead two decades. McGinnis started as a pulp fiction cover artist and made a big splash with his poster for Breakfast at Tiffany's. Take a look at some of his work and Google for other images if you are inclined. Happy Easter.
Hepburn and this poster made the "little black dress"

Jane Fonda in Barbarella was a 20 out of 20

Interesting concept movie that Hollywood should remake

Captures Connery's intrigued "really?" look perfectly


This is the best Bond movie but no one talks about it.


Cover for a fake book.

Fake pulp fiction book

This film is Gloria Guida in all her 20 year old glory.

Domino in Thunderball was my favorite Bond girl. Terrific promo artwork.

14 comments:

peterike said...

Good stuff! Like so much else in those days, America was as its height. The quality of work coming out of advertising firms was extraordinary. And so much of it ultimately led right back to national confidence, all shattered to pieces by the 60s turmoil and 70s decadence.

The 50s and pre-Beatles 60s are mocked as staid and "boring," but they were the greatest moment in American history.

Speaking of 50s, if you want to see a great throwback movie, check up the French film "Populaire" (2012). It's a silly rom-com, but it's gorgeously filmed, really captures the time period (all white people in France!), has a drop dead gorgeous lead character, and if you let it, the silly story will suck you in and is really great fun.

If nothing else, you MUST check out the opening credit sequence, one of the best graphic openings I've ever seen; again in that kind of early 60s vibe, hip but not hippie. Streaming on Netflix right now.

Lucius Somesuch said...

Auger's Domino is a terrific sexbomb, and was always one of my favorite Bond girls for anyone who'd ask.

Unfortunately, when I watched "Thunderball" for the first time in years, about a year ago, I realized the film is a mess. Wonderful in parts-- and the maligned underwater sequences are (except for the vastly overlong final underwater battle) some of the best parts-- but much of the film drags, and Auger, though hot, was dubbed and is somewhat expressionless. Parts of the film creep towards the perfunctory line readings that make "You Only Live Twice" such a shocking shark-jumper. "Oh. No. I. Like. Saki!"

As to OHMSS-- certainly the greatest Bond film, by far-- but plenty of people talk about it!

Damn near the most exhilarating film viewing experience imaginable, tragic ending or no. A sort of teens-and-up "The Wizard of Oz". Everybody should watch it once a year, preferably close to Christmas. Lazenby aged, remarkably enough, to look an awful lot like Mitt Romney; or at least he did in a making-of feature maybe ten years ago.

Son of Brock Landers said...

The Bond gals were all gems but she's my fave then the Maud Adams/Britt Ekland duo in Golden Gun. Some Bond films are sloppy and I always thought they should have turned it into a Directors series. Bring in some special director for his take on Bond.

PA said...

The 50s and pre-Beatles 60s are mocked as staid and "boring," but they were the greatest moment in American history

Interestingly, the 80s were a good decade in a similar respect, a "Morning in America" rollback, at least in appearance and zeitgeist. Yet there is more nostalgia and affection in popular culture for that period, rather than mockery.

I wonder if we could have overcome the Sixties if Reagan refused to sign the 86 amnesty, and either he or GHWB stopped legal immigration.

Son of Brock Landers said...

There is criticism against the 00s, 80s, 50s and 20s for usually empty economic development or boring social environment creating glorified underground cultures. Coincidence would be GOP POTUS in each decade.

Without amnesty and instead a 2nd operation wetback, Cali remains a toss up state that leans right. It wwould help our situation from a race and social welfare system manner but breakdown of families would continue. Media onslaught would continue in that regard. Academia would keep up leftward drift. It'd slow the decline.

Lucius Somesuch said...

@PA: I think you've said before at GLP, that you remember the shift from Bush 41 to Clinton as the dawn of a palpable rot in America.

Maybe I misremember or generalize: but I think you've talked about radio (mainstreaming gangsta rap), as well as Clinton's win itself, as transformative-- or as announcing the transformation, anyway.

I know I'm not supposed to succumb to these nostalgic naiveties, but I always get a bit misty about Bush 41 in office.

--Speaking of Britt Eckland: you know, I watched TMWtGG as part of my Bond-catchup phase last year, and the first time through she really irritated me.

Then I started rewatching the next day and found, once I adjusted for her performance as an explicitly >comic< take on the Bond girl, that it was quite enjoyable.

Maud Adams is golden in both her Bond turns, of course; but I was amused at the office-romance variation that Mary Goodnight provides.

Lucius Somesuch said...

--I guess that should be "Goodknight"?

--Anal self-correction (is that even legal in California?) as pretext, I have to geek out still more on the directors' angle in Bond.

Peter Hunt's job on OHMSS was sensational, and I have to think that, any pretext about minor declines in box office aside, Broccoli & company knew he was just too good for the yeomanry work of helming a franchise. Sadly, he had a very truncated career, all the more astounding considering OHMSS is, next to "North by Northwest", practically the "Citizen Kane" of action thrillers.

80s director John Glen (who did 2nd unit and editing on OHMSS) started strong in the 80s but waned. I'm a big fan of Dalton, but objectively speaking the 2 Dalton pics, the last of the five Glen helmed in all, are staid in visual conception compared to the late Roger Moore films. "Octopussy" is hugely underrated: a visual feast, and the railway-chase countdown to defusing the bomb is the most ambitious Bond set-piece since OHMSS's wild non-stop final act.

Then there's Guy Hamilton, the "Goldfinger" director who returned in the early 70s. The camp factor is enormous. I have an affection for those films, but "Goldfinger", whatever its charms, needs more acknowledgment as the campfest it is. Beloved it may be, but it's only a sliver more "serious" than "Diamonds Are Forever", a film which drives some fans apoplectic with its cheeky surrealism.

peterike said...

Yes, the 80s were definitely a rollback period in a good way. And the Left went bat-shit hysterical crazy. The vitriol directed at GW Bush wasn't new to me: I'd seen it all before directed at Reagan. Only media wasn't as pervasive then.

I think the Reagan years were when the media shifted from being stealthily Left to being overtly, we're-not-even-pretending-to-be-objective Left.

The Clinton era took shabby, grubby winning for winning's sake to new levels. He wasn't the first President to happily sell out his country (FDR did plenty of that), but he didn't even do it for ideological reasons. He just did it for cash to fund his campaigns.

Those were also the years the American industry was completely hollowed out, packed up and shipped overseas. It happened incredibly fast once it got started.

The two big things that would have kept America as America would have been a zero immigration policy and clamping down on free-trade lunacy and simply not allowing corporations to outsource. Build it here or you can't sell it here. Bang, done.

Of course exactly the opposite happened, wages stagnated, and the elite began their ceaseless rise to the oligarchy we have today. Hell, even Princeton University just put out a report saying we're living in an oligarchy.

I think both of those things could have been done with some political will. But I don't know what would stem the culture rot. The cultural centers (movies, publishing) were completely taken over by the Marxists as far back as the 20s. Universities held on a bit longer but caved both quickly and completely in the 60s.

PA said...

There definitely was a cultural shift in the early 90s. One wonders, could the rollbacks of the 80s have been capitalized on?

Reagan was just one man, though hindsight offers some perspective. When he took office, he made it clear that he has three goals: lower taxes, roll back inflation, and defeat Communism. Looking back, the threat of the Soviet Union was overstated. At that point, the USSR and even more so, the Satellite EE countries, were stable, conservative societies. Growing up in 70s Warsaw, in admittedly nostalgic hindsight, was paradise. (Obviously) and all-white country, robust birthrates and kids (my age cohort) everywhere, intelligent adult public discourse and popular culture, and genuine religiosity. The Warsaw Pact's military posture at this point was defensive.

(To go on a tangent of "what did EE get after 89" - collapsing birthrates, exodus of young people to the UK, and submission to the EU)

With stoppage if legal and illegal immigration, Reagan could have arrested the demographic disaster.

I'm open to suggestions of how Cultural Marxism could have been rolled back.

peterike said...

I don't think you could have rolled back cultural Marxism because people like it. It got served up like a drug pusher -- constantly pushing the envelope, raising the tolerance levels, habituating people to more sex, more violence, more foul language and to debased ideas like multi-cult and gay-gay-gay.

Some lonely voices may have protested, but the bulk of people watching were enjoying it. When "All in the Family" pushed the bar on acceptable television discourse, we all laughed (back then, a show like that would get 60% of all viewers). When "Hill Street Blues" ramped up violence and language, everybody loved it. At this point, it's impossible to tell people we're going back to "Nanny and the Professor" (a genuinely funny show) and "Bonanza" (a genuinely good show). We don't want it anymore.

PA said...

-- I don't think you could have rolled back cultural Marxism because people like it.

People likes some of it -- the parts that appealed to their/our vanity, laziness, crudeness. Bawdiness was a feature of Elizabethan theatre too, so that alone was not a nation-killer. Culture will swing between buttoned-up and buttoned-down.

What people didn't like was nascent political correctness. Most grumbled about it -- they grumbled about females admitted to service academies, "there goes the neighborhood," black liberation, homosexuality, anti-American rhetoric.

One of the things that I agree with Moldbug on is that liberalism won because it appealed to smart, ambitious, cool young people.

Did it appeal to them because smart, ambitious, cool young people are degenerates and traitors? More likely, the message and its vehicle of transmission were engineer to appeal to them, somehow.

Are we seeing a form of reverse engineering this appeal of leftism with alt-Right, the Roissy model?

Lucius Somesuch said...

PA: "Did it appeal to them because smart, ambitious, cool young people are degenerates and traitors? More likely, the message and its vehicle of transmission were engineer to appeal to them, somehow"

--I don't know. How "smart"? How "ambitious"?

This is something we spend a lot of time pondering in the 'sphere: think of Sailer's many, intriguing but contradictory, takes on Obama's IQ.

Too, as you say: we can't treat every last bit of innuendo in all of art like it's "Cultural Marxism". At that rate, The Canterbury Tales become "Cultural Marxism".

But look at something like the smarmy treatment of sex in Hermann Hesse. "Steppenwolf" is redolent of the same decadence we have today, except then it was still "fresh". That kind of thing perhaps still appeals to some bookish teenagers, who want to think that transgressive sex and "letting go your inhibitions", etc., will be thrilling and somehow transcendent.

But in the main, pop culture today doesn't even pretend that. Kids can go get high for a week at a time at a rave festival, but they don't pretend they're going to go topple De Gaulle afterwards. But that kind of Cultural Marxism works fine for Cultural Marxism. If anything, I think it erodes the self-confidence of skeptical "intellectuals" in a democratic society, that they have so little hope of making themselves understood by the masses. Demoticism itself (and I think this is key in "Steppenwolf") can have a masochistic allure for those who should know better.

But then, Barry Obama, for instance, was probably about the equivalent of a "rave kid" when he was at Columbia, drug-mule-ing to Pakistan.

Son of Brock Landers said...

A big thing was telling the youth whatever lefty idea was cool. Then the generarion desperate to stay young like the Boomers would ape those beliefs. To watch my Boomer parents sociql circle go from telling gay jokes nonstop to screaming for gay marriage and treating gays like baby pandas in 220 years is the media's work not just pushing gay stuff and deviancy but in making youngins support it and puahing young = awesome and righteous.

nikcrit said...

The Clinton era took shabby, grubby winning for winning's sake to new levels. He wasn't the first President to happily sell out his country (FDR did plenty of that), but he didn't even do it for ideological reasons. He just did it for cash to fund his campaigns.

Clinton has this 'champion for the working man' legacy; but he's the one who most singularly ruined the u.s. working-and-middle classes with his championing NAFTA, GATT and his pro-globalism backing of the WTO's new charter. As odd as he was, the most prescient 90s politician was Ross Perot; that 'big sucking sound' he routinely cited sure did come to pass....btw, hey guys; i was wondering when i might meet up with you cats again...

SOBL; thanks for the Bingo Long Traveling All-Stars; that might've been the first movie i ever saw in a theater; i recall going to it with my dad, when i was a wee-wee lad. pretty racy stuff for a early -elementary grade kid.