I’m trying out something a little different with this new series. I’m attempting to highlight classic movie posters of yesteryear but not the ones you’d be use to seeing. I want to show you ones that might be a bit left of center, hailing from various countries that never became familiar to American moviegoers. Our first entry belongs to the Australian movie poster for The Temple Of Doom.
I love that the perimeter of the poster is filled with action scenes from the movie really highlighting the style of the old Hollywood Epics. This really helps to tap into the vibe that Lucas and Spielberg were going for and arguably does a better job than the standard poster we are all familiar with.
Check in with us again as we continue to showcase film posters that should have gotten their due.
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If you’ve ever looked into film noir, no doubt you’ve come across Double Indemnity. It’s often cited as one of the definitive examples of the genre. It actually transcends noir in my opinion and works effectively as a crime drama attracting a wider audience.
I won’t spend a lot of time focusing on the plot here, but if you’re not familiar it’s fairly simple. Walter Neff (played by the always likeable Fred MacMurrary) is an insurance salesman who one day by chance encounters Phyllis Dietrichson (in a noir defining role for Barabra Stanwyck). Dietrichson is married and the two go in on a plot together to murder her husband and collect the insurance money. As these movies usually go there ends up being a snag in the plan and everything begins to unravel.
The problem with older classic movies like this is that you likely have already heard about them and the major plot twists long before you actually saw it. Sadly, I was familiar with the 1998 Busta Rhymes song “Gimme Some More” which samples the classic “Psycho” strings score long before I had seen the movie.
Psycho was actually the first Hitchcock movie I ever saw…and I didn’t like it. I expected it to be a horror movie or at least be pretty scary based on its reputation (especially the love it gets around Halloween) and I was let down. It wasn’t until a movie mentor of mine explained about Hitch being the master of suspense, not horror that it started to make sense to me. After watching a few of his other movies and then going back to Psycho made me love it and understand why it belongs on the upper echelon of Hitchcock films.
I’m assuming everyone who wants to read this has already seen the movie so I won’t waste much time on the plot, but rather my opinions and observations. So if you haven’t seen it, turn back now or forever hold your peace.