My Movie Poster Collection: M

Remember that you can always click on the images themselves to see them (hopefully) larger:

MAGIC (1978). Folded, G
Wow, that freaking poem! And the image of Fats looking at us with his dead eyes. When I choose to hang this masterful one-sheet up on my walls, I find I have difficulty sleeping. Along with Oh! What A Lovely War, the strangest of all Richard Attenbourough works.

MAGNOLIA (1999). Rolled, Pre-release, VG
An colossal pre-release poster for Paul Thomas Anderson's epic of Los Angeles redemption. This image left everyone wondering what the frogs were all about. Of course, now we all know.

MAGNOLIA (1999). Rolled, release, G
Contrasting the above image (which makes a cool cameo at the bottom here), we have the titular flower, and the cast serving as wistful petals. How I love this movie--fittingly, it was the first film I caught after the turn of the 21st Century. Perhaps also fittingly, my final film if the 20th Century was Trent Harris' crazy-hysterical Rubin and Ed, with Crispin Glover and Howard Hesseman. Forget the plot; merely see it cause the movie's a sharp-cut bender--a totally out-of-hand comedy with (pussying out on the phrase) "career-defining leads." Anyway...just felt I'd interject a li'l side note there...(NOTE: Signed by Paul Thomas Anderson, 2014).

THE MAN WHO WOULD BE KING (1975). Folded, VG
Beautiful Tom Jung artwork takes the center stage in this magnificent one-sheet for John Huston's rollicking adventure. One of my favorite pieces in my collection.

MANON OF THE SPRING (1988). Folded, G
The sequel poster to Claude Berri's slightly better Jean De Florette features Emmanuelle Beart as the free-spirited, and vengeful title character. This movie, based on the book by Marcel Pagnol (who also dabbled in filmmaking) is the Greek tragedy of the French countryside. It, along with its predecessor, is one of my favorite films of all time.
MAP OF THE HUMAN HEART (1993). Folded, G
A lavish romance from New Zealand's premier director Vincent Ward. Unfortunately, this poster reveals what little hope its studio had for the film. Even with stunning star Anne Parillaud at its center, it fails. But see the movie anyway.

MARATHON MAN (1977). Folded, VG
Pure 70s flavor through and through, with the black background and repeating title. I'd have stuck Lawrence Olivier's tooth-jiggering Nazi dentist on it somehow, but I like the poster anyway. And the film itself, while a definite potboiler, is an essential quasi-noir.

MARIE BAIE DES ANGES (1997). Folded, G
Never seen it. Looks like a downer. Is it? 

MASSACRE AT CENTRAL HIGH (1976). Folded, G
My eyes bugged out of my head when I ran across this poster. I swear, I looked like the wolf in a Tex Avery cartoon. I had gold in my hand. Massacre at Central High was a movie I never forgot having seen at the Northeast Expressway Twin Drive-in back in the summer of 76. And how suitable it was for that time! As the Bicentennial Minutes were ticking away on CBS, I was watching this initially cruddy but ultimately powerful B-movie that tries to communicate the dramatization of that great line from the Who's "Won't Get Fooled Again": "Meet the new boss, same as the old boss." Renee Daalder's cult film is an ultimate lesson in political science. The fact that this is not available on DVD stateside (presumably to protect post-Columbine kiddies) is infuriating to me!

MASS APPEAL (1984). Folded, VG
Not a movie I care for, even if Jack Lemmon is mildly good in it. 

THE MATRIX (1999). Rolled, NM. 


ME, NATALIE (1969). Folded, G
Interestingly, this Patty Duke vehicle was also Al Pacino's debut movie (he has about a minute on-screen). I like the ad copy (which is hard to read here), and the fact that the film is rated M (for mature audiences only). I want a shirt with the M rating on it.
MEATBALLS (1979). Folded, VG
Morgan Kane did the fetching artwork for Bill Murray's debut starrer. I still have a deep and everloving soft spot for this movie. Its ensemble cast works well together, and composer Elmer Bernstein delivers a fun score, with some unexpectedly lovely and raucous songs, too.

MEN IN BLACK (1997). Rolled, VG
It was a hit that I liked, and so here it is--though I still think the poster could've benefited from from Drew Struzan artwork. (What's a poster for this movie worth without Vincent D'Onofrio and Tony Shaloub?)

THE MEPHISTO WALTZ (1971). Folded, G
Devil worshippers, take note.

THE MERCENARY (AKA REVENGE OF A GUNFIGHTER) (1968). Folded, VG
I've heard this is a pretty bad entry into the spaghetti western genre, but any poster with Tony Musante on it is going into my collection.

THE MEXICAN (2001). Rolled, VG
James Gandolfini delivers a memorable supporting turn in this film, but otherwise it's forgettable. Despite having two matinee idols smooching on it, the poster doesn't do much to quell this opinion.
 
A MIDSUMMER NIGHT'S SEX COMEDY (1982). Folded, VG
Very little affection for this poster, or for Woody Allen's movie (the film does have Gordon Willis' photography going for it, though).

MIGHTY PEKING MAN (1977). Rolled, 2000 rerelease, VG
Moving on...

THE MIRACLE WORKER (1962). Folded, VG
This early Arthur Penn film is pretty stagey. The two leads, Anne Bancroft and (especially) Patty Duke, are stupendous, but the movie is somewhat stiff cinematically. In fact, only the poster (which, I think does NOT star the film's actresses) is cinematic. This is the best shot in the movie, and it doesn't even appear in the movie. It's one of my favorite one-sheets. 

MISSING (1982). Folded, VG
A wise use of white space, for what I still believe is an underrated film (despite its winning awards at Cannes, the 1982 Oscars, and being on the Criterion release roster).

MISSION TO MARS (2000). Folded, VG
Not a DePalma movie I remember liking, but I'm wondering if I should revisit it.
THE MISSOURI BREAKS (1976). Folded, G
Gorgeous Bob Peak art for another Arthur Penn movie, this one notorious for the crazed performance given by Mr. Brando. I don't hate this film as much as many people seem to. I certainly don't hate the one-sheet. 

MISTRESS AMERICA (2015). Rolled, NM.  

THE MONSTER THAT CHALLENGED THE WORLD (1957). Folded, NM.

MOONSTRUCK (1987). Folded, G
A sweet image of Cher. Another movie I need to revisit.

MOSCOW ON THE HUDSON (1984). Folded, VG
Robin Williams' best lead performance in a movie, directed ably by Paul Mazursky. The beautiful one-sheet is a take-off on the famed New Yorker magazine cover, right down to aping the magazine's logo.

THE MOSQUITO COAST (1986). Rolled, VG
This Peter Weir movie deserves more of a cult status than it has. It's easily Harrison Ford's finest hour, and the intense poster reminds us of his sweaty, mystifying turn as Allie Fox, the inventor who escapes America with his family and ventures into the jungles to bring the concept of ice to its natives. 

MULHOLLAND DR. (2001). Rolled, Version A, NM
Up until this time, most post-Dune David Lynch posters contained images of TWO main characters, both acting as yin and yang to each other. However, for this film, Lynch wisely chose to release two posters simultaneously. This one features our main character, played by Naomi Watts... 

MULHOLLAND DR. (2001). Rolled, Version B, NM
...and this one features her partner/doppelganger, played by Laura Elena Harring. The fact that there are two posters, separate but equal, for this landmark 2001 film, tells us a lot about the secrets contained within the movie. These two are keepers.

MURDER, INC. (1960). Folded, P
My version of this one-sheet is REALLY beat-up--it's falling apart, really. But I still like it. Sometimes I like having one-sheets that are damaged. It gives them character, and history. They've been places, y'know?

MY BODYGUARD (1980). Folded, review sheet, VG
A teenage favorite for me. This review poster is the one I remember seeing at the theaters, and I still love it for its main image. The reviews remind me of my affection for this Tony Bill-directed classic.

MY BODYGUARD (1980). Folded, VG
THIS is the main poster for the film, apparently. I bought it out of sentiment, but this is one of the rare instances where I actually prefer the review sheet.

MY DINNER WITH ANDRE (1981). Folded, G
I love this one. It's so very funny, with the juxtaposed repeats of those four images of our heroes. And Andre Gregory and Wally Shawn on a poster? It'll never happen again.

MY FAVORITE YEAR (1982). Folded, G
Another sentimental favorite of mine. This movie, besides having Peter O'Toole and Jessica Harper in it (two of the best actors around), has an amazing screenplay, and perfect 50s period detail. The one-sheet, I think, let's you have a taste of the latter. 

MY NAME IS NOBODY (1973). Folded, VG
I haven't seen this movie in years, but I recall loving it at the drive-ins back in the 70s. Am I remembering wrong? Also, this is the only Sergio Leone related poster that I own, which makes it very special in my eyes.

Film #26: My Bodyguard

Dave Grusin's jazzy, string-flecked score hits me first every time I see My Bodyguard. It takes me back to 1980 instantly and I am happy for it. It's bouncy, joyful, mopey, and erudite. It exemplifies Chicago--where this movie was filmed--all in a few bars. In fact, the only things that remind me of Chicago more than My Bodyguard are John Hughes movies, The Bob Newhart Show, and...Chicago. Chris Makepeace, here playing the teen who acquires special protection from the school bullies threatening him, had one good period as a film moppet--1979-1980. With My Bodyguard and the Bill Murray vehicle Meatballs, he got his tow-headed mug in front of a lot of young moviegoers that year. But I think his crazy-unruly hair and his intensely serious face likely hurt his further progression. Even though Makepeace was fine in both films, most kids (then, at least) preferred their on-screen counterparts to NOT look like they'd be good at chess.

Matt Dillon brings his usual roughneck energy to Moody, the lead bully. This means he commands the screen, and this is only his second movie (after the memorable cult hit Over The Edge). His bathroom torture of Cliff, for instance, stops the movie; he yells unexpectedly, slams the kid against the wall, takes deadly aim with a giant spitball, and keeps his stare going straight into Clifford's soul. Tight-shirted, hair slicked back, aviator glasses on, he's the epitome of the asshole that everyone wanted to avoid, in school or out.

Then there's Adam Baldwin. As Ricky, the hulkster that Clifford hires to be his bodyguard, he is smudged and shell-shocked. His size and inner rage are great, but look at those big eyes and you can see this guy's a lover, not a fighter. Baldwin (who is not, I repeat, not one of the Baldwin brothers) would graduate into playing full-time warriors like Animal Mother in Kubrick's Full Metal Jacket and as the gruffest member of the crew in the sadly short-lived Joss Whedon series Firefly. He still has a believeable gentleness about him, I think.




One kid here, redheaded Paul Quandt, never made a movie again, but he stands out as a screen presense. As Carson, Cliff's acerbic classmate with a scientific interest in the gum stuck under the desks, Quandt is certainly the one child actor participating whom you WILL NOT forget. And it goes on, this cast: look closely and you'll see Joan Cusack debuting as one of Cliff's most sympathetic buddies (the Cusack family is famous for their Chicago acting school). Look real close and you'll see glimpses of a pre-Flashdance Jennifer Beals. And, of course, you have the adults: an understated Martin Mull as Cliff's hotel manager dad, Kathryn Grody as his concerned teacher, and best of all, Ruth Gordon as his rowdy grandmother (what other kind of maternal figure did Gordon play?). I look forward to Gordon's scenes with Makepeace. They genuinely look like they're having fun (like when she surprises him exclaiming "Bats!" "Bats!" and flapping newspapers in his face). When they talk about the smell of a new book, or when Gordon calls someone a "greasy wimp" and Makepeace can't hold back a chortle--this is all very real stuff.

The writer, Alan Ormsby, never betrayed that he'd something this sweet in him, having been previously most famous for collaborating with Bob Clark on Children Shouldn't Play With Dead Things and Deranged. And director Tony Bill--a former actor-turned-producer (The Sting, Taxi Driver, Close Encounters of the Third Kind)--captures the freedom of youth and of standing your ground with equal parts honesty and good old fashioned corn (I can like me a corny movie, I have to admit). Bill has sheaperded a lot of films to us the past 35 years, most recently the 2007 WWI aviator epic Flyboys. But none have stuck with me like My Bodyguard. It has punch and punch is enough.