John Alvin artwork features on this American one sheet for the Anglo-American wartime romantic film Hanover Street. The film was directed by Peter Hyams (Outland, Timecop) and was originally intended to star Kris Kristofferson. When the actor pulled out of the project, deciding instead to go on tour with his band, he was replaced by Harrison Ford. Luckily for the production, Ford was already over in Europe as he was shooting Force 10 from Navarone, another World War II-set film. Lesley-Anne Down plays Margaret, a British nurse with whom Ford’s American airman becomes romantically involved. 

The plot is described on IMDb:

During the Second World War, an American Pilot stationed in England meets a young British nurse during an air raid on London. The two instantly fall in love, despite the fact that the young Nurse is already married; a secret she keeps hidden from her American lover. After being shot down behind enemy lines, while being assigned to ferry a British agent into France, the American pilot realizes that his secret agent cargo is in fact his lover’s husband, and that the two must now work together in order to survive.

The film was apparently a reasonable box-office hit, thanks to the draw of Harrison Ford, but was largely critically mauled. It has garnered something of a following in the years since thanks to the well-staged flying sequences that used actual World War II bombers (B-25 Mitchells).

The late American designer and artist John Alvin was responsible for over 135 film poster designs over a thirty year period. Alvin painted many unforgettable pieces of artwork, including Blade Runner and E.T. The Extra Terrestrial. The gallery of his posters on IMPAwards gives you an idea of the range of his work. Alvin sadly passed away too early, just shy of his 6oth birthday (in 2008), but his fantastic designs will live on for generations to come.

To see the posters I’ve collected by Alvin click here.

John Alvin artwork features on this British quad for the release of director Ridley Scott‘s 1985 fantasy oddity, Legend. It’s a film that is often scrubbed from both Scott and star Tom Cruise’s filmography whenever their previous films are discussed. There are a number of reasons for this, not least the fact that it had a troubled production as well as a fairly brutal critical mauling. Cruise’s performance is a shadow of what the actor brought to Tony Scott’s seminal Top Gun only a year later. part of the blame for this has to be down to the way the film was extensively edited by both Scott and the studio prior to release. Scott’s first version ran 125 minutes and this was then cut down to 113 minutes following some test screenings. The final UK (European?) release was 95 minutes and US audiences had another 6 minutes removed for their version.

There are things to admire about the film, including the production and set design which created some memorable environments in which the action takes place. Tim Curry is near unrecognisable as the evil Darkness (as featured on this poster) and the make-up effects, created by Rob Bottin and his team, are incredible. Mia Sara also impresses as Lili and it’s hard to believe she was just 16 at the time of filming. Whilst it failed to recoup its budget on initial release, the film has definitely gained something of a cult following in the years since, particularly with those coming of age around the time of its release on home video. 

The late American designer and artist John Alvin was responsible for over 135 film poster designs over a thirty year period. Alvin painted many unforgettable pieces of artwork, including Blade Runner and E.T. The Extra Terrestrial, and this image he created for Legend was used around the globe to promote the film, including in multiple European countries and on the international one sheet. Alvin sadly passed away too early, just shy of his 6oth birthday (in 2008), but his fantastic designs will live on for generations to come.

To see the posters I’ve collected by Alvin click here.

Easily one of the most iconic pieces of film poster artwork ever printed, John Alvin’s superb image was used around the globe to advertise Steven Spielberg’s sci-fi masterpiece, E.T. the Extra-Terrestrial. The story of a small alien who gets stranded on earth and meets a young boy called Elliot (Henry Thomas) touched the hearts of millions of movie-goers around the world. Within a year of its release it was crowned the highest-grossing film of all time, overtaking the previous leader, George Lucas’ Star Wars (this record has since been bested by over forty films in the intervening years). Last year saw E.T. celebrate its 30th anniversary and having watched the 2012 blu-ray release recently there’s no question that it has stood the test of time well.

The image of the two fingers touching is an obvious homage to the most famous section of the fresco on the ceiling of the Sistine Chapel in Rome that was painted by the Italian artist Michelangelo in the 16th century. Known as The Creation of Adam, the painting is thought to depict God breathing life into Adam, which is the Biblical creation narrative from the book of Genesis. The painting is arguably as famous as Leonardo da Vinci’s legendary Mona Lisa. In Alvin’s version it is E.T.’s gnarled hand that reaches out towards what is clearly the hand of Elliot. The alien’s finger is shown to have particular powers during the film.

The poster artwork on this British quad is by the late American designer and artist John Alvin, who was responsible for over 135 film poster designs over a thirty year period. Alvin painted many unforgettable pieces of artwork, including for Blade Runner and Gremlins, both of which were used around the world to promote their respective films. Alvin sadly passed away too early, just shy of his 6oth birthday (in 2008), but his fantastic designs will live on for generations to come.

Excellent artwork by John Alvin features on this US one sheet for the release of Ron Howard‘s 1988 fantasy film Willow, which was conceived of by George Lucas. British actor Warwick Davis features as the eponymous hero and the part had been written specifically with him in mind after he appeared as an Ewok in Lucas’ Return of the Jedi. The story begins as the evil Queen Bavmorda (Jean Marsh) hears of a prophecy that a newborn child will bring about her downfall and sets about imprisoning all pregnant women in her castle’s dungeon.

When a child is born and identified as the one in the prophecy, the child’s mother manages to convince the mid-wife to secret her daughter out of the castle. When Queen Bavmorda discovers what has happened she sends her daughter Sorsha (Joanne Whalley) and leader of her army General Kael in pursuit. Before being caught, the midwife manages to put the child on a raft on a river and the child ends up being found by Willow Ufgood (Davis) a a member of a race of hobbit-like people called the Nelwyns. Initially caring for the baby with his wife, Willow is persuaded to take it away from their village and back to the Daikinis (humans) when it becomes clear that there are people hunting for it. As the adventure begins, Willow and his companions soon realise they’re in for more than they bargained for.

Featuring a great performance by Val Kilmer as a selfish, reluctant hero the film still stands up today as a fun and engaging fantasy adventure with several memorable sequences and a brilliant score by James Horner. Despite being critically derided on release and not fairing too well at the box- office it has nevertheless grown something of a cult following and is notable for its use of ground-breaking special effects by Industrial Light and Magic that were used for a sequence involving a morph between several animals and a human.

The late American designer and artist John Alvin was responsible for over 135 film poster designs over a thirty year period. Alvin painted many unforgettable pieces of artwork, including Blade Runner and E.T. The Extra Terrestrial. The gallery of his posters on IMPAwards gives you an idea of the range of his work. Alvin sadly passed away too early, just shy of his 60th birthday (in 2008), but his fantastic designs will live on for generations to come.

To see the posters I’ve collected by Alvin click here.

One of my top five films of all time, Blade Runner was released with easily one of the most iconic sci-fi one sheets ever printed. The design and artwork is by the late, great John Alvin, a man responsible for several of the most memorable film posters of the past 40 years. This is perhaps his most well known piece since it featured on posters across the globe, was reused for the 1992 Director’s cut release and has been on the cover of home video releases for many years.

In August 2014 a book entitled The Art of John Alvin was released after four years of preparation by his wife and studio partner Andrea. An absolute must-own for any fan of film posters and the art of cinema, the book features almost all of John’s most memorable posters which are each given their own section. As well as images of the printed poster, there are also early sketches, painted concepts and pictures of the original artwork itself, plus Andrea has provided fascinating commentary detailing the creation of each piece.

Blade Runner is given six pages and the section features a look at the original graphite sketches done by Alvin to show to Ridley Scott and the studio’s marketing department. Elements of these were then combined to create the painting we know today. Andrea notes that the posters for the film were originally conceived to focus on the relationship with the characters and the futuristic city, but by the time of release Harrison Ford was a global star so Alvin was asked to make him more prominent in the artwork.

John apparently always regretted not featuring Rutger Hauer’s android Roy Batty so when he was asked to revisit the design for a 25th anniversary print he reworked several elements, including the two portraits of Harrison Ford and Sean Young and added the face of Roy Batty looming large over them. The print was called ‘I’ve Seen Things’ by John and can be viewed here.

There are known reprints of this poster and this particular version is one of three known variants. LAMP has a guide to all three here. To summarise:

Variation 1 – NSS Version
This version has NOTHING in the bottom left corner; Litho in U.S.A. (AND) the NSS tag in the center; BLADE RUNNER 820007 in the bottom right

Variation 2 – Studio Version
This variation has “PRINTED IN U.S.A.” in the bottom left corner; NOTHING in the center; and “NSS 820007” in the bottom right.

Variation 3 – Odd NSS Version
In the bottom left corner has “PRINTED IN U.S.A.”; in the center ‘IN SMALLER PRINT’ has “LITHO IN U.S.A.” (AND) the NSS tag; In the bottom right has “BLADE RUNNER NSS 820007” in ‘UNEVEN’ print.

As is clear from my photos, the version I have is the ‘Odd NSS Version’. I bought this particular example about five years ago from a very reputable and established dealer who has been in business over 25 years. I have also seen this version sold by the major auction houses on a number of occasions and have seen it in the collections of several long-time collectors.

A dealer in London once told me he believes all NSS versions of this poster are reprints/restrikes. If this is the case then the poster has fooled both respected dealers and collectors alike.

One of my top five films of all time, Blade Runner was released with easily one of the most iconic sci-fi one sheets ever printed. The design and artwork is by the late, great John Alvin, a man responsible for several of the most memorable film posters of the past 40 years. This is perhaps his most well known piece since it featured on posters across the globe, was reused for the 1992 Director’s cut release and has been on the cover of home video releases for many years.

In August 2014 a book entitled The Art of John Alvin was released after four years of preparation by his wife and studio partner Andrea. An absolute must-own for any fan of film posters and the art of cinema, the book features almost all of John’s most memorable posters which are each given their own section. As well as images of the printed poster, there are also early sketches, painted concepts and pictures of the original artwork itself, plus Andrea has provided fascinating commentary detailing the creation of each piece.

Blade Runner is given six pages and the section features a look at the original graphite sketches done by Alvin to show to Ridley Scott and the studio’s marketing department. Elements of these were then combined to create the painting we know today. Andrea notes that the posters for the film were originally conceived to focus on the relationship with the characters and the futuristic city, but by the time of release Harrison Ford was a global star so Alvin was asked to make him more prominent in the artwork.

John apparently always regretted not featuring Rutger Hauer’s android Roy Batty so when he was asked to revisit the design for a 25th anniversary print he reworked several elements, including the two portraits of Harrison Ford and Sean Young and added the face of Roy Batty looming large over them. The print was called ‘I’ve Seen Things’ by John and can be viewed here.

There are known reprints of this poster and this particular version is one of three known variants. LAMP has a guide to all three here. To summarise:

Variation 1 – NSS Version
This version has NOTHING in the bottom left corner; Litho in U.S.A. (AND) the NSS tag in the center; BLADE RUNNER 820007 in the bottom right

Variation 2 – Studio Version
This variation has “PRINTED IN U.S.A.” in the bottom left corner; NOTHING in the center; and “NSS 820007” in the bottom right.

Variation 3 – Odd NSS Version
In the bottom left corner has “PRINTED IN U.S.A.”; in the center ‘IN SMALLER PRINT’ has “LITHO IN U.S.A.” (AND) the NSS tag; In the bottom right has “BLADE RUNNER NSS 820007” in ‘UNEVEN’ print.

This is the second variation (studio version) but I also have the ‘Odd NSS Version’, which can be viewed here. A dealer in London once told me he believes all NSS versions of this poster are reprints/restrikes. If this is the case then the poster has fooled both respected dealers and collectors alike.

Gremlins, director Joe Dante‘s classic horror comedy, was one of the biggest box-office hits of the 1980s and this tale of small, malevolent creatures attacking the residents of a small town spawned countless imitations, including Critters and Troll, none of which were able to match the quality of the film they were attempting to emulate. The film was produced by Steven Spielberg through his Amblin Entertainment company, the logo of which features on the jeans button on this poster (see this close up on the American one sheet).

Thanks to several violent scenes, the film is credited, along with Indiana Jones and the Temple of Doom, for the introduction of the PG-13 rating in America, which was intended to be applied to films that fell into the gap between the PG (Parental Guidance, but safe for children) and R-rated (intended for over 17-year olds). The equivalent in the UK is the 12A rating, which was introduced in 2002 and replaced the 12 rating that had been instigated at the end of the 1980s (for Tim Burtons’s Batman).

The poster artwork on this British quad is by the late American designer and artist John Alvin, who was responsible for over 135 film poster designs over a thirty year period. Alvin painted many unforgettable pieces of artwork, including Blade Runner and E.T. The Extra Terrestrial, and this image he created for Gremlins is definitely one of his most beloved. It was used around the globe to promote the film, including the US, Japan and multiple European countries. Alvin sadly passed away too early, just shy of his 6oth birthday (in 2008), but his fantastic designs will live on for generations to come.

To see the posters I’ve collected by Alvin click here.

John Alvin artwork features on this advance US one sheet for Joe Dante’s 1987 sci-fi comedy in which Dennis Quaid plays a test pilot who is shrunk to miniature size and accidentally injected into the body of Martin Short. The film is definitely one of the high points in the myriad of high-concept films of the 1980s and I rate it as one of Joe Dante’s best films.

This design was also used for the ‘final’ one sheet and I feel is up there as one of Alvin’s most memorable designs of the period.

The other posters I’ve collected with artwork by Alvin can be seen here.

To see the other posters I have for Innerspace click here. The original trailer is on YouTube.

Can you spot the stealth Golden Arches?