The next non-poster addition to the site is this original Japanese program for Disney’s 1979 live-action oddity The Black Hole. The program features some excellent production stills as well as several pages of concept artwork and three rather brilliant cutaway diagrams of the spacecraft Cygnus and the two robots V.I.N.Cent and Maximilian.

To see the other items I’ve collected for The Black Hole, including three Japanese posters, click here.

Legendary director David Lynch‘s surreal nightmare Eraserhead celebrates its 35th anniversary in 2012 and its fair to say cinema has seen nothing else quite like it in the years since it was released. Lynch’s first full-length feature was five years in the making and was begun whilst he worked at the American Film Institute school in Los Angeles. The initial grant of $10,000 given to the director quickly ran out and he was forced to spend the following years using money from odd jobs, as well as donations from friends and family to continue work on it.

Ben Barenholtz, the owner of Libra films saw the completed film at the Filmex Festival and, after declaring it was a ‘film of the future’, decided to help Lynch get the film into cinemas. The first screening took place at midnight on the 29th of September, 1977 and, like Jodorowsky’s El Topo before it, Eraserhead became a staple of Midnight Movie shows in Los Angeles, New York and London.

This Japanese poster is from the first release of the film, which took place in 1981, and features an image of the ‘baby’ with its head wrapped in bandages. This particular copy of the poster isn’t in the best of condition, as should be obvious from the pictures, but I think it quite suits the nature of the film.

Having just watched the recent UK blu-ray release of the film, which was apparently supervised by Lynch, I can highly recommend picking up a copy of it as the film has never looked or, perhaps more importantly, sounded as good.

The original trailer is on YouTube.

Legendary director David Lynch‘s brilliant, surreal nightmare Eraserhead celebrates its 35th anniversary in 2012 and its fair to say cinema has seen nothing else quite like it in the years since it was released. Lynch’s first full-length feature was five years in the making and was begun whilst he worked at the American Film Institute school in Los Angeles. The initial grant of $10,000 given to the director quickly ran out and he was forced to spend the following years using money from odd jobs, as well as donations from friends and family to continue work on it.

Ben Barenholtz, the owner of Libra films saw the completed film at the Filmex Festival and, after declaring it was a ‘film of the future’, decided to help Lynch get the film into cinemas. The first screening took place at midnight on the 29th of September, 1977 and, like Jodorowsky’s El Topo before it, Eraserhead became a staple of Midnight Movie shows in Los Angeles, New York and London.

This Japanese poster is from a 1993 re-release of the film and features the classic shot of Henry (Jack Nance) with his worried stare and great shock of hair. The poster was printed on mirrored mylar paper and is therefore very hard to photograph without capturing lots of reflections.

Having just watched the recent UK blu-ray release of the film, which was apparently supervised by Lynch, I can highly recommend picking up a copy of it as the film has never looked or, perhaps more importantly, sounded as good.

The original trailer is on YouTube.

White Line Fever was made during the heyday of trucking in American popular culture and tells the story of Vietnam veteran Carol Jo-Hummer (played by Jan-Michael Vincent) who returns from the war and takes over his father’s trucking business, only to run up against the corrupt shipping firm Red River who are a front for an organised crime gang. Kay Lenz stars as Carol’s sweetheart Jerri who awaited his return from Vietnam and eventually helps him take a stand against the gang.

It would later be followed by other trucking-based action films such as the Burt Reynolds mega hit Smokey and the Bandit (1977) and Sam Peckinpah’s Convoy (1978). Director Jonathan Kaplan would go on to direct Jodie Foster to an Oscar win in 1988’s The Accused.

This style B US one sheet depicts a moment from one of the climactic scenes in the film and I’m unsure who is responsible for the artwork so please get in touch if you have any ideas.

The original trailer is on YouTube.

Raid on Entebbe is based on the true story of Operation Thunderbolt a mission undertaken by Israeli commandos in 1976 with the aim of rescuing hostages from a hijacked Air France plane being held at Entebbe airport in Uganda. The plane and hostages were under control of the Popular Front for the Liberation of Palestine and the German Revolutionary Cells and, after landing in Uganda, almost all of the non-Israeli hostages had been released. After it became clear that the Ugandan president Idi Amin was actively helping the terrorists, a daring rescue was planned by the Israeli Defence Forces, which resulted in the rescue of all but four of the hostages and the death of only one commando,  Lt. Col. Yonatan Netanyahu, the brother of Benjamin Netanyahu who would later serve as the Israeli prime minister.

There were actually three film versions of the events put into production within months of the rescue; two were US-produced including this film, which followed the hastily made-for-TV Victory at Entebbe, starring the likes of Anthony Hopkins, Burt Lancaster and Elizabeth Taylor. Legendary director and producer Menahem Golan also put together an Israeli-made versions starring mostly Jewish actors called Mivtsa Yonatan (AKA Operation Thunderbolt). Raid on Entebbe was first shown on TV in the US but was given a theatrical release in other countries, including the UK.

Action legend Charles Bronson was obviously seen as the biggest draw for UK audiences over the likes of Peter Finch who actually passed away 10 days after the film first aired and would be given a posthumous Academy Award for his role in the film Network.

This UK quad features stylised artwork painted with large brushstrokes onto a canvas, the grain of which is clearly still visible. Sim Branaghan believes this to be the work of British artist Mike Vaughan, perhaps best known for his work on several Hammer Horror quads, including Twins of Evil.

Legendary director Alejandro Jodorowsky’s El Topo (literally ‘The Mole’) is a true cult classic and one that has influenced countless film and TV shows since its release forty two years ago. The film tells the story of the eponymous black-clad cowboy (played by the director himself) who rides through the dessert with his six-year-old son (Brontis Jodorowsky) and arrives at a village where a massacre has recently occurred. El Topo seeks revenge on the bandits responsible and, after leaving his son with monks, he rides off into the desert with the woman who the bandit leader had kept as a slave.

The first part of the film sees the cowboy on a quest to kill four gun masters in order to become the greatest gunman in the land but, after El Topo is betrayed and left for dead, the second half takes place years later as he wakes in a sealed-up cave to find he is being treated as a god-like figure by a group of deformed outcasts. El Topo agrees to help the group escape the cave but must deal with a depraved gang of cultists in a local town and the arrival of his estranged son. The first part is likened to a Western, whilst the second is a love story of redemption and rebirth.

The film features scenes of surreal and religious imagery, coupled with brutal violence, disturbing sexuality and a host of bizarre characters, and El Topo was very controversial at the time of its release. It’s cult status was sealed after Ben Barenholtz, the owner of the infamous New York cinema The Elgin, saw a print of the film at the Museum of Modern Art and convinced the producer of the film to allow him to show El Topo as the first Midnight Movie. It ended up screening at The Elgin seven days a week for over six months. John Lennon was an avowed fan of the film and was instrumental in persuading Allen Klein, manager of The Beatles, to assist in giving the film a wider release across the USA. Klein would later go on to fund Jodorowsky’s next film, The Holy Mountain.

This Japanese poster features the same image seen on the American one sheet and is for the 2010 re-release of the film. I also have the 2010 re-release poster for The Holy Mountain.

The excellent trailer for the film is on YouTube.