Here’s some savagely beautiful sauvage (means “wild” in French) things from Boris Grinsson (top), Constantin Belinsky (The Wild One and bottom, middle), Roger Soubie (Hud, middle right), and Clement Hurel (bottom right)!
Before J-Lo and Ray-J, there was Rojac — aka Roger Jacquier, an elegant early 20th Century French movie poster designer whose work no doubt must’ve inspired his contemporaries, René Peron and Hervé Morvan.
Clement Hurel (1927-2008) was unquestionably one of the more witty French movie poster designers to decorate the industry. Mimicking Picasso’s range, he transitioned easily from Realism to a looser, humorous Cubist style. He could do silly. He could do sexy. He could do strong. As well any other feeling to express the themes of the inventive film posters he dreamed up.
And he was also an outspoken critic of the movie business when it did not recognize the intellectual copyrights of the artíste and fought to protect artists’ ownership interests right up until his dying day. (via Dominique Besson and Intemporel)
Like his contemporaries, René Ferraci and Jouineau Bourduge, Michel Landi came into prominence in the French movie poster world in the mid-1960s, just as photography and offset printing was supplanting traditional illustration.
Undoubtedly most known for his iconic poster of the 1968 Steve McQueen classic, Bullitt, Landi also pumped out a fleet of other popular designs for many of the era’s most memorable films.
Every once in a while, I like to do a poster breakdown á la Posteritati where we compare and contrast the different U.S. and International versions of a past film release. And this time up it’s Two Weeks In September (1967), starring Brigitte Bardot.
Personally, my favorite is the Argentinean version (lower left) with the UK one-sheet (lower right) a close runner-up — but you gotta admire the fearlessness of the Polish version (top, far right) for going totally abstract like those Polish beauties tend to do!