Originalni jugoslovenski filmski plakat (69 x 48 cm) za film Nekontrolisana Moc (1984). Stanje kao na fotografijama. Firestarter Tangerine Dream Stephen King David Keith Drew Barrymore Freddie Jones Heather Locklear Martin Sheen George C. Scott Jugoslavija Ex Yu

Originalni jugoslovenski filmski plakat (69 x 48 cm) za film Pustinjska Planeta (1984). Odlicno ocuvan! Dune David Lynch Francesca Annis Leonardo Cimino Brad Dourif José Ferrer Linda Hunt Freddie Jones Richard Jordan Kyle MacLachlan Virginia Madsen Silvana Mangano Everett McGill Jack Nance Siân Phillips Jürgen Prochnow Paul Smith Patrick Stewart Sting Dean Stockwell Max von Sydow Alicia Roanne Witt Sean Young Jugoslavija Ex Yu

Stanje kao na fotografijama 35cm x 50cm Dvoboj na suncu (nadimak Žudnja u prašini) američki je psihološki zapadnjački film iz 1946. godine u režiji kralja Vidara, u produkciji i scenariju Davida O. Selznicka, koji govori o djevojci Mestize (polunative Amerikanke) koja odlazi živjeti sa svojim bijelim rođacima, uplevši se u predrasude i zabranjenu ljubav. U filmu Technicolor glume Jennifer Jones, Joseph Cotten, Gregory Peck, Lillian Gish i Lionel Barrymore. Directed by King Vidor Written by Oliver H.P. Garrett (adaptation) David O. Selznick (screenplay) Ben Hecht (uncredited) Based on Duel in the Sun by Niven Busch Produced by David O. Selznick Starring Jennifer Jones Joseph Cotten Gregory Peck Narrated by Orson Welles Cinematography Lee Garmes Ray Rennahan Harold Rosson Edited by John D. Faure Charles L. Freeman Hal Kern William H. Ziegler Music by Dimitri Tiomkin Production company Vanguard Films Distributed by Selznick Releasing Organization Release date December 30, 1946 [1] Running time 145 minutes Country United States Language English Budget $6.48 million[2] Box office $20.4 million Jennifer Jones as Pearl Chavez Joseph Cotten as Jesse McCanles Gregory Peck as Lewton `Lewt` McCanles Lionel Barrymore as Senator Jackson McCanles Herbert Marshall as Scott Chavez Lillian Gish as Laura Belle McCanles Walter Huston as Jubal Crabbe, The Sinkiller Charles Bickford as Sam Pierce Harry Carey as Lem Smoot Charles Dingle as Sheriff Hardy Sidney Blackmer as The `Lover` of Mrs. Chavez Butterfly McQueen as Vashti Otto Kruger as Mr. Langford Joan Tetzel as Helen Langford Tilly Losch as Mrs. Chavez Scott McKay as Sid Hank Bell as Ranch Hand (uncredited) Bob McKenzie as Bartender Zeke (uncredited) Originalan filmski plakat

Stanje kao na fotografijama! 49cm x 69cm Silovanje je britanski triler iz 1971. u režiji Sidneyja Hayersa, a u glavnim ulogama su Suzy Kendall, Frank Finlay, Freddie Jones, i Lesley-Anne Down; David Essex također ima malu ulogu. Temelji se na romanu Klisura Kendala Younga iz 1962. godine, a govori o policijskom pokušaju pronalaska opasnog silovatelja / ubojice na slobodi. U SAD-u je preimenovan u Vražji vrt. Suzy Kendall as Julie West Frank Finlay as Det. Chief Supt. Velyan Freddie Jones as Reporter James Laurenson as Greg Lomax Lesley-Anne Down as Tessa Hurst Tony Beckley as Leslie Sanford Anthony Ainley as Mr. Bartell Dilys Hamlett as Mrs. Sanford James Cosmo as Det. Sgt. Beale Patrick Jordan as Sgt. Milton Allan Cuthbertson as Coroner Anabel Littledale as Susan Miller Tom Chatto as Police Doctor Kit Taylor as Doctor Jan Butlin as Day Receptionist William Hoyland as Chemist in Hospital John Swindells as Desk Sergeant Jill Carey as Night Receptionist David Essex as Man in Chemist Shop Valerie Shute as Girl in Chemist Shop John Stone as Fire Chief Siobhan Quinlan as Jenny Greenaway Marianne Stone as Matron Janet Lynn as Girl in Library Directed by Sidney Hayers Produced by George H. Brown Peter Rogers Written by John Kruse Based on The Ravine by Kendal Young Starring Suzy Kendall Frank Finlay Freddie Jones Lesley-Anne Down Music by Eric Rogers Cinematography Ken Hodges Edited by Anthony Palk Production company George H. Brown Productions Distributed by J. Arthur Rank Film Distributors Release date 11 February 1971 Running time 91 minutes Country United Kingdom Language English Originalan filmski plakat Vesna Film

Stanje kao na fotografijama. 49cm x 69cm More ljubavi je američki triler iz neo-noira 1989. godine u režiji Harolda Beckera, scenarista Richarda Pricea, a u glavnim ulogama Al Pacino, Ellen Barkin i John Goodman. Priča se odnosi na njujorškog detektiva koji pokušava uhvatiti serijskog ubojicu koji pronalazi žrtve kroz pojedinačnu kolumnu u novinama. [5] Bio je to prvi Pacinov film nakon četverogodišnje stanke nakon kritičnog i komercijalnog neuspjeha Revolucije. More ljubavi bilo je uspješno na kino blagajnama, zaradivši više od 110 milijuna dolara. Directed by Harold Becker Produced by Martin Bregman Louis A. Stroller Written by Richard Price Starring Al Pacino Ellen Barkin John Goodman Music by Trevor Jones Cinematography Ronnie Taylor Edited by David Bretherton Production company Universal Pictures Distributed by Universal Pictures Release date September 15, 1989 Running time 114 minutes[1] Country United States Language English Budget $19 million[2] Box office $110.9 million Al Pacino as Detective Frank Keller Ellen Barkin as Helen Cruger John Goodman as Detective Sherman Touhey Michael Rooker as Terry Cruger William Hickey as Frank Keller Sr. Richard Jenkins as Gruber John Spencer as Precinct Chief Michael O`Neill as Raymond Brown Originalan filmski plakat Inex Film

Stanje kao na fotografijma ! 50cm x 70cm Rainbow Drive je američki triler snimljen za televiziju iz 1990. u režiji Bobbyja Rotha s Peterom Wellerom, Selom Wardom i Davidom Carusom u glavnim ulogama. Film je prvi put prikazan 8. rujna 1990. na Showtime Cable Networku. Temeljen je na istoimenom romanu Rodericka Thorpa iz 1986. Rainbow Drive dobio je vrlo ograničeno izdanje u kinima.[1] Izdan je u Americi i Velikoj Britaniji na VHS-u, koji se sada više ne tiska.[2][3] Film je nominiran za jednu nagradu Mystfest, za `Najbolji film` (Bobby Roth).[4] Soundtrack je napisao Tangerine Dream, ali nikada nije objavljen kao samostalno izdanje. Naslovna pjesma je kasnije uključena u bootleg Prayer of Quiet Dreams 1993. godine. Genre Thriller Written by Roderick Thorp (book) Bill Phillips (teleplay) Bennett Cohen (teleplay) Directed by Bobby Roth Starring Peter Weller Sela Ward David Caruso Tony Jay Theme music composer Tangerine Dream Country of origin United States Original language English Cast Peter Weller as Mike Gallagher Sela Ward as Laura Demming David Caruso as Larry Hammond Tony Jay as Max Hollister James Laurenson as Hans Roehrig Jon Gries as Azzolini Henry G. Sanders as Marvin Burgess Chris Mulkey as Ira Rosenberg David Neidorf as Bernie Maxwell Bruce Weitz as Dan Crawford Chelcie Ross as Tom Cutler Rutanya Alda as Marge Crawford Megan Mullally as Ava Zieff Michael Bruce as Rudy Originalan filmski plakat

Stanje kao na fotografijma 49cm x 69cm I Love You, Alice B. Toklas, 1968 I Love You, Alice B. Toklas (sh. Volim te, Alice B. Toklas [2]) je američka filmska komedija snimljena 1968. godine u režiji Hya Averbacka. Protagonist, koga tumači Peter Sellers, je relativno uspješni i situirani advokat koji se sprema svoj život zaokružiti brakom sa dugogodišnjom djevojkom (koju tumači Joyce Van Patten). Radnja prikazuje kako prije toga, sticajem okolnosti, sretne svog hipijevskog brata (koga tumači David Arkin) i upozna njegovu lijepu djevojku (koju glumi Leigh Taylor-Young) te nakon konzumiranja kolačića sa marihuanom odluči odbaciti svoj dotadašnji život i sam postati hipik. Film je napravljen na samom vrhuncu hipijevskog pokreta, odnosno eskalacije generacijskog sukoba u tadašnjoj Americi, pri čemu je scenario nastojao tome dati što odmjereniji pristup i prikazati pozitivne i negativne strane i konformističkog životnog stila i kontrakulture. Samo su snimanje, pak, obilježili problemi vezani uz Petera Sellersa, koji je zbog njega bio odvojen od svoje tadašnje supruge Britt Ekland, te se ponašao neugodno na setu i dolazio u stalne sukobe sa scenaristom i producentom Paulom Mazurskim, te se agresivno udvarao Leigh Taylor-Young (iako je ona tada bila u braku s Ryanom O`Nealom). Mazurski je, sa druge strane, imao problema sa šefovima studija koji su se bojali da bi film moago biti shvaćen kao propagiranje konzumacije droge; iz istih razloga su iz filma izbačene scene u kojima sami sebe tumače kontrakulturne ikone Allen Ginsberg i Timothy Leary. I Love You, Alice B. Toklas je danas poznat i kao jedan od posljednjih hollywoodskih filmova koji je u dvorane distribuiran prije uvođenja današnjeg sistema cenzorskih rejtinga; umjesto njih se film `preporučao za zrelu publiku`. Režija Hy Averback Producent Pato Guzman Paul Mazursky Larry Tucker Scenario Paul Mazursky Larry Tucker Uloge Peter Sellers Jo Van Fleet Leigh Taylor-Young Joyce Van Patten David Arkin Muzika Elmer Bernstein Fotografija Philip H. Lathrop Montaža Robert Jones Distribucija Warner Bros.-Seven Arts Datum(i) premijere 7. oktobar 1968 Trajanje 94 min. Zemlja Sjedinjene Države Jezik engleski Bruto prihod 1,1 mil. $ Peter Sellers - Harold Jo Van Fleet - Majka Leigh Taylor-Young - Nancy Joyce Van Patten - Joyce David Arkin - Herbie Herb Edelman - Murray Salem Ludwig - Otac Louis Gottlieb - Guru Grady Sutton - Direktor pogrebnog zavoda Janet E. Clark - Mrs. Foley (kao Janet Clark) Jorge Moreno - Mr. Rodriguez Ed Peck - Čovjek u trgovini odjećom Originalan filmski plakat Avala Genex

Stanje kao na fotografijama. 49cm x 69cm Balada o Dingasu Magiju američka je komedija i anti-vestern film iz 1970. godine, u kojem glavne uloge tumače Frank Sinatra i George Kennedy kao šerif koji ga želi zarobiti. Film je zasnovan na romanu Balada o Dingusu Mageeu Davida Marksona, a scenarij je djelomično napisao Joseph Heller. [1] Režirao ga je Burt Kennedy. Frank Sinatra as Dingus Magee George Kennedy as Hoke Birdsill Anne Jackson as Belle Nops Lois Nettleton as Prudence Frost Jack Elam as Wesley Hardin (spoofing real-life outlaw John Wesley Hardin) Michele Carey as Anna Hot Water John Dehner as General George Henry Jones as Reverend Green Harry Carey, Jr. as Charles Stuart Paul Fix as Chief Crazy Blanket Terry Wilson as the unnamed Sergeant Directed by Burt Kennedy Produced by Burt Kennedy Screenplay by Tom Waldman Frank Waldman Joseph Heller Based on the novel The Ballad of Dingus Magee by David Markson Starring Frank Sinatra George Kennedy Anne Jackson Jack Elam John Dehner Music by Jeff Alexander Cinematography Harry Stradling Jr. Edited by William B. Gulick Distributed by Metro-Goldwyn-Mayer Release date November 18, 1970 Running time 91 minutes Country United States Language English Originalan filmski plakat Kinema Sarajevo

Stanje kao na fotografijma 49cm x 69cm Redje u ponudi! Heroji Telemarka britanski je ratni film iz 1965. godine koji je režirao Anthony Mann, a temelje se na istinitoj priči o norveškoj sabotaži teške vode tijekom Drugog svjetskog rata sa Skije protiv atoma, memoarima norveškog vojnika otpora Knuta Haukelida. U filmu glume Kirk Douglas kao dr. Rolf Pedersen i Richard Harris kao Knut Straud, zajedno s Ullom Jacobsson kao Anna Pedersen. Snimljen je na lokaciji u Norveškoj. Directed by Anthony Mann Written by Ben Barzman Ivan Moffat Based on Skis Against the Atom 1954 memoir by Knut Haukelid But for These Men 1962 novel by John Drummond Produced by Benjamin Fisz Starring Kirk Douglas Richard Harris Ulla Jacobsson Cinematography Robert Krasker Edited by Bert Bates Music by Malcolm Arnold Production company Benton Film Productions Distributed by The Rank Organisation (UK) Columbia Pictures (US) Release date 23 November 1965 (London-Premiere) 26 November 1965 (United Kingdom) 19 January 1966 (Chicago) 9 March 1966 (United States) Running time 130 minutes Country UK Languages English, German, Norwegian, German Budget $5 million[1] Box office $1,650,000 (est. US/ Canada rentals) Kirk Douglas as Dr Rolf Pedersen Richard Harris as Knut Straud Ulla Jacobsson as Anna Pedersen Michael Redgrave as Uncle David Weston as Arne Sebastian Breaks as Gunnar John Golightly as Freddy Alan Howard as Oli Patrick Jordan as Henrik William Marlowe as Claus Brook Williams as Einar Roy Dotrice as Jensen Anton Diffring as Major Frick Ralph Michael as Nilssen Eric Porter as Josef Terboven Wolf Frees as Sturmbannführer Knippelberg Karel Stepanek as Professor Hartmüller Gerard Heinz as Professor Erhardt Victor Beaumont as German Sergeant George Murcell as SS Oberscharführer Mervyn Johns as Col. Wilkinson Barry Jones as Professor Roderick Logan Geoffrey Keen as Gen. Bolt Robert Ayres as General Courts Jennifer Hilary as Sigrid Maurice Denham as Doctor David Davies as Captain of Galtesund Philo Hauser as Businessman Faith Brook as Woman on Bus Elvi Hale as Mrs. Sandersen Russell Waters as Mr. Sandersen Paul Hansard as German Officer (uncredited) George Roubicek as German Radio Operator (uncredited) Joe Dunne as Norwegian Quisling`s Nazi (uncredited) Originalan filmski plakat Morava Film

Stanje kao na fotografijma 49cm x 69cm Strange Bedfellows američki je komični film iz 1965. godine koji je režirao Melvin Frank, a u glavnim ulogama su Rock Hudson, Gina Lollobrigida, Gig Young i Terry-Thomas. [1] Izdao ga je Universal Studios. Directed by Melvin Frank Screenplay by Melvin Frank Michael Pertwee Story by Norman Panama Melvin Frank Produced by Melvin Frank Hal C. Kern Norman Panama Starring Rock Hudson Gina Lollobrigida Gig Young Edward Judd Terry-Thomas Arthur Haynes Cinematography Leo Tover Edited by Gene Milford Music by Leigh Harline Production companies Fernwood Productions Panama Productions Distributed by Universal Pictures Release date February 10, 1965 Running time 99 minutes Country United States Language English Rock Hudson as Carter Harrison Gina Lollobrigida as Toni Vincente Gig Young as Richard Bramwell Edward Judd as Harry Jones Terry-Thomas as Assistant Mortician Arthur Haynes as Carter`s Taxi Driver Howard St. John as J. L. Stevens Nancy Kulp as Aggressive Woman David King as Toni`s Taxi Driver Peggy Rea as Mavis Masters Joseph Sirola as Petracini Lucy Landau as Jolly Woman Bernard Fox as Policeman James McCallion as Old Man Edith Atwater as Mrs. Stevens Hedley Mattingly as Bagshot John Orchard as Radio Dispatcher Henry Corden as Sheik`s Interpreter (uncredited) Maurice Dallimore as Gentleman in Rain (uncredited) Noel Drayton as Cab Driver (uncredited) Jack Good as Binky Waring (uncredited) Simon Scott as Jim Slade, Divorce Lawyer (uncredited) Originalan filmski plakat Morava Film

Stanje kao na fotografijma ! 50cm x 70cm Originalan filmski plakat Mission: Impossible je američki akcijski špijunski film iz 1996. [4] u režiji Briana De Palme, a producirao i glumio Tom Cruise. Nastavak izvorne istoimene televizijske serije i njezine oživljene serije nastavka (a koja se odvija šest godina nakon događaja u drugoj emisiji), to je prvi nastavak u seriji filmova Misija: Nemoguća. Radnja prati Ethana Hunta i njegovu misiju da otkrije `krticu` koja mu je podmetnula ubojstva većine njegovog tima Impossible Missions Force (IMF). Rad na scenariju započeo je rano s redateljem Sydneyjem Pollackom, prije nego što su dovedeni De Palma, Steven Zaillian, David Koepp i Robert Towne. Mission: Impossible ušao je u pretprodukciju bez scenarija za snimanje: De Palma je osmislio nekoliko akcijskih sekvenci , no Koepp i Towne bili su nezadovoljni pričom koja je dovela do tih događaja. Članovi U2 benda Larry Mullen Jr. i Adam Clayton producirali su plesnu izvedbu izvorne glazbene tematike, koja je postala hit deset najboljih u SAD-u (dobila zlatnu certifikaciju ploče) i šest drugih zemalja i bila nominirana za nagradu Grammy za najbolji pop Instrumentalna izvedba. Mission: Impossible doživio je komercijalni uspjeh, na kraju je postao treći film s najvećom zaradom iz 1996. godine i pobrao je uglavnom povoljan odziv kritičara. Njegov uspjeh iznjedrio je filmski serijal Mission: Impossible... Directed by Brian De Palma Screenplay by David Koepp Robert Towne Story by David Koepp Steven Zaillian Based on Mission: Impossible by Bruce Geller Produced by Tom Cruise Paula Wagner Starring Tom Cruise Jon Voight Henry Czerny Emmanuelle Béart Ving Rhames Kristin Scott Thomas Vanessa Redgrave Jean Reno Cinematography Stephen H. Burum Edited by Paul Hirsch Music by Danny Elfman Production company Cruise/Wagner Productions Distributed by Paramount Pictures[1] Release date May 22, 1996 Running time 110 minutes[2] Country United States Language English Budget $80 million[3] Box office $457.7 million Cast Tom Cruise as Ethan Hunt, an agent of the Impossible Missions Force (IMF) and protagonist of the film. Jon Voight as Jim Phelps, an IMF Agent. Emmanuelle Béart as Claire Phelps, wife of Phelps and an IMF agent who works alongside Ethan. Ving Rhames as Luther Stickell, a computer hacker who works for the IMF alongside Ethan Hunt. Vanessa Redgrave as Max, an arms dealer who looks for the NOC list. Henry Czerny as Eugene Kittridge, director of IMF. Jean Reno as Franz Krieger, a helicopter pilot who works for Phelps and assists Ethan at Langley Kristin Scott Thomas as Sarah Davies, an IMF agent works with Ethan at Prague. Emilio Estevez as Jack Harmon, an IMF agent who works with Ethan at Prague. Ingeborga Dapkūnaitė as Hannah Williams, an IMF agent who works with Ethan at Prague. Rolf Saxon as William Donloe, CIA analyst at Langley. Marcel Iureş as Alexander Golitsyn, a rogue IMF agent who steals the NOC List at Prague. Karel Dobrý as Max`s companion Andreas Wisniewski as Max`s companion Annabel Mullion as Flight attendant Olegar Fedoro as Kiev room agent Morgan Deare as Donald Hunt, Uncle of Ethan.

U dobrom stanju U gornjem delu malkice zacepljem centimetar Malo je pomeren kolor u odnosu na crtez 49cm x 69cm Modesty Blaise je britanski špijunski film iz 1966. godine u režiji Josepha Loseyja, u produkciji Josepha Jannija, a labavo zasnovan na popularnom stripu Modesty Blaise, Peter O`Donnell, koji je napisao originalnu priču prema kojoj su Evan Jones i Harold Pinter je temeljio njihov scenarij. Monica Vitti glumi `Skromnost`, nasuprot Terenceu Stampu kao Willieja Garvina i Dirka Bogardea kao njezinog neprijatelja Gabriela. U glumačkoj postavi još su Harry Andrews, Michael Craig, Alexander Knox, Rossella Falk, Clive Revill (u dvostrukoj ulozi) i Tina Aumont. Glazbu filma komponirao je Johnny Dankworth, a tematsku pjesmu Modesty otpjevao pop duo David i Jonathan. Bila je to prva Vittijeva uloga engleskog govornog područja. U produkciji filma zabilježeni su kreativni sukobi redatelja Loseyja i kreatora Blaisea O`Donnella zbog vizije konačnog filma, Losey je želeći stvoriti `pop art` nadahnutu laž špijunske filmske pomame koja je prevladavala u to vrijeme, za razliku od relativno ozbiljan i utemeljen ton izvornog materijala. Kao rezultat toga, film se na mnogo načina uvelike razlikovao od O`Donnellovih stripova i obrisa, a uključuje niz nesekvencijskih elemenata, uključujući avantgardno nadahnutu montažu i produkcijski dizajn, glazbene brojeve i namjerne pogreške u kontinuitetu. Modesty Blaise ušla je na Filmski festival u Cannesu, gdje je nominirana za Zlatnu palmu. [3] Općenito kritička recepcija bila je daleko prigušenija, kritičari su hvalili vizualni stil i neuobičajeni ton, ali kritizirajući razlike u odnosu na izvorni materijal, zamršenu radnju i percepciju smjera `stil nad supstancom`. [4] Kritička recepcija i dalje se miješa desetljećima nakon izlaska, [5] ali film je stekao kult. Directed by Joseph Losey Produced by Joseph Janni Screenplay by Evan Jones Harold Pinter (uncredited) Story by Peter O`Donnell Stanley Dubens Based on Modesty Blaise by Peter O`Donnell Jim Holdaway Starring Monica Vitti Terence Stamp Dirk Bogarde Harry Andrews Clive Revill Music by Johnny Dankworth Cinematography Jack Hildyard Edited by Reginald Beck Production company Modesty Blaise Ltd. Distributed by 20th Century Fox Release date 5 May 1966 (London premiere) 7 May 1966 (Cannes) Running time 119 minutes Country United Kingdom Language English Budget £1 million[1] Box office $2.2 million (est. US/ Canada rentals) Filmski plakat

Stanje kao na fotografijama 49cm x 69cm Bob & Carol & Ted & Alice je američka filmska komedija snimljena 1969. godine u režiji Paula Mazurskog, kome je to predstavljao režijski debi. Protagonisti su sineast Bob Sanders i njegova supruga Carol (čije likove tumače Robert Culp i Natalie Wood) , koji nakon posjeta New Age institutu prihvaćaju odlučuju početi prakticirati otvoreni brak, prema čemu su skeptični njihovi najbolji prijatelji, bračni par Ted i Alice Henderson (koje glume Elliott Gould i Dyan Cannon). Radnja prikazuje kako prilikom zajedničkog druženja u Las Vegasu razmjena iskustava vodi do ideje da pokušaju eksperimentirati sa razmjenom partnera. Bob & Carol & Ted & Alice je nastao za vrijeme seksualne revolucije i drugih burnih društvenih promjena krajem 1960-ih, i u mnogo čemu je prikazivao zbunjenost generacije koja je bila premlada da zadrži konzervativna uvjerenja svojih roditelja, a prestara da prihvati radikalne antiestablišmentske ideje tadašnje omladine. Upravo zbog toga se nastojanje protagonista da se po svaku cijenu bude `hip`, čak i kada im to izaziva očiglednu neugodu, bio zahvalan izvor humora, ali i satirični odraz promjena u dotadašnjim vrijednostima urbane srednje i više klase, uključujući hollywoodsku elitu kojoj je pripadao i sam Mazursky. U situacijama kroz koje prolaze protagonisti su se mnogi prepoznali, te je Bob & Carol & Ted & Alice postigao izuzetan uspjeh kod publike, ali i kod kritike. I Dyan Cannon i Elliott Gould (koji će za svoj nastup biti nominiran za Oscar za najboljeg sporednog glumca) su zahvaljujući njemu postali velike zvijezde u sljedećoj deceniji, a Natalie Wood, koja je odbila fiksni honorar u zamjenu za udio profita, je stekla poprilično bogatstvo. Uspjeh filma je 1973. godine potakao snimanje istoimenog televizijskog sitkoma koji je, lišen brojnih motiva i sadržaja koji, za razliku od filmskog predloška, nisu mogli proći tadašnju televizijsku cenzuru, propao kod publike i brzo skinut sa programa. Uloge Natalie Wood ... Carol Robert Culp ... Bob Elliott Gould ... Ted Dyan Cannon ... Alice Horst Ebersberg ... Horst Lee Bergere ... Emilio Donald F. Muhich ... Psihijatar Noble Lee Holderread Jr. ... Sean Sanders K.T. Stevens ... Phyllis Celeste Yarnall ... Susan Lynn Borden ... Montažer Greg Mullavey ... Vođa grupe Linda Burton ... Stjuardesa Leif Garrett ... Jimmy Henderson Režija Paul Mazursky Producent Larry Tucker Scenario Paul Mazursky Larry Tucker Uloge Natalie Wood Robert Culp Elliott Gould Dyan Cannon Muzika Quincy Jones pjesme: Burt Bacharach (muzika) Hal David (stihovi) Fotografija Charles Lang Montaža Stuart H. Pappe Distribucija Columbia Pictures Datum(i) premijere 17. septembar 1969 Trajanje 101 min. Zemlja Sjedinjene Države Jezik engleski Budžet 2 mil. $ Bruto prihod 31,897.253 Filmski plakat

Stanje kao na fotografijama 49cm x 69cm Ledeni pakao anglo-kanadski je triler iz 1979. godine, a temelji se na romanu Medvjeđi otok Alistaira MacLeana iz 1971. godine. Režirao ga je Don Sharp, a glumili su Donald Sutherland, Vanessa Redgrave, Richard Widmark, Christopher Lee i Lloyd Bridges. Directed by Don Sharp Written by Don Sharp David Butler additional material Murray Smith Based on novel Bear Island by Alistair MacLean Produced by Peter Snell William Hill Starring Donald Sutherland Vanessa Redgrave Richard Widmark Christopher Lee Lloyd Bridges Cinematography Alan Hume Edited by Tony Lower Music by Robert Farnon Production companies Selkirk Films Canadian Film Development Corporation Bear Island Films Distributed by United Artists Release date 1 November 1979 (United States) 5 December 1979 (South Africa) 26 December 1979 (UK) Running time 118 minutes Countries United Kingdom Canada Languages English, German Budget $CAD12,100,000 (estimated) or $9.3 million Donald Sutherland as Frank Lansing Vanessa Redgrave as Heddi Lindquist Richard Widmark as Otto Gerran Christopher Lee as Lechinski Lloyd Bridges as Smithy Bruce Greenwood as Technician Tommy Barbara Parkins as Judith Rubin Patricia Collins as Inge Van Zipper Mark Jones as the Cook August Schellenberg as the Marine Technician Candace O`Connor as the Laboratory Assistant Michael Collins as the Ship`s Captain Michael J. Reynolds as Heyter Lawrence Dane as Paul Hartman Nicholas Cortland as Jungbeck Joseph Golland as the Meteorological Assistant Richard Wren as the Radio Operator Hagan Beggs as Larsen Robert Stelmach as the Ship`s Radio Operator Terry Waterhouse as the Helicopter Crewman Originalan filmski plakat Kinema Sarajevo

Stanje kao na fotografijma 49cm x 69cm 0 Rillington Place (sh. Ulica Rillington Place br. 10), u Jugoslaviji prikazan i pod naslovom Ubica sa Rillington Squarea, je britanski kriminalistički film snimljen 1971. godine u režiji Richarda Fleischera. Temelji se na istoimenoj knjizi novinara i aktivista Ludovica Kennedyja kojom su opisani stvarni događaji koji su doveli do jedne od najzloglasnijih sudskih nepravdi u britanskoj historiji te potakli ukidanje smrtne kazne u Velikoj Britaniji 1967. godine. Protagonist, koga tumači Richard Attenborrough, je sredovječni poštanski službenik koji početkom 1950-ih živi u londonskoj četvrti Notting Hill, pri čemu nitko, pa ni njegova supruga (koju tumači Pat Heywood), ne zna da je on serijski ubica koji davi žene kako bi zadovoljio svoju nekrofilsku pohotu. Radnja prikazuje kako njegova nova meta postaje mlada susjeda (čiji lik tumači Judy Geeson), a koju još prikladnijom čini njen naivni muž Tim (koga tumači John Hurt) kome će biti lako namjestiti dokaze za ubistvo. Fleischeru je 10 Rillington Place bio jedan od nekoliko filmova u karijeri koji su se temeljili na stvarnim kriminalističkim slučajevima. Kao i u Bostonskom davitelju snimljenom nekoliko godina ranije, Fleischer se odlučio za tehniku dokudrame nastojeći biti što vjerniji službenim dokumentima; osim toga se inzistiralo na snimanju na autentičnim lokacijama, a kao tehnički savjetnik je angažiran i službeni krvnik Albert Pierrepoint, koj je u stvarnom životu izveo vješanje rekonstruirano u filmu. Sam Attenborrough, glumac poznat po ulogama dobroćudnih likova, je kasnije tvrdio da je ulogu monstruoznog ubice prihvatio sa velikom nelagodom, ali da ga je u potpunosti prožela s obzirom da zaplet predstavlja `razornu osudu prakticiranja smrtne kazne`. Nakon premijere su kritičari bili podijeljeni. Sa jedne strane su hvalili Fleischerovo inzistiranje na detaljima, ali su isto tako smatrali da ono film čini nimalo atraktivnim, a ni intrigantnim, odnosno da scenario uopće nije objasnio niti natuknuo razloge koji su Christieja potakli da počini tako monstruozna djela. Režija Richard Fleischer Producent Leslie Linder Martin Ransohoff Scenario Clive Exton Predložak Ten Rillington Place; autor: Ludovic Kennedy Uloge Richard Attenborough Judy Geeson John Hurt Muzika John Dankworth Fotografija Denys Coop Montaža Ernest Walter Studio Filmways Genesis Productions Distribucija Columbia Pictures Datum(i) premijere 10. februar 1971 Trajanje 111 min. Zemlja Ujedinjeno Kraljevstvo Jezik engleski Richard Attenborough ... John Reginald Christie John Hurt ... Timothy John Evans Judy Geeson ... Beryl Evans Pat Heywood ... Ethel Christie Isobel Black ... Alice Phyllis MacMahon ... Muriel Eady Ray Barron ... Workman Willis Douglas Blackwell ... Workman Jones Gabrielle Daye ... Mrs. Lynch Jimmy Gardner ... Mr. Lynch Edward Evans ... Detektiv inspektor Tenniel Evans ... Detektiv narednik David Jackson ... Policajac George Lee ... Policajac Richard Coleman ... Policajac koji hapsi Christieja André Morell ... Sudac Lewis Robert Hardy ... Malcolm Morris Geoffrey Chater ... Christmas Humphreys Basil Dignam ... Član medicinskog odbora Edward Burnham ... Član medicinskog odbora Edwin Brown ... Krvnik Sam Kydd ... Trgovac namještajem Rudolph Walker ... Čovjek iz Zapadne Indije br. 1 Tommy Ansah ... Čovjek iz Zapadne Indije br. 2 Reg Lye ... Skitnica Norma Shebbeare ... žena u kavani Originalan filmski plakat Avala Genex

Stanje kao na fotografijma ! 50cm x 70cm Originalan filmski plakat Hari Poter i Dvorana tajni (engl. Harry Potter and the Chamber of Secrets) je film iz 2002. godine, režisera Krisa Kolambusa. Zasnovan je na istoimenom romanu Džoane Ketling Rouling i drugi je film u filmskoj seriji Harija Potera. Priča prati Harija Potera na drugoj godini u Hogvortsu i kako naslednik Salzara Sliderina otvara Dvoranu tajni i oslobađa čudovište koje okamenjuje đake u školi. U glavnim ulogama igraju Danijel Radklif kao Hari Poter, Rupert Grint kao Ron Vizli i Ema Votson kao Hermiona Grejndžer. Film je izašao u britanskim i američkim bioskopima 15. novembra 2002. godine. Postigao je kritički i komercijalni uspeh, zaradivši preko 879 miliona dolara širom sveta. Bio je drugi najuspešniji film iz 2002. godine, iza filma Gospodar prstenova: Dve kule. Film je nominovan za mnoge nagrade, uključujući nagradu BAFTA za najbolju scenografiju, najbolji zvuk i najbolje specijalne vizuelne efekte. Prati ga šest nastavaka, od kojih je prvi Hari Poter i zatvorenik iz Askabana iz 2004. godine, a poslednji film iz serijala je Hari Poter i relikvije Smrti: Drugi deo iz 2011. godine, skoro deset godina nakon izlaska prvog filma. Harry Potter and the Chamber of Secrets Directed by Chris Columbus Screenplay by Steve Kloves Based on Harry Potter and the Chamber of Secrets by J. K. Rowling Produced by David Heyman Starring Daniel Radcliffe Rupert Grint Emma Watson Kenneth Branagh John Cleese Robbie Coltrane Warwick Davis Richard Griffiths Richard Harris Jason Isaacs Alan Rickman Fiona Shaw Maggie Smith Julie Walters Cinematography Roger Pratt Edited by Peter Honess Music by John Williams Production companies Warner Bros. Pictures[1] Heyday Films[1] 1492 Pictures[1] Distributed by Warner Bros. Pictures[2] Release dates 3 November 2002 (Odeon Leicester Square) 15 November 2002 (United Kingdom and United States) Running time 161 minutes[3] Countries United Kingdom United States Language English Budget $100 million[2] Box office $879.6 million Cast Further information: List of Harry Potter cast members Daniel Radcliffe as Harry Potter: A 12-year-old British wizard famous for surviving his parents` murder at the hands of the evil wizard Lord Voldemort as an infant, who now enters his second year at Hogwarts School of Witchcraft and Wizardry.[4] Rupert Grint as Ron Weasley: Harry`s best friend at Hogwarts and one of the youngest members of the Weasley family.[4] Emma Watson as Hermione Granger: Harry`s other best friend and the trio`s brains.[4] Kenneth Branagh as Gilderoy Lockhart: A celebrity author and the new Defence Against the Dark Arts teacher at Hogwarts.[5] Hugh Grant was the first choice for the role to play Lockhart,[6] but due to reported scheduling conflicts he was unable to play the character.[7] Alan Cumming was also considered, but withdrew due to salary disputes.[8] John Cleese as Nearly Headless Nick: The ghost of Gryffindor House.[9] Robbie Coltrane as Rubeus Hagrid: The half-giant gamekeeper at Hogwarts who is framed for opening the Chamber of Secrets and is sent to Azkaban on Lucius Malfoy`s orders. This movie reveals Hagrid`s expulsion from Hogwarts due to Tom Riddle (aka. Lord Voldemort) framing him. Martin Bayfield portrays a young Hagrid.[4] Warwick Davis as Filius Flitwick: The Charms teacher at Hogwarts and head of Ravenclaw House.[9] Richard Griffiths as Vernon Dursley: Harry`s abusive Muggle uncle, who despises wizards and now works as a drill company director.[9] Richard Harris as Albus Dumbledore: The headmaster of Hogwarts and one of the greatest wizards of the age.[4] Harris died shortly before the film was released and the role of Dumbledore was played by Michael Gambon from Harry Potter and the Prisoner of Azkaban onwards.[10] Jason Isaacs as Lucius Malfoy: Draco`s father and a former Hogwarts pupil of Slytherin House who now works as a school governor at Hogwarts.[11] Maggie Smith as Minerva McGonagall: The Transfiguration teacher at Hogwarts and head of Gryffindor House.[4] Gemma Jones as Madam Pomfrey: The magical Healer of the Hogwarts hospital wing.[11] Alan Rickman as Severus Snape: The Potions teacher at Hogwarts and head of Slytherin House.[9] Fiona Shaw as Petunia Dursley: Harry`s Muggle aunt.[9] Julie Walters as Molly Weasley: Ron`s mother.[9] Several actors from Philosopher`s Stone reprise their roles in this film. Harry Melling portrays Dudley Dursley, Harry`s cousin.[12] James and Oliver Phelps play Fred and George Weasley, Ron`s twin brothers;[13] Chris Rankin appears as Percy Weasley, Ron`s other brother and a Gryffindor prefect;[14] and Bonnie Wright portrays their sister Ginny.[15] Tom Felton plays Draco Malfoy, Harry`s rival in Slytherin,[16] while Jamie Waylett and Joshua Herdman appear as Crabbe and Goyle, Draco`s minions.[17][18] Matthew Lewis, Devon Murray and Alfred Enoch play Neville Longbottom, Seamus Finnigan and Dean Thomas, respectively, three Gryffindor students in Harry`s year.[16][19] David Bradley portrays Argus Filch, Hogwarts` caretaker,[20] and Sean Biggerstaff as Oliver Wood, the Keeper of the Gryffindor Quidditch team.[21] Leslie Phillips voices the Sorting Hat.[22] Christian Coulson appears as Tom Marvolo Riddle, a manifestation of young Lord Voldemort; before Coulson was cast, Eddie Redmayne[11][23] and Joseph Morgan auditioned for the role.[24] Mark Williams portrays Arthur Weasley, Ron`s father.[11] Shirley Henderson plays Moaning Myrtle, a Hogwarts ghost.[25] Miriam Margolyes appears as Pomona Sprout, Hogwarts` Herbology professor and head of Hufflepuff.[4] Hugh Mitchell portrays Colin Creevey, a first year student that is a fan of Harry`s.[26] Robert Hardy appears as Cornelius Fudge, the Minister for Magic.[27] Toby Jones voices Dobby, a House-elf,[13] while Julian Glover voices Aragog, an acromantula.

Stanje kao na fotografijma ! 50cm x 70cm Originalan filmski plakat Simpsonovi na filmu (engl. The Simpsons Movie) je američka animirana komedija iz 2007. godine, zasnovana na TV seriji Simpsonovi. Film je režirao Dejvid Silverman, a kao i u seriji, glasove su pozjmili Den Kastelaneta, Džuli Kavner, Nensi Kartrajt, Jardli Smit, Hank Azarija, Hari Širer, Tres Maknil, Pamela Hejden, Rasi Tejlor i Albert Bruks. Radnja filma prati Homera Simpsona, koji je neodgovorno zagadio jezero u Springfildu nakon što je grad očišćen, zbog čega je Agencija za zaštitu životne sredine (EPA) ceo grad stavila pod kupolu. Nakon što on jedva uspeva da pobegne sa svojom porodicom, oni ga napuštaju zbog njegove sebičnosti i vraćaju se u Springfild, kako bi sprečili da direktor EPA-e, Ras Kargil, uništi grad. Ubrzo nakon što ga porodica napusti, Homer pokušava da se iskupi i vraća se u Springfild, kako bi pomogao u spasavanju grada i svih građana. Iako je u nekoliko navrata pokušano da se napravi film o Sipsonovima, svi su bili neuspešni zbog nedostatka scenarija prihvatljive dužine i tima za produkciju. Najzad, 2001. godine su producenti Džejms L. Bruks, Met Grejning, Al Džin, Ričard Sakai i Majk Skali počeli razvoj filma. Oni su razmotrili mnogobrojne ideje za radnju, a na kraju je izabrana Grejningova ideja. Scenario je prepravljan više od stotinu puta, čak i nakon što je počela da se radi animacija filma 2006. godine. Zbog toga, sati materijala su bili isečeni iz krajnjeg filma, uključujući kameo uloge Erin Brokovič, Mini Drajver, Ajle Fišer, Kelsija Grejmera i Edvarda Nortona. Tom Henks i članovi benda Green Day su pozajmili glasove sopstvenim animiranim verzijama, dok je Albert Bruks, česti gost serije, pozajmio glas negativcu Rasu Kargilu. Film je premijerno prikazan u SAD 21. jula 2007. u Springfildu (američka država Vermont). Televizijska kompanija Foks organizovala je takmičenje za sve gradove u SAD sa nazivom Springfild. Svaki grad-kandidat morao je da napravi film na temu „zbog čega premijera Simpsonovih treba da bude baš u našem mestu” na osnovu čega je i proglašen pobednik.[2] Film je u Srbiji premijerno prikazan 25. jula 2007. godine u Domu sindikata.[3] Širom sveta, film je zaradio preko 536 miliona dolara i postao osmi najuspešniji film iz 2007. godine i drugi najuspešniji tradicionalno animirani film (iza originalne verzije Kralja lavova) i najuspešniji film baziran na animiranoj TV seriji. U avgustu 2018. godine, najavljeno je da je nastavak filma u produkciji. Tim koji radi seriju Simpsonovi više godina je pokušavao da proizvede i film. Epizoda Simpsonovih `Kamp Krasti` u stvari je započeta kao film ali se zbog problema sa scenarijem privremeno odustalo od filma i odlučeno je da se do tada napravljen materijal iskoristi za početnu epizodu četvrte sezone.[4] Met Grejning je u više navrata izjavio da je dobijao ponude za igrani film. On je to odbijao strahujući da bi mogao razljutiti poklonike serije što bi moglo smanjiti prihode od prodaje predmeta vezanih za seriju. Rad na scenariju za film započeo je 2001. godine[5]. Dana 6. juna 2005. prvi put je zvanično potvrđeno da će se film snimati. Zarada Poster filma korišćen u SAD. Film je zaradio 29,1 miliona dolara prvog dana prikazivanja u SAD, čime je dospeo na 18. mesto po zaradi tokom prvog dana i na treće mesto kad su u pitanju filmovi koji nisu nastavci.[6] Tokom prvog vikenda prikazivanja film je zaradio ukupno 74 miliona dolara[7] i time je postao film koji je najviše zaradio tokom prvog vikenda prikazivanja u julu (ne računajući filmove koji su nastavci). Directed by David Silverman Screenplay by James L. Brooks Matt Groening Al Jean Ian Maxtone-Graham George Meyer David Mirkin Mike Reiss Mike Scully Matt Selman John Swartzwelder Jon Vitti Based on The Simpsons by Matt Groening Produced by James L. Brooks Matt Groening Al Jean Mike Scully Richard Sakai Starring Dan Castellaneta Julie Kavner Nancy Cartwright Yeardley Smith Hank Azaria Harry Shearer Pamela Hayden Tress MacNeille A. Brooks Edited by John Carnochan Music by Hans Zimmer Production companies Gracie Films[1] 20th Century Fox Animation[2] Distributed by 20th Century Fox[1] Release dates July 21, 2007 (Springfield) July 27, 2007 (United States) Running time 87 minutes[3] Country United States Language English Budget $75 million[4] Box office $536.4 million Cast Main article: List of The Simpsons characters Dan Castellaneta as Homer Simpson, Abe Simpson, Krusty the Clown, Groundskeeper Willie, Mayor Quimby, Sideshow Mel, Mr. Teeny, EPA Official, Itchy, Barney Gumble, Stage Manager, Blue Haired Lawyer, Multi-Eyed Squirrel, Hans Moleman, Panicky Man, Kissing Cop, Bear, Boy on Phone, NSA Worker, Officer, Rich Texan, Santa`s Little Helper, and Squeaky-Voiced Teen Julie Kavner as Marge Simpson, Selma Bouvier, and Patty Bouvier Nancy Cartwright as Bart Simpson, Ralph Wiggum, Todd Flanders, Nelson Muntz, Maggie Simpson, TV Daughter, Woman on Phone, and Kearney Zzyzwicz Yeardley Smith as Lisa Simpson Hank Azaria as Moe Szyslak, Chief Wiggum, Cletus Spuckler, Professor Frink, Apu Nahasapeemapetilon, Lou, Comic Book Guy, Captain McCallister, Bumblebee Man, Dr. Nick, Carl, Male EPA Worker, Dome Depot Announcer, Kissing Cop, Carnival Barker, Gas Station Clerk, Drederick Tatum, EPA Passenger, Robot, and Wiseguy Harry Shearer as Mr. Burns, Smithers, Ned Flanders, Reverend Lovejoy, Lenny, President Arnold Schwarzenegger, Seymour Skinner, Kent Brockman, Dr. Hibbert, Otto Mann, Scratchy, Skull, Toll Booth Operator, and Guard Pamela Hayden as Milhouse Van Houten, Rod Flanders, and Jimbo Jones Tress MacNeille as Medicine Woman, Agnes Skinner, Crazy Cat Lady, Colin, Cookie Kwan, Sweet Old Lady, Mrs. Muntz, Plopper, Female EPA Worker, Lindsey Neagle, GPS Voice, TV Son, Girl on Phone, and Dolph Starbeam Albert Brooks (as `A. Brooks`) as Russ Cargill Karl Wiedergott as EPA Officer and Man Marcia Wallace as Edna Krabappel (scenes deleted) Russi Taylor as Martin Prince Maggie Roswell as Helen Lovejoy and Miss Hoover Phil Rosenthal as TV Dad Billie Joe Armstrong, Frank Edwin Wright III, and Michael Pritchard as Green Day (themselves) Joe Mantegna as Fat Tony Tom Hanks as himself

48 x 68 cm 2 x presavijen movie poster, AFFICHE de FILM McVicar is a British drama film released in 1980 by The Who Films, Ltd., starring Roger Daltrey of the Who in the title role of John McVicar. John McVicar was a 1960s armed robber turned writer whom Scotland Yard publicly announced to be Public Enemy Number One and `wanted dead or alive`. The film was directed by Tom Clegg, and was based on the non-fiction book McVicar by Himself, which John McVicar wrote to describe several months of his experiences in prison. Bill Curbishley and Roy Baird acted as producers, and the film received a nomination in 1981 for Best Picture at MystFest, the International Mystery Film Festival of Cattolica. The film is set in two halves, the first in Durham prison and the second half while McVicar is on the run in London. The first half of the film focuses on relations between the prison officers and inmates and also McVicar`s plotting and eventual prison escape. Roger Daltrey, lead singer of the British rock group the Who, and 1960s pop star and actor Adam Faith play the two lead roles of John McVicar and Walter Probyn respectively. The supporting cast includes Billy Murray, Brian Hall, Steven Berkoff, Georgina Hale, and Cheryl Campbell as Sheila McVicar. The latter half of the film is set in London after McVicar has escaped from Durham. Here he re-establishes relationships with his wife and young son and he eventually decides to try to escape from his life of crime by trying to fund a new life in Canada. Eventually, however, McVicar is forced to fund his family`s relocation plan by returning to crime. Soon the Metropolitan Police are hard on his heels and he is eventually recaptured when one of his colleagues in the crime world informs the police officer in charge of McVicar`s recapture of his whereabouts. McVicar is returned to prison and his sentence is increased, but during this time he studies for a BSc in sociology and he is eventually released. Roger Daltrey as John McVicar Adam Faith as Walter Probyn Cheryl Campbell as Sheila McVicar Billy Murray as Joey David Georgina Hale as Kate Steven Berkoff as Ronnie Harrison Brian Hall as Terry Stokes Peter Jonfield as Bobby Harris Matthew Scurfield as Streaky Jeffries Leonard Gregory as Jimmy Collins Joe Turner as Panda Jeremy Blake as Ronnie Johnson Anthony Trent as Tate Terence Stuart as Sid Harry Fielder as Harry `Aitch` Ian Hendry as Hitchens Malcolm Tierney as Frank Robert Walker Jr. as Codriver James Marcus as Sewell Tony Haygarth as Rabies Anthony May as Billy Charles Cork as Martin Paul Kernber Stanley Lloyd as Magistrate Ronald Herdman as Nobby Tony Rohr as Bootsie Michael Feast as Cody Richard Simpson as Douglas Malcolm Terris as Principal Officer The film`s soundtrack, a Roger Daltrey solo album, was released as McVicar and featured contributions by the other three extant members of The Who, Pete Townshend, John Entwistle and Kenney Jones, along with other musicians. The music was conducted by Jeff Wayne. The songs are: `Bitter and Twisted`, written by Steve Swindells `Just a Dream Away`, written by Russ Ballard `White City Lights`, written by Billy Nicholls and Jon Lind `Free Me`, written by Russ Ballard `My Time Is Gonna Come`, written by Russ Ballard `Waiting for a Friend`, written by Billy Nicholls `Without Your Love`, written by Billy Nicholls `McVicar`, written by Billy Nicholls

Stanje kao na fotografijma ! 50cm x 70cm Originalan filmski plakat 12 majmuna (eng. 12 Monkeys) američki je znanstveno-fantastični film iz 1995. godine kojeg je režirao Terry Gilliam, a koji je zapravo prerada kratkog igranog filma La jetée autora Chrisa Markera iz 1962. godine. U filmu su glavne uloge ostvarili Bruce Willis, Madeleine Stowe, Brad Pitt i Christopher Plummer. Nakon što je kompanija Universal Pictures otkupila prava na preradu kratkog filma La Jetée u dugometražni, David i Janet Peoples dobili su zadatak napisati scenarij. Pod redateljskom palicom Terryja Gilliama, kompanija Universal odobrila je budžet od 29 i pol milijuna dolara, a snimanje je trajalo od veljače do svibnja 1995. godine većinom u Philadelphiji i Baltimoreu gdje se radnja filma i događa. Glavni lik priče je James Cole, robijaš kojeg znanstvenici iz budućnosti šalju u prošlost kako bi istražio okolnosti koje su dovele do širenja smrtonosnog virusa koji je pobio gotovo cijelo čovječanstvo. Osim putovanjem kroz vrijeme, film se bavi i temama fatalizma, odnosa zbilja i iluzije te kritikom moderne znanosti, a posebno psihijatrije koja je prikazana kao nehumana i nepravedna prema pojedincima koji su proglašeni umobolnim. Također je uočljiva i kritika potrošačkog društva. Film je dobio uglavnom pozitivne kritike, a u svijetu je zaradio ukupno 168.400.000 dolara. Brad Pitt je za svoju ulogu nominiran za prestižnu nagradu Oscar u kategoriji najboljeg sporednog glumca, a osvojio je nagradu Zlatni globus u istoj kategoriji. Sam film također je osvojio i bio nominiran u nekoliko kategorija za nagrade Saturn. Glumačka postava Bruce Willis kao James Cole Madeleine Stowe kao Kathryn Railly Brad Pitt kao Jeffrey Goines Christopher Plummer kao Dr. Goines Jon Seda kao Jose Christopher Meloni kao poručnik Halperin David Morse kao Dr. Peters Frank Gorshin kao Dr. Fletcher Vernon Campbell kao Tiny Lisa Gay Hamilton kao Teddy Bob Adrian kao geolog Simon Jones kao zoolog Carol Florence kao astrofizičar/Jones Bill Raymond kao mikrobiolog Thomas Roy kao propovjednik na ulici Ideja o filmu 12 majmuna potekla je od izvršnog producenta Roberta Kosberga koji je bio obožavatelj francuskog kratkog igranog filma La jetée iz 1962. godine. Upravo je Kosberg nagovorio redatelja Chrisa Markera da mu dopusti da ideju prezentira kompaniji Universal Pictures, jer je smatrao da je francuski kratki film odličan temelj za snimanje dugometražnog znanstveno-fantastičnog uratka. Universal je s negodovanjem pristao na otkup prava za remake te unajmio Davida i Janet Peoples da napišu scenarij.[3] Producent Charles Roven odabrao je Terryja Gilliama za režiju, jer je vjerovao da je njegov stil savršen za nelinearnu naraciju filma 12 majmuna i podzaplet s putovanjem kroz vrijeme.[4] Gilliam, koji je baš u to vrijeme odustao od filmske adaptacije A Tale of Two Cities pristao je na režiju filma.[5] Osim toga, 12 majmuna ostao je upamćen i kao drugi film za koji Gilliam nije napisao scenarij niti sudjelovao u njegovom stvaranju. Iako preferira režirati vlastite scenarije, oduševio ga je `intrigantan i inteligentan scenarij autora Peoplesa. Priča je uznemirujuća. Bavi se vremenom, ludilom i percepcijom onoga što svijet jest i nije. To je studija ludila i snova, smrti i ponovnog rađanja smještena u svijet koji se raspada.`[4] Kompaniji Universal trebalo je duže nego što se očekivalo da odobri film premda je Gilliam već imao dvije zvijezde u njemu (Brucea Willisa i Brada Pitta) te odobren budžet od 29 i pol milijuna dolara (zapravo mali iznos za holivudski znanstveno-fantastični film). Universalova produkcija filma Vodeni svijet uvelike je utjecala na tu odluku, budući je potonji film propao na kino blagajnama. Kako bi dobio odobrenje za početak produkcije filma 12 majmuna, Gilliam je uvjerio Willisa da smanji svoju uobičajenu plaću.[6] Zbog striktnih Universalovih produkcijskih poticaja i zajedničke prošlosti sa studijom na filmu Brazil, Gilliam je dobio pravo na završnu verziju filma.[7] Udruženje filmskih scenarista SAD-a u nekoliko navrata izjavljivalo je skepsu zbog toga što je film remake kratkog francuskog iz 1962. godine. U početku je Gilliam želio u glavnim ulogama vidjeti Nicka Noltea kao Jamesa Colea i Jeffa Bridgesa kao Jeffreyja Goinesa, ali se Universal tome protivio.[5] Gilliam, koji je Brucea Willisa prvi put upoznao na audiciji za ulogu u njegovom filmu Kralj ribara (koju je na kraju dobio Jeff Bridges) vjerovao je da Willis budi u karakterizaciji Colea `nekoga tko je jak i opasan, ali također i ranjiv`.[4] Svakog dana snimanja glumac je morao nositi tri tetovaže na lubanji i vratu: jednu koja prikazuje zatvorski broj te dva barcodea sa svake strane vrata. Gilliam je ulogu Dr. Kathryn Railly dodijelio glumici Madeleine Stowe zbog toga što je bio impresioniran njezinom performansom u filmu Treptaj iz 1994. godine.[4] Njih dvoje prvi put su se upoznali na audiciji za njegov nikad snimljeni film A Tale of Two Cities.[5] `Ona posjeduje tu fantastičnu bestjelesnu ljepotu i nevjerojatno je inteligentna`, izjavio je Gilliam za glumicu. `Te dvije stvari vrlo dobro stoje na njoj, a sam film trebao je takve elemente zato što je, uz sve ostalo, morao biti i romantičan.`[4] U početku Gilliam nije vjerovao da je Brad Pitt dobar odabir za ulogu Jeffreyja Goinesa, ali ga je voditelj castinga uvjerio suprotno. Pitt je za ulogu dobio relativno malu plaću, jer je u to vrijeme još bio nepoznat. Međutim, do trenutka kada je film 12 majmuna započeo s kino distribucijom, u kinima su se već mogli pogledati raniji filmovi koje je Pitt snimio, a koji su postali hitovi: Intervju s vampirom, Legenda o jeseni i Sedam. Upravo ti uspjesi doveli su Pitta do A-liste holivudskih glumaca, ali su također i privukli ogromnu pozornost na film 12 majmuna i uvelike utjecali na njegov konačan box-office rezultat.[7] U gradu Philadelphiji, par mjeseci prije početka snimanja, Pitt je proveo nekoliko tjedana u bolnici sveučilišta Temple, posjećujući i studirajući odjel psihijatrije i pripremajući se za svoju ulogu.[4] Snimanje filma Snimanje filma 12 majmuna trajalo je od 8. veljače do 6. svibnja 1995. godine. Snimanje na lokacijama u Philadelphiji i Baltimoreu (uključujući i Senator Theatre)[9][10] tijekom zime bilo je otežano zbog problema s vremenom. Također su se pojavljivali problemi i s mehaničkim instrumentima koji su `glumili` dijelove iz budućnosti. Zbog toga što film nema linearnu priču događale su se pogreške u kontinuitetu radnje, a neke scene su morale biti nanovo snimljene. Redatelj Gilliam se u jednom trenutku i ozlijedio nakon što je otišao na jahanje. Međutim, unatoč brojnim problemima, redatelj je ostao u granicama odobrenog budžeta, a sa snimanjem kasnio tek tjedan dana. `Bilo je to teško snimanje`, prisjetit će se scenograf Jeffrey Beecroft (Ples s vukovima). `Nismo imali puno novca niti dovoljno vremena. I premda je Terry perfekcionist, bio je nepopustljiv kad je u pitanju bilo eventualno prekoračenje budžeta. Razapeli su ga zbog njegovog ranije filma Pustolovine baruna Münchhausena i to ga je još uvijek progonilo.`[9] Filmaši nisu imali dopuštenje upotrebljavati studij; umjesto toga morali su pronalaziti napuštene zgrade ili prave znamenitosti.[8] Eksterijer aerodroma na kojem se događa vrhunac filma sniman je na međunarodnom aerodromu Baltimore-Washington dok su interijeri snimani u centru Pennsylvania Convention. Snimanje u psihijatrijskoj ustanovi obavljeno je u kaznionici Eastern State.[11] Dizajn Gilliam je film snimao u istom stilu kao i svoj film Brazil, uključujući scenografiju i kameru (pogotovo upotrebu freznelovih leća).[6] Soba za ispitivanje u kojoj Cole odrađuje intervjue sa znanstvenicima temeljila se na radu Lebbeusa Woodsa; ove scene snimane su u tri različite električne centrale (dvije u Philadelphiji i jednoj u Baltimoreu). Namjera redatelja Gilliama bila je prikazati Colea za vrijeme ispitivanja kroz nekoliko različitih malih ekrana zbog toga što je osjećao da je takva `tehnologija bila prava noćna mora. Pokušavaš vidjeti lica na ekranu ispred sebe, ali prava lica i glasovi su negdje dolje i imaš osjećaj da se ti mali glasići nalaze negdje u tvom uhu. Za mene je to današnji svijet u kojem živimo, način na koji danas komuniciramo - kroz tehnikaliju koja se pretvara da nam služi za komunikaciju, a zapravo ne služi.`[12] Odjel scenografije potrudio se da podzemni svijet iz 2035. godine ne koristi tehnologiju prije 1996. godine kako bi budućnost izgledala što sumornije. Također, redatelj Gilliam i scenografi Beecroft i Crispian Sallis su posjetili nekoliko buvljaka i skladišta kako bi pronašli materijale za ukrašavanje seta.[13] Glazba Glazbu za film komponirao je engleski glazbenik Paul Buckmaster. Glavna filmska tema je temeljena na skladbi Suite Punta del Este argentinskog tango glazbenika i kompozitora Ástora Piazzolle.[14] Teme Sjećanje, vrijeme i tehnologija `Cole je prebačen iz potpuno drugog svijeta u naš pa se suočava sa zbrkom u kojoj živimo, a koju većina ljudi smatra normalnom. I zbog toga se on čini nenormalnim, a ono što se oko njega događa čini se nasumičnim i čudnim. Je li lud on ili mi?` — Redatelj Terry Gilliam[6] Film 12 majmuna bavi se subjektivnom prirodom sjećanja i njihovim efektima kroz percepciju stvarnosti. Primjeri lažnih sjećanja uključuju:[8] Coleovo sjećanje pucnjave na aerodromu koje je u svakom snu drugačije; `Mentalno različit` pacijent u psihijatrijskoj ustanovi koji ima lažna sjećanja; Kada Cole govori Railly `Sjećam te se ovakve` nakon što ih prvi put vidimo pod maskama. Reference na vrijeme, putovanje kroz vrijeme i majmune raštrkane su kroz cijeli film, uključujući i animirani film Woodyja Woodpeckera Time Tunnel kojeg vidimo na televiziji u hotelskoj sobi, komediju Majmunska posla braće Marx koja se prikazuje na televiziji u psihijatrijskoj ustanovi te u podzapletima s majmunima (testiranje lijekova, nove priče i prava životinja). Film je također studija opadanja međusobne komunikacije moderne civilizacije zbog sve veće umiješanosti tehnologije.[8] Aluzije na kinematografiju Film 12 majmuna inspiriran je francuskim kratkim igranim filmom La jetée iz 1962. godine. U oba filma glavni protagonisti progonjeni su vizijama vlastite smrti. Također, vrhunac oba filma događa se na aerodromu.[11] Poput filma La Jetée, 12 majmuna sadržava reference na film Vrtoglavica iz 1958. godine redatelja Alfreda Hitchcocka. Pred kraj filma, Cole i Railly skrivaju se u kinu u kojem se prikazuje 24-satni maraton Hitchcockovih filmova te zajedno gledaju scenu iz filma Vrtoglavica. Railly se nakon toga preoblači u plavušu, baš kako se i Judy (Kim Novak) preobukla u plavušu Madeleine u Hitchcockovom filmu; James ju vidi kako izranja pod crvenim svjetlom dok Scottie (James Stewart) vidi Judy kako izranja iz zelenog svjetla.[11] U pozadini se može čuti originalna glazba Bernarda Herrmanna iz Vrtoglavice. Također, Railly nosi isti kaput koji je nosila glumica Novak u prvom dijelu filma Vrtoglavica. Scena iz Hitchcockovog filma kada Judy (kao Madeleine) gleda krugove u panju i prisjeća se događaja vlastite prošlosti rezoniraju s temama iz filma 12 majmuna. Cole i Railly kasnije imaju sličan razgovor dok u pozadini čujemo istu glazbu kao iz Vrtoglavice.[11] Scena iz Hitchcockovog filma također je upotrijebljena i u kratkom filmu La Jetée. Ranije u filmu imamo scenu u kojoj se Cole budi u bolničkom krevetu, a skupina znanstvenika iz budućnosti mu pjevaju kao u zboru. Ova scena direktan je homage na scenu `Dry Bones` iz filma The Singing Detective redatelja Dennisa Pottera. Directed by Terry Gilliam Screenplay by David Peoples Janet Peoples Based on La Jetée by Chris Marker Produced by Charles Roven Starring Bruce Willis Madeleine Stowe Brad Pitt Christopher Plummer Cinematography Roger Pratt Edited by Mick Audsley Music by Paul Buckmaster Production companies Atlas Entertainment Classico Entertainment Distributed by Universal Pictures Release date December 29, 1995 (United States) Running time 129 minutes[1] Country United States Language English Budget $29.5 million Box office $168.8 million

str. 54, kompletno stanje : LOŠE samo srbija ne saljem ovaj predmet u inostranstvo serbia only I do not send this item abroad Endi Vorhol (6. avgust, 1928. – 22. februar, 1987.) bio je američki umetnik, koji se smatra tipičnim predstavnikom pop arta. Bio je slikar, filmski reditelj, pisac i zvezda. Osnivač je časopisa Interview. Rođen je kao Andrew Warhola u Pittsburghu u Pennsylvaniji. Njegov otac Andrej Warhola (prezime se pisalo Varhola u Evropi, ali je promenjeno na Warhola kada je emigrirao u SAD) i majka Ulja Justina Zavacka bili su imigranti radničke klase, rusinkog porekla iz sela Mikó, Ugarska. (Danas Slovačka: Miková). Porodica je pripadala Rusinskoj katoličkoj crkvi istočnog obreda. U trećem razredu Worhol se razboleo od horeje, koja izaziva bezvoljne trzaje mišića. Ova bolest je dovela i do promena u pigmentaciji kože, a kasnije je razvio i hipohondriju i strah od lekara i bolnica. Pošto je bio vezan za krevet kao mali, bio je isključen od društva svojih vršnjaka i veoma je postao vezan za majku. Kada je bio u krevetu voleo je da crta, sluša radio i skuplja sličice filmskih zvezda, koje je lepio oko kreveta. Warhol je kasnije svoje bolešljivo detinjstvo opisao kao veoma važno za razvoj njegove ličnosti i njegovih sposobnosti. Rano je pokazao svoj talenat za umetnost i studirao je dizajn na Carnegie Mellon University u Pittsburghu. Godine 1949. preselio se u New York City i počeo je uspešnu karijeru u magazinu, baveći se ilustracijom i advertisingom. Postao je poznat po svojim neobaveznim potezima pri crtanju cipela. To je dovelo do njegove prve izložbe u New Yorku u galeriji Bodley. Tokom 1960-ih Warhol je od ilustratora postao jedan od najpoznatijih umetnika Amerike. Na mnogo načina su Warhol i krug ljudi okupljeni oko njega definisali ovu deceniju. Tokom ove decenije Warhol je počeo da slika poznate američke proizvode, kao što su Campbell’s Soup Cans i Coca-Cola, kao i poznate popularne ikone, kao Marilyn Monroe, Troy Donahue i Elizabeth Taylor. Godine 1963. osnovao je „The Factory“ na Midtown Manhattnu i oko sebe je skupio slikare, pisce, muzičare i poznate underground ličnosti. Počeo je da se bavi štampom na tkanini i slike je radio u serijama, postižući time ne samo da se bavi umetnošću masovne proizvodnje, već i da sama umetnost postaje masovni produkt. Izjavljujući da želi da bude mašina i umanjujući značaj svoje kreativnosti u produkovanju svoje umetnosti, Warhol je načinio revoluciju u umetnosti. Njegov rad veoma brzo postaje kontroverzan i popularan. Od ovog perioda njegov rad se kreće oko američke pop (popularne) kulture. Štampao je slike novčanica, zvezda, brendiranih proizvoda i slike iz novina. Teme njegove umetnosti bile su prepoznatljive i dostupne masi – ovaj aspekt ga je najviše interesovao. Na primer, Warhol komentariše dostupnost Coca-Cole: Odlična stvar u vezi sa ovom zemljom je to da je Amerika započela tradiciju u kojoj najbogatiji ljudi kupuju suštinski iste stvari kao i najsiromašniji. Možete da gledate TV i vidite Coca-Colu i znate da i predsednik pije Colu, Liz Taylor poje Colu i, zamislite, i vi možete da pijete Colu. Cola je Cola i ne postoje pare kojima možete kupiti bolju Colu od one koju pije propalica na uglu. Sve Cole su iste i sve Cole su dobre. Liz Taylor to zna, Predsednik to zna, propalica to zna i vi to znate. Tokom 1950-ih Warhol je, kao ilustrator, koristio asistente da bi povećao svoju produktivnost. Sarađivanje sa drugima će ostati prepoznatljiv (i kontroverzan) aspekt njegovog načina rada tokom cele karijere, a posebno tokom 1960-ih. Jedan od njegovih najvažnijih saradnika iz ovog perioda je Gerard Malanga, koji mu je pomagao u štampi, snimanju filmova, skulpturi i drugim radovima. Među drugima koji su činili njegovu grupu bili su i Freddie Herko, Ondine, Ronald Tavel, Mary Woronov, Brigid Berlin (od koje je dobio ideju da snima svoje telefonske razgovore). Tokom decenije Warhol je negovao boemsku ekscentričnost sa kojom je prezentovao svoje „Superstars“, među kojima su Edie Sedgwick, Viva, Nico, Candy Darling, Ultra Violet, Jackie Curtis, Holly Woodlawn i dr. Ovi ljudi su učestvovali u snimanju filmova u Factory-u i neki su, kao Berlin, ostali Warholovi prijatelji do njegove smrti. Vazne ličnosti iz njujorškog underground umetničkog i filmskog sveta (kao pisac John Giorno i reditelj Jack Smith) pojavljivale su se u njegovim filmovima, što ukazuje na Warholovu povezanost sa različitim umetničkim krugovima u tom periodu. Krajem decenije Warhol je već i sam bio zvezda i pojavljivao se često u štampi zajedno sa svojim Superstarovima iz Factory-a, kao što je Sedgwick. Valerie Solanas se 3. juna, 1968. pojavila u Factory-u i pucala u Warhola. Mario Amaya je takođe bio meta. Pre ovoga Solanas je bila marginalna ličnost u Factory-u. Osnovala je „grupu“ (ona je bila jedina članica) pod nazivom S.C.U.M. - Society for Cutting Up Men (Društvo za sečenje muškaraca) i napisala je S.C.U.M Manifest, radikalno feministički napad na patrijarhat. Solanas se pojavljuje u Warholovom filmu iz 1968. godine I, A Man. Nešto ranije tog dana Solana je tražila da joj vrate scenario koji je dala Factory-u, ali joj nisu vratili. Scenario je bio, zapravo, zaturen. Warhol je bio ozbiljno ranjen i jedna je preživeo (lekari su morali da mu otvore grudni koš i masirali su mu srce da bi ga stimulisali). Fizičke posledice je trpeo do kraja života (morao je, recimo, da nosi korset, koji mu je držao abdomen). Pokušaj ubistva je imao trajne posledice i na njegov život i umetnost. Solanas je uhapšena narednog dana. Tokom ispitivanja izjavila je: „Imao je preveliku kontrolu nad mojim životom.“ Posle pokušaja ubistva Factory je postao krući zbog kontrole i mera opreza. Ovo je za mnoge značio kraj Factory-a 60-ih. U poređenju sa uspehom i skandalima iz 1960-ih, nova decenija je bila mnogo mirnija. Warhol je sada počeo da okuplja nove, bogatije ličnosti, među kojima su Mick Jagger, Liza Minnelli, John Lennon, Diana Ross, Brigitte Bordot i Michael Jackson, koje je portretisao. Njegov čuveni portret Mao Zedonga napravljen je 1973. zajedno sa Malangom osniva magazin Interview i objavljuje knjigu The Philosophy of Andy Warhol (1975). U knjizi prezentuje ideje o prirodi umetnosti: Pravljenje para je umetnost i rad je umetnost i dobar biznis je najbolja umetnost. Warhol je izlazio u Serendipity 3, a kanije u Studio 54, poznate noćne klubove na Manhattanu. Opisan je kao povučen, stidljiv i kao posmatrač koji uviđa detalje. Umetnički kritičar Robert Hughes ga naziva „bela krtica Union Square-a“ Tokom 1980-ih Warhol je ponovo doživljavao uspeh kod kritičara i u finansijama, delom i zbog njegovih novih prijateljstava sa mladim umetnicima, među kojima su Jean-Michel Basquiat, Julian Schnabel, David Salle, kao i sa takozvanim neo-ekspresionistima: Francesco Clemente, Enzo Cucchi i članovima Transavanrguardia grupe, koji su tada postali uticajni. Warhol je, takođe, cenio intenzivan hollywoodski glamur. Jednom je rekao: „Volim Los Angeles. Volim Hollywood. Tako su lepi. Sve je plastično, ali ja volim plastiku. Želim da budem plastičan.“ Warhol je bio jedan od prvih vodećih gej američkih umetnika koji su bili otvoreni po pitanju svoje seksualnosti. Mnogi su o njemu mislili kao o aseksualnoj osobi ili tek voajeru. To je međutim odbačeno od strane njegovih biografa (kao što je Victor Bockris), kao i članova scene Factory-a, poput Boba Colacella (u njegovoj knjizi Holy Terror: Andy Warhol Up Close) i akademaca, poput istoričara umetnosti Richarda Meyera. Pitanje kako je njegova seksualnost uticala na njegovu umetnost i oblikovala njegov odnos prema umetničkom svetu je glavna tema istoričara umetnosti, kao i pitanje koje je Warhol sam postavljao u intervjuima, u razgovorima sa savremenicima i u publikacijama (na primer: Popism: The Warhol Sixties). Tokom karijere Warhol je pravio erotske fotografije i crteže golih muškaraca. Mnogi njegovi čuveni radovi (poput portreta gej ikona, kao što su Liza Minnelli, Judy Garland, Elizabeth Taylor i fimovi kao My Hustler, Blow Job i Lonesome Cowboys) crpe snagu iz gej kulture i/ili otvoreno ispituju složenost seksualnosti i seksualne želje. Mnogi njegovi filmovi su premijerno pokazani u gej porno bioskopima. Neke od najinteresantnijih priča o njegovom razvoju kao umetnika jesu u vezi sa preprekama koje je njegova seksualnost u početku predstavljala dok se trudio da pokrene svoju karijeru. Prvi radovi koje je podneo galeriji bili su homoerotski crteži koji su odbijeni jer su bili isuviše otvoreno gej[1]. U Popism-u Warhol se seća svog razgovora sa rediteljem Emile de Antoniom o teškoćama koje je imao da bude prihvaćen od umetnika, kao što su Jasper Johns i Robert Rauschenberg, koji su takođe bili gejevi, ali ne outovani u to vreme. De Antonio objašnjava da je Warhol bio isuviše „swich“ (da je lako bilo pretpostaviti da je gej) i da ih je to plašilo. Warhol odgovara: „Nisam ništa mogao da kažem na to. Bio je isuviše istinito. Samo sam odlučio da ne brinem, jer su sve to bile stvari koje ionako nisam želeo da menjam, za koje sam mislio da ne treba da menjam... Drugi ljudi mogu da menjaju svoj stav o meni[2]. Ispitujući njegovu biografiju, mnogi definišu ovaj period – kasne 1950-e i početak 1960-ih – kao ključni za razvoj njegove ličnosti. Neki tvrde da njegovo često odbijanje da komentariše svoj rad i da priča o sebi (odgovarajući na pitanja novinara u intervjuima sa „Uhm, Yes“ i „Uhm, No“ i dozvoljavajući drugima da pričaju o njemu), pa i razvoj njegovog pop stila mogu da se prate do godina kada je Warhol odbijen od strane unutrašnjih krugova njujorškog umetničkog sveta. Warhol je praktikovao Katoličanstvo istočnog obreda. Redovno je volontirao u skloništima za beskućnike i opisivao je sebe kao religioznu osobu. Mnogi njegovi kasniji radovi sadrže skrivene religijske teme. Redovno je posećivao liturgije, a sveštenik crkve Saint Vincent Ferrer na Manhattnu je rekao da je Warhol u crkvu odlazio gotovo svakog dana. Na njegov rad je uticala ikonografska tradicija istočnog Hrišćanstva. Warholov brat je rekao da je Warhol bio „istinski religiozan, ali da nije želeo da ljudi to znaju, jer je to bila privatna stvar“. Warhol umire relativno rano, u svojoj 58. godini, 22. februara, 1987. godine u 6:32 u New Yorku. Prema novinskim izveštajima, Warhol se dobro oporavljao posle rutinske operacije žučne kese u uglednoj New York Hospital pre nego što je umro u snu od iznenadnog infarkta. Bolničko osoblje nije dobro pratilo njegovo stanje i posle operacije su ga „napunili“ tečnošću, zbog čega je došlo do hiperhidratacije, zbog čega je Warholov advokat podneo tužbu. Warhol je sahranjen na grkokatoličkom groblju u Bethel Parku, predgrađu Pittsburgha. Među ljudima koji su održali posmrtni govor bila je i Yoko Ono. Bilo je toliko puno predmeta koje je Warhol posedovao da je Sotheby’s devet dana izlagao njegove stvari na aukciji. Aukcijom se prikupilo više od 20 miliona dolara. Do početka 1960-ih Warhol je bio uspešni reklamni ilustrator. Warhol je bio toliko uspešan kao komercijalni ilustrator, da ga niko nije shvatao kao umetnika. Koristeći istu tehniku koju je koristio u ilustracijama, Warhol je uradio seriju crteža i podneo ih galeriji, koja ga je odbila. Počeo je da promišlja odnos između komercijalne umetnosti i umetnosti i umesto da ih vidi kao suprotnosti (što je bio slučaj sa ostalim umetnicima) počeo je da ih spaja stvarajući pop art. Pop art je bila eksperimentalna forma koju je nekoliko umetnika nezavisno počelo da usvaja. Neki od njih, kao što je Roy Lichtenstein kasnije će postati sinonimi za ovaj pokret. Warhol koji će postati poznat kao „Papa popa“ („Pope of Pop“) prihvatio je ovaj stil. Njegove prve slike prikazuju likove iz crtanih filmova i reklama, koje je radio ručno. Kasnije, Warhol svoje teme traži u samim ikonama popa – brendovima, zvezdama i dolarima – i isključuje svaki trag „ruke“. Warhol je tražio svoje teme, koje bi ga razlikovale od drugih pop-artista. Prijatelji su mu rekli da slika stvari koje najviše voli. Na sebi svojstven način da stvari shvata bukvalno počeo je da slika svoje omiljene stvari. Za svoju prvu veliku izložbu slikao je konzerve Campbell’s Soup, koje je jeo za ručak tokom celog života. Warhol je voleo novac, pa je slikao novčanice. Voleo je zvezde, pa je slikao i njih. Od ovakvih početaka razvio je svoj kasniji stil. Umesto da bira teme po kojima će biti prepoznatljiv, birao je prepoznatljiv stil, iz koga je polako istiskivao ruku u procesu stvaranja. Slike je počeo da radi kao štampu na tkanini. Od slikara Warhol je postao dizajner slike. U vrhuncu svoje slave, Warhol je imao nekoliko asistenata koji su radili po njegovim instrukcijama. Warhol se bavio i komičnim i ozbiljnim temama, birajući predmete od konzerve supe do električne stolice. Koristio je istu tehniku – tekstilna štampa, serijska reprodukcija i upotreba svetlih boja – bez obzira na to da li slika glamurozne zvezde, predmete iz svakodnevnog života ili slike samoubistava, saobraćajnih nesreća i sl. Slike iz serije „Dead and Disaster“ (1962-1963), kao što su „Red Car Crach“, „Purple Jumping Man“, „Orange Disaster“, transformišu ličnu tragediju u javnu spektakl i opominje medije da stalno prikazivanje ovakvih slika u medijima otupljuje publiku. Jedinstveni element njegovog rada je njegov keatonski stil – potpuna bezizražajnost. Ovo se ogledalo i u njegovom ponašanju – često se „pravio glup“ u medijima i odbijao je da objašnjava svoj rad. Poznat je po tome što je rekao da sve što treba da se zna o njemu i njegovom radu je već tu – na površini. U takvoj površnosti, bez oznaka iskrenosti, posmatrač je ostavljen da se pita i otkriva šta „pravi Andy“ misli. Da li je Andy užasnut smrću ili mu je ona smešna? Da li su njegove konzerve supe cinična primedba o bezvredosti popularne kulture, ili su „homage“ jednostavne udobnosti doma? Bez želje da odgovara na ova pitanja, njegov rad postaje interesantniji – ostavlja publici da interpretiraju njegovo značenje. Warhol je radio u mnogim medijima – slikarstvo, fotografija, crtež i skulptura. Pored toga, pravio je i filmove. Između 1963. i 1968. snimio je preko 60 filmova. Jedan od najpoznatijih filmova, Sleep (1963.) prati šestočasovno spavanje pesnika Johna Giorna. Film Blow Job (1963.) 41 minut prati izraz lica Toma Bakera kome Willard Maas čini felacio (kamera, međutim, prikazuje samo Tomovo lice). Film Empire sastoji se od osmočasovnog snimanja zgrade Empire States Building u sumrak. Njegov najpopularniji film koji je dobio i najbolje kritike je Chelsea Girls (1966). Film prikazuje dva filma istovremeno, sa različitim pričama. Posle pokušaja ubistva Warhol, koji je sada živeo povučenije, odustao je od snimanja filmova. Njegov asistent, reditelj Paul Morrissay nastavio je da pravi filmove za Factory, usmeravajući filmsku produkciju sa warholovske na više mainstream i filmove sa narativom, kao što su Flesh, Trash, Heat. Ovi filmovi, uključujući i Andy Warhol’s Dracula i Andy Warhol’s Frankenstein bili su više mainstream od bilo čega što je Warhol režirao. U ovim filmovima pojavljivao se Joe Dallesandro, koji je bio više Morrisseyeva nego Warholova zvezda. Warhol je prihvatio bend Velvet Underground kao jedan od svojih projekata tokom 1960-ih, „producirajući“ njihov prvi album The Velvet Underground and Nico i praveći naslovne slike. Njegova „produkcija“ ovog albuma se sastojala samo u plaćanju vremena u studiju. Posle ovog albuma Warhol i Lou Reed su počeli da se sukobljavaju oko ideje u kom pravcu bend treba da se razvija i konačno su prekinuli kontakt. Warhol je dizajnirao omote za dva albuma The Rolling Stones: Sticky Fingers (1971) i Love You Live (1977). Godine 1975. Warhol je uradio nekoliko portreta Mick Jaggera. Godine 1990. Lou Reed snima album Sons for Drella (jedan od Warholovih nadimaka bio je Drella, kao kombinacija imena Drakula i Cinderella (Pepeljuga)) sa John Caleom. Na albumu Reed se izvinjava Warholu zbog sukoba. Warhol je bio prijatelj sa mnogim muzičarima, uključujući Bob Dylana i John Lennona. Warhol je dizajnirao omot za Lennonov album Menlove Avenue, koji je posthumno izdat 1986. godine. Warhol se pojavljuje kao barmen u spotu pesme „Hello Again“ grupe The Cars i u spotu za singl „Mistif“ grupe Curiosity Killed the Cat. Warhol je imao veoma veliki uticaj na new wave/punk rock bend Devo, kao i na David Bowiea, koji je snimio i pesmu pod nazivom „Andy Warhol“ za album Hunky Dory (1971). Andy Warhol Museum u Pittsbughu je najveći američki muzej posvećen samo jednom umetniku. Čuva zbirku sa više od 12.000 umetničkih predmeta. Warholov brat, John Warhol i Warhol Foundation iz New Yorka osnovali su 1992. Warholov porodični muzej moderne umetnosti u Slovačkoj u mestu Medzilaborce, pored koga su rođeni Warholovi roditelji. U filmu The Doors (1991) Olivera Stona Warhola glumi Crispin Glover. David Bowie ga je glumio u filmu Basquiat Juliana Schnabela. U filmu I Shot Andy Warhol (1996), rediteljke Mary Harron glumio ga je Jared Harris, a Sean Gregory Sullivan u filmu 54. Poslednji film u kome se pojavljuje lik Andy Warhola je Factory Girl (2007) u kome ga glumi Guy Pearce. jon voigt, donyale luna, john lenon Andy Warhol`s Interview October 1974 Donyale Luna Philippe Petit Hiram Keller Michael Winner Martha Donyale Luna 5 Philippe Petit 8 Meet Your Maker 12 Michael Winner 14 Martha Reeves 18 Jon Voigt 20 The Andrews Sisters 24 Hiram Keller 30 Frederic Davies 34 Ray Bolger 36 Les Smiths de Monte Carlo 40 Richard Estes 42 Waylon Jennings 44 Making Faces 47 Buy n` Buy 49 Out 50 Smalltalk 52 I Cover The Waterfront 54 COVER: DONYALE LUNA IN HALSTON 3D LUMILAR SEQUINS: AND HIRAM KELLER IN HALSTON BLACK CASHMERE. PHOTOGRAPHED BY BILL KING. STYLED BY DENNIS CHRISTOPHER. COVER DESIGNED BY RICHARD BER NST E I N.

Lobby card za film `Heavy metal`, rad cuvenog crtaca Ricarda Korbena (Den, Svet mutanata itd), a za pricu `Den`. . Distribucija `Centar film`, Beograd. 23x17 cm. Nije u pitanju nikakva naknadna stampa, tj, replika, vec originalna kartica. RETKO! Ricard Korben Heavy Metal is a 1981 Canadian adult animated science fantasy anthology film directed by Gerald Potterton and produced by Ivan Reitman and Leonard Mogel, who also was the publisher of Heavy Metal magazine, which was the basis for the film. It starred the voices of Rodger Bumpass, Jackie Burroughs, John Candy, Joe Flaherty, Don Francks, Martin Lavut, Marilyn Lightstone, Eugene Levy, Alice Playten, Harold Ramis, Percy Rodriguez, Susan Roman, Richard Romanus, August Schellenberg, John Vernon, and Zal Yanovsky. The screenplay was written by Daniel Goldberg and Len Blum. The film is an anthology of various science fiction and fantasy stories tied together by a single theme of an evil force that is `the sum of all evils`. It was adapted from Heavy Metal magazine and original stories in the same spirit. Like the magazine, the film features a great deal of graphic violence, sexuality, and nudity. Its production was expedited by having several animation houses working simultaneously on different segments. Upon release, the film received mixed reviews from critics, with praise towards the animation, visuals, Elmer Bernstein`s score and voice acting, but criticism towards its story and overuse of graphic violence. The film however was a modest success at the box office and has since achieved cult status. The film`s influential soundtrack was packaged by music manager Irving Azoff and included several popular rock bands and artists, including Black Sabbath, Blue Öyster Cult, Sammy Hagar, Don Felder, Cheap Trick, DEVO, Journey, and Nazareth, among others.[2] A sequel titled Heavy Metal 2000 (2000) was released in 2000 and received negative reviews.[citation needed] Plot `Soft Landing` The title sequence was based on the comic of the same name by Dan O`Bannon and Thomas Warkentin.[citation needed] The title sequence story opens with a Space Shuttle orbiting the Earth. The bay doors open, releasing a 1960 Corvette. An astronaut seated in the car then begins descending through Earth`s atmosphere, landing in a desert canyon. Crew Jimmy T. Murakami and John Bruno – directors John Coates – producer Dan O`Bannon – writer Thomas Warkentin – art direction Music `Radar Rider` by Riggs Studio MGM Titles T.V. Cartoons Ltd `Grimaldi` In the framing story, the astronaut Grimaldi arrives at home where he is greeted by his daughter. He says he has something to show her. When he opens his case, a green, crystalline sphere rises out and melts him. It introduces itself to the terrified girl as `the sum of all evils`. Looking into the orb known as the Loc-Nar, the girl sees how it has influenced societies throughout time and space. Cast Percy Rodriguez (uncredited) as Loc-Nar Don Francks as Grimaldi Caroline Semple as Girl Crew Harold Whitaker – director John Halas – producer Studio Halas & Batchelor Animation Ltd `Harry Canyon` Original story by Daniel Goldberg and Len Blum; based on The Long Tomorrow by Moebius. In a dystopian and crime-ridden New York City in 2031, cynical taxicab driver Harry Canyon narrates his day in film noir style, grumbling about his fares and frequent robbery attempts he thwarts with a disintegrator installed in the back of his seat. He stumbles into an incident where he rescues a red haired young woman from Rudnick, a gangster who murdered her father. She explains that her father discovered the Loc-Nar, and they have been pursued relentlessly by people attempting to obtain it. Harry takes her to his apartment, where they have sex. She decides to sell the Loc-Nar to Rudnick and split the money with Harry. Rudnick is disintegrated by the Loc-Nar at the exchange, and she attempts to double-cross Harry to keep the money for herself. When she pulls out a gun, Harry uses the disintegrator on her. He keeps the money, and summarizes the incident as a `two-day ride with one hell of a tip`. Cast Percy Rodriguez (uncredited) as Loc-Nar Harvey Atkin as Alien, Henchman John Candy as Desk Sergeant Marilyn Lightstone as Whore Susan Roman as Girl, Satellite Richard Romanus as Harry Canyon Al Waxman as Rudnick Crew Pino van Lamsweerde – director W. H. Stevens Jr. – producer Vic Atkinson – producer Daniel Goldberg – writer Len Blum – writer Music `Veteran of the Psychic Wars` by Blue Öyster Cult `True Companion` by Donald Fagen `Blue Lamp` by Stevie Nicks `Open Arms` by Journey `Heartbeat` by Riggs Studio Atkinson Film Arts `Den` Based on the character of the same name created by Richard Corben. A nerdy teenager finds a `green meteorite` near his house and adds it to his rock collection. During a lightning experiment, the orb hurls the young man into the world of Neverwhere, where he transforms into a naked, muscular man called Den, an acronym for his earth name, David Ellis Norman. There, Den witnesses a strange ritual, rescuing a beautiful young woman who is about to be sacrificed to Uhluhtc. Reaching safety, she introduces herself as Katherine Wells from the British colony of Gibraltar. The two start having sex, but are interrupted by the minions of Ard, an immortal man who wants to obtain the Loc-Nar for himself. After being taken to see Ard, Den demands to see Katherine. His request is ignored and Ard orders his men to castrate Den. Den fights off the soldiers and shoots Ard, who is immortal and heals immediately. The girl turns out to be sleeping, encased in glass under a spell where only Ard can awaken her. Ard offers Den a deal: if he gets the Loc-Nar from the Queen and brings it to him, the girl will be released. Den agrees and infiltrates the palace along with Ard`s best soldier, Norl. They are promptly caught by the Queen`s guards, but she offers leniency if Den has sex with her. He complies, thereby distracting the Queen while the raiding party steals the Loc-Nar. Den escapes and races back to rescue Katherine from Ard. Recreating the lightning incident that drew him to Neverwhere, he is able to banish Ard and the Queen. Den suspects that they were teleported to Earth. Refusing the opportunity to take the Loc-Nar for himself, Den rides with Katherine into the sunset, content to remain in Neverwhere. As for the Loc-Nar, it rises into the sky and lands on a space station where it is picked up by someone else. Cast Percy Rodriguez (uncredited) as Loc-Nar John Candy as Den Jackie Burroughs as Katherine Wells Martin Lavut as Ard Marilyn Lightstone as Queen August Schellenberg as Norl Crew Jack Stokes – director Jerry Hibbert – producer Richard Corben – writer Studio Votetone `Captain Sternn` Based on the character of the same name created by Bernie Wrightson. On a space station, crooked space captain Lincoln F. Sternn is on trial for numerous serious charges presented by the prosecutor consisting of 12 counts of murder in the first degree, 14 counts of armed theft of Federation property, 22 counts of piracy in high space, 18 counts of fraud, 37 counts of rape — and one moving violation. Pleading `not guilty` against the advice of his lawyer Charlie, Sternn explains that he expects to be acquitted because he bribed a witness named Hanover Fiste. Fiste takes the stand upon being called to by the prosecutor, but his perjury is subverted when the Loc-Nar, now the size of a marble, causes him to blurt out highly incriminating statements about Sternn (though whether or not any of them are true is unknown) before changing him into a hulking muscular brute that chases Sternn throughout the station, breaking through bulkheads and wreaking havoc. Eventually, he corners Sternn, who gives him his promised payoff, and he promptly shrinks back to his scrawny original form. Sternn opens a trap door under Fiste, ejecting him into space. The Loc-Nar enters Earth`s atmosphere with Fiste`s flaming severed hand still clinging to it. Cast Percy Rodriguez (uncredited) as Loc-Nar Rodger Bumpass as Hanover Fiste Joe Flaherty as Charlie, the lawyer Douglas Kenney as Regolian Eugene Levy as Captain Lincoln F. Sternn John Vernon as Prosecutor Crew Julian Harris – director Paul Sebella – director Bernie Wrightson – writer Music `Reach Out` by Cheap Trick Studio Boxcar Animation Studios Inc `Neverwhere Land` Because of time constraints, a segment called `Neverwhere Land`, which would have connected `Captain Sternn` to `B-17`, was cut. The story follows the influence of the Loc-Nar upon the evolution of a planet, from the Loc-Nar landing in a body of water, influencing the rise of the industrial age, and a world war. This original story was created by Cornelius Cole III. The original rough animatics are set to a loop of the beginning of Pink Floyd`s `Time`. The 1996 VHS release included this segment at the end of the tape. On the DVD release, this segment is included as a bonus feature. In both released versions, the sequence is set to the music of `Passacaglia` (from Magnificat), composed and conducted by Krzysztof Penderecki and with animation studio being produced by Duck Soup Produckions. `B-17` A World War II B-17 bomber nicknamed the Pacific Pearl makes a difficult bombing run and suffers heavy damage with all of the crew except the pilot and co-pilot killed by gunfire. As the bomber limps home, the co-pilot goes back to check on the crew. Finding nothing but dead bodies, he notices the Loc-Nar trailing the plane. Informing the pilot, he heads back to the cockpit, when the Loc-Nar rams itself into the plane and reanimates the dead crew members as zombies. The co-pilot is killed, while the pilot parachutes away in time. He lands on an island where he finds a graveyard of airplanes from various times, along with the wrecked airplanes` zombified airmen, who surround him, sealing the horrified pilot`s fate. Cast Percy Rodriguez (uncredited) as Loc-Nar Don Francks as Co-Pilot (Holden) George Touliatos as Pilot (Skip) Zal Yanovsky as Navigator Crew Barrie Nelson – director W. H. Stevens Jr. – producer Dan O`Bannon – writer Music `Heavy Metal (Takin` a Ride)` by Don Felder Studio Atkinson Film-Arts `So Beautiful & So Dangerous` Based on the comic of the same name by Angus McKie. Dr. Anrak, a prominent scientist, arrives at The Pentagon for a meeting regarding mysterious mutations that are plaguing the United States. At the meeting, the doctor tries to dismiss the occurrences. When he sees the Loc-Nar in the locket of Gloria, a beautiful buxom stenographer, he begins to behave erratically and motorboats her. A colossal starship drills through the roof and abducts the doctor and, by accident, Gloria. The ship`s robot is irritated at Anrak, who is actually a malfunctioning android, but its mood changes when it sees Gloria. With the help of the ship`s alien pilot Edsel and co-pilot Zeke, the robot convinces Gloria to stay on board and have `robot sex` (albeit off-screen). Meanwhile, Edsel and Zeke snort a huge amount of a powdered drug called Plutonian Nyborg before flying home, zoning out on the cosmos. Too intoxicated to fly straight, they crash-land unharmed in a huge space station. Cast Percy Rodriguez (uncredited) as Loc-Nar Rodger Bumpass as Dr. Anrak John Candy as Robot Joe Flaherty as General Eugene Levy as Male Reporter / Edsel Alice Playten as Gloria Harold Ramis as Zeke Patty Dworkin as Female Reporter Warren Munson as Senator Crew John Halas – director Angus McKie – writer Music `Queen Bee` by Grand Funk Railroad `I Must Be Dreamin`` by Cheap Trick `Crazy? (A Suitable Case for Treatment)` by Nazareth `All of You` by Don Felder `Prefabricated` by Trust `Heavy Metal` by Sammy Hagar Studio Halas & Batchelor Animation Ltd `Taarna` Original story by Daniel Goldberg and Len Blum; based on Arzach by Moebius. The Loc-Nar, now the size of a giant meteor, crashes into a volcano on another world and draws a large mass of curious people. As they begin to climb the volcano, it erupts and green slime covers the crowd, mutating them into an evil barbarian army. The mutants subsequently attack a nearby city of peaceful scholars. Desperate, the city leaders mentally summon the Taarakians, a once powerful yet now declining warrior race with whom the city had a pact, but the city falls before the call can be answered. Taarna, a beautiful yet mute warrior and the last of the Taarakians, receives the summons. After ritually preparing herself, she and her avian mount fly to the beleaguered city, only to find the citizens dead. Determined to avenge them, she begins following the trail of their murderers and encounters a small band of the mutant barbarians. After killing them and with more information at hand, she travels towards the mutant camp, but she and her mount are captured. Taarna is tortured and thrown into an open pit, unconscious. Her mount escapes and rescues her. She tries going for the Loc-Nar, but the mutants pursue and shoot her mount down. The mutant leader faces Taarna in a duel to the death, wounding her, but Taarna manages to kill him. With the last of their strength, Taarna and her companion make a death flight to the volcano. As they approach, the Loc-Nar warns her off, claiming that sacrificing herself would be futile. Ignoring the Loc-Nar, Taarna unleashes the power imbued in her sword and dives into the volcano, destroying the Loc-Nar. Cast Percy Rodriguez (uncredited) as Loc-Nar Thor Bishopric as Boy Ned Conlon as Councilman #1 Len Doncheff as Barbarian #1 Don Francks as Barbarian #2 Joseph Golland as Councilman #2 Charles Joliffe as Councilman #3 Mavor Moore as Elder August Schellenberg as Taarak Cedric Smith as Bartender George Touliatos as Barbarian #3 Vlasta Vrána as Barbarian Leader Zal Yanovsky as Barbarian #4 Music `E5150` by Black Sabbath `The Mob Rules` by Black Sabbath `Through Being Cool` by Devo `Epilogue` As the final story ends, the Loc-Nar that was terrorizing the girl destabilizes and begins breaking up. The girl flees it and her home. The Loc-Nar then explodes, destroying the mansion in the process. Taarna`s reborn mount appears outside and the girl happily flies away on it. It is then revealed that Taarna`s soul has been reincarnated in the girl, transforming her into a new Taarakian. Cast Percy Rodriguez (uncredited) as Loc-Nar Music `Working in the Coal Mine` by Devo Production Ivan Reitman gained a deal with Columbia Pictures to create an animated film and asked Gerald Potterton to oversee it.[5] The initial script had Arzach as the framing device for the film, but the script was thrown out after Jean Giraud refused to allow the usage of his characters. Len Blum and Daniel Goldberg created Taarna and a green orb instead.[6] Chris Achilléos did the character design for Taarna.[7] Michael Mills was hired to create the opening and closing segments, but script rewrites had the sequences redrawn multiple times. Reitman, displeased with the high expenses, withheld payment. Mills sued and the case was settled out of court. Reitman hired Jimmy T. Murakami to create a new opening.[6] Atkinson Film-Arts animated Harry Canyon, directed by Pino van Lamsweerde, and the B-17 segment by Barrie Nelson. Captain Sternn was animated by Boxcar films under the direction of Paul Szuchopa and Julian Harris. Halas and Batchelor and TVC animated the other segments. Taarna was created in Montreal by 11 designers, 30 animators, and 54 assistants under the direction of John Bruno. José Abel, Danny Antonucci, and Zdenko Gašparović worked on Taarna.[8] Animator Robert Balser directed the animation of the `Den` sequence for the film.[9] The film uses the rotoscoping technique of animation in several shots. This process consists of shooting models and actors, then tracing the shot onto film.[10] Release The film was released on August 7, 1981. It was a financial success, grossing over $20 million on a $9 million budget (equivalent to a gross of $64 million in 2022).[3] Reception The film was met with mixed response. Review aggregator Rotten Tomatoes reports that 66% of critics have given the film a positive review based on 35 reviews, with an average rating of 5.8/10 and the critical consensus: `It`s sexist, juvenile, and dated, but Heavy Metal makes up for its flaws with eye-popping animation and a classic, smartly-used soundtrack.`[11] Janet Maslin of The New York Times wrote that `for anyone who doesn`t think an hour and a half is a long time to spend with a comic book, Heavy Metal is impressive,` and noted that the film `was scored very well, with music much less ear-splitting than the title would suggest.`[12] Variety declared, `Initial segments have a boisterous blend of dynamic graphics, intriguing plot premises and sly wit that unfortunately slide gradually downhill ... Still, the net effect is an overridingly positive one and will likely find its way into upbeat word-of-mouth.`[13] Gene Siskel of the Chicago Tribune gave the film three stars, writing that it `isn`t intended for close scrutiny on a literal level. The film clearly is intended as a trip, and on that level it works very nicely.` He criticized the film as `blatantly sexist` and for having `wildly romanticized` violence.[14] Sheila Benson of the Los Angeles Times wrote, `Somehow a great deal of the charm [of the magazine] leaked out on the way to the movie house, but all of the sadism stayed put. And then some. It`s the most expensive adolescent fantasy revenge fulfillment wet dream ever to slither onto a screen.`[15] John Pym of The Monthly Film Bulletin found that it was `to put it mildly, something of a hodge-podge.`[16] Film historian and critic Leonard Maltin gave the film 3 stars out of 4 in his Movie Guide, calling the feature `... uneven, but great fun on a mindless, adolescent level.`[17] On the whole, in terms of individual segments, critics were typically most favorable towards the `Den` story.[18] Critic Janet Maslin gave the film a positive review in The New York Times. She said, `The other highly memorable story is about a bookworm from earth who winds up on another planet, where his spindly body is transformed into that of an extraterrestrial Hercules.` She also complimented John Candy`s vocal performance as Den.[19] Christopher John reviewed Heavy Metal in Ares Magazine #11 and commented that `Sadly, what could have been a true boost for animation in this country[20] is a weak, opportunistic failure, put together with very little care and no love at all.`[21] Home media Heavy Metal aired frequently on HBO throughout the 1980s and 90s.[citation needed] Prior to official release on VHS and LaserDisc in 1996, the film was re-released to 54 theatres on March 8, 1996, remixed in Sony`s 8-track SDDS audio system, taking in US$550,000 (equivalent to $1,026,247 in 2022).[4] The subsequent home video release, the first animated film issued on the VHS format to be THX-certified, moved over one million units.[22] The film was released on Blu-ray Disc on February 1, 2011 as a Best Buy exclusive and it was later released everywhere on June 14, 2011.[23] A remastered 4K version was released on Ultra HD Blu-ray on April 19, 2022, bundled with a Blu-ray Disc release of the sequel, Heavy Metal 2000 (2000).[24] Music Soundtrack This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources in this section. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message) Heavy Metal: Music from the Motion Picture Soundtrack album by various artists Released July 1981 Genre Heavy metal[25] hard rock[25] Label Full Moon/Asylum/Epic Heavy Metal film soundtracks chronology Heavy Metal: Music from the Motion Picture (1981) Heavy Metal 2000 OST (2000) Singles from Heavy Metal: Music from the Motion Picture `True Companion` / `All of You` Released: 1981 Professional ratingsReview scores Source Rating AllMusic [25] The soundtrack was released on LP in 1981, but for legal reasons, was not released on CD until 1995. The album peaked at number 12 on the Billboard 200 chart. The film`s theme song, `Heavy Metal (Takin` a Ride)` was sung by Don Felder. It was released as a single in the U.S. and reached number 43 on the Billboard Hot 100[26] and number five on the Mainstream Rock chart on September 19, 1981.[27] Blue Öyster Cult wrote and recorded a song called `Vengeance (The Pact)` for the film, but the producers declined to use the song because the lyrics provided a capsulized summary of the `Taarna` vignette. `Veteran of the Psychic Wars` was used instead. Both songs can be found on Blue Öyster Cult`s album Fire of Unknown Origin. Although used in the film, the songs `Through Being Cool` by Devo and `E5150` by Black Sabbath were not included in the released soundtrack album. These songs are on New Traditionalists and Mob Rules, respectively. The legal difficulties surrounding the use of some songs in the film delayed its release to home media. The production company`s use of some songs was limited solely to the theatrical release and soundtrack and did not include home media releases. It was not until 1996 that there was an official home media release on VHS when Kevin Eastman, who had bought the publishing rights of Heavy Metal magazine in 1992 and previously contributed to the magazine, reached a settlement with the music copyright holders.[28] The original LP contained four tracks per side and was programmed in stackable order (A, D, B, C). Rhino Records reissued the two-LP collection in 2017, programmed in standard order (A, B, C, D), as part of their `Rocktober` collection.[29] No. Title Artist Length 1. `Heavy Metal` (original version) Sammy Hagar 3:50 2. `Heartbeat` Riggs 4:20 3. `Working in the Coal Mine` Devo 2:48 4. `Veteran of the Psychic Wars` Blue Öyster Cult 4:48 5. `Reach Out` Cheap Trick 3:35 6. `Heavy Metal (Takin` a Ride)` Don Felder 5:00 7. `True Companion` Donald Fagen 5:02 8. `Crazy (A Suitable Case for Treatment)` Nazareth 3:24 9. `Radar Rider` Riggs 2:40 10. `Open Arms` Journey 3:20 11. `Queen Bee` Grand Funk Railroad 3:11 12. `I Must Be Dreamin`` Cheap Trick 5:37 13. `The Mob Rules` (alternate version) Black Sabbath 3:16 14. `All of You` Don Felder 4:18 15. `Prefabricated` Trust 2:59 16. `Blue Lamp` Stevie Nicks 3:48 Charts Chart (1981–1982) Peak position US Billboard 200[30] 12 Certifications Region Certification Certified units/sales Canada (Music Canada)[31] Platinum 100,000^ United States (RIAA)[32] Platinum 1,000,000^ ^ Shipments figures based on certification alone. Score Unusual for the time, an LP recording of Elmer Bernstein`s score was released alongside the soundtrack in 1981, and it featured the composer`s first use of the ondes Martenot, an instrument which became a trademark of Bernstein`s later career. On March 13, 2008, Film Score Monthly released an official, expanded CD release of Bernstein`s score, which he conducted.[33] The score was performed by the Royal Philharmonic Orchestra with the London Voices and Jeanne Loriod on the ondes Martenot. Original track listing: `Den and the Green Ball` (03:17) `Den Makes It` (02:49) `Den and the Queen` (02:56) `Den`s Heroics` (02:52) `Bomber and the Green Ball` (04:41) `Space Love` (01:32) `Harry and the Girl` (03:45) `Tarna Summoned` (sic) (02:50) `Flight` (02:20) `Tarna Prepares` (sic) (03:35) `Barbarians` (03:37) `Tarna Forever` (sic) (03:37) Re-release track listing: `Beginning` 1:16 `Intro to Green Ball` 1:18 `Discovery/Transformation (Den and the Green Ball)` 3:15 `Den Makes Out (Den Makes It)` 2:42 `Castrate Him/Searching for the Loc-Nar` 2:04 `Queen for a Day (Den and the Queen)` 2:54 `Pursuit (Den’s Heroics)` 2:51 `Fiste` 1:27 `Getting Bombed` 3:06 `Green Ball` 2:15 `Dem Bones` 2:44 `No Alarm` 0:58 `Robot Love (Space Love)` 1:32 `Harry` 1:35 `The Next Morning` 1:56 `End of Baby` 2:43 `Council (Taarna Summoned)` 2:49 `The Flight to Temple (Flight)` 2:16 `The Sword (Taarna Prepares)` 3:32 `Flight to Holiday Town` 2:20 `Fighting` 2:43 `My Whips!/Taarna Escapes Pit` 4:57 `Finish (Taarna Forever)` 3:34 Bonus tracks `Den Makes Out` (film version) 2:49 `Bomber and the Green Ball` (album edit) 4:35 `Harry and the Girl` (album edit) 3:41 `Barbarians` (album edit) 3:34 Sequel The sequel, titled Heavy Metal 2000, was released in 2000. Upon its release, Heavy Metal 2000 received negative reviews from critics and has fallen into obscurity. Legacy and cultural impact Several years after the film`s release, Heavy Metal managed to achieve a strong cult following mainly through midnight screenings, TV showings, and home video releases.[citation needed] The film served as inspiration for many animation and science fiction films and shows following it such as Blade Runner (1982), Starchaser: The Legend of Orin (1985), Gandahar (1987), Akira (1988), The Fifth Element (1997), Titan A.E. (2000), Sausage Party (2016), Mandy (2018), The Spine of Night (2021), Futurama, and Rick & Morty.[citation needed] The film was parodied in a season 12 episode of the adult animated comedy series South Park entitled `Major Boobage` (2008; S12E03), which also featured songs from the film`s soundtrack.[citation needed] Some news reports have suggested that Heavy Metal was an influence for Elon Musk when he launched a Tesla Roadster alongside a fake spaceman in the front seat into orbit in 2018, which seems to reference the film`s title sequence `Soft Landing`, in which a space traveler lands on Earth in a Chevrolet Corvette convertible two-seater.[34][35] Both Heavy Metal and the British animated film Watership Down (1978) served as strong influences on the animation and anthology styles of the music video At the Door by The Strokes.[36] Remake In March 2008, Variety reported that Paramount Pictures was set to make another animated film with David Fincher `spearheading the project`. Kevin Eastman, who is the current owner and publisher of Heavy Metal, would direct a segment, as would Tim Miller, `whose Blur Studio will handle the animation for what is being conceived as an R-rated, adult-themed feature`.[37] Entertainment website IGN announced, on July 14, 2008, `David Fincher`s edgy new project has suffered a serious setback after it was dropped by Paramount, according to Entertainment Weekly.`[38] Entertainment Weekly quoted Tim Miller as saying `David really believes in the project. It`s just a matter of time.`[39] In September 2008, Eastman was quoted as saying `Fincher is directing one, Guillermo del Toro wants to direct one, Zack Snyder wants to direct one, Gore Verbinski wants to direct one`. It was reported that the film had been moved to Sony division Columbia Pictures (which had released the original) and had a budget of $50 million.[40] In June 2009, Eastman said `I`ve got breaking news that Fincher and James Cameron are going to be co-executive producers on the film, Cameron will direct one.[41] Mark Osborne and Jack Black from Tenacious D were going to do a comedy segment for the film.`[42] Production is stalled indefinitely, as no film distributor or production company has shown interest in distributing or producing the remake since Paramount Pictures decided to forgo being the film`s distributor,[43] who purportedly thought such a film was `too risqué for mainstream audiences`.[39] In July 2011, filmmaker Robert Rodriguez announced at the Comic-Con that he had purchased the film rights to Heavy Metal and planned to develop a new animated film at the new Quick Draw Studios.[44] On March 11, 2014, with the formation of his very own television network, El Rey, Rodriguez considered switching gears and bringing it to TV.[45] On March 15, 2019, the reboot was released on Netflix as a reimagining titled Love, Death & Robots.[46] Richard Corben (October 1, 1940 – December 2, 2020) was an American illustrator and comic book artist best known for his comics featured in Heavy Metal magazine, especially the Den series which was featured in the magazine`s first film adaptation in 1981. He was the winner of the 2009 Spectrum Grand Master Award[1] and the 2018 Grand Prix at Angoulême. In 2012 he was elected to the Will Eisner Award Hall of Fame. Biography Richard Corben was born on a farm[2] in Anderson, Missouri, and went on to get a Bachelor of Fine Arts degree from the Kansas City Art Institute, in 1965.[3] At the same time, he trained in bodybuilding, but eventually retired from the art with few accomplishments due to a lack of time to dedicate himself to it.[4] After working as a professional animator at Kansas City`s Calvin Productions, Corben started writing and illustrating for the underground comics, including Grim Wit, Slow Death, Skull, Rowlf, Fever Dreams and his own anthology Fantagor.[5] In 1970 he began illustrating horror and science-fiction stories for Warren Publishing.[6] His stories appeared in Creepy, Eerie, Vampirella, 1984 and Comix International. He also colored several episodes of Will Eisner`s Spirit. All the stories and covers he did for Creepy and Eerie have been reprinted by Dark Horse Books in a single volume: Creepy Presents Richard Corben.[7] The three stories he drew for Vampirella have been reprinted by Dynamite Entertainment in Vampirella Archives Vol. 5.[8] In 1975, when Moebius, Druillet, and Jean-Pierre Dionnet started publishing the magazine Métal Hurlant in France, Corben submitted some of his stories to them.[9] He continued his work for the franchise in America, where the magazine was called Heavy Metal. Also in 1975, a selection of his black-and-white underground comix stories was collected in hardcover as The Richard Corben Funnybook from Kansas City`s Nickelodeon Press. In 1976 he adapted a short Robert E. Howard story in an early graphic novel, Bloodstar.[10] Among the stories drawn for Heavy Metal he continued the saga of his most famous creation, Den, which had begun in the short film Neverwhere and a short story in the underground publication Grim Wit No. 2. The saga of Den is a fantasy series about the adventures of a young underweight nerd who travels to Neverwhere, a universe taking inspirational nods from Robert E. Howard`s Hyborian Age, Edgar Rice Burroughs`s Barsoom and H. P. Lovecraft`s horror dimensions. This story was adapted in a highly abridged form, in the animated film Heavy Metal, where Den was voiced by John Candy in a humorous interpretation of the character that Corben found excellent. Corben`s collaborations are varied, ranging from Rip in Time with Bruce Jones, to Harlan Ellison for Vic and Blood, to the Mutant World titles, Jeremy Brood, and The Arabian Nights with Jan Strnad. From 1986 to 1994 Corben operated his own publishing imprint, Fantagor Press. Among the titles Fantagor published were Den, Den Saga, Horror in the Dark, Rip in Time, and Son of Mutant World. Fantagor went out of business after the 1994 contraction of the comics industry.[11] [12] Due to the sexual nature of Corben`s art, it has been accused of being pornographic, a description he himself disagrees with, preferring to call his work `sensual` instead.[4] One notorious example was the interview he gave Heavy Metal editor Brad Balfour in 1981.[2][13][14] Corben was very dissatisfied with the interview. He felt it portrayed him as a `petty, childish, borderline psychotic oaf`. He wrote a letter in retort, which was published in the September 1981 issue.[15] Corben did the cover of Meat Loaf`s Bat Out of Hell, Jim Steinman`s Bad for Good and a movie poster (based on a layout compositional sketch by Neal Adams[16]) for the Brian De Palma film Phantom of the Paradise. In addition, he provided cover art for the VHS release of the low-budget horror film Spookies. In 2000, Corben collaborated with Brian Azzarello on five issues of Azzarello`s run on Hellblazer (146–150) which was collected in a trade called Hellblazer: Hard Time.[17] He also adapted the classic horror story The House on the Borderland by William Hope Hodgson for DC`s Vertigo imprint. In 2001, Azzarello and Corben teamed up to create Marvel`s Startling Stories: Banner (a four issue mini-series exploring Doc Samson`s relationship with Bruce Banner) and Marvel MAX`s Cage (a five issue mini-series starring Luke Cage). In June 2004, Corben joined with Garth Ennis to produce The Punisher: The End, a one-shot title for Marvel published under the MAX imprint as part of Marvel`s The End series. The story tells of The Punisher`s final days on an earth ravaged by nuclear holocaust. Ever the independent, Corben would work with rocker Rob Zombie and Steve Niles in 2005 on a project for IDW Publishing called Bigfoot. In 2007, Corben did a two issue run on Marvel Comics` surreal demon biker, Ghost Rider. At Marvel`s MAX imprint he has produced Haunt of Horror, a mini-series adapting classic works of horror to comics. The first mini-series, published in 2006, was based on the stories of Edgar Allan Poe[18] followed by a second series in 2008 adapting works by H. P. Lovecraft.[19] Between 2008 and 2009 he illustrated the flashback sequences in Conan of Cimmeria #1–7, collected as Conan Volume 7: Cimmeria. In 2009 he illustrated Starr the Slayer for Marvel`s MAX comics imprint. Since then Corben has done more work for Marvel, DC, IDW, and most notably Dark Horse, drawing the Eisner Award-winning Hellboy. In May 2020, Parallax Studio announced preproduction on the live-action animated film MEAD (originally titled To Meet the Faces You Meet) based on the comic book Fever Dreams illustrated by Corben and written by Jan Strnad.[20][21] The film stars Robert Picardo and Samuel Hunt and features the voices of Patton Oswalt and Patrick Warburton.[22] MEAD was premiered at the 2022 Cannes Film Festival on May 22, 2022, and will be released for streaming in North America on August 9, 2022.[23] Personal life Corben`s wife is named Madonna `Dona` (née Marchant). Corben was the special-effects/animation technician for her prize-winning film entry Siegfried Saves Metropolis in a contest sponsored by Famous Monsters of Filmland magazine in 1964 (see issues #34 and 35). They married soon afterward in 1965.[24] They had a daughter, Beth, who is a watercolor painter and often colored her father`s comics. Corben died on December 2, 2020, following heart surgery. He was 80 years old.[25] Awards Corben`s work in comics and animation has won him recognition, including the Shazam Award for Outstanding New Talent in 1971, and a Shazam Award for Superior Achievement by an Individual in 1973. Corben won a 1973 Goethe Award for `Favorite Fan Artist`. He also received a CINE Golden Eagle and President of Japan Cultural Society trophy in 1968 for his short film Neverwhere.[26] While working for the Warren anthologies, he received numerous Warren Awards: 1973 Best Artist/Writer and Special Award for `Excellence`, 1976 Best Art for `Within You, Without You` (Eerie #77) and Best Cover (also for Eerie #77), and 1978 Best Cover Artist.[1] In 2009 Corben won the `Best Finite Series/Limited Series` Eisner Award for Hellboy: The Crooked Man and in 2011 he won the `Best Single Issue (or One-Shot)` Eisner Award, for Hellboy: Double Feature of Evil. Finally, in 2012 he was elected to the Will Eisner Award Hall of Fame. In 2015, Corben was inducted into the Ghastly Awards Hall of Fame. His previous Ghastly Awards include Best Artist in 2013 and Best One-shot Comics for his Dark Horse Poe adaptations... Edgar Allan Poe`s The Conqueror Worm in 2012, Edgar Allan Poe: The Raven & The Red Death (2013) and Edgar Allan Poe`s Morella and the Murders in the Rue Morgue in 2014.[27] In January 2018 he won the prestigious Grand Prix at Angoulême and presidency of the 2019 festival.[28] Beginning concurrently with the 2019 festival in January, a 250-piece collection of his original artworks was put on display at the Musée d`Angoulême, the exhibit ending March 10, 2019.