A look and analysis of the one-sheets
The art of the film poster isn’t dead, but it is suffering from a lack of creativity. Thomas Jane said it best in The Mist when he commented studios can easily “whip up some bad Photoshop poster in an afternoon. They do it all the time, two big heads.” Which is the reason way I haven’t had the urge to have anything framed that was made for a modern film in the last 20 years. That’s not to say there hasn’t been art that’s impressed me, it just isn’t up to par with the old days. The Killer Art Report Card is a column that looks at and grades multiple one-sheets created for select titles.
This week, we look at Universal’s remake of The Wolfman, a film thatâs offering post aficionados a wide range of diversity. While they share some common themes – villagers, the Wolfman, its cast – I was surprised to see the use of “the full moon” take the backseat. Click on each image to see a larger version.
The Original
At first, one is hit with the abundance of blue before being drawn to that leering head of the Wolf Man himself. (See? They did floating heads back then, too.) So much for any semblance of secrecy as to what he looks like. Still, for audiences in 1941, this is nightmarish stuff that is compounded by the silhouettes of angry villagers – recalling a key ingredient to the Frankenstein formula that was already a success by this time – and eerie trees that reach skyward.
Star power sold the picture as well, hence the larger than life cast list (beneath the crude title treatment that looks like it’s selling a caveman film) leading with the respected Claude Rains. Significant is the sex appeal – in the form of a blonde, her back arched and breasts pointed up – inserted in the bottom left-hand corner. Not bad, but not one of the best of the Universal one-sheets.
Teaser #1
What’s this movie about? Oh yeah, the Wolfman. And look, there he is!
Less is more in some instances and I still feel this is giving too much. Nevertheless, it captured my attention instantly and it’s the image Universal is taking to the streets on bus stops and billboards. One could say this is a natural evolution of the ’41 poster for the original film. The Wolfman here is peering out at you at the same angle the Wolf Man is positioned in the â41 art; clearly here obscured by shadow, though. The strength here is the fine detail – his coarse hairs, the subtle lines in his face – put you up close with the beast.
Grade: A-
Teaser #2
An intense scene in the trailer that doesn’t make for very riveting poster art.
The previews have shown Larry Talbot’s potential main squeeze, co-star Emily Blunt, hiding behind a tree, rheumy-eyed and out of breath, while the Wolfman scours the woods looking for her in the distance. This teaser captures none of the intensity, or the Wolfman for that matter. Where is the hirsute bastard?
Blunt looks concerned, but she also appears as a Photoshop patchwork (look at that arm) terrified of the ominous trees lurking in the distance. The image isn’t engaging and the absence of the titular creature makes little sense.
Grade: D
Final American One-Sheet / French One-Sheet
Standard floating heads fare.
Follow the strategically-placed eye lines of the American art: Hugo Weaving and his facial hair threaten Benicio Del Toro; Blunt is also throwing a look in Del Toro’s direction, this one is of concern. Del Toro is looking at his on-screen pop Anthony Hopkins. And Anthony Hopkins is staring at us. So, what’s up Hopkins? Got a secret to share? Because if the dude playing the Wolfman isn’t looking at us, and you are, something must be going on. Hmm?
Although I hoped for something more, the floating heads treatment for this “final” one-sheet – which has to sell the audience on everything in the picture with a single image – isn’t surprising. Nor is it exciting. The Wolfman, reduced to a pint-sized pup, isn’t striking a very dynamic pose either.
France nixes Weaving and the Wolfman and inserts angry villagers.
Grade for both: C+
Basil Gogos Painting
Universal reconnects with those who grew up on Famous Monsters of Filmland magazine (the “monster kids”) and commissions artist Basil Gogos to give us his rendition of the Wolfman for a new generation.
The piece is moving because it’s a master at work. It’s obvious he’s working from this image for reference, but the color palette – like so many of Gogos’ works – is bold, the pose is menacing and the detail is terrific. Love the glint in the Wolfman’s eye and the saliva cascading from his mouth.
Grade: A
French Teaser
This is what a teaser should be. It’s handsome. Simple. It not only speaks to fans familiar with the story, with its depiction of the silver-topped cane carried by Larry Talbot, but it also throws focus on an iconic prop.
In the original, Talbot uses the cane – a wolf’s head and pentagram – to kill the werewolf which bites him in the woods. It later becomes not just a reminder of that tragic night he was attacked but a symbol of his curse. As we can see, the cane itself has been upgraded (sans pentagram) and it’s a stunning piece of work, especially seen in the shaft of, presumably, moonlight coming down from the top of the poster.
Grade: A +
Thailand One-Sheet
Doesn’t the Wolfman know that one should aim the camera downward for Facebook/MySpace profile portraits? Shaves the weight and it’s more flattering.
All kidding aside, the approach here is refreshing. The perspective takes the point of view from a victim on the ground. The Wolfman stands overhead, surveying the area before, perhaps, returning to tearing his prey to pieces. This is the only one-sheet to date that puts Rick Baker’s make-up on full display and it’s complimented by the brilliant full moon. Not keen on the color scheme of the background. Regardless, kudos for putting the monster front and center.
Grade: B
British One-Sheets
Style “A” forfeits any presence of Del Toro for the Wolfman and the woman in his life, Blunt. The composition works. The Wolfman’s pose, and the shadow play, is unique and compliments the column-like effect created by the trees and mist. Blunt’s somber stance tells us things might not end all to well in this tale.
Style “B” is a riff on Universal’s domestic teaser. It’s “colorized” and looks unprofessional and shoddy. But hey, we actually get a Wolfman creeping up on us this time.
Style “A” Grade: A-
Style “B” Grade: D
Source: Ryan Rotten, Managing Editor
