I found Lex Barker a little to casual (like he grew up in Iowa casual) to play Tarzan, but any guy willing to run around the jungle in a loincloth and hang out with apes gets my respect anytime.
Look, with Peter Lorre and noir intent, Stranger on the Third Floor is a gem you shouldn't miss. This Mexican lobby card covers the action and intensity nicely. Note the wisp of gunsmoke trailing from the gun. This is the first film noir. Don't miss it.
This is an unusual Mexican lobby card (at least for me) for Cat People (La Marca De La Pantera). There's no border and the paper stock is thick board. Not the type of card I am familiar with. But the green color and graphic were a no-brainer for me, so I grabbed it fast. You can view the Mexican lobby card for Curse of the Cat People here.
I found this The Return of Chandu (Los Misterios De Chandu) Mexican lobby card on eBay. It was a steal. Surprised I didn't have more bidders to contend with. What's special is that the inset scene with Bela Lugosi is an actual photograph, so that makes this an early release card, probably original. Great graphics, colors and an action photo make this a wonderful addition to my collection. In this movie, Bela plays Chandu, while in the previous movie, Chandu the Magician, he played the villain, Roxor.
I always find it interesting to see lobby cards that stress a romantic angle for a horror movie. It seems so contrary to the selling point of the movie, which would be terror, scares, or jeers (depending on the quality). Of course, you don't see much romance at all today in horror cinema, but in the 1950s and 1960s it was either the monster wanted the girl or the hero wanted the girl, or the monster just wanted to eat both of them and be done with it. So on this Mexican lobby card for The Black Scorpion, we get a back-grounded monster and some military action, but a lot of romance up front. Go figure. On the plus side, the stop motion work was supervised by Willis O'Brien and Richard Denning is the hero. I like Richard Denning.
A lively Peter Cushing, a love-cursed Christopher Lee, and Terrence Fisher’s direction, make Hammer’s The Mummy a colorful horror movie. Cushing related his concern regarding how the highly imaginative poster art, where the mummy has that gaping hole in its chest with the light streaming through, wasn’t actually in the movie. He made sure to add a bit of business to at least imply the nasty wound (shown in the inset scene in the first lobby card).
A good, lightweight, Hammer horror movie with social commentary undertones, with similarities to the plot line in The Creature from the Black Lagoon. The revelations that ensue show humankind's weaknesses compared to the Yetis strengths, showing the true monsters of the movie.
An overly talky movie, yet still has its charms; especially with the monster hanging around the lighthouse for food scraps. In-between the gabfests, the unexpected gore (monster holding severed head, crab crawling over severed head) must have jolted kids in their theater seats, making it a must see movie for them. I saw it on local television in the 1960s and was nicely scared, thank you very much. The creature suit was fashioned by Universal veterans involved with the Creature from the Black Lagoon.
The usual mad scientist on lonely island performs experiments they shouldn't kind of movie. Only done very very badly. You can watch this one on YouTube. Lucky you. There's something about this Mexican lobby card, though, that's kind of cool and very spook show stylish.
This Mexican lobby card for Diary of a Madman, based on the Guy de Maupassant short story, The Horla, makes sure to show Vincent Price's patented sinister stare to best effect. The essential model of the Horla, an unseen, unknown, maliciously intending alien entity moving from host to host, is now an often used one in science fiction and horror movies. The Horla is often mentioned as H.P. Lovecraft's inspiration for The Call of Cthulhu.
Here's the Mexican lobby card for Son of Godzilla (El Hijo De Godzilla).
This Mexican lobby card is puzzling. The inset scene is from Boris Karloff’s The Terror, but the title translates to Boris Karloff’s Bedlam. The jumble of illustrations seems like a different lobby card was used and Karloff’s face was added for obvious reasons (hint: El Maestro Del Terror) to create this one. Still colorful enough to catch attention. I don’t recall seeing big…chains…in The Terror either.