window card WC IT CAME FROM BENEATH THE SEA 1955 ORIGINAL USA RAY HARRYHAUSEN Fx

Description

Original 1955 Theatrical USA WINDOW CARD, GOOD+ to VERY GOOD condition. Natural, age-appropriate edgewear. Displays very nicely. See Photos.
Beautiful poster with bright and colorful classic 1950s sci-fi, horror imagery.
FAST and SAFE DELIVERY a Certainty.
Part of a gallery of more than ONE THOUSAND LINENBACKED and more than 30,000 un-restored original rare paper items being offered for the first time to the eBay community. ALL PHOTOS of Rare Paper are ACTUAL ITEMS being sold. Please, ask questions before purchase, we will do our best to oblige you.
1955. Directed by Robert Gordon, Special f/X by RAY HARRYHAUSEN. TAGLINES : "Havoc! Chaos! Destruction!" "Can IT Be Stopped?" "Out of primordial depths to destroy the world!" - A giant, radioactive octopus rises from the Philippine Trench to terrorize the North American Pacific Coast. After an encounter at sea with an unknown underwater creature, a naval commander works with two scientists to identify it. The creature they are dealing with is a giant, radioactive octopus that has left its normal feeding grounds in search of new sources of replenishment. As the creature attacks San Francisco, the Navy tries to trap it at the Golden Gate Bridge but it manages to enter the Bay area leading to a final confrontation with a submarine. CAST includes Kenneth Tobey, Faith Domergue, Donald Curtis, Ian Keith, Harry Lauter, Roy Engel, William Bryant, Duke Fishman, Herschel Graham, Sam Hayes, Tol Avery, Charles H. Schneer. BEHIND THE SCENES TRIVIA : Because the budget was so low, Ray Harryhausen saved money by building his octopus model with six rather than the correct eight tentacles. He posed the creature so this lack of the right number of arms wasn't apparent. Ray Harryhausen's father built the metal armature for the model of the octopus. This is the film that brought together producer Charles H. Schneer and special effects legend Ray Harryhausen. Their professional relationship would last until Clash of the Titans (1981), the final feature for both men.
WILLIAM CAMERON MENZIES
Mini Bio :
Born : July 29, 1896 · New Haven, Connecticut, USA
Died : March 5, 1957 · Beverly Hills, Los Angeles, California, USA (cancer)
Nickname : Billy
Height : 5′ 8″
William Cameron Menzies was educated at Yale University, the University of Edinburgh and at the Art Students League in New York. He entered the film industry in 1919, after serving with the U.S. Expeditionary Forces in World War I. His initial assignments were in film design and special effects, as assistant to Anton Grot at Famous Players-Lasky. Menzies drew inspiration from German Expressionism and from the work of D.W. Griffith. His sense of visual style was quickly recognized and he was promoted to full art director after only three years. At United Artists (1923-30, 1935-40) and Fox (1931-33), he eventually designed for stars like Rudolph Valentino, Douglas Fairbanks and Mary Pickford. He worked for all three of the major independent producers: Samuel Goldwyn, David O. Selznick and Walter Wanger. Menzies also had the singular distinction of receiving the first-ever Oscar for art direction (for The Dove (1927)). His flamboyant and exotic fairy-tale sets for The Thief of Bagdad (1924) are regarded to this day as a work of pure genius. From the beginning of the sound era, Menzies also got involved in directing and producing. During the 1940's, he worked frequently with the director Sam Wood, whose films he improved dramatically through his designs. Over time, Menzies acquired a well-earned reputation for his larger-then-life personality, his visual flair and love of adventure and fantasy in films. He defined and solidified the role of the art director as having overall control over the look of the finished motion picture. He was a tireless innovator, who meticulously pre-planned the color and design of each film through a series of continuity sketches that outlined camera angles, lighting and the position of actors in each scene. For Gone with the Wind (1939), he and J. McMillan Johnson drew some 2000 detailed watercolor sketches, that got him the Honorary Academy Award 1940 "For outstanding achievement in the use of color for the enhancement of dramatic mood" of the film. An historian, Wilbur G. Kurtz, was employed on the project to provide additional accuracy of period detail. Menzies himself directed the famous burning of Atlanta sequence and hospital sequence, including the famous long shot of wounded and dying Confederate soldiers, taken from a 90-foot crane. A consummate designer of film architecture on a grand scale, Menzies was rather less effective as a director, consistently displaying an inability to draw strong performances from his cast. As a result, others were often brought in as co-directors, forcing Menzies to share the credit. In the 1950's, he helmed several low-budget films, which stand out purely for their characteristically good visuals, as, for example, Invaders from Mars (1953).  Menzies was inducted into the Art Directors Guild Hall of Fame in 2005.