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Laurent Durieux’s posters for these Hitchcock films are striking and evocative without relying on the visual styles of the films themselves. The images are clear and strong, yet, like the films themselves, become richer with each viewing (I just noticed Norman Bates’ lower half for the first time). Looking at these posters for the first time was discovering new favourites. 

Paul Newman in Israel while shooting Exodus (1960).
Photograph by Leo Fuchs

Paul Newman in Israel while shooting Exodus (1960).

Photograph by Leo Fuchs

#35

#35

'Mugging' redefined by Redford and Streisand.

The final shot from King of Kings (1961) seems appropriate for the time of year.

Nicholas Ray’s film ends with the apostles by Galilee. The voice of Jesus tells them to leave and “teach all nations”, which, in turn, they do, each in a separate direction. As they leave, Jesus’ shadow approaches and intersects with the fishing net on the sand to form a cross. The ‘fishers of men’ are away - the net, inert, seemingly has no function. But it and the shadow create a dichotomy of images: spaciousness, yet confinement. Distance, yet closeness.

Doris Day and Rock Hudson have a good laugh while shooting Lover Come Back (1961).
Photograph by Leo Fuchs 

Doris Day and Rock Hudson have a good laugh while shooting Lover Come Back (1961).

Photograph by Leo Fuchs