IL GRIDO Original 1-Sheet Movie POSTER Steve Cochran ALIDA VALLI Dorian Gray '57

This is an ORIGINAL 1-sheet movie poster measuring 27" x 41".It is in good shape for its age. It is an Italian film from Italy yet it was used in the French Section of Canada. It has the Canadian stamp. Artwork still nice. has a sticker remnant on the front. This poster was used for the 1957 drama,Il grido A man wanders aimlessly, away from his town, away from the woman he loved, emotionally and socially inactive. After living seven years with the mechanic Aldo, having a daughter with him, the simple woman Irma is informed that her absent husband had just died in Sydney. She becomes upset when Aldo proposes to marry her and she tells him that she is going to leave him. Unable to explain how much he loves her, Aldo takes their daughter Rosina and travels with her, meeting different women in different places, trying to establish a new relationship and fill the emptiness of his sentimental life. He visits his former lover Elvia; he meets and lives with the widow Virginia, who owns a gas station; he lives with the prostitute Andreina. But these relationships never complete the needy Aldo. Director:Michelangelo Antonioni Writers:Michelangelo Antonioni, Elio Bartolini, Stars:Steve Cochran, Alida Valli, Betsy Blair CastComplete credited cast: Steve Cochran ... Aldo Alida Valli ... Irma Betsy Blair ... Elvia Gabriella Pallotta ... Edera, her sister Dorian Gray ... Virginia Lynn Shaw ... Andreina Mirna Girardi ... Rosina It's a nice vintage poster in nice shape to Frame and hang!Shop with confidence! This is part of our in-store inventory from our shop which is has been located in the heart of Hollywood where we have been in business for the past40 years!MORE INFO ON ALIDA VALLI: Enigmatic, dark-haired foreign import Alida Valli was dubbed "The Next Garbo" but didn't live up to postwar expectations despite her cool, patrician beauty, remote allure and significant talent. Born in Pola, Italy (now Croatia), on May 3, 1921, the daughter of a Tridentine journalist and professor and an Istrian homemaker, she studied dramatics as a teen at the Motion Picture Academy of Rome and Centro Sperimentale di Cinematografia before snaring bit roles in such films as Three Cornered Hat (1935) ["The Three-Cornered Hat"] and The Two Sergeants (1936) ["The Two Sergeants"]. She made a name for herself in Italy during WWII playing the title role in Manon Lescaut (1940), won a Venice Film Festival award for Piccolo mondo antico (1941) ["Little Old World"] and was a critical sensation in Noi vivi (1942) ["We the Living"]. She briefly abandoned her career, however, in 1943, refusing to appear in what she considered fascist propaganda, and was forced into hiding. The next year she married surrealist painter/pianist/composer Oscar De Mejo. They had two children, and one of them, Carlo De Mejo, became an actor. The marriage later dissolved amid a 1954 drug, sex and murder scandal that involved her former husband and his mistress, a public outbreak that nearly ruined her career.Following her potent, award-winning work in the title role of Eugenie Grandet (1946), she was discovered and contracted by David O. Selznick to play the murder suspect Maddalena Paradine in Alfred Hitchcock's The Paradine Case (1947). She was billed during her Hollywood years simply as "Valli," and Selznick also gave her top femme female billing in Carol Reed's classic film noir The Third Man (1949), but for every successful film--such as the ones previously mentioned--she experienced such failures as The Miracle of the Bells (1948), and audiences stayed away. In 1951 she buy farewell to Hollywood and returned to her beloved Italy. In Europe again, she was sought after by the best directors. Her countess in Luchino Visconti's Senso (1954) was widely heralded, and she moved easily from ingénue to vivid character roles. Later standout films encompassed costume dramas as well as shockers and had her playing everything from baronesses to grandmothers in such films as Eyes Without a Face (1960) ["Eyes Without a Face"], The Gigolo (1960), Oedipus Rex (1967) ["Oedipus Rex"], Tender Dracula, or Confessions of a Blood Drinker (1974), 1900 (1976), Suspiria (1977), Luna (1979), Inferno (1980), Aspern (1982), A Month by the Lake (1995) and, her most recent, Angel of Death (2002).MORE INFO ON STEVE COCHRAN: Husky, hirsute, darkly handsome Steve Cochran was all man -- and a slick ladies' guy to boot. They didn't come much rougher and tougher than he both off- and on-camera. Throughout post-WWII Hollywood and the 1950s, he played the swarthiest and sexiest of coldhearted villains, with mustache or without, in a few films now considered classics. What Cochran perhaps lacked in the Gable charisma department, he certainly made up for with his own raw magnetism and sexy virility -- though it wasn't enough for him to attain all-out superstardom. Perhaps a few too many oily heavies and shady heroes for audiences to really warm up to was the key problem. And with his womanizing reputation preceding him, the tabloids could not have dreamed up a more salacious and mysterious ending for this cinematic bad boy in 1965 than amid a sea of lovely ladies!Christened Robert Alexander Cochran, Scott was born on May 25, 1917, in Eureka, California, but grew up in Laramie, Wyoming, as the son of a logger. While he appeared in high school plays, he spent more time delving into athletics, particularly shooting hoops. After stints as a cowpuncher and railroad station hand, he studied at the University of Wyoming and played basketball, as well. After the frisky collegiate got the ax from his team due to his fraternizations with the opposite sex, he wound up joining his college's dramatic club. Impulsively, he quit college in 1937 and decided to go straight to Hollywood to become a star.Working as a carpenter and department store detective during his early days, he gained experience appearing in summer stock and then returned to California in the early 1940s when he was given the chance to work with the Shakespeare Festival in Carmel. There, he played the highly visible roles of "Orsino" in "Twelfth Night", "Malcolm" in "Macbeth", "Horatio" in "Hamlet" and the ungainly title role of "Richard III".Unable to serve his country due to a heart murmur, Steve directed shows for Army camps (and toured with them) in addition to appearing around the country in stock plays. He received his biggest break yet when he made his Broadway debut in 1944's "Broken Hearts on Broadway" and then went on to appear almost immediately in "Hickory Stick". While playing leading man to 'Constance Bennett' in a tour of "Without Love", he was noticed by Samuel Goldwyn and brought to Hollywood to work with both the Goldwyn Studio and Harry Cohn's Columbia Pictures.Playing a heavy to Danny Kaye and Virginia Mayo in Wonder Man (1945) got the ball rolling and he went on to appear in a couple of shady roles in the "Boston Blackie" series before briefly playing Ms. Mayo's extra-marital fling in the war classic The Best Years of Our Lives (1946). He reunited with and supported Mr. Kaye and Ms. Mayo twice more in The Kid from Brooklyn (1946) and A Song Is Born (1948) later that decade. Unable to move into starring roles, however, his career began to hit a snare and the studios decided not to renew his contract.Following a notable stint as the incomparable Mae West's leading stud in her 1949 revival of "Diamond Lil" on Broadway, Steve was picked up by Warner Bros. and began to create what would become his signature gangster persona in Hollywood. The violent-edged White Heat (1949) may have become a prime classic thanks to James Cagney's riveting performance and "Top of the World" finale, but Steve received his due as a double-dealing mobster out to steal the imprisoned Cagney's moll (Virginia Mayo, again) and syndicate out from under him. As in many of these roles, Steve's unscrupulous character met a messy end.Warners gave him some great roles in the beginning of the 1950s. Beginning with Joan Crawford's gangster paramour in The Damned Don't Cry (1950) and Ruth Roman's ex-convict hubby in Tomorrow Is Another Day (1951), he then became a nemesis to sweet Doris Day in Storm Warning (1951). Off-camera, the thrice-divorced actor (which included a second to actress Fay McKenzie) caught the lustful eye of some of Hollywood's most notorious sex stars including Mamie Van Doren, Jayne Mansfield and Barbara Payton, and the flashbulbs continued to pop for the hormonal star. His last two films for Warners were the musicals She's Back on Broadway (1953) with Ms. Mayo (for the sixth and last time) and The Desert Song (1953) with Kathryn Grayson.In the meantime, Cochran showed true grit in such films as Inside the Walls of Folsom Prison (1951), Carnival Story (1954) and Private Hell 36 (1954). In the mid-1950s, he founded his own production company in order to promote a more heroic image in films. This resulted in the excellent but little-known drama Come Next Spring (1956), opposite Ann Sheridan. Before long, however, the actor was back to playing rough and ruthless in such films as Slander (1957). Although he received excellent reviews abroad in the Michelangelo Antonioni picture Il grido (1957) [The Outcry], his career began a final downslide in the late 50s. A prime candidate for numerous arrests for his impulsive carousing and brawling, his living hard in the fast lane began to take its toll. A third marriage to a girl his daughter's age ended in divorce. His last years were marred by an obligatory Errol Flynn-type ending of drinking and debauchery. He began looking bloated and weighty and was relegated to playing heavies on TV. His last films were bottom-of-the-barrel, including The Beat Generation (1959), The Big Operator (1959), Mozambique (1965) and Tell Me in the Sunlight (1965), the last released unnoticed and posthumously.In 1965, Steve hired an assortment of ladies for an "all-girl crew" to accompany him on a boating trip. Leaving Acapulco on J