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Details about  Hitchcock I CONFESS Large Spain Herald Mini Poster MONTGOMERY CLIFT ANNE BAXTER

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Hitchcock I CONFESS Large Spain Herald Mini Poster MONTGOMERY CLIFT ANNE BAXTER
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Great Original Spanish Herald (Mini Poster) from first Release of Film in Spain in 1954. Size: 6 5/8

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11 Aug, 2014 02:06:55 AEST
US $14.99
Approximately AU $16.99(including postage)
US $12.99 (approx. AU $14.72) USPS First Class Mail Intl / First Class Package Intl Service | See details
Item location:
Desert Hot Springs, California, United States


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Seller Notes: Great Original Spanish Herald (Mini Poster) from first Release of Film in Spain in 1954. Size: 6 5/8 x 3 7/8" (17 x 10 cm.) approx. Condition is excellent. Back side is tanning from age and is blank.
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Great Original Spanish Herald (Mini Poster) from first Release of Film in Spain in 1954.

Spanish title: Yo Confieso

 Size: 6 5/8 x 3 7/8" (17 x 10 cm.) approx. 

Condition is excellent.  Back side is tanning from age and is blank.





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 I Confess is a 1953 drama film directed by Alfred Hitchcock, and starring Montgomery Clift as Fr. Michael William Logan, a Catholic priest, Anne Baxter as Ruth Grandfort, and Karl Malden as Inspector Larrue. Biographers say Hitchcock had trouble with "method" actors such as Clift and Paul Newman, who worked with him in Torn Curtain (1966).

In the book-length interview Hitchcock/Truffaut (1967), Hitchcock said he had hired Anita Björk as the female lead for I Confess, after seeing her in Miss Julie (1951). However, when she arrived in Hollywood with her lover and their baby, Warner Bros. insisted that Hitchcock find another actress.

The film is based on a 1902 French play by Paul Anthelme called Nos deux consciences (Our Two Consciences), which Hitchcock saw in the 1930s. The screenplay was written by George Tabori.

Filming was done largely on location in Quebec City with numerous shots of the city landscape and interiors of its churches and other emblematic buildings, such as the Château Frontenac.

Montgomery Clift in the I Confess film trailer

Father Michael Logan (Clift) is a devout Catholic priest in Ste. Marie's Church in Quebec City. He employs German immigrants Otto Keller (O. E. Hasse) and his wife Alma (Dolly Haas) as caretaker and housekeeper. Otto also works part-time as a gardener for a shady lawyer called Villette.

The film begins late one evening, as a man wearing a priest's cassock walks away from Villette's house, where Villette lies dead on the floor. Shortly afterward, in the church confessional, Keller confesses to Father Logan that he accidentally killed Villette while trying to rob him. Keller tells his wife about his deed and assures her that the priest will not say anything because he is forbidden from revealing information acquired through confessions.

The next morning, Keller goes to Villette's house at his regularly scheduled gardening time and reports Villette's death to the police. Father Logan also goes to the crime scene after hearing Mrs. Keller mention that her husband is there.

At the police station, two young girls tell Inspector Larrue (Malden) they saw a priest leaving Villette's house. This prompts Larrue to call Father Logan in for questioning, but Logan refuses to provide any information about the murder. Now suspecting Logan, Larrue orders a detective to follow Logan and contacts Crown Prosecutor Robertson (Brian Aherne), who is attending a party hosted by Ruth Grandfort (Baxter) and her husband Pierre (Roger Dann), a member of the Quebec legislature. Ruth overhears Robertson discussing Logan, and Larrue's detective discovers her identity by following her home the next day after she meets with Logan to warn him that he is a suspect.

Larrue calls Ruth and Logan in for questioning, and Ruth explains what happened, narrating a series of flashbacks: She and Logan fell in love when they were childhood friends, but he went off to fight in World War II and eventually stopped writing to her, so she married Pierre. The day after Logan returned from the war, he and Ruth spent the day on a nearby island. A storm forced them to shelter for the night in a gazebo, and Villette found them there in the morning. The next time Ruth saw Logan was several years later, when he was ordained as a priest.

Villette recently asked Ruth to persuade her husband to help him escape a tax scandal, and when she refused, he tried to blackmail her by threatening to publicize the night she spent with Logan. She met with Logan on the night of the murder, and they agreed to visit Villette in the morning.

Ruth's meeting with Father Logan almost provides him with an alibi, but Larrue has evidence showing that the murder occurred after their meeting, and the blackmail suggests a possible motive for Logan to have killed Villette.

Knowing he will be arrested, Logan turns himself in the next day at Larrue's office. Keller has planted the bloody cassock among Logan's belongings, and when Logan is tried in court, Keller testifies that he saw Logan enter the church after the murder, acting suspiciously.

The jury barely finds Father Logan not guilty, but the crowd outside the courthouse harasses Logan as he leaves. This upsets Keller's wife so much that she starts to shout out that her husband is the murderer, but he shoots her and runs away. Larrue finally guesses that Keller is the murderer, corners him in the grand ballroom of the Château Frontenac, and tricks him into confessing. A police sharpshooter kills Keller when Keller tries to shoot Logan, and Keller calls out to Father Logan in extremis and dies immediately after Logan absolves him of his sins.


    Montgomery Clift as Fr. Michael William Logan
    Anne Baxter as Ruth Grandfort
    Karl Malden as Inspector Larrue
    Brian Aherne as Willy Robertson
    Roger Dann as Pierre Grandfort
    Dolly Haas as Alma Keller
    Charles André as Fr. Millars
    O.E. Hasse as Otto Keller
    Donat Lauzier as SQ Police Officer


I Confess had one of the longest "preproductions" of any Hitchcock film, with almost 12 writers working on the script for Hitchcock over an eight-year period. (Hitchcock had taken time off for the wedding of his daughter Patricia Hitchcock in 1951, and Hitchcock was in the midst of dissolving his partnership in Transatlantic Pictures with Sidney Bernstein.) The original screenplay, following the source play, had the priest and his lover having an illegitimate baby, and the priest being executed at the end of the film. These aspects of the script were removed at the insistence of executives at Warner Brothers because they feared a negative reaction.

Shooting took place in Hollywood and Quebec in under two months. Hitchcock had planned on using Quebec-area churches at no cost. When the local diocese read the original script by George Tabori, it objected to the priest's execution and rescinded its permission. When Tabori refused to change the script, Hitchcock brought in William Archibald to rewrite it.

Hitchcock, as was his custom, created detailed storyboards for each scene. He could not understand Clift's Method acting technique and quickly became frustrated with Clift when he blew take after take for failing to follow Hitchcock's instructions.

Cognizant of the difficulty non-Catholics would have in understanding the priest's reluctance to expose Keller, Hitchcock said,

    We Catholics know that a priest cannot disclose the secret of the confessional, but the Protestants, the atheists, and the agnostics all say, 'Ridiculous! No man would remain silent and sacrifice his life for such a thing.'

Alfred Hitchcock's cameo can be seen during the second minute—right after the opening credits—as he walks across the top of a steep stairway.

Critical response

The film was banned in the Irish Republic because it showed a priest having a relationship with a woman (even though, in the film, the relationship takes place before the character becomes a priest).

The film was entered into the 1953 Cannes Film Festival.

I Confess was a favorite among French New Wave film makers, according to filmmaker/historian Peter Bogdanovich.

Film critic Father Peter Malone, MSC, has described I Confess as "the most Catholic film of Hitchcock's films."

I Confess was adapted to the radio program Lux Radio Theatre on September 21, 1953 with Cary Grant in Montgomery Clift's role.


Hitchcock Trade marks:

Has a cameo in most of his films:

Likes to insert shots of a woman's hairstyle, frequently close-ups. [hair]:

Bathrooms are often a plot device; often a hiding place or a place where lovemaking is prepared for. Hitchcock also frequently uses the letters ``BM'', which stand for ``Bowel Movement''. [bathroom]:

Often used the "wrong man" or "mistaken identity" theme in his movies.:

He preferred blondes:

Hitchcock Trivia :

According to many people who knew Hitchcock, he couldn't stand to even look at his wife, Alma Reville , while she was pregnant.:

Once dressed up in drag for a party he threw. Footage of this was in his office, but his office was cleaned out after his death, and it is not known if the footage still exists.:

According to Alfred himself, he was required to stand at the foot of his mothers bed, and tell her what happened to him each day. This explains Anthony Perkins in Psycho (1960) standing at the foot of his mother's bed.:

Born only one day before his wife, Alma Reville v Hitch's suggestion for his tombstone inscription was "This is what we do to bad little boys." (It finally read "I'm in on a plot.")v Was a close friend of Albert R. Broccoli , well known as the producer of the James Bond - 007 franchise. Hitchcock's North by Northwest (1959) was the influence for the helicopter scene in From Russia with Love (1963):

He appears on a 32 cent U.S. postage stamp, in the legends of Hollywood series, that debuted 8/3/98 in Los Angeles, California.:

In his childhood days, he was sent by his father with a letter to the local police station. The officer read the letter and, without further ado, locked young Alfred up for ten minutes. Then he let him go, explaining that this is what happens to people who do bad things. Hitchcock was frightened of the police from that day on.:

On April 29, 1974, the Film Society of Lincoln Center in New York sponsored a gala homage to Alfred Hitchcock and his contributions to the cinema. Three hours of film excerpts were shown that night. François Truffaut who had published a book of interviews with Hitchcock a few years earlier, was there that night to present "two brilliant sequences: the clash of the symbols in the second version of The Man Who Knew Too Much (1956) , and the plane attack on Cary Grant in North by Northwest (1959)." After the gala, Truffaut reflected again on what made Hitchcock unique and concluded: "It was impossible not to see that the love scenes were filmed like murder scenes, and the murder scenes like love scenes...It occurred to me that in Hitchcock's cinema...to make love and to die are one and the same.":

He never won a best director Oscar in competition, although he was awarded the Irving Thalberg Memorial Award at the 1967 Oscars.:

Alma Reville and Hitch had one daughter, Patricia Hitchcock , who appeared in several of his movies: Stage Fright (1950), Strangers on a Train (1951) and Psycho (1960):

He made a cameo appearance in all of his movies beginning with The Lodger (1927) except for Lifeboat (1944), in which he appeared in a newspaper advertisement.:

In the New Year's Honour's list of 1980 (only a few months before his death), he was named an Honorary (as he was a U.S. citizen) Knight Commander of the British Empire.:

From 1977 until his death, he worked with a succession of writers on a film to be known as "The Short Night". The majority of the writing was done by David Freeman , who published the final screenplay after Hitchcock's death.:

He made his appearances in the beginning of the films, because he knew viewers were watching for him and he didn't want to divert their attention away from the story's plot.:

His bridling under the heavy hand of producer David O. Selznick was exemplified by the final scene of Rebecca (1940). Selznick wanted his director to show smoke coming out of the burning house's chimney forming the letter 'R." Hitch thought the touch lacked any subtlety; instead, he showed flames licking at a pillow embroidered with the letter 'R.':

First visited Hollywood in 1940, but was turned down by virtually all major motion picture studios because they thought he could not make a "Hollywood" picture. He was finally offered a seven-year directing contract by producer David O. Selznick . His first project was supposed to be a film about the Titanic, but Selznick scrapped the project because he "couldn't find a boat to sink." Selznick assigned Hitch to direct Rebecca (1940) instead. :

The famous Hitchcock profile sketch, most often associated with "Alfred Hitchcock Presents" (1955), was actually from a Christmas card Hitchcock designed himself while still living in England.:

When finishing a cup of tea while on the set, he would often non-discriminatingly toss the cup and saucer over his shoulder, letting it fall (or break) wherever it may.:

He was director William Girdler 's idol. Girdler made Day of the Animals (1977) borrowing elements from Hitchcock's The Birds (1963).:

Asked writers Pierre Boileau and Thomas Narcejac to write a novel for him after Henri-Georges Clouzot had been faster in buying the rights for "Celle qui n'était plus" which became Diaboliques, Les (1955). The novel they wrote, "From Among the Dead", was shot as Vertigo (1958).:

He delivered the shortest acceptance speech in Oscar history: while accepting the Irving Thalberg Memorial Award at the 1967 Oscars, he simply said "Thank you.":

Müde Tod, Der (1921) by Fritz Lang was his declared favourite movie.:

In a recent USC class on Hitchcock (fall of 2000), guest speaker Patricia Hitchcock revealed that two guilty pleasures of Hitch's were Smokey and the Bandit (1977) and Benji (1974)!v:

His 'MacGuffins' were objects or devices which drove the plot but which were otherwise inconsequential and could be forgotten once they had served their purposev Lent his name and character to a series of adolescent books entitled "Alfred Hitchcock and the Three Investigators" (circa late 1960s-early 1970s). The premise was that main character and crime-solver Jupiter Jones won the use of Mr. Hitchcock's limousine in a contest. Hitch also wrote forewords to this series of books. After his death, his famous silhouette was taken off the spine of the books, and the forewords (obviously) stopped appearing as well.:

He was listed as the editor of a series of anthologies containing mysteries and thillers. However, he had little to do with them. Even the introductions, credited to him, were, like the introductions on his television series, written by others.:

One of the most successful Hitchcock tie-ins is a pulp publication titled "Alfred Hitchcock's Mystery Magazine." The publication is highly respected and has become one of the longest running mystery anthologies. It continues to be published almost a quarter century after Hitchock's death.:

He allegedly refused the British honour of C.B.E. (Commander of the order of the British Empire) in 1962. :

When he won his Lifetime Achievement award in 1979, he joked with friends that he must be about to die soon. He died a year later.:

Was voted the Greatest Director of all time by Entertainment Weekly. The same magazine's list of the 100 Greatest Films of all time includes more films directed by Hitchcock than by any other director, with four. On the list were his masterworks Psycho (1960) (#11), Vertigo (1958) (#19), North by Northwest (1959) (#44) and Notorious (1946) (#66).:

Was at his heaviest in the late 1930s, when he weighed over 300 pounds. Although always overweight, he dieted and lost a considerable amount of weight in the early 50s, with pictures from sets like To Catch a Thief (1955) showing a surprisingly thin Hitchcock. His weight continued to fluctuate throughout his life.:

He had a hard time devising one of his signature walk-ons for Lifeboat (1944), a film about a small group of people trying to survive on a small boat. What he eventually came up with was to have his picture in a newspaper advertisement for weight loss that floated among some debris around the boat. He had happened to have lost a considerable amount of weight from dieting around that time, so he was seen in both the "Before" and the "After" pictures.:

Often said that his favorite film was Shadow of a Doubt (1943).:

Biography in: John Wakeman, editor. "World Film Directors, Volume One, 1890-1945". Pages 456-479. New York: The H.W. Wilson Company, 1987.:

He claimed to have an intense fear of the police. He cited this phobia as the reason he never learned to drive; a person who doesn't drive can never be pulled over and given a ticket. It was also cited as the reason for the recurring "innocent man" themes in his films.:

Supported West Ham United Football Club - told colleagues in Hollywood that he subscribed to English newspapers in order to keep track of their results.:

Steven Spielberg has named him as an influence.:

Always wore a suit on film sets.:

He was infamous with cast and crews for his "practical jokes." While some inspired laughs, such as suddenly showing up in a dress, most were said to have been more cruel than funny. Usually he found out about somebody's phobias, such as mice or spiders, and in turn sent them a box full of them.:

He almost never socialized when not shooting films, with most of his evenings spent quietly at home with his wife Alma Reville .:

Directed the pilot episode of the radio series "Suspense" which aired from 1942-1962, and made a brief appearance at the end. It was an adaptation of his 1927 film The Lodger (1927) and starred Herbert Marshall and Edmund Gwenn , who reprised his brother Arthur Chesney 's role as Mr. Bunting.:

He would work closely with screenwriters, giving them a series of scenes that he wanted in the films, thus closely controlling what he considered the most important aspect of the filmmaking process. Although the screenwriter would write the actual dialogue and blocking, many of the scripts for his films were rigidly based on his ideas.:

Directed 8 different actors in Oscar-nominated performances: Laurence Olivier , Joan Fontaine , Judith Anderson , Albert Bassermann , Michael Chekhov , Claude Rains , Ethel Barrymore and Janet Leigh . Fontaine won an Oscar for Suspicion (1941).:

Praised Luis Buñuel as the best director ever:

As with W.C. Fields and Arthur Godfrey before him, he was legendary for gently tweaking his sponsors during the run of his TV show. One typical example runs, "We now interrupt our story for an important announcement. I needn't tell you to whom it will be most important of all.":

Ranked #2 in Empire (UK) magazine's "The Greatest directors ever!" [2005]:

Education: St. Ignatius College, London, School of Engineering and Navigation (Studied mechanics, electricity, acoustics and navigation). University Of London (Studied art).:

Told François Truffaut that although he had made two films prior to The Lodger (1927), he considered that to be his first real film.:

Due to his death in 1980, he never got to see Psycho II (1983) . It remains unsure as to whether or not he was approached regarding the second movie, or any other "Psycho (1960) -Expansion" motion picture.

He hated to shoot on location. He preferred to shoot at the studio where he could have full control of lighting and other factors. This is why even his later films contain special effects composite and rear screen shots.:

Grandfather of Mary Stone , Tere Carrubba and Katie Fiala .:

Interviewed in Peter Bogdanovich 's "Who the Devil Made It: Conversations With Robert Aldrich, George Cukor, Allan Dwan, Howard Hawks, Alfred Hitchcock, Chuck Jones, Fritz Lang, Joseph H. Lewis, Sidney Lumet, Leo McCarey, Otto Preminger, Don Siegel, Josef von Sternberg, Frank Tashlin, Edgar G. Ulmer, Raoul Walsh". NY: Alfred A. Knopf, 1997:

Inspired the adjective "Hitchcockian" for suspense thrillers.:

Personal quotes :

"There is a dreadful story that I hate actors. Imagine anyone hating Jimmy Stewart... or Jack Warner. I can't imagine how such a rumor began. Of course it may possibly be because I was once quoted as saying that actors are cattle. My actor friends know I would never be capable of such a thoughtless, rude and unfeeling remark, that I would never call them cattle... What I probably said was that actors should be treated like cattle." On his cameos:

"One of the earliest of these was in _The Lodger_, the story of Jack the Ripper. My appearance called for me to walk up the stairs of the rooming house. Since my walk-ons in subsequent pictures would be equally strenuous - boarding buses, playing chess, etc. - I asked for a stunt man. Casting, with an unusual lack of perception, hired this fat man!":

"Television has brought murder back into the home - where it belongs":

"The length of a film should be directly related to the endurance of the human bladder":

"There is no terror in the bang, only in the anticipation of it.":

"To me Psycho was a big comedy. Had to be.":

"Even my failures make money and become classics a year after I make them.":

"Always make the audience suffer as much as possible":

"When an actor comes to me and wants to discuss his character, I say, 'It's in the script.' If he says, 'But what's my motivation?, ' I say, 'Your salary.'":

"Drama is life with the dull bits left out.":

[His entire acceptance speech for the Irving Thalberg Memorial Award ] "Thank you.":

[When accepting the American Film Institute Life Achievement award ] "I beg permission to mention by name only four people who have given me the most affection, appreciation, and encouragement, and constant collaboration. The first of the four is a film editor, the second is a scriptwriter, the third is the mother of my daughter Pat, and the fourth is as fine a cook as ever performed miracles in a domestic kitchen. And their names are Alma Reville.":

"[Hitchcock] said, 'I don't want you going back to sink-to-sink movies. You do movies where you wash the dishes looking drab in an apron. The audience wants to see their leading ladies dressed up.' He saw me as others didn't." - Eva Marie Saint:

About Dario Argento and his film Profondo rosso (1975): "This young Italian guy is starting to worry me.":

"Some films are slices of life, mine are slices of cake." :

"I enjoy playing the audience like a piano.":

Ingrid Bergman, trying to make Hitchcock help her understand the motivation for the feelings of her character told him that: "I don't feel like that, I don't think I can give you that kind of emotion." Hitchcock replied: "Ingrid - fake it!":

"I was an uncommonly unattractive young man.":

"It's only a movie, and, after all, we're all grossly overpaid.":

"There is nothing quite so good as a burial at sea. It is simple, tidy, and not very incriminating.":

"Man does not live by murder alone. He needs affection, approval, encouragement and, occasionally, a hearty meal.":

"Cartoonists have the best casting system. If they don't like an actor, they just tear him up.":

About his actress Claude Jade , who starred in Topaz (1969): "Claude Jade is a brave nice young lady. But I don't give any guarantee, what she will do on a taxi's back-seat.":

On directing Charles Laughton : "You can't direct a Laughton picture. The best you can hope for is to referee.":

"The paperback is very interesting but I find it will never replace the hardcover book -- it makes a very poor doorstop.":

"Film your murders like love scenes, and film your love scenes like murders.":

"I am a typed director. If I made "Cinderella," the audience would immediately be looking for a body in the coach.":

"If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.":

"A good film is when the price of the dinner, the theatre admission and the babysitter were worth it.":

"In feature films the director is God; in documentary films God is the director.":

[regarding "The Birds" (1963)] You know I've often wondered what the Audubon Society's attitude might be to this picture.:

"Cary Grant is the only actor I ever loved in my whole life.":

"Disney has the best casting. If he doesn't like an actor he just tears him up.":


Heralds were made from the 1910s to the 1960s. Theaters would order heralds by the thousands (they usually cost around $3 per thousand!). They would then hire people to stand on busy street corners and pass them out to all who walked by. Since the vast majority of people looked at the herald for a moment and then threw it away, it is not surprising that not many heralds survive. In Europe many heralds were simply printed on a two sided piece of paper.  One side was printed with graphics (often colorful) and artwork from the film and the back side could be blank or in many cases would have information about the film and/or where or when it was playing.  Most American heralds were on a single sheet of paper that was folded in half, creating four small pages. The front of the herald usually has just the title of the movie and images of the stars (like a small poster) and the two middle pages usually have a lot of information about the movie along with more images (and sometimes these images are found nowhere but the herald). The back page is usually blank for the theater to print in their name and play dates, to let people know where the movie was playing and when. Sometimes one or more of the pages were full-color, and often some of the pages were two-color. A herald is usually the most inexpensive way to get an original item from a classic movie! Most pressbooks would have a sample herald glued in to the first or last page of the pressbook.

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