''The Big Heat'', 1953 - art by Anselmo Ballester
by Movie World Posters
Title
''The Big Heat'', 1953 - art by Anselmo Ballester
Artist
Movie World Posters
Medium
Mixed Media - Vintage Movie Posters
Description
An Italian vintage movie poster reprint of ''The Big Heat'' , a 1953 film noir directed by Fritz Lang and starring Glenn Ford as Detective Sgt. Dave Bannion and Gloria Grahame as Debby Marsh. This classic crime film is known for its gritty portrayal of corruption and revenge in a post-war American city. Here's an expanded look at "The Big Heat":
Plot Summary:
"The Big Heat" is set in an unnamed American city plagued by organized crime and police corruption. Detective Sgt. Dave Bannion is a dedicated and honest cop who becomes embroiled in a dangerous investigation after the apparent suicide of a fellow officer. Bannion's pursuit of the truth leads him into a web of corruption that reaches the highest levels of both the police department and the criminal underworld.
As he delves deeper into the case, Bannion becomes a target of violence and intimidation, but he refuses to back down. His relentless determination to expose the truth and bring the criminals to justice puts him on a collision course with the ruthless crime boss Mike Lagana (Alexander Scourby) and his enforcer Vince Stone (Lee Marvin).
Gloria Grahame plays Debby Marsh, the girlfriend of Vince Stone. Her character undergoes a transformation as she becomes entangled in the violent and treacherous world of organized crime. Bannion and Debby's paths cross, leading to complex and morally ambiguous interactions.
Glenn Ford as Detective Sgt. Dave Bannion:
Glenn Ford delivers a standout performance as Dave Bannion, a character driven by a strong sense of justice and an unwavering determination to uncover the truth. Ford effectively portrays the character's transformation from a dedicated cop into a relentless avenger seeking vengeance for the injustices he encounters.
Gloria Grahame as Debby Marsh:
Gloria Grahame brings depth to the character of Debby Marsh, a woman caught in a dangerous love affair with Vince Stone. Her portrayal showcases Debby's vulnerability, resilience, and moral conflicts as she becomes entangled in the criminal world.
Themes and Significance:
"The Big Heat" explores themes of corruption, revenge, and the blurred lines between law enforcement and criminality. It portrays a bleak and morally complex world where individuals are forced to confront their own ethics in the face of overwhelming corruption.
The film also features memorable scenes of violence and suspense, adding to its impact as a classic film noir. It's known for the iconic coffee-throwing scene, which has become an enduring image in cinematic history.
Legacy:
"The Big Heat" is celebrated as a prime example of film noir. Fritz Lang's direction, the film's gritty atmosphere, and the exceptional performances of the cast have solidified its place in the noir canon. Gloria Grahame's portrayal of Debby Marsh earned her acclaim and is considered one of her career-defining roles.
In conclusion, "The Big Heat" is a gripping and influential film noir that remains a classic of the genre. Its exploration of corruption, revenge, and moral ambiguity, coupled with strong performances by Glenn Ford and Gloria Grahame, continues to resonate with audiences interested in the darker aspects of post-war American cinema.
About the artist:
Anselmo Ballester (1897–1974) was a noted Italian painter and film poster designer from Rome. He was the son of Federico Ballester (Rome, 1868–1926), a painter of Spanish origins. Inspired by his father's artistic endeavors growing up, Anselmo completed his first works at 15.
After attending the Academy of Fine Arts in Rome, he specialized in film advertising for the most important silent film production houses. He created posters and other advertising material for CINES, Caesar Film, and numerous other studios.
In his studio in Rome, via della Croce 50a (then via della Passeggiata Ripetta 19), he spent almost 50 years creating thousands of sketches for playbills and paintings for film posters. He went on to form the design company BCM along with two other prominent Italian poster artists, Alfredo Capitani and Luigi Martinati
The movie posters Ballester created between the 1930s and 1950s showcased his unique painting style using tempera medium and bold colors. They typically featured one or two significant characters. His style is reminiscent of pulp fiction covers and, like the best cinema advertisements, were infused with intrigue, conflict, and passion. His works were uncomplicated yet rich in detail, a techniqe and style he himself describes:
"To become a creator of film posters ... it is necessary to study passionately, always to draw and paint everything from the truth. Then you can let your imagination run free. Whether you are creating a work of art, or a more humble advertising poster, you must be able to attract the interest of the public, to satisfy both the most refined people and the roughest, who are the majority."
From a stylistic and compositional point of view, Alfredo Ballester began by drawing inspiration from the advertising posters of Art Nouveau, and then he defined his personal code. The painter exhibited a common layout in his movie posters: the actor or actress beautifully portrayed in the foreground, and one or two scenes from the film in the background.
To achieve this result, he used a methodical technique, making numerous sketches of the project only after having the best two selected by the client, he devoted himself to the final painting, strictly handmade.
Ballester's color palette, however, was his greatest talent. The artist used colors expressively, as a tool to convey emotions. The portraits of the stars were extremely realistic but often colored with unnatural hues such as pinks or intense light blues. Ballester illustrated his characters with colors capable of conveying the range of feelings transmitted by the film.
He was written about in "Anselmo Ballester: the Origins of the Film Poster," published by the University of Parma, Study Center and Communication Archive in 1981. In addition, Dave Kerr made extensive use of his images in his 2003 book, "Italian Film Posters, "published by The Museum of Modern Art in New York.
Permanent collections of his work are displayed at the University of Parma, Communication Studies Center and Archive (CSAC) and the Cinema Museum in Brush, Montecosaro.
To see more of his posters search by his last name.
Uploaded
April 23rd, 2021
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