1950 Israel RARE MOVIE POSTER Film THE FLAME AND THE ARROW Burt LANCASTER Hebrew

Description

DESCRIPTION
:
Here for sale is an EXCEPTIONALY RARE and ORIGINAL illustrated VINTAGE POSTER for the ISRAEL release of the swashbuckler
film "
THE FLAME AND THE ARROW
" in ISRAEL.  Starring BURT LANCAST
E
R and VIRGINIA MAYO. This is an original Israeli Hebrew design , Specificaly made for the Israeli
CINEMA
halls.  Text in HEBREW and ENGLISH . Quite archaic Hebrew.
Size around 27" x 19" . Printed in
vivid color
. The condition is very good .
Folding marks.
( Pls look at scan for accurate AS IS images ) Poster will be sent rolled in a special protective rigid sealed tube.
AUTHENTICITY
:
The VINTAGE POSTER is fully guaranteed ORIGINAL  , It is NOT a reproduction or a recently made reprint or an immitation , It holds a with life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.
PAYMENTS
: Payment method accepted : Paypal
& All credit cards
.
SHIPPMENT
: SHIPP worldwide via registered airmail is
$ 25
. Poster will be sent rolled in a special protective rigid sealed tube.  Will be sent around 5 days after payment .
The Flame and the Arrow is a 1950 American swashbuckler film made by Warner Bros. and starring Burt Lancaster, Virginia Mayo and Nick Cravat. It was directed by Jacques Tourneur and produced by Harold Hecht and Frank Ross from a screenplay by Waldo Salt. The music score was by Max Steiner and the cinematography by Ernest Haller. The film was shot in Technicolor. Contents 1 Plot2 Cast3 References4 External links Plot In the time of Frederick Barbarossa, in the area of Italy known as Lombardy, Dardo Bartoli (Lancaster) is walking with his son Rudi (Gordon Gebert) when they encounter Count Ulrich (Frank Allenby), known as "the Hawk", together with his niece, Lady Anne (Mayo), and his lover, Dardo's unfaithful wife Francesca (Lynn Baggett). Dardo shows off his skill as an archer by shooting down Ulrich's expensive hunting hawk. In revenge, the count takes Dardo's son to his castle. Dardo is struck by an arrow while rescuing Rudi, so the boy allows himself to be recaptured in order to draw the soldiers away. At the palace, young Marchese Alessandro de Granazia (Robert Douglas) asks for Anne's hand in marriage, but is rejected. Ulrich arrests de Granazia for not paying his taxes. After his rescue by Dardo, the marchese joins Dardo's band of rebels. Dardo makes another attempt to free his son. Upon the advice of his uncle (Papa Bartoli, played by Francis Pierlot), Dardo obtains the help of Anne's maid (one of Dardo's many lovers) to sneak into Ulrich's castle along with his best friend Piccolo (Cravat), but they are unsuccessful. When they find themselves in Lady Anne's apartment, Piccolo suggests they kidnap her instead. They take her to their secret hideout. She tries several times to escape, but Dardo is too crafty for her. Dardo sends a message to the count, offering an exchange of prisoners, but Ulrich threatens to execute Bartoli unless Anne is released. Dardo and the others race to the village and rescue Bartoli. Then, Dardo learns from his aunt Nonna (Aline MacMahon) that five more prisoners have been taken to hang in Papa's place. Dardo gives himself up to save the others and is hanged in front of his son. Ulrich takes the rest of the rebels prisoner, including the marchese. The marchese informs Ulrich that the rebels are planning an attack the next day and that Dardo is alive (the executioner had been replaced by Dardo's friend). As a reward for this betrayal, Ulrich agrees to the marchese's marriage to Anne. When she finds out their plans, she warns Nonna Bartoli, with Dardo and his men hiding around the corner. They decide that they must attack at once. Piccolo comes up a plan for getting into the castle by posing as some of the acrobats providing entertainment. The ruse works. When they are ready, they remove their disguises and a battle ensues. During the melee, Anne warns Dardo that Ulrich has gone for his son. When Dardo catches up to Ulrich, he is in the company of the marchese. The count leaves Dardo and the marchese to fight. Though Dardo tries to persuade the marchese to stand aside, the marchese refuses and is killed. Afterwards, Dardo finds his wife dead, killed by a knife in the back. Then, he finds the count holding Rudi at sword-point. Dardo finds a bow and, aiming carefully, kills Ulrich and frees his son. With the battle won, Dardo embraces Anne. Cast Burt Lancaster as Dardo BartoliVirginia Mayo as Anne de HesseNick Cravat as PiccoloNorman Lloyd as Apollo, the troubadourRobert Douglas as Marchese Alessandro de GranaziaRobin Hughes as SkinnerVictor Kilian as Apothecary MazzoniFrancis Pierlot as Papa Pietro BartoliAline MacMahon as Nonna BartoliFrank Allenby as Count Ulrich, 'The Hawk'Gordon Gebert as Rudi BartoliLynn Baggett as Francesca In Lombardy during the twelfth century, Dardo, an excellent hunter and expert archer, lives with his young son Rudi. Earlier, Dardo's wife Francesca left him for Count Ulrich, a member of the hated Hessian nobility, who is known as The Hawk. When Ulrich returns to the village with Francesca, he threatens to take Rudi hostage in order to ensure the safety of his entourage. Dardo attempts to escape with his son, but is wounded by an enemy arrow. Rudi is captured by Ulrich's men and taken to the castle. After his wound is treated by the apothecary, Dardo and his friend Piccolo, a mute blacksmith, take refuge in the mountains. The next morning, they spot Ulrich's beautiful niece Anne while she is riding and give her a message for Rudi. The main reason for Ulrich's visit is to cement his control over the area by marrying Anne to Alessandro, the local marchese, who owes taxes to the Hessians. Anne rejects Alessandro, however, so Ulrich sends his men to collect the tax payment and arrest the marchese. Along the way, Dardo and his men attack the Hessians and take the payment for themselves. Alessandro and his troubadour, Apollo, then join the outlaws. Later, Dardo and Piccolo attempt to rescue Rudi, and when they fail, they abduct Anne, hoping to exchange her for Rudi. Rather than negotiate, Ulrich decides to hang Dardo's friend, Papa Pietro, stating that he does not care what happens to Anne. In a daring raid, Dardo frees Papa Pietro, but Ulrich then threatens to hang five others in his place. Dardo suggests that he give himself up as a diversionary tactic, while the others attack Ulrich's forces. After Dardo, who is wearing a protective harness, appears to have been hanged, Alessandro and the other outlaws are arrested. Later, Alessandro and Anne agree to marry, and he betrays the planned uprising. That night, Anne sneaks out and warns the rest of the townspeople, who are pretending to be mourning over Dardo's corpse. The next day, when some traveling players arrive, Piccolo suggests that they disguise themselves as members of the troupe. Dardo and Piccolo put on a dazzling display of acrobatics before Dardo's real identity is revealed. Dardo and Piccolo manage to free the imprisoned men, who engage Ulrich's soldiers in a battle. After the fighting is finished, Dardo discovers that Francesca is dead. Ulrich has seized Rudi and is using him as a shield. He has not reckoned with Dardo's marksmanship, however, and Dardo kills Ulrich with an arrow, freeing his son. Anne, who has fallen in love with Dardo, joins them as they celebrate their victory over Ulrich. The Flame and the Arrow יום שישי פברואר, 19 2016 at 02:45 AM Films in BOLD will Air on TCM * | Burt Lancaster spent almost a decade performing as an acrobat in the circus, an experience that gave him not only an impressive physique but incredible muscular control, tools that he drew upon when he turned to acting and rocketed to stardom in his first films. Lancaster played criminals, lawmen, hustlers, and soldiers of fortune in such dark crime dramas as The Killers (1946), Brute Force (1947), Sorry, Wrong Number (1948), and Criss Cross (1949), yet in those early years, no studio even considered spotlighting his acrobatic talents on screen. The idea to make a swashbuckler came from Lancaster's good friend and former circus partner Nick Cravat. A childhood friend from their days growing up in New York during the worst years of the depression, Cravat had come out to Hollywood at Lancaster's request a couple of years before and appeared with Lancaster in a revival of their old act in a short tour. Cravat suggested that Lancaster make the kind of swashbuckling adventure that made Douglas Fairbanks a superstar. After all, Lancaster was the first movie star since Fairbanks who could actually do all those stunts himself. Waldo Salt came up with a story inspired by the story of William Tell but relocated to 12th century Lombardy, and a script reminiscent of the 1938 Errol Flynn costume swashbuckler The Adventures of Robin Hood. Salt was blacklisted soon after finishing the script -- it was his last screen credit for over a decade -- but Salt returned to screenwriting with a vengeance in the 1960s and went on to win Academy Awards for Midnight Cowboy (1969) and Coming Home (1978). Lancaster had recently formed his own production company, Norma, with Harold Hecht, and they developed the project, which was eventually named The Flame and the Arrow (1950), as their second production. Warner Bros. signed on to finance and distribute and Lancaster and company moved to the Warner lot. To keep production costs down, the film borrowed costumes and sets leftover from the 1938 The Adventures of Robin Hood and a more recent Errol Flynn costumer, The Adventures of Don Juan (1948), and shot almost entirely on the Warner Bros. soundstages. The parallels with Robin Hood are easy to find: the hero Dardo (Lancaster) is a master archer who has a personal grudge against the corrupt ruler, a Hessian Count known as "The Hawk" who occupies Northern Italy land as a conqueror. Dardo takes refuge in the mountains with a band of rebels who harass and rob the soldiers riding through the hills. Virginia Mayo plays the film's answer to Maid Marian, the niece of the Hawk who falls in love with Dardo and sides with the peasant rebels. Their merry band of outlaws even has a troubadour. Norman Lloyd, a superb character actor who apprenticed as a member of Orson Welles' Mercury Theatre company and went on to a longtime associate with Alfred Hitchcock, plays the role as a kind of court jester or poet, providing commentary on the characters and their actions. Lancaster coaxed Cravat into taking a key supporting role as Piccolo, the film's comic relief and Dardo's sidekick and partner in acrobatic spectacle. Cravat's East Harlem accent was too strong for a costume picture so the character was made a mute and Cravat pantomimed his side of conversations. While it wasn't Cravat's screen debut, it was his first substantial role and it showed off his physical gifts and distinctive presence. The dynamic contrast with Lancaster -- the diminutive, dark Cravat, with his shaggy beard and wide smile somewhere between wild child and little devil, next to the tall, broad-shouldered, strapping star -- made them a memorable pairing, and Lancaster revived the onscreen team a couple of years later for The Crimson Pirate (1952). Lancaster performed most, if not all, of his own stunts onscreen and the film made a point of it. No cutting away to a stunt man here. Lancaster leaps from parapets, swings from ropes, and flips and somersaults through the air and into his next line of dialogue with such grace and command that there is little question of his mastery. For the climactic assault on the castle, where the rebels pose as traveling players and tumblers, Lancaster and Cravat revived a routine they originally performed in 1940 on the vaudeville circuit. Cravat balances a long pole on his head and shoulders, holding it straight up into the air while Lancaster shimmies up and then, with great control and upper-body strength, unfolds his body at a right angle, like a flag flying from a pole. Ten years later, after weeks of practice and physical training, they executed it onscreen without a hitch. Lancaster and Cravat even embarked on a publicity tour, where they performed some of the film's stunt scenes live for adoring audiences. Jacques Tourneur directs, making the most of the second-hand sets and costumes with handsome Technicolor images. He fills the film with comic relief and lighthearted spectacle, capturing the essence of the project and the primacy of Lancaster's physical presence, and makes sure audiences clearly see that it is Lancaster himself performing these marvelous acrobatic stunts. But it's not all lighthearted antics and action. Tourneur casts shadows, literally and figuratively, across many of the scenes and in an ingenious twist on the grand Errol Flynn swordfights, he plunges the climactic duel into darkness and constructs a deadly swordfight in slashes of light through the set and suggestive sounds in the shadow. "[N]ot since Mr. Fairbanks was leaping from castle walls and vaulting over the rooftops of ancient story-book towns has the screen had such a reckless and acrobatic young man to display these same inclinations as it has in Mr. L," wrote Bosley Crowther in his rave review in The New York Times. "And not since-well, we can't remember-have the movies had such an all-out spread of luxuriously romantic hokum as they have in this Technicolored film." The film was a hit, audiences embraced Lancaster as a boisterous, acrobatic swashbuckler, and Lancaster had added a new dimension to his expanding resume: action hero. By Sean Axmaker     ebay3217