STRIPTEASE (1996) Movie Poster, Australian One Sheet, Demi Moore
Size AU One Sheet (27" x 40")
Striptease (1996) Australian One Sheet, Movie Poster, Starring Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick and Directed by Andrew Bergman is in Very Fine condition. Movie Poster...
Striptease (1996) Australian One Sheet, Movie Poster, Starring Demi Moore, Burt Reynolds, Armand Assante, Ving Rhames, Robert Patrick and Directed by Andrew Bergman is in Very Fine condition.
Movie Poster and Condition
Condition: This poster is in Very Fine condition with a small 1 cm tear top right hand side, some edgewear on right hand bottom side. This poster is currently stored rolled and will be carefully packed and shipped in a cylinder. This original Australian One Sheet poster features the iconic imagery of Demi Moore from one of the most talked-about films of 1996, making it a valuable collectible for fans of 1990s cinema and collectors of authentic theatrical movie posters. The Australian release poster is particularly sought after by international collectors.
Movie Synopsis
Striptease is a 1996 American black comedy film written, co-produced, and directed by Andrew Bergman, based on Carl Hiaasen's 1993 bestselling novel of the same name. The film stars Demi Moore in a career-defining role as Erin Grant, alongside an impressive ensemble cast including Academy Award nominee Burt Reynolds as the corrupt Congressman David Dilbeck, Armand Assante as Lieutenant Al Garcia, Ving Rhames as the imposing bouncer Shad, and Robert Patrick as Erin's criminal ex-husband Darrell Grant.
The film tells the story of former FBI secretary Erin Grant, whose life spirals into chaos when she loses custody of her seven-year-old daughter Angela to her ex-husband Darrell, a convicted drug dealer whose criminal record cost Erin her government position. Desperate to raise the $15,000 needed to afford a legal appeal and win back custody of her daughter, Erin makes the difficult decision to become a stripper at the Eager Beaver, a Miami strip club.
As Erin navigates her new world at the club, she catches the eye of Congressman David Dilbeck, a powerful and morally corrupt politician who becomes dangerously obsessed with her. When another patron of the Eager Beaver recognises the congressman's weakness, a complex scheme unfolds involving political corruption, blackmail, and environmental crimes. Erin finds herself caught in a web of intrigue that threatens not only her custody battle but her very life.
The film made entertainment history when Demi Moore received an unprecedented $12.5 million salary, making her the highest-paid actress in Hollywood at that time. This landmark deal represented a significant milestone for women in the film industry during the mid-1990s. Moore's commitment to the role was total, and her powerful performance anchors the film's exploration of desperation, maternal love, and survival.
Director Andrew Bergman brought his signature style to the adaptation, having previously written and directed successful comedies. The screenplay stays relatively faithful to Hiaasen's satirical crime novel, maintaining the author's sharp critique of political corruption and environmental exploitation in Florida. Bergman himself noted that author Carl Hiaasen loved the film adaptation and thought it captured the spirit of his book.
The supporting cast delivers memorable performances throughout. Ving Rhames brings depth and humanity to Shad, the club's protective bouncer who becomes Erin's friend and ally. Armand Assante plays the principled detective investigating the congressman's activities, whilst Robert Patrick embodies the sleazy, manipulative ex-husband with conviction. In a touching piece of casting, Moore's real-life daughter Rumer Willis played Erin's daughter Angela in the film, adding genuine emotion to their mother-daughter scenes.
Burt Reynolds actively pursued the role of Congressman Dilbeck, personally contacting Castle Rock Entertainment head Rob Reiner and travelling to Miami to audition for the part. Reynolds accepted a lower salary than his usual fee to secure the role, delivering a memorably over-the-top performance as the corrupt politician. The cast also included real-world exotic dancers such as Pandora Peaks, lending authenticity to the strip club scenes.
Production took place in Miami over six months, with Castle Rock Entertainment producing and Columbia Pictures handling theatrical distribution. Director Bergman recalled it as "a happy set," though the production faced challenges during test screenings. Audiences objected to a violent scene near the film's climax, leading to reshoots five months later that delayed the release by one month. The film's music supervisor assembled a soundtrack featuring artists including Prince and Annie Lennox, whose songs featured prominently in Erin's dance sequences.
Released theatrically on 28 June 1996, in the United States following a premiere in New York City on 23 June, Striptease opened in Australia in August 1996. The film's marketing campaign heavily emphasized the film's provocative content, with the Motion Picture Association of America raising concerns about poster imagery. Marketing materials were carefully designed to distinguish Striptease from the previous year's poorly received Showgirls, positioning it as a comedy rather than a straight drama.
Produced on a budget of $50 million, the film grossed $113 million worldwide, with $33 million coming from the domestic market. The film opened at number four at the American box office, earning over $12 million during its opening weekend across nearly 2,000 theatres. It found additional success in the home video rental market following its theatrical run.
Despite its commercial performance, Striptease received predominantly negative reviews from critics and won six Golden Raspberry Awards, including Worst Picture. However, the film has found defenders over the years who appreciate its satirical elements, Moore's committed performance, and its place as a quintessential artifact of 1990s Hollywood excess and ambition.
This Australian One Sheet poster represents a piece of cinema history from a film that pushed boundaries and sparked conversation, featuring one of Hollywood's biggest stars at the peak of her career in a role that remains one of the most discussed performances of the decade.
To find out more about Striptease (1996) click here to go to IMDB.com.
Special Notes
Images may have a small 'MPA' digital watermark and this does not appear on the poster. Posters are being held by magnets in the corners to take photographs, so you may see some magnet and shadows from the magnets in these areas. The magnets are not included in the sale of the item.
Postage, Insurance & Your Country Taxes
Postage costs are quoted for this item, include insurance up to AUD$100, but if you reside outside of Australia, the price does not include any import taxes/fees that you may be required to pay when the item reaches your borders. Please check with your local authorities for any additional taxes or fees. If you would like full insurance coverage for your purchase, please message me and I would be happy to quote the additional cost (estimate is AUD$2.50 p/AUD$100 or 2.5% of the item value, up to a maximum item value of AUD$5,000).
FAQ
At Movie Posters Australia, the love and conservation of movie posters comes first, and we like to share this passion. Our commitment to quality means we will provide high quality memorabilia to our customers. Posters are carefully chosen and authenticated to ensure originality and value. We want our customers to trust MPA, so we always try to be as open and transparent as we can, provide detailed condition information and images, to ensure customers are comfortable and confident in their purchase.
While the industry does have a few condition rating standards, there is no movie poster condition rating system that has become the accepted standard world wide. This unfortunately makes condition terms vary from movie poster dealer to movie poster dealer. Terms like Mint, Near Mint, Very Fine, Fine, Very Good, Good, Fair, Poor, seem to be universal to most condition rating standards, but most standards still lack definition about what and how many flaws/defects/damage defines a specific condition level. For more information on how Movie Posters Australia grades the condition of its movie posters, daybills, lobby cards and other ephemera please see out Movie Poster Condition and Grading page.
In the early days of cinema, posters were primarily hand-drawn and printed in various sizes, often tailored to fit the available space in theaters or promotional areas. In the United States, the "One Sheet" size (some times called '1 Sheet' or '1SH' approximately 27" x 41", became the standard during the 1930s. This size was manageable for theater display and suited the needs of a growing film industry.
Different countries developed their own poster sizes and styles, which also changed sometimes over the decades, and were influenced by local preferences and practical considerations, like available paper sheet sizes and how many posters could be printed on one sheet.
In Australia, the most popular size, the Daybill, has evolved over the decades. Australian Daybills sizes in chronological order are:
- Long Daybills (15" x 40"), from 1920's to pre-WW2 or pre-1941, were printed two to a sheet, longer than current Daybill versions. There were size variances in width from 14.5" to 15" and in height from 39.5" to 40".
- War Time Daybill (10" x 30"), during WW2, for a short time to conserve paper during a war time shortage, four Daybills were printed on one sheet. Information from Press Sheets also referred to these War-Time sizes as "New Size Daybills".
- Post-War Daybill (13" x 30"), this 13" x 30" Post-War size carried through until the 1980's, but also varied in size from 13"-14" x 29.75"-30.25".
- Post-80's Daybill (33cm x 66cm, or 13" x 26"), over a few years in the late 80's, the size changed again to a metric 33cm x 66cm, although these have also varied from 32-33cm x 64.5-66cm. New sizes from the late 80's were created, sometimes called a Mini Daybill or Mini Poster, in 9" x 12", 11" x 17" and 13" x 20".
In the UK, the somewhat unique 'Quad' poster, measuring 30" x 40", became popular, offering a larger landscape format that allowed for more elaborate designs.
In Japan, movie poster sizes were smaller, such as the "B2" (20" x 28"), which suited the more compact living environment of larger cities, smaller advertising spaces, and unique aesthetic sensibilities.
The 1970s and 1980s, witnessed the rise of the "six-sheet" (81" x 81") format, reflecting a trend towards larger and more visually impactful advertising.
Overall, the variation in movie poster sizes across different countries and decades highlights the interplay between technological printing advancements, paper resource availability, paper sheet size changes, cultural preferences, and the evolving nature of movie marketing.
At Movie Posters Australia we tag each poster we sell with a 'size' and 'condition' description at the very top of the page for our customers to easily see. There may however be some slight variations to sizes by up one inch due to variations in production and guillotine methods by printers over the decades.