THE LONG KISS GOODNIGHT (1996) MOVIE POSTER, ONE SHEET, GINA DAVIS
Size AU One Sheet (27" x 40")
The Long Kiss Goodnight (1996) Movie Poster, Australian One Sheet, Starring Geena Davis and Samuel L. Jackson and Directed by Renny Harlin, is in Very Fine condition. Movie Poster and...
The Long Kiss Goodnight (1996) Movie Poster, Australian One Sheet, Starring Geena Davis and Samuel L. Jackson and Directed by Renny Harlin, is in Very Fine condition.
Movie Poster and Condition
Condition: This Australian One Sheet Movie Poster presents in Very Fine condition, with crease marks from the poster being folded, very small pin hole in the 3rd cross fold pin marks in each corner and including the sides of the poster, these issues do not affect the overall condition of the poster. This Poster is currently stored folded and will be shipped in an acid free polyprop bag with acid free backing board. This original theatrical poster showcases the striking imagery of one of the 1990s' most explosive action thrillers, featuring the dramatic transformation of Geena Davis from suburban mother to deadly assassin. The poster's bold design and vibrant colours remain well-preserved, making it an excellent example of 1990s action movie memorabilia. As an Australian one sheet, this poster represents authentic cinema history from the film's original theatrical release, perfect for collectors of action cinema posters and fans of Davis's powerful performance.
Movie Synopsis
The Long Kiss Goodnight is an electrifying 1996 action thriller directed by Finnish filmmaker Renny Harlin, known for his work on Die Hard 2, Cliffhanger, and Deep Blue Sea. The film features a razor-sharp screenplay by acclaimed writer Shane Black, who previously penned Lethal Weapon and would later write and direct Kiss Kiss Bang Bang and Iron Man 3. Black's signature blend of hard-hitting action, witty dialogue, and complex character development is on full display in this high-octane thriller.
The film stars Geena Davis in one of her most physically demanding and transformative roles as Samantha Caine, a small-town schoolteacher living a quiet life in suburban Pennsylvania with her young daughter Caitlin. Suffering from amnesia for the past eight years, Samantha has no memory of her life before being found on a beach, pregnant and near death. Her seemingly perfect suburban existence is shattered when a car accident triggers disturbing flashbacks of violent skills and memories that don't match her current identity. Desperate for answers, she hires Mitch Henessey, a down-on-his-luck private investigator brilliantly portrayed by Samuel L. Jackson, to help uncover her mysterious past.
As Samantha and Mitch dig deeper, they discover that she is actually Charly Baltimore, one of the most lethal and efficient assassins ever employed by the CIA. As her dormant memories resurface, Samantha's personality begins to fracture, with the ruthless, chain-smoking, profanity-laden Charly emerging more frequently. The duo soon finds themselves targeted by dangerous elements within the intelligence community, including Charly's former handler Dr. Nathan Waldman (played by Brian Cox) and a sadistic terrorist named Timothy (portrayed with chilling menace by Craig Bierko). They must race against time to prevent a devastating terrorist attack while Samantha/Charly struggles to reconcile her two conflicting identities and protect her daughter.
The supporting cast includes Tom Amandes as Samantha's confused fiancé Hal, Yvonne Zima as daughter Caitlin, David Morse as Charly's former colleague Luke, and Patrick Malahide as British agent Perkins. Each performance adds depth to this intricate conspiracy thriller that keeps audiences guessing until the explosive finale.
The Long Kiss Goodnight was notable for its groundbreaking portrayal of a female action hero at a time when the genre was predominantly male-dominated. Geena Davis underwent intensive physical training for months to perform many of her own stunts, including weapons handling, martial arts, and ice skating sequences. Her commitment to the role earned widespread critical praise, with many considering it one of the finest female action performances of the decade. The film showcased that women could carry major action franchises with the same intensity and believability as their male counterparts.
Director Renny Harlin orchestrated spectacular action sequences throughout the film, including a breathtaking truck chase on an icy bridge, intense shootouts, and a climactic confrontation in Niagara Falls. The film's production budget of approximately $65 million was justified by its ambitious practical stunts and explosive set pieces. Cinematographer Guillermo Navarro, who would later win an Academy Award for Pan's Labyrinth, created a visually stunning film that balanced intimate character moments with spectacular action photography.
Shane Black's screenplay is packed with his trademark sharp wit and memorable dialogue. The chemistry between Davis and Jackson provides both comedic relief and emotional depth, with Jackson's Mitch serving as the audience's surrogate, reacting with equal parts terror and amazement as Samantha's true identity emerges. Their partnership evolves from professional arrangement to genuine friendship, adding heart to the film's relentless action.
The musical score by Alan Silvestri, a frequent collaborator with director Robert Zemeckis, perfectly complements the film's shifting tones, from suburban domesticity to pulse-pounding suspense. Silvestri's orchestral arrangements heighten the emotional stakes while driving the action sequences forward with propulsive energy.
Though the film received mixed reviews upon its initial release and underperformed at the box office, grossing approximately $89 million worldwide, The Long Kiss Goodnight has since been re-evaluated as an underrated gem of 1990s action cinema. It has developed a strong cult following among action enthusiasts who appreciate its intelligent script, compelling lead performances, and refusal to compromise its heroine's complexity and lethality. The film is now recognised as a pioneering entry in the female-led action genre, paving the way for future films featuring strong, capable women in traditionally male-dominated roles.
To find out more about The Long Kiss Goodnight (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.