THE WEREWOLF (1956) Movie Poster, Original Daybill, HORROR
Size AU Daybill Post-War (13" x 30")
THE WEREWOLF (1956) Movie Poster, Original Daybill, HORROR, Starring Steven Ritch, Don Megowan, Joyce Holden and Directed by Fred F. Sears is in Fine Condition. Movie Poster and Condition. Condition:...
THE WEREWOLF (1956) Movie Poster, Original Daybill, HORROR, Starring Steven Ritch, Don Megowan, Joyce Holden and Directed by Fred F. Sears is in Fine Condition.
Movie Poster and Condition.
Condition: This poster is presented in Fine condition with 2 Daybill folds as issued, neat pin holes in each corner, paper loss on the left hand side middle, paper rippling/crumpling which has been flattened out, minor foxing on back with one spot at the top shows through to the front, considering these conditions its still an fine example of an original, unrestored vintage poster with vibrant colours.
This authentic Australian Daybill represents a highly collectable piece of 1950s horror cinema memorabilia. Original Daybill posters remain one of the most sought-after formats among collectors due to their uniquely Australian dimensions and distribution history. Despite the age-related wear noted above, this example retains strong visual presentation and excellent display appeal, particularly considering its unrestored status. The vivid colour retention and original theatrical printing make this a desirable acquisition for collectors of classic monster movies, vintage horror posters, and mid-century cinema artwork.
Movie Synopsis
The Werewolf (1956) is a distinctive entry into the golden era of 1950s American science-fiction horror films, blending classic monster mythology with Cold War-era scientific anxiety. Released during a decade dominated by fears surrounding atomic experimentation and uncontrolled scientific advancement, the film reimagines traditional werewolf lore through the lens of modern science.
Directed by Fred F. Sears and written by Robert E. Kent and James B. Gordon, the film follows a mysterious and unsettling chain of events that begins in a quiet mountain community. Locals discover a badly injured and confused stranger wandering the countryside. The man, portrayed by Steven Ritch, has no memory of who he is or how he arrived there. As he attempts to piece together his identity, disturbing physical and behavioural changes begin to emerge.
Unknown to him, he has become the unwilling subject of a secret scientific experiment. Two researchers, driven by ambition and lacking ethical restraint, have exposed him to experimental treatments intended to accelerate human evolution and adaptation. Instead of creating advancement, the experiments trigger horrifying transformations. Under periods of stress and heightened emotion, the man becomes a savage and uncontrollable creature resembling a werewolf.
Unlike traditional folklore-based werewolf stories, The Werewolf (1956) removes supernatural origins and replaces them with scientific horror. This approach reflected a broader trend throughout 1950s cinema, where monsters increasingly emerged from laboratories rather than legends. The result is a fascinating hybrid of creature feature, science-fiction horror, and tragic character drama.
Supporting performances from Don Megowan, Joyce Holden, Eleanore Tanin, and Ken Christy help create an atmosphere of mounting tension as authorities attempt to understand the violent incidents occurring around town. Rather than presenting the transformed man as purely evil, the film emphasises the tragedy of someone stripped of identity and control.
One of the more interesting production facts surrounding the movie is that actor Steven Ritch, who also co-wrote the original story concept, sought to create a modernised interpretation of the werewolf myth that aligned with contemporary audience concerns. The makeup effects, while restrained compared with later decades, remain effective and memorable for the period and contributed to the film’s enduring cult reputation among fans of vintage horror.
Today, The Werewolf (1956) is appreciated for its unusual concept, atmospheric black-and-white cinematography, and its place within the evolution of cinematic monster storytelling. Original theatrical posters from this title are increasingly difficult to source, especially in Australian Daybill format, making examples such as this particularly appealing to collectors of original horror movie posters and 1950s film memorabilia.
To find out more about The Werewolf (1956) 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.