Employing the marketing tools provided by the Pressbook were the main methods a cinema had of selling a movie to the public. In the case of The Magnificent Seven, the Pressbook comprised twelve A3 pages. As well as a range of advertisements, this contained plot summary, press releases, lobby cards, stills and material that could be marketed to television (a one-minute highlights spot and two 20-second ads) and radio (a double-sided record including jingle and interviews with Yul Brynner and Steve McQueen).
While the posters on display outside a theater would be in color, those for use as advertisements in a local newspaper would be in black-and-white. Different typefaces and letter shading were used to ensure advertisements were as arresting when seen in black-and-white as well as color. Unlike today when one image and tagline is used to sell a movie, in the 1960s a studio would produce several different posters/advertisements with a variety of taglines.
This Pressbook came with a bundle of promotional ideas, many revolving around the film’s titular number. Cinema owners were encouraged to develop tie-ups with local retailers that might include the gimmick of a seven-day, seven-hour or seven-cent sale or one that ran from 7am to 7pm. Or in conjunction with the local law enforcement agency, come up with “The Magnificent Seven rules for Safety” or, with travel agencies, a “Magnificent Seven-day Holiday,” Mexico the obvious location. Radio station disc jockeys might come up with the seven best tunes and play the rousing Elmer Bernstein theme music. Stores were encouraged to put up displays of the record sleeves. There was even potential for a fashion link with department stores after adverts had appeared in Esquire and Gentleman’s Quarterly of Eli Wallach modeling menswear.
Publicists did not let the facts get in the way of a good story. Horst Buchholz apparently spoke seven languages. According to the Pressbook it was John Sturges who taught the actors how to draw. The Pressbook also gave the misleading impression that it was Brynner who was in love with the female lead Rosenda Monteros. Another article commented on the difficulties Brynner had on rolling a cigarette one-handed – even though he smoked cigars throughout.
The main tagline was: “They were seven…and they fought like seven hundred.” And there were endless variations of this. Sometimes “they fought like seven hundred” was sufficient. Other times this idea was expanded: “seven notches above the ordinary,” and “the matchless seven.” On occasion, there was tagline that summed up the entire picture: “the renegades among them came for gold…the firebrands came just to taste the excitement…and all seven came to wipe away the past.” In this same advert, each of the gunfighters was defined – Brynner “the leader,” McQueen “the deadly one,” Buchholz “the young one,” Bronson “the strong one,” Vaughn “the vengeful one,” Dexter, “the greedy one,” and Coburn “the rugged one.”
Some exhibitors came up with their own taglines and cut-and-paste images to create their own adverts. In San Bernardino audiences were wooed by “Savage hordes of kill-crazed bandits (hungry for women, gold and blood lust) against the flaming guns of the Seven.” Elsewhere, moviegoers were expected to respond to “a message picture handsomely mounted.” Among the self-made posters was one with women in a provocative pose, something that did not occur in the picture.