No matter how small a picture, its budget had to stretch to a Pressbook. Even if the movie would end up on the bottom half of a double bill or a drive-in programmer and did not have much to shout about, it still needed a Pressbook. Low-budget films meant low-budget advertising campaigns unless your name was Joe Levine who often spent far more promoting films than he did making them.
The Pressbook was essential because it was the source of the movie’s adverts that could appear in a newspaper – these came in a variety of sizes so an exhibitor could remove the one most relevant and take it down to their local newspaper to make up the display advertisement. In the pre-digital era, it was a crude as that, adverts were effectively cut and pasted.
While some Pressbooks could run to 16, 20 or 24 A3 pages in full color, the most basic requirement would be four pages, enough to show the ads and get the basic message across. This was of the basic variety. In this case, ads took up the first two-and-a-half pages, leaving a half-page to list the credits and explain the plot. The final page contained information about the stars..
Perhaps as revenge for producer Harry Alan Towers not coughing up enough money for a decent Pressbook, his name was left off it. Instead, filing his slot was Oliver A. Unger, more famous as a pioneer of syndicated television, importer of foreign films and producer of The Pawnbroker (1964). In reality, he was an executive producer, in those days that function being fulfilled by someone who either invested in the picture upfront or once filming was complete bought territorial rights.
Artwork was minimal, one main advertisement, one alternative. But more or less the same taglines appear in both. Hoping to hook in the audiences was the notion of “perfumed harem…in mysterious Beirut…where every hour can be your wildest.. and your last.”
Usually films like these boasting a flotilla of European beauties devoted some space to explaining their origins and puffing up their potential. Not so here. Space is just too tight. The only actors covered are Lex Barker, Mickey Rooney and Walter Szelak. Strangely, no mention is made of Barker’s socko career as a German western hero – the notion that Europeans could make westerns remained absurd at this point (A Fistful of Dollars would take three years following completion to reach U.S. screens).
According to the Pressbook, Barker more or less jumped straight from Tarzan to this kind of thriller. Though he had been out of the loin-cloth for more than a decade (Tarzan and the She-Devil, 1953, his final appearance), the 40 pictures he had made since then (including La Dolce Vita, 1960) did not merit a sentence. The Pressbook did carry a quotable quote from Barker explaining his reasons for quitting jungle life: “It made me feel like a male Bardot because I was always parading around almost nude.” This was the type of quote that only made sense until you realised that Bardot did not become a star till three years after he quit playing Tarzan. Still, who was going to argue?
A strict regimen of physical exercise allowed him to keep in the shape necessary for the film which required him to “run for his life, rescue a pretty hostess from kidnap by helicopter and fight off thug after thug.”
Mickey Rooney gets a better write-up, especially for making the rare jump from successful child star to accepted by audiences for his adult roles. Though the writer of the Pressbook never appeared to actually go the movies. Spot the mistake in this sentence: “Last seen in runaway box office hit It’s A Mad, Mad, Mad, Mad, World Rooney now appears for producer Oliver A. Under in a drama equally as challenging.” That the first film was actually a comedy and not a drama never seemed to sink in.
The usual promotional material – suggestions for marketing, maybe a record of the soundtrack available, perhaps a theme song to target radio stations, various stunts – was non-existent even though the movie leant itself to a tie-in with an airline or a travel company especially as the National Lebanese Tourist Council had gone out of its way to accommodate the production.
6 thoughts on “Selling the Exotic – Pressbook for “24 Hours to Kill” (1965)”
In fact after Tarzan, Lex starred in a number of entertaining Hollywood westerns ie The Deerslayer, The Man From Bitter Ridge, etc. Then he did some Italian swashbuckling movies like Captain Falcon, Robin Hood And The Pirates etc, before eventually in those German westerns.
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Didn’t realise he had such a varied career between Tarzan and the German pictures. His success in Germany might have prompted Clint Eastwood to try his luck in italy.
Brian, I believe it was the success and popularity of Steve Reeves in those peplum movies that lured some of these Hollywood actors to Italy. Clint Eastwood, Richard Harrison and Brett Halsy in spaghetti westerns , Ken Clark , Brett Halsy, Ray Danton etc in Euro spy movies.
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You are right. Forgot about him.
I was wondering about this; I still get detailed press notes sent to me as a hack, and yet I wonder if anyone actually looks at them. There’s a whle internet of key info, and the selling points always seem like their best avoided when trying to appreciate the film. I suspect that such support, like the press-books you highlight, may go the way of the lovely black and white stills we used to be handed in their polythene bags…
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Press Packs and Press Books are different species. For a start you got free stills; exhibitors had to pay for them. The Press Book sent to exhibitors is long gone but still make for fascinating reading.