Michel Landi (born 1932) is an incredibly prolific French poster artist with more than 1,500 posters to his name, many of which, like his Bullitt, are very well known. Having worked from the late 50s—when he began by painting the billboards outside Paris movie theaters—through to the 00s, he has worked in many different mediums (he had a notable airbrush period in the 80s) and isn’t really known for one distinctive style. But I recently discovered a number of painted posters by Landi from the late 60s and early 70s that are all very much the work of one artist: all distinguished by wildly expressive brush strokes and a generous, almost fauvist, use of color. The first one I noticed was this exuberant re-release poster for Jacques Tati’s Jour de Fête which renders a carousel as a whirlwind of paint.
In 1970, the charismatic actor Christopher Jones (then starring in David Lean’s epic Ryan’s Daughter) turned his back on movie stardom to lead a life of almost total anonymity. Today, Jones is a working artist who specializes in paintings with a classical antiquity theme and in portraits of Hollywood legends such as James Dean – to whom Jones once bore a striking resemblance.
Having studied at the Actors Studio and perfected his craft on episodes of The Man from U.N.C.L.E. and Naked City, the extraordinarily handsome, Tennessee-born actor moved steadily up the Hollywood ladder through the late sixties. He starred in The Legend of Jesse James – a TV western that lasted through the 1965-66 season – and three B-pictures: the love story Chubasco (in which he appeared with then-wife Susan Strasberg); the sex romp Three in
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