If you wanted a color lithograph in the early days, the number of stones prepared had to match the number of colors you commissioned for the poster. French painter Jules Chéret, widely known as the father of the modern poster, designed some of history's most popular lithographic posters that featured color. Today, Chéret’s art is highly collectible, along with original works by Czech painter and decorative artist Alphonse Mucha, whose posters advertising theatrical productions helped define Art Nouveau. a b Castaldo Lundén, Elizabeth (1 December 2016). "Barbarella's wardrobe: Exploring Jacques Fonteray's intergalactic runway". Film, Fashion & Consumption. 5 (2): 185–211. doi: 10.1386/ffc.5.2.185_1. Barbarella [a] is a 1968 science fiction film directed by Roger Vadim, based on the French comic series of the same name by Jean-Claude Forest. The film stars Jane Fonda as the title character, a space traveler and representative of the United Earth government sent to find scientist Durand Durand, who has created a weapon that could destroy humanity. The supporting cast includes John Phillip Law, Anita Pallenberg, Milo O'Shea, Marcel Marceau, David Hemmings, Ugo Tognazzi, and Claude Dauphin. Gerber, Gail; Lisanti, Gail (2014). Trippin' with Terry Southern: What I Think I Remember. McFarland. ISBN 978-0786487271. This is an original one sheet movie poster from 1968 for Barbarella starring Jane Fonda, John Phillip Law, Marcel Marceau, David Hemmings, Anita Pallenberg, and Milo O'Shea. Roger Vadim directed the science fiction thriller. Robert McGinnis is the artist for the poster.

Welcome to the official Film/Art Gallery collection of original Barbarella vintage movie posters, where we offer a wide range of artwork for one of cinema's ultimate science-fiction films.

Malcolm and Lohman criticized Barbarella 's nature, themes and tone, with Malcolm calling it a "nasty kind of film", "modish to the core" and "essentially just a shrewd piece of exploitation". [57] Lohman suggested the film's humor was "not jokes, but hard-breathing, sadistic thrashings." [53] Bates called it "pure sub-adolescent junk" and "bereft of redeeming social or artistic importance". [56]

R. L. C. (25 October 1968). "Comedy Films in Suburbs; 'Barbarella' in Town: Basbarella[ sic] Shows Up As Overlong Serial". The Washington Post. p.C12. Critics praised the film's design and cinematography. Variety 's mainly negative review noted "a certain amount of production dash and polish" and, according to Derek Malcolm of The Guardian, "Claude Renoir's limpid colour photography and August Lohman's eye-catching special effects are what save the movie time and again". [57] A Monthly Film Bulletin reviewer wrote that Barbarella 's decor is "remarkably faithful to Jean-Claude Forest's originals", noting a "major contribution of Claude Renoir as director of photography" and "Jacques Fonterary's and Paco Rabanne's fantastic costumes". [18] James Price ( Sight & Sound) agreed, citing "the inventiveness of the decors and the richness of Claude Renoir's photography". [58] Having bought the film rights to Jean-Claude Forest's Barbarella comics, producer Dino De Laurentiis secured a distribution deal in the United States between France's Marianne Productions and Paramount Pictures. He planned to film Danger: Diabolik, a less-expensive feature, to help cover production costs. [12] In 1966 Roger Vadim expressed admiration for comics (particularly Charles Schulz's Peanuts), saying that he liked "the wild humor and impossible exaggeration of comic strips" and wanted to "do something in that style myself in my next film, Barbarella." [13] Vadim saw the film as a chance to "depict a new futuristic morality ... Barbarella has [no] guilt about her body. I want to make something beautiful out of eroticism." [14] His wife, actress Jane Fonda, noted that Vadim was a fan of science fiction; according to the director, "In science fiction, technology is everything ... The characters are so boring—they have no psychology. I want to do this film as though I had arrived on a strange planet with my camera directly on my shoulder—as though I was a reporter doing a newsreel." [4]French mime Marcel Marceau had his first speaking role in the film as Professor Ping. [25] Comparing Ping to his stage persona Bip the Clown and Harpo Marx, he said that he did not "forget the lines, but I have trouble organising them. It's a different way of making what's inside come out. It goes from the brain to the vocal chords, and not directly to the body." [26] Gaultier, Jean Paul (3 March 2017). "Vive la difference! Jean Paul Gaultier Reflects on the Great French Fashion Rebels of the 20th Century". CNN. Archived from the original on 16 August 2017 . Retrieved 16 August 2017. Kroll, Justin (11 October 2022). "Sydney Sweeney To Star and Exec Produce New 'Barbarella' Movie For Sony Pictures". Deadline Hollywood . Retrieved 12 October 2022.

a b c Adler, Renata (12 October 1968). "Screen: Science + Sex = 'Barbarella':Jane Fonda Is Starred in Roger Vadim Film Violence and Gadgetry Set Tone of Movie". The New York Times. Archived from the original on 9 July 2017 . Retrieved 2 December 2016. Curti, Roberto (2016). Diabolika: Supercriminals, Superheroes and the Comic Book Universe in Italian Cinema. Midnight Marquee Press. ISBN 978-1-936168-60-6. Several actresses were approached before Jane Fonda was cast as Barbarella: Brigitte Bardot, who was not interested in a sexualized role, and Sophia Loren who was pregnant and felt that she would not fit the role. [22] Fonda was uncertain about the film, but Vadim convinced her by saying that science fiction was a rapidly-evolving genre. Before filming Barbarella, she was the subject of two sex scandals: the first when her nude body was displayed across an eight-story billboard promoting the premiere of Circle of Love in 1965, and the second when several candid nude photos from Vadim's closed set for The Game Is Over were sold to Playboy the following year. According to biographer Thomas Kiernan, the billboard incident made her a sex symbol in the United States. [22] Vadim said he did not want the actress to play Barbarella "tongue in cheek", and he saw the character as "just a lovely, average girl with a terrific space record and a lovely body. I am not going to intellectualise her. Although there is going to be a bit of satire about our morals and our ethics, the picture is going to be more of a spectacle than a cerebral exercise for a few way-out intellectuals." [23] Fonda felt her priority for Barbarella was to "keep her innocent"; the character "is not a vamp and her sexuality is not measured by the rules of our society. She is not being promiscuous but she follows the natural reaction of another type of upbringing. She is not a so-called 'sexually liberated woman' either. That would mean rebellion against something. She is different. She was born free". [23] a b Newman, Kim. "Barbarella Review". Empire. Archived from the original on 16 August 2017 . Retrieved 16 August 2017. Morgan, Spencer (16 October 2007). "Barbar-hella! Robert Rodriguez Is Fonda of Rose McGowan in Queen of the Galaxy Role, But Universal Winces". The New York Observer. Archived from the original on 19 October 2007 . Retrieved 17 October 2007.

a b c Bates, Dan (1969). "Short Notices". Film Quarterly. Vol.22, no.3. University of California Press. p.58. Haber, Joyce (28 November 1968). "Film Pair Gets Bum's Rush in Bistros". The Washington Post. p.D15.

Godvin, Tara (10 October 2012). " 'Barbarella' at 45: David Hurn's Iconic Images of Jane Fonda". Time. Archived from the original on 23 February 2016 . Retrieved 26 April 2017. Hughes, Howard (2014). Outer Limits: The Filmgoers' Guide to the Great Science-Fiction Films. I.B.Tauris. ISBN 978-0857734754.a b Webb, Charles (7 February 2012). "Blu-ray Review: 'Barbarella' is Stellar on Blu". MTV. Archived from the original on 17 February 2017 . Retrieved 6 December 2016.