Film
Sweeney 2
1978
UK Quad / (30″ x 40″) / Single Sided / Printed in England by W.E.Berry Ltd. Bradford
UK / British
Very Fine Plus / Originally Folded (as issued)
Tom Clegg
Anna Gael, Denholm Elliott, Dennis Waterman, John Thaw, Ken Hutchison, Lewis Fiander
An original country of origin “Sweeney 2” UK film poster for the second cinematic spin-off from the popular 70’s police series. “The Sweeney” was without doubt one of the finest British cop dramas of not just the 70’s but British TV and the genre. Released a short time after the TV series aired its final episode “Sweeney 2” was a commercial and critical success and remains to this day the truest depiction of the lifestyle at the time. Presented in excellent folded (as issued) condition this beautiful original, unrestored example displays and presents superbly. Simple, gritty design and bold block colours it’s an impressive looking film poster that represents a great, nostalgic item of very collectable movie memorabilia…“We’re the Sweeney son, and we haven’t had any dinner!”
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When British cinema of the 70s is discussed, “Sweeney 2“ rarely gets a mention. Yet it illustrates the changing times as vividly as many better-known films. The blazing action of “Sweeney!” is replaced by a thoughtful film that, although more low-key, is perhaps a more accurate reflection of the television series.
Regan (John Thaw) and Carter (Dennis Waterman) are on the trail of a gang of bank-robbers who, from their idyllic base on Malta, occasionally return to Britain (a country they believe to be “finished”) to carry out violent and well-planned raids. The men lead a luxurious communal lifestyle with their wives and children yet it is one financed by thrusting sawn-off shotguns into the faces of terrified bank cashiers and taking hostages (one of whom, a young woman, is killed in the raid that opens the film). They seem to symbolise the souring of the 60s dream.
Other details are equally telling. A young schoolteacher tells George Carter that she “doesn’t like policemen”. No longer does the force command widespread public respect. Regan’s boss (the excellent Denholm Elliott) is facing imprisonment on corruption charges, reflecting the corruption trials that so stained the image of the Metropolitan Police in the 70s.
On their abortive trip to Malta to try to interview the men, Regan and Carter are plainly jealous and angry when they witness the lifestyle of their targets – a far cry from their grimy world of bacon sandwiches from burger vans and knees-ups down the local. But by the end of “Sweeney 2“ and a year before Margaret Thatcher won power in Britain, it is the defiantly working-class coppers who have the last laugh, joined by their girlfriends for a boozy celebration – while the wives of the bank robbers prove less reliable.
Euston Films had a track record of producing high-quality television and (in this case) film. “Sweeney 2“ fully confirms this. There are good supporting performances from Nigel Hawthorne, Lewis Fiander and Derrick O’Connor plus an exciting score by Tony Hatch. The action scenes, although lesser in number than in the first film, are superbly handled by one of the TV show’s action specialists, director Tom Clegg.
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Mint
A poster that has never been used or displayed and may show the most minor signs of age and wear. The poster should have no holes or tears.
Near Mint
A generally unused poster with fresh, saturated colors. May have minimal tears at folds. Has no significant holes, no paper loss, may have minor tears along edges, may have fine pin holes.
Very Fine
A poster with bright colour and crisp overall appearance. It may have very general signs of use including slight fold separation and fold wear. It may have pin holes or very minor tears. This is the highest grade allowed for a poster that has been restored either on linen or on paper.
Fine
A poster with good colors and overall clean appearance. It may have minor tears small paper loss and minor stains. It may have some fold seperation.
Good
An average poster with overall fresh color. May have tears, minor paper loss, minor hazing. Paper may be brittle due to age, may have minor stains. May have a small amount of writing in an unobtrusive place. May have medium or major restoration.
Fair
A poster with faded colors and brittle paper, showing significant signs of use. May have tears and paper loss. May have tape, writing, stains in image area. In need of restoration or had major restoration.
Poor
A poster that is worn, torn, and/or damaged. May have staining, cracking, dry rot, and/or large tears. May be heavily soiled, may have pieces missing. In need of major restoration.
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LOBBY CARD
11 x 14″ printed on heavy stock paper. Used as display in theatre lobbies. Originally made in sets of eight. Some sets have a title card, which contains credits and artwork, essentially a mini-poster. The remaining seven cards are coloured photographic credits and poster artwork showing different scenes from the movie.
WINDOW CARD
14 x 22″ printed on heavy stock paper with the top 4-6 inches usually left blank for the local cinema owner to fill in the cinema and the date it was due to play. Largely discontinued during the 1970’s.
HALF SHEET
22 x 28″ printed on heavy stock paper. The image displayed is normally a smaller version of the main poster, although some do have different artworks and sometimes come in two versions.
INSERT
14 x 36″ printed on heavy stock paper. Inserts usually have the same artwork as a one sheet. Popular with collectors since they are smaller and easier to frame. Normally come tri folded or rolled.
STYLE Y/FORTY BY SIXTY
40 x 60″ printed on heavy stock paper. Rare since they were primarily used for major motion pictures only. Designed to be used outside the theatre, on an easel, normally at a drive-in movie theatre.
ONE-SHEET
27 x 41″ printed on paper. This is the most common size of poster, intended to be displayed in a glass “marquee” case. It is the most sought after size by collectors. Since the 1980’s most posters are sent to the theatre rolled and maybe slightly smaller measuring 27″ by 40″ and with the advent of backlit light boxes a growing number of modern movie posters are available double-sided and the more traditional single-sided.
THREE-SHEET
41 x 81″ printed on paper. These were printed on two or three separate sheets designed to overlap, few survive. Used for larger advertising spaces, normally posted on walls, perfect for huge movie theatres the drive-in, where people could see them from a distance. From the 1970’s on, three-sheets were sometimes printed in one piece and issued as “international” versions to be used abroad.
BRITISH QUAD
30 x 40″ Most common poster size used in the UK. British Quads are horizontal and may have different artwork to the US one sheet. Like a US one sheet they normally come in two versions. Like a US one sheet they are usually supplied single-sided or more commonly now as a double sided poster.
BRITISH ONE-SHEET
27 X 40″, printed on paper. Very rarely used size.
ITALIAN LOCANDINA
13 x 28″ six inches shorter than the US insert, very nice size to frame. Italian poster illustrators are some of the best in the industry.
ITALIAN PHOTOBUSTA
18 x 26″ Glossy, high quality, used as lobby cards in Italy. Size may vary, either vertical or horizontal format. There are also double Photobusta or mini Photobusta.
2-FOGLIO (DUE)
(DUE): 39 x 55″ This is the standard poster size used in Italy. Italian poster illustrators are some of the best in the industry.
4-FOGLIO
(QUATTRO) 55 x 79″ Very large Italian poster printed in two pieces, often contains very beautiful artwork.
FRENCH
47 x 63″ (GRANDE) or 24 x 33″ (PETITE) French movie posters normally come with different artwork to either the US or the UK. Like the Italian’s some of the artwork is extrememly beautiful.
