Four Movie Posters for “The Adventures of Robinson Crusoe”

Fabrizio del Wrongo writes:

Though it’s rarely talked about, I’ve long considered this adaptation of the Defoe novel to be major Bunuel.

The Adventures of Robinson Crusoe (USA)

This American poster features the key artwork of the campaign: an image of Dan O’Herlihy as Crusoe holding aloft a rifle. Whoever came up with this image didn’t want to leave anything out: You know a man means business when he comes at you with his firearm, his cutlass, and his parrot.

The Adventures of Robinson Crusoe (Danish)

The Danish poster replaces the cutlass with a parasol. Still got the parrot, though. The Danish movie poster tradition favors strong outlines and simplified, almost cartoon-like, coloration.

The Adventures of Robinson Crusoe (French)

This French take adds some line-art adventure vignettes; they seem drawn from the more fully realized ones on the American poster.

Did a parrot even feature in the Defoe novel? I’ve read it, but I don’t recall a parrot.

Tje Adventures of Robinson Crusoe (UK)

In England, The Academy Cinema used this poster to advertise a double-bill featuring the Bunuel film. Designed by famed woodcut artist Peter Strausfeld, it features a less warlike Crusoe and a parrot that prefers fingers to shoulders.

This is the way I tend to think of Crusoe: as a resigned and rustic hermit.

I’ve never heard of the other movie on this double-bill, even though someone at the time considered it a “major masterpiece.” The tagline — “[A] moving and delightful story of two boys and an otter” — sounds vaguely salacious.

About Fabrizio del Wrongo

Recovering liberal arts major. Unrepentant movie nut. Aspiring boozehound.
This entry was posted in Commercial art, Movies and tagged , , , , , , . Bookmark the permalink.

3 Responses to Four Movie Posters for “The Adventures of Robinson Crusoe”

  1. Paul Harrington says:

    The Great Adventure. Arne Sucksdorff’s documentary – one of the handful of great nature films – is a sensuous mixture of beauty and cruelty. Refusing as he says, “to rape reality,” Sucksdorff waits until he gets the shot he wants – extraordinary shots of lynx and otter, fox and woodgrouse, framed in dazzling compositions. Swedish, 1955. – Pauline Kael, ‘Kiss Kiss, Bang, Bang’


  2. H.D. Miller says:

    It sounds salacious, dear Fabrizio, because the modern world has destroyed our last shred of innocence.


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