![\"repulsion1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/repulsion1.jpg\")
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More Roman Polanski. The BFI is running a season of the director’s work<\/a> through January and February so Repulsion<\/em><\/a> (1965) and Chinatown<\/em><\/a> (1974) have been put back into circulation nationwide. I don’t live in London but I have a large number of\u00a0Polanski’s films on DVD so it looks like this month will also see a mini-season in south Manchester. Anchor Bay released a set of Polanski’s first three films (plus a disc of his short works) a few years ago, a great collection whose only flaw was a lack of Jan Lenica’s poster art for Repulsion<\/em> and Cul-de-Sac<\/em><\/a> (1966). I don’t know what posters are being used to promote the new release of Repulsion<\/em> but something using Lenica’s artwork would seem essential.<\/p>\n The colour and brush style of the prone figure is very typical of Lenica but when combined with either the Clarendon<\/a> typeface in the British example above, or the blocky lettering for the French poster, a Saul Bass-like design appears. The gender and eye symbols in the hand-drawn lettering reinforce a resemblance which I’d guess was deliberate. The title sequence for Repulsion<\/em>, with the credits sliding across a close view of Catherine Deneuve’s eyeball, could almost have been created by Bass; the director’s credit (below) requires no further argument.<\/p>\n <\/p>\n A variant that reworks the Lenica design and Bass-like title to poor effect, this dances along the edge of exploitation as re-release posters often do.<\/p>\n Jan Lenica produced another design for a German release. “Ekel” means “disgust” but the painting is giving the wrong message when it’s the character of Carol experiencing disgust at all the men in her life.<\/p>\n A pair of Japanese posters with the one above being the most subtle of this small collection. Surprising to see English words being used, and in an equally surprising typeface.<\/p>\n There’s more Jan Lenica poster art here<\/a> and here<\/a>. Over at The Quietus Basia Lewandowska Cummings<\/a> takes another look at Repulsion<\/em>. Peter Bradshaw<\/a>‘s review of the reissued film calls it “deeply disturbing” and “horribly convincing”. I agree. If you’ve not yet seen Polanski’s first exploration of deep paranoia then you’re missing out.<\/p>\n Previously on { feuilleton } More Roman Polanski. The BFI is running a season of the director’s work through January and February so Repulsion (1965) and Chinatown (1974) have been put back into circulation nationwide. I don’t live in London but I have a large number of\u00a0Polanski’s films on DVD so it looks like this month will also see a … Continue reading “Repulsion posters”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[4,7,10],"tags":[4442,3517,1320,4441,4055,461,4443,2249,123,436,2439],"class_list":["post-12904","post","type-post","status-publish","format-standard","hentry","category-design","category-film","category-typography","tag-basia-lewandowska-cummings","tag-bfi","tag-bob-peak","tag-catherine-deneuve","tag-jan-lenica","tag-lucifer","tag-peter-bradshaw","tag-roman-polanski","tag-salome","tag-saul-bass","tag-the-quietus"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-3m8","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/12904","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=12904"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/12904\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=12904"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=12904"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=12904"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"repulsion2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/repulsion2.jpg\")
<\/p>\n![\"repulsion7.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/repulsion7.jpg\")
<\/p>\n![\"repulsion3.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/repulsion3.jpg\")
<\/p>\n![\"repulsion4.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/repulsion4.jpg\")
<\/p>\n![\"repulsion5.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2013\/01\/repulsion5.jpg\")
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