A Place in the Sun (1951) original film poster: an exclusive Classiq – Irina Perju collaboration
Printed on high-quality fine art paper.
All prints have a white border around the illustration.
Most of the time, the colors you see on-screen will be very faithful to the poster prints you will receive in the mail, but keep in mind that colors may vary slightly from one screen to another. Also, you should take as reference the colors you see in the unframed illustration, not the colors you see in the framed poster you see in the styling example.
PACKAGING AND SHIPPING
Your prints are shipped either flat (the 21×29.7 cm/ 8.3”x11.7” prints) or in a resistant cardboard tube (the 30×40 cm/11.8″ x 15.7″ and bigger). They are rolled safely, with a protective sheet to prevent any damage to the printed area, into a reinforced cardboard tube. The artworks are not shipped framed. Note: the framed poster you see in the photo is 30×40 cm/ 11.8″ x 15.7″.
In an effort to reduce waste, these posters are printed on demand. Please allow up to 5 business days before your print is sent as your order is custom printed just for you. Once the order is shipped, you will receive an email notifying you, with tracking. Once shipped, transit can take anywhere from 1-5 business days if you are in the Europe and 10-31 days for international.
This is an original movie poster as part of an exclusive Classiq – Irina Perju collaboration. I would love to say that one of the aims of this collaboration is to attract a new, young audience for classic films and to make classic cinema more accessible to a wider public. And I truly hope it does. But I guess it is first and foremost another way to funnel my lifelong passion for cinema. It truly is a celebration of classic films and storytelling that, paired with the illustrator’s artwork and end product, wants to bring a new, tangible appreciation for artistic expression and for the world of film.
Noir merges with romantic drama in George Stevens’ A Place in the Sun (1951). George Eastman (Montgomery Clift) travels west from Chicago, chasing a dream and the promise of a new life and self. Pursuing happiness and wealth, in that order, he makes bad choices, which will seal his faith. George finds comfort in a poor girl (Shelley Winters), but he finds love in wealthy Angela (Elizabeth Taylor). And the mastery of this film lies in the way the director uses two contrasting styles to show Clift’s conflicting feelings. When George Eastman is with Angela, Stevens bathes him in light. The scenes with the two of them are sensual and intimate, in soft focus and close-up, it’s like they are the only two people left on the face of the Earth. He is tender and vulnerable and he comes to life around Angela. The sequences with his girlfriend, Alice (Shelley Winters), and later in the courtroom, are marked by a suffocating bleakness, filmed in chiaroscuro lighting, in pure noir style. His expressions are opaque, it’s always dark around the two of them, which suggests the threat to George’s desire for “his place in the sun”.