Newspaper Ad: Coma (1978)

Oakland Tribune – Sunday, February 5, 1978.

I have a clearer memory of flipping through the paperback tie-in for Coma than I do of the film’s actual theatrical release. The first time I would see Coma would be when it made its debut on network television. So it goes.

By the time that happened I knew who Michael Crichton was, which is why I watched the film. I did not manage to crack open the actual book and read it until after well after that. I am pretty sure that I had actually read Sphinx, Robin Cook’s third novel, before Coma. I bounced off of Brain, Cook’s fourth, yet I did read Fever, his fifth, in a single sitting. Back when I was capable of such things.

In 1987 or, perhaps, 1988 I did manage to read the entirety of Brain and then chased it with Mindbend. I have not read anything by Robin Cook since.

Crichton was a different matter. I became aware of him via the film adaptations of his novels The Andromeda Strain and The Terminal Man, as well as regular viewings of his original film Westworld whenever it would air on television. I have never bothered with the reimagined television show, though. I do remember seeing Futureworld on the big screen, as well as watching at least one episode of the short-lived syndicated series Beyond Westworld. So there.

Reading wise I would gulp down The Andromeda Strain, The Terminal Man, Congo, Sphere, Jurassic Park, The Lost World, Five Patients, and Disclosure before tapping out on Crichton’s output.

Newspaper Ad: Beyond the Door II [Schock (1977)]

Oakland Tribune – May 11, 1979

This ad for Beyond the Door II was one of a trio from the first half of 1979 that I remember creeping me out so bad that I was afraid to look at them, for fear of being attacked by whatever horrors were being promised to their potential viewers.

Yet, I could not NOT look at them…

Although it was released in the United States as Beyond the Door II, the film is not a sequel. Its original title was Schock, but distributor Film Ventures International thought it best to capitalize on the name recognition from one of their bigger box office successes of the mid 1970s. So it goes.

Shock, as it is now known, would also be the last directing credit for the legendary Mario Bava. While this film does not reach the atmospheric levels of Bava’s earlier classics, it does manage to have one of the most artfully crafted jump scares in all of horror cinema. One so effective that it has been carbon copied innumerable times.

One example as to how Shock‘s jump scare is repackaged and reused.
Another example: its use in Imaginary‘s trailer for the now obligatory “end it with a BOO scare” gag.

Newspaper Ad: The 7th Voyage of Sinbad (1958)

San Francisco Examiner – June 11, 1975

Wow. I have zero memory of there having been a theatrical re-release of The 7th Voyage of Sinbad in June of 1975.

Then again I was all of seven years old when this re-release opened and we were living in Alameda, not San Francisco. So there would be no way for me to get to the Coliseum Theatre, located on 9th and Clement, and see that double bill of The 7th Voyage on Sinbad and… Dark Star.

Yes, Dark Star. That ultra-low budget student project turned feature movie made by John Carpenter and Dan O’ Bannon long before they became genre movie icons.

Not that I would have understood or appreciated it at the time. Because I would not know who Dan O’ Bannon or John Carpenter were until 1979.

But I love that this double-bill happened and that somebody, somewhere, actually saw it.

Newspaper Ad(s): Dracula (1931)

San Francisco Examiner – March 21, 1931

Rather than continue to waste valuable time scouring Pinterest, Twitter, and Instagram for other people’s uploads of newspaper ads and listings for horror, science fiction, and fantasy movies, I decided to start getting my own.

And what better place to start than at the very beginning? Here is what appears to be the very first teaser ad for the San Francisco Bay Area release of Universal’s Dracula. The movie considered to have started it all. Without the financial and artistic success of Dracula, there would have been no Frankenstein. No Universal Monsters.

Because what Dracula helped to prove was that a horror movie with an actual supernatural element, one that did not offer a rational explanation for all of the film’s strange and otherworldly events, could and would make a lot of money.

Ladies and gentlemen, the monsters had begun to arrive…

Oakland Tribune – March 28, 1931