Judy Holliday Lobby Card Full Of Life (1957) Near Excellent, Vintage & Original
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Judy Holliday Lobby Card Full Of Life (1957) Near Excellent, Vintage & Original:
(This looks MUCH better than the picture above.)
JUDY HOLLIDAY Lobby Card FULL OF LIFE (1957) Near Excellent, Vintage & Original
This 11 x 14 inch Lobby Card would look great framed on display in your home theater, signed or autographed or to add to your portfolio or scrapbook! Some dealers buy my lots (see my other sales) to break up and sell separately at classic film conventions at much higher prices than my low minimum. A worthy investment for gift giving too!
PLEASE BE PATIENT WHILE ALL PICTURES LOAD After checking out this item please look at my other unique silent motion picture memorabilia and Hollywood film collectibles! WIN MULTIPLE sales AND SAVE SHIPPING COST BY SHIPPING SEVERAL ITEMS TOGETHER!!! $ See a gallery of pictures of my other sales HERE!
This LOBBY CARD is an original release (vintage, from the original Hollywood studio release) and not a digital copy or reproduction printing.
When Emily Rocco (Judy Holliday) waddles into view at the beginning of Full of Life, her appearance marked a cinematic breakthrough; seldom had so pregnant a leading lady ever appeared on an American movie screen. With her baby's birthdate only a month away, Emily and her husband Nick (Richard Conte) prepare for first-time parenthood. What they aren't prepared for is Nick's Italian-bricklayer father (Salvatore Baccaloni) who descends upon their humble household with the intention of ruling the roost. Most of all, Papa wants Nick and Emily to go through a proper Catholic wedding, since he doesn't consider their civil ceremony valid. This situation is good for a few laughs, but far funnier is the all-too-typical erratic behavior of expectant mother Emily. Adapted by John Fante from his own novel, Full of Life effortlessly runs the gamut from warm family comedy to outrageous slapstick and back again.
This quality vintage and original Lobby Card is in Near EXCELLENT condition [old yes, with five tiny pinholes and a small dark mark in the loser border – see pix for details], it is has sharp, crisp details and it is not a re-release, not digital or a repro. It came from the studio to the theater during the year of release and has been kept in storage for many years! I have recently acquired two huge collections from life long movie buffs who collected for decades… I need to offer these choice items for sale on a first come, first service basis to the highest buyer.
Domestic shipping would be FIRST CLASS and well packed in plastic, with several layers of cardboard support/protection and delivery tracking. International shipping depends on the location, and the package would weigh a little over a pound and a quarter (20 ounces) with even more extra ridge packing.
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“"Full of Life" flows nice and smooth, like warm molasses on pancakes. John Fante adapted the screenplay from his own novel and the result is chicken soup for the soul. That's probably enough food allegories, though food plays a nice role in the movie. Star Judy Holliday plays Emily Rocco, a secular girl married into a Catholic Italian family. They live happily with the husband Nick (played by Richard Conte) having drifted from the faith into a more worldly life as well. As the film opens, Emily is pregnant with their first child. They are having the child late, we learn, by choice. Their rather sterile existence starts to transform with the pregnancy as Emily goes through emotional changes. An intellectual woman, Emily is confused by the new emotions and Nick bears the brunt of her frustration. It is all delivered with gentle humor and genuine affection. Emily and Nick need to adjust their attitudes from that of young individuals to that of family. The obvious solution is to involve Nick's family, a large traditional Italian unit, but Nick has become estranged. The impetus comes in the form of termites. The kitchen floor of their stucco home is infested and gives way under Emily in a nicely funny scene, leaving her crying up to her chest in a hole in the floor. Repair estimates are too expensive for them (Nick is a writer between books) and Emily repeatedly suggests that Nick contact his father, Papa Vittorio. Papa, played delightfully by Salvatore Baccaloni, is a stone mason but surely able to do some carpentry work as well. Papa has noticed how his children have become estranged, seduced by life in the US, and is not very happy about it. After some initial pride-driven stubbornness between Papa and Nick, the wheels are in motion for the family to be reunited. This is the point of the film, how worldly possessions, achievements and accomplishments cannot replace the family. Those things are important elements of life but only from the perspective of how they emphasize the strength and value of the family. Surprisingly, or perhaps appropriately, Emily with her secular upbringing recognizes and accepts this more quickly than Nick and she is the link that draws all parties together. A departure from the romantic comedies Holliday was known for, "Full of Life" provides her with an opportunity to aim her tremendous talent at a much more subtle style of humor. Holliday excels here as she always did, providing a performance that captures all the nuances of a multifaceted character. Judy's strength as a technical actress was to deliver a pure illustration of each character. She could take a one dimensional character and make her powerful. She could take an overly complex character and make her familiar and accessible. Judy Holliday's Emily Rocco will resonate with the viewer long after the movie ends. One cannot discuss Holliday's genius without lamenting her early demise. Seven features seems shamefully few for such a bright star, but at least we have those. Of her seven starring roles, I cannot say Emily Rocco is her best, but it is top notch and it is unique. Highly recommended! Although her film career rested on portraying dumb blondes, American actress Judy Holliday scored 172 on her early IQ tests. A voracious reader and theater devotee, Holliday was determined to become a classical actress even though she was rejected for admission to Yale Drama School. She worked as a switchboard operator and a stage manager for Orson Welles' Mercury Theater, then took a job in a comedy revue at a Greenwich Village nightclub in 1938. In the company of her friends Adolph Green, Betty Comden, Alvin Hammer and John Frank, Holliday was a member of the Revuers, an aggregation specializing in wildly satirical songs and sketches. Working their way up the club date grapevine, the Revuers caught the attention of a 20th Century-Fox talent scout, who wanted to hire only Holliday. She loyally refused to enter movies without her co-workers -- to little avail, since the group's premiere performance in Greenwich Village (1944) was trimmed down to near-nonexistence. Holliday stayed at Fox for a bit in Something for the Boys (1944) and a good supporting role in Winged Victory (1944), but was dropped by the studio as having limited potential. The seriocomic role of a prostitute in the 1945 stage play Kiss Them for Me revitalized her career somewhat, but her biggest break came when Jean Arthur dropped out of the Garson Kanin play Born Yesterday. With less than three days' rehearsal, Judy stepped into the role of Billie Dawn, the dimwitted "kept girl" of crooked junk dealer Paul Douglas, and overnight became the hottest new "find" on Broadway. Columbia Pictures bought the film rights for Born Yesterday, but Columbia president Harry Cohn didn't care for Holliday, so her chances at being hired for the movie were slim. She took an excellent part as a would-be husband killer in Adam's Rib (1949), and it was this performance that convinced Columbia to allow Holliday to recreate Billie Dawn for the screen version of Born Yesterday (1950). The result was an Academy Award for Holliday and a lucrative Columbia contract. Some of her Columbia pictures tended to recast Holliday as Billie Dawn (under different names) over and over again. Though this dumb-dumb characterization was irritating to the star, it came in handy when she was called to testify for the House UnAmerican Activities Committee. By playing "stupid", Holliday managed to survive accusations of Communist activity that would have killed her career. Tired of Hollywood by 1956, she signed to star in a musical comedy written by her old Revuers companions Comden and Green. Bells Are Ringing, which cast Holliday as a "Miss Fixit" telephone operator, ran several seasons, and was ultimately adapted as a film in 1960; this time there was no question that she would repeat her stage role for the movie. Unhappily, Bells Are Ringing was Holliday's last film. Domestic problems and the debilitating failures of her 1960 play based on the life of Laurette Taylor and the bedeviled Broadway musical Hot Spot were only part of the problem; an earlier bout with cancer had recurred, and this time proved fatal. Holliday died at the age of 43 -- a brilliant, singular talent allowed to perform at only half steam in most of her Hollywood films.”