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    Children of the Sun (Public Welfare Pictures Corp., 1934). Three Sheet (41" X 83").
    Samuel Cummins was one of the great exploitation kings of the early twentieth century. Covering a wide range of the political spectrum, Cummins was mostly interested in the power of shock and titillation to sell tickets. He began his career with silent films like The Solitary Sin and Wild Oats, and continued into sound with Trial Marriage, Unguarded Girls and this look at the relatively new idea of nudism, Children of the Sun. Nudists had begun to show up in Germany around the turn of the century, and film producers were more than willing to examine their philosophy of health, vegetarianism and freedom--as long as they were able to show naked bodies cavorting out in the open. Cummins fought extended battles against censor boards in New York, New Jersey, Virginia and Baltimore for the right to show this and other nudies. The New York board rejected it totally, stating "while the views of nudists in themselves do not in all cases display sex organs, the idea of sex is over-emphasized and exploited through the representation of nude men, women and children on the screen." It's not out of the question, but still unclear, as to whether Children of the Sun ever got a legal showing in the U.S. Cummins' most famous battle against censors was his defense of the Czech film Ecstasy, starring Hedy Lamarr. The first print of the film that he imported was burned after he refused to make cuts requested by the Treasury Department. A slightly altered print finally made it through Customs, and was shown across the country--with such advertising as "Suppressed Until Now!" and "Ecstasy Obscene, U.S. Jury decides." With Hitler's rise to power in Germany, Cummins focused on war, releasing a serious look at WWI veterans, Forgotten Men, and the first anti-Nazi film released in America, Hitler's Reign of Terror. He went back to his old stomping grounds after the war, releasing 10 Days in a Nudist Camp as part of the resurgence of nudist films in the 1950s. The poster shows moderate fold separations at the borders, a small stain and edge wear in the upper border, and a top right corner bend. There are two tears in the right border, and each panel has a horizontal crease at the bottom. The poster is in three sections as originally printed. Folded, Very Fine-.


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    Auction Dates
    March, 2017
    25th-26th Saturday-Sunday
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