Great ORIGINAL Mint UNUSED set of 8 color 8" x 10" Lobby Cards, for the 1972 Cowboy Western motion picture,


Los amigos

Director: Paolo Cavara

Screenplay by: Lucia Brudi & Paolo Cavara

The man who hears with his eyes and speaks with his gun ... Set in 1830's Texas just after the Republic won its independence from Mexico. The Republic's future is in doubt, with various factions and foreign powers hoping to sway matters to their own advantage. President Sam Houston instructs one of his agents, deaf-mute Erastus "Deaf" Smith, to infiltrate and put down one of the growing rebel factions. Accompanying him is his friend Johnny Ears, who must not only do Smith's hearing for him, but must also conceal Smith's handicap, as the rebels have intercepted a message that a deaf-mute spy is in their midst.

The entire cast included:

Franco Nero ... Johnny Ears
Anthony Quinn ... Erastus 'Deaf' Smith
Pamela Tiffin ... Susie the hooker
Ira von F?rstenberg ... Hester McDonald Morton
Adolfo Lastretti ... Williams
Franco Graziosi ... Gen. Lucius Morton
Antonino Faa Di Bruno ... The Senator
Renato Romano ... J.M. Hoffman
Francesca Benedetti ... Mrs. Porter the Madame
Conchita Airoldi ... Rosita McDonald (as Cristina Airoldi)
Romano Puppo ... Bull, Morton's Goon
Franca Sciutto ... Bess
Enrico Casadei ... Barrett
Lorenzo Fineschi ... James
Mario Carra ... Corey

These Lobby Cards are MINT never used in ORIGINAL plastic bag. Great set for the Western Lover! All 8 one price!

MORE INFO ON FRANCO NERO: Franco Nero (born 23 November 1941) is an Italian actor.

Nero was born Francesco Sparanero in San Prospero, Emilia-Romagna, and grew up in Bedonia and in Milan. He studied briefly at the Economy and Trade faculty of the local university, before leaving to study at the Piccolo Teatro di Milano.

His romantic involvement with British actress Vanessa Redgrave began in 1967 when they met on the set of Camelot. In 1969, they had a son, Carlo Gabriel Sparanero (known professionally as Carlo Nero), a screenwriter and director. After separating for many years, during which they both had relationships with other people, they reunited and married on December 31, 2006. Carlo Nero directed Vanessa Redgrave in the cinematic adaptation of Wallace Shawn's play The Fever.

Nero walked his stepdaughter Natasha Richardson down the aisle when she married her husband actor Liam Neeson. Natasha died on March 18, 2009, due to a skiing-related head injury.

In 1987, while filming in Cartagena, (Colombia) he was involved in an affair with Mauricia Mena and fathered a son named Franquito.

His first film role was a small part in La ragazza in prestito (1964), and he had his first lead role in Sergio Corbucci's Django (1966) a Spaghetti Western and one of his most well-known films. In 1966 from Django he went on to appear in eight more films released that year including Texas, addio (1967) and Tempo di massacro.

In 1967, he appeared in his first English language film, Camelot as Lancelot, where he met his long time romantic partner, and later on in life his wife, Vanessa Redgrave. Following this he appeared in the mafia film Il giorno della civetta opposite Claudia Cardinale released in 1968.

A lack of proficiency in English tended to limit these roles, although he also appeared in other English language films including The Virgin and the Gypsy (1970), Force 10 from Navarone (1978), Enter the Ninja (1981) and Die Hard 2 (1990).

Although often typecast in films like Los amigos (1972) or Keoma (1976) he has attempted an impressive range of characters, such as Abel in John Huston's epic The Bible: In The Beginning (1966), the humiliated engineer out for revenge in Street Law, and the gay lieutenant in Querelle (1982). He has appeared in almost 150 films, and has written, produced and starred in one: Jonathan degli orsi (1993).

More recently, he starred in Hungarian director G?bor Koltay's Honfoglal?s (Conquest) in 1996, and subsequently in Koltay's Sacra Corona (Holy Crown) in 2001.

MORE INFO ON ANTHONY QUINN: Anthony Quinn was born Antonio Rudolfo Oaxaca Quinn on April 21, 1915 in Chihuahua, Mexico to an ethnic Irish Mexican father and an ethnic Mexican mother. After starting life in extremely modest circumstances in Mexico, his family moved to Los Angeles, California, where he grew up in the Boyle Heights and the Echo Park neighborhoods. In Los Angeles, he attended Polytechnic High School and later Belmont High, the latter of which he dropped out of. The young Quinn boxed (which stood him in good stead as a stage actor, when he played Stanley Kowalski to rave reviews in Chicago), then later studied architecture under Frank Lloyd Wright at the great architect's studio, Taliesin, in Arizona. Quinn was close to Wright, who encouraged him when Quinn decided to give acting a try. After a brief apprenticeship in theater, Quinn made his movie acting debut in 1936 in a variety of small roles in several films at Paramount, including playing a Native American in The Plainsman (1936), which was directed by the man who later became his father-in-law, Cecil B. DeMille.

As a contract player at Paramount, he mainly played villains and ethnic types, such as the Arab in the Crosby-Hope vehicle Road to Morocco (1942) (1942). As a Mexican national (he did not become naturalized until 1947), he was exempt from the draft: With many actors in the service fighting World War II, Quinn was able to move up into better supporting roles. He had married DeMille's daughter Katharine, which enabled him to move in the top circles of Hollywood society.

However, he was disenchanted with his career and did not renew his Paramount contract despite the advice of others, including his father-in-law (whom Quinn never felt accepted him due to his Mexican roots). Instead, he returned to the stage to hone his craft. His portrayal of Kowalski in A Streetcar Named Desire (1951) in Chicago and on Broadway (where he replaced the legendary Marlon Brando, who is forever associated with the role) made his reputation and boosted his film career when he returned to the movies.

Brando and Elia Kazan, who directed "Streetcar" on Broadway and on film, were critical to Quinn's future success. Kazan, knowing the two were potential rivals due to their acclaimed portrayals of Kowalski, cast Quinn as Brando's brother in his biographical film of Emiliano Zapata, Viva Zapata! (1952). Quinn won the Best Supporting Actor Academy Award for 1952, making him the first Mexican-American to win an Oscar. It was not to be his lone appearance in the winner's circle: he won his second Supporting Actor Oscar in 1957 for his portrayal of Paul Gauguin in Vincente Minnelli' s autobiographical film of Vincent van Gogh , Lust for Life (1956), opposite Kirk Douglas.

Over the next decade, Quinn lived in Italy and became a major figure in world cinema, as many studios shot films in Italy to take advantage of the lower costs (not the first example of "runaway production" that had buffeted the industry since its beginnings in the Greater New York Metropolitan area in the 1910s). He appeared in several Italian films, giving one of his greatest performances as the circus strongman who brutalizes the sweet soul played by the Giulietta Masina in her husband, Federico Fellini's masterpiece La strada (1954).

Alternating between Europe and Hollywood, Quinn built his reputation and entered the front-rank of character actors and character leads. He received his third Oscar nomination (and first for Best Actor) for George Cukor's Wild Is the Wind (1957). He played a Greek resistance fighter in the huge hit The Guns of Navarone (1961) and kudos for his ex-boxer in the film version of Rod Serling's Requiem for a Heavyweight (1962). He went back to the ethnic drag parts, playing an Arab chieftain and warlord in David Lean's masterpiece Lawrence of Arabia (1962) and played the eponymous lead in the sword and sandals blockbuster Barabba (1961). Two years later, he reached the zenith of his career, playing Zorba the Greek in the 1964 film of the same name (a.k.a. Alexis Zorbas (1964)), which brought him his fourth, and last, Oscar nomination, as Best Actor. The 1960s were kind to him: he played character leads in such major films as On Location: The Shoes of the Fisherman (1968) and The Secret of Santa Vittoria (1969). However, his appearance in the title role of the 1969 film of John Fowles' The Magus (1968) did nothing to save the film, which was one of that decade's notorious turkeys.

In the 1960s, Quinn told Life Magazine that he would fight against typecasting. Unfortunately, the following decade saw him slip into replaying a type, (the exuberant ethnic based on his own Zorba the Greek in such cinematic trash as The Greek Tycoon (1978).

He starred as the Hispanic mayor of a southwestern city in in the short-lived 1971 TV series "The Man and the City" (1971), but his career lost its momentum during the decade. Aside from portraying a thinly veiled Aristotle Onnassis in the cinematic roman-a-clef "The Greek Tycoon", his other major roles of the decade was as Hamza in the controversial 1977 movie The Message (1976) (a.k.a. "Mohammad, Messenger of God", as the Italian patriarch in L'eredit? Ferramonti (1976), as yet another Arab in Caravans (1978) and as a Mexican patriarch in The Children of Sanchez (1978). In 1983, he reprised his most famous role, Zorba the Greek, playing it on Broadway in the revival of the musical "Zorba" for 362 performances. Though his film career slowed during the 1990s, he continued to work steadily in films and television.

Quinn lived out the latter years of his life in Bristol, Rhode Island, where he operated a restaurant. He died in hospital in Boston from pneumonia and respiratory failure linked to his battle with throat cancer. He was 86 years old.

It is part of our in-store inventory from our shop which is located in the heart of Hollywood where we have been in business for the past 40 years!

Please see photo(s) for more specific detail and condition.

Item #BMM0000519