Original Item. Only One Available. This is an original 1956 American theatrical advertising poster for the Paramount Pictures romantic war drama The Proud and Profane, starring William Holden and Deborah Kerr, with Thelma Ritter, Dewey Martin, and William Redfield. Produced by William Perlberg and written and directed by George Seaton, the film was based on Lucy Herndon Crockett's novel Magnificent Bastards. The poster retains its original 1956 Paramount Pictures copyright notice, National Screen Service identification, and VistaVision advertising logo.

The poster features a striking red, yellow, and cream-colored design, dominated by a large illustration of Holden and Kerr in an intimate embrace. The film's title appears in prominent white lettering against the red background, while a full-length illustration of Holden in military uniform occupies the center. A reclining female figure appears along the bottom, accompanied by the supporting cast and production credits. The distinctive VistaVision logo is printed near the lower left corner.

Of particular interest are the original National Screen Service distribution notice and the identification number 56/251, printed along the lower margin. The reverse retains the Paramount copyright notice and a large red VistaVision logo, beneath which is the handwritten number 8522, possibly an inventory or distribution marking. The poster is presented in a black frame.

The poster remains in good overall condition, showing expected age toning, scattered spotting, minor creasing, and light handling wear. The printed artwork retains strong colors, with the lettering and illustrations remaining clearly defined. More noticeable discoloration and staining are present along the lower margin and portions of the reverse, particularly near the upper edge and bottom. The poster remains attractive and well suited for display.

Historical Context

Released in June 1956, The Proud and Profane is an American romantic drama set in the South Pacific during WWII, primarily in Nouméa, New Caledonia, in 1943. The story follows Lee Ashley, portrayed by Deborah Kerr, a young American widow who volunteers with the Red Cross while searching for information about her husband's death during the Guadalcanal campaign. During her assignment, she becomes romantically involved with Lieutenant Colonel Colin Black, played by William Holden, a Marine officer whose difficult personality and wartime responsibilities complicate their relationship.

Thelma Ritter portrays Kate Connors, an experienced Red Cross worker who helps Lee adjust to her new surroundings, while Dewey Martin appears as Eddie Wodcik, a young Marine. The story examines the personal consequences of wartime service, particularly the uncertainties faced by military personnel and civilians living far from home.

The film's setting was historically significant. Following America's entry into WWII, New Caledonia became an important Allied military and logistical center in the South Pacific. Nouméa developed into a major base supporting naval operations, troop movements, and supply activities throughout the region. Its strategic position made it particularly valuable during the Guadalcanal campaign of 1942-1943, when American forces were engaged in prolonged fighting to secure the Solomon Islands.

American Red Cross personnel also played an important role in the Pacific theater. Beyond their responsibilities for providing assistance to servicemen, volunteers operated recreational facilities, distributed refreshments and personal supplies, and helped maintain morale among troops stationed overseas. Their work brought them into close contact with American military personnel, providing the historical setting for the relationships depicted in the film.

The screenplay was adapted from Magnificent Bastards, a 1953 novel by American author Lucy Herndon Crockett, whose experiences serving with the American Red Cross in the Pacific during WWII informed her writing. Crockett's familiarity with military life and the circumstances of American personnel stationed overseas helped establish the background of the original story.

The production brought together two of Hollywood's established leading performers of the 1950s. William Holden had received the Academy Award for Best Actor in 1954 for his performance in Stalag 17 (1953), a wartime drama centered on American prisoners of war. Deborah Kerr had earned considerable recognition for her performance in From Here to Eternity (1953), another major American production set against the events surrounding WWII.

Director George Seaton was also an accomplished screenwriter and filmmaker. He had received an Academy Award for writing Miracle on 34th Street (1947) and won another for his screenplay adaptation of The Country Girl (1954). His partnership with producer William Perlberg resulted in several prominent Hollywood productions during the 1940s and 1950s.

The Proud and Profane was photographed in black and white using Paramount's VistaVision process, a widescreen motion-picture system introduced in 1954. VistaVision employed horizontally transported 35mm film, producing a larger camera negative intended to improve image quality and definition during theatrical projection. The process became an important part of Paramount's technical and commercial identity throughout the decade, with its distinctive logo prominently featured in film advertising.

The poster also retains the identification number 56/251, associated with the National Screen Service, the company responsible for distributing much of Hollywood's theatrical advertising material during this period. Its standardized numbering system helped theaters and distributors identify promotional material for individual films, with the initial two digits generally indicating the release year. These markings are useful for identifying the poster as part of the film's original 1956 advertising campaign.

Produced during a period when Hollywood continued to revisit WWII through personal dramas and romantic narratives, The Proud and Profane explored the effects of military service on individual relationships, drawing upon the experiences of American servicemen and civilian volunteers stationed throughout the Pacific.