Name: 2025 Vintage Film Noir Calendar
SKU: FNR25CAL
Price: 24.95 USD
Availability: InStock

2025 Vintage Film Noir Calendar

$24.95

16-month hanging calendar of frame-ready vintage film noir movie poster art

Availability: In stock

16-month hanging calendar of frame-ready vintage film noir movie poster art

Immerse yourself in moody Hollywood crime dramas each month with the Asgard Press 2025 Vintage Film Noir Calendar, a collection of faithfully reproduced vintage movie posters from the 1940’s and 1950’s. Each movie poster showcases a classic film from the noir genre, complete with dark shadows, creative camera angles, and femme fatales. Every monthly image is accompanied by expanded commentary detailing the story behind the film. Posters of this Hollywood era featured bold colors and evocative designs, with film noir advertisements featuring glamorous temptresses and brooding anti-heroes. Each one is a work of art, prized by collectors and worthy of display. With its large vertical format of 11×15 inches, our wire-bound wall calendar opens to an impressive 11×30 inches. The perforated design allows for easy removal of each month’s image, making them a perfect fit for standard 11×14 inch frames. Generously sized grid spaces leave plenty of room to keep track of all your appointments, reminders, and events. Add a touch of old Hollywood glamor to your home or office space with this calendar of cinematic poster art, while organizing all your important dates in a visually memorable way.

2025 16-month wall calendar – Jan 2025-April 2026 – Use this calendar into the next year with mini-grid page of the first 4 months of 2026
Features full color vintage posters of classic film noir movies accompanied by extended commentary each month detailing the story behind each poster’s film
Large format opens to 11″x30″ with spacious grid pages for at-a-glance organization of appointments and events, and includes major US holidays and moon phases
Includes 13 easy-to-remove prints that fit standard 11″x14″ frames for sustainable reuse
Decorate affordably with trendy vintage artwork and photos
Plenty of room to write in the grid spaces
Heavy, archival paper vibrantly showcases each month’s image and prevents bleed-through of pen or marker ink on grid pages
Perfect for hanging in home, office or classroom

BUY THIS MANY	GET THIS DISCOUNT	GET THIS FREE GIFT (MORE INFO HERE)
1	—	Free Gift Envelope for Each Calendar
2	10% off	Free Gift Envelopes, Free Double-Sided Poster
3	15% off	All of the Above Gifts
4	20% off	All of the Above Gifts PLUS 4 Free Gift Wrap Sheets
5	25% off	All of the Above Gifts
6	25% off	All of the Above Gifts PLUS a Free Calendar of Your Choice! Just add a 7th calendar of your choice to the cart and the value will be deducted automatically.

Weight	.75 lbs
Dimensions	11 × 15 × .25 in
ISBN	9781630368715
UPC	724638069344

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2025 Film Noir Commentary

Double Indemnity; 1944; Studio: Paramount Pictures; Director: Billy Wilder; Cast: Fred MacMurray, Barbara Stanwyck, Edward G. Robinson. Praised by numerous film journalists as one of the greatest movies of all time, Double Indemnity is considered a masterpiece of film noir with its dark, suspenseful plot, morally ambiguous protagonist, powerful female foil, and groundbreaking voiceover narration. In contrast to Detour, Double Indemnity was cast with two of the biggest Hollywood stars of the time, Fred MacMurray and Barbara Stanwyck, and enjoyed a relatively large production budget. Like many films noir, Double Indemnity begins at the end, with insurance salesman Walter Neff dictating a confession memo to his boss, Barton Keyes. Using plot devices of flashback and voiceover, Neff tells the story of how an unexpected meeting with a client’s beautiful wife leads him down a path of deception and murder. Double Indemnity was based on a 1927 novel of the same name by James M. Cain, the father of American hardboiled crime fiction, who also wrote The Postman Always Rings Twice. Studios competed for the rights to Cain’s novel in the 1930s until the Hays Office deemed it unacceptable for audiences. Finally in 1943, Paramount bought the rights and toned down the screenplay, ultimately gaining Hays Code approval. Director Billy Wilder considered the film to be one of his finest and was pleased with the high praise given it by author Cain. Double Indemnity was nominated for seven Academy Awards, including Best Actress for Barbara Stanwyck, who was uncertain about taking the part of a femme fatale because it was such a departure from her usual heroine roles. The obviously artificial wig she wore throughout the film was hated by studio executives but has since become iconic as a telling mark of her character, enriching the movie with symbolism. Though the film did not take home any Oscars, it was a huge box office hit and spawned a multitude of copycat pictures. Many of the film’s aesthetics became conventions of the genre, including its “venetian blind” lighting, first-person narration, and non-linear narrative, inspiring other directors and creating the blueprint for the films noir that followed.

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