|Vintage Pulp||Aug 29 2015|
|The Naked City||Aug 28 2015|
How many slayings over the years have been called “jigsaw murders”? Plenty. All a killer has to do is cut up the body and “jigsaw” becomes the go-to nickname. The particular jigsaw murders referred to on the cover of this August 1947 True Police Cases are ones committed in Lancashire, England during the late 1930s. A doctor named Buktyar Rustomji Ratanji Hakim—“Buck” for short, and aka Buck Ruxton—strangled his wife Isabella. And in a sad but classic case of wrong-place-wrong-time, a maid who had the misfortune of witnessing the event was also strangled.
Because the police used newly developed forensic techniques to help solve the crime—for instance, superimposing photos of Isabella’s face over the decomposed head to aid identification—the case generated a lot of attention. True Police Cases scribe Alan Hynd wasn’t the only journalist with an interest. Many true crime writers wrote about it, and the story eventually became an entire book by T.F. Potter in 1984 called The Deadly Dr. Ruxton: How They Caught a Lancashire Double Killer. All these years later, of the many jigsaw murderers, Buck Ruxton remains among the most famous.
|Modern Pulp||Aug 28 2015|
Based on a bdsm novel written by the acclaimed Oniroku Dan, Onna kyôshi nawa jigoku, aka Female Teacher: Rope Hell, is yet another Japanese exploration of the pleasures, pains, and limits of sexual obsession and bondage. Frankly, this one is a bit tedious. There’s a razor thin line between thoughtful and dangerous when dealing with this kind of material. When Japanese films, in particular, end up on the wrong side of that line, you really have a mess on your hands. We understand, yes, that bad men aren’t always punished in real life. But this isn’t real life. It's just a movie, and punishment is key. In fact, for us it’s the entire point. It’s the only thing that makes these films watchable. But in this case, the abusive male ties up the two objects of his obsession and is tormenting them when one of his candles sets an accidental fire. He and the bound women burn to death. His obsession destroyed them all. That’s the end. Roll credits. Hope we didn’t ruin it for you.
The fixation Japanese film has with sexual abuse is curious. It often occurs for pretty straightforward narrative reasons—rape, or perhaps the murder of husbands and children, or often all three, are the triggers that transform women into murderous revenants. The mostly thirty-something writers and directors who conceived these plots were taking swipes at Japan’s patriarchal social structure by first explicitly revealing a sexist status quo, then allowing feminine power to demolish it. Or so it seems to us. In that way pinku does not differ from blaxploitation. In those, it’s a racist status quo that is revealed and demolished. However revenge movies represent only a slice of the Japanese whole. Many films feature degradation without revenge, in which case we think it needs to be very carefully done to avoid endorsing such behavior. Major fail on that account here. All respect to Oniroku Dan, but excesses such as a forced enema and subsequent sloppy evacuation onto a man’s face are not things we can get behind, so to speak. Onna kyôshi nawa jigoku premiered in Japan today in 1981.
|Vintage Pulp||Aug 27 2015|
Above you see the front of an issue of the New York City based tabloid Inside News published today in 1967, with its usual banner “The Lowdown Coast to Coast.” Lowdown is right—within you get lethal sex, killer bears, women bartered and sold, and a sadist who carved his initials on a bellydancer’s torso. But fear not—there’s lighter fare as well. Burlesque dancer Rita Atlanta uses a column to criticize Italian actress Gia Sandri for performing a bad striptease in the film Signore & signori. Atlanta advises Sandri, “A woman has to know “when her hips should zig and when they should zag.” That sounds more like an evasive maneuver to us, and considering how bad Inside News is on the whole, it’s good advice. The paste-up alone is enough to scare you. Run fast and run far. Scans below.
|Femmes Fatales||Aug 27 2015|
|Vintage Pulp||Aug 26 2015|
|Modern Pulp||Aug 26 2015|
Not all of our Japanese posters are of the vintage variety, and the eye-catching piece you see above is an example from our stash of newer promo art. It was made for Ranchijo: Bikyaku Feromon, which translates to—ready for this?—something like “turbulent slut legs pheromone.” Hey, we just work here. The movie never had a Western release, so there’s never been a Western title assigned to it, which means a ridiculous literal translation from the Japanese is all you get. Maybe one of our readers out in that part of the world will write in with a better interpretation.
The movie is about a university professor who becomes obsessed with a rhythmic gymnast played by Sayaka Kitagawa. Basically, what you have here is an erotic production built around the idea of flexibility, because flexibility is Kitagawa’s thing—she’s gotten bent in most of her flicks and she’s really good at it. In this one she does a bit with a hula hoop that’s rather interesting and, while wearing pink lingerie, performs some standing splits similar to what you see on the poster. 59 minutes of mind- and body-bending fun, Ranchijo: Bikyaku Feromon premiered in Japan today in 2004.
|Vintage Pulp||Aug 25 2015|
We think the fabled mile high club is like the original Woodstock—400,000 people showed up, but if you count everyone who claims to have been there attendance was actually something like 8 million. If you’ve never had sex in the sky, let Paul Rader’s cover for Mike Skinner’s 1962 sleaze novel Flight into Sin inspire you (even if the cover figure hasn't gotten airborne yet). Skinner is a bit of a mystery, but we know he was credited with other books in a similar vein for Midwood, such as So Wild, The Undoing of Jenny, and The Passionate Virgin, and he seems also to have written Blondes Don’t Give a Damn as Michael Skinner for Kozy Books. As for Rader, there’s little more to add—he was one of the kings of mid-century paperback art. You can read a full bio on him here.
|Vintage Pulp||Aug 24 2015|
This issue of Paris Magazine features a beautiful Louis-Charles Royer cover of Ziegfeld star Claire Luce, one of the most popular celebrities of her time. Her heyday was the 1920s and ’30s, a period during which—though this is little remarked upon today—substantially more women began to have sex before marriage. By the time the first surveys took place in the 1940s about 50% of women admitted to having pre-marital sex. Anecdotally, during the 1920s probably at least one in four women had sex as singles. Claire Luce was a pioneer of the female right to choose. A mere eight-year span of her diary describes sixty lovers.
Of course, there are many factors behind any social shift, but rapid change typically derives from chaos. Ask any neo-con or disaster capitalist. The primary effect of war or warlike events upon society is to alter how it views life, death, and personal freedom. In the past, the spectre of death made people want more freedom to live as they saw fit; in our present era, traumatic events have resulted in people agreeing to sacrifice their personal freedom (thanks to powerful suggestions and hard work by opportunistic governments).
Anyway, just an interesting digression concerning Paris Magazine’s cover star. Like predecessors such as Dorothy Parker, and peers like Tallulah Bankhead, she was a sexual trendsetter, a new type of woman for a radically reordered Western world. She’s also about as pulp as it gets. We may get back to Claire Luce a bit later, but in the meantime we have a bunch of interior scans from Paris Magazine below, and more issues available at the click of a mouse. This edition, number 34, appeared in 1934.
|Vintage Pulp||Aug 23 2015|
Above is a nice piece by George Erickson for Eric Allen’s Like Wild. It’s the story of a soldier of fortune who returns from Laos to find that his patch of land in Florida is coveted by a local villain. Complicating matters is the villain’s wife, who is a seductress with no qualms about a little action on the side. You know the drill. You may also notice the rather Freudian aspect of the art—i.e., the female figure wraps herself around the male figure in a sexual style embrace that causes his, er, drink to overflow onto the carpet. Well, the stain will come out with water and soap, hopefully. Top marks on this one.