| Vintage Pulp | May 16 2020 |
Everyone in Paris hopes for a glimpse of Nico's velvet underground.
Una ragazza nuda, for which you see two beautiful Angelo Cesselon posters above, was originally released as Strip-Tease, and called in the U.S. Sweet Skin. It was an Italian/French co-production starring Krista Nico, née Christa Päffgen, better known as just Nico, future collaborator with the Velvet Underground. Her supporting cast includes Dany Saval, Jean Sobieski, and American jazz pianist Joe Turner playing a character named Sam (IMDB has him incorrectly listed as playing himself). Basically, the movie is the story of an ambitious dancer who can't catch a break, and takes a job stripping at Le Crazy Horse, the famed Parisian cabaret.
Nico goes through the typical stages of becoming the jaded, empty woman viewers have been taught to expect in movies like these. But what isn't typical is the setting. If you're looking for a film with overwhelming Parisian atmosphere this is the one. Streets, cafés, restaurants, the Seine, the wintry countryside, Hippodrome de Vincennes, and the Crazy Horse (or a fictive stand-in) are all on prominent display, and the stripteaseuses are beautifully showcased. And keep an eye out for cameos from Serge Gainsbourg and Juliette Gréco. We just came back from Paris last year and thanks to this flick we're already trying to figure out how to return.
On a technical level, the direction by Jacques Poitrenaud and cinematography by Raymond Pierre Lemoigne both take advantage of the film's many wonderful settings, but the on-camera performances aren't quite at the same level. Nico is a novice actress at this point and it shows, but her minimal emotional range fits with her character. Joe Turner isn't an actor at all and that shows too, but as the conscience of the film his role also works. Some movies are more than the sum of their parts, and Una ragazza nuda adds up to an excellent ninety-five minutes. It premiered in Italy today in 1963.
ItalyFranceParisLe Crazy HorseUna ragazza nudaStrip-TeaseSweet SkinNicoKrista NicoChrista PäffgenDany SavalUmberto OrsiniJean SobieskiJoe TurnerSerge GainsbourgJuliette GrécoJacques PoitrenaudRaymond Pierre LemoigneAngelo Cesselonposter artcinemaburlesquemovie review
| Vintage Pulp | May 15 2020 |
*sigh* This was more fun before the social distancing thing.
Orrie Hitt turns his sleazolicious talents to the subject of nudism for the succinctly titled Nudist Camp, published by Beacon Signal in 1957. We're treated to the story of an Icelandic immigrant to the U.S. named Della who finds herself needing to earn her keep due to a looming divorce, and turns her patch of rural land into a nudist resort. Problem is her partner in this scheme is secretly planning to photograph the visitors and blackmail them with the prints. When Della finds out, she's aghast, and bends her efforts toward thwarting this rude plan, leading to a scheme to steal the photos and hopefully burn them. Mixed into the intrigue is a bit of romance, and lots of waxing rhapsodic about Iceland and its beautiful women. That part Hitt actually got right. We've been there, and the women do in fact often have perfect ivory skin. Despite these factoids, and the exploration of body-free culture, Nudist Camp is a preposterous tale, uninspiringly told, signifying very little. You know what would have made it a lot better? More nudity. Go and figure. The cover art here is by Bernard Safran, and was adapted from a piece that originally appeared on the front of 1953's Male Virgin.
| Femmes Fatales | May 15 2020 |
Deliveries go in the rear. And get your mind out of the gutter.
American actress Jean Parker, who enjoyed a long film career that ran from 1932 to 1965 and comprised more than seventy screen appearances, watches over some crates in this promo photo made for the 1954 crime drama Black Tuesday, in which she co-starred with Edward G. Robinson. Must be something very valuable in those boxes for her to be armed and ready to ventilate somebody. Is toilet paper still the valuable currency of the moment? It's never been scarce where we live but we heard people in other places were ready to kill for it a few weeks ago. We'd prefer if the cargo here were good booze, possibly Bulleit bourbon. Well, let's flip them upside down and...
Aha. So, they're items made in occupied Japan. We embarked upon the digital superhighway, conjured up several synopses for Black Tuesday, and using search-find on keyword “Japan,” so we wouldn't spoil the plot by actually reading any details, got no hits. Probably the crates are just props that had been sitting around RKO-Pathé Studios, where the movie was shot. But we can't be sure. It's just these sorts of small mysteries that influence our movie queue. We'll screen this and report back.
| Vintage Pulp | May 13 2020 |
Who was that masked man?
The COVID-19 epidemic—and particularly a quarantine order that has covered where we live—has forced us to deal with severely diminished social activity, which we've done by placing more content on Pulp. Intl. It's kept us busy, and today marks the sixty-sixth straight day of posts—by far an all-time record. But even boredom has its limits, and after today we're going to ramp back down to a normal posting schedule, which means an occasional day off, including tomorrow. And maybe the next. So we'll have to make sure today is particularly full. To that end, we have three movies to discuss. Read on.
Above you see a beautiful poster for Mister-X, a wannabe high style Italian spy movie along the lines of Diabolik or James Bond. Basically, a legendary retired thief comes out of the woodwork to stop a copycat who's committed a cruel murder. Naturally, his investigation uncovers a much deeper plot. The movie stars Pier Paolo Capponi acting under the pseudonym Norman Clark, with Gaia Germani as his slinky, fashion forward sidekick.
Best line: “I hope you'll accept my apologies for the frisk but there's an ancient proverb that says: the enemies of my enemies are my enemies.”
We've never heard that particular proverb, but there are a lot of things about Mister-X that are off kilter. It's another one of those films that was supposed to be sleek and clever but was upended by a dearth of talent. For us, it was mainly Germani and the pretty Capri setting that sustained our interest long enough to see the villain die screaming like a schoolgirl. But hardcore fans of euro b-cinema will probably find more here to enjoy than we did. Mister-X premiered in Italy today in 1967.
| Vintage Pulp | May 13 2020 |
Males top the endangered species list in 1967 spy thriller.
We've shared a lot of art, including a previous Japanese poster, from the James Bond knockoff Deadlier than the Male without ever actually talking about the movie. Today seems like an opportune time, since we're already on the subject of Bond clones. The film, which premiered in Japan today in 1967 after opening in the the UK earlier in the year, starred Richard Johnson, who actually came close to landing the role of Bond thanks to the interest of Dr. No director Terence Young. It didn't happen, though, and Connery as Bond makes more sense when you see Johnson, who's older, skinnier, shorter, and in less pristine shape. But he has panache, and that may be why Young wanted him. Instead he got Connery, and Johnson got the consolation prize of playing Hugh Drummond, a character that originates in H.C. McNeile novels from the 1920s, but who's updated to the ’60s in order to deal with a Cold War plot to steal rockets and divert them for nefarious means.
Like the Bond films, Deadlier than the Male offers a winning combination of action, quips, exotic scenery, and lightweight sexiness, but the film never quite rises to the upper echelons. Without the Bond budget it's hard to bring a truly thrilling vision to life. At least the filmmakers were smart enough to frontload their assets by opening the proceedings with Elke Sommer, who's second billed, but probably more important than Johnson in terms of increasing the film's watchability. She has a physicality that makes her a nice fit playing an assassin in the employ of the film's ultimate villain. Sylva Koscina co-stars as Sommer's klepto sidekick, which doesn't hurt. The pair's nefarious deeds eventually draw Johnson to their mountaintop stronghold, and there viewers are treated to a final throwdown with the evil mastermind involving a mechanized, life-sized chessboard. While Deadlier than the Male doesn't manage to out-Bond Bond, watch it with friends and beers and you'll maximize its potential.
JapanDeadlier than the MaleRichard JohnsonElke SommerSylva KoscinaKitty SwanTerence YoungH. C. McNeileposter artcinemamovie review
| Vintage Pulp | May 13 2020 |
Filmgoers say yes to No and a franchise is born.
Since we've already talked about two movies inspired by Bond today, why not discuss the landmark that started it all? There had always been spy movies. Even the James Bond films, with their focus on high concept action and fantastical super villains, had predecessors. But United Artists, director Terence Young, Sean Connery, and the rest took the basic notes of those earlier efforts, wove them into a fresh composition, and cranked the volume up to eleven. This Spanish poster painted by Macario Gomez was made for the first Bond film Dr. No, which played in Spain as Agente 007 contra el Dr. No. Ian Fleming's novel had been published in 1958, and the film hit cinemas four years later. Like From Russia with Love, which we watched recently, we've seen it more than once, but not for years, and decided to screen it with fresh eyes.
We imagine audiences had never seen a spy movie quite like this, with its opulent production values and near-seamless construction. Set in Jamaica, the exotic locations are beautifully photographed, and while the filmmakers' portrayal of the island isn't necessarily authentic, it's immersive, and makes the required impression of a land of mystery and danger. An altogether different impression was made by the ravishing Ursula Andress, and we suspect once word got out certain filmgoers bought tickets just to see her. Joseph Wiseman's villainous Julius No, a few hi-budget gadgets, and a secret lair filled with expendable henchmen complete the set-up—and establish the Bond template for the future. Add the unflappable if occasionally imperious spy himself and the fun is complete.
The Bond franchise's success inspired scores of imitators, as discussed in the two posts above, but with a few exceptions those movies usually work today on the level of unintentional comedy or eye-rolling camp. Dr. No, despite Bond's interjections of humor, took itself seriously. Viewers were supposed to believe its most fantastic elements were possible. In addition, they were supposed to see Bond as the uber-male, a man who fights and loves hard, is virtually immune to sentiment, and never mourns losses for long. That notion of ideal manhood has certainly changed—for the better we'd say—but even accounting for the tectonic cultural shifts in the interim Dr. No holds up like the best vintage thrillers. It's stylish, charmingly simple, and—if one assesses it honestly—progressive for its time. It premiered in England in October 1962, and reached Spain today in 1963.
SpainUnited ArtistsAgente 007 contra el Dr. NoDr. NoJames BondSean ConneryUrsula AndressJoseph WisemanJohn KitzmullerTerence YoungIan FlemingMacario Gomezposter artcinemamovie review
| Intl. Notebook | May 12 2020 |
Hitchcock says no festival for you this year!
The 73rd edition of the Festival de Cannes, aka the Cannes Film Festival, would have kicked off today in the south of France, but was cancelled a while back. It's just one of a wave of event cancellations that will cascade through the year. Festivals as diverse as Burning Man and San Fermin, aka the Running of the Bulls, have also been shelved. But getting back to Cannes, we thought this would be a good moment to commemorate past fests with some historical photos. Above you see Alfred Hitchcock on a boat with the town in the background, in 1972, and below are about fifty pix from the 1940s through 1970s, documenting various iconic moments, and a few quieter ones. Maybe the Cannes Film Festival will back next year, maybe not. At this point, predicting anything is an exercise in futility. But at least we'll always have the memories.
Edith Piaf sings on the terrace of the Carlton Hotel on the iconic Boulevard de la Croisette at the first Festival de Cannes to be held under that name, in 1946. Back then the event took place in September and October, but would shift to May a bit later.
Diana Dors and Ginger Rogers arrive at the fest the only way anyone should—breezing along the beachfront in a convertible, in 1956, with an unknown driver.
Kirk Douglas holds court on the beach in 1953, and Brigitte Bardot soaks up rays in the foreground.
Michele Morgan poses at the first Festival in 1946. Photo ops of this sort were essential sources of publicity for stars, and would soon become opportunities for non-stars seeking to be discovered.
Case in point. Robert Mitchum poses with actress Simone Sylva in 1954. Sylva was allegedly not supposed to be there, but shucked her top and photo-bombed Douglas in an attempt to raise her profile. It didn't work. She made only a couple of credited movie appearances after her topless stunt.
Romy Schneider and Alain Delon at the 1959 fest.
An unidentified model or actress poses in the style of Anita Ekberg from La dolce vita in 1960. This looks like it was shot at Plage du Midi, which is a beach located a little ways west of the Cannes town center.
A unidentified partygoer is tossed into a swimming pool after La Dolce Vita won the the 1960 Palme d’Or. The Festival is almost as well known for legendary parties as for legendary film premieres.
Another unidentified model or actress poses on the boardwalk in 1979. Generally, you don't have to be known to draw a crowd of photographers—you just have to be nearly bare. She's wearing lingerie, so that explains the interest, though this is modest garb for a Cannes publicity stunt. It's never a surprise to see a headline-seeking film hopeful strip all the way down to a string ficelle féminin, or thong, which is the limit of what is legal in Cannes
Sidney Poitier and Jean Seberg have a laugh in 1961. This was the year Poitier's flick Paris Blues was released, so it's possible he had jetted down from the capital for the Festival.
Philomène Toulouse relaxes on the sand in 1962 while a boy practices the classic French look of disgust he'll be using the rest of his life.
Actor Bernard Blier, 1975.
An unidentified bikini wearer boldly enjoys a lunch in a café on the Croisette, 1958.
Natalie Wood aboard a sailboat in 1962.
Grace Kelly, 1955.
Kelly times two—Grace Kelly and Gene Kelly, hanging out, also in 1955.
Sammy Davis, Jr. poses in front of a billboard promoting his film A Man Called Adam, 1966.
Joan Scott gets sand between her toes in 1955. Scott is obscure. She isn't even the most famous Joan Scott anymore. The IMDB entry for the only Joan Scott near the appropriate age is for an actress born in 1920 who didn't begin acting until 1967. The Joan Scott above doesn't look thirty-five, though, and we doubt she would have been the subject of this somewhat well-known photo without parlaying it into a film appearance before twelve years had passed. So we don't think this is the Joan Scott referenced on IMDB.
Sharon Tate, with Roman Polanski, and solo, 1968.
Marlene Dietrich brings glamour to a tiki themed bar in 1958.
Tippi Hedren and Alfred Hitchcock release caged birds as a promo stunt for The Birds in 1963.
Sophia Loren sits with husband Carlo Ponti, who was a member of the 1966 Festival jury.
Raquel Welch poses on a motorcycle in 1966.
Jane Birkin takes aim with one of her cameras in 1975.
Dorothy Dandridge frolics in 1955, when she was promoting her film Carmen Jones.
Cinematic icon Catherine Deneuve and her sister Françoise Dorléac in 1965. Dorléac died in an automobile accident a couple of years later.
Robert Redford lounges on the beach in 1972. Based on his outfit you'd think he was in Cannes to promote The Sting, but he was actually there for his western Jeremiah Johnson, which screened May 7 of that year.
Sophia Loren waves to well-wishers in 1964.
Bogie and Bacall paired up and looking distinguished in 1957.
John and Cynthia Lennon in 1965, and John with Yoko Ono in 1971. Every story John told on that second trip probably started with, “When I was here with the first love of my life...” until Yoko smacked him across the mouth.
Rock Hudson and bicycle in 1966.
Unidentified actresses pose on the beach in 1947. To the rear is the Hotel Carlton, mentioned in the Edith Piaf image, built on the Croisette and finished in 1910.
George Baker, Bella Darvi (right—your right, not his), and an unknown acquaintance have a surfside run/photo op in 1956.
Jayne Mansfield and Russian actress Tatiana Samoïlova enjoy a toast in 1958. Mansfield probably shared the story of how she once made Sophia Loren stare at her boobs, and Samoïlova said, “Cheers to you—well played, you provocative American minx.”
French actor Fernandel, whose real name was Fernand Contandin, on his boat Atomic in 1956.
Arlette Patrick figures out a different way to generate publicity—by walking her sheep on the Croisette in 1955.
A pair of water skiers show perfect form in 1955, as a battleship floats in the background.
Jeanne Moreau, for reasons that are unclear, poses on a banquet table in 1958. Most sources descibe this in such a way as to make it seem spontaneous, but we have our doubts. It's a great shot, though.
Two unidentified women take in the scene from the terrace of the Hotel Carlton, 1958. This shot is usually said to portray two tourists, but the woman on the left is the same person as in the bikini lunch shot from earlier, which tells us she's a model or actress, and both photos are staged. Like we said, publicity is everything in Cannes.
Danielle Darrieux and Sophia Loren at the 11th Cannes Film Festival, 1958.
Italian actress Monica Vitti chills on a boat in 1968.
Aspiring stars catch some rays on the Croisette beach in 1955. The two large posters behind them are for The Country Girl with Grace Kelly, and Jules Dassin's Du rififi chez les hommes, both below.
The renowned opera singer Maria Callas, 1960.FranceCannesFestival du CannesCannes Film FestivalPalme d’OrLa dolce vitaA Man Called AdamThe BirdsAlfred HitchcockEdith PiafDiana DorsGinger RogersKirk DouglasBrigitte BardotMichèle MorganRobert MitchumSimone SylvaRomy SchneiderAlain DelonSidney PoitierJean SebergNatalie WoodGrace KellySammy Davis Jr.Sharon TateRoman PolanskiMarlene DietrichTippi HedrenGene KellyMaria CallasSophia LorenCarlo PontiRaquel WelchJane BirkinJoan ScottDorothy DandridgeRobert RedfordJohn LennonCynthia LennonYoko OnoRock HudsonLauren BacallHumphrey BogartGeorge BakerBella DarviJayne MansfieldTatiana SamoïlovaCatherine DeneuveFrançoise DorléacFernandelArlette PatrickJeanne MoreauDanielle DarrieuxBernard BlierPhilomène ToulouseMonica Vittiposter artcinema
| Vintage Pulp | May 11 2020 |
Once upon a time in the Reich there was a sadist named Ilsa.
Ilsa la belva delle SS, as it was called in Italy, is better known as Ilsa: She Wolf of the SS, and it's not hyperbole to describe this naziploitation effort as one of the most widely reviled movies ever released. And for good reason. It's significant as an example of just how out there and taboo shattering the sexploitation genre got during the 1970s. The poster was painted by Luciano Crovato, who produced a number of iconic movie promos, including the second and third pieces in this post. We'll get back to him. If you want to know more about Ilsa: She Wolf of the SS look here. If you dare.
ItalyIlsa la belva delle SSIlsa: She Wolf of the SSLuciano CrovatoDyanne ThorneAdolf Hitlerposter artcinemasexploitationwomen in prisonnazis
| Vintage Pulp | May 10 2020 |
Our recommendation: Take the Fifth.
We read Jonathan Latimer's The Fifth Grave in its retitled incarnation Solomon's Vineyard and talked about the book a few years ago. That edition was from Great Pan and appeared in 1961. The Popular Library version you see above came in 1950 with art by the great Rudolph Belarski. We think back to this strange and dark novel often. At the time we thought it was very good but not a classic. Years later, considering how much it sticks in the head, maybe we'd better bump it up to the top tier, and once again recommend that you read this unusual tale. After digging around we finally got ahold of a couple of other Latimers and we're really looking forward to those. Can he possibly equal The Fifth Grave/Solomon's Vineyard? We'll report back.
| Femmes Fatales | May 10 2020 |
Without a doubt seeing you is always the best part of my day.
This cute photo shows U.S. actress Joan Blondell, who started her showbiz career in Vaudeville, and later made numerous pre-Code films, including The Public Enemy and Blonde Crazy. It was shot when she was making the 1936 film Stage Struck, in which she starred with her husband Dick Powell.
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