| Femmes Fatales | Oct 20 2022 |
Yes, we all saw your new boots, and for the last time—we all love them.
If you've never watched Japanese television but this person still seems familiar, it may be either because we used her in a collage several years ago, or because there are lots of high kicking images in Japanese posters and promo shots, and she reminds you of those. Either way, this is a fun image of Lisa Komaki, who rose to fame playing the character of Peggy Matsuyama the Momo Renjā, or Pink Ranger, on the hit tokusatsu series Himitsu Sentai Gorenger, which debuted in 1975. Komaki appeared in several short films and one other series, all along the same lines as Himitsu Sentai Gorenger, and was out of show business by 1979. But tokusatsu series represent a cult niche in popular Japanese culture, which means she's well remembered.
| The Naked City | Oct 20 2022 |
Everyone said they always did everything together.
More random midcentury aftermath. This photo shows a kneeling priest about to do his thing over the bodies of Thomas J. Hogan and Fred Romer, who together were a murder-suicide. Hogan shot Romer before turning the gun on himself. There's no information about the exact circumstances behind the event. Cops being cops, they probably ruled out the idea of this scene being any sort of willing pact. Romantics being romantics, we at least wonder about it. But alas, we'll never know. Usually these vintage crime photos come from Los Angeles, but lately we've been sharing examples from New York City. This is another one, and it happened today in 1961.
| Vintage Pulp | Oct 19 2022 |
No, seriously. I said come and get me. Don't just stand there. Or... did I interrupt something?
Above is a cover for Johnny Laredo's Come and Get Me, copyright 1956 from Popular Library. Think Laredo is a pseudonym? You think correctly. The publishers make a big deal out of keeping his real identity secret, writing a blurb inside the book calling Laredo, “the pseudonym of a young fiction writer whose stories have appeared in Argosy, The Virginia Quarterly Review, Cosmopolitan, and Bluebook.” Why an extensively published author wanted no credit for this book is a mystery, but the gig is up—he was Gene Caesar, a writer who had an affinity for westerns, but here crafted a crime drama about a man bent on avenging the murder of his girlfriend. The art, which we love because it can be interpreted a couple of ways, is by Raymond Johnson.
Popular LibraryArgosyThe Virginia Quarterly ReviewCosmopolitanBluebookJohnny LaredoGene Caesarcover artliterature
| Femmes Fatales | Oct 19 2022 |
If you think I look good this way wait until you see me with motion, sound, and character development.
Above: an excellent photo of U.S. actress Tanya Boyd, who rose to fame in ’70s blaxploitation movies, particularly 1976's Black Shampoo and Ilsa: Harem Keeper of the Oil Sheiks, two of the wilder movies of the period. Most of her career afterward consisted of television appearances, including a 650-episode stint on the soap opera Days of Our Lives, but she's always been a favorite of ours for her film work. In terms of blaxploitation performers, she was never as famous as Pam Grier, but she was just as fearless.
| Vintage Pulp | Oct 18 2022 |
It's a different kind of jungle book.
When we saw this cover for Stan Shafer's Heat, we had to have the book, because that's Kitty Swan, Swedish b-movie actress from the 1960s, hanging on a vine and looking good doing it. The shot is an unretouched promo image from her 1968 lost world flick Gungala la pantera nuda. You can see the studio lights behind her and a guy's hand on the ropes at lower right, providing a step for her foot. If this had been used for the movie, the studio would have cleaned those elements off the final version, so we think of this as an outtake image, borrowed by Midwood Books. Because of the publisher, we figured Heat would be light sleaze, but we were wrong—it's pure triple-x raunch.
In short, a sexually precocious girl named Anna is taken from her father and sent to a nunnery, where her corrupting influence prompts her being shipped off to Brazil, a place where she presumably can do less harm. Unfortunately, her plane crashes (it's partly her fault, if you'd like to imagine how it happened) and she's lost in the jungle, there to be rescued by tribesmen who think her the earthly incarnation of a fabled sex goddess. She becomes a pawn in a power struggle between the tribe's leader and its head priest, as well as their sexual plaything, and that of a horny puma.
Most of the events in this bizarre tale take place during the 1930s, and are related via a contemporary frame that features an elderly Anna narrating her own extraordinary life story to a reporter—and you just know that's going to get weird too, because the reporter is beautiful and Anna remains hot, a youthfulness she attributes to daily orgasms. We'll stop there, except to mention that several early plot events situate this book waaaaay beyond the pale for the sleaze genre. In fact, if not for the ultra rare Swan photo we wouldn't write about it at all. Actually, that's not true. We considered not writing about it, but we don't self censor. So let's just say you've been warned.
| Vintage Pulp | Oct 17 2022 |
Is this an example of that pulp stuff you read all the time? Geez, it scared the pants right off me.
Above: an unknown model stars on a Technicolor lithograph titled “Solid Comfort,” which we think was printed around 1950. This has happened with the Pulp Intl. girlfriends a few times when we left an interesting book sitting around, but now they don't open them because they assume someone will be betrayed or murdered in short order. We'll try to get them to read David Dodge's To Catch a Thief. If there's such a thing as gateway drugs for crime fiction that's certainly one of them.In another case of vintage art being shoddily repurposed for modern usage, we found this litho for sale on a few websites as a poster, which you see above. The reproduction is absolute crap, but “so many books, so little time” is a sentiment we can get behind. A book definitely makes an afternoon more enjoyable, and we'd add that a nice glass of wine is a further improvement. Which is why we always have (at least) one close by when we read. We have a lot more Technicolor lithos in the website, so just click the keywords and have a look if you're curious.
| Vintage Pulp | Oct 17 2022 |
The man with the ebony gun.
Above is an Italian poster for the 1972 blaxploitation movie Black Gunn, which starred the one and only Jim Brown, along with Brenda Sykes and Martin Landau. In Italy it was titled Pistola nera spara senza pietà, which translates to, “black gun shoots without pity,” a clumsy phrase, but one that fits the movie. There's no release date for Italy, but it probably played there during the summer of 1973. We talked about it last year and shared a Japanese poster built around a photo-illustration, to which the above hand-painted effort serves as interesting contrast. The artist is uncredited.
ItalyPistola nera spara senza pietàBlack GunnJim BrownBrenda SykesMartin Landauposter artcinemablaxploitation
| Vintage Pulp | Oct 16 2022 |
They say vengeance is a dish best served cold. But hot works fine too.
Vengeance Is Mine is Mickey Spillane's third Mike Hammer novel, and sees the violence addicted shamus lose his investigative license, then a close army buddy, then be haunted when a woman enters his life who resembles his fiancée Charlotte Manning, who he killed in his debut outing I, the Jury. This new woman is named Juno Reeves, and as Hammer attempts to avenge the murder of his friend, she provides an unnerving reminder of his past. She'll be even more unnerving in his future, but that's all we'll say about her.
On the subject of revenge best served cold, forget it. Hammer wants white hot vengeance right now. The stark difference between Spillane's approach and that of other crime authors is that he writes Hammer as so mean the character is actually odious, but that's his game, and as a reader you go in accepting it. Sometimes, as in I, the Jury and Kiss Me Deadly, it's pulp gold. Vengeance Is Mine is more like silver, however it does have an incredible punchline ending you won't forget. The cover art here is by Barye Phillips, part of a set he painted for the series. You can see the others here.
| Femmes Fatales | Oct 16 2022 |
The gun is mightier than the pen.
Above: a shot of British actress Angela Lansbury made when she filming 1956's Please Murder Me, in which she starred with Raymond Burr and Dick Foran. Lansbury's first movie was 1944's classic version of Gaslight. In total she had more than fifty cinema roles, but it was on television that she became a major star, beginning with 1950's Robert Montgomery Presents, and continuing through more than two-hundred and fifty episodes of her smash hit series Murder, She Wrote. Personally, if we had to choose a favorite Lansbury role it was as Granny in 1984's gothic horror movie The Company of Wolves. She gets eaten, but not before dispensing wisdom like, “The worst kind of wolves are hairy on the inside,” and, “Never trust a man whose eyebrows meet.” Well, you can generally trust Lansbury. She was an excellent actress and improved almost everything in which she appeared.
BritainPlease Murder MeRobert Montgomery PresentsMurder She WroteThe Company of WolvesGaslightAngela LansburyRaymond BurrDick Foran
| Modern Pulp | Oct 15 2022 |
Machete Maidens Unleashed! is a mandatory look at grindhouse moviemaking during the untamed 1970s.
Machete Maidens Unleashed! is a film we've watched a few times, and whenever a movie racks up multiple viewings we think it needs to be highlighted. It's a fast paced documentary about the wave of low budget exploitation flicks made in the Philippines from the late ’60s through the ’70s. We weren't old enough to see any of them during the actual grindhouse era, but caught them in later years, and one reason we came up with this website was for the opportunity to riff on these types of flicks. Over the last decade-plus we've had the pleasure of writing about entertaining dreck like Savage Sisters, The Big Doll House, Night of the Cobra Woman, and Cleopatra Wong.
Built around interviews with stars such as Pam Grier, Sid Haig, Margaret Markov, Gloria Hendry, and directors/producers like Eddie Romero, Jack Hill, Joe Dante, and Roger Corman, Machete Maidens Unleashed! is an insider's look at a unique era in cinema history. It compellingly juxtaposes snippets of cinematic insanity against clips of the performers involved laughing over the craziness of it all. While the movies
discussed often fall into the category of sexploitation, at the time they were also considered an adjunct of the women's liberation movement—a point made by a couple of the actresses interviewed. Coming out of the sexually repressive decades of the fifties and early sixties, nudity was seen as a rebuke to patriarchal control.
discussed often fall into the category of sexploitation, at the time they were also considered an adjunct of the women's liberation movement—a point made by a couple of the actresses interviewed. Coming out of the sexually repressive decades of the fifties and early sixties, nudity was seen as a rebuke to patriarchal control.Covering productions ranging from 1964's The Walls of Hell to 1979's big budget war flick Apocalypse Now, this is a wide ranging documentary, and by far the most entertaining one on the subject matter we've seen. What with our website's Philippine provenance, and with PSGP having spent a couple of years in Guatemala, another country where life was cheap but fun was unparalleled, this also hit us directly in the nostalgia gland (PSGP feels like the only reason these films weren't made in Guatemala is because everyone actually would have been murdered, instead of just thinking they would).
All the interviewees seem to understand that they're from an extinct breed of very brave film performers, making entertainment for audiences ready to see absolutely anything happen. It sometimes seems that modern audiences have forgotten that the filmmaker is not the material, and the actor is not his or her character. The message comes through strongly here that movies are simply make believe. The creators may
want to outrage, or teach, or push censorship envelopes, or illuminate themes that leave audiences enriched in some way, but it's still just a job they perform before going home to their real lives. We wouldn't be surprised if some of the interviewees now feel they'd been traumatized, but during this movie, at least, they shrug off the difficulties of filming—ranging from extreme weather to graphic nudity to military revolt—as obstacles true professionals must navigate.
want to outrage, or teach, or push censorship envelopes, or illuminate themes that leave audiences enriched in some way, but it's still just a job they perform before going home to their real lives. We wouldn't be surprised if some of the interviewees now feel they'd been traumatized, but during this movie, at least, they shrug off the difficulties of filming—ranging from extreme weather to graphic nudity to military revolt—as obstacles true professionals must navigate.The title cards of some of these films should be enough by themselves to intrigue you. We have a set below. We've also mixed in some screenshots. We'd love to have uploaded actual production photos, but the films are so low budget those are close to impossible to find. But why look at photos when you can watch the movies? Give it a shot. Quarts of booze are optional. Machete Maidens Unleashed! had its world premiere in Australia in the summer of 2010, and first hit U.S. shores today the same year at the Philadelphia International Film Festival. We've pointed you toward a few Philippine grindhouse flicks above, and you can read about more—there are so many, so please excuse the avalanche of links—here, here, here, here, here, here, and here.
PhilippinesAustraliaManilaPhiladelphiaPhiladelphia International Film FestivalMachete Maidens Unleashed!poster artcinemasexploitationblaxploitationwomen in prisonmovie review
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