In Hollywood a good name is half the battle.
She had one of the most memorable monikers in Hollywood history. She appeared in more than sixty films, scores of television shows, and probably a couple of dozen television movies too, and all without very much in the way of serious studio push. She did have a contract with Columbia Pictures, but many of her appearances were uncredited. Nevertheless she worked steadily for forty years, which a lot of bigger stars can't say. She was born Jean Marie Donnell but she acted as Jeff Donnell—not a name you'd easily forget—and this photo shows her in 1942.
What does Rita Hayworth wear under her skirt? Advertising!
This unique Columbia Pictures promo image was made for Rita Hayworth's 1952 thriller Affair in Trinidad. It reunited Hayworth with co-star Glenn Ford in a attempt to recapture the magic of their 1946 blockbuster Gilda. It didn't quite work, but this promo is inspired.
She doesn't want to see, and you probably don't want her watching.
This poster of Sophia Loren was made to promote her drama Donna del fiume, aka The River Girl, and as we observed when we watched the movie a couple of years ago, only in cinema could backbreaking labor (harvesting rice by hand) make someone look like Loren. The poster is what we usually call panel length, which means it's about the right size to hang on a door, for instance in your bedroom. And Loren has exactly the facial expression you'd expect after seeing what you do in there. Columbia maybe should have manufactured a poster of her smiling and giving a thumbs up, but we love this promo anyway because even when Loren looks repulsed she looks great. Donna del fiume premiered today in 1954 and you can read what we wrote about it here.
Tarzan gets fully dressed but remains king of the naked jungle.
A killer ape, eh? Since the film opens with crocodiles getting axed to death—in real life—killer humans is more like it. Well, these old African wilderness flicks are never kind to animals, whether chimps, big cats, or what-have-you. The point of the croc massacre is that they're sick and have to be put down. Nobody can understand what's wrong with them, but it turns out an evil white scientist is testing bioweapons on wild animals. Wait—did we single him out as white? The distinction is meaningless, since everyone in the film is white or white-ish. That's what happens when deepest, darkest Africa is in reality a backlot in Simi Valley. In any case, someone needs to figure out why the crocs are sick. Who can do it? Why Jungle Jim, of course, played by Johnny Weissmuller. After years running around in a loincloth as Tarzan he got chubby enough that his body needed to be covered, so he slid into a new role as the khaki-garbed, pith-helmeted Jim, and for thirteen films did more or less the same things he did in twelve Tarzan films except yodel and swing on vines. The killer ape of the title is actually an ape/man hybrid, played by 7'7'' ex-wrestler Max Palmer in a pimp's fur coat and a putty nose. He lurches around uprooting trees like a one man lumber company and absorbing bullets with no ill effects. But though he's bulletproof, he isn't Weissmullerproof. Really, who among us can claim to be? The man subdued an entire continent, so certainly one pimped out wrestler isn't going to offer much resistance. Killer Ape is preposterous, but at least it has numerous unintentional laughs. It premiered in the U.S. today in 1953.
Stand back everyone. When I strip down to my fifteen-year-old Tarzan loincloth you don't want to be anywhere downwind, trust me.
So I had wardrobe trim this coat to expose my knees. Even during my wrestling days these sweet babies were my calling card.
Cut! Max, the camera is over here to your right. Can we get a hairdresser to trim the man-ape's bangs, please?
The name is Jungle Jim! Call me Junk Food Jim one more time! Just once! I dare you!
You know, even with this highly authentic costume I'm still not feeling very African. Maybe some cornrows.
It's about this long, give or take. I know that sounds like every man's dream, but size also brings real issues with it.
Hah hah, no, you're light as a feather, Carol. A feather that's been packing in high calorie Columbia Pictures catering for a few weeks, but still feather-like.
Just like you, Tarzan, I wear nothing under my costume. When I sit on your big ugly head those bristly things on your eyes will be my nuts.
She had every reason to smile.
This photo shows U.S. star Kim Novak and it appeared in the men's magazine Escapade in April 1957 in a feature titled “Love Goddess: 1957.” The idea was simply that Novak was the biggest new sex symbol of the year, and the spread featured a half dozen shots. The one above is the best of the bunch, in our opinion. Since Novak had become spectacularly famous in 1956, had won a Golden Globe in 1955, and had begun scoring important co-starring roles in 1954, and because we can assume her studio Columbia Pictures wouldn't have wanted her to be associated with a cheesecake magazine, we can safely guess the Escapade photos predate her 1954 Columbia contract. They probably came from some obscure photographer who suddenly realized he had valuable commodities in his archives. Escapade doesn't give a date, but we'd say Novak looks about twenty. In Hollywood, stardom means old photos will always come out unless preemptively purchased by the star themself. The same thing happened to Marilyn Monroe when she got famous, except her photos were early nudes. Novak's were early smiles.
Blinding curves ahead—proceed with caution.
American actress Patricia Blair strikes a bold pose on this 1959 Columbia Pictures promo for City of Fear, an atomic era thriller about an escaped convict in possession of what he thinks is a canister of heroin but which is really radioactive cobalt-60. We may circle back to this movie later. Blair appeared in a few films but her career was mostly on television, including recurring roles on The Rifleman and Yancy Derringer.
A theory of light and shade.
This beautiful promo photo of Romanian actress Tala Birell strikes a film noir note, but because her career flourished before the advent of the genre she never made a movie that can be fully classified as noir, though 1937’s She’s Dangerous comes close. Birell appeared in about forty films, first in Europe, then the U.S., and eventually moved back to Europe where she worked for the U.S. Government organizing theatrical productions in Germany, France, and Austria. You’re thinking what we’re thinking, right? She was totally a spy. Well, perhaps not, but she sure looks like one above. The shot was made for Columbia Pictures after she was signed as a contact player there in 1933.
They’re only being nice because they want to know where he bought his paisley sarong.
Above is the cover of an issue of V published today in 1947. Inside are various celeb and cinema features, a photo-comic written by the famed Maurice Dekobra, a back cover by Jean David, and plenty of photography, including the feature “Don Juan les pins,” or Don Juan of the Pines, whatever the hell that means. Also a bit of a mystery is the baffled looking cover star surrounded by six swooning women and a dog. He’s damnably familiar but we can’t quite place him, and since this is V we’re talking about, the editors have predictably failed to identify him. He’s a Columbia Pictures player, according to the caption, but that’s all we got. Anyone recognize him? Drop us a line. Thanks.
Update: So we have the answer from Nick, who informs us this is Arthur Lake, who played Dagwood in the U.S. television series Blondie, based on the famous comic strip. Thanks a million for that info. This also seems like a good time to thank not just Nick, but all Pulp Intl. readers. Your support and knowledge is essential to making this site work and we always appreciate it.
Update 2: Now it all becomes clear. A reader informs us that "Don Juan les pins" is a play on words. Juan-les-pins is a popular vacation spot in France, located on the Côte d'Azur between Nice and Cannes.
A siren in the desert.
This Columbia Pictures promo photo of Swedish actress Märta Torén was shot when she appeared in the adventure Sirocco in 1951, starring opposite Humphrey Bogart. The film, which was set in Syria, was an attempt to recapture the magic of Casablanca, and one of its taglines was: “Beyond Casablanca... Fate, in a low-cut gown lies in wait for Bogart!” The movie didn’t recapture that Casablanca magic, but it was a nice role for Torén. She worked steadily until 1957 when she died of a sudden brain hemorrhage at age 30.
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