|Vintage Pulp||Sep 9 2015|
The Seven Year Itch is one of Marilyn Monroe’s iconic roles. She’s great in it, but the movie is stagey and clunky and some of its humorous elements haven’t aged well. But Monroe successfully personifies temptation as the upstairs neighbor of married schlub Tom Ewell, and her sexy-but-virginal interplay with him demonstrates once again that she was a uniquely talented comic actress. There’s also really no way to overstate her beauty, nor the ease with which she inhabited these sorts of oops-I-made-you-love-me roles. Simply put, she made everything better, and did it with skill and something more—pure magic. The promo shots below show her famed upskirt scene, which, by the way, never occurs in quite this form in the film. Onscreen we only see her legs twice and two reaction shots. Not sure why director Billy Wilder made that decision—the whole of Monroe is surely better than just a part, no? The German title of the movie was Das verflixte 7. Jahr, which means “the cursed seventh year,” and the poster you see above is from the West German re-release of the film in 1966. The Seven Year Itch, with Monroe, Ewell, and Evelyn Keyes, originally premiered in West Germany today in 1955.
|Vintage Pulp||Aug 30 2015|
Check an English language bio on Gisela Fleischer and it’ll likely say she’s a West German woman who claimed to be Adolf Hitler’s daughter, and that the Swiss paper Tribune de Genève broke the story in 1966. Well, guess what? The above Midnight is from today in 1965, and inside, readers are told that Abigail Van Buren—aka Dear Abby—received a letter from West Germany that began: “I need some advice in a hurry. Should I marry a rabbi? I am the daughter of Adolf Hitler.” Fleischer’s mother Tilly Fleischer had competed in javelin at the 1936 Olympic games. According to Gisela, Hitler was impressed enough to invite her mother to the Berghof for dinner and that meeting in Obersalzberg was the beginning of an eight-month affair.
|Vintage Pulp||Aug 16 2015|
Illustrator J. Oval was a Brit named Ben Ostrick who painted under both his pseudonym and real name. His crisp illustrations helped make Pan Books, which debuted in 1944, one of the most eye-catching mid-century imprints. Pan is still around as part of Britain-based Macmillan Publishers, which is in turn owned by the Georg von Holtzbrinck Publishing Group of Germany. Many of Oval’s pieces for Pan were paired with works so obscure they’re almost impossible to find today, but above you see a good-sized collection, including a few we managed to turn up that haven’t been widely seen. With few exceptions they all use the same formula, though he would occasionally deviate by painting a fully rendered background, or populating a scene with more than one or two figures. You can see a couple more Oval covers in our collection of Asia-influenced paperback art here, and we also shared a small collection of his work back in 2011 that you can find here.
|Intl. Notebook||Jul 9 2015|
|Vintage Pulp||Jun 8 2015|
We’re back to Hitler today, as The National Police Gazette finally stops beating up poor Argentina in this June 1968 issue and decides the Führer is instead alive and well Colombia. Nowhere is Argentina mentioned, although the magazine had claimed at least twenty times previously that Hitler was there. Antarctica isn’t mentioned either, though Gazette had also told readers Hitler was plotting a new Reich from those icy reaches. Instead, Hitler’s u-boat is said to have landed in Bahia Honda on Colombia’s lush Caribbean coast, whereupon, garbed as a peasant, he was conducted by “rustic Indians” to a jungle ranch. Bogotá, by the way, also doesn’t enter into the story, despite its mention in the cover text.
In previous Gazette tales Eva Braun also made it to South America, but this time she died aboard the u-boat of a brain hemorrhage and was buried at sea. The story, which by the way is once more the work of Hitler-obsessive journo George McGrath, ends with this: “Only his closest German servants knew his real identity. The ranch hands thought him a mine operator. He wore a beard and eyeglasses. It was a complete disguise.” We see the disguise just above, in a photo supposedly taken at a u-boat base in Norway prior to his long submarine journey. We assume Gazette will have more on Hitler’s South American adventures in other issues. After all, this is the twenty-seventh Hitler Gazette we’ve found, and we have no expectation that it’s the last. Stay tuned.
|Vintage Pulp||Jun 5 2015|
We’ve done a few posts on nudist magazines, because we consider them to be related to the racy men’s mags that proliferated during the 1950s. A nudist would most likely disagree, but they’d be wrong—if they were to look inside a typical mid-century men’s magazine they’d very likely see a photo or journalism feature on the naturist movement. Yes, men’s magazine always portrayed nudism as sexual, while real nudists would say sex has nothing to do with it, but the men’s magazine link is undeniable, even if they sensationalized the lifestyle.
One of the countries where naturism was and remains a strong social undercurrent is Germany—in fact, at our local beach, which isn’t officially nudist but is generally accepting of the practice, unclothed sunbathers are almost stereotypically German, though French visitors give them a run for their money. Above you see the cover of one of the most popular naturist magazines of the mid-century era—West Germany’s Humana. Below are thirteen scans showing a lot of naked people having a very nice time—no sensationalism needed. You can see our previous post on the magazine here.
|Intl. Notebook||May 20 2015|
|Vintage Pulp||May 10 2015|
1977’s Porno Shock was originally released in West Germany as Der Ruf der blonden Göttin, but was also known as Porno gola profonda, The Call of the Blonde Goddess, and Voodoo Passion. Indeed, there’s voodoo involved, as the film was shot in Haiti, and every film shot there involves voodoo. The movie was directed by Jesús Franco under his Manfred Gregor pseudonym, and starred Vicky Adams, better known as Nanda Van Bergen or sometimes Muriel Montosse. Supporting her were Ada Tauler, aka Annie Sand, Karine Gambier, Siegrid Sellier, Jack Taylor, and others.
But lest we forget, Pulp Intl. is mainly dedicated to art, and the only reason we’re talking about Porno Shock is because the two English language posters above—and obviously the Italian one at right—were painted by Mafé, an Italian master illustrator who five years after we first learned about him remains a total mystery. We have no full name on him, no biography, nothing. But what we do have is more of his work, and you can see that here, here, and here. We also have more of his posters in our hard drive and we’ll get those up in a bit. Meanwhile, help us out Italian friends—who is this guy?
|Femmes Fatales||May 6 2015|
Ah, the internet, that font of misinformation. The amazing photo above has made its way onto numerous web pages identified as Sharon Tate. It isn’t. Only wishful thinking could make this model—though beautiful—look even remotely like Sharon Tate. The photo actually shows West German sexploitation actress Gigi Darlene, née Heli Leonore Weinreich, who is known for the 1965 sexploitation flick Bad Girls Go To Hell, as well as Hot Nights on the Campus, Nudes on Tiger Reef, The Very Naked Canvas, et al. Tate has plenty of amazing photos of her own, so when we saw this misidentified in so many places we figured we’d stand up for poor Gigi. Another shot of her from a webpage dedicated to her appears at right, and you can see that the above woman and the one at right are the same. As far as Tate goes, we like this shot.
|Vintage Pulp||Apr 28 2015|
Above, Private Island by Dorian Cole, 1966, from After Hours Books, one of the lower rent practitioners of sleaze lit. The cover art is by Eric Stanton, whose decades of work have been immortalized in two collections by the German art book publisher Taschen. You see one of those at right. Stanton was apparently known as the “Rembrandt of pulp culture,” at least according to Taschen. Them’s mighty bold words, but of course Taschen is trying to sell $50 coffee table books, so what else would they say?
In reality, Stanton was a unique comic book artist whose simplicity of style translated nicely to low budget sexploitation paperbacks such as Shawna deNelle's Lady Boss, which we shared a couple of years ago. Or put another way, based on the above example could you see Stanton illustrating Mike Hammer or James Bond books? No, right? But he was a perfect match for sleaze imprints like After Hours. His effort for Private Island is nearly perfect, featuring his trademark elongated figures and bold color usage, and it ranks as a favorite cover for us. As far as his comic book work goes, he specialized in bondage and degradation, so if you go looking you’ve been duly warned.