I told the waiter I left my cash in my room, and he said the drink was on him. What a nice guy!
Italian actress and television personality Gabriella Farinon relaxes with a cool refreshment in this beautiful shot taken in 1975 on a beach in Mo'orea, Îles de la Société, French Polynesia. Her movies include the vampire flick Et mourir de plaisir, aka Blood & Roses (discussed here), and 1960's Space Men, aka Assignment: Outer Space. We love this shot, not least because it reminds us of our local beach, luckily just a few blocks away. By the time you read this that's where we'll be.
And they thought cellblocks 1 through 6 were bad.
Diario segreto da un carcere femminile, for which you see a nice poster above, was released in English as Women in Cellblock 7. Jenny Tamburi is thrown in prison as an accessory to a drug trafficking doublecross that led to the disappearance of twenty kilos of heroin. Interpol agent Anita Strindberg wants to prove her father, also an Interpol agent, had nothing to do with the heist, and has herself and her amazing hair placed in prison in order to ply Tamburi for exonerating evidence. Outside parties think Tamburi knows where the missing heroin is, including her lawyer and the mafia, but she claims to have no idea.
So you have an innocent woman in prison, under threat from convicts connected to the mafia, and into this arrives an undercover agent who soon becomes her protector. The cast, which besides Tamburi and Strindberg includes Eva Czemerys, Olga Bisera, Cristina Gaioni, and Valeria Fabrizi, get to rubbing on each other in beds and showers in cinematic approximations of lesbian sex, which means you've got yourself a classic women in prison sexploitation flick. There's also a plot thread external to the prison involving the mafia trafficantes, and some of this features effective action, but it's the ladies on lockdown that are the draw here.
Do they make the movie worth watching? We wouldn't go that far, but they're certainly scenic, and they work hard to hold together a ridiculous script. The conundrum of movie acting is that you have to give it your all or be judged unfit for further roles. At eighty-one minutes in length, at least the film lets the cast out early for good behavior even if the warden doesn't. Diario segreto da un carcere femminile premiered in Italy today in 1973, and the poster was painted by Enzo Nistri. You can see more of his work here and here.
Eww! No way! If you want them shaved do it yourself!
Non chiamate la polizia would translate as Don't Call the Police, a title chosen because that's exactly what doesn't happen. A Chicago businessman gets out of the shower to find his mistress dead, and he doesn't call the cops, instead relying on a private investigator named—wait for it—Barr Breed. That's one of the better names. This was published by Arnoldo Mondadori Editore for its Biblioteca Economica collection, and it's from 1955 and was written by Bill S. Ballinger, aka Frederic Freyer, aka B.X. Sanborn, aka Barr Breed. Actually, strike that last one. We just wanted to say it again. The book originally appeared in 1948 in the U.S., where it had another precisely descriptive title—The Corpse in the Bed. The art for Signet by Mitchell Hooks was excellent, and you see that below. We'll have more from Hooks later.
Uncensored turns its unique journalistic eye toward Anita Ekberg.
There's nothing quite like tabloid writing, a fact once again amply demonstrated by Uncensored. This issue is from June 1963, and check out this short paragraph from its feature on Anita Ekberg: “This is the Uncensored story of how Prince Philip bagged a rare and exotic Scandinavian pouter pigeon. Though its native habitat is Sweden, this double-breasted dove prefers the warmer climate of Italy. It also migrates as far from home as London and Hollywood.”
Double-breasted dove? They don't write like that anymore, and a good thing too. It's sexist, of course, but the tabs were generally belittling of both females and males—though in different ways. Women were derided for dating around, such as when Uncensored refers to Ekberg as “Sexberg,” whereas men were usually disparaged for not being manly enough. That typically involved either being rebuffed by women, not scoring with enough women, or sexually preferring men. You see this in the story on Marcello Mastroianni, who's called “lazy” for passing on Brigitte Bardot. And you see it in the story on the United Nations, which is referred to as the “U.N. pansy patch.”
From the perspective of 2017, the heteronormative insecurity is pretty obvious. Men are to be prowling wolves, and any failure to live up to the ideal prompts insults; women are to be readily available for action, but not to other men. The story on Ekberg treads the line of admiring her beauty, but being suspicious about the freeness of her affections. There's a photo of her dancing with a black G.I. in Rome, and while the caption is neutral, in the context of the story the meaning of the shot is clear: “Ekberg will even dance with a black man!”
We love the photo. Ekberg looks a bit baffled, as if the soldier is telling her, “We'd be in mortal danger for doing this in most of the United States, you know,” and Ekberg is saying, “What the hell are you talking about?” The photo also shows how tall Ekberg was, almost 5' 7”, probably 5' 10” in heels, which is towering for an actress who needed to star alongside all those mid-sized leading men. We think this is the first time this image has appeared online.
Other elements worth noting in this issue include French actress and Pulp Intl. femme fatale Dominque Boschero as a mermaid, Marlene Dietrich looking dapper in a tux, Jayne Mansfield and one of her famed toy poodles, and burlesque queen Blaze Starr sudsy in a bathtub. There are plenty of other great shots too, and you can see them all below in nearly forty scans. Uncensored will return.
Famed movie cemetery rises from the dead.
Spaghetti westerns earned their name because they generally premiered in Italy and the studios that financed them were usually Italian, but the films were often predominantly shot in Spain. The climax of The Good, the Bad and the Ugly, with its unforgettable three-way gunfight between Clint Eastwood, Eli Wallach, and Lee Van Cleef, was shot outside the town of Santo Domingo de Silos, Spain, in the province of Burgos, in a unique circular cemetery put together by set builders. In the script it was called the Sad Hill Cemetery. After the shoot Sad Hill was abandoned, and soon nature began to overtake the set.
That would have been the end of the story, but a group of film fans calling themselves the Sad Hill Cultural Association decided Sad Hill was a historic film treasure deserving of resurrection, and pledged to rescue it from oblivion. Toiling in their spare time, they labored with pick, hoe, and shovel to clear the site. They needed money to accomplish the work, so they set up a crowdfunding campaign with a unique enticement—those who contributed would have their names inscribed on the restored grave markers. The restoration efforts are finally complete, and the famous graveyard has been returned to its former state.
Spanish filmmaker Guillermo de Oliveira shot a documentary about the salvation efforts, and hopes to release a film titled Sad Hill Unearthed. He's now trying to raise money to pay for the rights to clips and music from The Good, the Bad and the Ugly, with the plan to premiere thefinished product at film festivals and share the restorer's unique dedication with the world. Meanwhile Sad Hill will become not only a tourist attraction for people passing through the province of Burgos, but a destination for those who contributed to its renewal. As Oliveira commented, “It’s the only cemetery in the world where you can visit your own grave.”
Dylan—Rab Dylan, that is—plays in Hong Kong.
Above, a nice cover for Azzurro è l'inferno, aka Hell Is Blue, 1968, by Rab Dylan for the Italian publishers Silpe as part of its Giallo 70 line. This was Silpe's first publication of many. The story is espionage set in Hong Kong, with all the James Bond style trappings. The author Dylan was pseudonymous, in this case for Italian writer Gualberto Titta, who we assume was worried people would laugh at his last name. What's notable about this book, at least for us, is that the company was founded by genius illustrator Mario Ferrari, who we've featured several times. And once we knew that, it was suddenly obvious this was also Ferrari's work on the cover. He's top tier, and you can see plenty more from him here, here, and here.
Personally, I find that I can't wake up in the morning without stimulation. What about you?
Elvire Audray was one of the more faces famous in 1980s Italian b-cinema, appearing films such as Lys, Nosferatu a Venezia, and the cannibal movie White Slave, which we discussed a while back. Here she gets her day off to a good start in a couple of photos made around 1985.
Just don't get on her bad side. She can be a real monster.
Yesterday we talked about the cute werewolves in The Howling, and today, speaking of monsters, we have a 1985 photo of Italian model and actress Dalila Di Lazzaro. What's monstrous about her? She appeared in Mario Mancini's 1972 horror film Frankenstein ’80 and 1973's Andy Warhol's Frankenstein, and in the latter she was the female monster. That's called casting against type.
Cohjizukin creates a modern piece of poster art for two classic films.
You know how we always say we're going to get back to something? Some artist, some subject, some mid-century murder spree? And then we never do? Kind of like when you were eight and your parents kept promising to let you buy a grizzly bear but always put you off until finally telling you they weren't going to buy you one and never planned to? Well, we don't want to be like your lying ass parents, so we've decided we need to be better about actually geting back to stuff we said we'd get back to. Consider it a twelve-step program of sorts, which we already started by keeping that five-year old promise about the naked diaries.
So here's someone else we promised to revisit—Japanese illustrator Cohjizukin, whose poster for an Ed Wood triple bill we shared back in October. He painted the above poster for Federico Fellini's I vitelloni, known in some circles as The Young and the Passionate, and Giulietta degli spiriti, aka Juliet of the Spirits. We knew nothing about Cohjizukin last year, but we've learned a few things. He's actually award winning artist Koju Suzuki, who was born in 1948, has had innumerable exhibitions, live painting events, published many books, and seemingly even has delved into music, releasing four albums in the 1990s.
He also likes creepy eyes. Everybody in this poster looks like they're trying to drain your vital essence. We checked to see if either of these movies involved essence-draining, but they're both comedy/dramas. Not sure Fellini would have approved of psycho faces on a poster for his films, but the art is amazing. Cohjizukin created it for a double-bill sometime during the 1990s, probably for some film festival or other. You can learn more about him by visiting the (also a bit scary) website maintained at this link, but it's text heavy and without Japanese probably useless to you. We'll dig up more pieces from him later. That's a promise we'll keep.
Somebody up there liked him 67 times. And didn't like him 10 times.
These Italian promo posters were made for the drama Lassù qualcuno mi ama, better known as Somebody Up There Likes Me, the rags to riches biopic of boxer Rocky Graziano, who survived a violent father, street gangs and prison to become a world middleweight champion who finished his career with a 67-10 record. If somebody up there liked him, we'd love to hear why he got his ass whipped ten times, but whatever. Paul Newman played the lead in this after intended star James Dean was killed in an auto accident, and the film went on to earn acclaim and win a couple of Oscars for cinematography and art direction. The posters were painted by Renato Casaro, one of the most important mid-century film artists, a man who produced hundreds of masterpieces and was behind this gem and this racy little number. Casaro is still around at age eighty-one and maintains a website detailing his work and career. Lassù qualcuno mi ama was originally released in the U.S. in 1956 and had its premiere in Italy today in 1957
The headlines that mattered yesteryear.
1984—Miss America Resigns
Vanessa Williams, who had been crowned Miss America and was the first African American woman to win the prize, resigns her title after Penthouse magazine purchases and slates for publication a series of lesbian-themed nudes Williams had posed for when she was younger. After resigning she files a $500 million lawsuit against Penthouse publisher Bob Guccione but later drops the suit.
1992—Cocaine Baron Escapes Prison
Pablo Emilio Escobar Gaviria, imprisoned leader of the Medellin drug cartel, escapes from a posh Colombian jail known as La Catedral after he learns authorities intend to move him to a real prison. His taste of freedom doesn't last—he's killed in a shootout a year-and-a-half later.
1925—Jury Decides the Teaching of Evolution Is a Crime
In the famous Scopes Monkey Trial, American schoolteacher John Scopes is found guilty of violating the Butler Act, which forbids the teaching of evolution in schools. The sensational trial pits two great legal minds—William Jennings Bryan and Clarence Darrow—against each other. Ultimately, Scopes and Darrow are destined to lose because the case rests on whether Scopes had violated the Act, not whether evolution is fact.
1969—First Humans Reach the Moon
Neil Armstrong and Eugene 'Buzz' Aldrin, Jr. become the first humans to walk on the moon. The third member of the mission, command module Pilot Michael Collins, remains in orbit in Apollo 11.
1972—Chaos in the Big Apple
In New York City, within a span of twenty-four hours, fifty-seven murders are committed.
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