When we said the Devil is in the details, we had no idea how prophetic that would turn out to be.
So, we got an email a few days ago from a reader named Paul about our Mort au diable post "The Devil Is in the Details" from last month, and we were asked if we were 100% sure the art for that poster was painted by Jacques Thibésart. Well, we thought we were. Then we realized we weren’t. Turns out the poster was from the Belgium’s S.P.R.L. Belgique, and they have a mark that, if you aren’t paying close attention, looks like Thibésart’s signature. Thibésart signed his work Nik, Tib, or with his own name sometimes, but the Mort au diable signature, which reads Wik, is obviously different (see above). S.P.R.L. is a famous press, and their signature is well known—to everyone but us, as of a couple of days ago. Below is the last portion of our reply to Paul:
It's actually rather interesting, because for us the site is just simple fun, and we often joke in our posts about how we don't take it seriously. However our analytics tell us that people are continually cross referencing here and using it for research, and the traffic is far larger than we ever expected [snip]. With that in mind, we pledged a while back to try and get all our information correct, and we are quite diligent nowadays, but something still slips through occasionally. Without readers checking our facts, we'd never get everything right, so you've done us a big favor.
So there you have it. Epic fail on Mort au diable, but every mistake makes us a little better. We’ve corrected the earlier post, but didn’t want the change to go unacknowledged. As it happens, yesterday we were in France, in a town called Bayonne, and at a vintage bookshop we saw another piece from S.P.R.L. Belgique. We didn’t have any Thibésart handy to use for a detailed comparison of the signatures, but there was no need—we already knew we’d gotten it wrong. Now the good news. First, we picked up a stack of great French pulp. And second, we’re going to get this Thibésart thing right today. All the great book covers below are his. They’re from the imprint Presses Mondiales for their series Amour et Police, and were published during the 1950s. 100% on this. Seriously. France
, S.P.R.L. Belgique
, Presses Mondiales
, Les Romans en images
, Mort au diable
, Beat the Devil
, Jacques Thibésart
, cover art
Beat the Devil flopped in 1954 but today is appreciated as pioneering camp cinema.
We’ll tell you right now that we are not neutral when it comes to John Huston’s Beat the Devil. We love it. It has Humphrey Bogart, Peter Lorre, Gina Lollobrigida, and the exquisite Jennifer Jones, so we loved it immediately. If only audiences had felt the same. The movie was such a flop that not only did it lose money, but its copyright went unrenewed, causing it lapse into public domain. But keen observers, after they got over being misled by the promotional campaign into thinking the movie was a standard Hollywood adventure, soon realized that what they had on their hands was something new—a camp satire bringing together some of the most distinct voices of 1950s cinema. And we mean voices literally. You have Humphrey Bogart with his famous lisp, Gina Lollobrigida with her vampy Italian drawl, Jennifer Jones trying on an English lilt, Peter Lorre with his trademark Germanic-accented sniveling, and more. The accents are your first clue that the movie is going to be all over the place.
The plot concerns a group of raggedy adventurers who hope to buy uranium-rich land in East Africa. Problem is, they need to get there. Seems straightforward enough, but the cosmos itself is aligned against them—cars fail, boats sink, betrayals ensue, information gets garbled, and just about any other obstacle you can imagine appears. But Beat the Devil isn’t slapstick. It’s satire, which means it isn’t funny in a conventional way. In fact, maybe there isn’t a real laugh in the entire movie. Yet you have to smile when Marco Tulli introduces Peter Lorre’s character O’Hara as O’Horror, you have to marvel at Jennifer Jones’ crazy accent that sounds like an English version of Bogart’s lisp, and you have to watch with heightened interest during her famous calesthenics sequence, in which she has an entire conversation with Gina Lollobrigida while doing... well, we don't know what she's doing, but it looks like this.
Despite these and other charms, Beat the Devil is polarizing. Bogart declared that only phonies liked it. Huston, on the other hand, was well aware of its uniqueness and even told Jennifer Jones—who had already been nominated for four Academy Awards and had won once—that Beat the Devil would be one of her most remembered roles. True enough. The French and Dutch language poster you see above is for the Belgian release, and was put together by S.P.R.L. Belgique. Beat the Devil opened in France today, and Belgium this month in 1954.
, Beat the Devil
, Mort au diable
, Academy Award
, S.P.R.L. Belgique
, John Huston
, Humphrey Bogart
, Jennifer Jones
, Gina Lollobrigida
, Peter Lorre
, Marco Tulli
, Jacques Thibésart
, poster art
, movie review
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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