Caught you! Get back to the book cover you came from, young lady, and stay there!
Above is a rather nice cover for Knipoog naar de hel, which in Dutch means “wink to hell.” This was published by the Rotterdam based company Uitgeversmij, and it's a translation of Henry Kane's 1964 thriller Snatch an Eye. As you can see at right (unless you're on a mobile device, in which case it's above), Uitgeversmij borrows art from Frank Kane's (no relation) 1956 Dell Publications novel Green Light for Death. The art for that was by Victor Kalin. The Dutch art is obviously a reworking of the original.
So here we go again. Is the copy by Kalin? Was it licensed? In this case, we think the art is Kalin's original, rather than a knock off by some random unknown, because the actual figure is identical, though the background has been replaced and the spotlight has a marginally different outline. Perhaps this was licensed and Kalin actually got paid, but we doubt it. Why bother to change it in that case? More likely it was appropriated via the use of a good camera, a crisp negative, and a little retouching. Whatever the case may be, we really like this piece.
In the end she was bigger than all of them.
Joachim Joesten's Der fall Profumo is a true account of the Profumo sex scandal that rocked Britain's conservative government in 1963, eventually brigning about the resignation of Secretary of State for War John Profumo. The book was translated from the original German into Dutch by J. P. M. van Elswijk for Dutch publishers De Kennemer and made into what you see above, and newly titled Christine Keeler.
The names of the other players in the story—Profumo, Yevgeni Ivanov, and Stephen Ward—were listed just below, so sometimes you'll see the title of the book written as Christine Keeler, Profumo, Ward, Ivanov. An unwieldy title perhaps, but the book came out the same year the scandal occurred, which means the names would have been instantly recognizable to bookstore browsers.
You've doubtless heard about Keeler and company as well, but if not check here for a quick overview. Even back then it was Keeler who was the central figure, and today she's the one that's remembered, while the others have become bit players in her story. That's why the beautiful cover painted by Dutch artist Martin Oortwijn is so appropriate. Obviously he was an illustrator with special talent. We managed to find a couple of other pieces by him, so we'll get to him a bit later.
New tabloid explodes onto the gossip scene.
When we describe Dynamite as a new tabloid, it's only partly true. It was a new imprint. But its publisher, the Modern Living Council of Connecticut, Inc., was headquartered at the Charlton Building in Derby, Connecticut, which is where Top Secret and Hush-Hush based operations. When you see that Dynamite carried the same cover font as Top Secret and Hush-Hush, and that those two magazines advertised in Dynamite, it seems clear that all three had the same provenance. But unlike Top Secret and Hush-Hush, it doesn't seem as if Dynamite lasted long. The issue above, which appeared this month in 1956, is the second. We are unable to confirm whether there was a third. But if Dynamite was short-lived it wasn't because of any deficiencies in the publication. It's identical in style to other tabloids, and its stories are equally interesting.
One of those deals with Henry von Thyssen, the Dutch born, German descended heir to an industrial fortune, and his wife, Nina Dyer, heiress to a tea plantation in Sri Lanka, back then called Ceylon. The von Thyssen family manufactured steel in Germany, including for Hitler's Third Reich, and came out of World War II unscathed, as big companies that profit from war always do. Dyer was a dilettante famed for making bikinis popular on the French Riveria. According to Dynamite, von Thyssen was so desperate to marry Dyer that he allowed her to keep her boyfriend, the French actor Christian Marquand. Society gossips whispered,but both spouses were fine with the set-up until von Thyssen accidentally ran into Dyer and Marquand in Carrol's nightclub in Paris and was forced to save face by starting a fight. The couple soon divorced, but not because of infidelity, as many accounts claim. What finally broke the couple up was that Dyer dropped Marquand. Dynamite tells readers: “[von Thyssen] has ditched his sloe-eyed Baroness because now she's decided she loves him.”
Interesting, but there are many similar stories about open high society marriages. What interested us, really, was the portrayal of Dyer. Apparently she had at some point been strongly influenced by Asian women. Her husband described her as “soft and feminine and oriental looking.” Dynamite painted this word picture: “She walks as though she has a water pot balanced on her head, her dark, slanting eyes are inscrutable, and her movements are so languorous and cat-like that von Thyssen gave her a baby panther as a companion.” Dyer eventually had two panthers, and was often seen walking them on the Croisette in Cannes. After her marriage to von Thyssen ended she quickly married Prince Sadruddin Aga Khan, but that marriage ended in divorce. Over the years she had been given many gifts. Besides the panthers there were cars, jewels, and a Caribbean island. But the one thing money never bought for her was happiness. She committed suicide at age thirty-five.
There's a lot more to learn about Nina Dyer—her modeling career, her adventures in the south of France, her free-spirited ways in the Caribbean, her 1962 E-Type Jaguar Roadster that was found in Jamaica in 2015 and restored for a November 2016 auction, and more. So we'll be getting back to her a little later. We still have about fifty tabloids from the mid-1950s and we're betting she appears in more than a few. Meanwhile, elsewhere in Dynamite is a story tracking Marilyn Monroe's movements around Fire Island during a summer 1955 vacation, a report about Frank Sinatra being barred from the Milroy Club in London, an exposé on prostitution in Rome, a breakdown of the breakdown of Gene Tierney's engagement to Aly Khan (Sadruddin Aga Khan's brother), and a couple of beautiful photos of Diana Dors. We have about thirty scans below for your enjoyment. Odds are we'll never find another issue of Dynamite, but we're happy to own even one. It's great reading.
For Foch's sake won't someone please listen?
This poster was made to promote My Name Is Julia Ross, a tidy little film noir only sixty-five minutes in length, which makes it an economical expenditure of time. Dutch beauty Nina Foch is hired to be a live-in secretary but finds herself stuck in a house where everyone seems to think she's someone she isn't. She has a husband, a doting mother-in-law, and other people in her life, none of whom she's ever met before. What sort of plot is afoot here? Well, we quickly learn Foch was chosen to be an unwilling double for the former mistress of the house, who's dead, murdered by her husband actually—a fact unknown to the proper authorities. You can probably figure out the rest. Just think: inheritance. Realizing she's being set up to be murdered, she tries to tell everyone from the police to her doctor she's not the dead wife, but nobody will listen. Is everyone blind to the truth? Or is it that everyone is in on the plot? Either way she better figure out something quick. My Name Is Julia Ross isn't a perfect movie, but it's pretty good, and since it's barely longer than a television show we have to recommend it. It premiered in the U.S. today in 1945.
I just love reading the literary classics. They're always so interest... zzzzzzz...
Above is one of our prouder acquisitions—a poster of Dutch actress Sylvia Kristel made to promote the film Emmanuelle. The piece has multiple fold lines, which we could remove from the digital reproduction if we wanted, but we like the lines. We're sharing this because Kristel died today four years ago and we think this shot is a nice reminder of what a lovely and ethereal star she was.
Southeast Asia escape epic features murder, sex and everything between.
This issue of Male magazine published this month in 1958 features James Bama cover art illustrating Richard Farrington's story “The Incredible 'Blood and Bamboo' Escape,” which is the true tale of Dutchman Klaus van Tronk's flight from a Japanese internment camp in Malaysia during World War II. The story is a book-length special, and one of the more harrowing and interesting details involves one of the prisoners being tied spread-eagled on a bamboo mat elevated six inches above the ground. Beneath the mat were living bamboo shoots. As Farrington tells it (via van Tronk's account), “The shoots are tough, the tips as sharp as honed steel, and they can push through a plank floor [two inches thick]. They grow rapidly in the Pacific sun, about six inches on a good hot day. It had been a hot day.” When van Tronk's work detail came back that evening from a long grind of slave labor in the jungle the bound man already had bamboo shoots growing through his chest, and was still alive, screaming.
We did a verification check on this arcane torture and found that no cases confirmed to scholarly standards exist, but that it is well known in Asia, and experiments on substances approximating the density of human flesh have shown that it would work. As little as forty-eight hours would be needed to penetrate an entire body. Fascinating stuff, but what you really want to know in terms of veracity is whether scantily clad women helped the escapees paddle to freedom like in Bama's cover art, right? Well, this depiction is actually a completely accurate representation of what van Tronk described, or at least what biographer Farrington claims van Tronk described. The women were the daughters of a sympathetic Malay farmer, and indeed they wore virtually nothing, and were considered quite beautiful by the prisoners, save for the minor detail of having red teeth from the local tradition of chewing betel nuts.
The risk taken by these women was extraordinary. Other women who had helped van Tronk and his companions during their months-long odyssey were tortured and raped, and at one point a village was machine-gunned. Why would these Malays take up the foreigners' cause if the risks were so high? Van Tronk attributes it to a cultural requirement to help strangers in need, but we'd note that people have taken these sorts of risks everywhere, cultural norms or no. Often the suffering of others simply brings out the best in people. A historical check on Klaus van Tronk turned up nothing, though, so maybe the entire true story is a piece of fiction. If so, it's a very good one. We have some scans below with art by John Kuller, Joe Little, Al Rossi, Mort Kunstler, and Bruce Minney, and more issues of Male magazine at the keywords.
Parolee skips the halfway house and goes straight to the all-the-way house.
Yes, we're doubling up on the ’70s sexploitation today because we have this nice poster for a movie that premiered in Japan today in 1972—Blue Movie, aka Das Porno-Haus von Amsterdam, aka Blue Movie Session in Amsterdam. Dutch produced and initially released in Germany as Das nackte Gesicht der Pornographie during the summer of 1971, it starred Hugo Metsers in a tale that mirrors the above-mentioned Vanessa.
Instead of a sex starved woman released from a nunnery, this one features a sex starved man released from prison. He moves into an apartment building and gets to know the resident women intimately, a process helped by the fact that they're all desperately horny. We're talking about Cary Tefsen, Ursula Blauth, and the lovely Ine Veen, so this is a pretty sweet deal for a new parolee. Eventually he goes from single sexual encounters to arranging orgiastic parties, complete with interpretive dance performances.
When the film hit Holland in the fall of ’71 viewers were shocked by its subject matter and frankness, but it was a huge hit and it's still remembered as a groundbreaker today. It's also a bit of a bore. Director/co-writer Wim Verstappen had serious intentions, and those show in the social commentary and abundance of dialogue he's loaded into the movie. We'll say this, though—the Dutch don't do sexploitation one-way, which means there are plenty of swinging dicks here, literally, along with chest hair and pork chop sideburns. We're fine with all that, but we're not fine with the movie being such a yawner. Pass.
Just point me to the palest of your women. She's the one I want.
This Dutch poster promotes De indische graftempel, which was originally a West German production called De indische grabmal, and later given the English titles The Indian Tomb and The Tomb of Love. Made by Fritz Lang, this was the fourth pass at a 1918 novel by Thea von Harbou, but this version strays far from the source material. The book is about an architect commissioned by a Maharaja to build a fantastic tomb, but who later discovers it's for the Maharaja's wife, who will be killed for being a generally unfit spouse and placed in the structure as soon as it's completed. This must have made for some fun jokes between Lang and von Harbou, since they had been married for a time but were divorced when they worked together here. The adaptation they came up with relegates the architect to secondary status, and instead focuses on the wife Seetha, played by Debra Paget, who is having an affair with a Western lover named Harald, played by Paul Hubschmid.
Just to get right to the heart of it, this isn't one of Lang's best efforts. Despite good location work and excellent sets, the romance is silly, the adventure elements are uninspiring, and there's no emotional realism at all. But the movie is instructive in one area—it could be a case study for this year's Academy Awards race controversy. Every Indian role of consequence is played by a white person in shoe polish. This was the norm back then and it happened in hundreds if not thousands of films. Now, after nearly a century of such silliness, some people are actually offended at demands that ethnic roles be played by ethnic actors, and lead roles be diversified. Those demands are beyond fair. For decades nobody made even a peep about white actors in brown makeup, let alone the industrywide denial of good roles to actors of color, but as soon as someone says maybe Joseph Fiennes shouldn't play Michael Jackson in a film or Star Wars should have a black lead it's suddenly racism against whites. You almost have to laugh. What's also funny is that Paget, though she's supposed to be Indian, is without dark coloration. This is another norm for the period—amidst the brown hordes the most beautiful woman is always the palest.
All that said, watching the spectacle of literally a dozen West German actors in brown make-up is actually quite funny in today's context. But the main attraction here is Paget, whose erotic dance routine before ranks of spray-tanned slaves and beneath a looming, twenty-foot-high, giant-boobed Hindu statue is one of cinema's great sequences. We don't mean great in terms of acting or dancing or directing. It's an immortal moment the same way Alicia Vikander looking at herself in a mirror in Ex Machina is, or Sharon Stone flashing her ragamuffin in Basic Instinct. It's one ofthose instances when mainstream filmmakers push everyone's comfort envelope and remind them that sex is actually the single most important aspect of all our lives. Save for a tiny subset of us, we all exist because of it, our existence can only be assured by having more of it, and pretending it isn't on all our minds much of the time is just a silly rule imposed by the people who conceived our civilizational costume party. In the envelope-pushing respect De indische graftempel is a roaring success. Otherwise, not so much. It premiered today in 1959. |
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