Tate gives chase in an international fortune hunting comedy about a missing chair.
In ¿Las cual de 13?, aka 12 + 1, aka Twelve Plus One, an Italian barber played by Vittorio Gassman inherits thirteen chairs and, deeming them useless, sells them to a London antique shop. He later discovers one of the chairs contains a fortune, but when he returns to the shop he's told they've all been sold. So he offers the antique shop employee Sharon Tate half of the fortune to help him track down the chairs, which of course have scattered to the four winds. Their search takes them to Paris, Rome, and beyond, in 1960s screwball fashion with its expected pratfalls, mix-ups, and sticky situations. Gassman and Tate do reasonable jobs with the goofy script that's been made of Soviet authors Ilf and Petrov's satirical source novel, and the film is boosted by appearances from Vittorio De Sica, Mylène Demongeot, Terry-Thomas, and Orson Welles. This was an Italian production, but the poster above was painted for the film's Spanish run by Carlos Escobar, who signed his work “Esc.” This is the best we've ever seen from a very good artist. Since the movie didn't premiere in Italy until after Tate had been slain this month in 1969, and didn't reach Spain until mid-1970, the poster very likely was painted post-murder, which means Escobar probably was thinking of how to best portray someone who'd become a tragic figure. We suspect he put special effort into his work as a tribute, and if so, a fitting tribute it was.
What is authorship, after all?
This striking paperback cover for Mr. Arkadin was put together for Britain’s WDL Books by R. W. Smethurst, a well-known illustrator of comic books during the 1950s and 1960s. The Smethurst signature you see is not an autograph, but rather part of the art, something many of his covers contained. But the fact that he claims credit at all is rather interesting, because the art isn’t completely his. He seems to have borrowed his red-skirted femme fatale from Robert Maguire, who painted her for John D. MacDonald’s April Evil, below. It’s quite possible the other figures are borrowed as well. How strange.
Or is it? Maybe Smethurst was simply following Orson Welles’ lead. Though Welles is credited as author of Mr. Arkadin, he never wrote it. He developed a story for the film version, and wrote the script for it, but after the film he farmed out the novelization to a French film critic named Maurice Bessy. That screenplay adaptation was published in French in 1955, then translated from French into English a year later and released as what you see above. So in the end we have Welles taking credit for another’s writing, and Smethurst borrowing another’s art. And to think, all this derived from a film Welles never finished.
Yet, it’s fitting. Welles was consumed by the question of fakery. His documentary F for Fake discusses the subject in absorbing detail, even focusing on his own work. In short, he suggests that authenticity is a chimerical concept because it is subject to human error and fraud. While Welles slyly avoided explicitly claiming authorship of the Mr. Arkadin novelization, Maurice Bessy’s role, if it was ever widely known, was reconfirmed only in 2007. It’s easy to suspect that Welles knew the role of his ghostwriter would be forgotten. We’re talking about a man, after all, whose career caught fire thanks to one of history’s ultimate fakes—his panic inducing War of the Worlds broadcast.
We’re pretty sure, Smethurst, however, is not actually playing with the concept of fakery. John D. MacDonald was not obscure and neither was artist Robert Maguire, so there was no attempt at theft when Smethurst painted a close duplicate of Maguire’s femme. His cover falls into the category of pastiche—work in the style of another. What we’d really enjoy is if someone out there identified the other figures on the cover. But if those are Smethurst’s that would prove interesting too. In the meantime, if you want to know about Welles’ F for Fake and learn more about his attitudes toward authenticity, go here.
Never trust a man in expensive clothes.
The Pulp Intl. girlfriends want more depictions of men on the site. Can we oblige them? Probably not. Vintage paperback art features women about ninety percent of the time, and they’re often scantily clothed. Men, on the occasions they appear, are not only typically dressed head to toe, but are often sartorially splendid. There are exceptions—beach-themed covers, bedroom depictions, gay fiction, and romances often feature stripped down dudes. We’ll assemble some collections of all those going forward, but today the best we can offer is an assortment of g’d up alpha males, with art by Victor Kalin, Robert McGinnis, and others. Enjoy.
Aiiieee! I can’t stand the clutter!
You can find plenty of amateur reviews of La mansion de la niebla, aka Murder Mansion, aka Maniac Mansion around the internet, so we won’t add another. We watched it, though, and basically, it’s about a bunch of people stranded in a fogbound manor house, and a plot to frighten one of them to death. Hope that didn’t give away too much. What really struck us was the poster, which was painted by an artist who signed his work Mac. Mac was short for Macario Gomez, and for four decades beginning in 1955 this Spanish painter created posters for such films as Dr. Zhivago, For a Few Dollars More, El Cid and others. Gomez’s effort for La mansion de la niebla is a bit cheeseball, but we rather enjoy the numerous elements he managed to fit in, including a disembodied face, some skulls, a ribcage, a full moon, assorted gravestones, some random ironwork, a spider web, a bare tree, a couple of bats, and, of course, copious fog. Faced with all that, it’s no wonder the central figure is fleeing for her life. But just to show that Gomez really does have top tier talent, we’ve shared a few of his more successful posters below. La mansion de la niebla, an Italian/Spanish co-production, premiered as Quando Marta urlò dalla tomba in Italy, and in Spain six weeks later, today 1972.
Touch of Evil sleeve art perfectly captures the film's mood.
Above, a Japanese soundtrack sleeve for Orson Welles’ universally lauded 1958 post-noir thriller Touch of Evil, with music from Henry Mancini. Top marks for the beautiful design on this.
Uncensored takes readers from New York City to Spain to Havana in search of dirt.
Uncensored returns to Pulp Intl. for the first time in over a year with an issue published this month in 1955. The story of Ava Gardner and Frank Sinatra’s tumultuous relationship (and the Spanish bullfighter who helped ruin it) has been covered numerous times, so no need to get into it again just now, but the photos are certainly worth a look. Uncensored shares other nice images as well. There’s Eartha Kitt (described as not much to look at “unlike such Negro beauties as Dorothy Dandridge and Lena Horne”), Sarita Montiel (who in Mexico was allegedly on the receiving end of a horsewhipping by Miguel Aleman’s jealous wife), and Marlene Dietrich (seen both onstage performing and offstage fulfilling a G.I.’s request for a kiss). The latter photo, from 1945, appeared in Life and many other magazines and remains one of the most famous Dietrich images. So Hollywood starlets take note: if you want millions of dollars in free publicity, no need to get arrested or leak nude photos—just kiss a fan.
Uncensored readers also meet Father Divine, (who we wrote about here), his alleged rival Prophet Jones, get a glimpse of nightlife in the so-called Bohemia of NYC’s Greenwich Village, and are introduced to “The World’s Hottest Hot Spot,” Havana, Cuba. Readers see photos of an actual drug deal taking place on some backstreet and learn that the city is “Babylonian bedlam,” where “one can buy marijuana, cocaine, forbidden wormwood liquor, illegal bon bons, or just oblivion.” There’s a photo of a woman outside a revolving repository at Havana’s Orfanato Beneficia (Beneficia Orphanage) where mothers could leave their unwanted babies as easily as mailing a postcard. The caption on the photo? “Despite its bawdiness, Havana has a heart.” A baby depository? Is it any wonder there was a revolution? Twenty-four scans below for your enjoyment.
Sleazy tabloid exposes the nationwide trade in even sleazier Tijuana bibles.
It’s been a while since we’ve featured Hush-Hush, but it’s one of our favorite high-end mid-century tabloids, so today we have a newly scanned issue from this month 1957. We learn that Ingrid Bergman called Ed Sullivan a liar for falsely claiming she was booked on his show, and that Phil Silvers was terrified that he would lose his fame, and that Eartha Kitt was destined to forever be lonely because she was interested only in white men. But the fun story here is the one headed: “Movie Stars Victimized By Smut, Inc.” The article is about Tijuana bibles, and the many celebs who had been unknowingly featured in them. We’ve already posted a few bibles, thus you probably already know that they’re pornographic eight-page comic booklets sold clandestinely in drug stores and soda fountains. Their makers felt free to borrow the likenesses of public figures of the day, and Hush-Hush offers up examples starring Bob Hope, Marie Wilson, Robert Mitchum and others. The article describes them as “unbelievably filthy booklets showing the basest sexual acts and perversions.” Well, true enough. Their distribution was so worrisome that the FBI got involved, and while the feds did manage to make some arrests, the flow of booklets remained pretty much uninterrupted. We can only assume that Hush-Hush’s exposé made them even more popular, which is kind of how it works with porn, right? Someone gets on their soapbox about it and people walk away thinking, Hmm, I better see one of these with my own eyes. Of course, Hush-Hush didn’t dare reprint the interior pages, but we have no such inhibitions here at Pulp Intl. See the next post, and see here.
Vintage website uncovers rare lobby cards for timeless Orson Welles classic.
Above is a rare Citizen Kane lobby card, produced for the film’s West German run, which, as you might imagine, didn’t occur until well after World War II for the 1941-produced film. This shot has Orson Welles and Joseph Cotten. It was sent over by our friends at National Road Books, and as always, we appreciate their generosity, especially with items this rare (the text in the inset box reads: “Descriptor: especially valuable”). See more here, including a rare shot of Dorothy Comingore.
James M. Cain’s incest-themed pulp loses its power as a movie thanks to Pia Zadora.
James M. Cain was never one to shy away from provocative subject matter, and The Butterfly, published in 1946, is no exception. In this one a middle-aged coal miner arrives at his backwoods home one day to find a nineteen year-old girl sitting on his stoop. It turns out she’s his long lost daughter, who he’s never known because his wife left him eighteen years ago. The girl, Kady, is precocious to say the least, which means seduction inevitably follows and, just as inevitably, dangerous complications pile up rather quickly. But nothing is quite what it seems and by the end, paternity is in doubt all over the place. The Butterfly isn’t considered one of Cain’s best, but we thought it was a diverting read, certainly worth the time spent. As with most Cain books, it had many editions, but this one is the 1964 Dell paperback, which we think has the best cover art.
Moving on to the 1982 film adaptation, entitled simply Butterfly, we find ourselves running out of kind words. The film starred Pia Zadora, and while it generated some good reviews and a lot of publicity owing to its supposed steaminess, time has since rendered a judgment and it isn't a kind one. Zadora was not the person for the role of Kady. We have little doubt she's alluring in real life, but cinema is not real life and it takes more than just ordinary beauty to light up the screen as a femme fatale. Same with men. Bogart wasn’t a classic looker, but he had that thing. Zadora doesn’t. The critics who defended her in this role are still answering for it today, and her award as Newcomer of the Year ranks as one of the Golden Globes' biggest embarrassments. Despite her unwonderful performance, Butterfly is worth a glance for its camp factor, as well as for appearances by Orson Welles as a smalltown judge, and Ed McMahon as an Irish boozehound. But if you really want to be entertained, read the book instead.
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