That's no lady—that's Brigitte Bardot.
Above, an iconic poster painted by Giorgio Olivetti for the 1957 Brigitte Bardot comedy Una parigina, originally released as La Parisienne. The Bardot figure here was the first femme fatale graphic ever used as the symbol of Pulp Intl., which some of you may remember. Olivetti painted two promos for the film. The second one, just below, is less famous, but still beautiful. We talked about this movie over the summer, and in short it's Bardot running around Paris creating Monroesque chaos among the male population, though with a winkingly more adult subtext than in your average Monroe romp. In other words, there's a hint here and there that Bardot actually gets laid. We don't think that ever happened in Marilyn's comedies. If you're curious about the movie, or interested in seeing the nice U.S. poster—which also features Bardot in her famous red dress—have a look here.
U.S. magazine offers its vision of the world.
Model and singer Corky Crowley stars on this September 1948 cover of See magazine, a publication that came out of New York City and fell squarely into the Life and Look category. We picked this up years ago in the U.S. and never got around to posting it because its large format and the resultant necessity to scan pages in halves and join them in Photoshop deterred us. But we finally had a few spare hours we opted not to spend on a local terrace sipping white wine, and today you have the result.
Inside this monster mag you get photo features, celebs, politics, travel and more. Probably the most interesting feature is the one detailing the transformation of a French typist into a high society dame. It was done as a promotional feature by the magazine Point de Vue and they called it “Cinderella for a Day.” For this installment they chose a woman named Juliet Latifa, who they coiffed, dressed, sent to the swankiest Parisian nightspots, hooked up with the celeb set, then sent packing at the end of the night just like in the fairy tale.
The final photo caption sums it up: “Her 24 hour dream ended, drab normalcy not unexpectedly overtakes Cinderella, but unforgettable memories will serve to bolster her occasionally slipping morale.” Wow—belittle much, See editors? In any case, the photos of Latifa's night out are nice. We wish we could scan all the shots in the magazine but there are more than a hundred and we just don't have that kind of stamina. We managed about twenty pages divided into thirty plus panels featuring Latifa, Anna Neagle, Michael Wilding, Ingrid Bergman dressed in armor for her role in Joan of Arc, and more.
Being diplomatic is one way to get what you want. And then there's Bardot's way.
This is one of the most classic of Brigitte Bardot's movie posters, with the smiling superstar holding an Eiffel Tower in her hands, implying that all France is her plaything. That much is undeniable. It was originally titled Une parisenne, but for its English language release it was given the slightly different title La Parisienne, and in it Bardot does what Bardot always does—stops traffic, generates previously undiscovered quantum states of chaos, and flips reality upside down. This time around she plays Brigitte Laurier, the prime minister's stubborn daughter, in love her father's assistant, who tries as hard as he can not to get involved with her. Why would he resist Bardot? Because she's too young, and he already has a (married) girlfriend. He finally marries Bardot through a set of crazy circumstances, but refuses to give up his mistress, which of course leads to a jealous Brigitte taking matters into her own hands. This is a classic French style sex comedy, with confusion, mistaken assumptions, and people sneaking into each other's beds, all in service of teaching the lesson that what's good for the goose is good for the gander.
Focusing on the poster for a moment, you can see it's a high quality piece of art, but it's attributed to nobody. We checked around and came up with zip. You'll notice it says La Parisienne was Bardot's first big picture. We doubt that—it was her eighteenth movie. We can find no evidence anywhere that this one was different budgetwise than her other headlining efforts. Possibly, “big” is a reference to the plot's focus on international politics and diplomacy. The film does seem to have a larger scope, and take place against a larger backdrop than usual. So maybe that's it. Or maybe the American distributors meant that it was the first of Bardot's films to receive a big promotional push in the U.S. We just don't know. But here's what we're sure about: after a successful run in Europe beginning in late 1957, La Parisienne premiered in New York City today in 1958.
The dancers of the chorus line request your attention.
This is the fifth issue of Cancans de Paris we've shared. The magazine is fast becoming a favorite. It has that mix we like—celebs, showgirls, and cartoons. It's similar to magazines such as Paris Hollywood and Gondel, but with a simpler layout and all black-and-white photography. This issue is from July 1966 and features Gila Golan on the cover, and inside are Julie London, Mireille Darc, and others from the acting profession. You also get Sally Ann Scoth, Karin Brault, Juanita Sanchez, and other colleagues from the dancer side of show business. The entire issue appears below in thirty panels, and you can see the other issues by clicking the appropriate keywords at bottom.
Lady Luck shines on Roques book front.
Above is a beautiful cover for La Chance aime le jolies filles, published in 1955 with art by an unidentified genius. The work looks like Jef de Wulf to us, but we won't swear to it because we've guessed wrong before. French book titles can be a bit arcane but not this time—it translates as “luck loves beautiful girls.” Roques was an interesting character. He was both author and publisher of this and other books, running his company out of Boulevard Beaumarchais in Paris. He continually pushed the boundaries of what censors considered acceptable, for twenty years skirting but managing to avoid serious trouble, though books like 1955's Viol and 1957's Dit oui, madame were banned. Roques did not skimp on cover art. Every edition we've seen from his company is beautiful. In fact, one of our favorite fronts ever came from Roques. See that here, and expect more in the future.
She was one Man's ray of light.
This is a fantastic shot. One reason it caught our eye is that we've seen other photos with lacy shadows substituting for lingerie, but this one from 1930 may be the originator of the illusion. The person you see is Lee Miller. She was born in 1907 and became a fashion model in New York City during the late 1920s, before traveling to Paris with the intent of meeting the legendary photographer Man Ray. She succeeded and became his muse, lover, and frequent subject, as evidenced by this photo, which is his work.
Miller was widely acknowledged as one of the great beauties of her era, but modeling was not her career goal. Her plan had always been to become a photographer. Thus in addition to the other facets of her relationship with Ray, she also apprenticed for him. After absorbing what he had to share she eventually went on to shoot acclaimed World War II photos, some of them during perilous live combat, and documented the liberation of the Buchenwald and Dachau concentration camps, helping expose Nazi atrocities to the world.
In mid-1945 she was in Munich shooting images of the immediate aftermath of the war and posed for a nude shot in Adolf Hitler's bathtub. Yeah—Hitler. Her son, Antony Penrose, later said of the shot, “I think she was sticking two fingers up at Hitler. On the floor are her boots, covered with the filth of Dachau, which she has trodden all over Hitler’s bathroom floor. She is saying she is the victor.”
The photo was of course controversial, but Miller was a pure artist, always willing to make observers see the world in a new way—through her trained eye. So while the shot at top could be seen as reductive of a complex and accomplished personality, it actually reveals an important aspect of who she was—a daring, multi-faceted woman to whom convention was merely a challenge. And it's an overwhelmingly beautiful shot besides.
Pulp and art deco. Two great tastes that rarely went together.
The pulp era is generally agreed as having commenced the last several years of the 19th century and having ended during the 1950s. Art deco is agreed to have begun around 1900 and ended around the beginning of World War II. Despite co-existing, they occupied the same place surprisingly little. You would see crossover in cinematic adaptations of pulp material such as Flash Gordon, with its deco styled spaceships and costumes. Some pulp magazines had art deco influenced fonts, and some hardbacks had art deco sleeve art, such as those designed by Edna Reindel for W.R. Burnett's novels Iron Man and Saint Johnson. But when popular paperbacks and magazines began to focus on high quality cover art they developed their own visual style which we think of today as good girl art, or GGA.
But even if pulp and art deco didn't mix much back then, they mix here. Today we have an issue of Paris Plaisirs published in 1929 with drawings, paintings, studio photography, French wit and more. The cover photo-illustration was shot by Lucien Waléry, also known as Stanisław Julian Ignacy Ostroróg. Though his name was Polish he was a British citizen, born in London after his father Stanisław Julian Ostroróg—also a famed photographer—emigrated there in 1856 and became a citizen in 1862. The younger Ostroróg took the pseudonym Waléry and thus forever created confusion with earlier photographers who had used the same name. We won't bother unwinding all those Walérys. You can see another of our Waléry's beautiful art deco covers here, and we have other issues of Paris Plaisirs you can see by clicking the keywords at bottom.
Calvet proves red warms up any room.
Corinne Calvet, née Corinne Dibos, was born in Paris and tried a few different careers before migrating to Hollywood. She studied criminal law at the Sorbonne, then became an interior designer, where we assume all she did was walk into a room to redecorate it. When she made the move to Hollywood in 1940 she generally played French characters, appearing in On the Riviera, Rope of Sand, The Far Country and numerous other films. This is really a stunning shot of an especially beautiful star but we aren't positive of the date. Best guess—1950.
The headlines that mattered yesteryear.
1973—Nixon Proclaims His Innocence
While in Orlando, Florida, U.S. President Richard Nixon tells four-hundred Associated Press managing editors, "I am not a crook." The false statement comes to symbolize Nixon's presidency when facts are uncovered that prove he is, indeed, a crook.
1938—Lysergic Acid Diethylamide Created
In Basel, Switzerland, at the Sandoz Laboratories, chemist Albert Hofmann creates the psychedelic compound Lysergic acid diethylamide, aka LSD, from a grain fungus.
1945—German Scientists Secretly Brought to U.S.
In a secret program codenamed Operation Paperclip, the United States Army admits 88 German scientists and engineers into the U.S. to help with the development of rocket technology. President Harry Truman ordered that Paperclip exclude members of the Nazi party, but in practice many Nazis who had been officially classified as dangerous were also brought to the U.S. after their backgrounds were whitewashed by Army officials.
1920—League of Nations Holds First Session
The first assembly of the League of Nations, the multi-governmental organization formed as a result of the Treaty of Versailles, is held in Geneva, Switzerland. The League begins to fall apart less than fifteen years later when Germany withdraws. By the onset of World War II it is clear that the League has failed completely.
1959—Clutter Murders Take Place
Four members of the Herbert Clutter Family are murdered at their farm outside Holcomb, Kansas by Richard "Dick" Hickock and Perry Smith. The events would be used by author Truman Capote for his 1966 non-fiction novel In Cold Blood, which is considered a pioneering work of true crime writing. The book is later adapted into a film starring Robert Blake.
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