|Vintage Pulp||Jun 26 2018|
So that's pretty funny, in a horrible, un-2018 kind of way. The outtakes must have been uproarious. Nichols knocks this bit out of the park like a hanging curveball because she can act (in fact, watching how she makes those words sparkle is a clinic on the wide gap between screenwriting and an actor's interpretation). Yaphet Kotto as the pimp Harvard Blue makes his role work because he can act too. But nobody else can. Luckily, as action eventually overtakes dialogue matters improve considerably, with the last third of the movie developing enough momentum to sustain viewer interest. There's one other asset too—Hayes' groovy soundtrack. But you don't have to watch the movie to enjoy that, or Nichols' monologue, which you can watch at this YouTube link while it lasts. It starts about forty seconds in. Otherwise, we recommend giving Truck Turner a pass unless your sense of humor is—like ours—inclusive of semi-inept Hollywood obscurities. If that's the case, roll on. Truck Turner premiered in the U.S. in 1974.
|Vintage Pulp||Feb 12 2017|
This National Spotlite published today in 1968 features cover star Naemi Priegel, a West German television actress and singer who reached the height of her fame during the 1970s. Inside are many interesting Hollywood tidbits, including former child star Hayley Mills allegedly describing herself as a tigress in bed, Marlon Brando beating up two party crashers, Elvis Presley breaking the arm of someone to whom he was demonstrating a karate hold, Richard Burton being pursued by a chorus girl who claimed he fathered her child, Gene Tierney and her husband Howard Lee getting into a public spat, and John Wayne slugging an autograph seeker who mistook him for Robert Mitchum. Was any of this stuff true? We have no idea, but it sure is interesting reading. You can see more in the same vein at our tabloid index, located at this link.
|Sex Files||Dec 20 2016|
This issue of Nightbeat which hit newsstands in December 1957 is the first ever published—and possibly the last. We've seen no hint of another one. That would make it probably both the best debut and finale by any mid-century tabloid. The magazine focuses entirely on call girls, delving into their activities in cities such as Washington, D.C., Hollywood, and Miami Beach. Shame is the name of the game here—there are many photos of arrested prostitutes hiding from the camera, many actual names revealed, and in the Hollywood section many of those names belong to celebrities.
Anyway, Nightbeat is an amazing magazine. It's possible there was never another issue put together. The first one would have been such a tough act to follow. But the masthead designation Vol. 1 issue 1 seems to indicate others were planned, so maybe there are more out there somewhere. This was really a great find for us. It's going for fifty dollars on Ebay right now, but we got ours for five as part of a group of ten other excellent magazines, including this one. We intend to hold onto Nightbeat for a long time. It's a dirty treasure. We have nineteen interior scans below.
|Vintage Pulp||Apr 28 2016|
This unusual poster was made to promote the Spanish run of Retorno al pasado, a movie better known as Out of the Past. The title says it all. A man who thinks he's left his sordid past behind sees it rear its ugly head and threaten to ruin the good future he's planned for himself. Starring Robert Mitchum, Jane Greer, and Kirk Douglas, this is one of the top noir thrillers, in our opinion. Certainly it's one of the most beautifully shot, thanks to director Jacques Tourneur and cinematographer Nicholas Mesuraca. Like the poster art by Macario Gomez, the film is richly textured and lushly black, which makes for a nice sense of gathering danger, especially in the pivotal fight sequence about forty minutes in. Plus it has the always compelling Mexico connection used by many excellent noirs, as well as nice location shooting around Lake Tahoe and Reno. Highly recommended, this one. After opening in the U.S. in November 1947 it had its Spanish premiere in Madrid today in 1948.
|Vintage Pulp||Apr 18 2016|
First things first—this poster was painted by Nicola Simbari, yet another genius from the ranks of Italian illustrators, someone who today is thought of as one of Italy’s most important modern artists and has pieces hanging in museums all over the world. He painted the above masterpiece for the Howard Hughes produced Seduzione mortale, known in the U.S. as Angel Face. It's the story of a man who tries to trade up to a richer, flashier girlfriend and ends up entangled in a murder plot. Robert Mitchum stars as the fickle hero, Jean Simmons co-stars as the femme fatale, Mona Freeman is the loyal girlfriend, and Jim Backus—aka Mr. Howell from Gilligan’s Island—is a tough district attorney.
Angel Face opened in the U.S. in late 1952 and premiered, according to all the sources we checked, in Italy today in 1953. But the poster at top advertises a premiere at a Rome cinema called the Fiamma on 6 May, 1953. Which date is right? Possibly both. April 18, 1953 was a Saturday, which would be a typical day for a film’s run to commence. May 6 was a Wednesday—not typical for launching a wide release. We suspect the poster was made for a special engagement, probably one night only. But we’re only guessing. We may have to slot this question in the unanswered file. There are only so many things you can figure out from a computer terminal after all. We have another poster below, plus two nice promos.
|Vintage Pulp||Mar 16 2016|
Above is an Italian poster for the World War II drama L’anima e la carne, which would translate as “the soul and the flesh,” but was better known as Heaven Knows, Mr. Allison. It was directed by John Huston, who was one of the greats and the man behind what many consider the first film noir The Maltese Falcon, but he wasn’t a strong stylist. He looked at himself as more of a technician, and often took on projects merely because they offered an opportunity for travel. He shot Heaven Knows, Mr. Allison, with Robert Mitchum and Deborah Kerr, in Trinidad and Tobago, and it’s an African Queen-like tale of a marine marooned on a Pacific island with a nun, and the romantic feelings that develop.
|Femmes Fatales||Jan 29 2016|
This awesome promo photo comes from Jacques Tourneur’s iconic 1947 film noir Out of the Past, in which Jane Greer plays Kathie Moffat, one of history’s greatest femmes fatales. Here she watches Robert Mitchum and Steve Brodie in a fistfight, planning all along to decide the situation with a bullet.
|Sex Files||Jan 4 2016|
The Tijuana bibles we like best are those dealing with celebrities, like this one about Robert Mitchum and this one spoofing John Dillinger. But many of these dirty little books dealt with famous comic strip characters such as today’s Dixie Dugan send-up. In addition to being absolutely scandalous and often very funny, these eight-panel booklets show that we haven’t really changed that much in the last eighty years or so years when it comes to such variations as oral sex and dirty talk. Yes, your grandparents may well have been sixty-nining like banshees. Read a bit more about Tijuana bibles here.
|Vintage Pulp||Dec 22 2015|
With a poster this amazing you’d expect a pretty good movie. It promotes the Japanese run of the thriller Second Chance, which opened there today in 1953 after premiering in the U.S. in July. The film is near impossible to find, but we already possessed a downloaded copy from years back because we long ago sought out all Robert Mitchum’s work due to his utter coolness. Second Chance has not only Mitchum, but the always excellent Linda Darnell, exteriors shot in the Mexican towns of Cuernavaca and Taxco, color film stock (which lost its vividness in the intervening decades), and a 3-D process (of course not replicated for the home viewer).
So, is it any good? Well, when technical innovations arrive in Hollywood, filmmakers often use them as gimmicks, with diminished regard for story flow and physical logic. You see the same phenomenon today with CGI. Because this was RKO Radio Pictures’ first 3-D movie, and it was in Technicolor, many scenes take advantage of those aspects, but fail to build characterization or advance the plot. So there you go. But the locations in hilly Taxco look great, the musical interludes are grandly staged, and it all climaxes with an extended cable car set piece where down-on-his-luck prizefighter Mitchum gets a chance at redemption by taking on hitman Jack Palance. We’ve seen better. But we’ve seen far worse.
|Vintage Pulp||Jul 14 2015|
Above is one of the great film noir posters—the three-sheet promo for Where Danger Lives (presumably de-seamed by some enterprising Photoshopper). The movie starred Robert Mitchum, Faith Domergue, and Claude Rains, and deals with a doctor who gets involved with a suicidal patient, a situation that simply can’t end well. Like most film noirs, Where Danger Lives is well regarded today, but it’s strictly second tier—watching Mitchum stagger around for half the movie making bad decisions because of a concussion just didn’t engage us, but more importantly there’s no real basis for his relationship with Domergue. Writing it into a script is not enough—the actors need to establish chemistry and heat to make recklessness understandable. When you start asking questions like, “But why would he have any interest in this crazy chick when he already has a great girlfriend?” you know the movie is fatally flawed. If you like noirs, you might be inclined to give this one’s failings a pass—after all, even so-so noir is better than 90% of what’s coming out of Hollywood today. And it has Mitchum, who’s also better than 90% of what’s coming out of Hollywood today. Where Danger Lives premiered in the U.S. today in 1950.