|Vintage Pulp||Apr 18 2018|
|Vintage Pulp||Dec 24 2017|
Fox had made the previous Shayne flicks in just two years, and they're light in tone, which is one reason we think websites that label The Time To Kill a film noir are stretching. The lead character is not a driven loner, the general sense of corruption is nowhere to be found, and most of the usual noir iconography, such as rain or water, neon, newspapers, sidewalks, etc., is absent. No flashbacks. No voiceover. Nothing. Co-star Doris Merrick is a femme fatale perhaps, but virtually any woman in a crime thriller can fit that cubbyhole. Then surprise—four fifths of the way through its running time the movie shifts gears—Shayne walks into a nighttime murder scene that's draped with shadows and ill portent, but even this is played for laughs when he pratfalls down a staircase. And the ultimate fate of the villain is basically a bad barroom joke.
Director Herbert Leeds had worked on a variety of low budget westerns, comedies, and serials, and was a technician, not a stylist. His spliced in noir sequence is a nice nod to an emerging trend, but we don't think it pushes what is mainly a goofball detective film into noir territory. In general, his were a safe pair of hands tasked with churning out movies at high speed. The Time To Kill is a typically perfunctory Leeds effort—one hour and one minute long, meant to be consumed like penny candy. So we don't think it's a film noir, but hey—we just run a silly website. What do we know? And does it even matter? The Time To Kill is a decent enough distraction, however you categorize it.
|Vintage Pulp||Jan 3 2017|
Anselmo Ballester is yet another virtuoso poster artist from Italy, where cinema promos were taken perhaps more seriously as art pieces than anyplace in the world. We've documented many of these Italian geniuses, including Mafé, Luigi Martinati, Sandro Symeoni, Mario de Berardinis, and others. Ballester, born in 1897, predated nearly all of his colleagues (only Martinati was born earlier) and enjoyed a fifty year career working for studios such as Cosmopolis, Titanus, Twentieth Century Fox, and RKO Radio Pictures. He also worked in commercial and political advertising. For the titles of the above works just check the keywords below. They're in top-to-bottom order in Italian and English.
|Vintage Pulp||Jan 19 2016|
Above is a Spanish poster by Josep Soligó Tena for La casa de la colina, which was originally released in the U.S. as The House on Telegraph Hill. The movie tells the story of a Polish concentration camp survivor—played by Valentina Cortese—who upon release takes the identity of her dead friend, and later insinuates herself into the lives of the dead woman’s San Francisco relatives. This identity swap is the classic Hitchcockian MacGuffin, which is to say it initially seems to be the plot driver, but later isn’t important at all. While Cortese’s labyrinthine lie is always a worrisome background element, the movie is really about how she finds herself embroiled in an inheritance mess and a love triangle. We thought this movie was quite good, but you do have to ignore bits like the improbable placement of a child’s playhouse above a sheer drop (in a sense, another MacGuffin, as the threat of falling has no bearing at all on later developments). Highly recommended movie, and it has nice San Fran exteriors as a bonus. The House on Telegraph Hill premiered in the U.S. in 1951, and as La casa de la colina in Spain today in 1952. See more work from Tena here.
|Vintage Pulp||Aug 8 2015|
Catalan painter Josep Soligó Tena spent thirty years under contract to Hispano Foxfilms, the Spanish subsidiary of Twentieth Century Fox, and during that time created many beautiful promo posters. Today for your enjoyment we have a collection of some of his best. Yes, we are aware he uglified Grace Kelly (panel four), but he’s had that difficulty before with beautiful women. He’s still excellent, though. Eleven scans below.
|Intl. Notebook||Jan 8 2015|
Do they still run ads in newspapers for motion picture releases? The one above ran in dozens of U.S. papers during the run-up to the release of One Million Years B.C., the Raquel Welch lost world flick that cemented her status as a leading sex symbol. The ad (which seems to promote mainly Welch, since we don’t learn the name of the film until we read the fine print at bottom), appeared today in 1966, and One Million Years B.C. followed in February. Bikinis haven’t been the same since.
|Vintage Pulp||Feb 18 2014|
|Hollywoodland||Nov 2 2012|
The story probably fueled ten million fantasies. Marilyn Monroe had stripped naked on the set of her last movie Something’s Got To Give. Monroe was eventually fired, the production was scrapped, and the footage was archived, but if it had been released, she would have been the first Hollywood actress to appear unclothed onscreen since the 1920s. It’s interesting, isn’t it, to reflect upon the effect a minority of prudes had on Hollywood? Because of them, Monroe’s unreleased scene, and Jayne Mansfield’s later nude scene in 1963’s Promises, Promises, merely brought American cinema back to where it had already been four decades earlier.
|Hollywoodland | Vintage Pulp||Apr 26 2011|
By now we shouldn’t be surprised where Marilyn Monroe turns up. Still though, we never thought we’d see her befrocked and befrilled, fondling livestock in a field. Yet there she is on the April 26, 1946 cover of the women’s magazine The Family Circle. At the time, Monroe was modeling just about anywhere she could find work, going by her real name Norma Jeane Daugherty. She was twenty years old, one year away from her first film appearance, and two years away from her first minor film contract with Columbia Pictures. The year after that, in 1949, still trying to make ends meet, she posed nude for photographer Tom Kelley. In 1952 one photo from that session ended up on a Western Lithograph Co. pin-up calendar. Monroe was a contract player with 20th Century Fox by then, and the studio feared the photos would cause a scandal. They were wrong. Monroeadmitted posing nude to pay the rent, and the public was fine with it. The next month she appeared on the cover of Life. Said Monroe: “Oh, the calendar’s hanging in garages all over town. Why deny it? You can get one anyplace. Besides, I’m not ashamed of it. I’ve done nothing wrong.”
Monroe’s career took off from there, but there’s a modern postscript to the story—namely, with the internet being what it is (a massive repository of misinformation the likes of which we never could have imagined a mere fifteen years ago), there are many shots of Monroe out there that are misidentified as the one that ended up on that 1952 calendar. So we took the liberty of posting a scan of the Life story, with its inset of the Monroe calendar. The shot you see there—and not the several others appearing on assorted websites—is the one that scandalized Monroe’s bosses but was shrugged off by the public. The nude image is pretty small in Life, but the internet being what it is (a massive repository of nakedness the likes of which we could never have imagined—but always hoped for), we were able to simply grab a larger version of Kelley’s shot and post it below so that, for purely academic interest, you can have a closer look. The photo will disappear if we get a cease and desist order, but for now it’s there.
|Hollywoodland | Vintage Pulp||Apr 16 2011|
This nice poster was made for the Yugoslavian release of Marilyn, a 1963 documentary about her life and death. When Monroe died during the filming of Something's Got To Give, this feature was hastily cobbled together and rushed into cinemas to fill the gap that had appeared in Twentieth Century Fox's release schedule. It was narrated by Rock Hudson, which is why he appears on the art, and featured Monore's most memorable screen moments, including her song and dance "Diamonds Are a Girl's Best Friend" from the film Gentlemen Prefer Blondes. These days, more is known about Monroe’s life than was the case in 1963, so those looking for tabloid style dish will be disappointed. This is a tribute intended to burnish her legend, rather than a real documentary designed dig into it. But it’s a good movie, not least because it gives a clear portrait of her unmatched stature as a celebrity at that time. Marilyn premiered in the U.S. today in 1963. As a bonus, below are some images of Monroe at her most alluring.