|Vintage Pulp||Nov 6 2017|
The plots are as follows: in the first movie Vincent Price as the evil Dr. Goldfoot sends an army of bikini-clad robots to charm rich men out of their assets, with the ultimate of using the capital to take over the world; in the second film Price uses a cadre of girl robot bombs—what we'd today call suicide bombers—to blow up NATO bigwigs, with the ultimate plan, again, of taking over the world. It's actually amazing that the first film spawned a sequel, but the follow-up effort was so bad it killed any potential franchise stone dead.
Are these films funny if you're expecting comedy? No. Are they funny if you're expecting idiocy? Somewhat. Are they funny if you're chemically altered to the gills? Undoubtedly. Choose your state of mind and proceed to camp Goldfoot accordingly. And like all camp trips, group participation helps. Invite your cleverest friends and you just might—might—have the time of your life. Dr. Goldfoot and the Bikini Machine premiered in the U.S. today in 1965, and Dr. Goldfoot and the Girl Bombs premiered one year and three days later, on 9 November 1966.
|Vintage Pulp||Jun 20 2015|
|Vintage Pulp||May 25 2015|
Do embezzlers even exist anymore, or is all that legal now? That’s the first question we had about The Web. The second was whether it’s believable for a lawyer to accept a gig moonlighting as a bodyguard for a wealthy and arrogant businessman. Well, maybe, if he wants mainly to get close to his new employer’s hot secretary Ella Raines. And his plan seems to be working, too, but just when things are heating up between them he has to shift into bodyguard mode and ends up killing an intruder bent on ventilating the businessman. But was the shooting legit or was it all a set-up to eliminate a rival? The lawyer starts to have suspicions when the dead man’s daughter appears and accuses him of being a hired murderer. From her perspective, what else could he appear to be? Raines, Edmond O’Brien, William Bendix, Vincent Price, John Abbott, and Maria Palmer do tolerable work here, but director Michael Gordon hits a few snags. For example, he shoots a restaurant scene between O’Brien and Bendix on two different sets and splices the halves together. Did one set burn down? Did the budget not include provisions for continuity? You can spot that gaffe at about 45:00. There are others. If you don’t mind such details there’s enjoyment to be had here, but if you like technical proficiency in your cinema, perhaps steer clear. The Web premiered in the U.S. today in 1947.
|Vintage Pulp||Feb 3 2015|
The film noir adventure The Bribe stars Robert Taylor and Ava Gardner, along with Vincent Price, Charles Laughton, and reliable John Hodiak, in the story of a government agent prowling the fictional Central American island of Carlotta under orders to put the kibosh on a racket in stolen airplane engines. The film has several beloved noir elements—voiceover narration, sexually loaded repartee, exotic nightclub serving as hub for the action, smoky musical number by the female lead—but it’s all a bit stale. There’s no heat between Taylor and Gardner, and no adrenaline in the plot. Frederick Nebel’s short story probably made the airplane engine angle work, but on the big screen it’s hard to care about hunks of machinery we never see. The movie is a cut-rate Casablanca without the invaluable letters of transit, a muted To Have and Have Not without the urgency of French resistance vs. the Nazis. On the plus side, some of the sets are cool, the final shoot-out is visually fascinating, and Gardner is sizzling hot. For her fans she doubtless makes the movie watchable all by herself. The Bribe premiered in the U.S. today in 1949.
|Vintage Pulp||Dec 2 2013|
A while back we showed you the U.S. promo poster for the classic noir Laura. Today’s version comes from Finland, where the film was released today in 1945. December is a dark, chilly time in Finland, and Laura must have seemed an appropriate film, with its dark, spare story of a police detective who falls in love with a dead woman whose murder he’s investigating. The woman has been shotgunned in the face, and is personified in death by a beautiful portrait hanging over her mantel. The detective is completely baffled by the crime, but then a chance encounter brings everything into focus. If you haven’t seen the film, we recommend it highly. Gene Tierney is at her most icily beautiful, and Dana Andrews does good work as a man in love with a woman who no longer exists. Unfortunately, the poster art actually gives away who the killer is by using a photo-realistic portrayal of the actor brandishing a shotgun. Maybe it’s too small for you to see in this format, so we won’t say more. But what a spoiler for the Finns that the artist—he’s signed the work as R.X.Z.—made that choice, or was told to by the studio. It isn’t as if the actor wouldn’t have been immediately identifiable by them, since he was reasonably famous at the time and in the midst of carving out one of Hollywood’s greatest careers. Anyway, excellent movie. If you want to read more about it visit our original post here.
|Vintage Pulp||Dec 8 2012|
|Hollywoodland | Sex Files||Feb 17 2012|
Every year, a raft of Hollywood tell-alls hits the newsstands, all claiming to be filled with juicy revelations, with only a scant few actually delivering on that promise. Scotty Bowers' newly published Tinseltown memoir Full Service seems to fall into the latter group. Bowers was a World War II vet-turned-bartender who arrived in Hollywood in 1946 and quickly found that his striking looks opened doors for him. Those doors allegedly led to the bedrooms of such varied personages as Edith Piaf, Spencer Tracy, Cary Grant, Vivien Leigh, and the Duke of Windsor.
Bowers soon became known on the Hollywood fast track as a guy who could arrange trysts for stars too cautious or too shy to manage it themselves, and located sexual partners for Vincent Price, Katherine Hepburn, Rock Hudson and scores of others. Some of his claims are just jawdropping. Among them: he says he procured about 150 women for Katherine Hepburn, had threesomes with Cary Grant and Randolph Scott, and learned Spencer Tracy was bi-sexual only when, in a drunken stupor, the star "began nibbling on my foreskin."
There's always a degree of scepticism aroused by books like these, but Full Service dovetails with rumors that have been floating around Hollywood for decades, and has been endorsed by Gore Vidal, who claims to have been privvy to much of what Bowers describes and has called the book "as revelation filled as Hollywood Babylon." Predictably, the relatives of some of the stars mentioned in the book are not happy with its content, but Bowers steers clear of any true libel and probably can't be sued. As to why it took him so long to reveal his many secrets, he said in an interview with the New York Times, "I'm not getting any younger and all my famous tricks are dead by now. The truth can't hurt them anymore."