| Vintage Pulp | Sep 1 2022 |
Reiko strikes down upon her enemies with great vengeance and Furyo anger.
More Reiko as soon as that? Why yes. Above you see her on a promo poster for her pinky violence flick Kyofu joshikôkô: Furyo monzetsu guruupu, known in English as Terrifying Girls' High School: Delinquent Convulsion Group. We shared this art as part of a collection ten years ago but didn't discuss the film. Reiko and Yûko Kanô star, and as the title suggests, it's about the rough and tumble lives of female juvenile delinquents. Reiko's high school is run by the Red Rose Clan. Things go very right when she's elected head of the gang, then very wrong when her father dies in a brutal auto accident, she's transferred to the outcast class for non-payment of tuition, the Red Rose tosses her overboard, and she finds out her mother is indulging in sexual extracurriculars. Talk about a run of bad luck.
But you can't keep Reiko down. She fights her way into the good graces of a group of girls that hang out in a local bar. They decide to form a new gang called the Union Clan to fight the Red Rose and take control of the school, which is beginning to descend into anarchy. Soon after forming her new gang, Reiko learns that her father's accident was orchestrated. Like any devoted daughter, she vows revenge. It won't be easy, but once a girl has dealt with the evils of high school, a cabal of heavily armed international drug dealers is a cakewalk. As required by the pinky violence genre, what follows are clouds of cordite and showers of sparks. Doesn't that sound fun? Reiko never disappoints. Kyofu joshikôkô: Furyo monzetsu guruupu premiered today in 1973.
JapanToei CompanyKyofu joshikôkô: Furyo monzetsu guruupuTerrifying Girls' High School: Delinquent Convulsion GroupReiko IkeYûko KanôYôko Miharaposter artcinemapinky violencepinkumovie review
| Hollywoodland | Aug 29 2022 |
They're not really going anywhere but they look mighty good doing it.
What's a period drama without a fake driving scene? Nearly all such sequences were shot in movie studios using two techniques—rear projection, which was standard for daytime driving, and both rear projection and lighting effects for simulating night driving. Many movie studios made production images of those scenes. For example, above you see Jane Greer and Lizabeth Scott, neither looking happy, going for a fake spin around Los Angeles in 1951's The Company She Keeps. We decided to make a collection of similar shots, so below we have more than twenty other examples (plus a couple of high quality screen grabs) with top stars such as Humphrey Bogart, Ingrid Bergman, Barbara Stanwyck, Robert Mitchum, and Raquel Welch. We've only scratched the surface of this theme, which means you can probably expect a second collection somewhere down the road. Incidentally, if you want to see Bogart at his coolest behind the wheel look here, and just because it's such a wonderful shot, look here for Elke Sommer as a passenger. Enjoy today's rides.
Humphrey Bogart tries to fake drive with Ida Lupino in his ear in 1941's High Sierra.
Dorothy Malone, Rock Hudson, and a rear projection of Long Beach, in 1956's Written on the Wind.
Ann-Margret and John Forsythe in Kitten with a Whip. We think they were parked at this point, but that's fine.
Two shots from 1946's The Postman Always Rings Twice with John Garfield and Lana Turner, followed by of shot of them with soon-to-be murdered Cecil Kellaway.
Jean Hagen and Sterling Hayden in 1950's The Asphalt Jungle.
Shelley Winters, looking quite lovely here, fawns over dapper William Powell during a night drive in 1949's Take One False Step.
William Talman, James Flavin, and Adele Jergens share a tense ride in 1950's Armored Car Robbery.
William Bendix rages in 1949's The Big Steal.
Frank Sinatra drives contemplatively in Young at Heart, from 1954.
George Sanders drives Ingrid Bergman through Italy, and she returns the favor, in 1954's Viaggio in Italia.
Harold Huber, Lyle Talbot, Barbara Stanwyck and her little dog too, from 1933's Ladies They Talk About.
Virginia Huston tells Robert Mitchum his profile should be cast in bronze in 1947's Out of the Past.
Ann Sheridan hangs onto to an intense George Raft in 1940's They Drive by Night.
Peggy Cummins and John Dall suddenly realize they're wearing each other's glasses in 1950's Gun Crazy, a film that famously featured a real driving sequence, though not the one above.
John Ireland and Mercedes McCambridge in 1951's The Scarf.
James Mason drives an unconscious Henry O'Neill in 1949's The Reckless Moment. Hopefully they're headed to an emergency room.
Marcello Mastroianni driving Walter Santesso, Mary Janes, and an unknown in 1960's La dolce vita.
Tony Curtis thrills Piper Laurie with his convertible in 1954's Johnny Dark.
Janet Leigh drives distracted by worries, with no idea she should be thinking less about traffic and cops than cross-dressing psychos in 1960's Psycho.
We're not sure who the passengers are in this one (the shot is from 1960's On the Double, and deals with Danny Kaye impersonating Wilfrid Hyde-White) but the driver is Diana Dors.
Kirk Douglas scares the bejesus out of Raquel Welch in 1962's Two Weeks in Another Town. We're familiar with her reaction, which is why we're glad the Pulp Intl. girlfriends don't need to drive here in Europe.
Robert Mitchum again, this time in the passenger seat, with Jane Greer driving (and William Bendix tailing them—already seen in panel ten), in 1949's The Big Steal. The film is notable for its many real driving scenes.
James Mason keeps cool as Jack Elam threatens him as Märta Torén watches from the passenger seat in 1950's One Way Street.
And finally, to take a new perspective on the subject, here's Bogart and Lizabeth Scott in 1947's Dead Reckoning.The Company She KeepsKitten with a WhipHigh SierraWritten on the WindThe Postman Always Rings TwiceTake One False StepArmored Car RobberyThe Big StealYoung at HeartViaggio in ItaliaLadies They Talk AboutOut of the PastThey Drive by NightGun CrazyThe ScarfThe Reckless MomentLa dolce vitaJohnny DarkPsychoOn the DoubleTwo Weeks in Another TownThe Asphalt JungleThe Big StealDead Reckoningfilm noircinema
| Vintage Pulp | Aug 28 2022 |
If it feels good just do it.
This rare and striking poster was made for the Japanese run of the French softcore flick Je suis une nymphomane, known in English as Libido: The Urge to Love, and I Am a Nymphomaniac. The Japanese text here, 色情日記, translates as “lust diary.” Filmed in Paris and Antibes, in the story Sandra Julien falls down an elevator shaft and the accident changes her personality from prim and proper to sexually insatiable. She hates her new urges, but has no control and proceeds to have relations with everyone around her, from her boss's slimy nephew to co-star Janine Reynaud. She also poses for dirty photos, has a threesome with a pair of carny workers, and even commits sexual assault. Possibly her low point comes when she seeks answers by enrolling in philosophy classes. You have to be really far gone to do that. In the end the answer to her problem is deceptively simple: find someone who likes her for more than her body. We can't count ourselves among that group, because other than Julien's nakedness, we don't feel there's much that's worthwhile here, but we'll give it points for being artsy. Je suis une nymphomane had its Japanese premiere today in 1971.
FranceJapanParisAntibesJe suis une nymphomaneLibido: The Urge to LoveI Am a NymphomaniacSandra JulienJanine Reynaudposter artcinemasexploitationnuditymovie review
| Modern Pulp | Aug 25 2022 |
When is a flower not a flower and a snake not a snake? In Japanese cinema.
Above you see a poster for the Nikkatsu Studios roman porno movie Hana to hebi: Jigoku-hen, known in English as Flower and Snake: Sketch of Hell. In this genre, any mention or sight of a flower is liable to be symbolic. Some call them vulvic symbols, some yonic symbols, but in either case something phallic is usually about to rear its ugly head. The movie starred Kaori Asô and Mami Fujimura, and it was second in a Flower and Snake franchise that eventually numbered eight entries, with this one premiering in Japan today in 1985. That puts it outside our vintage purview, since for our purposes we define modern as anything from 1980 and after, but we had to show you the poster art. How could we not? This amazing promo was painted by famed bondage artist Kaname Ozuma, whose work you can see with an image search. Japanese film studios were very interested in bondage, and Japanese audiences must have been too, because many roman porno films with bdsm themes did well at the box office.
Much of the interest in the subject derived from literature, particularly the works of Oniroku Dan, who wrote the source novel for this film. His books were behind about three-dozen roman porno productions. While we don't get these explorations of humiliation and bondage, we understand that every culture has its particulars. For example, if you go on Japanese Wikipedia, celebrities' biographies often contain their blood types. On the other hand, if you go on U.S. Wikipedia, celebrities' biographies often contain their political allegiances. Objectively, both types of information are completely pointless, yet they suggest—interestingly—what obsesses each culture.
What we're saying is that since we're not Japanese, we can't offer much insight into the roman porno wave that swept Japan. We can do the when, where, who, and how of it—but not the why. But we like the posters, the films are usually incredibly well shot, and the actresses are generally stunning, so we watch the movies and tell you whether we liked them. You're probably wondering if we watched Jigoku-hen. We did, and it's what we expected—longform bondage and torture, softcore style, with little shown, but plenty implied. While it stars Asô and the amazing Fujimura, we don't recommend it unless you're okay with plenty of tears and pee. Neither of those are our bag, and if they're yours, maybe talk to someone. Below, Fujimura is happy after washing off the stain of having starred in such a mean and pointless film, while Asô calls home from vacation and tells her family she's recovering fine.
JapanHana to hebi: Jigoku-henFlower and Snake: Sketch of HellKaori AsôMami FujimuraOniroku DanKaname Ozumaposter artcinemasexploitataionpinkuroman pornobdsmmovie review
| Vintage Pulp | Aug 24 2022 |
In film noir you always need to watch your step.
A long while back we talked about the 1948 thriller Pitfall and shared a rare insert poster. Today we're showing you the standard size, usually referred to as a one sheet. Pitfall is worth a watch for a couple of reasons, but mainly because Dick Powell is a very watchable star. When we began this website, back when he was new to us, we called him “solid.” All these years later we now think of him as one of the better stars of his era.
| Femmes Fatales | Aug 21 2022 |
Claire Kelly demonstrates the fine art of strap-tease.
American actress Claire Kelly was once called the screen’s most exciting discovery since Rita Hayworth, but her career comprised mainly unremarkable film and television appearances. She did, however, spend a lot of time in the tabloids thanks to a messy divorce/custody battle with George DeWitt, and her liaisons with Frank Sinatra, Conrad “Nicky” Hilton, and Lance Reventlow (son of Barbara Hutton, who for a while was the second richest woman in the world). Kelly eventually gave up acting and married into money. This nice shot of her is from around 1959.
| Vintage Pulp | Aug 20 2022 |
She's just a hunka hunka burning love.
Hijinks at a girls school was a standard trope for Japanese filmmakers, so at the sight of the first school uniform in Yumeno Kyûsaku no shôjo jigoku you'll know what to expect. Known in English as Yumeno Kyusaku's Girl Hell, and Raging Hell Fires, this one, which premiered in Japan today in 1977, falls into the sub-category: upstanding-schoolmaster-who's-not-what-he-seems. It's an adaptation of Kyusaku Yumeno's novel Shojo Jigoku, and features Asami Ogawa as a school misfit and Yûko Asuka as a rich girl, who both learn that the principal Masakazu Kuwayama is a rapey old pervert, and decide to take revenge on him. Without getting too deeply into his misdeeds, we can assure you the man deserves to be punished. For that matter, Ogawa's father is a strange bird too. He and the principal know each other better than their rigidly formal attitudes suggest. After a tragedy strikes, the principal becomes convinced he's being haunted thanks to a curse having to do with a chunk of incinerated brain. How did the movie get all the way to brain briquettes? It's better if you don't know in advance. Overall Yumeno Kyûsaku no shôjo jigoku is interesting. Ogawa in particular gives a very game performance. Is the movie recommendable? Perhaps not quite. But there are worse expenditures of ninety minutes.
JapanNikkatsuYumeno Kyûsaku no shôjo jigokuYumeno Kyusaku's Girl HellAsami OgawaYûko AsukaEimei EsumiMasakazu KuwayamaKyusaku Yumenoposter artcinemapinkuroman pornoposter artcinemamovie review
| Vintage Pulp | Aug 19 2022 |
Crawford tries to get away from it all, only to have it all come to her.
We've been neglectful of Joan Crawford, but we remedied that at least partly last night by screening her drama Female on the Beach, which premiered today in 1955. Plotwise this is pretty straightforward. Seeking peace and quiet, Crawford moves into a Newport Beach seaside house owned by her late husband. It's usually rented, but the previous tenant has just vacated the place. Crawford soon learns that the tenant vacated alright—by way of a swan dive off the deck onto the beach. But whether this was an accident, suicide, or the wicked work of someone's hand is unclear. What viewers do learn is that the neighbors—played by Cecil Kellaway and Natalie Schafer, aka Lovie Howell from Gilligan's Island—are con artists. They partner with a local boytoy played by hunky Jeff Chandler, helping him to romance vacationing women and divide them from their cash. This may be why the previous occupant of Crawford's house ended up dead.
The plot set-up is interesting enough, but the most notable aspect of Female on the Beach is that it's another one of those old movies that shows how little ownership mid-century women had over their bodies and spaces. Chandler is a lothario, which of course means he's scripted as romantically insistent, but even factoring that into his character his sheer presumption is amazing. As a viewer you absorb it on two levels: cinematically and sociologically. Chandler's behavior, though fictional, is rooted in 1950s reality. The filmmakers wanted him to be forward but a little charming, and that fact will instill within you a sense of wonder and amazement at what women were expected to endure. Chandler paws and manhandles Crawford against her will, and when she objects he treats her as though something is wrong with her. He refuses to remove his boat from her pier, enters her house without permission and refuses leave when asked, answers a knock at her door though told not to do so, initially avoids returning a key he acquired before she moved in, feels her leg without consent, embraces her against her will, and more. “A woman's no good to a man unless she's a little afraid of him,” Chandler tells her at one point. Big red flag.
At first Crawford hates the guy, but eventually he sucks her in by pouting, being surly, pretending a loss of interest. We'd say nobody would fall for it, but we've seen it work. When Crawford finds a diary hidden by the dead woman she learns about Chandler's scams, but even this won't scare her off. She just can't resist the big lug. Is he a killer? Is she a moron? Do viewers need so many hints that the railing of her beach house is ready to give way? All of these are pertinent questions, but in terms of enjoying Female on the Beach what's most important is whether you can accept Crawford's attraction to Chandler's retrograde alpha male. If so, then lay on. But even if watching their antics sets your teeth on edge, the movie is probably worth a viewing just to see an evil Mrs. Howell. If all else fails, perhaps you'll want to watch it to observe Joan Crawford at work. She was one of Hollywood's great stars—even in not-great movies. That's Female on the Beach—not great, but not bad.
Hi, take a real good look at me, baby, because I'll be your stalker.
See? Stalking. Here I am in your kitchen this morning without permission.
Surprise! Stalking! This time I swam all the way across the bay to stalk you.
Lovely calves. Shapely but not too developed. Which means you won't be able to outrun me.
Is this your diary? I'm gonna read it. I know—presumptuous as hell, right?
Wow. You write that I'm a walking vomit stain with sadistic eyes, the manners of a crocodile, and a bulge in my swimsuit the size of a wine cork.
You've been looking at my bulge, eh?
I hate you, lady. That's reverse psychology. It's right out of the stalker's handbook.
Not so fast, Joan. What do you take me for? Let the delicious irony stretch out a little. In fact, maybe I won't even kiss you. That'd teach you.
Just kidding. Let's do this. Tonsils here I come.
There's something about that man...
Newport BeachFemale on the BeachGilligan's IslandJoan CrawfordJeff ChandlerJan SterlingCecil KellawayNatalie Schaferposter artcinemamovie review
| Vintage Pulp | Aug 16 2022 |
There's only one rule: walk away or be blown away.
Above: an alternate poster by George Akimoto for the Jim Brown blaxploitation movie Slaughter, which first hit cinemas today in 1972. We've talked about it twice: here and here. Shorter version: All work and no play makes Jim a dull boy, which is why it's good Stella was totally down for some fun and games.
| Vintage Pulp | Aug 15 2022 |
Jane Russell poster reveals more to citydwellers than to heartlanders but in the end it's all the same.
We already talked about the Robert Mitchum/Jane Russell film noir His Kind of Woman, which premiered in the U.S. today in 1951. We recently stumbled across the above curiosity. You may remember our exploration of overlays in mid-century pin-up art (fascinating examples here, here, here, here, and here) and as it turns out, Russell received similar treatment. The cover-up on the second poster isn't an overlay. It's printed onto the paper. But the result is the same. Cleavage be gone! If we had to guess, the modest poster probably was issued everywhere in the U.S. except large cities. But the thing is, such a clumsy reworking—as opposed to just using a different image of Russell entirely—clearly serves to tell viewers they've been denied something, which we suspect was almost as effective at drawing traffic into cinemas as revealing what was covered. But only almost. Which is why at Pulp Intl. we always reveal everything.
 |
 |
