No matter how far you run you can’t get away from yourself.
Above is a cover for one of the better pulp novels of the 1940s—Kenneth Fearing’s The Big Clock. An ambitious writer is tight with his powerful publisher/boss. One day he encounters his boss’s wife, drinks are had, chit-chat is made, and he spends the night with her. The next day he drops her off and the publisher happens to witness this, but doesn’t know the identity of the man he saw. When the wife winds up dead, the publisher seeks out a trusted confidant to find the mystery man who was the last person his wife was with before she died. He entrusts the task to the writer, and presto—you have a murder mystery in which the hero is forced by circumstance to search for himself. The novel appeared in 1946, an entertaining movie adaptation followed in 1948, and the Bantam paperback above came in 1949. Highly recommended.
It may be the second version but it’s first rate.
Above is French poster art for La Clé de verre, aka The Glass Key, the second Hollywood adaptation of Dashiell Hammet’s 1931 novel. We’ve shared other Glass Key materials, but never talked about the film. Suffice to say this Alan Ladd/Veronica Lake vehicle is excellent—much better than This Gun for Hire, which starred the same beautiful pair (Ladd and Lake appeared together in seven movies). Complicated, engrossing, and liberally spiced with excellent action and Hammett’s wit—“My first wife was a second cook at a third rate joint on Fourth Street”—The Glass Key is mandatory viewing. It’s also interesting for its cynical look at American politics, portrayed as corrupt, built on lies, and fueled by legalized bribery. That much hasn’t changed. The first Glass Key was made in 1935 with George Raft in the lead, but this remake from 1942 is the one to watch. Its French premiere, delayed for years due to World War II and its aftermath, was today in 1948. France
, La Clé de verre
, The Glass Key
, Veronica Lake
, Alan Ladd
, Brian Donlevy
, George Raft
, Dashiell Hammett
, film noir
, movie review
Taylor/Gardner adventure story about contraband airplane engines never quite takes flight.
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.
, The Bribe
, Robert Taylor
, Ava Gardner
, John Hodiak
, Charles Laughton
, Frederick Nebel
, Vincent Price
, poster art
, film noir
, movie review
It was a wonderful Life.
An ethereal Gloria Grahame poses for a promo photo during a session that would produce a famous cover for Life. Grahame was a true great of acting who starred in the classics It’s a Wonderful Life, The Bad and the Beautiful, Human Bondage, and Oklahoma!, but who we prefer to remember for her film noir roles—among them: In a Lonely Place, The Big Heat, Crossfire, Sudden Fear, and Naked Alibi. Born and raised in Los Angeles, she took the town by storm and made an indelible mark in film. The above photo and cover below are from 1946.
, It’s a Wonderful Life
, In a Lonely Place
, The Big Heat
, Sudden Fear
, Naked Alibi
, The Bad and the Beautiful
, Human Bondage
, Gloria Grahame
, film noir
San Fran film fest once again celebrates the best and brightest of mid-century crime cinema.
Today, once again, the U.S.’s premier film noir festival begins in San Francisco. Well, we aren’t impartial—we used to live in Berkeley, just across the Bay, and San Fran was our nocturnal playground—but we think the Noir City Film Festival is the best, that its locale the Castro Theatre is awesome, and that San Francisco, with its iconic hills, clanking cable cars, and rogue fogs, is the also the best possible host city. This year the art produced for the festival in its thirteenth year references worn pulp paperbacks, which we can appreciate, and we also love the festival line-up.
The extravaganza opens with Woman on the Run, a film we discussed recently. Apparently the last known print burned in a fire, and this year’s showing represents the culmination of years of restoration work. Since the film was in the public domain, we imagine some secondary sources existed and needed to be tracked down and cobbled together. Other classics to be screened include Clash By Night, The Thin Man, Shockproof, Cry Terror!, and twenty others. Hopefully a few of our Bay Area friends will attend the festival and report back. And to Pulp Intl. readers in that part of the world, this is your official reminder—any chance to see film noir on a big screen is an opportunity not to be wasted.
Photo sessions make me nervous and then I look uneasy or stressed, so please wait until I’m smiling before you—
Actually, American actress Gladys George did tend to look worried in many of her photos. Not her fault—it’s just the way her face was built. But she coincidentally suffered from numerous worrisome ailments during her life, including throat cancer, heart disease, and cirrhosis. You may remember her as Iva Archer in the classic noir The Maltese Falcon, but she also appeared in Madame X, They Gave Him a Gun, and The House that Jazz Built, among more than forty other films. She eventually died early from a cerebral hemorrhage.
Thou shalt not mispronounce her name.
When your name is Nina Foch you probably get used to introducing yourself only to have people say, “You need a what?” Not us, though. We’d never be that juvenile. Film buffs will remember this Dutch actress as Bithiah, the woman who in 1956’s oft-broadcast spectacle The Ten Commandments finds Moses and raises him as her son, but she also played in pulpier fare such as The Return of the Vampire and Escape in the Fog, and important noirs like Johnny O’Clock and My Name Is Julia Ross. This shot was made in 1944 as a promo for her role in Cry of the Werewolf.
Woman on the Run is a real rollercoaster ride.
General consensus on this public domain film is that it’s better than expected and we watched it and agree. It isn’t about a woman on the run but rather the woman’s husband. She’s looking for him, though, and that’s what the movie revolves around. There’s a very effective rollercoaster sequence at the climax, but otherwise the movie has two main pleasures—Ann Sheridan’s jaded wife character that softens by the end of the film, and the extensive location shooting. In fact, there’s so much external scenery that the film doubles as a tour of mid-century San Francisco, which might be enough reason alone to watch it. It premiered in the U.S. today in 1950.
Diana Dors dirties her golden locks for another turn as a woman behind bars.
The excellent promo above for Le femme et le rôdeur, aka The Unholy Wife was created by Roger Soubie, one of the best French poster artists of the mid-century period. His art drew us to the movie, which we watched only to discover Diana Dors in identical grime mode as in her prison drama Yield to the Night. Not only do both productions feature Dors locked down with her blonde tresses gone brown due to lack of available dye, but both involve her being on death row for murder. Since The Unholy Wife was the next film she did after Yield to the Night we can only assume her initial foray into crime and incarceration was such a success it needed to be repeated. Like almost exactly. Unfortunately, two visions of a bruise-eyed Dors about to receive state-sponsored revenge were too much for audiences, and her repeat excursion was roundly panned.
And sadly, we must agree. Dors is living in California and is married to a Napa winery baron, but since she’s also sharing her affections with a hot young lover, she soon ponders murdering her unsuspecting hubby for his estate. When we lived in Berkeley, just south of the California wine country, we rarely pondered anything more than sunlit grapes and a nice Schug Syrah. But okay, The Unholy Wife is a film noir, which means Dors is no more happy with her heaven-on-Earth existence than a Wall Street stockbroker is with his untaxable Cayman Islands shadow fortune. Both inexplicably want more. Dors starts the film in prison and tells her story via flashback, so we already know her schemes backfired. If only the same were true for stockbrokers. The Unholy Wife premiered in England in the summer of 1957 and premiered in France today the same year.
, The Unholy Wife
, La femme et le rôdeur
, Yield to the Night
, Diana Dors
, Rod Steiger
, Roger Soubie
, poster art
, film noir
Way down Argentine way Bogart fronts the era’s definitive detective novel.
Leoplán was an Argentine magazine published by Ramón Sopena’s eponymous company Editorial Sopena from 1934 to 1965. This issue features a complete Spanish language reprint of Dashiell Hammett’s The Maltese Falcon and is fronted by a nice Manuel Olivas painting of Humphrey Bogart and the bird. It’s from 1949.
, Editorial Sopena
, The Maltese Falcon
, El halcón maltés
, Ramón Sopena
, Humphrey Bogart
, Dashiell Hammett
, Manuel Olivas
, magazine art
, film noir
The headlines that mattered yesteryear.
1938—Alicante Is Bombed
During the Spanish Civil War, a squadron of Italian bombers sent by fascist dictator Benito Mussolini to support the insurgent Spanish Nationalists, bombs the town of Alicante, killing more than three-hundred people. Although less remembered internationally than the infamous Nazi bombing of Guernica the previous year, the death toll in Alicante is similar, if not higher.
1977—Star Wars Opens
George Lucas's sci-fi epic Star Wars premiers in the Unites States to rave reviews and packed movie houses. Produced on a budget of $11 million, the film goes on to earn $460 million in the U.S. and $337 million overseas, while spawning a franchise that would eventually earn billions and make Lucas a Hollywood icon.
1930—Amy Johnson Flies from England to Australia
English aviatrix Amy Johnson lands in Darwin, Northern Territory, becoming the first woman to fly from England to Australia. She had departed from Croydon on May 5 and flown 11,000 miles to complete the feat. Her storied career ends in January 1941 when, while flying a secret mission for Britain, she either bails out into the Thames estuary and drowns, or is mistakenly shot down by British fighter planes. The facts of her death remain clouded today.
1934—Bonnie and Clyde Are Shot To Death
Outlaws Bonnie Parker and Clyde Barrow, who traveled the central United States during the Great Depression robbing banks, stores and gas stations, are ambushed and shot to death in Louisiana by a posse of six law officers. Officially, the autopsy report lists seventeen separate entrance wounds on Barrow and twenty-six on Parker, including several head shots on each. So numerous are the bullet holes that an undertaker claims to have difficulty embalming the bodies because they won't hold the embalming fluid.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.