Vintage Pulp Nov 20 2017
HELL TO PAY
Nobody wants to be around when the bill comes due.


We've seen a few posters for the Japanese horror classic Jigoku, but never this one. The title is a Japanese word meaning “hell,” and that idea comes across pretty strongly on this bizarre promo. If you haven't seen the movie, it's about a group of people, all who have committed sins of some sort or another, that find themselves in hell. What's that like? Well, there are lakes of pus, pools of boiling water, fields of spikes, etc., as well as numerous baroque tortures, including people buried alive head first up to their ankles, chopped up, torn apart, de-toothed by various brutal means, and worse. In short, the filmmakers showed everything they had the efx capabilities to depict. It must have scared the bejesus out of people, but the movie was so successful it was remade three times. Real film buffs will want to check out the original, which premiered in Japan today in 1960. 

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Modern Pulp Nov 20 2017
KAZ AND EFFECT
Another relationship goes sour for Yuki K.


Above is another promo poster with roman porno queen Yuki Kazamatsuri, this time for her film Chijoku no heya, aka Room of Shame. Yuki's cab driver hubby has an accident and becomes impotent, leading to infidelity spiced up with various kinky deviations. You can always count on Yuki to pick the wrong man. Audiences loved her serial predicaments. By the time this effort appeared she was a huge box office draw, as evidenced by the fact that during 1981 and 1982 she appeared on the screen in no fewer than twelve starring or co-starring roles. That's a lot of failed relationships. She later had small parts in Quentin Tarantino's Kill Bill movies, and this year appeared in a mini-series. All-in-all a very nice run in show business, still ongoing. Chijoku no heya premiered in Japan today in 1982

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Modern Pulp Nov 18 2017
NOTTI GIRL
Laura Gemser bites off more than she can chew in z-grade zombie epic.


Finally! We've learned that the Italian poster artist who signed his work Aller was a man named Carlo Alessandrini, and we owe that information to a new book by Roberto Curti called Italian Gothic Horror Films 1970-1979. Above you see Alessandrini's work for the Laura Gemser sexploitation flick Le notti erotiche dei morti viventi, aka Sexy Nights of the Living Dead. Gemser started in erotica in 1974, and as the years wore on she basically traded on her name and did less and less actual performing, appearing in several films in little more than cameo roles. In this one she secures top billing for not showing up until the thirty-three minute mark, and not uttering a line of dialogue until probably forty minutes in.

Plotwise, a sailor takes a greedy gringo developer and his prostie companion to a deserted island where the American wants to build the finest resort in the Caribbean. The place is called Cat Island and whenever anyone mentions it to the locals who live on nearby islands they run out of the room. To normal people this would be a strong non-endorsement concerning travel to Cat Island, but such blatant hints are lost on lunkheads in horror movies. So a-boating they go. When the developer announces his plan to pave over the old island cemetery to build a heliport you just know he's sticking his dick somewhere he's likely to lose it—Gemser's mouth (see below). Her army of zombies are equally opposed to gentrification, and lodge their protests by chasing the living all over the place. But all is not lost. As the hero explains at one point: “The advantage we have is that they move at a snail's pace.”

So does the movie. One plus is that it was made primarily on beautiful beaches in the Dominican Republic, and several scenes were shot in Santo Domingo, which is interesting to see pre-tourist era. Another plus is that there's wall to wall sex featuring such beauties as Dirce Funari, who's the real star of the movie, and Lucia Ramirez. The unrated version goes all the way, and even treats viewers to a Tijuana donkey show-worthy routine involving a stripper and a Champagne bottle. None of the X action includes Gemser, who was strictly softcore her entire career, though her nudity is more explicit than usual here. Basically, it's all just as dumb as it sounds, but we'll admit it's accidentally funny in parts, which helps. Le notti erotiche dei morti viventi premiered in Italy today in 1980.

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Vintage Pulp Nov 16 2017
1-1000 NIGHTS
The real counterfeit is the film.


Southside 1-1000, which premiered today in 1950, is a crime drama in documentary style about the U.S. Secret Service chasing counterfeiters. It opens with narrated propaganda about the free world (the U.S.) fighting the enslaved world (commies), complete with Korea combat footage. The narration then morphs into a paean to the U.S. dollar before finally setting the stage for a story about a wave of funny money originating from a California prison. Any plot nuance is overshadowed by b-level acting, along with the voiceover and its message—that the Secret Service is holy and the dollar is noble. One character even corrects his minister, who had said in his sermon that money is the root of all evil. “But that isn't what Paul said in his epistle to Timothy,” this sad sack intones. “He said love of money is the root of all evil.” Is there really a distinction there? Semantically, yes. Realistically, no.

But at least the movie is honest about its intentions—to indoctrinate, with entertainment a distant secondary consideration. As with all older films, reviews on Southside 1-1000 are generally positive. But that's due to what we call the flickering celluloid effect—any old film will seduce certain viewers by virtue of the inherent romance of its setting. All those old cars. Those elegant dresses. And the hats! One thing we try to do here at Pulp Intl. is be nostalgic (for an era we never lived through, but whatever) while avoiding being blinded by it. Yes, popular movies were, in our opinion, generally better back then, but the percentage of debacles was, objectively, still fairly high. Southside 1-1000 has a single redeeming sequence—a fight involving an overpass, a speeding train, and a villain the audience isn't sure is a villain until late in the film. Otherwise, it's a turkey, but with promo art worth sharing anyway.

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Vintage Pulp Nov 9 2017
REPELLENT INSECTS
Ever watch a movie that really makes your skin crawl?

The above poster was made to promote the Italian release of the sci-fi movie L'allucinante fine dell'umanità, which was originally made in Japan and called 昆虫大戦争, or Konchû daisensô. The chaotic Japanese poster appears just below. It's a mutant bug movie obviously, an angry bug movie, a swarming bug movie, a planes-crashing-because-of-bugs-ganging-up-on-jet-engines movie. Basically, these insects get into everything, including your sinus cavities. If you know the film at all, it's probably as War of the Insects or possibly Genocide, which were its two English titles. It is, amazingly, part of the Criterion DVD Collection, which consists of “important classic and contemporary films,” but we can't call it anything better than adequate.
 
It's interesting on one level, though. Japanese creations such as Godzilla are often called a reaction to being the victims of two nuclear bombs. If so, then Konchû daisensô fits that category too, as the rogue insects that turn on humans can only be defeated with a lost but undetonated American atomic bomb. Germany is worked into the plot as well, so with three major World War II powers involved there may be war psychology at work. Entomopohobia is at work too, so if you hate or fear insects, definitely give this one a pass. Konchû daisensô premiered in Japan today in 1968, and began its run in Italy as L'allucinante fine dell'umanità at some unknown date afterward.

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Vintage Pulp Nov 6 2017
FOOL'S GOLDFOOT
The Price is wrong in these bikini themed clunkers.


Dr. Goldfoot and the Bikini Machine and Dr. Goldfoot and the Girl Bombs, for which you see the U.S. promo posters above, are inexpressibly bad spy movie spoofs, but since they were such strong influences on the iconic Austin Power series we decided to feature them anyway. They're supposed to be absurd, of course, but does anything hurt the soul more than comedy that isn't funny? Reviews on these aren't uniformly horrible, but we think many critics give them credit for merely trying to generate laughs.

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. 


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Vintage Pulp Nov 3 2017
TERMINAL CONDITION
When your number is up it's up.


Dial 1119 is a simple film noir with a similar set-up as 1948's Key Largo—i.e. a criminal holds a barful of people hostage. This particular bar, called the Oasis, is in the fictional metropolis Terminal City. While the movie is simple it isn't one-note. We meet each of the characters earlier in the day, before they've gone to the Oasis to be terrorized, and they're an interesting mix—a newspaperman, a barfly, a cheating wife, an expectant father, and more. The man who holds them is a full-blown psychopath, a conscienceless killer, and the main plot question is whether he'll make Terminal City literal for the entire group by simply exterminating them all. Sure looks like it most of the time. This is a tidy flick, satisfying like a snack rather than a meal, well worth consuming. As a side note, you may find it interesting that the Oasis has the world's first wall mounted flatscreen television. It isn't real—the filmmakers bring it to life with projection fx. But we love that they even thought of it. Dial 1119 premiered in the U.S. today in 1950.

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Modern Pulp | Vintage Pulp Oct 31 2017
RED OCTOBER
A dozen bloody reasons to love Halloween.


This poster is a special edition promo painted by Nanpei Kaneko for The Texas Chainsaw Massacre, which was showing at the Tokyo International Film Festival on its fortieth anniversary in 2014. The Japanese title 悪魔のいけにえtranslates to “devil sorrowfully” or “Satan sorrowfully,” and that's a mystery to us, as we're sure there are chainsaws in Japan, as well as the concept of massacres, and some general inkling about Texas, but whatever. Sorrowfully it is—the poster is amazing.

Below, in honor of Halloween, which is becoming more and more of an event here overseas where we live, we have eleven more Japanese posters for 1970s and 1980s U.S.-made horror films. They are, top to bottom, The Prowler (aka Rosemary's Killer), The Fog, Lifeforce, An American Werewolf in London, Bug, Halloween II (aka Boogey Man), Let Sleeping Corpses Lie,Torso, The Evil Dead, Link, and Death Trap.


We've put together horror collections in the past. We have five beautiful Thai posters at this link, fifteen Japanese horror posters we shared on Halloween two years ago here, and we also have a collection of aquatic creature feature posters we shared way back in 2009. And if those don't sate your appetite for the morbid and terrible, just click the keyword “horror” below, and you can see everything we've posted that fits the category. No tricks. Only treats.

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Sex Files Oct 30 2017
STRANGE SENSATIONS
Cannes goods take on a whole new flavor.


Today in 1976 the U.S. porno movie Sensations premiered in Japan. We talked about it five years ago and shared an amazing Japanese promo poster painted by William Stok. That piece was an alternate promo. The one you see above was more widely used. While it's no Stok, in its own way it's almost as interesting, with star Brigitte Maier seeming to fellate psychedelic emissions of unknown composition and provenance. Of course, the Japanese designers merely painted over what she was really tasting. The visual effect is rather nice, we think.

Sensations—referred to on the poster as Sensation—was well received upon release. Bruce Williamson of Playboy called it a “sensually pulsating sextravaganza” that was “the best bet of all for outright voyeurs.” The film was so highly regarded it even screened at the Cannes Film Festival. Does that mean it's good? Not exactly. Not by any normal standard. But we mention the Cannes thing because if someone walks in unexpectedly while you're watching it you are now equipped to indignantly inform them: “Porn? Porn? I'll have you know this played in Cannes!”

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Vintage Pulp Oct 28 2017
MOTEL HELL
No vacancy? No problem. A room will open up shortly.


Whenever we watch Psycho—and we've seen it several times—we try to imagine what 1960 film audiences thought about the goings on at the Bates Motel. There had been a terrifying trailer that hinted at most of the plot points, but still, to see Janet Leigh—a big star who had already appeared in films like Touch of Evil and Safari—so brutally and helplessly dispatched must have sent some people running from the cinema. Alfred Hitchcock was an incredibly popular director, but of suspense and thriller films, so it's safe to assume many Psycho ticket buyers who would never otherwise have seen a legit horror film found themselves trapped in their first—one of the most violent and dark entries the genre had yet seen. It's still a very affecting film all these years later, as is this Italian promo poster—notice the Italian spelling “Psyco”—painted by Ermano Iaia. If you haven't seen the movie we highly recommend it. Psycho premiered in the U.S. during the summer of 1960 and arrived to traumatize Italy today the same year.

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Next Page
History Rewind
The headlines that mattered yesteryear.
November 21
1959—Max Baer Dies
Former heavyweight boxing champ Max Baer dies of a heart attack in Hollywood, California. Baer had a turbulent career. He lost to Joe Louis in 1935, but two years earlier, in his prime, he defeated German champ and Nazi hero Max Schmeling while wearing a Star of David on his trunks. The victory was his legacy, making him a symbol to Jews, and also to all who hated Nazis.
November 20
1945—Nuremberg Trials Begin
In Nuremberg, Germany, in the Palace of Justice, the trials of prominent members of the political, military, and economic leadership of Nazi Germany begin. Among the men tried were Martin Bormann (in absentia), Hermann Göring, Rudolph Hess, and Ernst Kaltenbrunner.
1984—SETI Institute Founded
The SETI Institute, a not-for-profit organization dedicated to the search for extra-terrestrial intelligence, the discovery of extrasolar planets, and the habitability of the galaxy, is founded in California by Thomas Pierson and Dr. Jill Tarter.
November 19
1916—Goldwyn Pictures Formed
In the U.S.A., Samuel Goldfish and Edgar Selwyn establish Goldwyn Pictures, which becomes one of the most successful independent film studios in Hollywood. Goldfish also takes the opportunity to legally change his last name to Goldwyn.
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