|Vintage Pulp||Feb 23 2015|
The above poster was made to promote the Taiwanese wuxia flick Du bi quan wang da po xue di zi, aka The One Armed Boxer vs. The Flying Guillotine, aka Master of the Flying Guillotine. Wuxia movies deal with honor, oaths, redressing wrongs, etc. In this one the Flying Guillotine is determined to avenge the deaths of his two disciples (which occurred in the prequel One Armed Boxer). His weapon isn’t so much a guillotine as it is a flying helmet with a circular saw attached. The workings of the device are obscure, but using it he can snatch peoples’ heads clean off. Quite a sight. His mission of revenge takes him over hill and dale, through town and hollow, but he has such trouble locating the One Armed Boxer he decides it's more efficient to simply kill every one-armed peasant he comes across. Though from his perspective he’s righting a wrong he isn’t actually the good guy here. How could he be? Snatching innocent folks’ heads off isn’t exactly honorable. Eventually he locates his quarry and we get a climactic showdown. Why, what's that inside the One Armed Boxer's shirt? It's his other arm, of course. We're not supposed to notice. In addition to the two stars you get a supporting cast with their own baroque brands of martial arts, including an Indian yoga master who can extend his arms double length like a pair of fire truck ladders. This is classic schlock, highly recommended.
|Vintage Pulp||Feb 9 2015|
|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||Feb 2 2015|
It’s amazing how awful and ineffectual 1960s anti-drug movies were. Massimo Mida’s spy caper LSD—Una atomica nel cervello, aka LSD—Inferno per pochi dollari, aka LSD—Flesh of the Devil, falls into that category. It isn’t quite Reefer Madness silly, but it comes close, with an unintentionally hilarious opener featuring a child blowing up two men with a toy car, then using a blowgun to take down a third who runs so slowly he might as well have canoes for feet. That bit is followed later in the film by giggly, spastic, tearful acid trip sequences put together by someone who maybe listened to Surrealistic Pillow but never actually tried drugs. Mida created the moniker Mike Middleton for his directorial credit, and we have to wonder if he was afraid having his real name attached to the film would shame his family. What saves the movie is that it’s got a touch of that ineffable Italian style, numerous location set-ups along the Lake Como shoreline, and plenty of the beautiful Franca Polesello, who you see below. There are worse ways to spend ninety minutes, but this feature is mainly for Italophiles and those with Mystery Science Theater 3000 wit. Others may want to steer clear. At least the poster art, by Moroni (first), and Diovano (second) is great. LSD—Una atomica nel cervello premiered in Italy today in 1967.
|Vintage Pulp||Jan 18 2015|
Above is a vintage Japanese poster for Jayne Mansfield’s 1956 musical comedy The Girl Can’t Help It. They don’t make ’em like this anymore—a gangster hires a boozing agent to transform his girlfriend into a star, but the girlfriend has no talent, and the agent falls in love with her. This might be Mansfield’s most important movie due to the role it played in popularizing early rock music. For example:
|Vintage Pulp||Jan 15 2015|
The three posters above promote the Japanese psychological horror movie Irezumi, aka Tattoo, directed by Yasuzô Masumura and starring Ayako Wakao as woman kidnapped into geishadom who is forcibly tattooed upon her back by a disturbed tattoo master. His creation is the monstrous, woman-faced spider you see on the posters. This act sets Wakao on a path toward vengeance, violence, and evil. Some reviews of Irezumi note that the tattoo is in some sense alive, like the portrait of Dorian Gray, however the actual art doesn’t change its aspect—we checked, using a handy invention called rewind, and the lady-spider is the same in the beginning and end of the movie. The tattoo does, though, unleash something, and Wakao changes, quite drastically, her journey from relative innocence into femme fatale depravity giving Irezumi its power and dread. While not splashy and filled with shocks in the style of modern horror, the movie is, all in all, a highly recommendable mind trip. There's another Irezumi from 1982 with a different plot, but this one, the first one, premiered in Japan today in 1966.
|Vintage Pulp||Jan 6 2015|
Kampf der Welten is, we’re sure you can guess from the art, the West German title for War of the Worlds. This cinematic adaptation of H.G. Wells’ famous 1897 serial starred Gene Barry and Ann Robinson, and if you haven’t seen it we suggest it’s worth the time, though it’s quite different from the novel. Actually, we recommend the novel too. It’s grimmer than the film, and has a distinct, rationalist point-of-view that was whitewashed for cinema audiences. Actually, not whitewashed—more like inverted to portray the clergy heroically, where in the novel it is characterized by cowardice. Spielberg and Cruise left that out, too, in their 2005 interation, but in other respects their movie is very close to the book. In addition to the German promo, we also have the three English language posters below. War of the Worlds premiered in the U.S. during the summer of 1953, and reached West Germany today in 1954.
|Vintage Pulp||Jan 5 2015|
Morbosità di una orientale, which would translate as something like “morbidity of an easterner,” was originally a 1977 Japanese film called Tokyo Chatterly fujin, and was released in English as Lady Chatterley in Tokyo. Katsuhiko Fujii helmed the production, and Izumi Shima starred, but every other name on these promos is a Western pseudonym for a Japanese performer. Ann Charlton, Janet Glythe, Price Williams, and King Byrbo never existed except as credits created for the art you see here, and are in reality Junko Miyashita, Kyoko Aoyama, Tatsuya Hamaguchi, and Minoru Okochi. What was the point of doing that? We don’t know. Japanese films had played in Italy before without being Westernized in this way, so it’s a mystery we presume we’ll never solve.
The film keeps to the themes—but not the plot—of D.H. Lawrence’s Lady Chatterley’s Lover. When a millionaire’s son is rendered impotent by an accident, his wife succumbs to the charms of the groundskeeper’s willy, the chauffeur’s stickshift, and the construction worker’s retractable ruler. We last saw the amazingly striking Izumi Shima being molested by an invisible man, and here her paramour punches through a windowpane and fondles her through the splintered glass. That’s horny. Not to be outdone, Shima humps a tree. That’s horny. Also, a stallion fucks a mare. Really. So every living in creature in this film is incredibly horny. Did it make us horny? Hey, you think we typed this with our fingers? Think again.
|Vintage Pulp||Jan 3 2015|
Kaji escapes from jail a while later, seeks out Ryumei, finds him transformed into a cold-hearted suit, and is imprisoned again, this time by the father’s evil thugs. The main problem with this movie for Kaji fans is she doesn’t get much screen time. Instead much of the tale is told from the other end, as Kaji’s friends, led by Yoshio Harada, plot to free her. This isn’t fatal to the movie, though. If you can embrace the other protagonists you’ll find plenty to enjoy. The sentiment of hippies-versus-power may seem quaint, and indeed the film handles certain elements of their lifestyle comedically, but all these years later, with Japan’s rich getting richer while its poverty rate is among the highest for developed nations, is anyone still laughing? Nora-neko rokku: Bôsô shudan ’71 premiered in Japan today in 1971, and you can see more posters for the series here and here.
|Vintage Pulp||Dec 30 2014|
This excellent Japanese poster promotes the film Joshuu sasori: Dai-41 zakkyo-bô, aka Female Convict Scorpion: Jailhouse 41, starring Meiko Kaji as the female convict of the title. This is second of ten movies dealing with the character of Scorpion, but Kaji played the role only four times before passing it off to Yumi Takagawa in 1976. We shared posters for Kaji’s four excursions back in 2010 and mentioned there was alternate art we didn’t possess. Well, we do now. This was painted by Toru Shinohara, who also created the manga the movies are based upon. It’s a rare piece.
The movie itself is sinister, psychedelic, and extraordinarily stylish thanks to director Shunya Itô’s clever set-ups and shot-framing. For most fans, Kaji is the only Scorpion that matters, and it’s hard to argue otherwise. She’s about five-feet-four and probably didn’t hit triple digits on a scale back then, but with eyes and posture she radiates lethal menace. As far as plot, this fits end-to-end with the previous movie, so consider watching that one first. Female Convict Scorpion: Jailhouse 41 premiered in Japan today in 1972.