Modern Pulp Mar 20 2018
SOUND AND FURY
John Travolta sets the recording straight.


Above is a Japanese poster for Brian De Palma's 1981 thriller Blow Out, his update of the classic British thriller Blowup. In the latter film a photographer thinks he's accidentally shot a photo of a murder, and in Blow Out a movie sound man thinks he's accidentally recorded one. And indeed he has, a political assassination actually, which brings highly connected villains out of the woodwork to engineer a cover-up. The movie stars John Travolta in his hunk incarnation, pouting his way through the twists and turns of the mystery, along with Nancy Allen as his shakedown artist sidekick. De Palma's movies often underwhelm upon release but usually age well. This is a good example. Audiences were cool toward Blow Out but it's a solid, giallo influenced thriller, wrapped in Kennedyesque conspiracy. It premiered in the U.S. in the summer of 1981 and reached Japan today in 1982 with the title ミッドナイトクロス, or Middonaito kurosu, which means “midnight cross.”

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Modern Pulp Mar 12 2018
VELVET UNDERGROUND
Getting into the place isn't the problem.


In Nikkatsu roman porno the question, as always, is exactly how the script will place the female lead under the control of men determined to use her. In Dan Oniroku kurokami nawa fujin, aka Black Hair Velvet Soul, it's alcoholism and debt. A gambling and philandering husband owes a pile to a slimy financier, so he puts up as collateral the restaurant he owns with his wife. Izumi Shima plays the wife. Because the place was founded by her father and succeeded because of his sweat and struggle, as she notes in a monologue, she sees no other choice but to agree to work off the debt in an S&M club run by the financier. She goes through the usual range of indignities, but in what has to be considered a bit of a twist, she at no point likes it, nor has some inner freak unleashed, nor somehow dies by ironic means. She does her bit, the restaurant is saved, and she leaves her shitty husband. Why watch the movie? Well, because Shima is a shimmering goddess and she's always worth watching. Sixty-six minutes including credits and you're done. Dan Oniroku kurokami nawa fujin premiered today in 1982.

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Modern Pulp Jan 22 2018
THE OLD BALL AND CHAIN
Need a little help around the house?


Above is a poster for Dorei keiyakushu, yet another entry in Nikkatsu's roman porno pantheon, and one that gets viewers to the usual place by a slightly different route. The film opens with Nami Matsukawa having her pubic hair shaved off by a man. She isn't too thrilled about it. Then he gives her an enema, and it's us who aren't too thrilled. Then he binds her in rope kinbaku-bi style, basically wrapping her like a gift, carefully places her in a crate with some packing material, closes it up and has some delivery guys take the container away. The parcel ends up in the house of Hidekazu Mikami, who's surprised as hell when he opens it, as is his wife, played by Izumi Shima. Imagine explaining that. A sheaf of legal documents around Nami's neck says that she's a slave and will serve as payment of a debt. And just like that it's straight to the kinky sex and domination. You can always count on Nikkatsu—they never fail to get you to bondage land, if indeed that's where you want to go. Us, we can take or leave it. Even though we have many more roman porno posters we'd like to share, we may shift more toward Toei's pinky violence action movies for a while. They're harder to find, but worth the effort—and we can only watch so many enemas. Dorei keiyakushu premiered in Japan today in 1982.

It says she'll do anything you ask. Laundry, dishes, handjobs, whatever.

Baby, I swear I didn't order a slave.

But as long as we have one...

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Modern Pulp Jan 20 2018
ROLLING IN THE ISLES
Betty and her friends are ripe and ready.


This Italian poster was made for a film called La porno villeggiante, which was originally released as Griechische Feigen, but which you may know as The Fruit Is Ripe. We already talked about it several years back, and suffice to say it's a breezy little erotic romp set in the Greek Isles starring Betty Verges and Olivia Pascal. Softcore movies set in foreign lands are a particular weakness of ours, and this one helped inspire our amazing trip to Mykonos, Santorini, and Naxos in in 2014. We'd go back if there weren't other islands in other oceans we need to get to, but trust us—it's worth it, even if your trip doesn't resemble the movie. There's no Italian release date on La porno villeggiante, but it had its world premier in West Germany today in 1977. Below are some interesting promo images we located. You can read our original write up on the film here.

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Modern Pulp Jan 7 2018
GIRLS NIGHT IN
When we get together we do the usual stuff—chat, drink wine, endure whippings, have a forced enema or two.


We don't share pinku and roman porno posters just because we're interested in the films. We also share them because, first, the art is always great, and second, it's easy to get. Its availability is a reflection of how many productions of the type were made—in a word, many hundreds. That's two words. Let's go with thousands—which is not an exaggeration. These were incredibly popular films is the point, made by multiple studios trying to place double features into vertically integrated, wholly dependent cinemas every weekend. Many of the movies have fallen prey to the ravages of time, which occasionally leads to us sharing art from movies that no longer exist, but today's offering, Nawa to chibusa, aka Rope and Breasts, starring Nami Matsukawa and Izumi Shima, is one we did in fact find and watch.

The movie premiered in Japan today in 1983, and it involves a couple running a traveling bdsm show who arrive in Kyoto and are hired for a private performance that turns into something more. The woman is planning to retire, but now learns what bondage and discipline really are as she and her man are teased and tortured to within an inch of their sanity. When all is said and done the woman forgets retirement, not because she loves torture, but because she realizes her life is hell anyway and if she has to live in hell she'd like to at least make money from it. Very upbeat stuff. An interesting aspect of the copy we saw is its use of pixelation to obscure the private parts of the actors (see below). Since roman pornos are softcore the masking is purely directorial flourish, designed, we suppose, to give the action a veneer of the forbidden.

For those who've missed our previous discussions about the roman porno genre, the filmmakers generally contend that the sexual abuse depicted is symbolic of patriarchal Japan's subjugation to occupying Americans, or to modern life, or to a burgeoning counterculture, etc. As a smart man once said, when something is symbolic of everything, it's symbolic of nothing. In other words, we don't buy the boilerplate on roman porno, at least not fully. We think it was primarily money driven, and the more intellectual aspects were secondary, distantly. But the main thing we try to remember as outsiders looking in is that cultural judgement is a slippery slope, and while in this particular 2018 moment of discussion about the all too prevalent dangers men present to women, it's easy to dismiss roman porno films as masculine horror fantasies sprung from the brows of unrepentant misogynists.

But times change, and there are layers to the issue that make such assessments a bit too facile. It's possible to be on one side of a cultural issue during a certain moment in time, but be judged as on the exact opposite side a generation or two later. Today's observers could easily conclude that roman porno filmmakers were conservative nationalists, but in reality they were mainly liberal feminist allies satirizing conservative patriarchs/patriots. Their sexualization of women was spurred in part by box office need, but they believed in their own symbolism and there's no doubt most of them thought of themselves as modernist trailblazers smashing social barriers. The path their output has taken through the decades is parallel to that of Hugh Hefner, hailed as women's rights hero in 1967, reviled as a cog in a destructive porno machine half a century later. Times change.

If Japanese viewers of 1980s American horror movies had demanded to know why so many productions featured people being lured into the woods to be slaughtered it would have led to some uncomfortable conversations about apocalyptic American attitudes toward sex, as well as the eternal American worship of violence. These discussions would have been much more needed than any concerning 1970s Japanese mores. But as for modern observers, they get to judge earlier filmmakers only up to a point. They weren't there. They forget that work incommercial media has its demands, if the work is to be secured at all. Old targets are no longer fully relevant, as well as being way too easy to criticize in hindsight. Subversive messages are often slipped into popular art and those messages matter. They wink at us. They say, “You and I both know this is just entertainment, but this other thing—if you are detecting it—is what we're really about here.” But modern viewers of old films often miss these important messages. As culture changes receptivity to these small signals change too.

So, okay, Nawa to chibusa is a weird movie. It's a weird movie hailing from a weird genre. The genre was meant to both make money and provoke people, and all these years later the films remain as artifacts of an industry embarked upon a radical social discussion, spearheaded by filmmakers who hadn't yet realized that images also carry weight apart from their alleged political intent. In other words, the question becomes whether the same goals could have been achieved by other means—i.e. other means of provocation, other types of imagery. We can't answer that. We weren't there. We don't know of anyone who has tallied the social gains and losses, if any, brought about by all this shocking cinema. All we have is an inadequate twenty-first century perspective, an inadequate Western perspective, an incomplete male perspective, and a whole lot of crazy posters.

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Modern Pulp Dec 5 2017
NO BED OF ROSES
Junko Mabuki gets deflowered.


We just saw Junko Mabuki last week, and here she is again in the roman porno vehicle Dan Oniroku bara jigoku, which is known in English as Hell of Roses. Oniroku Dan was Japan's perv laureate of erotic bondage literature, and he became so famous that his name often appeared on the front of movies adapted from his material. And his material was pretty fringy stuff, at least by our standards. Last week's Oniroku Dan movie was centered around a slimy photographer's bondage obsession. This time there are two photographers, working in tandem to produce bdsm shots of young women who don't have any real idea what they've signed up for. Junko plays a famous singer who gets into their crosshairs. She'd never submit voluntarily, so the two predators subdue her with chloroform and spirit her away to an isolated house. Once she awakens she puts up a real fight and even manages to bloody one of her captors, but she still ends up caged, roped, dildoed, etc., and then there's that roman porno pee thing again. And a snake. And a kinky blood fixation. But you know what this movie doesn't have? Roses. Go figure. Dan Oniroku bara jigoku premiered today in 1980.

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Modern Pulp Nov 27 2017
WEAK LINKS
Junko Mabuki starts a chain reaction.


Junko Mabuki is an important actress of second generation Japanese S&M movies, and that's her above on a poster for Dan Oniroku onna biyoshi nawa shiku, aka Female Beautician Rope Discipline. What you see is what you get here. Junko meets a photographer who shoots bondage and discipline. At first she's repulsed, but, this being a roman porno flick, the thought of it grows in her mind. Meanwhile we meet Izumi Shima, one of the photog's bondage subjects. Junko soon crosses paths with Izumi and is attracted to her—and who wouldn't be?—but it's just the beginning of a descent into degradation, jealousy, and serious male-driven pee-version.

We're still trying wrap our heads around the various forms of Japanese cinema. Toei's pinky violence films usually had cool ’70s street action and ass kicking gang girls, whereas Nikkatsu's roman porno had submissive women and sexual subjugation. They're all generally considered to be pink films, along with output from OP Eiga and other studios, but to us they're night and day. Pinky violence and roman porno represent two big studios in competition with each other, but more and more the patriarchy smashing ethos of the former feels like a rebuttal to the latter. In this one, though, the sadistic photographer gets his—spoiler alert!—head deservedly bashed in. Dan Oniroku onna biyoshi nawa shiku premiered in Japan today in 1981.


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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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Modern Pulp Nov 6 2017
MAXIMUM MEXICO
A Gallur gallery of viciousness and vice.


A while back we began sharing pieces of 1980s comic art from Mexico and intended to make it a regular feature. In our heads we're still featuring Mexican art regularly, but today we realized we haven't posted a piece in two years. Which goes to show you how things work around here. So we're back to Mexican ’80s comic art today, with all its crazy violence and wild stylings.

Above you see a painting entitled Enlatadas, which in Spanish means “canned.” We're guessing that's Mexican slang for getting your ass handed to you in the most brutal possible way. Below you see three more pieces. The first is for a comic series called Frank Kevin, and is the cover art used for #366 in the series. Second you see a piece for the series Sensacionál de Maestros, or “teacher's sensation.” In this case, thief seems to be the answer. And third you see cover art for something called Posesión Demoníaca, no translation needed.

The artists on Mexican comic illustrations are often forgotten, except for a select few. All today's pieces are by the same person—Rafael Gallur—who has had a long and prolific career in newspapers and comics. You can see more from him here. We'll try to pump new life into our Mexican art series going forward, which means you should see the next post in about a year. 
Just kidding. We'll do better. In the meantime check out others in the category here, here, here, and here.

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History Rewind
The headlines that mattered yesteryear.
April 20
1939—Holiday Records Strange Fruit
American blues and jazz singer Billie Holiday records "Strange Fruit", which is considered to be the first civil rights song. It began as a poem written by Abel Meeropol, which he later set to music and performed live with his wife Laura Duncan. The song became a Holiday standard immediately after she recorded it, and it remains one of the most highly regarded pieces of music in American history.
April 19
1927—Mae West Sentenced to Jail
American actress and playwright Mae West is sentenced to ten days in jail for obscenity for the content of her play Sex. The trial occurred even though the play had run for a year and had been seen by 325,000 people. However West's considerable popularity, already based on her risque image, only increased due to the controversy.
1971—Manson Sentenced to Death
In the U.S, cult leader Charles Manson is sentenced to death for inciting the murders of Sharon Tate and several other people. Three accomplices, who had actually done the killing, were also sentenced to death, but the state of California abolished capital punishment in 1972 and neither they nor Manson were ever actually executed.
April 18
1923—Yankee Stadium Opens
In New York City, Yankee Stadium, home of Major League Baseball's New York Yankees, opens with the Yankees beating their eternal rivals the Boston Red Sox 4 to 1. The stadium, which is nicknamed The House that Ruth Built, sees the Yankees become the most successful franchise in baseball history. It is eventually replaced by a new Yankee Stadium and closes in September 2008.
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