Dylan—Rab Dylan, that is—plays in Hong Kong.
Above, a nice cover for Azzurro è l'inferno, aka Hell Is Blue, 1968, by Rab Dylan for the Italian publishers Silpe as part of its Giallo 70 line. This was Silpe's first publication of many. The story is espionage set in Hong Kong, with all the James Bond style trappings. The author Dylan was pseudonymous, in this case for Italian writer Gualberto Titta, who we assume was worried people would laugh at his last name. What's notable about this book, at least for us, is that the company was founded by genius illustrator Mario Ferrari, who we've featured several times. And once we knew that, it was suddenly obvious this was also Ferrari's work on the cover. He's top tier, and you can see plenty more from him here, here, and here.
Kyoko Izumi drifts into dangerous waters.
Yes, it's another movie from the Underwater Series. We already shared posters for installments two and three, which premiered in June 1958 and June 1959 respectively. The makers of these films really liked June premiere dates, because Ama bune yori: Kindan no suna premiered today in 1957. This is the film, based on a novel by Keitaro Konda, that launched the series. It tells the story of man who returns to his home fishing village after five years away and rekindles his relationship with a local ama, played by series star Kyoko Izumi. Problem is he isn't the one interested in Izumi, and the resulting love triangle eventually leads to tragedy, as is common in these movies. Incidentally, we can't be sure what the western title was for this, or whether there was one. Many of these obscure Japanese flicks never played outside Asia, and this may be one. In fact, there's so much conflicting information on this we can't be 100% we got everything right. We may have to make correction later, but the main thing is to enjoy the striking poster art. Actually, we're feeling pretty good about uploading all these ama posters, because some of them weren't available online. There are still more films from the genre for which we have art to share, so keep an eye out for that down the line.
Hollywood is seen without its face on.
We have something a bit different today, a cover of Pete Martin's tinseltown tell-all Hollywood without Makeup. What you get here are tabloid style bios of various cinematic luminaries, including Greer Garson, Ava Gardner, and Maria Montez. The info on the stars probably makes this one worthwhile by itself, but as a bonus you get tabloid style writing in long form. It's a type of prose that isn't practiced anymore, but it can be quite entertaining to read. Here's an example:
“When first stumbled upon, the conception of the lady sounds as if those who are promoting it are deliberately plying a fire extinguisher to quench the flames of publicity that might singe her career.”
We don't even fully understand what that means, really. Here's a more straightforward passage:
“She operates on the theory that standing up on her two eye-filling legs and yelling for her rights, while at the same time clubbing people over the head with her overpowering personality, will bring home a choice brand of bacon generously streaked with lean. The head screwed on her decorative shoulders is not stuffed with goofer feathers or idle girlish vaporings. The mind behind her velvet-textured Latin facade closes on an opportunity like the jaws of a bear trap.”
Aside from being incredibly condescending, it's an interesting style. You find this type of baroque writing in all the high budget tabloids, such as Confidential, Hush-Hush, and Whisper. It's self-indulgent, but fun to read. Does it sound like your cup of tea? Then go for it. Regarding the cover art, we aren't sure whether we're dealing with a painting or a photo-illustration, but in either case it's uncredited.
Well, it's not super dark. Just darker than the rest of me. Here—give it a feel.
The cover art for Bantam Books' paperback edition of Christine Weston's The Dark Wood is another good example of the pulpification of mid-century literature. This is a seriously phallic effort. The proximity of the woman's hands to crotchville is suggestive enough, but the penile shadow really leaves no doubt what the artist is thinking here. The original hardback art, which you also see, is more fitting for what the book really is—a psychological drama in the style of Daphne DuMaurier about a widow who meets a man that resembles her dead husband, and proceeds to try to turn that man into her lost love, with damaging results. The book debuted in 1946, and World War II and its aftereffects are central to the plot. The Bantam art, while nice, certainly gives a different impression. Just more proof of the power of provocative visuals. It's from 1949 and was painted by Ed Paulsen.
Proceed carefully—ice may occur at major plot points.
The thriller Suspense featured the unusual promo poster you see above, which we think really captures the visual feel of film noir in a way posters more typical of the genre do not. Those posters are amazing, but this one is a nice change of pace. The movie stars Olympic ice skater and sometime magazine model Belita, alongside Barry Sullivan, an incredibly prolific actor who appeared in scores of films. Sullivan plays a hustler who weasels his way up from lowly peanut vendor to fast living impresario at a wildly popular Los Angeles ice skating extravaganza. The catalyst for his ascent is his radical suggestion that Belita leap through a circle of swords. Only in old movies, right? “Hey, that circle of swords gag was a great idea! How'd you like to manage the joint!”
Belita's ice skater is a riff on the standard film noir chanteuse, except instead of doing a few a nightclub numbers she does a few skate routines. She's as good as advertised, too. But the success of any film romance hinges on the chemistry between the boy and girl and here it feels contrived. Both Belita and Sullivan are decent actors, but he's a little too charisma challenged, in our view, to attract someone whose life is going as skatingly as Belita's. But it's in the script, so okay, she likes the schlub. What Suspense does well, though, is visuals. Check out what director Frank Tuttle does late in the film when the shadow of the aforementioned sword contraption appears outside Sullivan's office. Beautiful work, suggesting that karma may indeed be a circle.
On the whole, Suspense uses ice the same way Die Hard uses a skyscraper. The entire film is improved by the freshness of the setting. Add expensive production values and visuals worthy of study in a film school and you have a noir whose many plusses cancel out its few minuses. We recommend it.
As a side note, the ice show is staged in the Pan-Pacific Auditorium, one of the most breathtaking art deco structures ever built, which was of course eventually demolished because that's what they do in Los Angeles. Actually, a fire destroyed it, but only after seventeen years of abandonment which would not have happened if anyone important in the city cared about historically significant architecture. Suspense brings the Pan-Pacific, just above, back to life, and that's another reason to watch it. It premiered in the U.S. today in 1946.
I'm going to stand right here in your personal space and repeat myself until you say yes.
We're supposed to do a screen kiss, but I'm totally gonna slip you some tongue.
Wow, these are razor sharp, but you'll be fine. Unrelated question—how's your insurance coverage?
Aspiring actress gets shot on Broadway.
She was looking to get a shot on Broadway, not get shot, but you have to be 100% clear or people will get confused. Especially a guy like Waldo, the crazed mutiliation killer of David Alexander's Terror on Broadway. Waldo, who taunts the police with snide notes, has knocked off four women, all in the Broadway theatre district, and he has more in his sights unless hero Bart Hardin can stop him. Hardin isn't a private detective or cop—he's the editor of a newspaper, but he's tough enough for the task. Unrealistically so to us, though this is explained by his youth as a boxer and his stint in the military. Overall, Terror on Broadway is pretty heavy stuff for 1954, and the book was banned for a time in Australia. The art on this edition, though, is uncommonly pretty. It was painted by John McDermott, aka J.M. Ryan, who was an animator for Walt Disney before branching out into cover work. He later went on to write his own novels and make a couple of films, so the guy was multi-talented. We'll run into him again down the line, we're sure.
Gold may fill the pockets but it can also empty the soul.
We wanted to show you a bit more work from German artist Rolf Goetze. We settled on this West German poster for the quasi-western drama Treasure of the Sierra Madre because the film premiered in West Germany today in 1949. This is Goetze at his best. For that matter, it's Humphrey Bogart, Walter Huston, and John Huston at their best too. That isn't just our opinion—Walter Huston won a Best Actor Academy Award for his performance, and John Huston won both Best Director and Best Screenplay. If you're not familiar with the film, we'll just tell you it's a cautionary tale about the lust for riches, and it contains this classic and oft-mangled quote: “Badges? We ain't got no badges. We don't need no badges. I don't have to show you any stinking badges!” More Goetze poster work to be seen here and here.
Mwah. Zat is ze height of eroticism in our country. Ze back kiss. Does it turn you on? Are you ready for ze sex now?
Searching for information on vintage books and authors sometimes brings unusual results online. In the case of Paris Sex Circus, plugging in the author's name Leaver French gave us seemingly every article published about Donald Trump abandoning the Paris climate accords. An unexpected outcome, to say the least. So we can't tell you anything about Leaver French, except that we're reasonably certain the name is a pseudonym. But as for the book, as the great French lovers say: the back tells you everything. Lovely Dawn's sexcapades begin on a transatlantic cruise, and continue once she hits French soil, but she's no naive ingénue, as evidenced by the line: “Even the orgies she had been to in the States were only child's play compared to the French way!” This is 1970 from Bee-Line Books, number 457 in their catalog. Yes, they churned out hundreds of these. And as far we can tell, all of their cover illustrations were uncredited, including this one.
Paul Derval and the pleasure factory.
Is it pulp? Technically no. But then technically most of what we share isn't pulp, if you want to be doctrinaire about it. But this cover for Paul Derval's The Folies Bergère has pin-up style art, so that's good enough for us. This is from Digit Books, 1956, an English version of a book originally published by Methuen & Co. in France, and is a behind-the-scenes rundown of the famed burlesque theater written by the guy who managed the place from 1918 to 1956. It was under Derval that the Folies achieved arguably its greatest fame. In addition to his story, you also get eight photo pages inside, including the one you see below. If that image looks familiar, it may be because we showed it to you back in 2015, but a much sharper version scanned from a glossy photo. She's none other than the talented and beautiful Yvonne Ménard, and you can learn a bit about her, and see more of her, at this link. |
The headlines that mattered yesteryear.
1944—G.I. Bill Goes into Effect
U.S. president Franklin D. Roosevelt signs the Servicemen's Readjustment Act into law. Commonly known as the G.I. Bill of Rights, or simply G.I. Bill, the grants toward college and vocational education, generous unemployment benefits, and low interest home and business loans the Bill provided to nearly ten million military veterans was one of the largest factors involved in building the vast American middle class of the 1950s and 1960s.
1940—Smedley Butler Dies
American general Smedley Butler dies. Butler had served in the Philippines, China, Central America, the Caribbean and France, and earned sixteen medals, five of which were for heroism. In 1934 he was approached by a group of wealthy industrialists wanting his help with a coup against President Franklin D. Roosevelt, and in 1935 he wrote the book War Is a Racket, explaining that, based upon his many firsthand observations, warfare is always wholly about greed and profit, and all other ascribed motives are simply fiction designed to deceive the public.
1967—Muhammad Ali Sentenced for Draft Evasion
Heavyweight boxing champion Muhammad Ali, who was known as Cassius Clay before his conversion to Islam, is sentenced to five years in prison for refusing to serve in the military during the Vietnam War. In elucidating his opposition to serving, he uttered the now-famous phrase, “I ain’t got no quarrel with them Viet Cong.”
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