|Vintage Pulp||Jul 18 2020|
|Vintage Pulp||Jun 21 2011|
Above, a fantastic poster for the 1969 western 100 Rifles with Raquel Welch superimposed over a stylized U.S. currency background. It was made for the film’s 1971 stint in what was then Czechoslovakia. Amazingly, we saw it listed on a foreign poster specialty site for $275.00, and then saw the exact same piece on a big retail site for $13.99. The lesson there is to shop wisely. See our recent write-up on 100 Rifles here.
|Vintage Pulp||Jun 3 2011|
When we saw these Japanese posters for the 1969 western 100 Rifles, we made a special point to watch the film just so we had a good reason to share the art. So there you go. Now as for the actual film, there’s a moment about halfway through where mega sex symbol Raquel Welch says to black ex-NFL football star Jim Brown, “Do you want me?” That’s about as rhetorical a question as has ever been asked on a motion picture screen. Of course he wants her—who wouldn’t? But this being an American movie, the real question is, “What will the consequences be?” Because after all, even though interracial romance works just fine for millions of real life couples, in Hollywood that simply can’t be. Especially when you’re talking about heterosexual black males.
So we know someone’s going to end up dead. We could have prefaced that last statement with a spoiler alert, but we all know it wasn’t really a spoiler. As moviegoers, we’ve been trained to know happily-ever-after isn’t a component of these black/white love affairs. When 100 Rifles was made in 1969, it may have seemed America was on the way—if perhaps a bit turbulently—to a post-racial future. But forty-two years later we bet you can’t think of three other instances where a top tier white starlet had a love scene with a black man. So even though 100 Rifles offers up a reasonably compelling tale of guerilla warfare on the Mexican frontier, and Burt Reynolds co-stars in a role perfectly crafted for his special brand of smarmy brilliance, and you even get an unforgettable nude minute of cult siren Soledad Miranda, what you come away with is yet another reminder of how creatively bankrupt modern Hollywood has become.
We don’t mean backrupt in terms of race, per se, but in terms of reality. Despite modern cinema being awash in CGI and 3D and THX sound and obscene budgets, as well as dozens of edgy stars, along with teams of clever writers and yachtfuls of execs who all claim to be mavericks, the movies are overwhelmingly soulless. 100 Rifles is not a great film, but even as a late-1800s period piece it asks relevant 1969-style questions about racial mixing, social struggle, and offers serious introspection about the worth of warfare. It's an interesting product of the time from which it sprang. That's worth a lot, in our book. By comparison, if we consider post-millennial movies a product of the time in which we now live, then the message seems to be: just don’t make us think.