I hereby decree that granny panties shall henceforth be considered sexy!
We wonder if granny panties will ever come back. They may. The fashion industry brought high-waisted jeans back and those were unflattering the first time around. Of course, some women look good in anything. This 1965 image of Swedish star Ann-Margret proves it. We have several entries on her in the website. Our favorites are here and here.
Let the record show that Ann-Margret can sell anything.
We don't think of Swedish actress Ann-Margret as a poster girl for soul music, but a South Korean label called the Oscar Record Co. thought differently and decided to plop her on the cover of their 1971 compilation disc Soul. Oscar wasn't the only label to do this. In fact, it wasn't even the only label from South Korea to do it. Tae Do, Top Hit, Paramount, and Joong Ahng all borrowed Ann-Margret to front compilation discs too.
But this particular platter is probably the best of the lot. It has Tom Jones. Johnny Rivers, Wilson Pickett, The Animals doing “Don't Let Me Be Misunderstood,” Mitch Ryder, The Rolling Stones doing “Satisfaction” and “Paint It Black,” Cliff Richard, James Brown, and The Mamas and Papas doing “California Dreamin',” our personal favorite of the extensive offerings. You also get two songs from The Supremes, so all in all, it's a top quality collection.
The cover was posted last month at the album art blog lpcoverlover.com, a worthwhile stop for vintage vinyl art. Their scan was a little crooked, so we squared it up, separated the two Ann-Margret images, and uploaded them below. We kept the full cover scan at large size, so if you want it you'll find that it's 2500 pixels wide, pretty much twice the size of an actual LP sleeve, suitable for framing. Help yourself, and thank lpcoverlover.
Delon and company play cops and robbers in the City by the Bay.
Once a Thief opens with a San Francisco nightclub drummer playing a cracking solo, cymbal crashes synched to quick edits, and we immediately think we're in for some sort of revolutionary beat generation noir, with the edgy rhythms and nervous energy that idea entails. But the movie quickly subsides to conventional pacing, telling the story of a former thief gone straight suspected of a recent murder, and the cop determined to put him away—guilty or innocent. Alain Delon plays crook-turned-family man Eddie, and Ann-Margret is his wife Kristine. Even if the movie doesn't live up to its jazzy opening, getting Sweden's hottest actress and France's hottest actor together should be a can't-miss proposition.
Though Eddie is innocent of the murder, police harassment costs him his job. But when you're broke you can always count on family—to make things worse, that is. Eddie's criminal brother shows up and wants help with a bank robbery. After a few fraternal preliminaries, Eddie decides to partner up with his erratic bro, which is when his troubles really start, because his darker nature emerges and it isn't a pretty sight. Ann-Margret, working from the hysteria-as-acting playbook, is not pleased with these developments and over-emotes her displeasure at every opportunity. Even if criminal conspiracy doesn't do Eddie in, marital strife might.
Once a Thief oozes cool, but in the end it's a middling heist drama that asks a bit too much of its principals. It didn't do well in 1965, and we suspect it'll be the least liked offering at Noir City. Audiences may respond to a few aspects, though: there are some nice San Fran exteriors, Lalo Schifrin's soundtrack is top notch, and character actor John Davis Chandler knocks his role of the druggy hepcat villain Jimmy Sargatanas out of the park, over the promenade, and into McCovey Cove. His line, “I don't dig women,” paired with a sneer and a fatal gunshot, will probably bring the house down. As for Delon and Ann-Margret, well, at least they look good.
This is nothing. Let me get loose and I'll really show you what I can do.
This really nice promo shot of a gyrating Ann-Margret was made to promote the film Bus Riley's Back in Town, about a sailor who returns from three years abroad to find that his love has married another man. Notice how she hints at untying that laced up top of hers. 1965 on this unique image.
Mid-century tabloid hits all the familiar tabloid notes.
Lowdown makes the rounds in this issue published in May 1965. Inside, Ann-Margret claims she doesn't want to be a tease (fail), editors ask if women are more immoral than men (which they really are, once you take war, genocide, faithlessness, and generally violent tendencies off the table), and June Wilkinson's photo is among those used in a story about women supposedly receiving insurance covered breast implants from Britain's National Health Service.
Probably the most interesting story concerns Swedish actress Inger Stevens disappearing for a week. Lowdown hints at an alcohol binge, which is nothing special (hell, we do those) but while there are plenty of sources citing a 1960 suicide attempt, we found no other mention anywhere of Lowdown's missing week. The story is notable because Stevens would die at age thirty-five of a drug overdose.
Elsewhere you get nude skiing in Austria, Richard Chamberlain and his hit television show Dr. Kildare, the sex powers of mandrake root, and Belgian born actress and dancer Monique Van Vooren endorsing regular exercise. Scans below—oh, and sorry about the quality. Lowdown's printing process caused scanner problems. It's never happened before, so hopefully we won't encounter the issue again.
Getting down to the fine details.
Two issues of Adam to share—one from Australia and one from the U.S.—proved too much work for one day, so we posted Aussie Adam yesterday, and today we’re on to the American Adam. These magazines have no relationship to each other apart from coincidentally sharing a name. U.S. Adam relies on photo covers rather than painted art, shows a dedication to cheesecake photography that far outstrips its Australian cousin, and also has less fiction. However, what fiction it does offer extends beyond Aussie Adam’s adventure and crime focus, such as the short piece from counterculture icon Harlan Ellison called, “The Late Great Arnie Draper.” We’ve scanned and shared the entirety of that below if you’re in a reading mood.
The striking cover model here goes by the name Lorrie Lewis, and inside you get burlesque dancer Sophie Rieu, who performed for years at the nightclub Le Sexy in Paris, legendary jazzman Charles Mingus, and many celebs such as Jane Fonda, Claudia Cardinale, Sharon Tate, and the Rolling Stones. There’s also a feature on the Dean Martin movie Murderer’s Row, with Ann-Margret doing a little dancing, and blonde stunner Camilla Sparv demonstrating how to properly rock a striped crop-top. We managed to put up more than forty scans, which makes this an ideal timewaster for a Monday. Enjoy.
Her aim is true.
Above, a 1964 Japanese promo image for Viva Las Vegas featuring Ann-Margret. We mentioned a while back that hers was the second movie with that title. See a cool promo for the first one here.
Britain may have colonized the island, but it was Hollywood that colonized the film culture.
Above are six issues of Hong Kong’s West Point magazine, named for a geographical feature of Hong Kong Island. The insides of these are not as visually interestings as the outsides, owing mainly to the poor quality printing and coarse paper stock, but if you’re curious you can see some interior pages here. You may also be wondering if West Point had coverage of Asian celebs. Yes, but unfortunately they weren’t allowed within light years of the magazine’s cover, as far as we can tell. These issues, top to bottom, date from the early-’50s to 1967 and feature Barbara Lang, Ann-Margret, Rock Hudson, Jeanne Crain, Michèle Girardon, and Julie Andrews.
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