Can you keep a secret? I'm way ahead of my time.
Above is a fantastically beautiful Serge Jacques photo of Belgian actress and model Dominique Wilms that dates from the early 1950s. Wilms appeared in films such as Poison Ivy, Banco à Bangkok pour OSS 117, and Les femmes s'en balancent, aka Dames Don't Care. Looks like Dom don't care either, as this is a very provocative nude for a working actress of the 1950s. Just a glimpse of pubic hair was enough to get photographers and vendors sent to prison, even in France, where Jacques was based. The shot surfaced years after it was made, we suspect, and we should rejoice that it saw the light of day, because daring Dominique is all that and a box of hot tamales.
The town's not big enough for the both of them.
We just wrote about a French werewolf novel—The Werewolf of Paris by Guy Endore—and now we've come across Les loups de la violence by Michael Shiofy. Some sources claim this was written by Belgian author Guy de Wargny under a pseudonym, but it's actually a 1966 reprint of a 1965 Italian novel called La dama dei lupi, which was written by Harry Small, a pseudonym used by Mario Penzauti. Yes, it's always complicated with these European books. It was published in France by Éditions Bel Air and was part of its Les Adventures de Dracula line, a twelve book series that featured all kinds of monsters, but not Dracula, strangely. However a vampire did star in entry nine, Frank Graegorius's Le vampire de la pleine lune, so that counts, we guess. We haven't read this. If it's as good as The Werewolf of Paris we'd be shocked. But the cover is comparable, we think. It was painted by James Hodges, whose artistic virtues we've extolled before. To see him at his best we suggest you check here and here.
You guys have fun on the mountain. I'm skiing directly over to the chalet and hot tub.
There are those that ski and those that get loaded on Champagne in the jacuzzi. U.S. born actress Jane Wald seems to be in the latter category. Though she may have been a high altitude partier, she was more of a medium altitude actress, with a career comprising mostly guest slots on television shows, including two appearances on Batman. But this shot is epic. It's from 1966 and first appeared in the Belgian magazine Ciné-Revue.
I want the cash, the jewelry, and the licensing fees or I'll blow your brains out.
We're back to charting Horwitz Publications' unlicensed usage of celebrity images for its paperback covers. We've already talked about Joan Collins, Senta Berger, Elke Sommer, Lili St. Cyr, and others. This time the company borrows Belgian actress Dominique Wilms. The image chosen was originally used as a promo photo and the basis of the promo poster for her 1953 film debut La môme vert de gris, aka Poison Ivy. We're convinced now that Horwitz, which was based in Australia, did this because copyright agreements were lax or nonexistent regarding image licensing across international borders. And even if some rules were on the books, it's very possible Wilms and her management never saw the above cover, and if they did decided it wasn't worth a legal fight. The Horwitz guys were sneaky bastards. But as we've asked before, why bother? Wilms was so obscure at this point that Horwitz gained nothing from using her face. Don't get us wrong—she has a great face (and everything else too). But Horwitz could have simply used local models and produced identical results. That's the part we'll never get. But we've queried an expert about stolen paperback imagery and we'll share his answer soon.
Note: Very soon. See here.
I find plants ideal for alleviating stress. I've already successfully killed three ferns, a cactus, and four pots of posies.
A Pascal is a physics unit that measures, among other things, internal pressure or stress, and it's pretty clear that Pascale Roberts is feeling none of that. She's a César Award nominated French actress who appeared in such films as Weiße Fracht für Hongkong, aka Mystery of the Red Jungle, and the television series Allô police. This shot of her tending some unlucky plants appeared in Belgian film magazine Ciné-Revue in 1964.
Lawless border town brings out the worst in its inhabitants—and in its screenwriter too.
We've shared some promos from the Orson Welles film noir Touch of Evil before. Those were worthy efforts, but we think this Belgian poster is the best. We don't have a Belgian release date but we can guess at one. The movie premiered in the U.S. in early 1958, then crossed to Europe during the summer, with premieres in the UK in April and France in June—in fact today. The film won the FIPRESCI (Fédération Internationale de la Presse Cinématographique) Prize at the Brussels World Film Festival that year, which was held from April 21 through June 13, but we think the movie showed after its French premiere. So we're guessing sometime between June 8 and June 13 for its Belgian unveiling.
So about the film. We've hinted at this, but now we'll come out and say it: It isn't as good as many claim. Award winner, yes, but one that hasn't aged well. Visual masterpiece with numerous breathtaking shots, certainly, but one in which the script (written by Welles) lacks narrative logic. We could choose a dozen examples of this problem, but we'll give you just one. Early in the film Janet Leigh, who's married to a cop and thus shouldn't be naive, allows herself to be led down dark streets by an unknown male at four o'clock in the morning. And she does this in a Mexican border town Charlton Heston describes as “bringing out the worst in people,” which we can assume to mean “not safe.” Leigh traipsing off into the unknown with an obviously dodgy character is absurd. The movie lost our girlfriends at that point. "Oh, come on!" was the general sentiment.
The truth is Touch of Evil flirts dangerously more than once with being laugh out loud silly. Dennis Weaver's motel desk worker is Norman Bates from Psycho two years earlier, several degrees twitchier, and immeasurably hammier. Even the staging of the film is bizarre at times, with various characters required to physically orbit the central action so they can be glimpsed or encountered at just the right moment. We know, we know—our complaints are total sacrilege. Don't get us wrong. The movie is still entertaining, but people who call it a masterpiece have decided to overlook Welles' screenplay. And generally these people will also call you stupid for disagreeing with them, so be prepared for that. But don't take our word on Touch of Evil. Watch it and see what you think. And if you're interested, we discussed other aspects of the film a while back here.
Redhead risks serious sunburn to get a base tan.
Belgium's Ciné-Revue is one of the best film magazines of the mid-century era. It's also one of the hardest to scan. Not only do the pages need to be scanned in halves and joined via computer, but the tiny text makes lining the halves up a real challenge. We didn't think about that when we bought a stack of these in Paris several years back, and now the sheer effort involved causes us to doubt we'll ever get them all uploaded. But we managed to carve out a few hours, so today we have this issue from May 1975 with French actress Marlène Jobert doing a little topless boating on the cover, hopefully well slathered in sunscreen. Jobert also features in the beachy center spread wearing even less clothing (and theoretically more sunscreen), but the real star of this issue is Bette Davis, who receives a career retrospective with shots from seemingly every movie she ever made. You also get William Holden, Jane Birkin, Dominique Sanda, Sidney Poitier, Sophia Loren, Rita Hayworth, Agostina Belli, a feature on Steven Spielberg's Jaws, and much more, in forty-plus scans.
Bogart traipses down the Gardner path.
This stunning Belgian poster was made to promote La comtesse aux pieds nus, which was the French title of the Ava Gardner/Humphrey Bogart drama The Barefoot Contessa. Along the bottom you see the title in Dutch as well—De barrevoetse gravin. We've seen the film, but we're not to going to discuss it, at least not today. Let's just say Humphrey Bogart's character narrates the life and times of Ava Gardner's memorable and much desired character, and the result was a film panned by several important critics upon release but thought of more fondly as time wore onward, as older movies often are. It premiered in Belgium today in 1955, so we just wanted to share its brilliant promo. As you probably know by now, artists were often asked to produce similar versions of the same poster for different markets. The German promo was painted by Rolf Goetze and it's close to what you see above. The French promo was painted by Henri Cerutti, again with near identical content. Who gets credit for the Belgian poster is unknown to us, but it's an amazing effort.
Bardot uses smooth moves to solve a murder.
Brigitte Bardot graces a black Clément Hurel promo poster for Voulez-vous danser avec moi, and a Belgian poster as well, where the film was known by both its French title and as Wilt jij met mij dansen? In English it was called Come Dance with Me!, and in it Bardot indeed dances, but also pouts, flirts, schemes, and sleuths. It all starts when she weds a dentist. The couple are in love, but within months they're in constant marital conflict. The husband goes out one night and gets fishhooked by Dawn Addams, though he doesn't go all the way. Doesn't matter though, because it looks like he did in the photos shot by sneaky ass Serge Gainsbourg, who's photographing everything through the French doors—or as the French probably call them, the doors.
Nearly cheating makes the dentist realize how good he has it with Bardot—duh—but blackmail rears its ugly head when his almost affair shows up with the heavy petting photos. Though it may not sound like it, Voulez-vous danser avec moi is a comedy, or perhaps a dramedy. It's generally considered lesser Bardot, but is there really such a thing? It's satisfyingly wacky like Bardot films tend to be. For example, when Addams turns up dead, Bardot connives her way into a position at Addams' dance studio in order prove her husband is innocent of murder. The rest of the film is basically a caper comedy with dance numbers. Lesser Bardot or not, we suspect it'll get the job done for you just fine. Voulez-vous danser avec moi premiered in France today in 1959.
Well, if that's the way you feel about it, fine—I'll go to the damn grocery store with you.
Here's how food shopping works around here. When we go to the market we buy only enough for a day or two because we want to prevent food from going over, but when the Pulp Intl. girlfriends go they buy more than they can carry. Therefore, when we go alone we never get everything they want, and when they go alone they never have the help they need. We're thinking of buying them a donkey to solve that problem. Paul Kenny's Consigne impitoyable has nothing to do with any of that. It's an espionage thriller featuring the long-running character Francis Coplan, aka FX 18, who works for SDECE (Service de Documentation Extérieure et de Contre-Espionnage). The series, which was credited to Kenny as a pseudonym but written by Belgian authors Gaston Van den Panhuyse and Jean Libert, was immensely popular and sold tens of millions of copies globally. As you can see, Consigne impitoyable had two nearly identical covers, presumably representing two nearly identical occasions when extra persuasion was needed to get Coplan off his ass to help with the shopping. He may need to buy a donkey too. Both editions had Michel Gourdon cover art and appeared in 1958.
The headlines that mattered yesteryear.
1973—Peter Dinsdale Commits First Arson
A fire at a house in Hull, England, kills a six year old boy and is believed to be an accident until it later is discovered to be a case of arson. It is the first of twenty-six deaths by fire caused over the next seven years by serial-arsonist Peter Dinsdale. Dinsdale is finally captured in 1981, pleads guilty to multiple manslaughter, and is detained indefinitely under Britain's Mental Health Act as a dangerous psychotic.
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.
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