The moment we saw these two versions of 1950's Road Floozie by British author Darcy Glinto, aka Harold Ernest Kelly, we asked one question—why are they so expensive? The sellers were both asking five hundred dollars. That seemingly has to do with the novel being pulled from circulation and republished with certain passages stricken, making the original difficult to find. What was so offensive in 1950? Certainly the idea that a woman would choose life on the road, moving from place to place, sometimes man to man, would have been uncomfortable. But Glinto was probably done in by the double rape of the main character by two truckers, one white, one black. In America, in 1950, black hands on white female flesh was a no-no, in literature and real life. Heck, it’s still a no-no today, in certain backwaters. As his career went on, Glinto/Kelly continued to have legal troubles in both the U.S. and Britain, and eventually he closed Robin Hood Press, which he owned, and sold the rights to the name Darcy Glinto. He moved to the Canary Islands and later died there in 1969.

We’re showing you this August 1966 Continental Film Review for one reason—Raquel Welch. She appears in both the front and back of the magazine, and the latter photo was made while she was in the Canary Islands filming One Million Years B.C. That photo session featuring a blonde, windblown Welch was incredibly fruitful, at least if we’re to judge by the many different places we’ve seen frames from the shoot, including here, here, here and especially here. There had not been a sex symbol quite like Welch before, and in 1966 she had reached the apex of her allure, where she’d stay for quite a while.

On the cover of the magazine are Christina Schollin and Jarl Kulle, pictured during a tender moment from the Swedish romantic comedy Änglar, finns dom? aka Love Mates. Inside you get features on the Berlin and San Sebastian film festivals, Sophia Loren, Nieves Navarro, Anita Ekberg, and more. CFR had launched in 1952, and now, fourteen years later, was one of Britain’s leading publications on foreign film. It was also a leading publication in showing nude actresses, and in fact by the 1970s was probably more noteworthy for its nudity than its journalism. The move probably undermined its credibility, but most magazines—whether fashion, film, or erotic—began showing more in the 1970s. CFR was simply following the trend, and reached its raciest level around 1973, as in the issue here. Fifteen scans below.