Crazy for feeling so lonely.
Above, a really nice West German poster for Roman Polanski's quasi-horror flick Ekel, better known as Répulsion, with Catherine Deneuve as a woman who goes crazy in the isolation of her apartment. We talked about this one briefly and shared two Japanese posters for it a while ago. After opening in France and the UK, the film received its debut for German viewers at The Berlin International Film Festival today in 1965.
May Britt is spotted in Triunfo magazine.
The Spanish magazine Triunfo wasn't the most graphically beautiful of magazines, but it did publish rare celeb photos, such as the colorful cover at top of an amazingly freckled May Britt, and the centerspread of Italian star Anna Karina. Elsewhere in the issue are shots from Marilyn Monroe's funeral, Paola de Bélgica's shopping spree, Ava Gardner's bullfight, and Catherine Deneuve's wedding, plus Betsy Drake, Cary Grant, James Dean, and current fashions. We've shared several of those rare Triunfo centerfolds in the past, and they're all worth a look. You can see them here, here, here, and here.
No matter how far she ran dissatisfaction followed close behind.
This gold colored June 1963 cover for Confidential magazine is entirely given over to actress Barbara Payton, whose self-penned hard-luck story appears inside and details her life troubles. The tale is well known and is one we’ve touched upon before—early marriage and early motherhood, followed by stardom, romances, and riches, followed by booze, drugs, divorces and crime. Confidential being Confidential, the editors neglect to mention that the story here is not an exclusive, but rather is excerpted from I Am Not Ashamed, Payton’s painfully revealing autobiography.
I Am Not Ashamed did not sell especially well, and was pretty much forgotten a few years after its release. But it reappeared by chance two decades later when Jack Nicholson famously lent a rare copy to Jessica Lange to help her prepare for her femme fatale role in The Postman Always Rings Twice. Today the book is widely available. Just a few seconds reading Payton’s words conjures the suspicion she had a ghostwriter, and indeed, it was the king of lowbrow literature Leo Guild who gave shape to the prose, which reads like gutter level sleaze fiction.
For example: “He hated what I had been [but] loved me for what I was. He tortured himself. Every part of my body reminded him of another man.” And this bit: “I had a body when I was a young kid that raisedtemperatures wherever I went. Today I have three long knife wounds on my solid frame. One extends from my buttocks down my thigh and needed I don’t remember how many stitches.” Payton’s anecdotes are cringe worthy, but they read like she’d gotten a grip on her life. No such luck. After four more long years of drugs, drink, and disaster she was found dead on her bathroom floor in 1967.
Payton post-mortems usually describe her problems as self-induced, but that’s simplistic. In the 1950s famous men did anything they wished, but women had to be careful not to be seen doing the same. Still do today. That’s the part Payton had problems with. Even so, she had several happy periods during her life. One of those was the stretch she spent in Mexico married to a young fisherman. About this time she says, “We fished and I caught big ones, and we loved and for a couple of years it was beautiful. My big problems were what to cook for dinner. But it was inevitable the ants in my pants would start crawling again.”
We like that passage, because nearly all the stories about Payton declare, or at least suggest, that everything that happened after Hollywood stardom was part of a terminal plummet. That’s pretty much the default setting in American journalism—anything other than wealth and fame is by definition failure. It’s an idiotic conceit, even a harmful one, and Payton reveals that in Mexico she landed someplace solid and safe, and got along fine without money or recognition. Two years of happiness is nothing to take lightly. But she just couldn’t sit still—not because of where she was, but because of who she was.
And the spiral continued—cheaper and cheaper forms of prostitution, physical confrontations that resulted in her getting some of her teeth knocked out, and more. In all of these tales there’s a recurrent theme of lowly types taking advantage of her, but we can’t help noting that she was paid a mere $1,000 for her autobiography, an absurdly deficient amount for a former top star with a crazy story to tell, which suggests to us that guys in office suites take as much advantage—or more—of a person’s hard luck as guys in alleys. We have some scans below, and Payton will undoubtedly appear here again.
It should have been a classic but is really just a wasted opportunity.
Paramount execs probably wet themselves when they finally made a deal to get American star Burt Reynolds and French icon Catherine Deneuve together onscreen. The promo poster tells us they’re hot—true, and it especially applies to Deneuve, who probably can't vent heat efficiently while shrouded beneath her enormous helmet of immobile, golden hair. You know those war flicks where a soldier in a ditch has a photo in his pocket of his beautiful girlfriend, and during lulls in combat he gazes at her and mutters about how he can’t wait to get back home to her? In Hustle Catherine Deneuve is a living version of that photo. Instead of being overseas she’s just across town, but she’s no less a signifier of impending doom than if she were a snapshot in someone’s pocket. We think writer Steve Shagan dropped the ball here, and not just by making her purpose in the film so obvious, but by making her role so thin. She has a key piece of evidence (she witnesses the villain making a phone call that leads to a murder) in a case that is never made, which we found bizarre. Hustle is mildly involving thanks to stylish direction and Reynolds’ innate watchability, but ultimately unsuccessful. It premiered in the U.S. yesterday in 1975.
Which is better—Deneuve or the chair?
That’s a rhetorical question, of course. But we do really like the chair. 1969 on the shot, and quite rare.
Whisper promises a nude Elizabeth Taylor. Does it deliver?
Elizabeth Taylor nude! Those sneaks at Whisper raised the hopes of millions of readers who bought this March 1965 issue, but inside revealed that the whited-out silhouette on the cover with Richard Burton is in reality a wooden statue of Taylor made to promote her role in The Sandpiper. It was to be unveiled at a party aboard the Queen Mary, but producer Joseph E. Levine connived a way for the sculpture to be stowed below decks so his star Carroll Baker wouldn’t be upstaged. In the end, nobody at the party saw the Taylor statue and Carroll Baker—once again wearing that amazing dress, by the way—ruled the day.
Elsewhere in the issue readers are treated to a story about French gadabout Roger Vadim, who had been involved with Brigitte Bardot, Catherine Deneuve, and various other high profile women, but at the moment was with rising star Jane Fonda. Whisper outs Vadim on pretty much every bad act of his life and issues a dire warning to Fonda that she should get out of the relationship while she can. Fonda must not have listened, though, because she and Vadim were married for eight years and along the way made a classic movie called Barbarella and a daughter named Vanessa.
Whisper also tells the story of a girl cruelly sold into prostitution by her mother, shares the seedy career tribulations of a hard luck New Orleans stripper named Babs Darling, and exposes the vast flesh racket in Seoul, South Korea, where sex slaves from the “reeking slums” of the city were being purchased by American soldiers, some them “Negroes.” Best line: Themselves the descendents of slaves, they now own light-skinned slaves of their own. The next sentence should be, but isn’t—And white soldiers, many the descendents of slave owners, scoff: “Amateurs.” Scandal, irony, outrage, sex, death, crime, and plenty of casual racism—Whisper delivers it all. Nude Liz Taylor? Not so much. Scans below.
Up the down staircase.
Above, French actress François Dorléac, who was the older sister of Catherine Deneuve. Dorléac appeared in sixteen films in the 1960s, but died at age twenty-five when she lost control of a car she was driving and crashed near Nice, France. She was alive immediately after the accident, but trapped in the wreckage, burned to death. That was June 1967. This photo showing her on the famous stairs at Montmartre in Paris dates from 1965.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.