The deeper you go into this casino the wilder it gets.
Today we're circling back to James Bond—as we do every so often—to highlight these movie tie-in editions of Ian Fleming's Casino Royale. The movie these are tied into is not the 1963 original with Sean Connery, but the 1967 screwball version with David Niven as Bond and Woody Allen as Bond's nephew Jimmy Bond. If you haven't seen it, just know that it was terribly reviewed, with Time magazine calling it an “an incoherent and vulgar vaudeville.” These covers are derived from the Robert McGinnis Casino Royale movie poster, which is an all-time classic. McGinnis created two versions of the poster—one with text and one without, with the painted patterns on the female figure varying slightly. You see both of those below.
The paperback was published by both Great Pan and Signet, and the cover art was different for the two versions. The Great Pan version at top is McGinnis's unaltered work, but the Signet version just above was painted by an imitator, we're almost certain. We'd hoped to answer this for sure by visiting one of the numerous Bond blogs out there, but none of them have really discussed the difference between the 1967 paperback covers. That leaves it up to us, so we're going to say definitively that the Great Pan version was not painted by McGinnis. Whoever the artist was, they did a nice job channeling the original piece, even if the execution is at a much simpler level.
Moving back to the posters, if you scroll down you'll see that we decided to focus on the details of the textless version to give you a close look at McGinnis's detailed work. The deeper you go the more you see—dice, poker chips, glittery earrings, actor portraits, and more. If you had a huge lithograph of this on your wall and a tab of acid on your tongue, an entire weekend would slip past before you moved again. This is possibly the best work from a paperback and movie artist considered to be a grandmaster, one the greatest ever to put brush to canvas. If anyone out there can tell us for sure who painted the Signet paperback—or whether it is indeed McGinnis—feel free to contact us.
James Bond's daughter leaves the Soviets shaken and stirred.
The 1967 James Bond spoof Casino Royale was a box office disaster, but it had its moments. London born actress Joanna Pettet, playing Mata Bond, estranged daughter of Mata Hari and Sir James Bond (David Niven), performed an eye-catching, Buddhist-themed dance number in a faux temple that must have cost a huge chunk of the movie's budget. We don't know how actual Buddhists feel about the bit, but it looks like Pettet had a laugh or two. In the film she's sent to take on SMERSH, the Soviet spy agency that appeared in fictionalized form in Ian Fleming's Bond novels. Pettet appeared in a handful of other films, but her career mostly comprised television roles on shows such as The Fugitive and Night Gallery. Her Mata Bond dance is short but probably worth a look. You can see it while the link lasts here.
French magazine celebrates essential American film genre.
A few years ago we used this image of German actress Dorothée Blanck as a femme fatale, but didn't scan the rest of the magazine in which we had found her. By now you know why—the pages of these old film mags are large and we have to scan them in halves and put them together in Photoshop or GIMP, which is time consuming, something that's a real problem for lazy people like us. But here we are three years later and we've finally done it. Above is the full cover of the issue of Cinémonde—“cineworld” in English—from which Blanck came.
Cinémonde was first published in October 1928 and ran until being interrupted by World War II in 1940. Post hostilities the magazine reappeared, running from 1946 until 1968, taking another pause, running again from 1970 to 1971, and finally folding for good. This issue hit newsstands today in 1965. Like other European magazines of the era, the main attraction with Cinémonde is that its photos generally have not been seen online before. This issue was devoted to the American western, and the subjects include some of the biggest cowboy stars in cinema history, including John Wayne, Glenn Ford, Clint Eastwood, and Jimmy Stewart.
That's the first half of the issue. Afterward editors move outside the western milieu, and you get Marlon Brando, David Niven, Francois Dorléac, Barbara Bouchet, Serge Gainsbourg, hair secrets of the stars, the top ten Don Juans of French cinema, and more. Do we have other issues of this magazine? You bet. We own a group that includes Cinémonde, Ciné-Revue, and others. Will we ever scan them? Well, we make no promises at this point, but you never know—maybe we'll splash out for a bigger scanner and solve the problem with money instead of effort. Seems to work for everyone else. Thirty plus images below.
New tabloid serves up Russell, Monroe, and others.
Jane Russell, wedged into an outfit that turns her boobs into footballs, graces the cover of the debut issue of Exposed, a high budget tabloid launched by Fawcett Publications in 1955. It arrived on a crowded newsstand already occupied by Confidential—then arguably the most circulated magazine in the U.S.—as well as Whisper, Hush-Hush, Uncensored, and similar publications. The get-up Russell is wearing is a costume from her starring role in 1954's The French Line, and we sort of assumed the shot had been at least slightly doctored, and we seem to be correct. Judge for yourself at right. At least her boob punishment was offset by the fact that her outfit was too flimsy to include one of the deadly corsets that sometimes made their way around stars' waists.
Russell is in Exposed to illustrate a story about sex in cinema, but she isn't the most exposed occupant of the magazine. That would be Marilyn Monroe, whose famous Playboy nude is reprinted for a story about hustlers reprinting her photos. We'll just assume Exposed licensed their Monroe shot. Apparently, though, those other miscreants were selling her likeness by the thousands without permission and without compensating Monroe. Exposed shows her in court testifying for prosecutors. The prosecution may have won its case in 1955, but in the here and now Monroe is sold from Tegucigalpa to Manila, unlicensed all of it. Which just goes to show the more things change the more they stay the same.
Probably the highlight of the issue is a long story about detectives who make their living catching cheating couples in action. Exposed offers up numerous photos of these pairs caught in the act in motel rooms and secluded homes. Are these photos real? Well, we have our doubts. Even the most cleverly posed action shots have those intangibles that mark them as fakes, but that's just our opinion. Judge for yourself. Elsewhere in Exposed you get “Sophie” Loren, Errol Flynn, Marguerite Chapman, Franchot Tone, and other big time celebs.
We're pretty proud of this acquisition. It wasn't terribly expensive, but we've seen it priced much higher than what we paid. Maybe down the line we'll flip ours for a tidy profit. But that's what we always say. Much to the Pulp Intl. girlfriends' chagrin, our office just piles higher and higher with mid-century ephemera and we haven't sold a single piece yet. Exposed goes to the top of the precariously tottering pyramid. We have about thirty-five scans below, and plenty more tabloids on the way.
Brando and Niven break hearts and bank accounts on the French Riviera.
Les séducteurs had its French premiere today in 1964, with the above promo art by Russian born illustrator Boris Grinsson paving the way for a U.S. production featuring Marlon Brando, Shirley Jones, and David Niven. Séducteurs translates to “deceivers,” but the original title was Bedtime Story. What you have is a couple of con men who fleece women out of jewels, cash, and more. When they cross paths on the French Riviera their egos bring about a clash of wills and a high stakes wager to see which of them can scam ripe target Shirley Jones out of $25,000. Later the bet shifts to which of them can scam her out of her clothes. File the movie with set-in-France caper comedies like To Catch a Thief, Charade, and Beg, Borrow or Steal. For that matter file it with 1988's Dirty Rotten Scoundrels, which is actually a quasi-remake of this flick. For most watchers Bedtime Story won't be up to the standards of those other films—even the one based upon it—but we thought it was pretty damned good.
It’s possible to have too many Bonds.
1967’s Casino Royale wasn’t a global Christmas movie in the sense that today’s films are, however it did premiere Christmas week in ten European countries, as well as today in Japan. The movie wasn’t good. Basic idea: Sean Connery is an imposter, so the real James Bond in the form of David Niven is coaxed out of retirement, and he comes up with a plan to confuse his arch enemies SMERSH by renaming all British agents—male and female—James Bond. Time’s review of Casino Royale was headlined “Keystone Cop Out,” and The New York Times’ Bosley Crowther was just as scathing, noting that “since it’s based more on slapstick than wit, with Bond cliché piled upon cliché, it tends to crumble and sprawl.”
But one thing about holiday blockbusters—past and present—is that they’re expensively promoted. The many posters produced to sell Casino Royale were top notch. A U.S. poster painted by the legendary Robert McGinnis remains one of his most iconic pieces, but we also like these Italian quattro foglio promos painted by the extensively and expensively collected Giorgio Olivetti. We saw a set of these asking $8,500 at an auction site. By contrast, below are several U.S. promos, not paintings but photo-illustrations, on which the film’s secondary players get starring roles. They aren’t nearly as collectible as the movie’s paintings, but they’re pretty, so we’re sharing them as well.
Police Gazette gets readers up to date with Ava Gardner but it’s their Castro story that leads someplace interesting.
Above are a couple of scans from an issue of The National Police Gazette published this month in 1963 with cover star Ava Gardner. Gardner had been living in Spain and hadn’t been in a movie in three years, but was about to appear in the historical war drama 55 Days at Peking with Charlton Heston and David Niven. The Gazette discusses how she’d gotten fed up with the U.S.—particularly the American press. She had been particularly annoyed by the rumor that she was involved with Sammy Davis, Jr., a story that took flight after several magazines published photos of the two holding hands. When asked why she was returning to Hollywood after being out of circulation for so long, Gardner, in typically blunt fashion, replied, “I need the money.”
Moving on, we’ve pointed out that the Gazette made a longstanding habit of using Adolf Hitler on its covers, but his wasn’t the only face that moved magazines. After Fidel Castro assumed leadership of Cuba, the Gazette regularly wrote scathing stories about him. We’ve already learned that he let Viet Cong killer squads train in Cuba, and that he planned to “arm southern Negroes” in order to foment revolution in the U.S. Well, now we learn he was also a rapist. Figures, right? He might have been supreme leader of an island filled with beautiful women, but people always want what they can’t have—in this case, a teenaged ship captain’s daughter named Lisa. Gazette writer Bob Hartford cranks up the melodrama:
Castro laughed drunkenly as he weaved his way into Lisa’s sitting room.
“Have you changed your mind, my pet?” he demanded.
“No,” replied the brave but frightened girl.
All Castro needs at that point is a Lacoste sweater and a fraternity paddle and his transformation into pure evil would be complete. But as fanciful as the story seems, Lisa really did exist. Her real name was Marita Lorenz and she was Castro’s live-in mistress for several months in 1959. While Lorenz herself never suggested she was ever raped by Castro, the two did have a falling out around the issue of her unplanned pregnancy, which was terminated in its sixth month. Lorenz later said the abortion was forced on her while she was drugged; Castro’s associates claim that she wanted it. Lorenz went on to join anti-Castro activists in the U.S., and on a fundraising visit with the deposed Venezuelan dictator Marcos Pérez Jiménez, became involved with him. She was still traveling to and from Cuba, and was recruited by the CIA for a Castro assassination attempt. But instead of poisoning his food, like she’d been instructed, she abandoned the plot, supposedly because she still felt strongly for him. Lorenz later wrote about all this in two autobiographies.
In 1977, Lorenz told the New York Daily News that she met Lee Harvey Oswald in autumn 1963 at a CIA safe house in Miami. She claimed she met him again weeks later along with a group of anti-Castro Cubans and they had Dallas street maps. We all know what happened next. Lorenz eventually testified about this before the House Select Committee on Assassinations, but her story was deemed unreliable. We suppose bouncing between two dictators and acting as a double agent will tend toraise a red flag with American congressmen, though these things have no bearing on whether she was telling the truth. It’s interesting though, isn’t it? You’d think that if a single man of his own accord assassinated another man the surrounding circumstances wouldn’t be so… labyrinthine. Yet lurking near the supposed black swan event of the Kennedy killing were double-agents like Lorenz, spooks like E. Howard Hunt, underworld figures like Eladio Ceferino del Valle and others. Just saying. In any case, we’ll have more from the Police Gazette and more on Fidel Castro soon.
Clean the toilet? Take out the trash? Sigh. I was expecting twice the sex, not twice the chores.
Here’s a nice cover for Patrick Quentin’s, aka Hugh Wheeler’s murder mystery The Man with Two Wives, which was published in hardback in 1955, and appeared in this paperback edition in ’59. In the story, a man’s wild child first wife reappears to complicate his orderly existence with his second. His problem gets worse when his first wife’s lover is killed, and the only way he can get her off the hook is by admitting to the police—and his current wife—that he was with the first wife when the murder happened. Complicated? No doubt. An interesting bit of trivia: the flim rights were bought by David Niven, but he never managed to get the project made. The art here is by Robert McGinnis.
Waiting for the Snowdon to fall.
You’d never put blue, orange and yellow together in an outfit, but those colors coordinate nicely on this Uncensored from August 1971. The magazine had launched in 1953 and become a heavy hitter in the tabloid market by the end of the decade, but by now was running on fumes. However, that didn’t stop it from taking swipes at big targets—in this case England’s royal family in the person of Princess Margaret, Countess of Snowdon.
Born Margaret Rose, the princess had a rebellious spirit and had married late—at age twenty-nine—to a commoner named Anthony Armstrong-Jones. Jones was a photographer, and if you’re going to slander a photographer, of course you call him a pornographer. There’s no evidence Jones—who became Lord Snowdon—was head of a smut ring, as Uncensored claims, but he did shoot his share of nudes, like the image of Gloria Higdon below, dating from 1959.
His marriage to Princess Margaret was known to be on shaky ground, and by the time the above cover appeared, the couple were leading separate lives. Margaret indulged in a series of indiscreet affairs, and had unconfirmed liaisons with the likes of Mick Jagger, David Niven, and Peter Sellers. Snowdon, on the other hand, became a royal favorite, shooting official portraits for the Queen and other family members.
Lord Snowdon and his wife finally divorced in 1978, and Princess Margaret died at the relatively early age of seventy-two after many years of drinking and consuming prescription drugs. We may actually revisit her at some point—her life reads like just the sort of melodrama we're interested in here.
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