|Vintage Pulp||Oct 25 2019|
|Vintage Pulp||May 27 2017|
This awesome cover art is by Tommy Shoemaker, a new talent to us, but not to more experienced paperback illustration aficionados, and his work fronts William Irish's The Night Has 1000 Eyes. The cover alone got us into this one. It tells the story a woman who has been burdened with very dark—and very real—predictions about the future, forecasts far too specific to be lucky guesses. For example, she's told she'll meet a woman who wears a diamond watch around her knee, and it comes true when one of her friends asks to borrow a garter, then raises her skirt to show how she's dealt with her broken one by fastening her watch around her stocking. Given that these predictions are so specific, the crucial announcement that the woman's father will be killed by a lion seems utterly unavoidable, even though they live in the middle of a metropolis.
The cover may seem to remove the need to read the novel, but don't worry—it actually depicts not the climax or any point in the middle, but the first several pages, in which a beat cop comes across a woman determined to leap from a bridge. It's after he rescues her that we learn the bizarre story of why she's there. Irish, aka George Hopley, aka Cornell Woolrich, is perhaps a bit too reiterative with his prose in this one, tending to belabor his points after they've been fully made, to the extent that the novel feels a bit like it's been padded out to reach a word threshold. Minor flaw. Even if you're periodically tempted to skip some of the existentialism 101 musings, Irish/Hopley/Woolrich weaves a compelling tale here—one later made into a film noir starring Edward G. Robinson—and it's well worth the time spent.
|Vintage Pulp||Jan 30 2016|
|Vintage Pulp||Jun 10 2013|
We’re back to the West German publication Illustrierte Film-Bühne today, supplementing our post from two months ago. These examples are all from American dramas or films noir produced during the 1940s and early 1950s, but which premiered in West Germany later, typically 1954 or after. You can see the earlier IFB collection here.
|Hollywoodland||Nov 13 2012|
Above is a publicity photo of American singer/actor/comedian Sammy Davis, Jr. with his Swedish bride, actress May Britt. The shot dates from today in 1960, and as you might guess, that was a very bad time for mixed couples. Sammy had for years been making tabloid headlines for dating white women ranging from Tinseltown icon Kim Novak to Canadian singer Joan Stuart, but when he announced plans to marry Britt, a chunk of the general public lost its collective mind. He faced racist banners and chants in London, received rafts of hate mail, and was confronted in Los Angeles with the bizarre spectacle of three men marching outside the Huntington Hartford Theater in nazi regalia. Even two admirers, John and Robert Kennedy, allegedly asked Frank Sinatra to tell Davis to delay the wedding until after the 1960 presidential election.
|Vintage Pulp||May 29 2012|
|Vintage Pulp||Feb 23 2011|
Above is a Swedish promo poster for Kvinnan i fönstret , better known as The Woman in the Window, from German expressionist master Fritz Lang. Anything from the director who gave us Metropolis is must-see, however, we have to warn you that the finale to this one may come as a let-down, or more accurately a cop-out. But don’t blame Lang—blame the censors of the day, who wouldn’t let him use the ending from the source material, J. H. Wallis’s novel Once Off Guard. If judged in the forgiving frame of mind that the ending shouldn’t be held against it, The Woman in the Window can’t be considered anything but a top-notch effort. Basically, it’s worth it just to see Edward G. Robinson in the lead as a stuffy college professor who wishes for more excitement in his life. He learns the hard lesson—thanks to femme fatale Joan Bennett—that he isn’t built for adventure. So the film is a cautionary tale. It warns middle-aged men that stable lives may be boring, but hot young women lead to directly to trouble, terror and tragedy (best case scenario: after a lot of screamingly good sex). The Woman in the Window opened in Sweden today in 1947.
|Vintage Pulp||Jul 1 2010|
Above is a promo poster from the former Yugoslavia for 1965’s The Cincinnati Kid, with Steve McQueen and Ann-Margret. The movie is actually set not in Cincinnati, but in depression-era New Orleans, with McQueen playing an up and coming poker player whose goal is to be recognized as the best in the world. But one man stands in his way—invincible poker master Lancey Howard, played by Edward G. Robinson. It’s The Hustler with cards. Highly recommended.
|Vintage Pulp||Jun 26 2009|
When we wrote in our Planet of the Apes posting that Charlton Heston was capable of creating compelling film moments, his sci-fi mystery Soylent Green was the other film we had in mind. You see the French promo art above, and you’ll notice this is another film that played at the Avoriaz Film Festival. The first screening was today in 1973, and though it was well-received, the film lost the Grand Prize to Steven Spielberg’s made-for-television thriller Duel. Soylent Green’s vision of the future may look a little retro now, but its depiction of smart business as bad morals remains relevant. It’s also notable for being the last screen appearance of the legendary Edward G. Robinson, who died of cancer just three weeks after shooting ended. We recommend you check this one out. At the very least, it’ll make you think twice next time you’re in a crowd and someone starts making those mooing sounds.
|Hollywoodland||Jun 19 2009|
We have another issue of On the Q.T. today. The cover subject, Beverly Aadland, was a teenaged actress who earned notoriety for being Errol Flynn’s last lover. Flynn always preferred young girls—oftentimes too young, depending on whom you believe. When he wrote his disappointingly bland (at least to us) autobiography My Wicked, Wicked Ways, the dedication read: To a small companion. We would have guessed Flynn meant his cock, since it got him into so much trouble during his life, but more informed sources than us say the companion he meant was Beverly Aadland. We stand corrected, and she stands explained for those who didn’t know who she was.
Moving on, On the Q.T. also mentions a person named Giesler. This would be Jerry Giesler, who is little known now, but was once Tinseltown’s lawyer-to-the-stars. To say he possessed secrets is an understatement considering he represented the likes of Charlie Chaplin, Edward G. Robinson, Marilyn Monroe, Shelley Winters, Lili St. Cyr, Busby Berkeley (from triple manslaughter charges), Zsa Zsa Gabor, Errol Flynn (again, with Flynn), and too many more to name. But of all his exploits, the most famous was his sensational defense of fourteen year-old Cheryl Crane from murder charges.
It’s one of the most lurid stories in Hollywood history. Crane was the daughter of megastar Lana Turner, and had endured many difficulties early in life, including alleged molestation and rape by Turner’s fourth husband, actor Lex Barker. Turner had an abusive situation of her own with mob enforcer Johnny Stompanato, a violent man who slapped her around but clung onto her for dear life no matter how hard she tried to dump him. On April 4, 1958, Cheryl Crane stabbed Stompanato to death. She claimed the mobster was beating her mother and she had no choice but to attack him. Not to be morbid, but oh to have been a fly on the wall as this fourteen year-old girl went Benihana on a feared mobster. What an astounding scene that must have been, especially to Stompanato, who you see in peaceful repose above. Anyway, Cheryl Crane said the stabbing was done in her mother's defense, and Jerry Giesler convinced a jury she was right.
Already famous enough to command what were at the time enormous retainers, Giesler's reputation was forever sealed after the Crane trial. He was simply the best, the go-to attorney for a celeb in a town that was always boiling with trouble. As a result of Giesler's exploits, Hollywood coined a catchphrase, a collection of magic words believed to possess the power to solve even the toughest problems. The phrase? "Get me Giesler."