Today we have another issue of our favorite men's magazine Adam, this time from July 1971. Inside there's the usual fiction, true adventure, and cheesecake, including British model Susan Shaw. But this issue is also a little different—it dips into celebrity waters with a write-up on Aly Khan, the Muslim prince whose romantic hook-ups included Gene Tierney, Bettina Graziani, and Rita Hayworth, who he married in 1949. The cover illustration is paired with the short story "Blonde for Bait," by Dick Love. Yeah. Dick Love. This makes the 56th issue of Adam we've uploaded to our website. Enjoy Dick and more in thirty-two scans below, and see all the other issues just by clicking the keywords at bottom. 

When we describe Dynamite as a new tabloid, it's only partly true. It was a new imprint. But its publisher, the Modern Living Council of Connecticut, Inc., was headquartered at the Charlton Building in Derby, Connecticut, which is where Top Secret and Hush-Hush based operations. When you see that Dynamite carried the same cover font as Top Secret and Hush-Hush, and that those two magazines advertised in Dynamite, it seems clear that all three had the same provenance. But unlike Top Secret and Hush-Hush, it doesn't seem as if Dynamite lasted long. The issue above, which appeared this month in 1956, is the second. We are unable to confirm whether there was a third. But if Dynamite was short-lived it wasn't because of any deficiencies in the publication. It's identical in style to other tabloids, and its stories are equally interesting.

One of those deals with Henry von Thyssen, the Dutch born, German descended heir to an industrial fortune, and his wife, Nina Dyer, heiress to a tea plantation in Sri Lanka, back then called Ceylon. The von Thyssen family manufactured steel in Germany, including for Hitler's Third Reich, and came out of World War II unscathed, as big companies that profit from war always do. Dyer was a dilettante famed for making bikinis popular on the French Riveria. According to Dynamite, von Thyssen was so desperate to marry Dyer that he allowed her to keep her boyfriend, the French actor Christian Marquand. Society gossips whispered,but both spouses were fine with the set-up until von Thyssen accidentally ran into Dyer and Marquand in Carrol's nightclub in Paris and was forced to save face by starting a fight. The couple soon divorced, but not because of infidelity, as many accounts claim. What finally broke the couple up was that Dyer dropped Marquand. Dynamite tells readers: “[von Thyssen] has ditched his sloe-eyed Baroness because now she's decided she loves him.”

This National Spotlite published today in 1968 features cover star Naemi Priegel, a West German television actress and singer who reached the height of her fame during the 1970s. Inside are many interesting Hollywood tidbits, including former child star Hayley Mills allegedly describing herself as a tigress in bed, Marlon Brando beating up two party crashers, Elvis Presley breaking the arm of someone to whom he was demonstrating a karate hold, Richard Burton being pursued by a chorus girl who claimed he fathered her child, Gene Tierney and her husband Howard Lee getting into a public spat, and John Wayne slugging an autograph seeker who mistook him for Robert Mitchum. Was any of this stuff true? We have no idea, but it sure is interesting reading. You can see more in the same vein at our tabloid index, located at this link.

A while back we showed you the U.S. promo poster for the classic noir Laura. Today’s version comes from Finland, where the film was released today in 1945. December is a dark, chilly time in Finland, and Laura must have seemed an appropriate film, with its dark, spare story of a police detective who falls in love with a dead woman whose murder he’s investigating. The woman has been shotgunned in the face, and is personified in death by a beautiful portrait hanging over her mantel. The detective is completely baffled by the crime, but then a chance encounter brings everything into focus. If you haven’t seen the film, we recommend it highly. Gene Tierney is at her most icily beautiful, and Dana Andrews does good work as a man in love with a woman who no longer exists.

Unfortunately, the poster art actually gives away who the killer is by using a photo-realistic portrayal of the actor brandishing a shotgun. Maybe it’s too small for you to see in this format, so we won’t say more. But what a spoiler for the Finns that the artist—he’s signed the work as R.X.Z.—made that choice, or was told to by the studio. It isn’t as if the actor wouldn’t have been immediately identifiable by them, since he was reasonably famous at the time and in the midst of carving out one of Hollywood’s greatest careers. Total baffler, why it happened. Anyway, excellent movie. If you want to read more about it visit our original post here.

The Shanghai Gesture is a movie we were excited to see. It’s a Josef von Sternberg directed vehicle adapted from a John Colton play (though neutered due to Hays Code worries), with Gene Tierney starring alongside Victor Mature, Walter Huston, Ona Munson, and Phyllis Brooks. Von Sternberg makes almost fetishistic use of his main asset—the luscious Tierney—by showing her in such extreme close-up you’d almost think it’s her breath fogging the lens, rather than one of the diffusion filters mid-century filmmakers utilized to shoot their female stars. A few minutes after she appears, as she observes the decadent tableau inside a Shanghai casino, she pulls out this line: “The place smells evil, like a place where anything can happen.” We’d suggest that if a place smells evil, something already happened. Blame the nearest person. Or the dog. Anyway, when Tierney makes her observation we understand pretty quickly that it’s going to be about her, a flower of Western purity, and her headlong descent into Oriental flooziedom.

All well and good, but the filmmakers fall prey to the type of easy characterizations that the best movies of the period were learning to avoid. When you observe, for example, the mostly respectful depiction of a character like Sam in 1942’s Casablanca, it becomes difficult not to cringe at such excesses here as Ona Munson's Chinese character MotherGin Sling entering rooms to the sound of a gong, or Walter Huston’s Sir Guy Charteris—a supposed old hand in Asia—querying Mike Mazurky with, “You speakee Chinee? Cantonee? You breakee window?” Did Westerners in China back then really say things like that? We’re dying to know. Mazurky gets the last line in the film, tossing off a smug echo of one of Huston’s earlier questions, and at that moment he’s a sort of stand-in for all Shanghai, which by now we know is a place where white people meet their ruin, but still—“You speakee Chinee?” The unintentional humor of such moments undermines the believability of the entire enterprise.

Another problem for us is that Victor Mature comes across as singularly unappealing. He’s not supposed to be a nice guy, but depriving him of any shred of charm makes it hard to believe Tierney would desire him. In any case, the script requires this and other indignities of poor Gene, and soon her fall from grace is so complete she even loses her mellifluous upper class accent and starts braying like a donkey. Yes, there’s some good here. Tierney is spellbindingly beautiful (one reason so many people thinkthis movie is better than it really is, we suspect). Some of the interiors are excellent, especially Mother Gin Sling’s baroque circular casino. A couple of the set pieces are striking, such as when young women are hoisted in baskets above a crowd of men clambering to buy them for their flower boats—i.e., floating brothels. And Huston is solid in his portrayal of Charteris. But all in all, The Shanghai Gesture is strictly so-so.

Incidentally, the movie is widely labeled a film noir, but it really isn’t. Yes, it can be difficult to say definitively whether a film fits into a certain category because “genre” is a nebulous concept to begin with, but we submit that this one is well off the mark, no more a noir than is The Lost Weekend, or for that matter Casablanca. If we’d known in advance it was a run-of-the-mill melodrama—yes, an exotic one, but also clunky and unengaging—we would not have expected the cutting cynicism and visual wit that characterize so many film noirs. If you go into it expecting something more along the lines of a B-picture, then The Shanghai Gesture might entertain. But whatever you expect, don’t think you're goingto see von Sternberg or Tierney doing their best work. At top you see the original American promo poster, and below that some production photos. The Shanghai Gesture premiered in New York City on Christmas 1941, and went into national release today in 1942.

Above, a November 1946 issue of Screen Guide, one of the top U.S. cinema magazines from the late thirties through the fifties, here with cover star Gene Tierney looking her usual flawless self, Gloria Grahame enjoying a sunny perch, Johnny Weissmuller flying high, Hedy Lamarr selling Maybelline, and Ingrid Bergman just being Ingrid Bergman. 

Directed initially by Rouben Mamoulian and finished by the great Otto Preminger, this incomparable film noir featuring the stunning Gene Tierney had a can’t-miss premise—a detective falls in love with a woman whose murder he is investigating. Though the character of Laura Hunt is present only in the form of a portrait hanging above a fireplace, the dead woman soon dominates detective Dana Andrews’ thoughts. But nothing is as it seems, of course.

Like most great noirs, Laura’s premise has been reused and mashed-up, most notably in 1981’s Sharky’s Machine, but the original remains the best. Above you see the Spanish one sheet, with a depiction of Ms. Tierney by Catalan artist Josep Soligó Tena that doesn’t begin to do her justice even though it was based on a photograph. We do like the colors, though. We'll show you more posters later. Laura gazed out from movie screens for the first time in 1944, and finally made it to Spain today, in 1946.