| Hollywoodland | Sep 9 2023 |
Movie stars were always willing to give each other a hand.
Once again we've been struck, so to speak, by the sheer number of cinema promo images featuring actors and actresses pretending to slap each other. The just keep turning up. The above shot is more about the neck than the face, but it still counts, as Gloria Swanson slaps William Holden in 1950's Sunset Boulevard. Below we have a bunch more, and you can see our previous collection at this link. Since we already discussed this phenomenon we won't get into it again, except briefly as follows: pretend slaps, film is not reality, and everyone should try to remember the difference. Many slaps below for your interest and wonder.
Diana Dors smacks Patrick Allen blurry in 1957's The Long Haul.
Mob boss George Raft menaces Anne Francis in a promo image made for 1954's Rogue Cop.
Bud Abbott gets aggressive with Lou Costello in 1945's Here Come the Co-Eds.
Jo Morrow takes one from black hat Jack Hogan in 1959's The Legend of Tom Dooley.
Chris Robinson and Anita Sands get a couple of things straight about who's on the yearbook committee in Diary of High School Bride.
Paul Newman and Ann Blyth agree to disagree in 1957's The Helen Morgan Story.
Verna Lisi shows Umberto Orsini who gives the orders in the 1967 film La ragazza e il generale, aka The Girl and the General.
What the fuck did you just call me? Marki Bey slaps Betty Anne Rees loopy in the 1974 horror flick Sugar Hill.
Claudia Cardinale slaps (or maybe punches—we can't remember) Brigitte Bardot in the 1971 western Les pétroleuses, known in English for some reason as The Legend of Frenchie King.
Audrey Totter reels under the attentions of Richard Basehart in 1949 Tension. We're thinking it was probably even more tense after this moment.
Anne Baxter tries to no avail to avoid a slap from heel Steve Cochran in 1954's Carnival Story.
Though Alan Ladd was a little guy who Gail Russell probably could have roughed up if she wanted, the script called for him to slap her, and he obeyed in the 1946 adventure Calcutta.
Peter Alexander guards his right cheek, therefore Hannelore Auer crosses him up and attacks his left in 1964's Schwejk's Flegeljahre, aka Schweik's Years of Indiscretion.
Elizabeth Ashley gives Roddy McDowall a facial in in 1965's The Third Day.
Tony Anthony slaps Lucretia Love in 1972's Piazza pulita, aka Pete, Pearl and the Pole.
André Oumansky goes backhand on Lola Albright in 1964's Joy House.
Frank Ferguson catches one from Barbara Bel Geddes in the 1949 drama Caught.
This looks like a real slap, so you have to credit the actresses for their commitment. It's from 1961's Raisin in the Sun and shows Claudia McNeil rearranging the face of Diana Sands.
Gloria Grahame finds herself cornered by Broderick Crawford in 1954's Human Desire.
Bette Davis, an experienced slapper and slappee, gets a little assistance from an unidentified third party as she goes Old West on Amanda Blake in a 1966 episode of Gunsmoke called “The Jailer.”
There are a few slaps in 1939's Gone with the Wind, so we had our pick. We went with Vivien Leigh and Leslie Howard.
Virginia Field takes one on the chin from Marshall Thompson in Dial 1119.
Clint Eastwood absorbs a right cross from nun Shirley MacLaine in 1970's Two Mules for Sister Sara.Sunset BoulevardThe Long HaulRogue CopHere Come the Co-EdsThe Legend of Tom DooleyDiary of High School BrideThe Helen Morgan StoryLa ragazza e il generaleThe Girl and the GeneralSugar HillLes pétroleusesThe Legend of Frenchie KingTensionCarnival StoryCalcuttaSchwejk's FlegeljahreSchweik's Years of IndiscretionThe Third DayJoy HouseCaughtHuman DesireGunsmokeGone with the WindDial 1119Gloria SwansonWilliam HoldenDiana DorsPatrick AllenBud AbbottLou CostelloJo MorrowJack HoganChris RobinsonAnita SandsVirna LisiUmberto OrsiniMarki BeyBetty Anne ReesClaudia CardinaleBrigitte BardotRichard BasehartAudrey TotterAnne BaxterSteve CochranAlan LaddGail RussellHannelore AuerPeter AlexanderElizabeth AshleyRoddy McDowallAndré OumanskyLola AlbrightFrank FergusonBarbara Bel GeddesClaudia McNeilDiana SandsBroderick CrawfordGloria GrahameBette DavisAmanda BlakeVivien LeighLeslie HowardVirginia FieldMarshall ThompsonClint EastwoodShirley MacLainecinematelevision
| Vintage Pulp | Aug 29 2023 |
Russell sets the screen aflame in one of her iconic roles.
This French promo for The Revolt of Mamie Stover, which opened in Paris today in 1956 after being retitled Bungalow pour femmes, is yet another fantastic effort from the brush of Russian illustrator Boris Grinsson. Jane Russell starred in the film, and we especially like the poster's emphasis on her red hair. We talked about Mamie Stover as well as its complicated source novel last year. Check here for the movie and here for the book. We'll put together a larger collection on Grinsson later.
RussiaFranceBungalow pour femmesThe Revolt of Mamie StoverJane RussellRichard EganBoris Grinssonposter artcinema
| Vintage Pulp | Aug 26 2023 |
By whatever means necessary.
Above is a Belgian poster for the 1953 film noir Wicked Woman, originally made in the U.S. starring Richard Egan and, in one of her classic femme fatale roles, Beverly Michaels. Generally, because of the predominant languages used in Belgium, posters from there carried both French and Dutch text. In French Wicked Woman was titled La vicieuse, and in Dutch it was De slet (you can guess what that means). Our header for this post is a play on the never ending debate over whether film noir is a genre or a cycle. Either way, what it produced was always vicious. We briefly talked about Wicked Woman some years ago and shared the U.S. poster. This effort is from the presses of S.P.R.L. Belgique and it's signed by Wik, an artist who remains a mystery. Below, you see Michaels pondering the wickedness of her behavior and deciding she's fine with it.
BelgiumS.P.R.L. BelgiqueDe sletLa vicieuseWicked WomanBeverly MichaelsRichard EganWikposter artcinemafilm noir
| Vintage Pulp | Aug 10 2023 |
The people who got burned the worst were the movie's investors.
As we mentioned back in the spring, we started watching Sunburn, but stopped ten minutes in to backtrack to Stanley Ellin's source novel first because we thought the concept of an investigator hiring a woman to pose as his wife might be fun in written form. It was that, but the book wasn't perfect, as we discussed. Returning to the movie, above you see a painted promo poster, uncredited, though pretty nice, even if the central figure doesn't look as much like the star attraction as she should. But you recognize her anyway, right? That's Farrah Fawcett, or supposed to be, who headlined along with Charles Grodin, the latter of whose presence immediately marks the movie as a non-drama. But we forged ahead anyway to see what he, Fawcett, and co-stars Art Carney and Joan Collins could provide.
Sunburn, it must be said right off, flopped at the box office. That isn't definitive proof of a bad movie, but it's suggestive. The novel's premise and plot were retained: insurance investigator Grodin needs to get close to a rich Acapulco family in order to prove fraud, therefore he rents the villa next door and hires Fawcett to smooth his cover story by playing his wife. What's added that wasn't in the book is a thick layer of slapstick and Grodin's “comedy.” Fawcett is sunny, ingenuous, and sexy without guile, which was basically her brand, and it works as expected—wonderfully—but there's definitely no spark between her and Grodin. We don't think we've seen a woman's lips that tightly closed for a kiss since PI-1 lost a bet and had to smooch a friend's slobbery German boxer. As for the other participants, Carney finds himself in a wise old advisor role that fits, but Collins is wasted as a farcical nympho cougar.
Basically, the movie can be summed up this way: Grodin stumbles and bumbles his way through an investigation, Fawcett gives unsolicited and unappreciated help, and the plot veers inevitably toward reliable woman-in-danger tropes, buttressed by a standard cheeseball car chase that ends up going through a random fruit stand, round the inside of a colonial fortress, and into a bullring. The chase is capped by Fawcett's capture, which naturally leads to a chaotic rescue and a pat conclusion. From beginning to end the filmmakers whiff on all the good music of the late ’70s, which means the too-present soundtrack consists of only the worst pop hits of the era. Unhelpful, to say the least, and a lesson on the downside of using popular music on soundtracks.
We don't watch many movies from the late 1970s that aren't hard dramas, and Sunburn reminded us why—comedic acting from that time can be very idiosyncratic, and Grodin in particular hadn't yet perfected his distracted deadpan superior-attitude schtick. But if you get the feeling we disliked the movie, you'd be wrong. Its very obviousness makes it worth a smile. And we liked it a lot better than did our new consulting critic, Angela the sunbear, who'll mostly be advising us behind the scenes but may occasionally make a public appearance or two, depending on her mood. Today, she's feeling social. Give the Pulp Intl. readership a wave, Angela.
Very good. And nice work standing on two legs. You look almost human, if that isn't offensive to say. Anyway, we could ask Angela to enumerate her many qualifications and credentials to critique cinema, including her degree from the Beijing Film Academy, but we assume you trust us to collaborate with only the most experienced and educated professionals. Also, it's 100 degrees where she lives, so she won't suffer an entire film unless it's really good. In this case, she waited about twenty minutes to see if any of her favorite fruits or wild berries made an appearance, discoursed on the tradition of comedians becoming actors (somehow tying in the Greek muses of comedy and drama—Thalia and Melpomene—which was way over our heads, if we're honest), pondered whether Grodin might get mauled at some point, then went for shade and water. So there you have it: Sunburn gets one reluctant thumbs up, but one definitive claw down. It premiered today in 1979.
MexicoAcapulcoSunburnCharles GrodinFarrah FawcettArt CarneyJoan CollinsJohn HillermanEleanor ParkerRichard C. Sarafianposter artcinemamovie review
| Hollywoodland | Jul 31 2023 |
Shhh! Character assassination in progress.
Above are some scans from an issue of the tabloid Whisper published this month in 1963. We've shared hundreds of tabloids over the years, and we always marvel at them. How would you describe the compulsive need to know what's going on in other people's lives? Is it a from of comparison? Is it schadenfreude? Is it envy? The American Psychological Association calls it natural behavior stemming from the fact that humans are social animals curious about what's going on around them. It's why, according to the APA, we gossip about friends and neighbors.
Your first thought, in terms of tabloids, might be that celebrities are neither friends nor neighbors. However, the headshrinkers tell us they are. People create parasocial relationships with celebrities, and thus the same dynamic exists. And nobody is immune. Condescending remarks about celebrity gossip are liable to come from people inordinately involved with their favorite baseball player, acclaimed author, or television talking head. Some people let celebrity fashionistas suggest what they should wear, while others who consider themselves above such silliness let television pundits tell them who to hate.
We find mid-century tabloids incredibly interesting, even if everybody being gossiped about is long departed. The robust sales of tabloids on auction sites seems to confirm that we aren't alone. In this issue Whisper digs dirt on numerous titans of celebritydom—Elizabeth Taylor, Richard Burton, Audrey Hepburn, Bing Crosby, Charlie Chaplin, and others. Editors also let their bigot flags fly by predicting “one of the most sinister trends in history—an organized homosexual drive” to take over the U.S. That one still sells in some quarters. We'll have more from Whisper soon.
WhisperElizabeth TaylorRichard BurtonWilliam HoldenAudrey HepburnBing CrosbyJean SimmonsDiane McBainCharlie ChaplinSybil BurtonBeatrice Altaribatabloidlgbt
| Vintage Pulp | Jul 27 2023 |
Speak softly but carry a big gun.
Mort Engel art fronts this Avon edition of Frances and Richard Lockridge's Death Has a Small Voice, a book we were eager to read because of the promise of The Norths Meet Murder, the debut tale in the Mr. and Mrs. North series of which the above book is a part. That promise is not fully realized here. Perhaps it's our fault for not reading the series in order. Seventeen entries in, maybe the Lockridges were trying to shake up their formula a bit. But we don't have much control over which books in a series are obtainable for us. We buy what's out there. In this tale Pamela North is kidnapped in the first few pages, and because she's isolated, the story misses the entertaining dialogue she provided in the debut. That makes the “small voice” of the title ironic—it's supposed to refer to the whispering kidnapper, but it's Pamela whose voice is diminished.
But it's a readable book anyway, even with Pamela ruminating in the dark for multiple chapters. Basically, someone has murdered an author named Hilda Godwin after becoming aware that he's been negatively portrayed in the draft of her upcoming novel. Through circumstances we won't detail here, she manages to record her own attack and killing. The recording is mailed to Gerald North's literary agency and the killer is desperate to retrieve it before anyone hears it. But the recording falls into Pamela's hands, and when the killer comes for it she manages to hide it. So the killer kidnaps her, planning to make her reveal the hiding place.
These are treacherous circumstances, and anything less than a horrible ordeal for Pamela would be unrealistic, which is why it's a good plot move by the Lockridges to have her escape almost immediately. From that point she's lost in a forest, while her husband and the cops are trying to fit the puzzle pieces that might lead to her rescue. Since the Lockridges are good writers this all works fine, but because Pamela seems to us to be the main attraction of series (based on the mere two books we've now read), we had little choice but to come away a bit disappointed. But like we said, after a while authors will try new ideas. What we'll try is to find book two in the North series Murder Out of Turn at a reasonable price, international shipping included. If we do we'll report back.
| Vintage Pulp | Jul 12 2023 |
Sommer and Koscina add up to one great day.
We've looked at the output of Italian illustrator Jean Mascii a few times. Above you see his work again, this time on a poster for the James Bond-style adventure Plus féroces que les mâles, which first showed in France today in 1967 but had its global premiere months earlier in England as Deadlier Than the Male. Over four decades, working from the early ’50s until the late ’80s, Mascii painted almost 1,500 movie posters, hundreds of book covers, and a copious amount of print advertising. You can click his keywords at bottom to see a few more posters we've shared on our site, or click here to take the express lane to one of his very best.
The “deadlier” in Deadlier Than the Male refers to co-stars Elke Sommer and Sylva Koscina, two of the more beautiful products of the mid-century era, who play assassins. We've shared posters for the film from Japan—twice—and the former Yugoslavia. Returning to it yet again is mainly an excuse to share some of the many production photos we've found—to go along with this one, this one, and this one. Today we're restricting ourselves to only Sommer and Koscina's bikini shots, because the skin and smiles say summertime to us. There are drawbacks to movie stardom, so we hear, but some days surely must be just fine.
FranceItalyPlus féroces que les mâlesDeadlier Than the MaleJean MasciiRichard JohnsonElke SommerSylva Koscinaposter artcinema
| Vintage Pulp | Jun 23 2023 |
Shaft hit America and changed the game.
We've discussed quite a few blaxploitation movies, but have neglected the 1971 thriller Shaft. What can you say about the granddaddy of them all, the movie that helped change Hollywood thinking about what viewpoints would sell? Many of the black oriented movies that came afterward were cash grabs, and for that reason most of them weren't good. No such problems exist with Shaft. It's fast, furious, and fun. Our viewing was a reminder that in addition to being a detective movie and a movie that centers black experiences, it's also a neo film noir in both execution and mood. Directed by acclaimed photographer and photo-journalist Gordon Parks, Shaft is gorgeous work, made mostly in actual locations around New York City, and sprinkled with symbology and visual metaphor right from the opening credits.
The character of Shaft is important in film history. Because the theme song is so widely heard most people know Shaft is a bad mother shut-your-mouth, but as the song also says, he's complicated. He lives in Greenwich Village in a bachelor pad decorated with modern art and filled with books. He's kind to children and helps people in need. He has feelings for his girlfriend but will not be tied down and is obliging toward other women who desire him. And he's a friend to any people who treat him with respect. This extends to his local bartender, who's gay and dispenses a familiar pat to Shaft's ass that we can assume isn't the first or last. A bad mother shut-your-mouth? For sure, but he's so much more. And likewise, Shaft is more than a detective movie. It's a cinematic achievement that entertains visually, intellectually, and viscerally. It's a must watch. It was first seen by the public at a special premiere in Detroit, Michigan today in 1971.
New York CityHarlemShaftRichard RoundtreeMoses GunnChristopher St. JohnGordon Parksposter artcinemablaxploitationmovie review
| Vintage Pulp | Jun 18 2023 |
Oh, it's a body. In my head I'd already blamed the weird smell around here on your dirty tennis shoes.
Originally published in 1940, the above Pocket Books edition of The Norths Meet Murder arrived in 1942. It was also published as Mr. & Mrs. North Meet Murder by Avon in 1958. The characters, Gerald and Pamela North, a Manhattan married couple who find themselves solving mysteries, had appeared in the New York Sun newspaper throughout the late 1930s, but The Norths Meet Murder is their first foray in novel form. We haven't read any of the others, but we own one, and we'll get to it.
We've read a few mysteries featuring married sleuths. What's different here is that the authors Frances and Richard Lockridge write Pamela as an intuitive thinker whose leaps of logic—or illogic—leave her husband and the police scratching their heads. It could read as though she were a space case, but the Lockridges compensate for that by making her right most of the time. It's a winning formula in this tale that commences with Pamela deciding to throw a party in the empty apartment on the top floor of her building and discovering a corpse in the bathtub.
We were surprised that a detective named Weigand was the central character here, with the Norths serving in a supporting capacity. But that's just the Lockridges setting up the cop as a contact and pal for future novels, we suspect. By the end he was routinely enjoying cocktails with the Norths, though he initially suspected them of the murder. Pamela eventually figures out the solution about the same time as Wiegland, and it's clear she's gotten a taste for sleuthing. All very fun. In our view, for mystery fans The Norths Meet Murder is probably mandatory.
| Vintage Pulp | Jun 9 2023 |
Are you ready to Rumble?
Bad movies, great posters. We never get tired of exploring that dichotomy. Hot Rod Rumble is a poorly budgeted, poorly acted entry in the carsploitation sub-genre of mid-century films, starring Leigh Snowden and Richard Hartunian. The story concerns a gang of racers called the Road Devils whose two main members get entangled in an antagonistic rivalry over a woman (Snowden), a fatal acccident, a cover-up of that accident, and a $1,500 Sweepstakes Race. As such movies will, it ends with a final showdown on the tarmac.
Certainly this one is interesting to watch for the cars, and Snowden is a competent performer, but we can't say much for the others. Co-lead Hartunian never appeared in another film, and he may not have had a choice about that, so atrocious is his acting. We picture him motoring out of the movie lot and over the horizon in his hot rod, never to return. Our advice: everyone except racing fans should probably steer well clear of Hot Rod Rumble. But if you find its poster, buy it, frame it, and hang it. It's a classic. The movie premiered in the U.S. today in 1957.
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