Gardner and MacMurray juggle love and danger in wartime Malaysia.
We talked about the 1947 war adventure Singapore in August. Here's a beautiful Italian poster for the film, on which co-star Ava Gardner takes front and center, with Fred MacMurray lurking in the background. There are several Italian promos. This one is by Zadro, who painted a number of other brilliant pieces, but about whom little is known today. We'll get back to him. And you can read more about the movie here.
With warmth and tender loving care you can grow anything.
Above are two photos of actress Monica Strebel, who was born in Switzerland but mostly appeared in Italian films. She also, like many actresses of her era, appeared in photo novels and posed nude in magazines, such as the French publication Io, which is where the above shots originated in 1969. Several of Strebel's films had amusingly unwieldy titles, among them 1970's La lunga notte dei disertori - I 7 di Marsa Matruh, aka Operation Over Run, and the 1971 giallo La bestia uccide a sangue freddo, aka Cold Blooded Beast. Perhaps her most notable role was in 1972's Racconti proibiti... di niente vestiti, aka Master of Love. We have a promo shot from it below. Strebel plays Death in the form of a naked woman, and she and star Rossano Brazzi run away together across an open field. They don't make 'em like that anymore.
*smack* *smooch* You're so beautiful. I'll follow you anywhere. What's your name again? Did you say Lady Death? That's weird but whatever... *nuzzle* *smooch*
What's really a shame is tomorrow he'll probably tell his buddies how great he was.
We're once again documenting the craze of mid-century publishers sensationalizing literary classics with racy cover art. Today's example is Shame, which is a translation of French icon Émile Zola's 1868 novel Madeleine Férat. It deals with a woman who loves her man but desires his best friend. That sounds exactly like freshman year of college to us, and in real life it was a total drag, but Zola made a literary masterpiece of it. He also achieved something no author would dream of today—he wrote twenty-one novels about two branches of a single family, tracing how environment and heredity were the overriding influences in their lives, even five generations onward, despite the various family members' desires or pretensions to individuality.
Madeleine Férat wasn't part of that epic cycle, and it isn't one of Zola's most celebrated works, though it was made into a 1920 silent film in Italy called Maddalena Ferat, directed by Roberto Roberti and Febo Mari, and starring Francesca Bertini. Ace Books saw it as a moneymaker not just once, but a second time, when it published it as a double novel with Thérèse Raquin on the flip. The pairing represents perhaps the high point of the paperback age in a way—two nineteenth century French literary classics being crammed as a double translation into an impulse purchase meant to tempt people in drugstores and bus stations. It's insanely funny. Also amusing is that Ace wasn't the only paperback publisher to give this book a makeover. But there's an unfunny aspect too—Ace didn't credit either of the cover artists. C'est dommage.
She's not quite as innocent as she looks.
This Japanese poster was made for Annie Belle's 1976 erotic romp La fine dell'innocenza, and it makes us wonder: Do erotic stars even exist anymore? We don't mean porn stars. We mean stars of erotic films. Have the reactionaries made them extinct, even on late night cable? Well, if so that's terribly sad, because if one believes cinematic sex and nudity are automatically exploitative (or worse, that all nudity in media derives from coercion), in our opinion that person has led a tragic or sheltered life. Sometimes such movies are exploitative, of course, but oftentimes they're life affirming and fun. Just like regular films, there's a range. La fine dell'innocenza, which was also titled simply Annie, falls somewhere in the middle. It has its exploitative elements, but ultimately is about Belle being far too rare and free a bird to be caged by small-minded men. Once upon a time, but not long ago, women struggled and protested and advocated in order to be free birds sexually, to express their sexuality in any way they saw fit after centuries of repression. La fine dell'innocenza is an artifact of that time period. We talked about it a few years ago, and you can read about it at this link.
Revenge is a dish best served with hot lead.
Above is a poster for the French-Italian western Une corde un Colt..., which in Italy was titled Cimitero senza croci and in English was known as Cemetery without Crosses. It premiered in France in January 1969, then opened in Italy today the same year. This falls into the spaghetti western category, with a mostly Italian crew shooting in Spain with actors from France, Spain, and Italy. But before we get too deep into the movie, we want to note that there's a brilliant title song performed by Scott Walker. If you don't know this musical legend, we highly suggest you familiarize yourself with his work. He was a genius who specialized in downbeat pop music that had a cinematic scope. We have all his albums, and they're all great.
The movie is a revenge tale in which French hottie Michèle Mercier seeks to punish the scoundrels who double-crossed and hanged her man. She appeals to her hubby's pal Robert Hossein—also the director and co-writer of this epic—who refuses until it becomes clear Mercier will take on the difficult task herself if she must. So Hossien agrees, and opts for the direct route to revenge by signing on with the enemy, then double-crossing the clan leader by kidnapping his daughter. This turns out to have unexpected consequences, but then that's the thing about revenge—it rarely goes as smoothly as hoped. Just ask Dick Powell. As westerns go, this one has all the required elements—rickety old frontier town, unshaven steely-eyed villains, frilly saloon girls, and so forth. The genre also tends to feature repetitive visual gimmicks, and in this one Hossein always slips on a single black glove when he's about to ventilate someone. He's sort of a reverse Michael Jackson that way, except when he puts on the glove it's everyone else who starts to walk backwards. Ultimately, we suppose Cimitero senza croci asks whether it's better to move on from injustice, or risk one's figurative soul by seeking to personally balance the cosmic scales. It's not quite an Eastwood calibre western, but then again how could it be? For fans of the genre it'll go down like a smooth barroom whisky.
Don't hate the Playa, hate the games.
Playa prohibida was a Mexican-Spanish co-production filmed on Mallorca, starring Rossana Podesta, that premiered in Mexico today in 1956 and reached Spain the next year, in March 1957. Above are the Mexican and Spanish posters, both quite nice we think. They're differentiated by the fact that one gives second billing to Carlos López Moctezuma, who was Mexican, while the other gives second and third billing to Spanish actors Fernando Rey and Alfredo Mayo.
Podesta plays a woman living in a beach town, and everyone thinks she's daft. When she's found on the beach standing over a corpse and looking guilty, the cops want to pin the crime on her, but a screenwriter passing through takes up the mystery and—with the help of his story construction skills—tries to figure out what happened. He narrates a significant part of the film, but other characters apply voiceover too, including the allegedly mad Podesta. The puzzle is eventually solved, and as you'd expect it's layered with jealousy, greed, betrayal, and all the usual games.
If you're thinking this sounds a bit familiar, that may because the setting bears some resemblance to Podesta's 1953 Mexican made thiller La red, in which she was also a somewhat enigmatic woman living in a small seaside community. We suppose when Mexican filmmakers thought "exotic beach beauty" Podesta came to mind, and why not? Just look at her. Her presence alone makes Playa prohibida worth a viewing, at least for us. And possibly for you too. For the moment—i.e. while the link lasts—you can watch it on YouTube and decide for yourself. Spanish required.
Always look your best for a crime spree.
Italian publishers Edizioni MA-GA strike again with another cover image by Franco Picchioni, this time for Jeff Kristopher's 1965 thriller 10 Lettere d'Amore. Kristopher is of course a pseudonym but we aren't able to discern for whom. We may have luck with that later, though. In any case, this is a cool image, and odd too, the way the fashionable femme fatale doesn't match her reflection. In the mirror she's leaning her head much farther to her right. We like that touch. But then we like everything Picchioni does.
Land ho! Shiver me timbers! Spring break ahoy! Pieces of eighteen year olds!
We've shown you many George Gross covers, all brilliant. This one is a little different for him. Morgan the Pirate was published by Dell in 1961 as a tie-in for the Italian adventure film Morgan il pirata, starring Steve Reeves, that indispensable icon of the sword and sandal era of the ’50s and ’60s. We haven't seen the movie, but this illustration has tempted us to queue it up. More than that, it makes us want to go raise hell somewhere. Actually, we had this one ready to go last year around this time when we had a trip planned, but we cancelled the travel and warehoused the image, figuring, okay, spring 2021. But the gag still doesn't really work, because there aren't any spring breaks (for careful people). But we don't want to sit on the cover another year, so here it is. Come on vaccinators, get to innoculating, so we can get to vacationating. Wooo! Shots! Shots! Shots!
I'm hiding right here until every living human has forgotten that terrible, terrible cannibal flick I starred in.
Here we have a photo of an angry—well, is she actually angry, or it more like murderous watchfulness? Anyway, Italian actress Sabrina Siani. She's flown to the most secluded tropical island on Earth, then for good measure hidden herself under a pier until people stop asking her what level of financial desperation she reached that made her star in La Dea Cannibale, one of the worst movies of 1980. We understand she wants to move on, but the world will never forget that film, in part because bad people like us won't let that happen. Look here.
You probably can't pull this look off but there's no harm in dreaming.
Above you see a photo of U.S. actress Rosalind Cash modeling what we like to think of as the classic afro, an image we've posted today because recently we ran across a story on Simone Williams, official Guinness World Record holder for largest afro in existence. We don't know if hers is actually the largest, regardless of what Guinness says, but it's a majestic 'do, beyond doubt. It got us thinking about the hairstyle, which in our book is the coolest of all time.
There are different types of afros beside just the classic. We wanted to feature all styles, and we also bent the definition a little to include what might be categorized more accurately as large perms. We've labeled all the variations below, which will help when you start on the long, winding, and ultimately fruitless road toward your own blowout. We're aware, of course, that there were many male celebs who had afros, but we're sticking with women today. Your journey begins below.
The pure joy afro, as modeled by Gloria Hendry, who appeared in such films as Live and Let Die and Savage Sisters. The regal, by Diahann Carroll, crown not included The bohemian, by Esther Anderson, who appeared in flims like Genghis Khan and A Warm December. The aquatic, by Camella Donner, who's a true water sprit, as we've shown you before. The iconic, by Pam Grier, who did as much to popularize the afro as any film star in history. The tall and proud afro, worn by trans b-movie actress Ajita Wilson. The wild child, seen here atop Italian actress Iris Peynado. The supreme afro, seen here on Diana Ross. The lovely innocence afro, by Brenda Sykes. The you-could-be-bald-and-still-be-smokin'-hot, demonstrated by Get Christie Love star Teresa Graves. The afro-warrior by Cleopatra Jones star Tamara Dobson. Definitely more in the category of a large perm, but she pioneered the high fashion afro, so she's earned some latitude. The too-cool-for-you afro/perm by Vonetta McGee. The action afro, seen here on Jeannie Bell. This barely qualifies, but she had one of the largest afros in the history of cinema, so we can cut her some slack. Check her screen shot in this post to be amazed. The bright-eyed and bushy, by Carol Speed. The action afro again, this time by Trina Parks, who sported this look in Diamonds Are Forever. Is it technically an afro? Tell her it isn't and see what happens. And lastly, the too-big-to-be-real afro, worn by Azizi Johari, whose actual hair you can see here.
There are numerous other afro shots in our website, but we can't possibly remember where they all are, so you'll just have to find them yourself, maybe by clicking the blaxploitation link below. Besides those, we do recall one more afro you can check out. It's on Desirée West, and you'll need to gird yourself for probably the hottest shot in Pulp Intl. history. Ready? Look here.
The headlines that mattered yesteryear.
1926—Aimee Semple McPherson Disappears
In the U.S., Canadian born evangelist Aimee Semple McPherson disappears from Venice Beach, California in the middle of the afternoon. She is initially thought to have drowned, but on June 23, McPherson stumbles out of the desert in Agua Prieta, a Mexican town across the border from Douglas, Arizona, claiming to have been kidnapped, drugged, tortured and held for ransom in a shack by two people named Steve and Mexicali Rose. However, it soon becomes clear that McPherson's tale is fabricated, though to this day the reasons behind it remain unknown.
1964—Mods and Rockers Jailed After Riots
In Britain, scores of youths are jailed following a weekend of violent clashes between gangs of Mods and Rockers in Brighton and other south coast resorts. Mods listened to ska music and The Who, wore suits and rode Italian scooters, while Rockers listened to Elvis and Gene Vincent, and rode motorcycles. These differences triggered the violence.
1974—Police Raid SLA Headquarters
In the U.S., Los Angeles police raid the headquarters of the revolutionary group the Symbionese Liberation Army, resulting in the deaths of six members. The SLA had gained international notoriety by kidnapping nineteen-year old media heiress Patty Hearst
from her Berkeley, California apartment, an act which precipitated her participation in an armed bank robbery.
1978—Charlie Chaplin's Missing Body Is Found
Eleven weeks after it was disinterred and stolen from a grave in Corsier near Lausanne, Switzerland, Charlie Chaplin's corpse is found by police. Two men—Roman Wardas, a 24-year-old Pole, and Gantscho Ganev, a 38-year-old Bulgarian—are convicted in December of stealing the coffin and trying to extort £400,000 from the Chaplin family.
1918—U.S. Congress Passes the Sedition Act
In the U.S., Congress passes a set of amendments to the Espionage Act called the Sedition Act, which makes "disloyal, profane, scurrilous, or abusive language" about the United States government, its flag, or its armed forces, as well as language that causes foreigners to view the American government or its institutions with contempt, an imprisonable offense. The Act specifically applies only during times of war, but later is pushed by politicians as a possible peacetime law, specifically to prevent political uprisings in African-American communities. But the Act is never extended and is repealed entirely in 1920.
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