|Modern Pulp||May 29 2017|
Bonus material: just for the hell of it, just because they exist, we've uploaded a couple of promo shots of Bienert and Buchfellner below. Their names together sound kind of like a cop show, like a prime time drama where every problem is solved within an hour. We think it would have been a hit, because they've solved our problems in just a couple of minutes. But our previous advice holds true: don't watch the movie.
|Vintage Pulp||Apr 26 2016|
|Vintage Pulp||Mar 17 2016|
Picture the scene: It’s 1978 and sexploitation director Jesús Franco, who has redefined sleaze cinema for the masses with fifty movies, including several in the women-in-prison genre for the West German market, is chilling on his terrace in Malaga, Spain soaking up the sun. He’s chatting with his frequent collaborator, producer Erwin Dietrich, about the next project, which they’re calling Frauen für Zellenblock 9.
|Vintage Pulp||Aug 19 2014|
Jesus Franco’s Paroxismus was an Italian erotic mystery known in the English-speaking world as Venus in Furs. Basically, an American jazz musician in Istanbul goes to a party and there sees a woman involved in sadomasochistic sex. Later he finds the same woman’s body on a beach, and at that point flees to Rio de Janeiro. In Rio he plays with a jazz group, but one night sees the dead woman from Istanbul walk into the club where he’s performing. Or is it her? Whoever she is, she seems intent on exacting revenge against those who killed her. Or didn’t. Jesus Franco is a polarizing filmmaker, but if you’re ever going to like one of his films, this may be it. It’s dark and surreal, beautifully shot, has an interesting score, and a compelling cast that includes James Darren, Maria Rhome, and the always arresting Klaus Kinski. The late-1960s hepcat dialogue may amuse or repel, depending on one’s sensibilities, and those hoping for a linear plot or Hollywood ending should give up before even settling into their seats, but as a whole we thought it was quite entertaining.
In terms of understanding the film, it helped when we learned that a chance comment by the jazz trumpeter Chet Baker had been the inspiration for the script. We also discovered, on an unrelated note, that the lead as originally written was supposed to be a Miles Davis type guy, which is to say black, but Franco was shot down because American audiences were thought to be unready to see a black man and white woman in bed together. This led to the ethnic reversals of the lead role into a white jazzman and the character of Rita into his black girlfriend. Too bad for Franco he wasn’t allowed to make the film the way he wanted, but it’s impossible to be bummed with the casting of Barbara McNair as Rita, despite the circumstances. Impossible to be bummed about the art, either. The above promo poster was painted by the awesome Mario De Berardinis, who signed his work MOS, and we also have an ultra-rare alternate poster below, painted by unknown. Paroxismus premiered in Italy today in 1969.
|Vintage Pulp||Nov 12 2009|
El diablo que vinó de Akasawa, for which you see the great poster above, is a Jesus Franco flick, so you know to expect sex, action, and dubious technical values. The film is about a detective investigating the disappearance of a professor in the fictive African land of Akasava. The sleuth discovers that the mystery revolves around a mineral that can turn metal into gold and men into zombies. Of course, everyone wants control of the substance and pretty soon spies are crawling out of the woodwork and wah-wah guitar is swelling on the soundtrack. All very fun. We're also appreciative of the art, which is based on a promo shot of star Soledad Miranda, aka Susann Korda. The progression from photo to photo-illustration to painting is similar to the one we showed you for Death Is a Woman, but with more skin. And uh, more muff. Hope we brightened your day. Now for the not-so-wonderful part—Soledad Miranda died in a car crash in Portugal in 1970, aged 27. Her fame was achieved mainly after her death, as B-movie fans rediscovered her extensive shlock catalog thanks to VHS. You can get a full idea what sort of cheesefest El diablo que vinó de Akasawa is by viewing an original trailer here. It opened in Spain today, after she was gone, in 1971.
|Modern Pulp||Jun 6 2009|
The sole film foray by oft-eulogized Playboy model Dorothy Stratten, Galaxina is a low budget sci-fi farce that is to space operas what Steven Wright once was to stand-up comedy—which is to say, it presents the absurd with an utterly straight face. If not for Stratten it’s safe to say this film would be entirely forgotten by now. She plays the icy android caretaker of a deep space cruiser who reprograms herself so she can experience physical love. But this is no Just Jaeckin or Jesus Franco sex romp—director William Sachs plays it coy, and Stratten’s form-fitting jumpsuit stays firmly zipped throughout. Perhaps that is a sign of how seriously people took her talent—though she had already been nude for all the world to see, her handlers didn’t want to make the sexploitation flick everyone expected. How much of Stratten’s star potential is spun from thin air by Playboy’s aggressive self-promotional machine is difficult to say, because Galaxina is itself too thin to offer much evidence either way. But if we imagine for a moment that she had not been shotgunned to death and this film had been followed by a successful Hollywood career, Galaxina wouldn’t have been an embarrassment for Stratten to look back upon. Some of the greatest actors of all time can’t claim the same. Galaxina opened in the U.S. today in 1980.
|Vintage Pulp||Apr 7 2009|
If we had to select our favorite sexploitation director, guys like Russ Meyer, Italy’s Mario Bava, and France’s Just Jaeckin would be in the running, but the top dog might possibly be Spain’s Jesus Franco. Franco has helmed an unbelievable 190 movies, including the one accompanying this fantastic poster painted by Macario Gomez—El caso de las dos bellezas, aka Rote Lippen, Sadisterotica, aka Two Undercover Angels. The camp factor is high here. The heroines are the Red Lips, two ultragroovy superspies played by Rosanna Yanni and Janine Reynaud. The villains are a sadistic artist and his henchmonster, Morpho the werewolf, who are killing girls and taking photos to use as inspiration for paintings. If you haven’t seen a Franco movie, this is a good one to start with. Several shots of Jägermeister are a helpful viewing aid, but aren’t required. El caso de las dos bellezas was released in Spain today in 1969.