| Hollywoodland | Aug 22 2019 |
The tabloid media was like a pack of animals and Mansfield was the meal.
We never realized this before, but the editors of Whisper really had it in for Jayne Mansfield. We mean more than usual for a vicious tabloid. Most of the issues we have contain highly negative stories about her, such as this one published in 1962 that calls her and husband Mickey Hargitay “the biggest pair of boobs in the business.” Geez, what did she do to them? Piss in their grits? Dropkick their Corgis? Obviously, the biggest boobs thing is a play on words referencing Mansfield's bust, but they're referencing her personality when they talk about her “false façade” and “up-front ways.” Regardless of whether Whisper approved of Mansfield, it couldn't stop featuring her—a fact the magazine acknowledged. We'll see her in these pages again.
Meanwhile, elsewhere in Whisper, the amazing Señor Fidel Castro makes one of his regular appearances. Like Mansfield, the magazine couldn't stop writing about him. According to the editors, the Beard had launched a plot to addict American youth to drugs. We call Castro amazing because according to various mid-century tabloids he was simultaneously training Viet Cong soldiers in Cuba, funneling arms to U.S. inner cities, assassinating JFK, planning to overthrow the Catholic Church, raping teenaged girls, and helping East Germany revive the Third Reich. Talk about great time management skills. If only we were half as organized.
Did drugs flow from Cuba to the U.S.? It's an accusation that has come up numerous times over the years. Considering that since at least 1950 drugs were flowing into the U.S. from Colombia, Mexico, Peru, Brazil, Afghanistan, Thailand, et al—it would be astonishing if drugs didn't also originate from or transit through Cuba. With what degree of official approval we'll probably never know. Heads of state are notoriously insulated. In fact, the only one we can think of offhand who was definitively tied to drug dealing was Panama's former strongman Manuel Noriega, who was doing it with the full knowledge of the CIA, but we can probably safely assume he wasn't the first national leader to peddle drugs.
Whisper isn't aiming for investigative journalism in its Castro piece. That would require actual work. Its story is 90% lollipop, 10% stick. But the ratio of fiction to fact is meaningless as long as the writing fits the brief: focus obsessively on the sensational, the frightening, and the infuriating. That's why we call mid-century tabloids the cable news channels of yesteryear. Though people were doubtless highly agitated about what they read in these quasi-journalistic outlets, the passage of decades makes them harmless fun for us to explore. Maybe one day a future website—or whatever passes for one ages from now—will be able to make jokes about the things agitating us. Let's hope so. We have a bunch of scans below, and more tabloids than we can count inside the website. Look here.
CubaWhisperJayne MansfieldMickey HargitayJuliet ProwseFrank SinatraNancy KwanWilliam HoldenMaximillian SchellAnnouchka von MeksAga KhanFay SpainFidel Castrotabloid
| Vintage Pulp | Jul 31 2019 |
The movie is n° 2 but its star is second to none.
There sure are lots of Emmanuelle/Emanuelle movies out there. Sylvia Kristel, Laura Gemser, Monique Gabrielle, Olinka Hardiman, Krista Allen, Natasja Vermeer, and many others inhabited characters with that name. But we'd never heard of Shulamith Lasri, aka Julie Margo, nor her contribution to the pantheon Emanuelle nera n° 2, aka The New Black Emanuelle. Pulp Intl. abhors a vacuum so we figured what the hell and decided to check the movie out. Plotwise Lasri is a famous model who's had some sort of break with reality and is in a mental institution trying, with the help of doctors, to restore memories that might be the key to her trauma
Sounds deadly serious, doesn't it? But like many serious low budget movies, unintentional humor rears its clumsy head. At one point Lasri disrobes and Danielle Ellison gapes at her and says, “Your body. You're like a queen of the night. Or a panther.” At which point Lasri forms a claw with her hand and goes, “Grrrrr...” Frickin' hilarious. The two then dance naked, as women often do when they hang out together. Does Lasri ever get her head straight? Maybe. But even if her mind is cured, her body will remain bonkers, and that's what these movies are all about. Emanuelle nera n° 2 premiered in Italy today in 1976.
IsraelItalyEmanuelle nera n° 2The New Black EmanuelleShulamith LasriJulie MargoDanielle Ellisonposter artcinemasexploitationnuditymovie review
| Vintage Pulp | Mar 4 2019 |
“This place is amazing. Nice bay windows, original wood floors—” Booooo.... get ooout! “Too bad we can't stay.”
French illustrator Roger Soubie has a long and impressive résumé. He painted more than 2,000 posters during a career spanning four decades, and produced iconic promos such as those for Lolita and The Unholy Wife. The above effort is for The Haunting, called in France La Maison du diable. Based on Shirley Jackson's classic novel The Haunting of Hill House, it's about an anthropologist who rents a creepy old mansion in order to determine whether it's haunted. Of course it is—and it proceeds to seriously flip out the anthropologist and the witnesses he's brought along to verify his findings.
Jackson wrote her chiller in 1959, and it's considered by many to be the greatest haunted house tale of all time. Director Robert Wise uses zooms and odd angles to jar the audience but follows the novel's plot closely, which was a good decision. Today his movie is likewise considered to be one of the finest in the horror genre. Horror has really improved with time, but The Haunting holds up nicely. If you haven't seen it, know going in it's fueled by atmosphere rather than events, but we think it's worth a gander. After its 1963 Stateside premiere it opened in France today in 1964.
FranceLa Maison du diableThe HauntingJulie HarrisClaire BloomRichard JohnsonRobert WiseRoger SoubieShirley Jacksonposter artcinemahorrormovie review
| The Naked City | Feb 23 2019 |
She was mysterious in life but all her secrets came out in death.
This National Insider published today in 1964 highlights an event that was of global interest at the time, but which has since been forgotten. Julie Molley, pictured on the cover, led a double life. She worked in a dentist's office by day and was a party girl by night. Apparently this hidden life began with placing newspaper ads for a friend who wanted to hook up with men but needed to protect his reputation. The responses seemed almost innumerable, and exposed her to the world of clandestine sex in repressive 1960s Britain. This in turn eventually led to full-fledged participation in underground bdsm orgies. Wealthy men rewarded her with money and expensive gifts for whipping and humiliating them.
When she was found dead of an overdose of sleeping pills in a Buckinghamshire mansion in November 1963, police labeled it suicide, but friends said it had to be murder. Found in her effects were 3,500 photos of her in compromising positions with various men. Two diaries she wrote contained the names of numerous high profile figures. Police believed Molley was involved not only in an underground sex ring, but may have been part of an extortion racket that took advantage of various well heeled Brits' kinky sex preferences. But as late as 1966—the last year we found articles about the case—police still had not found evidence of foul play.
This National Insider labels Molley the “High Priestess of Love” and "Pocket Venus," and compares her underground parties to those at the center of the Profumo Affair. But her death is today still officially a suicide. Police believed she was depressed, basically friendless, and they noted that her pill usage had been increasing for months before her untimely end. In the final analysis, authorities decided she ended it all because she was simply fed up with an unhappy existence. The general sentiment was summed up by her mother, who said, “I sent her to a convent school because I wanted her to be a good girl. But she wanted a good time—and it ended like this. It always does.”
This National Insider labels Molley the “High Priestess of Love” and "Pocket Venus," and compares her underground parties to those at the center of the Profumo Affair. But her death is today still officially a suicide. Police believed she was depressed, basically friendless, and they noted that her pill usage had been increasing for months before her untimely end. In the final analysis, authorities decided she ended it all because she was simply fed up with an unhappy existence. The general sentiment was summed up by her mother, who said, “I sent her to a convent school because I wanted her to be a good girl. But she wanted a good time—and it ended like this. It always does.”
| Hollywoodland | Nov 14 2018 |
Confidential sinks its teeth into the juiciest celebrity secrets.
Confidential magazine had two distinct periods in its life—the fanged version and the de-fanged version, with the tooth pulling done courtesy of a series of defamation lawsuits that made publisher Robert Harrison think twice about harassing celebrities. This example published this month in 1955 is all fangs. The magazine was printing five million copies of each issue and Harrison was like a vampire in a blood fever, hurting anyone who came within reach, using an extensive network spies from coast to coast and overseas to out celebs' most intimate secrets.
In this issue editors blatantly call singer Johnnie Ray a gay predator, spinning a tale about him drunkenly pounding on doors in a swanky London hotel looking for a man—any man—to satisfy his needs. The magazine also implies that Mae West hooked up with boxer Chalky White, who was nearly thirty years her junior—and black. It tells readers about Edith Piaf living during her youth in a brothel, a fact which is well known today but which wasn't back then.
The list goes on—who was caught in whose bedroom, who shook down who for money, who ingested what substances, all splashed across Confidential's trademark blue and red pages. Other celebs who appear include Julie London, Jack Webb, Gregg Sherwood, and—of course—Elizabeth Taylor. Had we been around in 1955 we're sure we would have been on the side of privacy rights for these stars, but today we can read all this guilt-free because none of it can harm anyone anymore. Forty panels of images below, and lots more Confidential here.
The list goes on—who was caught in whose bedroom, who shook down who for money, who ingested what substances, all splashed across Confidential's trademark blue and red pages. Other celebs who appear include Julie London, Jack Webb, Gregg Sherwood, and—of course—Elizabeth Taylor. Had we been around in 1955 we're sure we would have been on the side of privacy rights for these stars, but today we can read all this guilt-free because none of it can harm anyone anymore. Forty panels of images below, and lots more Confidential here.
LondonConfidentialKay SpreckelsClark GableGregg SherwoodHorace DodgePorfirio RubirosaElizabeth Taylor. Michael WildingVerena DaleMae WestAlbert WhiteEdith PaifJohnnie RayPaul DouglasEstes KefauverJack WebbDorothy TownsJulie LondonBobby TroupTerry MooreMona FreemanConrad HiltonNicky HiltonGloria De HavenJeff ChandlerLinda ChristianDizzy DeanDean MartinJerry LewisMaria GiacomaGeorge Rafttabloid
| Vintage Pulp | Oct 30 2018 |
Once you go down there's no turning back.
But isn't Third Street in the other direction?
We're gonna go down the third street.
You mean the third street from here?
If you wanna think of it that way.
Why are you holding my hand?
The third street gets slippery. You'll see.
Super rare Joan Ellis authored Midwood-Tower lesbian sleaze novel about a painter and model who come together over more than just art, 1964, with Paul Rader on the cover chores.
Super rare Joan Ellis authored Midwood-Tower lesbian sleaze novel about a painter and model who come together over more than just art, 1964, with Paul Rader on the cover chores.
| Femmes Fatales | Oct 16 2018 |
There's a special beauty in the city when it glows.
This is a brilliant shot of U.S. singer/actress Julie London, an icon during her time who's been just a bit forgotten in this new millennium. She made something like forty movies, a body of work that gives you numerous options to choose from, but for our money we like her brief cameo in the neglected Jayne Mansfield comedy The Girl Can't Help It. You can read a bit about the movie here, and more about London when we hopefully revisit her later.
| Intl. Notebook | Jul 28 2018 |
The dancers of the chorus line request your attention.
This is the fifth issue of Cancans de Paris we've shared. The magazine is fast becoming a favorite. It has that mix we like—celebs, showgirls, and cartoons. It's similar to magazines such as Paris Hollywood and Gondel, but with a simpler layout and all black-and-white photography. This issue is from July 1966 and features Gila Golan on the cover, and inside are Julie London, Mireille Darc, and others from the acting profession. You also get Sally Ann Scoth, Karin Brault, Juanita Sanchez, and other colleagues from the dancer side of show business. The entire issue appears below in thirty panels, and you can see the other issues by clicking the appropriate keywords at bottom.
FranceCancans de ParisGila GolanMireille DarcSally Ann ScothKarin BaultStefanie SandrelliJuanita SanchezSusan HaywardJulie Londonburlesque
| Intl. Notebook | Mar 22 2018 |
Clearly they have consent issues.
Monsters may be horrible but you can't fault their taste. To borrow a line from one of their number, they're automatically attracted to beautiful. It's like a magnet. We wonder if it's possible their need is an unconscious manifestation of the id of male Hollywood screenwriters. Or were the writers deliberately making commentaries about male power, nuclear paranoia, and environmental degradation? Well, those are questions for smarter people than us. We take monsters at face value. Maybe that's not what we mean—some don't even have proper faces. What we mean is we judge them as individuals. Most monsters are direct, like Pongo, above, trying to impress Maris Wrixon in the 1945 movie White Pongo, while some, on the other claw, are more circumspect. But the language barrier usually sabotages their delicate efforts. “I know an independently owned café that serves a killer macchiato,” comes out as a series of glottal grunts. “I loved La La Land too and I think the naysayers are mainly joyless jazz purists,” comes out as a sustained sodden hiss. Even if these vocalizations could give a true indication of the inner depths of a monster's personality, women generally wouldn't give them a shot anyway, because despite what they say, looks really do matter. What's a monster to do?
This Island Earth, with Faith Domergue.
The Time Machine, with Yvette Mimieux.
Creature from the Black Lagoon, with Julie Adams.
The Alligator People, with Beverly Garland.
The Man from Planet X, with Margaret Field.
Robot Monster, with Claudia Barrett.
The Beach Girls and the Monster, with Sue Casey.
The Monster of Piedras Blancas, with Jeanne Carmen.
The Day of the Triffids, with Janette Scott.
It! the Terror from Beyond Space, with Shirley Patterson.
I Walked with a Zombie, with Christine Gordon.
From Hell It Came.
I Was a Teenage Werewolf, with Dawn Richard.
It Conquered the World, with Beverly Garland again crushing a monster's hopes for love and fulfillment.
El retorno del Hombre Lobo, aka Night of the Werewolf.
Empire of the Ants, with Joan Collins.
I Married a Monster from Outer Space, with Gloria Talbott.
The Wolf Man, with Evelyn Ankers.Maris WrixonEvelyn AnkersGloria TalbottJoan CollinsBeverly GarlandDawn RichardChristine GordonShirley PattersonJanette ScottJeanne CarmenSue CaseyClaudia BarrettBeverly GarlandMargaret FieldYvette MimieuxJulie AdamsFaith Domerguecinemasci-fi
| Femmes Fatales | Mar 2 2018 |
Hello—I'll be your fashionably dressed assailant today.
U.S. actress Julie Haydon, née Donatella Donaldson, gives the camera a steely-eyed look in this promo for her film Come On, Danger, in which she played a suspected murderess. Her film credits are extensive, with most of them accrued during the 1930s, and she also starred in quite a few Broadway productions, with most of those coming during the ’40s. This stylish photo of her dates from 1932.
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