National Spotlite gets right to the good parts.
This National Spotlite published today in 1970 knows its readers want to see boobs. It touts “the girl with the 50” bust,” and leaves a little space at bottom left for those boring witch cult sex orgies. Since Informer dealt with the boobs first, we'll follow suit. The girl with the 50” bust is Suzanne Pritchard, who was a mid-level glamour model and sometime dancer, whose go-to move was squeezing said boobs together between her arms. You can see what we mean in the interior photos, and the first thing you'll probably notice is that Suzanne Pritchard is not the woman pictured on the cover. No, that's an unnamed beauty who probably had no idea she'd end up on the front of Spotlite. Cue sleazy agent: “Hey, I said I'd get you some exposure. What didja expect? Harper's-fucking-Bazaar?”
Inside the issue there's another familiar face besides Suzanne Pritchard's. In a feature entitled “The Art of Taking a Bath” we see none other than German star Karin Schubert. Cue agent: “Hey, I said I'd get you some exposure. What didja expect? The cover? It was taken.” Actually, while the unnamed cover star doubtless knew of her turn in the Spotlite, in all likelihood Schubert had no clue. As we've mentioned before, we have a background in media, and her shot was undoubtedly what we used to call a handout photo—i.e. images given to magazines and newspapers for use in publicizing a celebrity. Agents back then kept tabs on how many photos were sent out and where, but didn't monitor whether they were used months or years later. The process was a bit more structured by the time we worked at magazines, and today it may well be computerized.
Every tabloid has its focus. Some were oriented towards scandals, others sexual perversion, still others violence and gore. National Spotlite was eclectic, but this issue's recurring theme is breasts. Schubert's bath story has this line: “Women with large breasts should make sure the underside of their mammaries get a good scrubbing. The ideal method is to have someone else cup your breasts into the air while you scrub.” To us, that actually sounds like an incredibly inefficient way to wash one's breasts, but that's really beside the point, isn't it? In sleazy tabloids, everything is foreplay and all roads lead to the bedroom. We have seventeen scans below, all of them designed to get you heated up and ready to perform.
Schubert runs into trouble Nero and far.
Shot in the Dominican Republic, Il pavone nero is one of those voodoo and sex cocktails that were popular in international b-cinema during the 1970s. In fact, its English title is Voodoo Sexy, which tells you everything you need to know, just in case the promo poster doesn't. Other examples from this fertile genre discussed here on Pulp Intl. include Porno Shock, aka Voodoo Passion, and Al tropico del cancro, aka Tropic of Cancer. And of course queen b Laura Gemser had a few run-ins with santería as well.
In Il pavone nero an Italian engineer goes to Santo Domingo to help build a dam. His wife—the lovely Karin Schubert—surprises him in his hotel after he thought he'd left her in Italy. It's the first of many surprises. Rather than stay in the hotel the couple opt to inhabit an isolated beach shack on the border with Haiti, a domicile that was occupied by the previous dam engineer, who inexplicably disappeared. Uh oh. This is a classic case of thumbing one's nose at fate.
We quickly find that ethnic Haitians in the region are against the dam, and that voodoo rites are their weapon of choice to prevent its construction. But their leader Balaga, played by U.S. actor, musician, and sexploitation go-to voodoo guy Don Powell, carves out a little time from his resistance activities to pursue Schubert, possibly drawn by her astounding whitegirl afro. She in turn is drawn by the local santería rituals, which involve a bit of chicken chopping—poor chickens—and some humping of the fully explicit variety, depending on which version of the film you watch. Though Schubert would later delve into porn, her scenes here were performed by a body double.
Il pavone nero ends with the arrest of the voodoo environmentalists, which means the dam is no longer in danger. Can't stop progress, after all. There may be an environmental message buried in this film, or an anti-colonial message, or a racial harmony message, or even a spiritual message, but those are all secondary to the real point—for audiences to enjoy some vanilla Schubert getting freaky with the locals. The movie delivers ample opportunities, as you can see in the promo images below. Also, there's a cockfight. There's always a cockfight. Poor chickens. Il pavone nero premiered in Italy today in 1975.
Once you go Black Emanuelle you never go back.
Javanese beauty Laura Gemser isn't black in the ethnic sense, but you know that going into Black Emanuelle, first of the Italian-made sexploitation series that borrowed the French Emmanuelle concept and took it to places its originators could never have imagined. Gemser could actually be half black or mostly black, going by skin tone alone, but in a way her being South Asian in real life becomes the whole point, as it makes all her love scenes titillatingly interracial, whether she's getting it on with Africans or white foreigners. This is the tamest of the series—before poor Emanuelle was beset by voodoo priests, cannibals, and worse. In addition to the honeyed Gemser in the starring role you get a scoop of vanilla Schubert on top—German actress Karin Schubert. We aren’t going to bother to tell you about the plot of this one—it follows the form of other movies about westerners who get freaky in the African bush and eventually leave with profound insights and fond memories (cue shot of dreamy eyed actress gazing out airplane window as dark, mysterious Africa recedes below). In addition to the Japanese poster above we were able to locate quite a few promo images, including two of Gemser and Schubert doing field tests of Newton’s laws of physical motion. See below. Black Emanuelle opened in Japan today in 1976.
Giving in to the inevitable.
German actress Karin Schubert is an interesting figure in international cinema—she began in mainstream films in the late 1960s, appearing in efforts by acclaimed directors such as Edward Dmytryk and Yves Boisset, then transitioned into adult cinema. Usually actresses attempt to do the reverse. Some of Schubert’s early roles, such 1975’s Black Emmanuelle, were of the sexploitation variety, but it wasn’t until 1985 when she was aged 41 that she starred in her first hardcore film, Double Desire. Some sources say there are rare prints of 1975’s Il Pavone nero, aka Voodoo Sexy that show Schubert in x-rated action, but those sources are wrong—as was common at the time, down and dirty scenes performed by a body double were added later. However, Schubert did shoot fully hardcore magazine spreads earlier than her entry into adult cinema.
She last acted in 1994, and since then has dropped completely out of sight. We got curious what happened to her, and in our wanderings visited a forum where a user claimed he spoke to former adult film colleague of hers at a porn convention. According to the user, Schubert’s colleague said she died, but we doubt that’s true. Schubert was a significant star. Notices of a woman who had the unusual distinction of working with both film noir icon Edward Dmytryk and porn stallion John C. Holmes would have appeared somewhere in the German—if not global—press. We checked, and there was no word anywhere. As for the supposed info provided by her old colleague, picture this exchange:
“Say, Karin, I’m going to the adult film expo in Hamburg this year. You going?”
“Hell fucking no, and if anyone asks about me please tell them I died.”
The photo at top shows Schubert from around 1975, and below are some of her many covers for the West German magazine Wochenend. You can also see a nice Ciné-Revue cover of her here. We’ll try to get into some of her non-x-rated films later and report back.
Sex and cinema in an open age.
When we went to Paris a couple of months ago we mentioned that we found a stack of Ciné-Revue magazines in Le Marché aux Puces de Saint-Ouen. Their dimensions make for extra work because we have to scan every page in two pieces and put them together in Photoshop, and even more daunting, any two-page spreads have to be scanned in four pieces and assembled (this is actually true for all the tabloids we post). That’s why we get a bit lazy about it sometimes. Yeah, yeah, we know—get a bigger scanner. Easier said than done, unless someone wants to mail us one. Anyway, we managed to get some pages together from the above issue of Ciné-Revue published today in 1973.
Ciné-Revue originated out of Belgium in 1944 and was the premiere French-language cinema magazine there and in France for many years. Today it remains popular, making it one of the longest-lived cinema magazines as well. On the cover of this one you get German softcore and hardcore actress Karin Schubert, and inside you get John Wayne, Pia Giancaro, Brigitte Bardot, Jean Gabin, and an artful nude shot of impossibly handsome Austrian actor Helmut Berger. You’re welcome, girls, but please don’t start doing internet searches trying to find out what he looks like now—you won’t be happy. Berger also appears on the back of the mag.
Regarding the Schubert cover, the line between mainstream cinema and porn was never blurrier than back then, and Ciné-Revue reflected that with its features of hardcore and softcore performers. Could you imagine such actresses routinely appearing in, say, Rolling Stone, and being given equal standing with mainstreamers? Nevertheless, popular American media is heavily porn-influenced, even if the seed, so to speak, goes unacknowledged. What is a Sports Illustrated swimsuit issue about, for example, with its models wearing not swimsuits, but rather paint on their fully waxed bodies?
When cinema first developed into an industry many filmmakers thought of movies as simply a motile version of photography, or painting, or sculpture. Nudity was a regular occurrence onscreen during the pre-code 1920s, but a funny thing happens when you add motion and character development to the static nude—Michelangelo turns into Brazzers. Today, all nudity in American cinema is on some level political. No? Then why is it that only in American cinema there is such a proclivity for the clothed sex scene? It raises a question. Is it possible for both men and women, gay and straight, to celebrate their sexuality without conflict? Maybe, but only with more economic equality for women, less stigmitization of homosexuality, less racism, and more understanding that we are—male and female, gay and straight, green and purple—biologically driven by sexual desire.
Looking at the Schubert image above, we’re reminded of a time (in which we were basically zygotes, but go with us here) during which mainstream movies asked questions about freedom for versus exploitation of women, and how commerce in an age of mass media impacts women’s security versus the ideal of sexual freedom. For instance, how do we have sex and sexual aspiration but also have a safe pressure release for the millions who aren’t having sex in any given week or year? Can sex and porn safely co-exist? No idea. Option two is to beat the need for sex out of every man and woman on the planet. Not our preferred solution, but we can talk about it. Why did we write all this? Probably because there’s nudity/exploitation in the next two posts, so these questions just came into our minds.
On another note, we had to go back to France on short notice, but to Bordeaux this time, and we’re there at this moment. So maybe hanging out with the always philosophical French made us write this missive. Possibly some fine red wine has contributed. Anyway, we will scour Bordeaux for more wine—er, pulp—but especially Ciné-Revue, as we’re very interested in 1970s international movie stars, and this magazine gave them as much exposure as any publication we’ve seen. We have eighteen scans below, and more from Ciné-Revue to come.
The headlines that mattered yesteryear.
1937—Amelia Earhart Disappears
Amelia Earhart fails to arrive at Howland Island during her around the world flight, prompting a search for her and navigator Fred Noonan in the South Pacific Ocean. No wreckage and no bodies are ever found.
1964—Civil Rights Bill Becomes Law
U.S. President Lyndon Johnson signs the Civil Rights Bill into law, which makes the exclusion of African-Americans from elections, schools, unions, restaurants, hotels, bars, cinemas and other public institutions and facilities illegal. A side effect of the Bill is the immediate reversal of American political allegiance, as most southern voters abandon the Democratic Party for the Republican Party.
1997—Jimmy Stewart Dies
Beloved actor Jimmy Stewart, who starred in such films as Rear Window and Vertigo, dies at age eighty-nine at his home in Beverly Hills, California of a blood clot in his lung.
1941—NBC Airs First Official TV Commercial
NBC broadcasts the first TV commercial to be sanctioned by the Federal Communications Commission. The FCC began licensing commercial television stations in May 1941, granting the first license to NBC. During a Dodgers-Phillies game broadcast July 1, NBC ran its first commercial, from Bulova, who paid $9 to advertise its watches.
1963—Kim Philby Named as Spy
The British Government admits that former high-ranking intelligence diplomat Kim Philby had worked as a Soviet agent. Philby was a member of the spy ring now known as the Cambridge Five, along with Donald Maclean, Guy Burgess, Anthony Blunt and John Cairncross. Of the five, Philby is believed to have been most successful in providing classified information to the Soviet Union. He defected to Russia, was feted as a hero and even given his commemorative stamp, before dying in 1988 at the age of seventy-six.
1997—Robert Mitchum Dies
American actor Robert Mitchum dies in his home in Santa Barbara, California. He had starred in films such as Out of the Past, Blood on the Moon
, and Night of the Hunter
, was called "the soul of film noir," and had a reputation for coolness
that would go unmatched until Frank Sinatra arrived on the scene.
1908—Tunguska Explosion Occurs
Near the Podkamennaya Tunguska River in what is now Krasnoyarsk Krai in Russia, a large meteoroid or comet explodes at five to ten kilometers above the Earth's surface with a force of about twenty megatons of TNT. The explosion is a thousand times more powerful than the Hiroshima atomic blast, knocks over an estimated 80 million trees and generates a shock wave estimated to have been 5.0 on the Richter scale.
1971—Soviet Cosmonauts Perish
Soviet cosmonauts Vladislav Volkov, Georgi Dobrovolski and Viktor Patsayev, who served as the first crew of the world's first space station Salyut 1, die when their spacecraft Soyuz 11 depressurizes during preparations for re-entry. They are the only humans to die in space (as opposed to the upper atmosphere).
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