Woman, 20, seeks man any age. Must be open minded. Sex guaranteed. No commitment. Emotional masochist preferred.
Above is a West German poster for the French sexploitation flick Laura, originally titled Laure, starring the sexiest elf in cinema history, Annie Belle, in the tale of a minister's libertine daughter trekking around the Philippines, getting laid with whomever while her boyfriend-later-husband watches and sometimes films. We talked about this one in detail a while back but wanted to share this nice poster. Notice Emmanuelle Arsan is credited as the director? What happened was the actual director Louis-Jacques Rollet-Andriane quit and refused to allow his name to be attached to the film because he didn't get to delve more deeply into his philosophy of freedom and swinging. Which is funny because the movie is almost entirely about freedom and swinging. But give a Frenchman six inches and he'll demand a mile. Read more here. Laura premiered in West Germany today in 1976.
Gemser flick needs to be put someplace the sun doesn't shine.
Laura Gemser made many films, in which she mainly lost her clothes in exotic locales, and in 1980's Sexy Moon the Gemser world tour hits the island of Cyprus. First things first—the alternate titles. They include, but are not limited to, I mavri Emmanouella, which was the original Greek title, Secrets érotiques d'Emmanuelle, Emanuelle: Queen Bitch, Emanuelle: Queen of Sados, and Emanuelle's Daughter. Those last three were the titles for various English speaking countries, while Sexy Moon, interestingly, was what the film played as in Italy, where it opened today in 1980. So you're actually looking at the film's Italian poster above, and a nice one it is, painted by Enzo Sciotti, the brush behind more than 3,000 movie promos.
This was Gemser' s eleventh Emanuelle outing, depending on how you number them—she starred in two movies that had “Emanuelle” in the titles but no character in the films with that name. So some might say this was her ninth Emanuelle film. Whatever. The important aspect here is that the writers were running out of interesting things for her to do. By the time Sexy Moon came along Gemser couldn't merely be ravished by hairy Eurostuds, so after besting cannibals, becoming a nun, and smashing a prostitution ring, her handlers decided to have her play an unhappy wife who has her terrible husband murdered. At that point she becomes guardian to the departed's now rich daughter, who's played by Livia Russo.
Russo could, in some slow developing genetic universe, be eighteen, but she's more likely fifteen, which means we were ambushed by her nudity, which is both sexual and, later, violent in nature. We suspect the only reason this film isn't illegal everywhere is because nobody has a firm record of Russo's age—least of all her, since she dropped off the face of the planet right after Sexy Moon wrapped. It was a more daring time artistically. We mention that often. And it's just acting. We get that. But having a possible mid-teen even act a rape scene is sadistic. We recommend skipping this one. Sexy Moon, which turned out not to be sexy at all, premiered in Italy today in 1980.
It's all fun and games for Goldilocks now but her luck will change.
In this promo image from the mid-1940s Frances Gladwin continues the longstanding Hollywood trend of posing on bearskin rugs. This particular polar bear still looks angry to have been killed, which you can really understand. Gladwin's happy though. When this photograph was made she was in the midst of a good run, accumulating thirty-one film appearances in five years from 1941 to 1946, mostly bit roles in westerns, although she did appear briefly in the film noir classic Laura. Then after 1946—nothing. She had no screen credits, and we found no biographical info. It's like she disappeared off the face of the Earth. We think the bear's relatives got their revenge.
As long as he leaves his work at the office their relationship has a real chance to succeed.
Above, a cover for Macabrus, by Jannet Mills, aka Laura Toscano, for Edizioni Periodici Italiani's series Classici dell'Orrore, copyright 1970. There are actually other great Italian cover artists, but we're Caroselli loyalists because he was the best. See plenty more from him by clicking his keywords below.
Gemser heats up the deserts of Egypt.
Cinematic sleaze was often fueled, the same as was mainstream filmmaking, by star power, so it was natural to bring two popular erotic performers like Laura Gemser and Annie Belle together. It happened today in 1976 with the Italian premiere of Velluto nero. At some point after its theatrical release it was renamed for English speaking audiences Black Emmanuelle, White Emmanuelle. Gemser was actually Indonesian, born in Surabaya, East Java, however 1976 was the blaxploitation era and everybody wanted a piece of that pie, including, obviously, Gemser's production company Rekord Films. Gemser could have played anything from half black to Persian to southern Italian to Hawaiian to Latina, so it was a canny—if cynical—bit of cultural appropriation. But back then it was seemingly no harm no foul. Audiences wanted to see her naked, and she always delivered.
In Velluto nero Gemser plays a model who vacations in Egypt with her horrible husband and meets the free-spirited Belle, who awakens her to better possibilities in life—ones that don't include her criminally abusive spouse. It's generally agreed that this is one of Gemser's most tepid Emanuelle entries. We have to concur. But Gemser and Annie Belle in the same movie are worth something, at least, and the Egyptian scenery is compelling. We also like that Belle's multi-colored sweater makes another appearance. She must have lifted it from the costume department when she filmed Laure. Velluto nero isn't the last we'll see of her or Gemser, and we'll just have to hope the next encounter is an improvement over this one.
Sometimes the end of the line can be a new beginning.
Check out this beautiful Mexican promo poster for the melodrama El tren expreso. It can be difficult sometimes to determine provenance for Spanish language items, but we know this piece is Mexican because it says Filmex, S.A. at upper left, telling us it was printed for Mexico's Cinematográfica Filmex. But the movie was originally shot in Europe with mainly Spanish participation, including from director León Klimovsky, who was Argentinian but after 1950 emigrated to and worked mostly in Spain.
We watched the movie and it deals with a burned out concert pianist who takes a sabbatical and while on a train journey stops an unhappy widow from leaping to her death. These two broken souls travel together and fall in love, but matters of the heart are never simple in cinema. If you want to see the movie you can watch it at this link, but keep in mind we described it as a melodrama advisedly. Also you'll need to understand Spanish.
Anyway we're mainly interested in the poster, which is amazing, but uncredited. We hit the internet for info and drew blanks for days. We eventually learned it's part of a collection at the Boston Museum of Fine Arts, but it was listed as by an unknown artist there too. So that settles it, pretty much, if professional art curators have no information. The world may never know who painted this masterpiece. El tren expreso premiered in Spain today in 1955.
Gemser gets freaky on the island of brotherly love.
La spiaggia del desiderio is another Laura Gemser sexploitation epic, third in what would become a long series of Emanuelle movies, and the first to truly jump the shark. A bit of backstory: Author Emmanuelle Arsan wrote the original Emmanuelle character, based on herself, in 1967, and saw it become the erotic film Emmanuelle starring Sylvia Kristel. It premiered in France in June 1974 and was a worldwide smash by that autumn. But Italian production company Aquila Cinematografica had managed to film and rush release a knock-off entitled Amore libero that hit cinemas in Rome by August of 1974. The movie starred Gemser as a character named Emanuelle—with one 'm'. This film too was something of a success, in the sense that it made money while costing far less.
After the success of the French Emmanuelle its makers decided to cash in with a sequel. Trinacra Films and Orphée Productions kicked France to the curb and made Emmanuelle II with an eye toward the large U.S. market, where their sophomore entry eventually had its world premiere in December of 1975. While shooting this sequel they apparently figured the more Em(m)aunelles the better and cast Laura Gemser as a sexy masseuse in order to pair her up—naked—with Kristel. The spirit of cooperation is admirable, but certainly what this casting decision did was give Gemser's Emanuelle just as much legitimacy as Kristel's Emmanuelle.
At the time Gemser was enjoying this cameo appearance in Emmanuelle II she had already made or was about to make a sequel to her Amore libero. We use that uncertain terminology because the French Emmanuelle films were higher budget productions and took longer to film and post-produce, which means even though Gemser's sequel hit cinemas before Emmanuelle II, it's possible it was filmed after and rammed through post to get to audiences first. In any case, Gemser's sequel, already cynically thieving the original Emmanuelle concept, was titled to take advantage of the burgeoning blaxploitation wave. Emanuelle negra it was called—Black Emanuelle.
Gemser was off and running and would eventually make more than a dozen Emanuelle films, each more preposterous than the previous. Amore libero and Emanuelle negra featured Gemser playing an Emanuelle who, like the original character written by
Emmauelle Arsan, enjoyed sexual adventures in exotic tourist destinations. But La spiaggia del desiderio is a lost world flick that features her living on an isolated island with her father and brother in primitive bliss. We suspect the entire script was written to avoid high budget location work and unnecessary characters.
In any case, it's just Gemser, her dad, and her bro on this uncharted spit of tropical sand off the coast of Venezuela, until a shipwreck victim washes up and brings with him a host of problems. Because, you see, Gemser plays a game with her brother, a very pleasurable game that she—in her innocence—doesn't realize is known as incest in the civilized world. When she begins to play the game with the newcomer that's when things go terribly wrong. Think of it as The Blue Lagoon years before that movie appeared, but with brotherly love thrown in to provide an excuse to philosophize about cultural norms.
The main plot question becomes this: does the newcomer try to get Gemser to realize what she's doing is wrong, or is it really society that's wrong to judge true love? And secondarily, should he take her away to civilization, or would the real world destroy all that is innocent and wonderful about her? This is deep shit, folks. In our view, Gemser should leave the island—a few civilized cheeseburgers might actually do her good. She's 5' 7” and goes—maybe—115 soaking wet, so she really does look like she's been living on coconuts and crabs for years. But for her fans it's about her whole package, even if that package looks underfed.
We can't recommend La spiaggia del desiderio. There's just nothing much going on here. We suspect the film was toned down because of the (completely unneeded and distasteful) incest angle, a problem her production company might not have foreseen until it was too late. Like: “Uh, huddle up people—we just learned we can't show Laura boning her brother without being slapped with an injunction.” Thus with Gemser's nude frolicking reduced to a bare minimum, there's not much to sustain interest. If we were you we'd give this particular Emanuelle a pass. La spiaggia del desiderio premiered in Italy today in 1976.
Sorry about that. But since you caught me looking—in my opinion the black bustier and thong were much more flattering.
Writing as woman wasn't uncommon for male sleaze authors, so it's no surprise 1951's Wild Is the Woman was written by a man inhabiting the pen name Laura Hale. The question is who was the man? Some sources say the author was Fredric Lorenz, but The Catalog of Copyright Entries—Third Series: 1951, which is old fashioned paper info scanned to an archive, says it was Lawrence Heller. They seem to be same person, with Lorenz serving as another pseudonym used by Heller. Now the question is who painted the cover? Unfortunately, nobody can say definitively, but we'd bet a lot of cash it's George Gross.
Laura Gemser bites off more than she can chew in z-grade zombie epic.
Finally! We've learned that the Italian poster artist who signed his work Aller was a man named Carlo Alessandrini, and we owe that information to a new book by Roberto Curti called Italian Gothic Horror Films 1970-1979. Above you see Alessandrini's work for the Laura Gemser sexploitation flick Le notti erotiche dei morti viventi, aka Sexy Nights of the Living Dead. Gemser started in erotica in 1974, and as the years wore on she basically traded on her name and did less and less actual performing, appearing in several films in little more than cameo roles. In this one she secures top billing for not showing up until the thirty-three minute mark, and not uttering a line of dialogue until probably forty minutes in.
Plotwise, a sailor takes a greedy gringo developer and his prostie companion to a deserted island where the American wants to build the finest resort in the Caribbean. The place is called Cat Island and whenever anyone mentions it to the locals who live on nearby islands they run out of the room. To normal people this would be a strong non-endorsement concerning travel to Cat Island, but such blatant hints are lost on lunkheads in horror movies. So a-boating they go. When the developer announces his plan to pave over the old island cemetery to build a heliport you just know he's sticking his dick somewhere he's likely to lose it—Gemser's mouth (see below). Her army of zombies are equally opposed to gentrification, and lodge their protests by chasing the living all over the place. But all is not lost. As the hero explains at one point: “The advantage we have is that they move at a snail's pace.”
So does the movie. One plus is that it was made primarily on beautiful beaches in the Dominican Republic, and several scenes were shot in Santo Domingo, which is interesting to see pre-tourist era. Another plus is that there's wall to wall sex featuring such beauties as Dirce Funari, who's the real star of the movie, and Lucia Ramirez. The unrated version goes all the way, and even treats viewers to a Tijuana donkey show-worthy routine involving a stripper and a Champagne bottle. None of the X action includes Gemser, who was strictly softcore her entire career, though her nudity is more explicit than usual here. Basically, it's all just as dumb as it sounds, but we'll admit it's accidentally funny in parts, which helps. Le notti erotiche dei morti viventi premiered in Italy today in 1980.
The headlines that mattered yesteryear.
1938—Chicora Meteor Lands
In the U.S., above Chicora, Pennsylvania, a meteor estimated to have weighed 450 metric tons explodes in the upper atmosphere and scatters fragments across the sky. Only four small pieces are ever discovered, but scientists estimate that the meteor, with an explosive power of about three kilotons of TNT, would have killed everyone for miles around if it had detonated in the city.
1973—Peter Dinsdale Commits First Arson
A fire at a house in Hull, England, kills a six year old boy and is believed to be an accident until it later is discovered to be a case of arson. It is the first of twenty-six deaths by fire caused over the next seven years by serial-arsonist Peter Dinsdale. Dinsdale is finally captured in 1981, pleads guilty to multiple manslaughter, and is detained indefinitely under Britain's Mental Health Act as a dangerous psychotic.
1944—G.I. Bill Goes into Effect
U.S. president Franklin D. Roosevelt signs the Servicemen's Readjustment Act into law. Commonly known as the G.I. Bill of Rights, or simply G.I. Bill, the grants toward college and vocational education, generous unemployment benefits, and low interest home and business loans the Bill provided to nearly ten million military veterans was one of the largest factors involved in building the vast American middle class of the 1950s and 1960s.
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