Hello? Is this the Screen Writers Guild? We need a script doctor, and fast.
Calling Homicide, which premiered today in 1956, is a little known procedural crime drama about two cops who try to solve a Tinseltown murder and stumble upon other heinous crimes. It starred Bill Elliot, and was one of four movies in which he played the same character—Los Angeles County Sheriff's Department homicide detective Andy Doyle. In true b-movie fashion, these four films hit cinemas in a rush—between December 1955 and April 1957—and as you might guess, when you churn flicks out that quickly things like deep characterization and plot complexity take a back seat. But Calling Homicide isn't bad. It just lacks distinction.
The truth is, we watched this solely because of Kathleen Case, who we think is real purty. But her role, while pivotal, is also minimal, despite her second billing. For an actress with numerous credits there isn't a ton about her online. She's probably best known for an automobile accident. On February 5, 1967, six years after her most recent acting job, she crashed her car into actor Dirk Rambo's, and he burned up in the fire that resulted. She was charged with felony drunk driving and manslaughter, but at trial she was found not at fault. She wasn't at fault in Calling Homicide either. Like her co-stars, she did her best. But you can only overcome so much.
Man tries to catch train, train catches him instead.
These photos show an unfortunate man named John Heldt, Jr. trapped under a Pacific Electric freight car in Gardena, California. Getty Images has this listed as happening August 7, 1951, but the USC digital film archive where the image is stored has the date as today. We trust USC over Getty, but whenever it happened, it was a bad day for Heldt, maybe not the worst of his life, but certainly in the top five, we can be sure. His rescuers had to bring in special equipment to lift the train off him, so he was probably pinned for hours, his indignity compounded by the fact that a Los Angeles Examiner photographer made these snaps of him. “Can you hold that pose? Heh heh, that's a joke, see, because you can't move at all, you poor, stupid sap!” There's no info on whether Heldt recovered, nor whether he lost any body parts. Still, as bad as this looks, it's better than flying Ryanair.
She barely stomached Hollywood.
Adele Jergens, who appeared in I Love Trouble, The Corpse Came C.O.D., The Dark Path, and numerous other films, got her start in show business, like so many actresses of her era, when she won the a beauty contest—Miss World's Fairest, at the 1939 New York World's Fair. Later, as one of the famed Rockettes dancing troupe, she was named the number one showgirl in New York City. This led to her serving as understudy to burlesque dancer Gypsy Rose Lee in the Broadway production Star and Garter, and from there Jergens never looked back. That's probably why she forgot half of her sweater. This fun image of her with bare midriff was made in Los Angeles in 1946, by the pool at the famed Town House Hotel, a locale we've talked about more than once. Find out why by clicking its keywords below and scrolling through those posts, and you can do the same with Jergens if you want to see what else we've posted about her.
Up and coming actress gets weeded out of Hollywood.
It was during wee hours, today in 1948, that fledgeling actress Lila Leeds was arrested, along with Robert Mitchum and two others, for possession of marijuana. The photo above was shot at her Hollywood bungalow a few days later to accompany a Los Angeles Times article about the arrest. Leeds was out on bail, and was given the opportunity to explain the circumstances around that fateful night. Her home had been portrayed in newspaper accounts as a party spot for drug users, a characterization she denied. She explained to Times readers that she'd rentedthe place because it was feminine, and because it had space for her two dogs. She also admitted that she used marijuana, which considering she hadn't gone to trial yet maybe wasn't a great idea. When Leeds had her day in court she was convicted of “conspiring to violate state health laws,” and sentenced to sixty days in jail. Robert Mitchum went to jail too, and fretted that his career had been ruined, but it was Leeds who never got another shot in Hollywood, apart from a role in the 1949 drug scare movie Wild Weed, aka The Devil's Weed, aka She Shoulda Said No. And indeed, she probably shoulda said no, because in 1948 a woman who got out of her lane was always severely punished if caught. But even if the drug conviction cost Leeds her career, she remains part of Hollywood lore, and though that's small consolation, it's still more than most can claim.
B-movie actor generates A-list headlines for all the wrong reasons.
Show business careers go off the rails for a wide array of reasons—lack of talent, lack of audience appeal, substance abuse, and a predilection for general mayhem all come to mind. Hollywood actor Tom Neal fits legendarily into the last category. From his debut in 1938 through 1951 he logged more than seventy film appearances. That's incredible output by any measure. Most of his roles were in b-movies, but there were some notable parts mixed in. His career highlights included Another Thin Man, the film noir Detour, and Crime, Inc.
Neal caused minor scandals early in his career, but he graduated to the majors beginning in early 1951, when he met tempestuous actress Barbara Payton and the two began dating. Payton had announced her engagement the previous year to debonair leading man Franchot Tone, but her ideas about commitment weren't of the standard variety. She was still married to an Air Force Captain named John Payton while dating Tone, and had allegedly slept with Gary Cooper and Steve Cochran while working with them on the 1950 western Dallas. When Neal met her, she kicked Tone to the curb and announced she and Neal would be marrying. But Payton was fickle, to say the least, and ended up dropping Neal and getting re-engaged to Tone. All this while still married to her Air Force guy.
One thing Hollywood people can count on is crossing paths with their colleagues at one point or another—especially if they're dating the same woman. When Neal crossed paths with Tone and Payton in September 1951 at her apartment, he intended to punish the man who had won Payton's hand. Everyone in Hollywood knew Neal had been an amateur boxer. Maybe the qualifier “amateur” gave Tone excessive confidence. Maybe he didn't know that Neal, who you see below with barbells overhead and a tube sock in his shorts, had accumulated a 31-3record in the ring. Maybe Tone slipped on a dollop of Beluga caviar. Payton said Tone simply had no choice about fighting because Neal attacked him. Whatever the reason, Neal floored Tone with his first punch, and continued to beat him afterward, delivering cheek and nose fractures. Tone lay in an eighteen hour coma in the hospital. Ironically, that was the day Payton's divorce had come through. 1951 had been a pretty good year for Neal up to that point. But from then onward he was Hollywood persona non grata. He'd had more roles in ’51 than he would the entire rest of his career. We wouldn't go so far as saying that means Tone had the last laugh, since it would have been a extraordinarily painful laugh, considering the injuries and cosmetic surgery that followed. But okay, in that karmic way that's never fully satisfying, Tone at least must have felt a bit of Schadenfreude. Neal was blacklisted, and Payton was his. The good times didn't last. Hesoon discovered that Payton—wait for it—had never stopped seeing Neal, including while Tone was in the hospital with a broken face. So there went that marriage. It seemed as if Neal had unequivocally won Payton's affections after all, and she does look happy in the 1952 photo above, but it's probably no surprise to learn that the two parted ways after a few tumultuous years, some broken windows, and at least one police intervention. Payton went on to have truly epic problems that would put a South American novela to shame. Neal nursed his severely damaged career along, landing only occasional minor parts, and by the time the ’60s rolled around couldn't beg, barter, or buy a role. He had been married for a few years during the late ’50s, and in 1960 he married again, to a receptionist named Gale (sometimes Gail) Bennett, who you see below. In April 1965 police were summoned to Neal's home in Palm Springs where they found Bennett dead. She had been shot through the back of the head with .45 calibre pistol, the slug entering her skull behind her right ear and ending up in a sofa cushion. Neal wasn't on the premises when police arrived, but was soon arrested, and claimed the shooting had been an accident, the result of a struggle over the gun after his wife pulled it on him.
Accounts of the killing vary, as they always do. In some, Neal shot Bennett as she was taking a nap. In others, they argued. We even found one that said Neal claimed the accident occurred while he and Bennett were making love. At trial Neal's defense attorney claimed a mystery man had pulled the trigger. We were struck, however, when we found that Bennett had secretly filed for divorce, and in the filing specifically mentioned Neal threatening her with a .45 automatic. If that detail struck us, it certainly must have made an impact on the jury. In the end, after a sensational trial, the dozen jurors convicted Neal of involuntary manslaughter.
Neal spent only six years behind bars before being paroled. That's a pretty sweet deal for what many suspected was a clearcut case of premeditated murder. Also, note that during the dust-up with Tone, one witness said Neal threw more than thirty punches after Tone was down. That could be construed as attempted murder, were you inclined to put a label on it, and if that was the plan it almost worked. Doctors thought for a while Tone would never awaken. Neal was a rough and tumble fellow, there's little doubt. But looks and a bit of charm will carry you a long way in life. Eventually, though, even those can run dry. Neal died eight months after his release from prison, aged fifty-eight, of heart failure, looking a shell of his former self.
Sparks fly when Hollywood bigshots tangle.
The above photo, which was made today in 1952, shows Los Angeles film producer Walter Wanger entering the L.A. Hall of Justice. Wanger was one side of a Hollywood love triangle, and perpetrator of one of Tinseltown's most storied crimes. He had learned that his wife, actress Joan Bennett, was cheating on him with her agent Jennings Lang. Wanger decided to deal with the issue by trying to shoot Lang in his wanger. Stories vary concerning whether he actually managed to Jake Barnes the guy, but most reputable sources say he missed his target and instead hit Lang in the thigh, groin, or both, depending on which account you read. That was in December 1951. Wanger would be arrested for assault with intent to commit murder.
In the photos below, also from today 1952, you see Wanger inside the courthouse preparing to answer for those charges. At his side is Hollywood superlawyer Jerry Giesler. You'd think even a superlawyer would have a difficult task defending a client who tried to to eunuch a guy, but this was Giesler. Beating impossible odds was his calling card. He opted for the temporary insanity defense, and thanks to him, Wanger drew a mere four months at a country club jail called Castaic Honor Farm—fitting for an inmate who claimed to be defending his honor. There Wanger worked in the sun planting cabbages and probably pondered what had gone wrong in his marriage leading up to that fateful 1951 shooting. Some accounts claim Wanger merely suspected Bennett of cheating, but others claim convincingly that Wanger knew it for a fact, because he'd hired a detective who found that the lovebirds had met in New Orleans, the Caribbean, and in a Beverly Hills apartment owned by one of Wanger’s friends, the agent Jay Kanter. Despite his wife's transgressions, Wanger must have found some form of peace out there under the Castaic sun, because he remained married to Bennett for fourteen more years. The wounded Lang recovered fully, and presumably used his wanger on safer partners. A few years after his near miss he married and stayed married until he died. As for Bennett, her career declined sharply, and she believed it was because of the shooting. She felt she had been blacklisted. She once said, “I might as well have pulled the trigger myself.”
Neither snow nor rain nor heat nor gloom of night can stay her from the swift completion of her appointed seduction.
Above is a trolley card for the classic Lana Turner/John Garfield film noir The Postman Always Rings Twice, which according to the text, opened at the Egyptian Theatre in Los Angeles today in 1946. What's a trolley card? Pretty much self-explanatory, that. But you don't see many surviving examples, so this is a real treasure. The opening date represents new info. All the websites we checked said the movie opened in L.A. May 9. Maybe the managers of the Egyptian had connections at MGM. Awesome connections, we guess, to have helped them beat the rest of town by two full days. With that kind of juice, it's safe to assume they only had to ring once at the studio gates. We worked in the L.A. film industry. Relationships are everything. Or maybe the movie actually opened today, and the internet is wrong. Wouldn't be the first time. Not that we're trying to sound superior. We've made errors more than once. Interestingly, we were able to locate a vintage photo of the Egyptian with its marquee advertising Postman. It's a great movie. Nobody needs us to tell them that, but we did anyway, at this link.
So, I'm off to that crucial business meeting with— Wow, that thing's transparent, isn't it? Well, money can wait.
Above, a beautiful Bob Abbett cover for William Campbell Gault's Sweet Wild Wench, published by Crest Books in 1959. Abbett used a still of Brigitte Bardot from the 1958 film En cas de malheur as his inspiration. It certainly worked on us—we wanted to read this entirely because of the cover art. The story deals with a promiscuous private eye named Joe Puma who's hired to look into the activities of a Los Angeles cult, but soon finds himself tangled up in two murders, multiple lovers, and various pulp fiction tropes, which his main character actually refers to in his interior monologues as being like “something out of the pulps.” We appreciated the meta touch, the narrative has a nice L.A. feel, and there's a pretty good fight scene about three quarters of the way through, but the long and winding mystery resolves with a fizzle. Two Gaults down, two meh results. We'll dutifully try another.
Rudy Ray Moore explodes onto the film scene and people can't believe their eyes.
We said a while back after watching the blaxploitation flick The Human Tornado that we'd check out its progenitor Dolemite, and though it's taken years and a quarantine, we've finally arrived where we said we would. The premise of Dolemite is simply that the titular character is released from prison in order to prove his innocence of the charges that landed him inside for, so far, two years of a twenty year sentence. The motivation behind this for authorities is that crime has shot through the roof in Dolemite's Los Angeles neighborhood. If he can fix the problem he can earn a pardom. Sounds fine, he says, plus he plans to settle some old scores along the way.
Going into this you have to accept that man-boobed fat-ass Rudy Ray Moore is going to play an infinitely dangerous, athletically gifted, sexually irresistible urban crusader. In addition you have to accept that the low budget nature of the production means some of the acting will be face-palmingly atrocious. What you have left, then, after making concessions, is style, commentary, and comedy. Moore provides plenty of the first with his pimplike persona and occasional forays into rhyming slang, and commentary is built into the blaxploitation genre, but the comedy is dependent on how near to a sober state you are. We were far too near at first, less so later, and the film improved.
Some cinephiles will label you a cultural philistine if you dare to dislike Dolemite. They're wrong. Except for the musical numbers the movie is empirically terrible. Truly appreciating it may depend on how deeply you can immerse yourself into a contemporaneous mindframe where what you're seeing is unlike anything you've seen before (which is certainly how audiences of the era must have felt), and therefore impresses you with its freshness and grit. If you can do that, the microphones dangling in shots and bit players who struggle to remember their lines will fade, and instead Dolemite might impress you as a landmark entry in the blaxploitation canon, worth watching for that reason alone.
Then again it might not, because there are at least two-dozen better entries, and as a matter of respect for the genre that fact has to be admitted, no matter how many hipster reviewers with scraggly neckbeards tell you Dolemite is an overlooked gold nugget. It is what it is—a lower tier, lowest budget indie flick with a few legit laughs, such as when a cop sees that Dolemite has literally karate-clawed a guy's mid-section open, says, impressed, “God damn, Dolemite,” and administers a double-tap coup de grâce. But Moore would prove those flashes were luck, not skill, when he lensed the crushingly bad sequel a year later. Dolemite premiered in the U.S. today in 1975.
Sometimes you simply have to look.
You know you shouldn't look at them. You try to direct your gaze where it belongs—at the band, or at the Champagne pyramid, or maybe at the roasted baby pig platter. You see people staring and know if you do too they'll all catch you. But the effort of not looking becomes a Sisyphean task. Lateral gravity becomes your enemy. Your eyes keep getting puuuuulled in that direction and you keep stopping them, just barely, by firing the reverse thrusters full power. But then, after many slow mintues of this torture, you figure, well screw this, maybe one day the planet will be in lockdown and this opportunity won't even exist. So you decide to take a really good look, just one, to get it out of the way, because if you don't you'll be fighting it all night. Plus she wants them to be looked at. Clearly. So you look—and flash! Someone takes a photo and your glance is immortalized as the evil side-eye of all time.
That moment happened April 12, 1957, as Sophia Loren attended a glittering Paramount Pictures dinner where she was the guest of honor. It was held at Romanoff's in Beverly Hills, a chic and popular restaurant, and Mansfield—being Mansfield—arrived last and sucked up the oxygen in the room like a magnesium fire. Every camera in the joint was following her—and by extension Loren, because the seating chart had placed them adjacent. Loren was a big star, but stars sometimes get trapped in other stars' orbits. Loren and Mansfield got locked into the same space-time continuum, eyes moved to boobs, and the infamous photo was shot. The images of the encounter were all in black and white. What you see above is a colorization, a pretty nice one, except the retoucher didn't do their homework. Mansfield's dress was pink that night. She nearly always wore pink. It was her favorite color. Even her house was pink. The colorization below gets the dress right, and this second angle shows just how much skin Mansfield was revealing, which gives a clearer indication why Loren had to look. Mansfield's nipples were coming out. They had fishhooked Loren's eyes. She couldn't not look. Not not doing something is an ethical conundrum we've discussed before, and it's baffled some of the greatest minds of all time. As you might imagine, Loren hates the shot. Sometimes fans ask her to autograph it and she says she always refuses. The dinner that night was intended to welcome her to Hollywood. Well, she was welcomed in more ways than one. Mansfield showed her a surefire method for playing the celebrity game, by always making a big entrance—even if it meant almost making a big exit from her dress.
The headlines that mattered yesteryear.
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.
1940—Smedley Butler Dies
American general Smedley Butler dies. Butler had served in the Philippines, China, Central America, the Caribbean and France, and earned sixteen medals, five of which were for heroism. In 1934 he was approached by a group of wealthy industrialists wanting his help with a coup against President Franklin D. Roosevelt, and in 1935 he wrote the book War Is a Racket, explaining that, based upon his many firsthand observations, warfare is always wholly about greed and profit, and all other ascribed motives are simply fiction designed to deceive the public.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.