Everyone knows it's impolite to stare. Well, almost everyone.
When you look out your window there may be nobody on the street, but The Girl Watcher has come to the rescue with some time killing imagery to brighten your lockdown. Only two issues of this magazine were ever published, as far as we know, with this one coming this month in 1959. Inside you get plenty of photos by lensman Earl Leaf, including rare shots of Mamie Van Doren, Susan Harrison, June Wilkinson, Danish model Elsa Sorenson (aka Dane Arden), and some unidentifieds. While meant to be humorous, this magazine is textbook mid-century sexism, something scholars could use to fuel semesters of women's studies classes. It speaks of women as prey to be stalked, ambushed, and captured, and while it's not meant to be taken anything close to literal, it still carries a powerful suggestion that male desire trumps female self-determination. In general this attitude has changed for the better since then, with the result that the American mating game has greatly improved. While in general men still look at women almost anywhere, most understand there are unaccepable and acceptable times and places to do so—bars and parties being good examples of the latter. Men look, and always will. Women look too, and always have, more subtly. And increasingly, both look at digital apps—which is not nearly as much fun as in the flesh, but it certainly confers women more power and safety, even if it's inherently restricting in terms of choice. The Pulp Intl. girlfriends would never have chosen us if we'd had to entice them with online profiles designed to sell us as perfect matches, but when randomly thrust into the same social gathering, the concept of perfect did not apply—it was game over folks! Um, forty-plus scans below.
When men were men and Mamie was their obsession.
This is an unbeatable poster for Mamie Van Doren's crime thriller Girls Guns and Gangsters. The title is about as descriptive as they come. Van Doren is involved with a bunch of crooks who want to rob an armored car as it motors casino winnings from Las Vegas to Los Angeles. The plan is to shoot its tires—and anyone who gets in their way. While the caper is central, the plot is equally driven by everyone's sexual desire for Van Doren. Gerald Mohr in particular is constantly in her grill, and watching her fend off his persistent advances is squirm inducing. There's a fine line in old movies between desire and violence, so of course he crosses it by slapping her at one point, then trying twenty seconds later to kiss her. And the dude is really surprised to be rebuffed, like, “Huh?”
Put the blame on Mame? No, put the blame on men. They're all bad in this one. Van Doren's husband, Lee Van Cleef, is the worst of them. He breaks out of prison because she's asked him for a divorce. Everyone knows he'll kill anyone who even looks at Van Doren, which is problematic, considering gangster number three Grant Richards has been filling in for Van Cleef, so to speak, for quite a while. What a mess Van Doren is in. The robbery seems easy by comparison, but it wouldn't be a crime thriller if that went off without a hitch. Van Doren doesn't go off without a hitch either, because she isn't an expert actress and she sure as hell doesn't nail her singing numbers. But she's a great presence. That's enough to make an enjoyable movie. Girls Guns and Gangsters premiered in the U.S. this month in 1959.
The more things change the more they stay the same.
Above is a cover of the U.S. tabloid Inside Story published this month in 1955. There's a lot in this magazine, but since we keep our write-ups short we can't cover it all. One story of note concerns Betty Furness, an actress and pitchwoman whose squeaky clean image Inside Story claims is false. This is a typical angle by mid-century tabloids, the idea that a cinema or television sweetheart was really a hussy, lush, ballbreaker, or cold fish. Furness receives slander number four, with editors claiming she has “ice bound emotions,” “a cold, cold heart,” and is, “tough and tightfisted.” It's interesting that sixty years later resistance to a woman being anything other than a nurturer really hasn't diminished all that much, as many women with high public profiles would confirm.
Another story concerns the death of actress Virginia Rappe and the subsequent arrest of Fatty Arbuckle. In short, Rappe died after attending a party thrown by Arbuckle, with the cause of death attributed to either alcohol induced illness or rape and sodomy with a Coke bottle. Arbuckle went to trial three times before winning a final acquittal, though certain details of the death remained murky. The case was muddied by the influence of sensationalistic journalism, as publishing mogul William Randolph Hearst's nationwide chain of newspapers deemed sales more important than truth. The Coke bottle, for example, was entirely fabricated, but Hearst was unrepentant. He'd fit into the modern media landscape perfectly today, because for him money and influence justified everything.
And speaking of money, a final story that caught our eye was the exposé on the record business, namely the practice of buying spins on radio. The term for this—“payola”—was coined in 1916 but not widely known until the ’50s. Inside Story helps spread the terminology with a piece about pay-for-play on national radio stations. Like the previous two stories, this one feels familiar, particularly the idea that the best music rarely makes it onto the airwaves. Those who engaged in payola understood that people generally consumed whatever was put in front of them, therefore what was the point of worrying about quality or innovation? This remains a complaint about entertainment media today, but repetition still rules. To paraphrase the famed colloquialism: If you ain't going broke, don't fix it. We have thirty-plus scans below.
Parisian publisher does erotica as only the French can.
Today we have for your enjoyment an issue of Paris Frou Frou, #46, published in 1956. This was the brainchild of S.N.E.T.P., which decoded is Société Nouvelle D'editions Théâtrales Parisiennes. See, the French understood that smut must wear a fig leaf of intellectualism, which is exactly why we write so much on Pulp Intl. rather than just publish reams of nude photos. Hah, just kidding (did we mention the Pulp Intl. girlfriends are out of town?). The eroticism is just a bonus that comes with all the fiction, film, and art. And it's a bonus that helps our traffic.
Anyway, on the cover of this mag is Austrian actress Nadja Tiller, and the rear features a nice shot pairing yanks Lori Nelson and Mamie Van Doren. With a wrapper like that the inside must be nice, and indeed it is. You'll see Sabrina, the one-name star time has forgotten, as well as U.S. nudist model Diane Webber, aka Marguerite Empey. If your memory is very sharp you'll recall one of the same Webber photos appearing in an issue of the U.S. magazine Male from 1958 we shared a while back. Mixed in with the celebs is the usual assortment of Parisian showgirls. We'll revisit Paris Frou Frou later.
They say even bad publicity is good publicity.
In this March 1957 issue of the tabloid Behind the Scene editors take swipes at assorted Hollywood icons, among them Yul Brenner, John Wayne, and others. Highlights include the allegation that Elvis Presley's career is mob controlled, that camera clubs are just fronts for porn peddlers, that Hedy Lamarr used Linda Lombard as a body double for Samson & Delilah, and that Lucrezia Borgia is the sexiest movie ever made. Also Mamie Van Doren's “secret weapon” is that anywhere she goes she always wears the least clothing of any woman present.
The shocking tales about Brynner have mainly to do with his claims of being a real life man of action, born on the Russian island of Sakhalin to Mongol ancestors. The truth was more mundane, but the lies helped Brynner establish himself as a star. As far as Elvis goes, he was dogged by rumors of Mafia ties later in his career, but this mention of a connection as far back as 1957 was a surprise to us. As always, people on both sides of the issue are willing to shout their version of the facts to the mountaintops, but nobody really knows who’s telling the truth. We’ll check with Elvis himself on this, since he lives just over in the next town since faking his death in 1977.
The interesting story here is the one about Gail Russell and John Wayne. Their acquaintanceship began when they starred in Angel and the Badman together in 1947, and continued when they reunited for Wake of the Red Witch in 1949. Whether they were more than just friends, nobody really knows. At the time Wayne was married to Esperanza Baur Díaz, and the relationship was marred by drinking and fighting, including one incident when Baur shot at Wayne. When the divorce inevitably came, it turned into one of the nastiest splits in years, with Baur accusing Wayne of being a violent drunk who beat her and fucked around with various women, including Russell, and Wayne accusing Baur of hanging around sleazy dive bars in Mexico, hooking up with strange men, and spending his money to entertain them.
The divorce was in 1953, but Behind the Scene, with this cover, is offering its readership dirt from an event that was still fresh in the public’s minds because it had been such a knock-down-drag-out spectacle. Russell had never weathered the limelight well, and she used booze to cope. Her long term drinking problem was exacerbated by the turbulence surrounding the Wayne-Baur split. Two weeks after the divorce she was arrested for drunk driving. It caused Paramount to decline renewing her contract, and she kind of floated around for a few years, trying to hook on with a new studio but drinking steadily all the while. In 1955 she crashed her car and fled the scene, and in early 1957 she drove though the plate glass windows of Jan’s Restaurant in Hollywood.
With hindsight, it’s clear Russell was in a death spiral, but in the Tinseltown of that day the situation was perhaps not so obvious. In August 1957, Russell was found unconscious in her home, passed out after a drinking binge. Even in Hollywood, she had now crossed the line from being merely a party girl to having a problem. She was persuaded to join AA, but couldn't stop drinking, and in August 1961 was found in her L.A. apartment, having died from liver damage, aged 36, another beautiful star that flamed out. All that and more, in thirty-plus scans below.
Mamie Van Doren makes her mark on a Generation.
We think this is a beautiful promo poster for The Beat Generation, but don't let its colorful nature fool you—the movie is surprisingly dark. It uses the beatnik counterculture as a backdrop, but really has nothing to with it, except to belittle it. Steve Cochran plays a Los Angeles detective chasing after a serial rapist. Through a random encounter, the rapist becomes aware of Cochran and decides to make his wife a victim. Will he get away with it? You'll have to watch the film. We can tell you its most dramatic aspect involves whether a rape victim can obtain an abortion. The never explored details of how she plans to do it don't matter, because we know she'll change her mind.
You can't blame the movie for being predictable in that respect, though. How else was it going to go in the 1950s? The main thing to keep in mind about The Beat Generation is that it was mismarketed—deliberately, we suspect—to trick younger cinemagoers into forking over their cash for a Trojan horse message movie. We're not big fans of that sort of chicanery, but it's well produced, reasonably good, and as a bonus features Fay Spain, Irish McCalla, Robert Mitchum's brother Jim, and Steve Cochran's chest hair. The Beat Generation premiered in the U.S. today in 1959.
Uncensored turns its unique journalistic eye toward Anita Ekberg.
There's nothing quite like tabloid writing, a fact once again amply demonstrated by Uncensored. This issue is from June 1963, and check out this short paragraph from its feature on Anita Ekberg: “This is the Uncensored story of how Prince Philip bagged a rare and exotic Scandinavian pouter pigeon. Though its native habitat is Sweden, this double-breasted dove prefers the warmer climate of Italy. It also migrates as far from home as London and Hollywood.”
Double-breasted dove? They don't write like that anymore, and a good thing too. It's sexist, of course, but the tabs were generally belittling of both females and males—though in different ways. Women were derided for dating around, such as when Uncensored refers to Ekberg as “Sexberg,” whereas men were usually disparaged for not being manly enough. That typically involved either being rebuffed by women, not scoring with enough women, or sexually preferring men. You see this in the story on Marcello Mastroianni, who's called “lazy” for passing on Brigitte Bardot. And you see it in the story on the United Nations, which is referred to as the “U.N. pansy patch.”
From the perspective of 2017, the heteronormative insecurity is pretty obvious. Men are to be prowling wolves, and any failure to live up to the ideal prompts insults; women are to be readily available for action, but not to other men. The story on Ekberg treads the line of admiring her beauty, but being suspicious about the freeness of her affections. There's a photo of her dancing with a black G.I. in Rome, and while the caption is neutral, in the context of the story the meaning of the shot is clear: “Ekberg will even dance with a black man!”
We love the photo. Ekberg looks a bit baffled, as if the soldier is telling her, “We'd be in mortal danger for doing this in most of the United States, you know,” and Ekberg is saying, “What the hell are you talking about?” The photo also shows how tall Ekberg was, almost 5' 7”, probably 5' 10” in heels, which is towering for an actress who needed to star alongside all those mid-sized leading men. We think this is the first time this image has appeared online.
Other elements worth noting in this issue include French actress and Pulp Intl. femme fatale Dominque Boschero as a mermaid, Marlene Dietrich looking dapper in a tux, Jayne Mansfield and one of her famed toy poodles, and burlesque queen Blaze Starr sudsy in a bathtub. There are plenty of other great shots too, and you can see them all below in nearly forty scans. Uncensored will return.
How'd ya like to teach an old dog some new tricks?
Clark Gable poses for a candid photo with Mamie Van Doren, his co-star in the 1958 Paramount romantic comedy Teacher's Pet. Van Doren wasn't Gable's love interest in the film—that was Doris Day. And Day wasn't the pet—that was Gable. The story deals with a grizzled veteran reporter ordered by his editor to help a college professor with her journalism class, and how his initial reluctance turns to attraction. Looks like he was plenty attracted to Van Doren too, though, doesn't it? And really, who could blame him? The photo was made just as production on Teacher's Pet began. That was today in 1957.
Fluff the hair, fix the lipstick, commit third degree felony...
Above is another in our ongoing explorations of Horwitz Publications' usage of rising stars as cover figures for its series of Carter Brown paperbacks. Others we've had trouble identifying, but there's no doubt who this is—Mamie Van Doren, who made this hair lifting move one of her signature poses. Copyright on this is 1956.
It's a different Mame you want to put the blame on—I swear!
This unusual promo photo featuring American sex symbol Mamie Van Doren was made for the MGM crime thriller The Beat Generation, which may not sound like a nail-biter, but tells the story of cop's hunt for a serial rapist who happens to be a groovy beatnik. We gather it's pretty bad, which means we should probably screen a copy at some point. The image dates from 1959, and the Mame reference in our subhead—if you don't know it—comes from a bit earlier. |
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.