Hitchcock says no festival for you this year!
The 73rd edition of the Festival de Cannes, aka the Cannes Film Festival, would have kicked off today in the south of France, but was cancelled a while back. It's just one of a wave of event cancellations that will cascade through the year. Festivals as diverse as Burning Man and San Fermin, aka the Running of the Bulls, have also been shelved. But getting back to Cannes, we thought this would be a good moment to commemorate past fests with some historical photos. Above you see Alfred Hitchcock on a boat with the town in the background, in 1972, and below are about fifty pix from the 1940s through 1970s, documenting various iconic moments, and a few quieter ones. Maybe the Cannes Film Festival will back next year, maybe not. At this point, predicting anything is an exercise in futility. But at least we'll always have the memories.
Edith Piaf sings on the terrace of the Carlton Hotel on the iconic Boulevard de la Croisette at the first Festival de Cannes to be held under that name, in 1946. Back then the event took place in September and October, but would shift to May a bit later. Diana Dors and Ginger Rogers arrive at the fest the only way anyone should—breezing along the beachfront in a convertible, in 1956, with an unknown driver. Kirk Douglas holds court on the beach in 1953, and Brigitte Bardot soaks up rays in the foreground. Michele Morgan poses at the first Festival in 1946. Photo ops of this sort were essential sources of publicity for stars, and would soon become opportunities for non-stars seeking to be discovered. Case in point. Robert Mitchum poses with actress Simone Sylva in 1954. Sylva was allegedly not supposed to be there, but shucked her top and photo-bombed Douglas in an attempt to raise her profile. It didn't work. She made only a couple of credited movie appearances after her topless stunt. Romy Schneider and Alain Delon at the 1959 fest. An unidentified model or actress poses in the style of Anita Ekberg from La dolce vita in 1960. This looks like it was shot at Plage du Midi, which is a beach located a little ways west of the Cannes town center.
A unidentified partygoer is tossed into a swimming pool after La Dolce Vita won the the 1960 Palme d’Or. The Festival is almost as well known for legendary parties as for legendary film premieres. Another unidentified model or actress poses on the boardwalk in 1979. Generally, you don't have to be known to draw a crowd of photographers—you just have to be nearly bare. She's wearing lingerie, so that explains the interest, though this is modest garb for a Cannes publicity stunt. It's never a surprise to see a headline-seeking film hopeful strip all the way down to a string ficelle féminin, or thong, which is the limit of what is legal in Cannes Sidney Poitier and Jean Seberg have a laugh in 1961. This was the year Poitier's flick Paris Blues was released, so it's possible he had jetted down from the capital for the Festival. Philomène Toulouse relaxes on the sand in 1962 while a boy practices the classic French look of disgust he'll be using the rest of his life.
Actor Bernard Blier, 1975.
An unidentified bikini wearer boldly enjoys a lunch in a café on the Croisette, 1958.
Natalie Wood aboard a sailboat in 1962. Grace Kelly, 1955. Kelly times two—Grace Kelly and Gene Kelly, hanging out, also in 1955. Sammy Davis, Jr. poses in front of a billboard promoting his film A Man Called Adam, 1966.
Joan Scott gets sand between her toes in 1955. Scott is obscure. She isn't even the most famous Joan Scott anymore. The IMDB entry for the only Joan Scott near the appropriate age is for an actress born in 1920 who didn't begin acting until 1967. The Joan Scott above doesn't look thirty-five, though, and we doubt she would have been the subject of this somewhat well-known photo without parlaying it into a film appearance before twelve years had passed. So we don't think this is the Joan Scott referenced on IMDB.
Sharon Tate, with Roman Polanski, and solo, 1968. Marlene Dietrich brings glamour to a tiki themed bar in 1958. Tippi Hedren and Alfred Hitchcock release caged birds as a promo stunt for The Birds in 1963. Sophia Loren sits with husband Carlo Ponti, who was a member of the 1966 Festival jury. Raquel Welch poses on a motorcycle in 1966. Jane Birkin takes aim with one of her cameras in 1975.
Dorothy Dandridge frolics in 1955, when she was promoting her film Carmen Jones. Cinematic icon Catherine Deneuve and her sister Françoise Dorléac in 1965. Dorléac died in an automobile accident a couple of years later.
Robert Redford lounges on the beach in 1972. Based on his outfit you'd think he was in Cannes to promote The Sting, but he was actually there for his western Jeremiah Johnson, which screened May 7 of that year. Sophia Loren waves to well-wishers in 1964. Bogie and Bacall paired up and looking distinguished in 1957. John and Cynthia Lennon in 1965, and John with Yoko Ono in 1971. Every story John told on that second trip probably started with, “When I was here with the first love of my life...” until Yoko smacked him across the mouth. Rock Hudson and bicycle in 1966. Unidentified actresses pose on the beach in 1947. To the rear is the Hotel Carlton, mentioned in the Edith Piaf image, built on the Croisette and finished in 1910. George Baker, Bella Darvi (right—your right, not his), and an unknown acquaintance have a surfside run/photo op in 1956. Jayne Mansfield and Russian actress Tatiana Samoïlova enjoy a toast in 1958. Mansfield probably shared the story of how she once made Sophia Loren stare at her boobs, and Samoïlova said, “Cheers to you—well played, you provocative American minx.” French actor Fernandel, whose real name was Fernand Contandin, on his boat Atomic in 1956. Arlette Patrick figures out a different way to generate publicity—by walking her sheep on the Croisette in 1955. A pair of water skiers show perfect form in 1955, as a battleship floats in the background. Jeanne Moreau, for reasons that are unclear, poses on a banquet table in 1958. Most sources descibe this in such a way as to make it seem spontaneous, but we have our doubts. It's a great shot, though. Two unidentified women take in the scene from the terrace of the Hotel Carlton, 1958. This shot is usually said to portray two tourists, but the woman on the left is the same person as in the bikini lunch shot from earlier, which tells us she's a model or actress, and both photos are staged. Like we said, publicity is everything in Cannes.
Danielle Darrieux and Sophia Loren at the 11th Cannes Film Festival, 1958. Italian actress Monica Vitti chills on a boat in 1968. Aspiring stars catch some rays on the Croisette beach in 1955. The two large posters behind them are for The Country Girl with Grace Kelly, and Jules Dassin's Du rififi chez les hommes, both below. The renowned opera singer Maria Callas, 1960.
O'Donnell shows how sex, violence, and style are supposed to be done.
First of all, we recognize that Peter O'Donnell set down his comic strip character Modesty Blaise in book form almost a decade after the Ficklings created Honey West, but we don't think O'Donnell had any advantages. We don't think his way was paved by earlier sexy heroines, or that he was working under fewer constraints because the permissive ’60s were underway. He simply had a better feel for how to titillate readers. But while his 1965 Blaise debut, entitled simply Modesty Blaise, was erotic, it was also carefully plotted, scenically enthralling, and technically convincing. For example, Blaise and her partner Willie Garvin discuss calibres of weapons, preferred approaches to combat, and the logistics of dealing with adversaries in a way that not only feels natural, but lends credibility to what is at its core a preposterous premise.
The premise: Modesty Blaise is an orphan who, abandoned somewhere in the near east, rises from the life of a street urchin to become the biggest crime kingpin in the Mediterranean. She has help along the way, learning how to fight, shoot, organize, roleplay, meditate, dominate men, and generally survive in a brutal world. There's an edge of harsh realism to this fantasy. Her backstory contains two rapes, a gunshot wound, and beatings, but she perseveres to become a feared, almost mythical figure of the criminal underworld, known by name to many but personally only to Garvin, her partner, protector, sounding board, and trainer, who like her is a former street crook.
Modesty Blaise picks up after Blaise and Garvin have retired with a pile of money but are bored. The British government comes calling with a proposal: work for them under minimal management and return to the life that thrilled them, this time on the side of law and order. The government wants Blaise to stop the theft of a pile of diamonds andprevent a potential international incident. They know a man named Gabriel plans to steal them but they don't know how, where, or when. Blaise and Garvin first work preventatively at a distance, but soon realize the only chance they have is to infiltrate Gabriel's deadly organization and be on hand when the theft is carried out.
In the tradition of James Bond, each Blaise villain tends to employ a particularly unusual henchman, and in this case it's a woman, speculated to be hermaphroditic, definitely sadistic, named Mrs. Fothergill, a martial arts expert and slavering loon. The eventual showdown between Blaise, with her analytical mentality, and Fothergill, who's dense but animalistically clever, doesn't disappoint thanks to O'Donnell's descriptive skills, which allow him paint the action in a step by step way that makes it cinematically easy to picture. He may have picked up this ability from visualizing and writing the Modesty Blaise comic strip, or he may have had it all along. In any case, more writers need the gift.
O'Donnell would write twelve more Blaise books, several of which are—within the constraints of the erotic adventure genre—excellent. When we say erotic we don't mean sex defines the narratives. Blaise is merely a red-blooded beauty in the bloom of youth who happens to be free of inhibitions and possessed of strong appetites. Some of the eroticism is wrapped in action. In The Silver Mistress there's a great climax set beside an underground lake where she evens the odds against a physically superior opponent by stripping and coating herself in slippery cave mud. O'Donnell describes her as he might a creature made of mercury, in constant, fluid motion and silvery in color.
And speaking of visuals, the art on this 1966 Fawcett paperback was painted by Robert McGinnis and was a tie-in to a Twentieth Century Fox film adaptation starring Monica Vitti, whose stylized likeness McGinnis placed on the cover. There's also extra Vitti on the rear. As always, this is great work from McGinnis, a master of his craft. As for O'Donnell's craft, now that we've revisited Blaise and Garvin's debut we'll probably take another look at a few of their other adventurous forays. But this one we can strongly recommend, both on its own and as a superior alternative to Honey West.
Redhead risks serious sunburn to get a base tan.
Belgium's Ciné-Revue is one of the best film magazines of the mid-century era. It's also one of the hardest to scan. Not only do the pages need to be scanned in halves and joined via computer, but the tiny text makes lining the halves up a real challenge. We didn't think about that when we bought a stack of these in Paris several years back, and now the sheer effort involved causes us to doubt we'll ever get them all uploaded. But we managed to carve out a few hours, so today we have this issue from May 1975 with French actress Marlène Jobert doing a little topless boating on the cover, hopefully well slathered in sunscreen. Jobert also features in the beachy center spread wearing even less clothing (and theoretically more sunscreen), but the real star of this issue is Bette Davis, who receives a career retrospective with shots from seemingly every movie she ever made. You also get William Holden, Jane Birkin, Dominique Sanda, Sidney Poitier, Sophia Loren, Rita Hayworth, Agostina Belli, a feature on Steven Spielberg's Jaws, and much more, in forty-plus scans.
An itty bitty glimpse of Vitti is almost as good as the whole thing.
It’s not what you reveal, but how you do it. This shot showing about ten percent of actress Monica Vitti is one of the more provocative images we’ve seen of her. It comes from 1966 and was made when she was filming the adventure Modesty Blaise in Italy.
La Vie Parisenne offers readers an enticing mix of cinema, illustration and photography.
Above, La Vie Parisienne #202 of October 1967—more than one hundred years into its existence by this point—with an uncredited cover star, and interior photos of Gina Lollobrigida, Dany Carrel, Terry Martine, Jane Fonda, Slovenian actress Sceila Rozin, aka Spela Rozin, and other celebs. There’s also a shot of Talitha Pol from Barbarella, and some of you may remember she married the fast living John Paul Getty, Jr. (he of the kidnapped son, though not Pol’s) and later died of a heroin overdose. You also get some truly excellent ink illustrations by the diverse James Hodges, not to be mistaken for contemporary artist Jim Hodges. James Hodges was a French pin-up artist of the 1960s who also became a magician and illustrated magic books, painted playing cards, and designed stage sets. See more from La Vie Parisienne here.
The FBI’s ten most wanted.
Above, a mix of ten covers of F.B.I. and F.B.I. Selecciones, published by two Spanish companies, Bruguera and Ediciones Rollán, during the 1960s and early 1970s. Art is by Prieto Muriana and others. Also, you may notice that cover three is modeled after a famous portrait of James Dean, and, though we aren't 100% sure, cover ten, just above, looks like it was based on Monica Vitti.
Peter O’Donnell’s Modesty Blaise is required reading for fans of pulp.
Above is one of our recent finds, a 1966 French edition from De Noël of British writer Peter O’Donnell’s Modesty Blaise, based on his iconic comic strip of the same name. If by chance you aren’t familiar with the character of Modesty Blaise, let’s just say she’s the archetype for every female ass-kicker from Lara Croft to Charlie’s Angels. Her background is too complex to get into in a short post, but the quick version is she began life as an orphan somewhere in the Middle East and rose at a young age to become the head of a vast crime syndicate called the Network. She eventually retired, but sometimes works as a sort of a freelance spy for the British government.
The cover art here is a screen of Italian actress Monica Vitti, who played the lead in a 1966 film adaptation that failed to capture the essence of the character or the scope of her adventures. A 1982 television adaptation didn’t do much better, and a cheapie 2004 effort that was made so the rights wouldn’t revert from the then-owners was monumentally bad. One of those owners was Quentin Tarantino, but he hasn't said if he’ll helm a fresh adaptation. If you haven’t read any Modesty Blaise, we recommend you remedy that immediately. It’s light, but O’Donnell still manages to deliver some thrills along with a healthy dose of eroticism and humor. And in the meantime us Modesty fans will just keep waiting for a film that does the character justice.
Italian actress Monica Vitti, star of several great Michelangelo Antonioni films, as well as one critically slammed English language film, the camp spy thriller Modesty Blaise, shown here circa 1967 in a shot published in the Italian magazine Triunfo.
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