You guys hungry? I've got some piping hot human souls here. They're dee-lish.
The lost world adventure She, starring Helen Gahagan and Randolph Scott, was produced by Merian C. Cooper, who made King Kong in 1933. With him involved you know She is a big production. It's also as pure a pulp movie as you'll find. It was based on H. Rider Haggard's pre-pulp tale She: A History of Adventure, which first appeared in 1886.
The story involves a man named Leo following in the footsteps of a distant relative who disappeared five centuries ago searching for a lost land and the secret to immortality. It turns out that secret is real and it's guarded by an ageless goddess, beautiful and cruel, who all those years ago made Leo's distant relative her consort. But he died, which means when the goddess sees Leo she believes he's her dead lover returned from the beyond, and she's determined to possess him again.
Gahagan is the goddess, Scott is Leo the explorer, and Helen Mack is his steadfast love, who takes none-to-kindly to some slutty goddess trying to lay her man. She is cheesy as hell, but it's also a high budget adventure with big sets, elaborate staging, and an insane fire stunt that comes during a chaotic climax. Movies this old always feel a bit alien, but it's still pretty good overall. It premiered in the U.S. today in 1935.
A change has come and it won't be denied.
Is there anything more glorious than a low budget, Philippine made, revolution themed, female centered action movie? Not much. There were many of the type produced, thanks to the clever folks at American International Pictures. The poster above was made for the Italian run of the studio's 1974 epic Savage Sisters, with Cheri Chaffaro, Gloria Hendry, and Rosanna Ortiz. We talked about it and you can see the U.S. posters and read what we wrote here.
Blacula hopes to get a hard restart.
Every blockbuster deserves—or at least spawns—a sequel, and so it was with 1972's blaxploitation hit Blacula, which American International Pictures followed up with Scream, Blacula, Scream. All it really needed was star William Marshall, who in the first movie showed true professionalism by playing his role of Mamuwalde the cursed vampire to the hilt. He does the same here, and with the addition of Pam Grier the filmmakers had their bases covered. Grier plays a Mamaloa priestess who Mamuwalde asks to use her voodoo judo to turn him into a man again. Presumably at that point he'll start his new life with a romp in bed with Grier. We would.
Grier tries to figure out how to transform Mamuwalde, but in the interim he still occasionally gets hungry, which presents the cops with a series of bizarre murders. You know the drill. Bodies are punctured about the neck and drained of blood, but everyone is skeptical about the vampire thing. In short order they change their minds, generally right before departing for the sweet hereafter. At least part of the fun for audiences would have been seeing cops beaten and maimed, and the climax surely offers plenty of that. Does Mamuwalde's scheme to rejoin humanity work? We'll give you a hint: When the man is on your trail bite more, talk less.
We have some nice promo images below. The two of Grier in a red crop top are usually considered to be from Foxy Brown, but she actually wears the outfit in this film. Maybe she wears it in Foxy Brown too. And why not—it's hot. You can read about Blacula at this link, and see plenty more of Miss Grier by clicking her keywords below. Scream, Blacula, Scream premiered in the U.S. today in 1973.
In rankings of America's most liveable places it's at the very bottom.
Destination Murder, for which you see a nice poster above, is a b-movie, but bottom-of-the-bill efforts soemtimes have cool plot set-ups and good twists. In this case it's multiple layers of wrongly presumed identity. Who's really the killer? Who's really the crime boss? Who's really a cigarette girl? In addition, whose side are all these people really on? With more budget we think this one could have been quite good, but alas, you do what you can with what you have, and here you have Joyce MacKenzie, Stanley Clements, and Hurd Hatfield. They're all solid performers who had long careers, but we bet you don't know any of their names. In addition, the writing falters in spots as it strives for sharpness, but ends up dulling its blade. For example:
“You see, Miss Mansfield, we're dealing with killers. And a killer has only one destination—murder.”
The writing hurts the end of the film as well, as the structure of the climax and the need to work a recurring player piano into matters strain credulity. But Destination Murder isn't a loss by any means. MacKenzie, playing a woman who infiltrates the mob in order to find her father's killer, has to carry the important parts of this film and manages it despite both budget and screenwriting hanging around her ankles. For fans of vintage film, this forgotten quasi-noir should be sufficiently entertaining, as long as you don't spend too much time imagining how much better it could have been. It premiered in the U.S. today in 1950.
Worst vacation spot in America, here we come! Take a close look, ma'am. Asses are just as unique as faces, and equally admissible in court. I don't think it's that one. The man I saw had a chin.
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.
Famed director ends up with too many cooks in his kitchen.
The film noir The Lady from Shanghai, starring Hollywood icons Rita Hayworth and Orson Welles, and directed by Welles, premiered in 1947 but reached Australia today in 1948, with this stunning promo poster having been distributed Down Under to help attract audiences. This film had amazing promos in many countries, some of which we'll show you later, and they all spelled Welles' last name correctly, which this one didn't. All the brilliant poster work around this movie is ironic, because Harry Cohn, who was the shot-caller at Columbia Pictures, hated it. He even shelved the flick for a year while he waited for what he deemed to be the best date to release it. When he finally did, what audiences saw was a radically altered version of Welles' original edit.
What did Cohn specifically hate about the film? Foremost there was its length, which was 155 minutes, and which Cohn ordered condensed, with the final running time coming to a mere 88 minutes. He also felt Hayworth didn't have enough close-ups, so he had those shot during extensive re-takes. Hayworth also didn't have a song, which was standard for film noir leading ladies, so Cohn had a number added and had Hayworth's voice dubbed. He hated the lighting, which he felt was a negative result of Welles choosing location work over controlled studio conditions. And he especially hated that Hayworth had agreed to chop off her auburn hair and dye it platinum. The list goes on but you get the point—clashing creative visions. Nothing new in Hollywood.
The Lady from Shanghai finds Welles playing a typical film noir schmo who falls in love with a femme fatale and is drawn into a murder plot. Other familiar film noir tropes include a trip to Mexico (not in the original novel by Sherwood King) and a tense court showdown. But what's decidedly uncommon here is Welles' visual mastery of the cinematic form. His abilities there have been exhaustively discussed and are in no way overrated, but visuals are only part of the filmic equation. There's also narrative pace and story cohesion and emotional tone, and those are areas where the movie runs into a bit of trouble. Since Welles' cut was so much longer (and presumably better) than what has ever been seen by the public, many of those problems were probably introduced by clumsy third parties.
But we can only judge what we see. Since all that missing footage is thought to have been destroyed, it takes a major leap of faith to see a masterpiece in what Welles himself thought was a diced up travesty of his original vision. We don't understand how anyone can truly revere him, yet disregard his artistic opinion. But that's exactly what some contemporary film writers do. We recently read a review that discussed how well the visuals and music work together, but Welles hated the score, which he had no control over and which lacked the subtlety he wanted it to have. We suggest that a critic is trying way too hard when they lavish praise upon a director for something he didn't even do. Welles was a genius—agreement on that point is universal. But even geniuses are not so magical that their abilities can overcome the artistic myopia and careless scissors of studio heads.
The Lady from Shanghai received mixed reviews when released, and ultimately, those reviews strike us as fair. There's plenty here worth seeing, particularly the ravishing Hayworth and nice location work in Acapulco and Sausalito, and of course Welles makes shots like Steph Curry makes 3s. But even so, the final result is good but not great. Not a failure, but not a top notch film noir. Calling The Lady from Shanghai one of the best of the genre is just unfair to the many, many great noirs that were made. Still, if you're a noir fan you should see it. And we're confident you'll enjoy it like we did. On the other hand, if you've never watched a film noir and this happens to be first one you see, we can easily picture you giving a shrug and drifting away from the genre, never to return.
The worst part is when he takes the car without asking.
Here's a photo of Sunscreen Chimp, or Bobo as he likes to be called, who is almost identical to a chimp we showed you in an Acme Newspictures photo a while back. You may remember we went searching for one of these fellas to rub sunscreen on the Pulp Intl. girlfriends' backs so we could relax in the shade. Seemed like a good idea at the time, but as you can see, Bobo, that cheeky fucker, has made himself at home, and is sunning himself by our pool instead of doing the job the animal traffickers guaranteed us he'd do. Now not only do we still have to rub sunscreen on our girlfriends' backs, but we also have to fetch Bobo banana daiquiris. We just can't win.
All she needed was for someone to believe.
Paulette Goddard had more false starts to her career than most Hollywood legends. During the late 1920s and early-to-mid 1930s she worked—without making much impact—for Selznick International Pictures, George Fitzmaurice Productions, 20th Century Pictures, Hal Roach Studios, and both Goldwyn Pictures and Metro-Goldwyn-Mayer. She turned some heads in Modern Times, co-starring with Charlie Chaplain, who was her boyfriend at the time, but her major break came with Paramount when she starred opposite Bob Hope in The Cat and The Canary. She never looked back, appearing in seventeen films in the next five years, and more than fifty over the course of her career. One of those was Northwest Mounted Police, which is where the above promo photo comes. It dates from 1940.
This is a Ride you should refuse.
Not every old movie survives because it's good. If you doubt us, check the contemporary reviews for The Devil Thumbs a Ride. They're disastrous. What you have here is a clunky RKO b-noir, only sixty-seven minutes long, about a bank robber who hitches a ride with an amazingly naive driver and proceeds to drag him into the worst trouble of his life. The pair and two women they pick up during a pit stop eventually end up in a secluded house where the villain reveals his true nature as a liar, bully, sexual predator, and worse. You have to feel bad for these dullards victimized by the hitchhiker, but you'll feel worse for the audiences that paid money to see the movie. Way back in 2009 when we featured the film's other promo poster we hadn't yet seen it, but now that we have we can't recommend it. Its terribleness does verge on humor at times, though, which is something, and movie buffs might be interested to know that it stars Lawrence Tierney, who's these days best known for having played Joe Cabot in Reservoir Dogs. But still, not the best vintage Hollywood has to offer. The Devil Thumbs a Ride premiered today in 1947.
Classic pulp magazine goes for the throat.
Above is a selection of fifteen action covers from the pulp magazine Spicy Western Stories, dating from the late 1930s and early 1940s, and you've certainly noticed the choking. Those pieces are by H.J. Ward, and he worked extensively in the pulp sub-genre known as weird menace, which involved women in various forms of baroque peril. The magazines were generally mystery and horror, and while bondage, burning, cutting, and branding were common motifs in weird menace art, choking wasn't that common. It seems to have been Ward's special thing. Maybe he had a time machine and got the idea when he traveled to 2019 and saw some of the terrible American porn that's become popular. In any case, the imagery is odd as hell, and more than a little disturbing, but it's undeniably proficient.
The headlines that mattered yesteryear.
1969—Manson Followers Continue Rampage
A day after murdering actress Sharon Tate and four others, members of Charles Manson's cult kill Leno and Rosemary LaBianca. Manson personally orchestrates the event, but leaves the LaBianca house before the killing starts.
1977—Son of Sam Arrested
The serial killer and arsonist known as Son of Sam and the .44 Caliber Killer, is arrested in Yonkers, New York. He turns out to be 24-year-old postal employee David Berkowitz. He had been killing people in the New York area for most of the previous year.
The United States detonates a nuclear bomb codenamed Fat Man over the city of Nagasaki. It is the second atomic bomb dropped on Japan. 40,000 to 75,000 people are killed immediately, with tens of thousands more sickening and dying later due to radiation poisoning. The U.S. had plans to drop as many as seven more bombs on Japan, but the nation surrendered days later.
1969—Manson Followers Murder Five
Members of a cult led by Charles Manson murder pregnant actress Sharon Tate and coffee heiress Abigail Folger, along with Wojciech Frykowski, Jay Sebring, and Steven Parent. The crimes terrify the Los Angeles celebrity community, and even today continue to fascinate
the worldwide public.
1963—Gang Pulls Off Great Train Robbery
A fifteen member gang robs a train of £2.6 million at Bridego Railway Bridge, Ledburn near Mentmore in Buckinghamshire, England. Thirteen of the fifteen are later caught, but some subsequently escape from prison, and one, Ronnie Biggs, is only recaptured in 2001 after voluntarily returning to England.
After two years of public outcry over the Watergate scandal, U.S. president Richard M. Nixon announces to a national television audience that he will resign, effective the next day. Vice President Gerald R. Ford completes the remainder of Nixon's term.
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