|Femmes Fatales||Apr 23 2021|
We wonder if anyone warned her she was running out of sidewalk?
Because we're always seeing the ridiculous in even the most innocuous situations we can't stop imagining U.S. actress Leigh Snowden continuing to walk looking over her shoulder until she falls off the end of the sidewalk. Which would be ironic because she was famous for her graceful walk. These three promo images were originally made in 1956 as a single triptych to demonstrate precisely that grace. We've helpfully broken the original composite down to its constituent elements. Does Snowden look unusually graceful? Sure, we guess so—right up until the faceplant.
The full story is on the rear: Leigh Snowden demonstrates the walk which started her on the road to movie stardom. Jack Benny gave the first slight shove to the young actress who not long ago was singing in the choir in Covington, Tenn. He took her along as feminine interest for a performance of his tv show at the naval base in San Diego, early in 1955. All she did was walk on. Twenty thousand sailors let out with whistles and wolf calls which were heard in Hollywood. Leigh, unknown a few days earlier, had her choice of 11 studios and independent producers.
|Vintage Pulp||Apr 20 2020|
Laura Gemser makes an emancipation proclamation.
As you've deduced from the above Italian poster for La via della prostituzione, also known as Emanuelle and the White Slave Trade, we've performed a quick turnaround to Laura Gemser, last seen two days ago. In this flick she plays a journalist, a role she inhabited often, and heads to exotic Nairobi with sidekick Ely Galleani. In a Nairobi market Gemser sees a man hurrying a woman through the throng. She'd seen the same pair in the airport, except then the woman was in a wheelchair and the man was pushing it. Gemser asks her local tour guide, “Do you know that man?” His response: “That one? Only by sight. I only know that he's American, and that he comes on business, but I don't know what kind of business. Someone mentioned white slavery. But why do you ask?” Did you just cringe a little? We did too, but we get it—the white kind is far more important than the regular kind, init?
Anyway, while were still marvelling over the sad but somehow uproarious tone deafness of those dialogue exchanges, Gemser was busy jetting from Nairobi to New York City to find more info about this American slaver. After promising her editor the biggest scoop of her career, she manages to charm her way into a slave auction taking place—in an amazing stroke of luck—right there in the Big Apple. She watches as girls as young as seventeen are sold to hairy-knuckled jetsetters, including that mysterious Yank, played by hirsute Italian Gabriele Tinti. Now that she knows the basic shape of the wrongdoing taking place, she needs evidence. How does she gather it? That's right—by infiltrating the slave racket as product. She's accepted as a high priced prostitute, and from NYC she's off to San Diego to work in a private club, where she hopes to blow the racket wide open.
You may be asking yourself, Wait, how is this all voluntary for her if it's a slave ring? That question is never fully answered. Somehow, though, she's accepted in the game as a freelancer, while all the other girls seem to be wholly owned chattel. It doesn't matter. This is sexploitation cinema, and what matters are nudity and sex, which means that mixed into the confounding plotline are an amazing number of sex scenes, which consist of cast members slithering softcore style against each other like salamanders while soporific music drifts across the soundtrack. It's all very silly, but the entire point of these films is to create gauzy eye candy, not dazzle you with cinematic mastery or make social statements more than a micron deep. Emanuelle and the White Slave Trade fulfills all the requirements of the genre, not brilliantly, but certainly adequately. It premiered in Italy today in 1978.
ItalyKenyaNairobiNew York CitySan DiegoLa via della prostituzioneEmanuelle and the White Slave TradeLaura GemserEly Galleaniposter artcinemasexploitationmovie review
|Vintage Pulp||Oct 27 2015|
Totally lifelike. Just like a real woman. Limited warranty. Do not get wet—shock danger. Possible choking hazard. Vendor not liable for injuries resulting from friction burns.
Above, the rather interesting cover for Jack Kahler’s Rubber Dolly, published by San Diego based PEC, aka Publishers Export Co., in 1966. So, what you get here is the owner of a Hollywood advertising agency called Premium Art who is surrounded by beautiful women 24/7 yet builds the most lifelike love doll ever made. Why? Well, he’s never satisfied. His name is Sam Bollen, after all. Hah hah. Ball-en. Anyway he builds his dolls—"so lifelike in action and substance they shocked even hardened business executives"—and everything is peachy at first, but he soon has problems of various bizarre sorts and even runs afoul of Hollywood communists. Amazing that Kahler could fit that in, but he was a genius—we’re talking about the same guy who came up with Passion Sauce (not be confused with The Lust Lotion). Though rubber doll sleaze may seem fringe, Rubber Dolly was actually a reissue of Kahler's successful Latex Lady from two years earlier. And of course this isn't the first mechanical love doll we've had on the site. The art is uncredited. Go figure.
|Intl. Notebook||May 11 2011|
The swordfish and the sorcerers.
Two photos of the American nuclear test codenamed Swordfish, which was a rocket launched atomic depth charge, detonated in the Pacific Ocean about 400 miles west of San Diego, today in 1962.