Mid-century girly mags are always a winning draw.
As the Cole Porter song goes, in olden days a glimpse of stocking was looked on as something shocking—and exemplifying that concept is Ace, the “magazine for men of distinction,” which debuted in 1957 during the height of the cheesecake era. In this day and age Ace is strictly kid stuff. But that's why it's cool to look back at. Like other publications of its ilk, Ace came along to fill the void left by the slow demise of mens adventure magazines, and as was typical, it grew more daring as the years went by, before finally folding in 1982, itself a victim of changing tastes and more rawness provided by porn mags.
This particular issue, published this month in 1960, features the usual mix of humor, adventure, and models, including the amusingly named Beverly Hills, aka Carla Henderson, who gets a spread inside plus the eye-catching rear cover, Eve Post, who the editors claim was discovered by Jack Benny, and Brandy Kayse, who poses as "Eve." Several of the models, such as Frances Beck, Lacey Kelly, Virginia Remo, and Pat Gregory, managed minor film roles. Elsewhere in the magazine there's plenty of nice art, plus the usual "fact" (men are polygamous?) and fiction. Multiple scans below.
Movie stars were always willing to give each other a hand.
Once again we've been struck, so to speak, by the sheer number of cinema promo images featuring actors and actresses pretending to slap each other. The just keep turning up. The above shot is more about the neck than the face, but it still counts, as Gloria Swanson slaps William Holden in 1950's Sunset Boulevard. Below we have a bunch more, and you can see our previous collection at this link. Since we already discussed this phenomenon we won't get into it again, except briefly as follows: pretend slaps, film is not reality, and everyone should try to remember the difference. Many slaps below for your interest and wonder. Diana Dors smacks Patrick Allen blurry in 1957's The Long Haul. Mob boss George Raft menaces Anne Francis in a promo image made for 1954's Rogue Cop. Bud Abbott gets aggressive with Lou Costello in 1945's Here Come the Co-Eds. Jo Morrow takes one from black hat Jack Hogan in 1959's The Legend of Tom Dooley. Chris Robinson and Anita Sands get a couple of things straight about who's on the yearbook committee in Diary of High School Bride. Paul Newman and Ann Blyth agree to disagree in 1957's The Helen Morgan Story. Verna Lisi shows Umberto Orsini who gives the orders in the 1967 film La ragazza e il generale, aka The Girl and the General. What the fuck did you just call me? Marki Bey slaps Betty Anne Rees loopy in the 1974 horror flick Sugar Hill. Claudia Cardinale slaps (or maybe punches—we can't remember) Brigitte Bardot in the 1971 western Les pétroleuses, known in English for some reason as The Legend of Frenchie King. Audrey Totter reels under the attentions of Richard Basehart in 1949 Tension. We're thinking it was probably even more tense after this moment. Anne Baxter tries to no avail to avoid a slap from heel Steve Cochran in 1954's Carnival Story. Though Alan Ladd was a little guy who Gail Russell probably could have roughed up if she wanted, the script called for him to slap her, and he obeyed in the 1946 adventure Calcutta. Peter Alexander guards his right cheek, therefore Hannelore Auer crosses him up and attacks his left in 1964's Schwejk's Flegeljahre, aka Schweik's Years of Indiscretion. Elizabeth Ashley gives Roddy McDowall a facial in in 1965's The Third Day. Tony Anthony slaps Lucretia Love in 1972's Piazza pulita, aka Pete, Pearl and the Pole.
André Oumansky goes backhand on Lola Albright in 1964's Joy House. Frank Ferguson catches one from Barbara Bel Geddes in the 1949 drama Caught. This looks like a real slap, so you have to credit the actresses for their commitment. It's from 1961's Raisin in the Sun and shows Claudia McNeil rearranging the face of Diana Sands. Gloria Grahame finds herself cornered by Broderick Crawford in 1954's Human Desire. Bette Davis, an experienced slapper and slappee, gets a little assistance from an unidentified third party as she goes Old West on Amanda Blake in a 1966 episode of Gunsmoke called “The Jailer.” There are a few slaps in 1939's Gone with the Wind, so we had our pick. We went with Vivien Leigh and Leslie Howard. Virginia Field takes one on the chin from Marshall Thompson in Dial 1119. Clint Eastwood absorbs a right cross from nun Shirley MacLaine in 1970's Two Mules for Sister Sara.
No, seriously. I said come and get me. Don't just stand there. Or... did I interrupt something?
Above is a cover for Johnny Laredo's Come and Get Me, copyright 1956 from Popular Library. Think Laredo is a pseudonym? You think correctly. The publishers make a big deal out of keeping his real identity secret, writing a blurb inside the book calling Laredo, “the pseudonym of a young fiction writer whose stories have appeared in Argosy, The Virginia Quarterly Review, Cosmopolitan, and Bluebook.” Why an extensively published author wanted no credit for this book is a mystery, but the gig is up—he was Gene Caesar, a writer who had an affinity for westerns, but here crafted a crime drama about a man bent on avenging the murder of his girlfriend. The art, which we love because it can be interpreted a couple of ways, is by Raymond Johnson.
She was supposed to bring the chips and dip, but she showed up with nothing.
It's time once again for a visit with Virginia De Lee, obscure but lovely model of the mid-century period, star of several nice Technicolor lithographs, and darling of men's magazine fans from coast to coast. Usually she's a flaming redhead, but here she's dark, and that's absolutely fine. But we've seen two other frames from the session, and the hair is a pre-press color change. In the other shots she's her usual flame-topped self. Maybe we'll show you one of those later. But if you just can't wait, see more of her here, here, here, and here.
Up the river and into trouble.
Vintage Belgian movie posters are generally very nice. This one was made for Congo Crossing, which was titled Carrefour des proscrits in French and Het Kruispunt der Bannelingen in Dutch. The movie isn't actually set in the Belgian Congo. Instead it takes place in a fictional west African territory called Kongotanga, where George Nader and Virginia Mayo find themselves snared in an adventure that's part Casablanca and part African Queen. Sounds good, right? You can read what we wrote about the film here. There's no premiere date for Belgium but it probably played there in the spring of 1957.
In The Killers she's absolutely to die for.
We've shared Swedish, French, Australian, and U.S. promo art for The Killers over the years. But there was more than one U.S. poster, and you see an alternate version above, a nice crimson effort that has no artist credit. You already know the plot of this film, so we won't rehash it, but we wanted to single out something we love about film noir—the spectacular entrance of the femme fatale. Remember Rita Hayworth's first screen moment in Gilda? “Gilda, are you decent?” “Me?” That might be tops. Lana Turner in The Postman Always Rings Twice, those white shorts and that weird headwrap. Lauren Bacall in To Have and Have Not. “Got a light?” There are many others, and men sometimes get good entrances too, but Ava Gardner's first moment in The Killers, sitting at a piano in a swank Manhattan apartment, with that light—you know the light we mean—glowing on her face, is another great example. Then she gets a song. You gotta love it.
The next few rounds are on her.
It's always fun until someone sprays gunfire around the bar. Above you see a promo image of British actress Virginia Field made for her 1950 film noir Dial 1119. This would be a controversial photo for an actress today, and understandably so, for reasons that regularly make headlines. We shared another promo of Field from Dial 1119 a long while back, which you can see here.
T-Men shows Uncle Sam's money men hard at work keeping the greenback safe.
As you know by now, film noir derived from several sources, one of them being the hard-boiled pulp fiction of the 1930s and ’40s, such as the aforementioned Kiss Me, Deadly. As the cycle rolled onward, filmmakers routinely mined crime fiction for movies, and it became common for a book to be purchased for adaptation immediately after it was published. It was a heyday for crime authors. T-Men, for which you see a cool poster above and another at bottom, was not adapted from a novel. It came from a story idea by Virginia Kellogg, the unheralded brain behind films such as White Heat and Caged.
T-Men is the narrated tale of two treasury agents who infiltrate the Detroit mafia to stem a wave of counterfeiting. Dennis O'Keefe and Alfred Ryder play the duo of undercovers, looking sharp in their tailored suits, as they climb the mob chain of authority pretending to be in the possession of flawless counterfeiting plates they're willing to sell. The two take numerous risks to get close to the unknown head of the mob, and find themselves in hot water more than once. The question quickly becomes whether they can catch the crooks and stay alive.
You get excellent noir iconography here, courtesy of director Anthony Mann and cinematographer John Alton. In fact, though the movie is good anyway, the main reason to watch it is because it's a clinic in genre visuals, filled with beautiful shots where light and darkness intersect in sharp angles or blend like mist. The movie also makes good use of locations tailor-made for shadowplay—the steam room, the deserted street, the nighttime amusement park, the swank supper club, the gambling den, the photographer's darkroom, the industrial maze. If you didn't know better you'd think the filmmakers chose the locations first, then built a movie around them.
For those reasons, T-Men is a mandatory entry for film noir buffs, however it isn't quite perfect. Though there are many surprises, aspects of it related to survivability are predictable, and the narration nestles right up against pro-government propaganda, particularly toward the end. Generally, we think most vintage films could have done fine without narration, but here it's actually needed, so you'll have to ignore the filmmakers intent to teach the audience a lesson. That shouldn't be too hard—T-Men is an almost perfect noirscape, a place to get lost in darkness and enjoy the ride. It premiered in the U.S. today in 1947.
The headlines that mattered yesteryear.
1933—Prohibition Ends in United States
Utah becomes the 36th U.S. state to ratify the 21st Amendment to the United States Constitution, thus establishing the required 75% of states needed to overturn the 18th Amendment which had made the sale of alcohol illegal. But the criminal gangs that had gained power during Prohibition are now firmly established, and maintain an influence that continues unabated for decades.
1945—Flight 19 Vanishes without a Trace
During an overwater navigation training flight from Fort Lauderdale, five U.S. Navy TBM Avenger torpedo-bombers lose radio contact with their base and vanish. The disappearance takes place in what is popularly known as the Bermuda Triangle.
1918—Wilson Goes to Europe
U.S. President Woodrow Wilson sails to Europe for the World War I peace talks in Versailles, France, becoming the first U.S. president to travel to Europe while in office.
1921—Arbuckle Manslaughter Trial Ends
In the U.S., a manslaughter trial against actor/director Roscoe 'Fatty' Arbuckle ends with the jury deadlocked as to whether he had killed aspiring actress Virginia Rappe during rape and sodomy. Arbuckle was finally cleared of all wrongdoing after two more trials, but the scandal ruined his career and personal life.
1964—Mass Student Arrests in U.S.
In California, Police arrest over 800 students at the University of California, Berkeley, following their takeover and sit-in at the administration building in protest at the UC Regents' decision to forbid protests on university property.
1968—U.S. Unemployment Hits Low
Unemployment figures are released revealing that the U.S. unemployment rate has fallen to 3.3 percent, the lowest rate for almost fifteen years. Going forward all the way to the current day, the figure never reaches this low level again.
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