Vintage Pulp Jun 7 2021
PULLING AN ALL-NIGHTER
All Through the Night is Bogart at his best.


There's no single movie that made Humphrey Bogart a superstar—he built his brand with each outing. But surely All Through the Night was one of his most important pre-icon roles. You see its Italian promo poster above, which was painted by the great artist Luigi Martinati. We've featured Martinati often, and you can see his work here and here. After originally opening in the U.S. in 1942, All Through the Night premiered in Italy as Sesta colonna today in 1949. You can read more about the film here.
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Vintage Pulp May 19 2021
LET THEM EAT CAKE
In the Ministry of Fear they bake better than they spy.


Fritz Lang was one of the most important directors of his era, both in his native Germany and in the U.S., and was a pioneer of the film noir form. Movies like Scarlet Street and especially The Big Heat are essential noir viewing. Ministry of Fear dates from a bit earlier and finds Lang saddled with what we consider to be a substandard script that through sheer artistry he makes into a watchable film. Ray Milland, Marjorie Reynolds, and Dan Duryea headline in a spy tale that revolves around Lang's favorite villains—the Nazis. Jewish and German, he left his homeland for Paris and beyond during the ascent of the Nazis during the 1930s, so the subject was personal for him, and was one he'd dealt with in previous films such as Cloak and Dagger and Hangmen Also Die.

In Ministry of Fear Milland plays a man who spends two years in a British asylum and is released at a time when World War II is raging and London is being bombed. He goes to charity carnival and is enticed into guessing a cake's weight for a chance to win it, and after being given the correct answer by a fortuneteller, is victorious. But it's soon clear that the correct weight wasn't supposed to be given to him, and he isn't supposed to have the cake. But he really wants it and resists attempts by the carny folks to take it back. He loses it during a train ride when a passenger beats the snot out of him for it, and at that point finally realizes the obvious—sweet though this confection may have been, it wasn't sought by various and sundry for its flavor, but because inside was something important. He wants answers, and he'll have to risk his neck to get them.

Generally with movies it's best to simply accept the premise, but there are limits. We were never clear on why it was necessary to put this important item in a cake. We understand subterfuge is involved in the spy game, but why not just hand the item over in an alley, or a pub bathroom, or a parked car? And if food must be involved, why a cake? Why not a haggis, or something else very few people want to just gobble up on the spot? A dried cod maybe. A blood sausage would have done. Plus they're easy to transport. You can just stick them in your pockets. And in a tight spot a whack across the nose with a blood sausage is far more effective than shoving cake in someone's mug. The cake gimmick was probably—strike that—certainly better explained in Graham Greene's source novel. We haven't read it but we're confident about that. It could have been Lang who screwed the pooch, but it was more likely Seton I. Miller. He was screenwriter as well as executive producer.

In any case Milland bumbles his way through a train trip, across a moor, in and out of a crazy séance, and into a maze of misdirection to the eventual revelation of what's inside the cake, but the whole time we kept thinking the movie should be called Ministry of Cut-Rate Spies. We don't mean to say it's a total loss. It isn't like the Eddie Izzard comedy routine, “Cake or Death.” You won't choose death over cake. But it's a pretty uninspiring flick. The old dramas that have survived have done so for a simple reason. Most of them are good. Ministry of Fear isn't bad. It's just meh. It's like a cake that fell—it's flat and dense, but teases you with how yummy it could have been. It premiered in England today in 1944.

Here, have your cake. And eat it too. Heh.

I prefer blood sausage for train trips, but I guess it's better for you I'm not shoving one of those in your face, eh?

Wow, you sort of... crush the shit out of your cake before eating it.

Have I been eating cake wrong the whole time I've been in England?
 
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Vintage Pulp May 11 2020
HITLER'S LITTLE HELPER
Once upon a time in the Reich there was a sadist named Ilsa.


Ilsa la belva delle SS, as it was called in Italy, is better known as Ilsa: She Wolf of the SS, and it's not hyperbole to describe this naziploitation effort as one of the most widely reviled movies ever released. And for good reason. It's significant as an example of just how out there and taboo shattering the sexploitation genre got during the 1970s. The poster was painted by Luciano Crovato, who produced a number of iconic movie promos, including the second and third pieces in this post. We'll get back to him. If you want to know more about Ilsa: She Wolf of the SS look here. If you dare.
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Vintage Pulp Apr 10 2020
THE KIDS ARE ALL REICH
Troublesome Nazis bring bad intentions to Mexico City.


The much beloved Santo movies may not be good, but you certainly can't complain about the promo posters. This winner was made for Santo en Anónimo mortal, aka Santo in Anonymous Death Threat, and it finds everyone's favorite luchador once again battling the forces of evil. This time he's called upon to help the latest in a line of men who've been sent anonymous notes informing them of the dates of their deaths. The previous recipients met nasty ends. The newest prospective victim doesn't trust the police to keep him alive, so he appeals to the only man that can truly do the job—Santo el enmascarado de plata. Santo rightly wonders what the connection is between all these men. But viewers don't have to wonder—it's right there on the poster.

Yes, Nazis have made their sneaky way to Mexico. And just to ram the point home fully, Santo coincidentally has a match against a wrestler named El Nazi, who mid-round is shot dead, becoming yet another victim. Santo soon learns that all the departed—even El Nazi, who must have adopted his moniker due to a keen sense of irony—were witnesses at the war crimes trial of a Third Reich death merchant named Paul Von Struber. This von Struber was sentenced to hang, but escaped to Mexico City, where he took an assumed identity. Now he wants revenge on everyone who testified against him because— Well, that's hard to figure out. He really should just lay low, having evaded the hangman. But he's a Nazi. They specialize in terrible ideas.

By the time this film appeared Santo had already battled vampires, zombies, and witches. The producers of these potboilers went big early. Overloaded with crazy concepts, they even had Santo go up against a carnivorous blob. Nazis, then, aren't that big a deal. Santo doesn't even have to cut his wrestling schedule short. When the evil von Struber captures him and locks him away in the secret Nazi lair, he quickly manages to break his ropes, beat the shit out of the flunkies guarding him, and bring down El Cuarto Reich before it even has a chance to stick its head out of its bunker. It's good that Santo's triumph is so perfunctory, because this was his forty-somethingth adventure and his knees had to be getting balky. Santo en Anónimo mortal premiered in Mexico today in 1975.
Wow, you're a big'un, aren't you? Ever considered pro wrestling? If you wanna meet up later I can teach you some submission holds.

Obergruppenführer! I have a question!
 
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Vintage Pulp Mar 27 2020
EXECUTING STRATEGY
Gestapo goes to extraordinary lengths to cancel a Czech.


This striking poster for Hangmen Also Die might make you think you're dealing with a death row film noir, but it's actually a war drama about the Nazi occupation of Czechoslovakia. When a Czech assassin played by Brian Donlevy shoots the country's cruel German administrator Reinhard Heydrich and escapes into Prague's urban maze, the Nazis start executing people to force the population to turn over the shooter. As people die Donlevy struggles over whether to turn himself in. This was made in 1943 and qualifies as war propaganda, complete with flourishes such as discordant brass when Hitler's portrait appears onscreen, and a cheeseball closing song with a chorus of, “No surrender!” And to just bang the war drum even more, the movie premiered in, of all places, Prague, Oklahoma today in 1943, and the showing featured hanged effigies of Hitler, Hirohito, and Mussolini, while regional politicians made a point of attending. That must have been some night.

But while Hangmen Also Die may qualify as propaganda, it certainly isn't untrue in any major sense. The film's two architects, German director Fritz Lang and German writer Bertolt Brecht, both left their homeland to avoid the Nazis, and we can only imagine that their personal experiences made this project deeply important to them. But even people working from personal experience need help, and they get a major boost from co-star Walter Brennan. You'll sometimes read about him being a great character actor and this movie proves it. Watch him in this, then as the drunkard Eddie in To Have and Have Not, and you'll find him physically unrecognizable. Only his distinctive voice identifies him as the same person. Meanwhile it's Donlevy who's asked to personify the classic moral dilemma of sacrifice for the greater good, and he's mostly successful at portraying it as a heavy burden. While we wouldn't call Hangmen Also Die a great movie, there's no doubt it occupies its niche comfortably.

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Vintage Pulp Apr 28 2019
WANTED MEN
Sorry to disappoint you, but we're into each other.


Well no, Leonhard Frank's novella Desire Me isn't about two men in love, but we think it should be, based on the cover art. It's actually a story centered around a clever idea that has been borrowed often since it was first written by Frank in 1926 as the play Karl und Anna. Basically, two men in a prison camp have plenty of idle time to get to know each other. The married prisoner speaks in detail about his wife. When the unmarried one escapes, he seeks out the married one's wife and the two fall in love. Naturally the husband, who his pal had claimed was dead, eventually resurfaces in the town to complicate matters.

This prison identity theft concept is the basis or backstory of many movies, including The House on Telegraph Hill. Returning from presumed wartime death to ruin a wife's new love affair has also been used often, notably in Casablanca. Frank was considered a leading German writer, but his legacy was destroyed when his books were burned by the Nazis before World War II. He actually wrote about this later and noted that even though Hitler lost the war, he largely succeeded in altering Germany's literary history, because many of the authors whose works were burned never regained their former stature. Frank's is a cautionary example about censorship—governments do it because it works.

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Intl. Notebook Mar 28 2019
NOT SO SWEET
Donut makers learn something bitter about their past.


Interesting story out of the world of donuts/doughnuts this week, as the Reimann family, originators of Krispy Kreme, (which makes by far the best tasting confections in America), were given a little surprise, and not of the sweet variety. An article in the German tabloid Bild outed the family's ancestors as Nazis. The story is notable because these ancestors weren't just footsoldiers or dull functionaries typing forms in triplicate, but full blown Aryan racists who used slave labor in their business and amassed a huge fortune doing it (that may sound familiar to people on the U.S. side of the ocean, as well). Apparently the family used female Russian and French prisoners, who they beat, sexually abused, and made strip naked for inspections. In July 1937 Albert Reimann, Jr. wrote to SS leader and Holocaust architect Heinrich Himmler and stated that his business was “a purely Aryan family business that is over 100 years old.” He also wrote that, “The owners are unconditional followers of the race theory.”

Reimann, Jr., who you see below, passed much of his fortune along to nine adopted children, four of whom now retain shares of the Krispy Kreme empire. Amazingly, the topping on this tale is that the source of all the info appears to be an ancestry check the family itselfcommissioned on their father. Wealthy clans generally have a firm understanding of their own family tree, what with all the money involved and the potential for virtually anyone to come out of the woodwork claiming to be a twelfth cousin or granddaughter of a patriarch's mistress, but in the case of adoptive children, putting the entire puzzle together sometimes happens later in life or not at all. In any case, the Reimann family, which holds approximately $37 billion in assets, announced that it would give $11 million to charity, or about %0.0003 of the estimated family fortune. Hey, every little bit helps.

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Vintage Pulp Jan 19 2019
A RUDE AWAKENING
Ah hah! There you are, Stabsgefreiter Schultz, out of uniform and with Unterfeldwebel Dietrich's wife, no less.


Nazis ruin everything—even romantic seaside trysts. As it happens though, the scene depicted on this cover of J. Bigelow Clark's The Dreamers never occurs, and in fact these characters must have come from the imagination of artist Stanley Borack, because in terms of their physical characteristics, they don't exist in the narrative at all. The book was originally published in 1945, with this Perma paperback edition appearing in 1955. The story involves four idealistic expatriates living on the small fictional Italian island of Campagna during World War II. Their only intention is escapism in a place of beauty and peace. Then the Nazis show up. And ruin everything.

This book is brilliant, but it will be problematic for some readers because the villain Captain Muller—and he's a very, very bad guy—is gay. His sexuality is a metaphor. As a German officer his incredibly high opinion of himself has primarily to do with his control over and manipulation of men. While some artists use paint or words, he feels he's a Picasso or Titian using humans—the most difficult medium of all—to produce more concrete effects upon civilization than mere visual art does. And his ultimate expression of oneness with his medium is sexual congress with them. Clark's final postulation is that for many men of war, and particularly fascists, violence is a form of eroticism.

Other elements here are also metaphorical, even the island itself. Though the expats, among them an elderly British professor and a German baron, are of different ages and cultures, they become fast friends. Their island is not perfect. There is want and conflict. But without being indoctrinated into the ways of hate people generally help, or at least tolerate, each other. The island represents the possibility of smooth human coexistence. But Captain Muller's purpose is to exert control through violence and fear. He's immediately interested in and drawn to the four expats, and shrewdly understands that the group's relationship with two locals—a legless veteran of the North Africa front and a beautiful young mother—may be the key to achieving his goals.

While all this is going on an American spy arrives on the island and sets into motion a plot to steal diagrams of the submarine bases the Germans are building. The narrative focuses on the professor's and baron's efforts to remain uninvolved, but also follows how a promise
they've made to get the young mother and her child off the island draws them all, bit by terrible bit, into the war against their will. Transitioning from apathy to activism is a standard theme in literature and film, but Clark manages to navigate this course with rare skill. As it develops, The Dreamers generates squirm inducing intensity, almost akin to psychological horror.

But the book's value is in more than just its bold narrative. As time goes by people's knowledge of history comes not from those who lived through it, but from interpreters of it. When conducted under rigorous standards, re-examinations of history are useful and even necessary, but many of this group are not rigorous, and have shady political motives. In the U.S. this manifests as fanciful spins on slavery, the Civil War, and other periods. Many American schoolchildren are now being taught that fascism is the exact opposite of what it was in reality. The Dreamers, written during the fascist era, is clear about what fascism is, how it works, what it seeks to accomplish, and what end of the political spectrum it comes from. Every novel we've read from this period is consistent on these points.

Thus in addition to being a very good book, The Dreamers is yet another reminder that: Mussolini was well liked for years in the U.S. because he was perceived to have saved Italy from communists. Regardless of whether Adolf Hitler had any religious beliefs in private life, the German people knew him as a Catholic, he constantly invoked God in his speeches, and the Holocaust was abetted by people who were overwhelmingly religious. Fascism was vehemently sexist, racist, patriotic, and anti-liberal. Fascism distrusted diplomacy, independent knowledge, and a questioning press, replacing them with aggression, indoctrination, and propaganda. And like all governing systems, fascism was ultimately opportunistic, borrowing any political idea that helped consolidate power.


One benefit of maintaining Pulp Intl. is constantly reading books written contemporaneously with historical events and learning how they were perceived by people who lived through them. The Dreamers has extra value because of this. It's homophobic, though Clark's use of a gay villain is intended to coalesce into metaphor. His scathing attitude toward Germans, on the other hand, never does. It seems as if he hates them en masse. His protagonists often muse about German moral shortcomings. These condemnations of an entire people are an obvious case of turnabout is fair play, and one can hardly be surprised considering what the world was learning about Hitler's atrocities. The Dreamers remains an illuminating reading experience. 


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Intl. Notebook Jan 15 2019
CLOSER EXAMINATION
Which one liked to wallow in crap more? National Examiner or Adolf Hitler?


National Examiner offers up a provocative cover on this issue that hit newsstands today in 1973, with an unidentified blonde model and the promise of expert lovemaking tips. Nothing new there. What's different is this issue takes Adolf Hitler's corpse for a gallop around a well-traveled track. The article “Hitler's Strange Desires” digs into der Führer's toilet training, his family background, his private writings and public statements, and comes to the conclusion: sexual pervert! The piece discusses Hitler's “sexual inadequacy and impotence, frail body and softness that was almost effeminate,” and reveals how he doted on his mother but eventually felt betrayed by her, stating, “This sudden indignation with his mother could have been caused if he saw his parents having intercourse.” The ultimate conclusion is no surprise: “[Because of] his extreme form of masochism [he derived] sexual gratification from the act of having a woman urinate or defecate on him.”

As psychological disturbances go, you can take your pick here. Like beer in a Berlin rathskeller, Hitler allegedly had multiple flavors on tap, and they culminated in turning him into a shit freak. That's amusing to consider, but was it anything other than pure bullshit itself? Labeling Hitler a disturbed child-turned sexual deviant was a mini-industry in the decades after his death, and the rumors started by these reports are still prevalent today. We get it—by making him into a non-human it's easyto distance him from the rest of us, but as far as we know there's no evidence he was anything other than a heterosexual who had run-of-the-mill sex, or for that matter that he was anything other than a run-of-the-mill human. Many people would love for the stories to be true, but they're just too easy. We don't blame Examiner for beating that Hitler horse, though. Everybody did it—it sold piles of papers.

Examiner goes for lighter material elsewhere in the issue, with an update on the whereabouts of Canadian actress Ruby Keeler, a story about a wife who makes her husband take her to a swingers club so she can get some strange dick, and a pervy advertisement for instant peepholes we know would be illegal to use today, and which we suspect were illegal to use back then too. Other celebrities who make appearances include Maria LaTour and Monika Zinnenberg. In fact, on closer examination that unidentified cover model might be Zinnenberg. She made the usual slate of bad West German comedies and exploitation flicks during the ’60s and ’70s before leveraging her front-of-the-camera work into a directing career which she sustained all the way up until 2012. And finally there's a centerspread on the benefits of yoga, featuring stars like Cary Grant, Geraldine Chaplain, and Barbara Parkins touting its benefits. That's about it for this Examiner. Scans below, and more here and here.

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Vintage Pulp Jan 14 2019
WINTER IS COMING
Nobody knows who'll win the game of Thorne's.


Yes, she's back. These posters were made for the 1977 naziploitation flick Ilsa the Tigress of Siberia, starring the inimitable Dyanne Thorne dealing out discomfort and death in the icy wastes of Gulag 14. In 1975's Ilsa: She Wolf of the SS she was a member of the Third Reich, but here, only eight years after the Reich cratered, she's somehow employed by the Nazis' mortal enemies the Soviets. She must have nailed the interview.

Interviewer: “What's your greatest strength, professionally?”

Ilsa: “Creatively making people suffer. Like the electrified dildo I invented at a previous gig. That's standard gear for torture now. Stress positions, beatings. I mean, I love it all.”

Interviewer: “What would you say is your biggest weakness?”

Ilsa: “I sometimes work too hard. I'm a perfectionist. In a way, I'm harder on myself than I am on the people I torture.”

Interviewer: “Tell me about a challenge in a work situation, and how you dealt with it.”

Ilsa: “I had a prisoner who was problematic. His positivity was bringing hope to the camp. I had him castrated.”

Interviewer: “And did this solution work?”

Ilsa: “Yes, he became very negative.”

Interviewer: “I think I've heard enough. When can you start?”

Ilsa: “I already did. I took the initiative and killed the other applicants in the waiting room."

It's amazing that the first Ilsa flick generated two sequels, considering how bad it was. This third entry in the series actually played at the Sitges Film Festival in October 2018, which just goes to show that interest in terrible vintage sexploitation films runs beyond the fringe. We think this movie is almost as bad as the original, but you can decide for yourself. After opening in Canada in 1977, Ilsa the Tigress of Siberia premiered in Japan today in 1978.

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Next Page
History Rewind
The headlines that mattered yesteryear.
July 27
2003—Hope Dies
Film legend Bob Hope dies of pneumonia two months after celebrating his 100th birthday.
July 26
1945—Churchill Given the Sack
In spite of admiring Winston Churchill as a great wartime leader, Britons elect Clement Attlee the nation's new prime minister in a sweeping victory for the Labour Party over the Conservatives.
1952—Evita Peron Dies
Eva Duarte de Peron, aka Evita, wife of the president of the Argentine Republic, dies from cancer at age 33. Evita had brought the working classes into a position of political power never witnessed before, but was hated by the nation's powerful military class. She is lain to rest in Milan, Italy in a secret grave under a nun's name, but is eventually returned to Argentina for reburial beside her husband in 1974.
July 25
1943—Mussolini Calls It Quits
Italian dictator Benito Mussolini steps down as head of the armed forces and the government. It soon becomes clear that Il Duce did not relinquish power voluntarily, but was forced to resign after former Fascist colleagues turned against him. He is later installed by Germany as leader of the Italian Social Republic in the north of the country, but is killed by partisans in 1945.
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