|Vintage Pulp||Jul 4 2020|
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.
ItalyAmerican International Pictures3 magnifiche canaglieSavage SistersCheri ChaffaroGloria HendryRosanna Ortizposter artcinemasexploitation
|Vintage Pulp||Jul 1 2020|
Girls Come First but Lindberg came last.
Above you see a promo poster for the wacky British sex comedy Girls Come First, which premiered this month in 1975. The movie deals with a rich magazine owner named Hugh Jampton who hires a debt-wracked artist played by hunky ex-physique model John Hamill to paint nude portraits of the hostesses that work at the Swinger Club, which Jampton owns. This is a short film, only about forty-five minutes, so that's the entire plot, other than Hamill getting laid. Our main interest in this was determining whether Christina Lindberg is in it. She's not on any cast lists you find online, but she's right in the middle of the poster. Could she be in the film but be absent from cast lists? Absolutely. Thanks to the dreaded internet replication error, she's listed everywhere as appearing in 1974's Teenage Playmates, which she doesn't, so we wouldn't be surprised if she isn't credited for a movie she's actually in. So we took a detailed look and we can say without doubt that—like technical values, genuine laughs, acting ability, and a sense of shame—Lindberg is nowhere to be found here. The producers obviously figured she'd make a great addition to the poster and borrowed her for that purpose.
After getting over that disappointment, we noticed British-Chinese actor Burt Kwouk playing Jampton's chauffeur. His presence is worth mentioning because, in a way, he's a film icon, a sort of symbolic stand-in for stereotyped Asian characters in cinema. He played the bumbling Cato in four Pink Panther films, and here he plays a bumbler named—wait for it—Sashimi. Can you imagine? Kwouk personified the dilemma confronting all actors, but particularly actors of color, throughout film history. In the real world a paycheck is nothing to sneeze at, but the resulting work survives for future generations to ridicule and/or revile. Kwouk said in 1981 about the parts he played, “If I don’t do it, someone else will. So why don’t I go in, get some money, and try to elevate it a bit, if I can?” If Kwouk's work was the elevated version you'll break into a cold sweat imagining what his roles could have been like. In any case, we've solved the Lindberg mystery, and now we'll move on. Below are a couple of shots of Hamill and Longhurst for your pleasure.
BritainGirls Come FirstThe Pink PantherBill KerrJohn HamillSue LonghurstChristina LindbergBurt Kwoukposter artcinemasexploitationmovie review
|Vintage Pulp||Jun 27 2020|
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.
American International PicturesScream Blacula ScreamPam GrierWilliam MarshallRichard Lawsonposter artcinemamovie reviewblaxploitation
|Vintage Pulp||Jun 23 2020|
It's mostly for his protection, but it's also for everyone else's.
We read the novel The Mask of Dimitrios a couple of years ago, so it was a given we'd eventually talk about the movie. Starring Petter Lorre and Sydney Greenstreet, it deals with a legendary malefactor named Dimitrios Makropoulos who washes up dead on a Turkish beach and draws the interest of a novelist, who decides to research the dead man's life with an eye toward writing a thriller about it. That's a great set-up for a movie right there, and it's even cooler because everything happens in Europe. Lorre, who plays the author, traces the movements of Dimitrios the bogeyman from Istanbul, to Athens, to Sofia, and finally to Paris, seeking to illuminate the man's life and criminal career.
Flashbacks tell us how evil Dimitrios was. Nothing was beyond him—theft, blackmail, political crimes, murder. We're talking irredeemable badness, a virus, a plague. Lorre and Greenstreet cross paths and decide to unravel the Dimitrios mystery together. Its solution offers the possibility of financial reward—one million francs. Lorre is less interested in those than a story he can turn into a great novel, but money up front never hurts. Unless it gets you killed. But while the flashbacks offer crucial exposition, they also shift focus from the film's two unique leads, and in so doing sap the narrative of momentum. They could have been shorter. More screen time for Lorre and Greenstreet would have been the benefit.
The Mask of Dimitrios is classified as a film noir on many websites, but as a drama on AFI.com, which is where we go for genre clarity because crowd sourced sites like Wikipedia and IMDB cast an excessively wide net with their categorizations. Some readers may disagree about whether this particular film is a noir, but what's true is it doesn't have a large number of the usual noir gimmicks, save for those interminable flashbacks, and occasional clever work with shadows. It almost entirely lacks other forms of noir iconography, and particularly lacks the key element of a disaffected central character or character that's screwed and gets more screwed as the plot progresses. On the other hand most of the players are shady and/or amoral.
We know what you're thinking. We aren't a pure pulp site, so how can we be purists about film noir? We're not. We tell you right in the “About Us” section that we're expanding the idea of pulp just for our personal pleasure, not trying to convince readers to redefine it in defiance of what is understood to be pure pulp. Going into The Mask of Dimitrios expecting film noir might lead to disappointment for noir fans, so we're just letting you know where the movie stands. It has its charms, regardless, but overall it's decent, not good, and certainly falls short of being excellent. Even so, watching old crime movies is incredibly satisfying, even when they aren't top notch. The Mask of Dimitrios premiered in today in 1944.
|Modern Pulp||Jun 22 2020|
Today our seminar for giant monsters will cover how to get human heads unstuck from your mouth.
How can you not love this? This startling poster that looks like someone has bitten off more than they can chew was made for Aullidos, a movie better known as The Howling. It was painted by Macario Gomez Quibus, an artist who also crafted promos for the horror movies The Fog and Murder Mansion, among others. After opening in the U.S. in 1981, Aullidos premiered in Spain today in 1982. Have you seen it? No? You might need to. Read about it here.
|Vintage Pulp||Jun 21 2020|
There's no kung fu like topless kung fu.
These Italian posters were made for the sexploitation/kung fu flick Schiave nell'isola del piacere, originally released in Hong Kong as Yang chi, and known in English as The Bod Squad, or alternatively, Virgins of the Seven Seas. This is a Shaw Brothers production, and when a company makes forty films a year not all of them will be scintillating. What you have here are five western women, all allegedly virgins, who get kidnapped by Chinese pirates. They're to be sold for big bucks to a brothel, but only after some training in delightful and arcane sexual arts. The plan to remake these inexperienced white girls into perfect carnal receptacles goes pear-shaped when an unexpected ally also trains the women in martial arts, and the five end up fighting alongside downtrodden locals to help take down an organized crime cartel.
Some of the things the squad learn—both sexually and for combat—are pretty funny. Like when they're taught to spit olive pits at lethal velocity. Or when they get a lesson in Chinese sex techniques—knowledge which is of course derived from a crinkly old parchment. There's also quite a bit of slapstick humor. The entire point of the movie, however, is to show five women going through various contortions in their undies, and on that score the movie is a slam dunk. The five squad members, Sonja Jeannine, Diane Drube, Gillian Bray, Tamara Elliot, and Deborah Ralls, give the physical acting their all, and in the end confirm that toplessness—like red sunsets, fine wine, and good music—makes everything better. After premiering in Hong Kong today in 1974, Yang chi reached Italy sometime in 1975.
Hong KongItalyShaw BrothersYang chiThe Bod SquadVirgins of the Seven SeasSchiave nell'isola del piacereHua YuehHui-Ling LiuSonja JeannineDiane DrubeGillian BrayTamara ElliotDeborah RallsHsieh Wangposter artcinemasexploitationnuditymovie review
|Vintage Pulp||Jun 21 2020|
If you're going to have a fantasy make it a doozy.
We have two exceptionally beautiful Japanese posters today. These were made for Hakujitsumu, known in English as Daydream. That's an unusually concise Japanese title, but this won't be a concise post. The movie is loosely based on a 1926 novel by Junichir Tanizaki, and was one of the first films classified as pinku eiga, as well as one of the first erotic productions to have a big budget and a run in mainstream cinemas. It also played outside Japan, with a screening at the 1964 Venice Festival and a release in Stateside cinemas. And because of its success, director Tetsuji Takechi remade the film in hardcore style, not once, but twice, in 1981 and 1987, both times starring Kyōko Aizome, who we've talked about before.
The premise of this is fascinating. Akira Ishihama meets Kanako Michi in their dentist's waiting room. Later, as both of them are receiving anesthesia, Ishihama looks over and sees—because apparently Japanese dentistry meant placing two patients into the same room—the dentist and a nurse strip Michi, then seemingly suck her blood like vampires. Was it an anesthetic dream, or a real occurrence? Ishihama needs to uncover the truth. He goes to a nightclub where Michi sings, sees the dentist approach her and demand that she leave with him. Ishihama follows—or actually sort of teleports after them—and later sees Michi submit to various forms of kinky bondage. But is any of what he's seeing real? The title of the film gives that away, doesn't it?
We wonder if Hakujitsumu used the plot device of fantasy because it softened the idea of the bondage and weirdness Michi goes through. Well, all that would soon become routine in Japanese cinema. In addition this was the first Japanese film to show an actress fully naked—which happens for extended periods. Most write-ups say there's even pubic hair shown, but we'll admit we blinked and missed it if that was the case. What we didn't miss was what a clear precursor to the pinku genre of roman porno Hakujitsumu is. Here those elements seem novel; by the 1970s, they wouldn't be, and as a result filmmakers were by then pushing the envelope with violence, water sports, and enemas. That envelope could have stayed flat, as far as we're concerned. Hakujitsumu premiered in Japan today in 1964.
JapanItalyVenice Film FestivalHakujitsumuDaydreamTetsuji TakechiJunichir TanizakiAkira IshihamaKanako MichiKyōko Aizomeposter artcinemasexploitationpinkumovie review
|Vintage Pulp||Jun 18 2020|
Sophia Loren is priceless as always.
Not much we can say about this. It's a brilliant Japanese promo for Sophia Loren's 1960 film The Millionairess, one of many movies, such as El Cid, Houseboat, and Arabesque, that she made in English at the height of her fame. Some were Hollywood productions, but this one was produced and shot in England and co-starred Peter Sellers. There's no Japanese release date on it, but if we had to guess we'd say between 1962 and 1965. We haven't watched this yet, but we'll report back.
|Vintage Pulp||Jun 15 2020|
If the budget had been 10¢ for every eye they might have ended up with a good movie.
Above is a promo poster for the sci-fi b-flick The Beast with a Million Eyes, a $33,000 cheapie that premiered in the U.S. today in 1955. This film is nightmarishly bad. It has to do with an alien intelligence that can take over the minds of any creatures on Earth, and uses these animals as the vanguard of an invasion. But in one of the worst strategy blunders since Agincourt, the alien uses its power to control the animals on and around a podunk farm in Ojai, California. This alien is only briefly shown, by the way. There's a double exposure of a rubber eye and a cheap-ass foam rubber monster head from another film, and there's a pint sized spaceship three feet high that was built by efx supervisor Paul Blaisdell for $200. These were tacked onto the film after investors had conniptions upon seeing the monsterless rough cut. We suspect more money went into the poster, which is sort of interesting, in a cheap way. But the film? It's cheap, in an uninteresting way. We recommend a hard pass.
The Beast with a Million EyesPaul BirchLorna ThayerDona ColeDick Sargentposter artcinemasci-fimovie review
|Modern Pulp||Jun 14 2020|
Obscure ’80s horror flick turns the idea of consumerism on its head.
Above you see a poster for Larry Cohen's The Stuff, an interesting piece of modern pulp cinema that premiered in the U.S. today in 1985. It's obviously a horror movie, and though it fails to be scary it succeeds as a wickedly clever anti-consumerist metaphor. Its underlying critique is that Americans will buy anything that's marketed with snazzy visuals and a good jingle, even things that are bad or even deadly for them. The Stuff takes that idea and runs with it, showing a nation addicted to a dessert that's actually a dangerous unknown organism. People eat it and it hollows them out physically and takes over their minds. While some victims succumb by snarfing the Stuff, others fall prey by being attacked by those infected. In this way entire towns are replaced, then the monsters move on to bodysnatch even more people.
Along the way Cohen's film takes swipes at regulatory capture by featuring FDA officials who approve the Stuff, at militias by casting a paramilitary group as the heroes, then exposing them as racist clowns, and at corporate greed by having the whole fiasco engineered by a shady cabal of one percenters. Yes, quite a lot of thought went into this baby. What didn't go into it was sufficient budget. And despite Cohen and company's obvious deeper intent, it's pretty safe to say most filmgoers didn't absorb the subtext. That fact can be confirmed by taking a glance at any of the numerous dayglow health killers on supermarket shelves today. So technically The Stuff flops both as a fright flick and a consumer warning. But it offers food for thought that remains relevant today, thirty-five years later, and it's certainly a movie unlike any other.
The StuffLarry CohenMichael MoriartyAndrea MarcovicciGarrett MorrisDanny Aielloposter artcinemahorrormovie review