Her story is more dream than nightmare, but that's why it's fiction.
The World of Suzie Wong was the definition of a polarizing film, generally liked by audiences, but often reviled by social observers. For the former group it was just entertainment, a risqué Cinderella fantasy. For the latter group, it was an exercise in cinematic irresponsibility. Few filmmakers have been interested in exploring the human trafficking, physical and psychological abuse, drugs, and destroyed futures that predominate prostitution, but that's no surprise—filmmaking is about moneymaking, and who'd normally go see a movie that was such a downer? While it's true that 2015's Tangerine was acclaimed, it was also shot on three iPhones. Its director has moved on to bigger budgets because he wants to make money too. So let's first of all accept Suzie Wong for what it is: a mainstream film exploring the idea of a rare type of prostitute—the one clearly destined for a better life.
The idea isn't actually so outlandish. Our personal experience has taught us that there are all kinds of hookers. In Brazil, some do it for two weeks bracketing Carnival and make more money than they do working their regular jobs the rest of the year. They don't consider themselves to be prostitutes. They consider themselves to be modern-minded and smart. When PSGP worked at Playboy he was aware of models (anecdotally) and porn actresses (definitely) who did it when they had money troubles. There are plenty of men who'll pay to sleep with his favorite centerfold or porn star, and the money she earns is all hers—none goes to an agent or grifter boyfriend. Models were occasionally invited to certain Middle Eastern oil states and were paid many thousands of dollars per week just to attend swank social occasions and be friendly. The friendliest—interpret that how you wish—would be welcome to stay for months and earn gifts, while the less friendly ones quickly would be shipped out. The point is there are all types.
So while people who hate Suzie Wong are correct that a depiction of prostitution that doesn't explore the typical reality reinforces a false narrative about what is a dirty and dangerous job, the movie is simply a piece of entertainment—and has the right to be. It's no more about real prostitution than Raiders of the Lost Ark is about real archaeology. You'll have to gloss over its imperialist ethnic snobbery too. But if you choose to cross the disbelief suspension bridge, it's a pretty entertaining flick, a drama about an American artist in Hong Kong played by William Holden who meets a local prostitute played by Nancy Kwan, asks her to model for him, and over the course of their increasingly fruitful artistic collaboration finds himself drawn to her. Kwan makes no secret of the fact that she immediately has feelings for Holden, but he resists—not forever, obviously. At that point the difficult question of whether they can actually make a life together—or should even try—is what the plot explores.
Suzie Wong's gimmick of a hooker's love completing a man who's lonely or adrift has been used in films such as Irma la Douce, Night Shift, and Pretty Woman, and audiences responded favorably because, at their core, all those films are romances. But there's more to Suzie Wong than just its sooty Cinderella aspects. At a time of still-rigid ideas about female purity, it asked male viewers to consider the possibility that the number of men a woman sleeps with is immaterial. So in that sense it's a forward thinking film—something usually forgotten by its critics. The source novel by Richard Mason is probably more nuanced, but we haven't read it. We do know, however, that he wrote it after staying at the Luk Kwok Hotel in Hong Kong, which was a brothel. So maybe he learned a little something that gave his book—and the film—a bit more verité than people generally suspect. When you include its great exteriors and sets, and Kwan herself in a starmaking role, the result is exotic, emotional, and at times uplifting. The World of Suzie Wong premiered in the U.S. today in 1960. See more promo images here and here.
They say you can't buy love, but you just have to know where to shop.
Above: a striking cover for Gilbert Miller's novelization of the 1957 movie The Flesh Is Weak, which is about how a ring of sex traffickers trick naive women into street prostitution. It stars Milly Vitale, and the painting here by John Richards is a very good likeness of her, despite its cartoonish style. We also like the fur. She must have borrowed it from her pimp. To see our other material on this film just click its keywords below and scroll.
All will be revealed in the end.
In complete contrast to the above photo of a couple of dead guys, here's something life affirming—a photo of Japanese actress Masumi Jun in nothing but a shirt. It was made for her 1974 roman porno movie Gendai shöfu-kö: no shita no uzuki, aka Modern Prostitution: Lust Under a Uniform, and now we see a bit of what's under the uniform. This is the same image as on the cover of the DVD release, but without text and other distractions. The original poster also features Jun in nothing but a shirt. You can see that here.
How do you show your man you love him? Show your love to other men.
Here's another amazing and framable movie poster, this time for Le trottoir, which was originally made in England as The Flesh Is Weak. The art is by René Brantonne, who typically illustrated book covers, such as here and here. This is stylish work, very different from what we've seen him do before. It's cartoonish, but captures the mood of the film, an urban drama starring John Derek. Yes, that John Derek, the one who— Or has he been forgotten already? We'll reacquaint you. Derek was an actor, photographer, screenwriter, and director, but he's best known as a sort of Svengali who directed his fourth wife Bo Derek in several erotic films in which male actors got to squeeze and lick her soft parts. In 1984's Bolero he shot Bo in three love scenes, one of which made viewers wonder if there was more than acting involved. That's unlikely, but even so, actual penetration was about the only thing missing, which makes John Derek a different kind of husband indeed.
His partnership with Bo in using her body to make money is even more interesting considering the subject matter of The Flesh Is Weak. He plays London agent who meets naive Milly Vitale and convinces her to attempt resolving his debt problems by selling her womanly favors. Of course, he has no debt problems, and he's no agent—he's a pimp, and chose Vitale to convert to prostitution. She ends up tricked into selling herself because she's in love, and though for some readers that surely seems impossible to comprehend, we read Iceberg Slim's autobiographical Pimp some years back and he confirmed from a firsthand perspective that love was what he often used as a lever. It's hard to imagine but true. And its pretty sad, even in the sanitized version presented in The Flesh Is Weak. Is it worth watching? There's no need to clear your schedule, but overall it's pretty good. There's no known French release date, but it had its world premiere in London today in 1957.
It's a slippery slope down to the gutter—especially when you're pushed.
This cool British poster was made to promote Passport To Shame, a vice scare flick, a cautionary tale for women about how easy it is to end up a hooker. A number of such films were made back in the day. This one even has some authority figure or other introducing the film in stentorian tones, telling how a dead end life of vice is just one bad decision away. After the oratory, we see how the leaders of a prostitution ring use labyrinthine scams to force women onto the stroll. They frame Odile Versois into debt, lure her from France to London, and convince her she needs a work permit that she can only obtain by marrying a Brit.
The “Brit” is U.S. actor Eddie Constantine, who's being scammed to participate, also by being tricked into debt. We were baffled as to why he needed at all, but hey, it's in the script, so we went with it. The most curious part of the gang's scheme is that they own a boarding house connected to an adjacent boarding house via a secret door. We suppose this portal makes it easy for the ringleaders to get back and forth, but Odile, duly installed in the legit boarding house, finds the secret door to Sodom with the help of her inquisitive kitten, sees all the hookers hooking, and realizes she's been had.
She's going to be had in a different way by multiple men if she can't get out, but it isn't easy. Her keepers threaten her, starve her, and even drug her, which leads to a hallucinatory Spellbound-style sequence in which the addled Odile sees the literal pits of hell filled with half naked guys waiting to ravish her. Yup—she's in deep shit. But somewhere out there Constantine, her sham husband, who agreed to the marriage assuming Odile knew what she was getting into, realizes she's actually a naive young thing in need of help.
Of course the main selling point for film studio United Co-Productions was Diana Dors, an interesting actress, and an outsize personality in real life. Even though she's second billed, and probably third in screen minutes, she gets pole position on the poster because she was who audiences wanted to see. She plays a jaded prostie named Vicki, also in the game against her will, held by the cruelest of means. Her character has a pivotal part in how this drama turns out, but you'll have to watch to movie to find out what that is. We recommend it. Passport To Shame premiered in the UK today in 1959.
Headquarters, my gas mask has failed! I'm throwing a grenade! How the hell does this thing work? Over!
George Gross art fronts this January 1956 issue of Hanro Corp's bi-monthy magazine Man's Illustrated. It's an interesting image, but here's where we show our age, or lack of industrial background, or something, because we have no idea what the hell Mr. Flinty Eyes on the cover is holding. Hand grenade? Gas mask? Some kind of steampunk style microphone? Combo of all three? Well, not knowing is not a problem. We still like the image.
It's been a while since we featured this magazine, but we're glad to get back to it because inside this issue there's art from Walter Popp and Rudolph Belarski, and a nice feature on Rear Window actress Georgine Darcy, who we've talked about once or twice before. As far as written content, you get plenty of war and hunting action, of course, but we were drawn to, “The Hottest Town North of the Border,” an investigative piece by journo B.W. Von Block. What town is he talking about? Montreal, which apparently back in ’56 was the one of the best places in the world to get your ashes hauled. These type of stories, which were standard in old men's magazines, always give us a laugh because with their breathless focus on subjects like legal prostitution, nude beaches, and dusk-to-dawn nightclubs they show how repressed the U.S. was compared to so much of the world. It still is, actually. Trust us, we've been around, lived abroad for a long time now, and greatly enjoyed the more permissive societies in which we've resided—including our current one. The U.S. does have many good points, though, one of which is that no country's inhabitants preserve its popular media so prodigiously—which is why we have so many vintage books and magazines to share on Pulp Intl. in the first place. We've pondered many times why Americans hoard more than other cultures and we've finally come up with an answer: garages. Two thirds of Americans have garages. So here's to American garages. They give millions the joy of being their own museum curators.
From Hong Kong with love (at a price).
Nancy Kwan poses in costume as the title character of her hit 1960 film The World of Suzie Wong, which is about a romance between an American painter in Hong Kong and a local “yum yum girl”—i.e. a prostitute. This shot is excellent, we think. Kwan made numerous movies in Hollywood, including 1961's Flower Drum Song and 1968's The Wrecking Crew, but Suzie Wong remains her legacy, a subject of much debate due to its sex trade subject matter, and a source of interesting memomorabilia, such as here and here. Maybe we'll talk about the movie later.
Seems naive now, but when I heard it was a recreational drug I thought it would make me spend more time outside.
Amazingly, if you go shopping for a copy of N. R. de Mexico's, aka Robert Campbell Bragg's 1951 novel Marijuana Girl, some vendors will try to charge you $200 or more. That's quite an ask for a flimsy old digest novel, but people must pay it, we guess. It certainly isn't the cover art of a hapless model that makes the book valuable. Is it the prose? Well, the book was good, in fact far better than we expected. It sets up as a drug scare novel. The main character, Joyce, goes through the full progression—i.e. youthful smalltown rebelliousness leads to a permissive lifestyle leads to the big city leads to drugs leads to harder drugs leads to prostitution and so forth. We didn't give anything away there—the rear cover provides all that information and more. We're even told Joyce hangs with jazz musicians (which you understand to mean non-whites) and trades “her very soul” for drugs, so you know where this all goes before you even reach the title page.
But Marijuana Girl also defies conventions of drug scare books. For example, it portrays nearly all the drug users as regular folks well in control of their intake. In fact, the two characters responsible for introducing Joyce to drugs are the same two who work hardest to get her off them. Other easy plot choices are avoided as well, which is rarely the case in 1950s novels with numerous non-white characters. But here's really why the book is unique—it goes into amazing detail about the process of consuming drugs. De Mexico zooms close during those moments, sharing the proper technique for smoking joints, clinically explaining how to use a needle, and how to pull blood back into the syringe to rinse out every last molecule of heroin. It's all there. This had to be shocking for 1951 readers, which we suppose is what boosts the book's value for modern collectors. Still, $200? We don't think Marijuana Girl, or any paperback, is worth that much, but it's definitely worth reading.
It's time for a Man to Man discussion.
Man to Man magazine was launched in December 1949 by New York City based Volitant Publishing, the same company behind Sir, Laff, and True. And indeed, sir, the magazine's a laff, true enough, not in the sense that it's terribly funny, but in the sense that it's wonderfully distracting. The issue you see here was published this month in 1952, with cover model Loris Pederson, and interior photos of other models, showgirls, and beauty pageant contestants, all striving for celebrity status, but all pretty much lost in the mists of time. Not that we're denigrating them in any way. With celebrity status usually comes financial independence, and the possibility of achieving that is reason enough to grasp for the brass ring, even if, like all the women here, you don't make it. Besides, we all grasp for that ring, one way or another. It's just that in show business, you do it in public.
Along with the many figures in Man to Man, there are also facts. At least, things purported to be facts. For instance, you learn that in 1952 London was the “world's largest paradise of prostitutes.” By definition, that sounds more like an opinion, but whatever. It struck us that only in a men's magazine would you come across the words “paradise” and “prostitutes” in the same sentence about civilization's oldest vice. There's also an article about taxi dancers, women who worked at nightclubs and took payment to dance with men. Apparently the going rate was a dime, and the article asks if the practice was immoral, its insinuation being that the practice groomed women for prostitution. We suspect most customers probably just wanted momentary companionship, but it only takes a minority of bad apples to spawn more vice, and those unpleasant men—like death, elections, and the end of baseball season—always seem to come around no matter what you do.
At least women get their revenge in this issue. An article on supernatural strength features art by Mark Schneider depicting an angry woman slinging a seated guy airborne across a room, chair and all. It's possible she had just learned what's in a typical men's magazine. If the photo had a caption it might be, “For the last time my name's not honey, cutie, baby, or sweetie!” We wouldn't even think of defending men's magazines from accusations of sexism—it's their overriding characteristic. But we will say that they're gold mines for Hollywood anecdotes that have been long forgotten and obscure celeb photos previously unseen online. Since many of our visitors are by now under some sort of quarantine or other, we recommend killing time with a digital stroll through our website, where you'll find many other men's magazine. We'll start you off with this one, this one, and this large group, plus, of course, the forty scans below.
Citywide virus lockdown continues, with exceptions made for essential workers.
Who constitutes an essential worker is really a matter of opinion, isn't it? In pulp terms, a city without vice can't claim to be a functioning city at all. And since they say prostitution is the oldest profession, it follows it would be the last to shut down. Brothels in various cities are now requiring customers to wear masks when having sex, and the international gimp crowd is like: “Right? You see? It's hella fun. You should try it with leather.” We wonder what happens when the brothels run out of masks (The international gloryhole crowd is like, “You can't guess? Really?”). You won't find any such dickulous variations in Women of the Evening, written by Peggy Gaddis and published by Belmont Books in 1962. In fact, you won't find much sex at all, if our previous Gaddis experiences are an indication. We just finished a Gaddis a few days ago—Once a Sinner, which she wrote as Gail Jordan—and it was more like a romance novel. Well, we'll keep looking. She wrote not only as Gaddis and Jordan, but as Peggy Dern, Sylvia Erskine, Roberta Courtland, Perry Lindsay, et al. One of those alter egos has to be the dirty version of Peggy. We'll find her. She can't hide. Not from us. See more from her extensive bibliography here, here, here, and here. |
The headlines that mattered yesteryear.
1934—Bonnie and Clyde Are Shot To Death
Outlaws Bonnie Parker and Clyde Barrow, who traveled the central United States during the Great Depression robbing banks, stores and gas stations, are ambushed and shot to death in Louisiana by a posse of six law officers. Officially, the autopsy report lists seventeen separate entrance wounds on Barrow and twenty-six on Parker, including several head shots on each. So numerous are the bullet holes that an undertaker claims to have difficulty embalming the bodies because they won't hold the embalming fluid.
1942—Ted Williams Enlists
Baseball player Ted Williams of the Boston Red Sox enlists in the United States Marine Corps, where he undergoes flight training and eventually serves as a flight instructor in Pensacola, Florida. The years he lost to World War II (and later another year to the Korean War) considerably diminished his career baseball statistics, but even so, he is indisputably one of greatest players in the history of the sport.
1924—Leopold and Loeb Murder Bobby Franks
Two wealthy University of Chicago students named Richard Loeb and Nathan Leopold, Jr. murder 14-year-old Bobby Franks, motivated by no other reason than to prove their intellectual superiority by committing a perfect crime. But the duo are caught and sentenced to life in prison. Their crime becomes known as a "thrill killing", and their story later inspires various works of art, including the 1929 play Rope by Patrick Hamilton, and Alfred Hitchcock's 1948 film of the same name.
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