Ready, aim, when the concession manager bends over we all nail him in the ass.
Today in 1955 the soon-to-be global tourist attraction Disneyland debuted to 28,000 invited guests, media, and assorted celebrities on hand to lend a bit of glitz to the kitsch. Stars who were present included Eddie Fisher, who hosted the festivities, Debbie Reynolds, Danny Thomas, Ozzie and Harriet Nelson, Art Linkletter, Irene Dunne, Jeff Chandler, Eve Arden, Marilyn Maxwell, George Gobel, Margaret Whiting, Gale Storm, Charlton Heston, and many more. The above photo shows, left to right, Adelle August, Steve Rowland, and Kathleen Case enjoying the air rifle attraction, and Case in particular must have been a hell of a shot, firing away from the hard-to-master seated position. No word on whether any of the trio won a prize, but we doubt it. On the other hand, considering the congestion and the mess 28,000 people can make maybe the prize was being allowed to the front of every line and having a celebrity potty watched over by a furry mascot wielding a mop and bucket. We aren't sure how long Case and Co. hung around—it was 101 degrees Fahrenheit that day and the water fountains weren't functioning—but it looks like they went above and beyond the call of publicity. If we had to guess, though, we'd say they left immediately after Case felt the monkey's warm anus on her bare shoulder.
Let me be frank with you. Actually, that's unavoidable, isn't it? Instead I'll be deadly fucking blunt.
Frank Sinatra uses his ole blue eyes for a steely glare in this Twentieth Century Fox promo photo made for the 1968 thriller Lady in Cement. We last saw the movie on television when we were kids and don't remember much about it. Specifically, we don't remember who Sinatra is aiming at, but whoever it is had better pull up a chair and a whiskey glass, because the head of the Rat Pack does not drink alone. We figure this movie is worth a fresh look, so we're going screen it and report back.
Unflappable, incorruptible, untouchable.
U.S. actor Robert Stack is decked out in classic mid-century tough guy regalia, with the cool hat, the dapper suit and vest, the stylish tie, the no-frills gat, and for good measure he has a sweet ride in the background in case he needs to hurry somewhere and look badass there too. This shot was made in 1960 as a promo for the television series The Untouchables, on which Stack played the legendary Prohibition agent Eliot Ness from 1959 to 1963.
It's shocking how many Hollywood stars did smack.
Everybody wants to slap somebody sometime. Luckily, actors in movies do it so you don't have to. The above shot is a good example. Edward G. Robinson lets Humphrey Bogart have it in 1948's Key Largo, as Claire Trevor looks on. In vintage cinema, people were constantly slapping. Men slapped men, men slapped women, women slapped women, and women slapped men. The recipient was usually the protagonist because—though some readers may not realize this—even during the ’40s and 50s, slapping was considered uncouth at a minimum, and downright villainous at worst, particularly when men did it. So generally, bad guys did the slapping, with some exceptions. Glenn Ford slaps Rita Hayworth in Gilda, for example, out of humiliation. Still wrong, but he wasn't the film's villain is our point. Humphrey Bogart lightly slaps Martha Vickers in The Big Sleep to bring her out of a drug stupor. He's like a doctor. Sort of.
In any case, most cinematic slapping is fake, and when it wasn't it was done with the consent of the participants (No, really slap me! It'll look more realistic.). There are some famous examples of chipped teeth and bloody noses deriving from the pursuit of realism. We can envision a museum exhibit of photos like these, followed by a lot of conversation around film, social mores, masculinity, and their intersection. We can also envison a conversation around the difference between fantasy and reality. There are some who believe portryals of bad things endorse the same. But movies succeed largely by thrilling, shocking, and scaring audiences, which requires portraying thrilling, shocking, and frightening moments. If actors can't do that, then ultimately movies must become as banal as everyday llife. Enjoy the slapfest.
Broderick Crawford slaps Marlene Dietrich in the 1940's Seven Sinners. June Allyson lets Joan Collins have it across the kisser in a promo image for The Opposite Sex, 1956. Speaking of Gilda, here's one of Glenn Ford and Rita Hayworth re-enacting the slap heard round the world. Hayworth gets to slap Ford too, and according to some accounts she loosened two of his teeth. We don't know if that's true, but if you watch the sequence it is indeed quite a blow. 100% real. We looked for a photo of it but had no luck. Don't mess with box office success. Ford and Hayworth did it again in 1952's Affair in Trinidad. All-time film diva Joan Crawford gets in a good shot on Lucy Marlow in 1955's Queen Bee. The answer to the forthcoming question is: She turned into a human monster, that's what. Joan Crawford is now on the receiving end, with Bette Davis issuing the slap in Whatever Happened to Baby Jane? Later Davis kicks Crawford, so the slap is just a warm-up. Mary Murphy awaits the inevitable from John Payne in 1955's Hell's Island. Romy Schneider slaps Sonia Petrova in 1972's Ludwig. Lauren Bacall lays into Charles Boyer in 1945's Confidential Agent and garnishes the slap with a brilliant snarl. Iconic bombshell Marilyn Monroe drops a smart bomb on Cary Grant in the 1952 comedy Monkey Business. This is the most brutal slap of the bunch, we think, from 1969's Patton, as George C. Scott de-helmets an unfortunate soldier played by Tim Considine. A legendary scene in filmdom is when James Cagney shoves a grapefruit in Mae Clark's face in The Public Enemy. Is it a slap? He does it pretty damn hard, so we think it's close enough. They re-enact that moment here in a promo photo made in 1931. Sophia Loren gives Jorge Mistral a scenic seaside slap in 1957's Boy on a Dolphin. Victor Mature fails to live up to his last name as he slaps Lana Turner in 1954's Betrayed.
Ronald Reagan teaches Angie Dickinson how supply side economics work for the middle class and poor in 1964's The Killers. Marie Windsor gets in one against Mary Castle from the guard position in an episode of television's Stories of the Century in 1954. Windsor eventually won this bout with a rear naked choke. It's better to give than receive, but sadly it's Bette Davis's turn, as she takes one from Dennis Morgan in In This Our Life, 1942. Anthony Perkins and Raf Vallone dance the dance in 1962's Phaedra, with Vallone taking the lead. And he thought being inside the ring was hard. Lilli Palmer nails John Garfield with a roundhouse right in the 1947 boxing classic Body and Soul. 1960's Il vigile, aka The Mayor, sees Vittorio De Sica rebuked by member of the electorate Lia Zoppelli. She's more than a voter in this—she's also his wife, so you can be sure he deserved it. Brigitte Bardot delivers a not-so-private slap to Dirk Sanders in 1962's Vie privée, aka A Very Private Affair. In a classic case of animal abuse. Judy Garland gives cowardly lion Bert Lahr a slap on the nose in The Wizard of Oz. Is it his fault he's a pussy? Accept him as he is, Judy. Robert Culp backhands Raquel Welch in 1971's Hannie Caudler.
And finally, Laurence Harvey dares to lay hands on the perfect Kim Novak in Of Human Bondage.
Another case of he said (they did) she said (they didn't).
Above is a cover of National Enquirer that hit newsstands today in 1960 with a cheery looking Debbie Reynolds on the cover. Editors promise the truth about her romance with Glenn Ford, but the quotes around “romance” tell the story—she there wasn't one. The two starred together in the films It Started with a Kiss and The Gazebo, both released in 1959, and the affair rumors quickly sprang up.
Have you noticed a pattern of actors saying there were sexual relationships but actresses saying there weren't? If we were dealing with regular people we'd side with the men maybe 10% of the time, but in the case of movie stars we aren't sure actors had much to gain by lying. On the other hand, during the sexually unliberated years of the ’50s and ’60s actresses had plenty to gain by appearing to be as close to virginal as possible.
So it's another classic case of Hollywood he said/she said. Ford's biographer, who happens to be his son, said there was a physical relationship. How can he be sure? Several ways, perhaps, but notably, Glenn Ford taped all his calls—which is a story we may get into another time—so maybe there was confirmation from those that he and Reynolds were doing the nasty. In any case, we're really just interested in this cool cover shot. Reynolds does polka dots with style.
Want to keep a secret? Don't try it in Hollywood.
We wonder if any modern celebrity romances will be talked about half a century from now the way the old romances were. The way the Taylor/Burtons and Monroe/DiMaggios were talked about. We doubt it. Mid-century Hollywood and public romance seemed go hand in hand, and near the top of the legendary romance pyramid perches Sammy Davis, Jr.'s and Kim Novak's doomed love. Why doomed? Not to put too fine a point on it, but a 1958 Gallup poll showed that a mere 4% of Americans approved of interracial marriage. Four percent! There has never been a scientific study that showed anything other than deeply entrenched racial inequality and animosity in the U.S., and that includes today. But four percent? That's the dark ages.
We've marveled over Kim Novak before, but in case you need a visual reminder look here. Yeah. So Sammy was smitten, and so was all of America. And Novak? She saw in Sammy... charisma maybe? It wasn't devastating looks. Even Davis spoke of himself disparagingly in terms of physical appeal. But he had it. Everyone said so. His it and Novak's it were magnetically attracted and led to a relationship they tried and failed to keep relatively quiet. It's here, though, where we must note that the many Hollywood insiders who say Davis and Novak were knocking boots don't include Novak. She claims they were never more than friends. But when two megastars continually show up—however discreetly—in public together, people will talk. More importantly, tabloids will talk. And perhaps most concerning of all, Whisper will talk.
The above issue published this month in 1960 purports to have new info about the maybe-affair that shook Hollywood to its foundations, and also claims to have the scoop on Sammy's post-Kim fling Joan Stuart. We've seen many stories about his Swedish wife Mai Britt—also called a Kim copy by tabloids—but this is the first we've seen about Stuart. She wasn't Davis's first post-Novak partner. He married actress Loray White in 1958, but divorced her in 1960. Rumor is he married her under duress, having been told by certain Mafia figures to marry a black woman or else lose another eye. Whisper says that story isn't true.
Stuart was a Canadian actress, just starting out in show business. Whisper gets quotes from her parents about their daughter's relationship with Davis, and they aren't supportive. Shocking as that may be. The magazine's final take is this: “Boy meets girl. Boy gets girl. Boy loses girl. Boy meets another girl just like the girl he had before. Boy gets girl. And boy seems to be going to keep girl.” Davis did want to keep her, telling friends and reporters he wanted to marry her, but their pairing didn't last. Stuart went on to appear in some television shows and one movie—1978's In Praise of Older Women—but did not have a notable career. Did romance with Sammy Davis, Jr. hurt her? You'd have to think so—with about 96% of the public. We have some scans below, and more from Whisper to come.
They should have taken a bigger boat.
Today in 1962 Jayne Mansfield, while vacationing in the balmy Bahama Islands, failed to turn up for several evening appointments after having gone water skiing with her husband Mickey Hargitay and press agent Jack Drury. All three were feared lost at sea when the seventeen-foot motorboat they had rented was found adrift and capsized. At sundown the craft was towed to Nassau and the world waited for news. None came that night. The next morning's search for Mansfield and her companions involved four-hundred people, including the Nassau Air-Sea Rescue Squadron. Later that day a searcher flying overhead spotted a water ski floating near Rose Island, a stretch of sand about fifteen miles from Nassau. It was on the eastern end of the island that Mansfield, Hargitay, and Drury were finally found.
By this time the press had descended upon Nassau, and the spectacle of Mansfield being conducted to shore, weak and in tears, was witnessed by scores of journalists and photographers. The trio told the world a harrowing tale. Mansfield fell from her water skis, and Hargitay swam to retrieve her while Drury circled in the boat. At that point Drury saw sharks, and as they rushed to lift Mansfield into the boat it overturned. Hargitay and Drury continued trying to push Mansfield onto the now upside downvessel, but at that point things went from bad to worse when she passed out. They got her atop the boat but could do nothing but drift. They bobbed on the waters for hours until they neared a small coral reef, decided to brave the sharks, and swam for it. There they spent the night, lacking supplies of any sort, with the tide rising until they were almost back in the sea again. At daybreak they saw that Rose Island was nearby. With the tide out, they were able to walk, wade, and swim to it. Mansfield's stranding and rescue was a huge story, but there were many who said it was a publicity stunt. It's an interesting take on the event, considering the attending physician at Rassin Hospital, whose name was Dr. Meyer Rassin—he founded the facility—said Mansfield suffered from “quite severe exposure, and the effects of bites from numerous mosquitoes and sand flies.” Having dealt with Caribbean sand flies ourselves, we can tell you nobody would willingly put themselves through the hell of being feasted on by them. But on the other hand, sand fly bites
itch and swell, and when scratched they break open and bleed, yet Mansfield doesn't look particularly marked. On the other-other hand, doesn't dragging a local pilot and the respected founder of the island hospital into a fake near-death experience defy credulity?
But maybe two things were true at the same time. Maybe it started as a stunt. Maybe Mansfield and company motored to Rose Island, purposely turned the boat over and set it adrift, then waited for the pilot they'd selected to fly over the next morning. Maybe they even had food and water, and hunkered down for a night under the Caribbean stars while chortling over the free press coverage they were going to generate. But maybe they had failed to consider the sand fly aspect, and Mansfield really was in a sorry state when found, which means Dr. Rassin was being truthful. It's possible.
To us the biggest hole in Mansfield's story is the accidental capsizing of a boat seventeen feet long that's weighed down by an outboard motor. It takes serious work to overturn a floating canoe, let alone a waterskiing boat. But Mansfield was a hefty woman, Hargitay was a bodybuilder, and with Drury leaning waaaay out over the boat's gunwale, maybe they really did accidentally flip it. We'll never know what happened, which means Mansfield's big Bahamian adventure will always be a subject of speculation. But you now what? The truth is often banal. A mystery is so much more fun.
You're not as clever as you think, Clark. I realized you were muffing your lines on purpose way back on take forty.
Who's that mystery woman kissing Clark Gable? Why it's Marilyn Monroe. Not really a mystery though, as she's instantly recognizable from any angle. There's almost no such thing as a new Monroe photo, but there are some you don't see often. This one and the one below fall into that category. They were made when she was filming The Misfits, which premiered today in 1961. The scene that provided these shots also featured a Monroe nude flash when she gets out of bed to dress. Director John Huston cut those frames, and they were thought lost, but were rediscovered (though not made public) in 2018.
This was Gable's last movie. He had a heart attack in November 1960, possibly in the middle of this kissing scene, and didn't survive. Just kidding. He had his heart attack two days after filming wrapped. But we bet he was thinking about Monroe when it happened. This was also her last movie. She was filming Something Got To Give in 1962 but died of an overdose before finishing it. The Misfits was a box office disappointment when released, but was considered to be Gable's best film performance, and one of Monroe's best, as well. We don't fully agree, but you might. It's certainly worth a viewing.
Always be careful what you say to a tabloid.
This National Enquirer published today in 1963 features the free-floating head of U.S. actress Shirley Bonne with a quote where she calls herself a “dimwit.” Enquirer often splashed shocking, sexual, or confessional quotes from stars across its covers. We have little doubt Bonne was just joshing around, if she ever said it, which we tend to doubt. She isn't well known today. Though she amassed hundreds of magazine covers, as an actress she had zero credited cinematic roles. All her credits, including movies, were on television, where she appeared on shows such as Bonanza, That Girl, Medical Center, starred in the sitcom My Sister Eileen, and was in the all-time dog of a television horror flick It's Alive. Her zenith, at least in terms being appreciated by a fandom, is having guest starred in one of the best Star Trek episodes ever—1966's “Shore Leave.” That's the one where the Enterprise crew land on a planet that makes anything they think about come true. Kirk thinks about a long lost love and Shirley Bonne appears—head, body, and all. Pretty smart thinking.
Got a problem you need handled? Isaac is your man.
This dramatic photo of ’70s icon Isaac Hayes was made as a promo for his blaxploitation flick Truck Turner. You haven't seen the image in quite this form before. We took the sleeve of the Truck Turner soundtrack, wiped off the text, and this was the end result. Not bad, right? We should do this more. Hayes' contributions to soul music via “The Theme from Shaft,” “Ike's Mood,” and other songs, plus his star turns in low budget cinema, make his legacy indisputable. Plus, we have a soft spot for him because he was a character on South Park, and one of us worked on the movie, but that's another true Hollywood story we may—but probably won't—share some day. Hayes was a little out there at the end, but once upon a time—as you see here—he was fully the man.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.