|Vintage Pulp||May 21 2018|
You have the right to remain dead.
We already showed you a rare hand-painted poster for the pinky violence actioner Zeroka no onna: Akai wappa, aka Zero Woman: Red Handcuffs. Today we're showing you the tateken poster, which is rare too, so much so that this may be the best scan you'll of it see online. The kind of washed out look is part of the design. If you haven't seen the movie, it's about a vigilante cop played by Miki Sugimoto who is released from prison by a government agency in order to take down the kidnappers of a powerful politician's daughter.
Like most pinku movies, there's some sexual violence, and many reviewers excoriate this admittedly overused plot device. We don't claim those reviewers are wrong, but it should be noted that rape in pinku is often symbolic, serving both to advance the immediate plot and implant a deeper message. In this case the main perpetrator in the sexual assault of a young Japanese woman is wearing U.S. Navy coveralls. The depth of negative feeling about the U.S. occupation of Japan is made clear.
One interesting part of assessing vintage art is that at the time it was created the artists often thought they were making a certain statement, but decades later times have changed and their art is perceived as sending the exact opposite message. Such is the case with pinky violence movies, in which maverick male filmmakers—in this case Yukio Noda—showed Japanese women taking on and usually destroying an entrenched male power structure, but only after being driven to it through degradation and violence.
Miki Sugimoto deals with with some very bad men in Zero Woman, but her focus never wavers. She's to rescue the kidnapped daughter and dispose of the abductors in such a way that no news coverage or police investigation points back toward the father. Wrapped in a crimson raincoat she dispatches villain after villain, but learns that nobody is redeemable—not the politician, not the cops, not anybody. It's grim, cynical, nihilistic stuff—and a classic of the genre. Zeroka no onna: Akai wappa opened in Japan today in 1974.
JapanToie CompanyZeroka no onna: Akai wappaZero Woman: Red Handcuffs０課の女 赤い手錠Miki SugimotoYukio Nodapinky violencepinkusexploitationposter artcinemamovie review
|Femmes Fatales||May 21 2018|
Vickers makes any time and place even better.
Above is a stunning shot of U.S. born actress Martha Vickers, who we described a while back as a rare beauty. We stand by that statement. This image was made in 1946 when she was filming the musical The Time, the Place and the Girl.
|Vintage Pulp||May 20 2018|
S'more where this one came from.
Today we have a small collection of covers from Wisconsin born illustrator Owen Kampen, who besides being a prolific paperback cover artist was a bomber pilot during World War II who was escorted by the famed Tuskeegee Airmen, was a teacher of commercial art, and was an ace model airplane hobbyist who was inducted into the Model Aviation Hall of Fame. He was also a less-than-stellar husband, at least according to his wife Irene Kampen, whose book Life without George was based on her divorce and became the source material for The Lucy Show. We have thirteen more Owen Kampen covers below and one more here.
World War IIThe Lucky ShowWisconsinOwen KampenIrene KampenLaura Z. HobsonFlorence StonebrakerFan NicholsThomas GallagherJohn D. MacDonaldSimms AlbertWilliam H. FieldingElio BartoliniEdward D. RadinCharles GorhamDouglas SandersonDavid GoodisSid FederBurton B. TurkusJoe Weisscover artliteraturecover collection
|Vintage Pulp||May 19 2018|
It's a man's man's man's world. Until now.
It was inevitable. You can't have a pulp website and not talk about the iconic GGA-influenced poster for Attack of the 50 Foot Woman. This masterpiece came from the brush of Reynold Brown, who also painted promos for Creature from the Black Lagoon, Spartacus, Ben-Hur, and—ironically—The Incredible Shrinking Man. But 50 Foot Woman is the one people remember. It's the one that appears on t-shirts, lithographs, refrigerator magnets and spoof posters to this day. And for good reason. It's a perfect promo piece, from the execution, to the chaotic scene depicted, to the giant's straddle-legged pose that titillatingly suggests the world's most shocking upskirt shot. It also makes the film look far better than it is. You'd never think the 50 Foot Woman of the poster is, onscreen, mainly a big foam hand and some weak projection work.
The movie premiered today in 1958. It was directed by Nathan Juran under the pseudonym Nathan Hertz, and while it's mediocre it isn't close to being one of the worst films of the period. People remember it because of Allison Hayes' character, an unhappy wife whose growth into a giant gives her all the physical power she could ever want, but none of the emotional strength she needs to deal with her philandering husband Harry.
She's desperately in love with him, though he's a heel. When she eventually hunts him down the film becomes a feminist parable. We don't think that aspect was intentional, but it's definitely there by virtue of a male screenwriter creating a colossal feminine problem then determining how his male characters react to her. Guess what? She's fifty feet tall and still can't break through the glass ceiling.
The 50 Foot Woman has the power to deal with dirty Harry in a way he understands—dominance. Good. But she's also mad as hell and has busted out of her social niche. Bad. There's no attempt to reason with or negotiate with this newly empowered woman. Because she brings upheaval to the world elimination is the only solution. Yes, this movie has almost everything—an examination of gender roles as they relate to money, a discussion of emotional violence within marriage, and ruminations about male privilege. The one thing it doesn't have is a budget—for efx, good actors, multiple takes, or anything else. But that's why it's so endearing. Like the random growth spurt central to the plot, everything significant about Attack of the 50 Foot Woman is a total fluke.
Attack of the 50 Foot WomanCreature from the Black LagoonSpartacusBen-HurThe Incredible Shrinking ManAllison HayesYvette VickersWilliam HudsonReynold BrownNathan JuranNathan Hertzposter artcinemamovie reviewsci-fi
|Vintage Pulp||May 18 2018|
When she's bad, she's really bad.
Above is a poster in tateken size for Nikkatsu Studios' pre-roman porno action flick Furyô shôjô Mako, aka Bad Girl Mako, a film for which we showed you a standard sized promo a while back. We didn't really talk about the movie back then, but we've seen it. There's lots of fighting, lots of music, and lots of guys in suits getting roughed up. Junko Natsu plays Mako, a tough party girl who meets a boy named Hideo, lets him stick his honeydripper in her jar of manuka, and decides she's in love. It's amazing that she reaches this conclusion after one quick throw in the back seat of a convertible, but whatever. Unfortunately, before their relationship progresses much farther loverboy is killed and Mako, like any good pinku revenant, gets stabby on the bad guys. There's nothing unexpected here, but in the end you still have a reasonably entertaining entry in the girl gang genre, and the many club scenes and nice exterior cinematography add extra value. Furyô shôjô Mako premiered in Japan today in 1971.
|Vintage Pulp||May 18 2018|
It's not the size of the caucus that matters. It's what you do with it.
This one is self explanatory. Nick Vendor's Sabrina and the Senator, published in 1960 by Midwood Books with cover art by Paul Rader, is billed as a behind the scenes story of the private lives and public affairs of politicians and their playmates. Thanks to the current U.S. president, this sort of thing is on people's minds in a way it hasn't been since Bill Clinton. As fans and collectors of pulp fiction, we've always gleefully wallowed in political sleaze. Well we're up to our comb overs in it now.
|Intl. Notebook||May 17 2018|
Redhead risks serious sunburn to get a base tan.
Belgium's Ciné-Revue is one of the best film magazines of the mid-century era. It's also one of the hardest to scan. Not only do the pages need to be scanned in halves and joined via computer, but the tiny text makes lining the halves up a real challenge. We didn't think about that when we bought a stack of these in Paris several years back, and now the sheer effort involved causes us to doubt we'll ever get them all uploaded. But we managed to carve out a few hours, so today we have this issue from May 1975 with French actress Marlène Jobert doing a little topless boating on the cover, hopefully well slathered in sunscreen. Jobert also features in the beachy center spread wearing even less clothing (and theoretically more sunscreen), but the real star of this issue is Bette Davis, who receives a career retrospective with shots from seemingly every movie she ever made. You also get William Holden, Jane Birkin, Dominique Sanda, Sidney Poitier, Sophia Loren, Rita Hayworth, Agostina Belli, a feature on Steven Spielberg's Jaws, and much more, in forty-plus scans.
BelgiumCiné-RevueJawsWilliam HoldenJane BirkinMarlène JobertSidney PoitierAgostina BelliOrson WellesRichard DreyfussRoy ScheiderRobert ShawBette DavisDominique SandaLee MarvinRoger MooreMaud AdamsSerge GainsbourgMonica VittiKatherine RossSophia LorenVirginia BellEsther AndersonRita HayworthSteven Spielbergcinema
|Vintage Pulp||May 16 2018|
Hedy Lamarr finds the fashion industry intolerably cruel.
We can't think of Hedy Lamarr as any movie character except the native girl Tondeleyo from the cheeseball jungle classic White Cargo, but here she is in 1947's Dishonored Lady, which came five years after her famed tropical potboiler and presents a more mature Lamarr playing Madeleine Damien, take-no-shit Manhattan fashion editor by day, popular party girl by night. The movie presents a far less benign fashion industry than yesterday's Fashioned for Murder, as job pressures, difficult romances, and evil male colleagues drive Lamarr nearly out of her mind. She's finally pushed out of her job and leaves Manhattan to build a new life. Only her psychiatrist knows where she went. He tells a persistent interlocutor:
“Miss Damien is living under a different name in a different world. She told me to tell you, if you inquired, that she was busy growing a new soul. Now would you please keep off the grass?”
Lamarr is off in the country painting, relaxing, and finding true love. The past isn't that easy to avoid, though, and it finally catches up with her in the form of her awful ex-boyfriend, who ends up dead, leading to Lamarr being arrested for murder. Did she do it? Of course not. But she's too depressed to care what happens, so prison or worse looms. Madeleine Damien is no Tondeleyo, but Lamarr is good in the role. It's interesting how often we run across these meaty dramatic parts for women in mid-century cinema. Were high profile roles for serious actresses more common back then? Probably not, but sometimes it sure seems like it. Dishonored Lady premiered in the U.S. today in 1947.
|Femmes Fatales||May 16 2018|
On a Scala of 1 to 10 she's on the top step.
Above is a photo of Italian actress Gia Scala. We thought her name sounded unusual so we checked it and discovered Gia means “already” and Scala means “ladder.” That clued us in to the fact that maybe her name was a stage creation—duh—and indeed, though she was of Italian descent, she was born in England as Josephine Grace Johanna Scoglio. We definitely like Gia as a name better than Josephine. Scoglio, by the way, means “rock.” Scala is another early Hollywood fatality. She died in 1972 of a barbiturate overdose in her Hollywood Hills home at age thirty-eight, a death that was ruled accidental. This photo is from 1961.
|Vintage Pulp||May 15 2018|
The New York City fashion scene turns out to be murder.
This cover for by George Harmon Coxe's Fashioned for Murder was painted by Fred Scotwood, and we love it. The point-of-view is a reflection in a camera lens, and check out the detail of the focal length numbers above the title text:
Nice touch. This book is one that was mailed to us from the United States by a friend, so thanks to Alex for that. In the story, a model poses with an elaborate set of costume jewelery she's been told is worthless, but comes to believe the gems are real after a stranger robs her of them, and an acquaintance returns them just before dying at her feet—shot twice in the back. She enlists the aid of a photographer who's smitten with her, and the two try to unravel the mystery. There's a very funny line about one of the supporting characters:
From the first she had been one of the best reporters the Bulletin ever had, never asking favors because of her sex and never making excuses when things went wrong.
Was there a time when women in professional settings asked favors because of their sex? We thought they barely got hired at all. The line reveals a prevalent mid-century myth that women (and minorities) rarely deserved what they achieved. Today all but the most stubborn people understand that the opposite was true—women and minorities had to be supernaturally good to get anything resembling a fair shake.
Admittedly, the main female character in Fashioned for Murder, whose name is Linda Courtney, does need help solving the mystery of the possibly-real gems, but anyone would—there's a killer (or killers) on the loose and that's nothing to tackle alone. Her photographer friend is very happy to help, though he's a bit of a twerp, in our opinion. But with a cool setting in the NYC fashion industry and some deft writing, Coxe has crafted a nice thriller, one that's well worth your time.