|Vintage Pulp||Oct 11 2016|
It's been a while since we checked in with The National Police Gazette, that most venerable of U.S. magazines, launched all the way back in 1845. Today we venture to the year 1919, one of its famed pink issues, with cover star Clarine Seymour. She's described as pretty by the editors, but before you smirk and say beauty standards have really changed in a hundred years, check out the inset photo at right. So you see, Gazette's cover doesn't capture Seymour at her best.
Beauty standards may be different but the human body hasn't changed in a hundred years. A lot of what beauty is has to do with clothing, hair, etc. As proof, we have some nude images from around 1920 that could have been made yesterday. We may post one of those later, just for the fun of it. Elsewhere in the Gazette you get the usual celebs, boxers, and news briefs, all offering a fascinating view onto what the U.S. looked like during the heyday of the pulp era, which according to most scholars began in the last few years of the 19th century. The society, the people, the pulp, and the Gazette would all become more recognizably modern in a few more decades.
|Femmes Fatales||Oct 10 2016|
This lovely photo shows Doris Mitchell, a New York City showgirl and singer who was a member of Nils Thor Granlund's NTG Revue, a chorus line that was the first of its kind in Las Vegas, originating in 1943 at the El Rancho Hotel and Casino. The NTG Revue eventually came to New York City, where Mitchell presumably joined. But reviews were mixed, with some critics liking it, but a Variety scribe noting Granlund's habit of slapping the chorus girls on their asses, to which they rolled their eyes and drawled scripted quips like, “Ain't he a card?” Granlund was uncouth, but he was also famous and wealthy, so he got away with it. Sound like anyone you know? As far as Mitchell herself, this photo seems to be the only evidence of her career that exists.
|Sportswire||Oct 10 2016|
This bit of World War II propaganda, which was created by the Graphics Division of the U.S. government's Office of Facts and Figures in 1942, caught our eye for a couple of reasons. It features champion boxer Joe Louis, which is interesting enough, but it also features a quote he had uttered while taking part in a military charity event: “We’re going to do our part… and we’ll win because we’re on God’s side.”
This is an interesting turn of phrase because of the inversion of “our” and “God.” The way Louis formulates the idea suggests God desired the war and the U.S. was just helping out. Usually you hear the sentiment expressed as, “God is on our side,” but Louis's quote has more power loaded into it than the standard iteration. It casts Japan as not just battling an enemy nation, but battling the natural order of the cosmos.
Of course, the Japanese also thought they were divinely guided, and over in Europe where Germany was fighting several countries at once, the opportunistic Adolf Hitler, though a skeptic in private, declared himself a Christian in public and busily used religious sentiment in his devoutly Catholic nation to whip up support for his rule. We have a sizable collection of World War II propaganda inside Pulp Intl., originating from many countries, which we think is worth a look. You can see some of it here, here, here, here, here, and here.
|Vintage Pulp||Oct 9 2016|
We've talked before about Horwitz Publications' habit of using celebrities on its Carter Brown paperback covers. Previous examples include Elke Sommer, Joan Collins, and Senta Berger. Above you see another borrowed celeb—none other than Lili St. Cyr—fronting Brown's 1965 thriller Homicide Harem in a cone bra outfit that brings to mind the fashion of Jean Paul Gaultier. There's no doubt it's her. We've spent a lot of time on her and recognized her high arching eyebrows and cleft chin immediately. But just to assuage any doubts you may have, we found a photo of her wearing the same outfit (though with different shoes), which you see below. We think Horwitz used unlicensed handout photos of moderately famous stars to create their covers. Lili was pretty famous by 1955, but perhaps not in Australia, since she wasn't really in movies to the extent that anything she'd done would have played there. Possibly 1955's Son of Sinbad made it there, but we have no data on that. Anyway, we're still a bit baffled why Horwitz didn't just use local models. It isn't as if there has ever been a shortage of beautiful women down under. This will remain a mystery, we suspect.
|Vintage Pulp||Oct 9 2016|
Didn't we just see Erina Miyai a couple of days ago? Indeed we did. Her prison pinku flick Onna keimusho opened two days ago in 1978, and this effort, Danchizuma maruhi shuccho baishun, aka Apartment Wife: Secret Call Girl, premiered today in 1976. It's about a blackmail ring that uses illicit photos of an unfaithful wife to force her into prostitution, pretty basic Nikkatsu roman porno, sixteenth of twenty-one entries in the Apartment Wife series, a moneymaking franchise that lasted from 1971 to 1979. This one was the first of three go-rounds with Miyai. Hard to find, but interesting to watch.
|Modern Pulp||Oct 9 2016|
Above, two posters for Robo-geisha, or Robogeisha, as it was titled in the west. Only for the adventurous, this is low budget action gore, or maybe subversive shock sci-fi, or possibly transgressive black comedy. In any case, it's about a pair of orphaned sisters who compete as assassins after receiving cybernetic implants, are separated and exploited by a powerful corporation, and eventually are thrown together in a final duel. You get sword fights, machine guns, sparks and bloodspray and explosions, a walking castle, copious miniature/computer/stop action efx, and lots of shakycam—aka the budget filmmaker's crutch. If the whole bizarre counterculture spectacle is preposterous, well, you've been warned. Viewers generally react one of three ways—some like it; some want to like it because it will make them cool; and some dislike what they see as a sophomoric mess. We won't say which we were, but we'll note that even with the numerous references to films ranging from Godzilla to Ichi the Killer, Robo-geisha isn't as clever as it thinks it is. The smartest aspect of it is that director Noboru Iguchi and cohorts managed to create their own cinematic genre. That, no matter how you feel about the actual movie, is pure genius. Robo-geisha premiered in Japan today in 2009.
|Modern Pulp||Oct 8 2016|
These two pretty posters were made to promote the sci-fi movie Embryo. It hit cinemas stateside in 1976 but didn't reach Japan until today in 1977. What you get here is a research biologist, played by Rock Hudson, who in classic mad scientist style learns he can accelerate gestation and decides to experiment on humans. He acquires an early stage fetus and dumps it in his magic tank. In hours it's born, in days it's a child, and in short order it's Barbara Carrera. So he's the smartest scientist who's ever lived. At least until one figures out how to create a test tube Elke Sommer. Carrera is super beautiful and super smart, but has one big problem. Can you guess what it is? We'll give you a hint—if you think too long she might be dead before you answer. The threat of early death will throw anyone for a loop so we'll forgive poor Barbara her transgressions. She dances naked—and that's worth all the forgiveness in the world.
|Vintage Pulp||Oct 7 2016|
Above, great cover art for Robert O. Saber's Murder Honeymoon, a digest style paperback from the Australian imprint Phantom Books, 1953. The art originally fronted Saber's 1952 Original Novels thriller City of Sin, which you see at right, and was painted by the always amazing George Gross. Saber was aka Milton K. Ozaki, and we've featured him quite a bit because he seems to have always managed to have his books illustrated by the best. Though the art on these two books was basically the same, the novels were different. This is the first time we've come across identical art for separate novels by the same author.
|Vintage Pulp||Oct 7 2016|
Above, a nice poster with Erina Miyai and Natsuko Yashiro for Onna keimusho, aka Women's Prison, about a woman whose fiancée strays on their wedding day, prompting her to attack her romantic rival, leading to her being sentenced to a stint in the big house. Friends and enemies are made, sex and sexual assault occurs, and an escape leads to a showdown with the fiancée whose wandering dick started the whole mess in the first place. The photos below show Miyai and Yashiro in happier times, before they became hardened felons. Onna keimusho premiered in Japan today in 1978.
|Modern Pulp||Oct 6 2016|
Above, a very nice chirashi mini-poster made in 1995 to promote a cinematic triple-bill of three Ed Wood films—Plan 9 from Outer Space, Glen or Glenda, and Bride of the Monster. None of the three played in Japan when originally released—and if you've seen any of them you realize there's no reason they should have—so this poster is for their premieres. The reason this happened is because Tim Burton's biopic Ed Wood became a hit in the U.S. in 1994 and this triple bill occurred about a month in advance of that film's arrival in Japan.