| Vintage Pulp | Aug 3 2021 |
And now for their next trick they'll turn the tide of war.
First off, the cross you see at the bottom of this poster is not a swastika but a much older Japanese symbol. It's usually seen oriented as above, or, rarely, reversed like the Nazis used it, but in all cases has religious, historical, or pop culture meanings. We've talked about it. The poster was made for the period roman porno flick Kunoichi ninpo: Hyakka manji-garami, known as English as Female Ninja Magic: 100 Trampled Flowers. The movie is set in a time of warring clans during the Tokugawa shogunate, which ruled Japan beginning in 1603, and as the title suggests, a female ninja clan uses sexual magic to try and turn the tide of war between the powerful Tsunayoshi shoguns and the Akizuki clan. Working for the shogunate are the Iga and Kouga ninja clans, while aiding the Akizuki are the Fumi, the women of the title.
That's a more elaborate set-up than usual for a roman porno movie, and indeed, this one will require more than the usual level of attention to keep straight. It takes its historical trappings seriously, with a convincing pre-industrial look, elaborate period dress, and a focus on succession by birth. But don't fret, fans of the genre—the movie is weird as hell, as roman pornos must be, and you'll be pleased to know that a virtual who's-who of Nikkatsu Studios stars feature, including Junko Miyashita, Hitomi Kozue, Yuko Katagiri, Kyōko Kanō, Maya Hiromi, and Yuri Yamashina. What exactly is sexual magic? Let's just say there's plenty of vaginal fluid involved, of varying viscosities, used in numerous ways. There's other bizarreness too, including an umbilical cord that strikes like a cobra. We don't think the Tokugawa era actually unfolded this way, but to paraphrase the immortal Wooderson, it'd be a lot cooler if it did. Kunoichi ninpo: Hyakka manji-garami premiered in Japan today in 1974
JapanNikkatsuKunoichi ninpo: Hyakka manji-garamiFemale Ninja Magic: 100 Trampled FlowersJunko MiyashitaHitomi KozueYuko KatagiriKyōko KanōMaya HiromiYuri Yamashinaposter artcinemaroman pornopinkumovie review
| Vintage Pulp | Jul 24 2021 |
Subway commuters now running to work after latest round of NYC budget cuts eliminates trains.
Andrew L. Stone may be unique in the realm of vintage literature. His 1958 thriller Cry Terror is a novelization of the film of the same name, which he wrote, directed, and co-produced. Cry Terror wasn't the first time Stone wore multiple hats. Two years earlier he had written and directed the thriller Julie, and written the novelization too. The screenplay earned him an Academy Award nomination. He racked up thirty-seven directorial credits during his career, and among his output was Stormy Weather, The Hard-Boiled Canary, Highway 301, Confidence Girl, and A Blueprint for Murder. He ended up with a star on the Hollywood Walk of Fame.
Another reason we wanted to highlight Cry Terror today is because of the excellent cover art by Robert Maguire. It was modeled after a promo shot from the film of lead actress Inger Stevens. You see that below. We were thinking about buying the book, but digging up all this info has revealed the entire plot to us, so we won't bother. Also, the copies that are currently out there are going for fifty dollars and up. As we mentioned before, we don't go that high for anything we'd be tempted to swat flies with. Plus we have a ton of books piled up. We may watch the movie, though. Less time, less expense. If we do we'll report back.
Hollywood Walk of FameSignet BooksAcademy AwardStormy WeatherThe Hard-Boiled CanaryHighway 301Confidence GirlA Blueprint for MurderCry TerrorAndrew L. StoneRobert MaguireInger Stevenscover artliteraturecinema
| Femmes Fatales | Jul 3 2021 |
The forecast calls for a slight overcast with a possible hail of bullets.
U.S. actress Virginia Grey may not be well known today, but she appeared in a large number of movies, more than ninety by our count, including Another Thin Man, Grand Central Murder, Highway 301, and Mr. and Mrs. North. As she got older she then slid neatly into television roles and racked up probably a hundred credits in that medium as well. The shot above is from 1940 and was made when she was filming The Golden Fleecing with Lew Ayres and Rita Johnson.
The Golden FleecingGrand Central MurderAnother Thin ManHighway 301Mr. and Mrs. NorthVirginia GreyLew AyresRita Johnson
| Vintage Pulp | Jun 22 2021 |
The temperature in the Amazon just keeps going up.
This remarkable Japanese poster was made to promote a film called 空手アマゾネス, which was originally released in Italy as Le Amazzoni - Donne d'amore e di guerra, and also known in English as Battle of the Amazons, The 100 Fighting Amazons, and Karate Amazons. It was also known in Japan as Karate Amazones, as you can see by looking at the poster. It starred Lincoln Tate, Paola Tedesco, and Solvi Stubing, and that looks like Tedesco on the art getting some relief from the heat by going shirtless. We talked about this movie long ago. Feel free to have a look here. It was originally released in 1973, and reached Japan today in 1974.
JapanItalyLe Amazzoni - Donne d'amore e di guerraBattle of the AmazonsThe 100 Fighting AmazonsKarate AmazonsKarate AmazonesAlfonso BresciaLincoln TatePaola TedescoSolvi Stubingposter artcinema
| Femmes Fatales | Mar 8 2021 |
Afro trend makes Watanabe wannabe cooler.
Consider this the flipside of our post on vintage afros a few days ago. While the afro was seen mainly on black actors and actresses, particularly in the blaxploitation movies we're always watching, many non-black actresses also flirted with the style. Celebs from Jane Fonda to Raquel Welch tried out 'fros, and we've even come across the occasional afro/perm on Japanese actresses. For example, here you see Yayoi Watanabe upping her hipness quotient. She appeared in such films as Ero shogun to nijuichi nin no aisho, aka Lustful Shogun and His 21 Mistresses, and was also the star of scores of memorable promo images, such as this one and this one. Probably, a Japanese actress sporting an afro wouldn't go over quite the same way today, but we like the look, and believe that respectfully experimenting with the styles of other cultures in non-costumey ways is fine. But that's just us. This shot is from around 1973.
JapanEro shogun to nijuichi nin no aishoLustful Shogun and His 21 MistressesYayoi Watanabepinkunudity
| Vintage Pulp | Mar 1 2021 |
To be a sidewalk pancake or not to be a sidewalk pancake. That is the question.
We have a friend who once said that everyone's problems can be boiled down to, “Mommy and daddy didn't love me enough.” We don't agree, but 14 Hours, aka Fourteen Hours, takes that idea and runs with it as far and fast as it can, as Richard Basehart climbs onto a New York City hotel ledge and engages in the eternal existential wrestling match: To be or not to be? Most of the movie takes place on that ledge, as a beat cop played by Paul Douglas tries to talk Basehart out of splattering himself all over 55th Street.
The performances in this film were acclaimed at the time, and it also has an interesting collection of young, soon-to-be stars, including Debra Paget, pretty boy Jeffery Hunter, Barbara Bel Geddes, and the legendary Grace Kelly, who's twenty-two yet plays a mother of two about to be divorced. Yes, there are twenty-two-year-old mothers of two facing divorce, but it feels like a case of shoehorning her into the movie when her role was clearly written for an older actress. But hey, shoehorn away—she's Grace Kelly. She can play King Kong as far as we're concerned.
14 Hours is, on the whole, an involving and speedy flick. It is not a film noir, and we wish IMDB and Wikipedia didn't let their users label every vintage black and white drama a noir. This one is not even close to noir. It has almost none of that genre's standard iconography, and also lacks its required thematic underpinning. The American Film Institute officially calls it a suspense drama. Whatever its category, 14 Hours' ninety-two minutes are entertaining and technically proficient. To watch or not to watch? We say yes. It premiered in the U.S. today in 1951.
If you'd had sex with me I wouldn't be out here with the pigeons right now.
Headquarters? Do not—I repeat do not—eat all the donuts. We'll get this nutjob off the ledge and be back there as quick as we can.
I certainly don't want you to get desperate enough to climb onto a ledge. Let's go to your place and I'll show you what life is all about.
Don't jump, son! Without you there'll be nobody around to listen to me complain about what a loser your father is!
Hello, headquarters? Status check on those donuts.
Just cooperate, mister! There are a lot of hungry cops up here!New York City14 HoursFourteen HoursPaul DouglasRichard BasehartBarbara Bel GeddesAgnes MooreheadJeffrey HunterDebra PagetGrace Kellyposter artcinemamovie review
| Vintage Pulp | Jan 3 2021 |
If you can't find one you like it's because you aren't trying.
This poster was made to promote the movie Nureta yokujo: Tokudashi nijuichi nin, known in English as Wet Lust: 21 Strippers. With a title like that we of course gave it a watch, and it follows an Osaka vagrant named Hosuke who finds a wallet filled with 60,000 yen, and uses it to remake himself into what he describes as “sort of a pimp.” Really, though, he's more like an aspirant leech, and he soon has a profitable hustle going when he meets Meika Seri (we have a promo image of her below right, squatting in foliage, just because) and shepherds her into earning money for them both as a stripper. Yuko Katagiri soon enters the
fold, and she and Meika are shortly having sex at home and doing the same on stage for money. Hosuke, now an unneeded presence, tries to hang onto his meal tickets via guilt and intimidation, but such a state of affairs can only last so long.
fold, and she and Meika are shortly having sex at home and doing the same on stage for money. Hosuke, now an unneeded presence, tries to hang onto his meal tickets via guilt and intimidation, but such a state of affairs can only last so long.This is a Nikkatsu Studios movie, though we aren't sure if it qualifies as one of its infamous roman pornos. It resembles one, though, in that it resolves in ironic fashion, as Hosuke's arc ends both fittingly and amusingly. But what you really want in a movie called 21 Strippers is—we're just guessing here—lots of stripping. Lucky you, there's a ton, and from a purely aesthetic perspective, it's interesting to watch the Japanese approach to this art form. Which means in the end, you can pretend the movie is educational. Get out your notepad. We'll be testing you on the material later. Nureta yokujo: Tokudashi nijuichi nin premiered in Japan today in 1974.
Here's some bonus material for you, one promo image each of Yuko Katagiri and Meika Seri. We also, some of you may remember, shared other excellent shots of Meika which you can see here and here. Including the squatting shot above, it all adds up to a nice little collection. In addition, she starred in the 1974 roman porno flick (Maruhi) shikijô mesu ichiba, aka Secret Chronicle: She Beast Market, which we wrote about here.
JapanOsakaNikkatsuNureta yokujo: Tokudashi nijuichi ninWet Lust: 21 StrippersYuko KatagiriMeika Seriposter artcinemapinkuroman pornonuditymovie review
| Vintage Pulp | Dec 19 2020 |
Anthony Quinn and Yaphet Kotto give their all and then some in hard luck crime thriller.
Across 110th Street premiered today in 1972, which makes it one of the early arrivals in the blaxploitation wave that was sweeping American b-cinema. With its ample budget and its well established headliner in Anthony Quinn, you could make the case that it isn't fully part of the genre, but we think it fits, even if it's atypical. Outlier or not, you'll see several faces in this that would soon become well known in blaxploitation, and you'll also see Burt Young, later of Rocky and Chinatown.
Plotwise, the movie centers on odd couple cops—old school racist Quinn and college educated reformist Yaphet Kotto—thrown together à la In the Heat of the Night to solve an NYC murder/robbery. As familiar as this oil vs. water dynamic may be, the movie still comes together in exciting fashion thanks to the way it tracks the robbers' storylines. They're a trio of amateurs who ripped off the Mafia for $300,000 and now are being hunted by both crooks and cops. Quinn and Kotto must find these thieves before the Mafia turns Harlem into a war zone.
When the film was released it was criticized for its violence and bitter racial subtext, but upsetting the herd is one of the things it tries to achieve. And while it may not appeal to people's better angels, it's quite interesting, with the grit of Wally Ferris's otherwise radically altered source novel left intact, and the central metaphor embodied in the title—that of which lines will be crossed and what the consequences will be—deftly observed. Across 110th Street is rough stuff, but well worth a watch.
New York CityHarlemAcross 110th StreetAnthony QuinnYaphet KottoAnthony FranciosaAntonio FargasPaul BenjaminRichard WardWally FerrisBurt Youngposter artcinemablaxploitationmovie review
| Vintage Pulp | Dec 2 2020 |
Unlike a normal lottery nobody wants a ticket, and against all odds you're bound to get picked eventually.
We all know that in cinema no idea lies fallow for long. They're all reused until they've given everything of value, and plenty that isn't. Part of the fun of watching movies is seeing the lineage of ideas. La decima vittima, for which you see a nice Mario de Berardinis poster above, was known in English as The 10th Victim, and resides in the sub-genre of films about humans killing humans for sport and gain. Other movies in the group include 1932's The Most Dangerous Game, 1972's The Woman Hunt, 1975's Death Race 2000, 1987's The Running Man, 2013's The Purge, and others.
In La decima vittima's near future, violence between citizens has been made legal and placed under the auspices of the Ministero della Grande Caccio, aka the Ministry of the Big Hunt. Those who hunt are given the identities of their prey, along with their locations and personal habits. Anyone can be hunted, even those who previously were hunters. The hunted can kill their hunters in self defense, but if they make a mistake and kill the wrong person—easy to do when you're paranoid and an unknown person is stalking you—that's old fashioned murder and off to prison you go. The purpose of all this slaughter? As the film explains, “Why have birth control when you can have death control?”
Ursula Andress, whose looks kill anyway, plays an adept hunter given an opportunity by a big corporation to monetize her tenth (and by law her final) murder. Marcello Mastroianni plays a one percenter who's been computer selected as her prey, and whom Andress' corporate benefactors want to film her assassinating for a tea commercial. Andress has agreed to kill Mastroianni at the Temple of Venus in Rome. Getting him there won't be easy, but the classic honeytrap, with the sun-kissed Andress as the sticky goodness, is a sure bet to work. It'd work on us.
We said the movie is in the same lineage as The Most Dangerous Game, The Purge, et al. Nearly all those films are better than La decima vittima. There are several problems here, not least of which is emotional tone-deafness—the characters love and hate because the script requires it, but there's no spark, no believability. The movie is probably worth watching anyway because of its super sex symbol cast rounded out by Elsa Martinelli, plus its sleek, retrofuturistic ’60s fashions, but don't go in expecting a landmark sci-fi, a brutal social commentary, a cutting satire, or anything of the ilk. In the end, just like the real future, it's so-so. La decima vittima had its world premiere in Rome and Florence today in 1965.
ItalyRomeFlorenceLa decima vittimaThe 10th VictimUrsula AndressMarcello MastroianniElsa MartinelliMario de Berardinisposter artcinemasci-fimovie review
| Mondo Bizarro | Nov 24 2020 |
Mysterious monolith found in desert. Local wildlife now walking upright and demanding better mobile coverage.
Someone cue Also sprach Zarathustra. In Utah a helicopter pilot from the Department of Public Safety's Aero Bureau was counting bighorn sheep in a remote part of the state when he overflew a strange object, and upon turning back for a second look was astounded to sight a metal monolith planted in the desert. Estimated at ten to twelve feet (about three meters) high, the object is shiny, silvery, rectangular, and appears to be man-made. Appears to be. Advanced metalwork is assumed to be a solely human ability, but that's just an assumption. We also thought we were the only species that masturbated until we saw dolphins do it.
The slab story has taken on a mostly humorous life of its own, as observers reference 2001: A Space Odyssey, the movie which appears to have inspired the creator of the rectangle. The film's monolith triggers a quantum leap in human evolution, which in 2020 we could really use, but since modern culture is little more than a seven-billion-person rugby scrum in which nobody has noticed the ball got lost decades ago, we don't think a comparable evolutionary leap is coming. Anyway, there's 
nothing out there in the desert but sheep, so maybe it wasn't made for humans at all. Everyone should keep close watch on those bighorns. Maybe they'll make an evolutionary leap and, like in the film, start using old femurs to break heads. Sheepherders beware.
nothing out there in the desert but sheep, so maybe it wasn't made for humans at all. Everyone should keep close watch on those bighorns. Maybe they'll make an evolutionary leap and, like in the film, start using old femurs to break heads. Sheepherders beware.For our part, there's little doubt the slab is actually just a piece of guerrilla art, planted in the wilderness years ago, where it has patiently waited for discovery. As a publicity stunt it's ingenious. Once authorities inevitably remove and examine the piece, they'll most likely find some identifying mark, and at that point the artist will come forward or be identified. People are already speculating it was made by deceased monolith master John McCracken. However it turns out, we think it's appropriate that this discovery, one of the most confounding in recent memory, was inspired by 2001, one of the most baffling films ever. The desert slab will eventually be explained to most people's satisfaction. The movie? Never.
Update: the monolith has vanished. Its next probable sighting will be in a barren wilderness near you.
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