Vintage Pulp Dec 6 2014
RAVE REVUE
Sex and cinema in an open age.


When we went to Paris a couple of months ago we mentioned that we found a stack of Ciné-Revue magazines in Le Marché aux Puces de Saint-Ouen. Their dimensions make for extra work because we have to scan every page in two pieces and put them together in Photoshop, and even more daunting, any two-page spreads have to be scanned in four pieces and assembled (this is actually true for all the tabloids we post). That’s why we get a bit lazy about it sometimes. Yeah, yeah, we know—get a bigger scanner. Easier said than done, unless someone wants to mail us one. Anyway, we managed to get some pages together from the above issue of Ciné-Revue published today in 1973.

Ciné-Revue originated out of Belgium in 1944 and was the premiere French-language cinema magazine there and in France for many years. Today it remains popular, making it one of the longest-lived cinema magazines as well. On the cover of this one you get German softcore and hardcore actress Karin Schubert, and inside you get John Wayne, Pia Giancaro, Brigitte Bardot, Jean Gabin, and an artful nude shot of impossibly handsome Austrian actor Helmut Berger. You’re welcome, girls, but please don’t start doing internet searches trying to find out what he looks like now—you won’t be happy. Berger also appears on the back of the mag.
 
Regarding the Schubert cover, the line between mainstream cinema and porn was never blurrier than back then, and Ciné-Revue reflected that with its features of hardcore and softcore performers. Could you imagine porn actresses routinely appearing in, say, Rolling Stone, and being given equal standing with mainstreamers? Nevertheless, popular American media is heavily porn-influenced, even if the seed, so to speak, goes unacknowledged. What is a Sports Illustrated swimsuit issue about, for example, with its models wearing not swimsuits, but rather paint on their fully waxed bodies?
 
When cinema first developed into an industry many filmmakers thought of movies as simply a motile version of photography, or painting, or sculpture. Nudity was a regular occurrence onscreen during the pre-code 1920s, but a funny thing happens when you add motion and character development to the static nude—Michelangelo turns into Brazzers. Today, all nudity in American cinema is on some level political. No? Then why is it that only in American cinema there is such a proclivity for the clothed sex scene? It raises a question. Is it possible for both men and women, gay and straight, to celebrate their sexuality without conflict? Maybe, but only with more economic equality for women, less stigmitization of homosexuality, less racism, and more understanding that we are—male and female, gay and straight, green and purple—biologically driven by sexual desire.
 
Looking at the Schubert image above, we’re reminded of a time (in which we were basically zygotes, but go with us here) during which mainstream movies asked questions about freedom for versus exploitation of women, and how commerce in an age of mass media impacts women’s security versus the ideal of sexual freedom. For instance, how do we have sex and sexual aspiration but also have a safe pressure release for the millions who aren’t having sex in any given week or year? Can sex and porn safely co-exist? No idea. Option two is to beat the need for sex out of every man and woman on the planet. Not our preferred solution, but we can talk about it. Why did we write all this? Probably because there’s nudity/exploitation in the next two posts, so these questions just came into our minds.
 
On another note, we had to go back to France on short notice, but to Bordeaux this time, and we’re there at this moment. So maybe hanging out with the always philosophical French made us write this missive. Possibly some fine red wine has contributed. Anyway, we will scour Bordeaux for more wine—er, pulp—but especially Ciné-Revue, as we’re very interested in 1970s international movie stars, and this magazine gave them as much exposure as any publication we’ve seen. We have eighteen scans below, and more from Ciné-Revue to come.


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Femmes Fatales Oct 15 2013
SENTA OF A WOMAN
It probably should have been the Tail end of her career.

Another Italian movie that premiered today is Pasquale Festa Campanile’s prehistoric comedy Quando le donne avevano la coda, aka When Women Had Tails. The above promo shot shows Austrian star Senta Berger in full costume for her role as Filli, the cavewoman captured by a clan of seven men who have never seen a woman. They quickly learn that she doesn’t, in fact, have a tail, and shortly thereafter uncover other anatomical curiosities. The movie’s so bad it’s miraculous Berger ever worked again, but you have to love this ’70s glam rock look. And if not, she appears as a normal human below. 

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Vintage Pulp Jan 15 2013
PSYCH WARDH
Vice and virtue in Vienna.

So, quite by coincidence there’s another movie we watched recently that also premiered today, though thirty years later than The Shanghai Gesture (see below). The movie is Lo strano vizio della Signora Wardh, which would translate as “The Strange Vice of Mrs. Wardh,” but was released in the U.S. as Blade of the Ripper. This flick is considered one of the best gialli ever made, and it’s tough to argue the point. It’s intricate, absorbing, unpredictable, colorful, and shot in an array of amazing external locations and inside one of the greatest mid-century modern apartments ever conceived. It also has Edwige Fenech, whose gifts are well known. Taking place mainly in Vienna and climaxing in Sitges, Spain (which happens to be one of our favorite towns in Europe) Signora Wardh is a taleof obssession and infidelity wrapped in a murder mystery. Mrs. Wardh does indeed have a strange vice, but that’s just window dressing. It’s her that’s being hunted throughout the movie—either by a serial killer, a demented ex-lover, or both. Or neither. They say that the only way to keep a secret is if no more than two people know it and one of them is dead. But the only way to commit murder is if the killer has an iron clad alibi, and for that he often needs help. Rule one conflicts with rule two, and that’s the fun of Signora Wardh. Above you see a rare and wonderful Italian promo poster painted by Giuliano Nistri, the younger brother of equally talented Enzo Nistri. We'll get back to both Nistri brothers a little later. Lo strano vizio della Signora Wardh opened in Italy today in 1971.

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Vintage Pulp Oct 6 2012
MORTGAGE CALCULATOR
The fact that she’s not even a real blonde is the least of her surprises.

Austrian writer Vicki Baum, née Hedwig Baum, is probably best known for her 1929 novel Menschen im Hotel, which became the smash Greta Garbo/John Barrymore/Joan Crawford movie Grand Hotel. Mortgage on Life, which was originally called Verpfändetes Leben, came in 1946, and tells of a show business love triangle set in Manhattan against the backdrop of Times Square and Broadway. We’ve never seen this particular cover for the book, which is why we’re sharing it, but it’s uncredited, sadly.

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Vintage Pulp Mar 8 2012
UNBELIEVABLE TRUTH
National Star Chronicle had a catchy slogan, but occasionally had a hard time living up to it.

This National Star Chronicle published today in 1965 forgoes its usual cheesecake cover in favor of screaming text about a torturer. The person in question is Alfred Poettinger, who indeed tied a nude woman to his bed and tortured her the last three days of December 1964 in the village of Studl-Paura, Austria. The torture took the form of whippings, followed by insertions of red hot needles. It’s at this juncture that the Chronicle’s account veers into pure fiction. In the real world, the woman, Monika Einoeder, managed to slip her bonds and flee naked to an adjacent house, where she called the police. Cops arrived at Poettinger’s only to find that he had hanged himself. But in Chronicle world, Poettinger didn’t die, but rather was trundled off to jail, where Chronicle house scribe Ernst Brookman allegedly scored an interview. The point of such a blatant lie, we presume, was to convince readers that the Chronicle had a network of intrepid reporters blanketing the world. It probably worked, too, but then this little thing called the internet came along and now we can look up articles from Jan 2 1965 and read for ourselves over and over that Poettinger was swinging from the rafters when police found him. So much for the Chronicle’s motto: True Stories About True People. Well, at least they got half of it right, and to their credit the editors didn’t forget the cheesecake entirely. Inside, it takes the form of Evi Marandi, Pilar Pellicer, Janis Paige, and Paola Penni, all of whom you see below. More from National Star Chronicle later. 

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Femmes Fatales Jun 23 2011
LOVER'S LANE
Someday her prince will come.

Above, Austrian-born British actress Jocelyn Lane, who appeared in numerous films and television shows during the ’50s and ’60s, including The Man from U.N.C.L.E., Operation Snatch, Dangerous Youth, and The Gamma People, before going on to marry Prince Alfonso of Hohenlohe-Langenburg (there’s a mouthful), relaxing here with her dog circa 1960. 

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Vintage Pulp May 25 2011
BABES IN ARMS
Getting carried away yet again.

Today we have another issue of the post-pulp magazine Adam, filled with its usual offerings—adventure fiction, ads for dubious products and services, assorted cartoons with racist tropes, and of course a selection of nude and semi-nude models. Also, of special note is the final page, which features a nice handout shot of Austrian actress Marisa Mell. Of the ninety pages in this issue we’ve shared about thirty. We’d post more but then the website would take forever to load, and that’s no fun for anybody. One of these days, though, perhaps we’ll go back and mine these magazines for more imagery. In the meantime enjoy the pages below. It was all published this month in 1973. 

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Femmes Fatales Jan 17 2011
PLEIN SOLEIL
The burning of Romy.


Above is a shot of Austrian-born German/French actress Romy Schneider, née Rosemarie Magdalena Albach, who appeared in dozens of films during a twenty-nine year career that elevated her to legendary status in Europe. Another photo from this session was used for the cover of the French erotic film magazine Eroscore, below. 

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Vintage Pulp Jan 11 2011
WIENER TAKES ALL
The memory of late nights and coffee in bed.

Above we have the cover and a few interior pages from an October 1950 issue of Neue Wiener Melange, which is a German celeb and erotic magazine that takes its name from the phrase “Viennese blend”, a type of coffee with milk. We have to admit, the contents are a bit stimulating. You get some deft art, some demure studio nudes, and Austrian actress Vera Molnar, who starred in 1951’s A Tale of Five Cities and 1954’s Ulysses, the latter with Kirk Douglas. We have another of these and if we don’t have a lazy day we’ll scan the whole thing and post it. 

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Vintage Pulp Sep 3 2010
VIENNESE WALTZ
The Third Man is a stiff drink, with a twist of Lime.

The 1949 film noir The Third Man is a best-case-scenario of what can happen when great talents collaborate. Carol Reed directs, Orson Welles, Alida Valli and Joseph Cotten act from a screenplay penned by master storyteller Graham Greene, and the cinematographer is Robert Krasker. Krasker won an Academy Award for his work here, and when you see the velvety blacks and knifing shadows of his nighttime set-ups, as well as the famed scenes shot in the cavernous Vienna sewers and bombed out quadrants of the city center, you’ll understand why. The story involves a pulp writer named Holly Martins who arrives in a partitioned post-war Vienna only to find that his friend Harry Lime is dead, run down by a truck. When Martins learns that the police are disinterested in the circumstances of Lime’s demise, he decides to do what one of his pulp characters would do—take matters into his own hands. But nothing adds up. He learns that Lime died instantly, or survived long enough to utter a few last words. He finds that Lime was a racketeer, or possibly not. And he discovers that two men were present when Lime died—or possibly three. That third man seems to be the key to the mystery, but he proves to be damnably elusive. We can’t recommend this film highly enough. Above you see a pair of rare Japanese posters from The Third Man’s premier in Tokyo today in 1952. 

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History Rewind
The headlines that mattered yesteryear.
February 01
1920—Royal Canadian Mounted Police Forms
In Canada, The Royal Canadian Mounted Police, aka Gendarmerie royale du Canada, begins operations when the Royal Northwest Mounted Police, founded 1873, and the Dominion Police, founded 1868, merge. The force, colloquially known as Mounties, is one of the most recognized law enforcement groups of its kind in the world.
1968—Image of Vietnam Execution Shown in U.S.
The execution of Viet Cong officer Nguyen Van Lem by South Vietnamese National Police Chief Nguyen Ngoc Loan is videotaped and photographed by Eddie Adams. This image showed Van Lem being shot in the head, and helped build American public opposition to the Vietnam War.
January 31
1928—Soviets Exile Leon Trotsky
Leon Trotsky, a Bolshevik revolutionary, Marxist theorist, and co-leader of the Russian October Revolution, is exiled to Alma Ata, at the time part of the Soviet Union but now located in Kazakhstan. He is later expelled entirely from the Soviet Union to Turkey, accompanied by his wife Natalia Sedova and his son Lev Sedov.
January 30
1933—Hitler Becomes Chancellor
Adolf Hitler is sworn in as Chancellor of Germany in President Paul Von Hindenburg's office, in what observers describe as a brief and simple ceremony. Hitler's first speech as Chancellor takes place on 10 February. The Nazis' seizure of power subsequently becomes known as the Machtergreifung.

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