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.

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. 

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. 

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. 

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. 

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. 

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. 

Promo photo of Austrian actress Maria Perschy from the West German action flick Die Pagode zum fünften Schrecken, aka Five Golden Dragons, 1960. 

Liliana Cavani’s controversial drama Il portiere di notte, aka The Night Porter, is a landmark of Italian cinema, and another of those seventies films that could never be made today. It involves the sado-masochistic relationship between a concentration camp survivor, played by Charlotte Rampling, and a former camp officer, played by Dirk Bogarde. The camp is eventually liberated, but the Nazi manages to escape the Allies. Postwar he builds a normal-seeming life but must carefully hide his former identity. Meanwhile, the woman builds a normal-seeming marriage, but conceals her psychological scars. In Vienna years later, the woman is shocked to encounter the Nazi again, and soon their destructive codependency is rekindled. The amazing promo poster above uses a frame from the movie’s pivotal scene, a flashback in which Rampling performs a striptease wearing an SS uniform, after which her captor rewards her á la Salomé with the head of a prisoner who has been tormenting her. Il portiere di notte is dark, slow, and deadly serious, but for the true film buff it’s probably a must-see. It was generally well-reviewed upon release, but there were also slams from a few major critics. In the end, you’ll have to make your own decision. Il portiere di notte premiered in West Germany yesterday, 1974.