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 such 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.
Bargains are few when the best flea market in Paris becomes the trendiest, but there's always hope for pulp diggers.
Vintage book seekers in Paris often focus their efforts on Le Marché aux Puces de Saint-Ouen, or the Saint-Ouen Flea Market. Operating since 1870, as you see in the vintage postcard above, the seventeen-acre site is located north of the 18th arrondissment, outside the Boulevard Périphérique encompassing the historic center of the city. Here thousands of vendors sell every item imaginable—furniture, board games, musical instruments, électrodomestiques, vinyl records, jewelry, art and more. There are also many cafés on site, and the combination of all this makes the market a popular destination. If you’re headed to Paris we recommend the place. Some unfavorable reviews focus on the prices, which we agree are not low, but this is less a true flea market than a rarities market—i.e., bargains are thin on the ground. But for pulp diggers it’s nice. Even sellers who don’t specialize in vintage publications sometimes keep a stash of books and magazines around because they’re just the sort of low cost items that bring browsers into the stalls.
Also on the subject of reviews, we saw some suggesting the market is unsafe. You have to scratch your head at some people’s fears. 120,000 people visit the Saint-Ouen during its busiest weekends and in no part of it could you manage to be more than twenty feet from other shoppers. It’s possible pickpockets may lurk, but that's true in any crowded spotin any big city in any country. Take the standard precautions, and then enjoy yourself—that's the only advice needed here. Oh, and bring good shoes. If this is indeed a flea market—disputed, as we mentioned earlier—then it's the largest in the world.
So, what did we buy? We came across a huge stack of Paris-Hollywood magazines, several tattered issues of Ciné-Revue, and plenty of old books. Budget mattered, but luckily the books and magazines were reasonably priced and every vendor we interacted with bargained willingly, even cheerfully. In the end we managed several good purchases, supplemented by crisp digital photos of the covers of items we couldn’t afford to acquire. A tweak in Photoshop and they’re almost as good as scans. We’ll share all of those in upcoming days.
Marilù, Italian style.
Above, a photo of Italian actress Marilù Tolo, who appeared in many movies between 1960 and 1985, including 1964’s Matrimonio all’italiana, aka Marriage Italian Style, and 1966’s Se tutte le donne del mondo, aka Kiss the Girls and Make Them Die. This shot is from a 1966 issue of the Belgian magazine Ciné-Revue.
Sommer time and the living is easy.
Above is German actress Elke Sommer, looking her stunning best in two scans from Belgium’s Ciné-Revue that we stumbled across in an online forum. The issue was published forty years ago today, during a period when the magazine was upping its skin quotient. In this case, they wisely chose photos by Angelo Frontoni, who was one of the foremost glamour photographers of the day. Ciné-Revue still exists, more or less, as Ciné-Télé-Revue. We’ve been meaning to do an entire feature on the publication, because it has a tangled history we haven’t quite puzzled out yet. It definitely began in Belgium during the mid-1940s, but also published in France for a time. Also, there was another Ciné-Revue published in France back in the 1920s, but we aren’t sure if it has the same provenance as the one above. We’ll figure all that out later, now that these great images have reminded us to do so.
I’d rather go naked and wear fur.
German-Czech actress Barbara Bouchet, from a July 1976 issue of the Belgian film mag Ciné-Revue.
That girl from Paris.
Ciné-Revue with Brigitte Bardot on the cover, published today in 1957, with a shot from her film Une parisienne.
The headlines that mattered yesteryear.
1917—First Jazz Record Is Made
In New Orleans, The Original Dixieland Jass Band records the first ever jazz record for the Victor Talking Machine Company in New York. The band was frequently billed as the "Creators of Jazz", but in reality all the members had previously played in the Papa Jack Laine bands, a group of racially mixed performers who helped form the basis of Dixieland while playing under bandleader George Laine.
1947—Prussia Ceases To Exist
The centuries-old state of Prussia, which had been a great European power under the reign of Frederick the Great during the 1800s, and a major influence on German culture, ceases to exist when it is dissolved by the post-WWII Allied Control Council comprised of the United States, the United Kingdom, and the Soviet Union.
1964—Clay Beats Liston
Heavyweight boxer Cassius Clay, aged 22, becomes champion of the world after beating Sonny Liston, aka the Dark Destroyer, in one of the biggest upsets in boxing history. It would be the beginning of a storied and controversial career for Clay, who would announce to the world shortly after the fight that he had changed his name to Muhammad Ali.
1920—The Nazi Party Is Founded
The small German Workers' Party, or DAP, which was under the direction of Adolf Hitler, changes its name to the National Socialist German Workers' Party. Though Hitler adopted the socialist label to attract working class Germans, his party in fact embraced mainly anti-socialist ideas. The group became known in English as the Nazi Party, and within the next fifteen years expanded to become the most powerful force in German politics.
1942—Battle of Los Angeles Takes Place
A object flying over wartime Los Angeles triggers a massive anti-aircraft barrage
, ultimately killing 3 civilians. Initially the target of the aerial barrage is thought to be an attacking force from Japan, but it is later suggested to be imaginary and a case of "war nerves", a lost weather balloon, a blimp, a Japanese fire balloon, or even an extraterrestrial craft. The true nature of the object or objects remains unknown to this day, but the event is known as the Battle of Los Angeles.
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