Intl. Notebook Jun 23 2017
COMING FULL CIRCLE
Famed movie cemetery rises from the dead.

Spaghetti westerns earned their name because they generally premiered in Italy and the studios that financed them were usually Italian, but the films were often predominantly shot in Spain. The climax of The Good, the Bad and the Ugly, with its unforgettable three-way gunfight between Clint Eastwood, Eli Wallach, and Lee Van Cleef, was shot outside the town of Santo Domingo de Silos, Spain, in the province of Burgos, in a unique circular cemetery put together by set builders. In the script it was called the Sad Hill Cemetery. After the shoot Sad Hill was abandoned, and soon nature began to overtake the set.

That would have been the end of the story, but a group of film fans calling themselves the Sad Hill Cultural Association decided Sad Hill was a historic film treasure deserving of resurrection, and pledged to rescue it from oblivion. Toiling in their spare time, they labored with pick, hoe, and shovel to clear the site. They needed money to accomplish the work, so they set up a crowdfunding campaign with a unique enticement—those who contributed would have their names inscribed on the restored grave markers. The restoration efforts are finally complete, and the famous graveyard has been returned to its former state.

Spanish filmmaker Guillermo de Oliveira shot a documentary about the salvation efforts, and hopes to release a film titled Sad Hill Unearthed. He's now trying to raise money to pay for the rights to clips and music from The Good, the Bad and the Ugly, with the plan to premiere thefinished product at film festivals and share the restorer's unique dedication with the world. Meanwhile Sad Hill will become not only a tourist attraction for people passing through the province of Burgos, but a destination for those who contributed to its renewal. As Oliveira commented, “It’s the only cemetery in the world where you can visit your own grave.”

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Vintage Pulp Jan 26 2017
A NUT AND A BOLT
Eastwood tries to teach a new dog old tricks.

Squirrelly young criminal Lightfoot, played by Jeff Bridges, is just the kind of guy you want to smack. Always running his mouth, never paying attention, totally wrapped up in himself. He picks up John Doherty, played by the older Clint Eastwood, and the two form a bromance. During their travels, Lightfoot learns that Doherty is a famed bank robber known as the Thunderbolt, for his usage of an anti-aircraft cannon to penetrate a bank vault. Thunderbolt has two ex-partners on his trail who are seeking a cache of hidden money from a previous job. The money is hidden behind a blackboard in an old, one-room schoolhouse, but when Thunderbolt and Lightfoot travel to the site of the school it's been replaced a modern new building.

The angry ex-partners eventually corral Thunderbolt and Lightfoot, but when they learn the money is gone, rather than exact revenge, they decide to pull off the same job, the same way, and maybe the loss of the other cash will be forgiven. The only snag is they have no way to finance the robbery—particularly the acquisition of another cannon. So they do what any career criminals would do—get jobs. They drive an ice cream truck, groom dogs, anything to earn cash. The question is never really whether they'll finance the heist, but whether their fragile coalition—which is strained by mistrust from the loss of the previous bank loot, as well as by Lightfoot's grating antics—can hang together.

Jeff Bridges' Oscar nominated performance is a reminder that Millennial, Generation X, Beat Generation, et al, are just marketing terms used for social engineering. Every young generation is infuriating to the older ones. It's genetic, not social. Lightfoot is impatient, oblivious, andrude—like someone raised on mobile devices, only decades before those existed for people to focus their ire upon. A constant underlying concern is whether he will finally go too far and get his ass seriously beaten, or maybe even get killed. He's likeable, of course, but he's also a protagonist. If you met him on the street you'd wonder if he was ever dropped on his head as an infant—and then proceed to drop him on his head. And no—he doesn't turn out to be secretly a criminal genius. He's exactly the constant annoyance he seems.
 
Though Thunderbolt and Lightfoot isn't film noir, it's full spectrum entertainment, with laughs, thrills, and a touch of sex, as well as just enough menace to keep viewers on edge. But we don't think Noir City patrons will walk away from the screening 100% pleased. We get that they're being asked to think outside the box, but there's a pretty wide gap between noir, with its beautiful visual palette and nostalgia invoking cultural stature, and a ’70s road thriller, with its dusty look and twangy country music soundtrack. Thunderbolt and Lightfoot is a great movie in the wrong festival, in our view. As a side note, the promo poster, which we're sure you've noticed is high quality, was painted by Ken Barr, who was a respected comic book and promo artist for many years. You can read a bit more about him here.

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Vintage Pulp Aug 1 2014
THE GOOD, THE BETTER, AND THE BEST
Who needs a name when none of your enemies survive to remember it anyway?

There are precious few movies that truly age well, and far fewer series. But like the Clint Eastwood spaghetti western series colloquially known as the Man with No Name Trilogy, these Japanese posters have stood the test of time. From top to bottom they are for A Fistful of Dollars, aka Koya no yojimbo, For a Few Dollars More, aka Yuuhi no ganman, and The Good, the Bad, and the Ugly, aka Zoku yuuhi no ganman. There are some who say Eastwood’s character actually has a name in these films, but we beg to differ. In the first he’s referred to once as Joe, which is a name, yes, but more likely is a tag, like calling him “hotshot,” or “buddy.” In the second he’s referred to as Manco, which colloquially means “one armed” in Spanish. And in the third film he’s referred to as Blondie. But whatever his real name was, probably everyone thought of him the same way—as trouble. 

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Vintage Pulp Jun 8 2012
A FISTFUL OF TALENT
Sandro Symeoni proves once again that his poster art is unparalleled.

While we’re aware that web searches generate different results depending on the where and when, we were still a bit thrilled when we did a random search today on Italian poster artist Sandro Symeoni and came up as the number one result. That has to do with having featured his art in three different posts over the last couple of years. Today, we have another rare Symeoni, a piece of production art he painted for the Clint Eastwood western Fistful of Dollars in 1964. It’s truly brilliant. We also located several more of Symeoni’s posters and uploaded those below. Symeoni died in 2007. There was a posthumous exhibition in Italy last year that raised his profile a bit, and we suspect collectors will focus on his work even more in the coming years. If you want to see a bit more on him, definitely do so at our previous posts here, here, and here. 

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Vintage Pulp Dec 16 2010
TROUBLE WITH HARRY
One more crack about my afro and you’re history punk.

While we’re on the subject of screen legends, here’s one from a different era—Clint Eastwood, on a Japanese poster for Magnum Force, second installment in his five-part Dirty Harry franchise. Having watched Eastwood’s middle-aged disciplinarian Harry Callahan bust caps on various hapless San Francisco miscreants in installment one, seeing him begin to understand in chapter two that corruption starts at the top feels like witnessing major personal growth. It’s just the realization you’d expect him to have given the time period—America’s cherry had been popped by Watergate and Callahan now personified the country's fresh understanding of reality. The series would eventually loose steam, but Magnum Force strikes a balance between the old reactionary Callahan and the new mature one that makes the film the best in the franchise, in our opinion. It opened in the U.S. thirty-seven years ago this month. 

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Modern Pulp Feb 10 2010
VINTAGE CLINTAGE
Are you feeling lucky, punk?

Above is the entire series of Dirty Harry book covers, nicely capturing Clint Eastwood’s famous don’t-fuck-with-me glint. The series, which is known collectively as The Further Adventures of Harry Callahan, was authored from 1981 to 1983 by several people using the psuedonym Dane Hartman.

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Musiquarium Mar 31 2009
LALO FOR A WHILE


Assorted album sleeves from Argentine soundtrack maestro Lalo Schifrin, circa 1970s.

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History Rewind
The headlines that mattered yesteryear.
September 19
1934—Arrest Made in Lindbergh Baby Case
Bruno Hauptmann is arrested for the kidnap and murder of Charles Lindbergh Jr., son of the famous American aviator. The infant child had been abducted from the Lindbergh home in March 1932, and found decomposed two months later in the woods nearby. He had suffered a fatal skull fracture. Hauptmann was tried, convicted, sentenced to death, and finally executed by electric chair in April 1936. He proclaimed his innocence to the end
September 18
1919—Pollard Breaks the Color Barrier
Fritz Pollard becomes the first African-American to play professional football for a major team, the Akron Pros. Though Pollard is forgotten today, famed sportswriter Walter Camp ranked him as "one of the greatest runners these eyes have ever seen." In another barrier-breaking historical achievement, Pollard later became the co-head coach of the Pros, while still maintaining his roster position as running back.
1932—Entwistle Leaps from Hollywood Sign
Actress Peg Entwistle commits suicide by jumping from the letter "H" in the Hollywood sign. Her body lay in the ravine below for two days, until it was found by a detective and two radio car officers. She remained unidentified until her uncle connected the description and the initials "P.E." on the suicide note in the newspapers with his niece's two-day absence.
September 17
1908—First Airplane Fatality Occurs
The plane built by Wilbur and Orville Wright, The Wright Flyer, crashes with Lieutenant Thomas Selfridge aboard as a passenger. The accident kills Selfridge, and he becomes the first airplane fatality in history.
1983—First Black Miss America Crowned
Vanessa Williams becomes the first African American Miss America. She later loses her crown when lesbian-themed nude photographs of her are published by Penthouse magazine.
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