This is your screenwriter's brain on drugs.
The poster you see above is the U.S. promo for the b-flick Free Grass, aka Scream Free!, aka Street Drugs, which starred Richard Beymer and Lana Wood in a drug drenched counterculture road adventure. We won't mince words—this movie is godawful. It's painful to admit, since we're pro-counterculture guys here at Pulp Intl., but in terms of writing, editing, directing, scoring, and especially acting, this movie is off-the-charts terrible. Basically a hippie runs afoul of the law when a cop is killed during a Mexican drug deal, and has to evade narcotics agents while trying to keep his flower child girlfriend safe. Besides Beymer and Wood there are other semi-famous performers here, such as Casey Kasem and Russ Tamblyn, and it's amazing any of them ever showed their faces in public again after this turkey hit cinemas.
Like most drug movies, Free Grass borrows Jefferson Airplane's concert lighting for drug trips and club sequences, but just when the hypnovisuals start to dazzle your brain terrible dialogue rudely ejects you back into reality. And to think, four guys were needed to write the movie. We can only assume they took the title literally and wrote the entire script while ripping bong hits of Mexican weed. There's one draw here—the uniquely beautiful Wood, who would reach her high water mark, cinematically speaking, as Plenty O'Toole in the 1971 James Bond movie Diamonds Are Forever. Here, unfortunately, she reaches her low water mark wearing a cheap ash blonde wig and spending the last few reels of screen time tied to a bed.
At one point Beymer, besieged by psychedelic lights and seriously bummer vibes, puts his fists to his temples and reels as if his head might explode. That's how we felt: “Why? Why? Why is this happening to us?” We count ourselves lucky not to have flung ourselves off our balcony before the credits rolled. But like all bad trips this one finally ended, and we hope to make it through our remaining years without flashbacks. Free Grass premiered in the U.S. in Detroit, Michigan today in 1969—and the city still hasn't recovered. But at least Lana is here to remind us there's goodness and beauty in the world. Choose life.
Change is inevitable—especially if you're dealing with Ian Fleming.
Ian Fleming was not an author to be trifled with. We talked about how he shifted the rights for Casino Royale from Popular Library to Signet. Well, here we go again. The above 1957 Perma paperback of Diamonds Are Forever with excellent William Rose cover art is rare because Fleming shifted the publishing to Signet after Perma changed the title of Moonraker to Too Hot to Handle. Since this happened after the Casino Royale fiasco you’d think the editors would have known better.
Perma: Ian, Moonraker is a terrible title. It sounds like a sci-fi novel.
Fleming: You listen here, you sniveling little pup—
Perma: This is my job, okay. I’m telling you a bad title hurts your whole brand.
Fleming: Well, I have an idea for a book called Goldfinger. I suppose you think that’s a bad title too?
Perma: Well, yeah...
Fleming: Why you annoying insect. And Octopussy? You don’t like that either?
Perma: Sounds pornographic. It’s ludicrous.
Fleming: You have two tin fucking ears is what’s ludicrous! And Chitty-Chitty-Bang-Bang?
Perma: The worst of the bunch, and pornographic. I’m sorry, Ian—
Fleming: Chitty-Chitty-Bang-Bang? Pornographic? That’s the last goddamned straw, you pimply little Yank!
First rule of making out: remove your glasses.
This cute shot seems like a nice adjunct to our post yesterday. It shows Sean Connery and Jill St. John enjoying a smooch on the set of Diamonds Are Forever. Their love scene in the film did not occur in this setting, and of course, neither actor would have worn glasses in the film, so this looks like extracurricular activity to us. They both get an A+.
Diamonds are forever, but Connery wasn’t.
Sean Connery makes as many appearances in sixties and seventies tabloids as just about any celeb of the time, so here he is again in an article promoting his role in Diamonds Are Forever, which would premiere just a couple of weeks after this December 1971 National Police Gazette hit newsstands. Connery talks about his futile struggle to portray James Bond as a balding hero, and quips about making his stylist thin his wigs so there was almost no point in wearing them at all. Connery said about Bond’s aging, “No one is immortal—not me, not you, and not James Bond.” It was a commendable sentiment, but naïve. Seems as though Connery didn’t realize United Artists had already branded Bond well beyond the point where the character was tethered to any concept of aging. The studio proved that when it brought the much younger Roger Moore on the scene for 1973’s Live and Let Die. Moore would later give way to Dalton, who gave way to Brosnan, who gave way to Craig, as Bond himself remained eternally forty-ish through the passing years. Elsewhere in the Gazette you get a report on the hash capital of the world, the world’s greatest racing systems, and the usual assortment of random beauties in bathing suits. All that, plus hashish toasted cheese, below.
The theme song said he had all the time in the world. Never trust a theme song.
We ran across a rare, Japanese-issued James Bond theme song collection and decided to steal a few photos because inside was this brilliant poster of George Lazenby by Frank McCarthy. Lazenby took over the Bond role for 1969’s On Her Majesty’s Secret Service, in which the character got married only to see his new wife gunned down at film’s end. We’ve been involved in some spirited debates about where Lazenby fits in the Bond pantheon—some of his defenders even say he was the best Bond. We wouldn’t go that far, but he did have one of the best theme songs, Louis Armstrong’s “We Have All the Time in the World,” which opens this compilation. Ironically, Lazenby didn’t have much time—United Artists booted him out of the Bond role the next year when Sean Connery returned to film Diamonds Are Forever. If you haven’t seen On Her Majesty’s Secret Service we recommend it. And you can listen to “We Have All the Time in the World” here.
The headlines that mattered yesteryear.
1918—The Red Baron Is Shot Down
German WWI fighter ace Manfred von Richthofen, better known as The Red Baron, sustains a fatal wound while flying over Vaux sur Somme in France. Von Richthofen, shot through the heart, manages a hasty emergency landing before dying in the cockpit of his plane. His last word, according to one witness, is "Kaputt." The Red Baron was the most successful flying ace during the war, having shot down at least 80 enemy airplanes.
1964—Satellite Spreads Radioactivity
An American-made Transit satellite, which had been designed to track submarines, fails to reach orbit after launch and disperses its highly radioactive two pound plutonium power source over a wide area as it breaks up re-entering the atmosphere.
1939—Holiday Records Strange Fruit
American blues and jazz singer Billie Holiday
records "Strange Fruit", which is considered to be the first civil rights song. It began as a poem written by Abel Meeropol, which he later set to music and performed live with his wife Laura Duncan. The song became a Holiday standard immediately after she recorded it, and it remains one of the most highly regarded pieces of music in American history.
1927—Mae West Sentenced to Jail
American actress and playwright Mae West is sentenced to ten days in jail for obscenity for the content of her play Sex. The trial occurred even though the play had run for a year and had been seen by 325,000 people. However West's considerable popularity, already based on her risque image, only increased due to the controversy.
1971—Manson Sentenced to Death
In the U.S, cult leader Charles Manson is sentenced to death for inciting the murders of Sharon Tate and several other people. Three accomplices, who had actually done the killing, were also sentenced to death, but the state of California abolished capital punishment in 1972 and neither they nor Manson were ever actually executed.
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