|Femmes Fatales||Dec 12 2017|
|Vintage Pulp||Nov 23 2017|
We featured a Charles Rodewald cover last year and loved it, so we're bringing him back today, this time on the front of Ecstasy Novel Magazine, which is showcasing Paula Has a Price!, written by Perry Lindsay, aka prolific pulp author Peggy Gaddis. There's confusion online about the copyright on this, but it was published in January 1949. Top effort from Rodewald, and you can see another here.
|Vintage Pulp||Nov 23 2016|
This Japanese poster was made to promote the run of the West German sexploitation movie Der Fluch der schwarzen Schwestern, which translates to “curse of the black sisters,” but which for its English release was titled The Devil's Plaything, as well as Plaything of the Devil and Vampire Ecstasy. Last time we saw Swedish sex symbol Marie Forså she was using a giant zucchini for something other than nutrition. Here phallic items prove useful yet again. Forså and three other women are stranded in a castle by a storm. The workers in this gothic pile are secretly priestesses intent upon engineering the rebirth of their vampire mistress who was put to death 400 years ago. The details don't really matter. Here's what you get: naked dancing girls, continual bongo drumming, dick shaped candles, and lots of softcore lezzie action, with occasional token guys mixed in for variety. It's of course tender young Forså who seems the most susceptible to the ancient vampiress. Can she escape with her soul intact? Only a viewing will answer that question for you. We won't recommend the movie but we'll say this much—it's ludicrous, but very sexy. Der Fluch der schwarzen Schwestern opened in West Germany in October 1973 and premiered in Japan today the same year.
|Vintage Pulp||May 22 2015|
Above, an excellent George Gross cover for Bed-Time Angel written by Norman Bligh, aka William Arthur Neubauer, for Ecstasy Novel Magazine, March 1951.
|Vintage Pulp||Nov 1 2014|
The above poster is the original promo Kôyû Ohara’s motorcycle gang roman porno Shiroi mesuneko: mahiru no ecstasy, aka White Female Cat: Ecstasy at High Noon, and as you can see star Hitomi Kozue is completely flouting the mandatory helmet ordinance. Well, the point of riding a motorcycle is to feel the wind blow through your… er, hair. We haven’t screened this one, but we love the poster so we thought we’d show it to you anyway on its premier date, which was today in 1975.
|Vintage Pulp||Sep 6 2013|
So, it’s becoming clear now that Nikkatsu made a lot of ama movies, right? If you missed our previous shares on the subject, look here, here, and here, and you’ll learn that an ama is a female diver who forages the sea bottom for pearls, abalone, or other expensive treasures. This particular poster, which has never appeared online before at this level of quality, was made for Maruhi ama Report: Monzetsu aka Female Diver's Secret Report: Ecstasy. The movie was directed by Yukihiko Kondö and starred Rie Tachibana, who you see on the art. Usually we’re able to locate promo images of these actresses, but no such luck today—Tachibana appears to have had a very short career in cinema. Maruhi ama Report: Monzetsu premiered in Japan today in 1975.
|Vintage Pulp||Mar 12 2012|
This National Enquirer published today in 1967 features cover star Hedy Lemarr promoting her 1967 autobiography Ecstasy and Me: My Life As a Woman. The title is taken from the 1933 Austrian film Ekstase, in which she appeared nude, shocking audiences of the time. Enquirer describes her book as shocking, as well, and indeed there are some surprising revelations. An example: while still living in her native Austria, she ran away from her husband and hid in an empty room in a brothel. A man came into the room and she had sex with him rather than let her husband find her. Lamarr claims to have had hundreds of lovers, male and female, and depicts herself variously as both a nymphomaniac and a kleptomaniac. But all of this comes with a caveat—her ghostwriter, the notorious Leo Guild, wrote various celeb biographies that played fast and loose with the truth. That said, even Guild was not imaginative enough to have fabricated everything in Ecstasy and Me.
As a side note, we should mention that Lamarr, along with George Anthiel, invented and patented an advanced frequency switching system that they envisioned for usage guiding torpedoes (the constant switching of frequencies would make them difficult to jam, thus more likely to reach their targets). Now, if you read other websites, most of them praise Lamarr as a military genius, and it’s true she had a highly developed technical mind, but the system she helped pioneer actually grew out of an idea to remotely control player pianos. In fact, the guidance system used eighty-eight frequencies, which is of course the number of keys on a standard piano. We think knowing that she applied a musical idea to military usage gives a somewhat fuller appreciation of how ingenious she actually was, rather than just picturing her as some kind of Oppenheimer type.
Ingenious or not, the U.S. Navy declined to purchase Lamarr and Anthiel’s system, but the moment the patent expired two decades later the military was all over it. We can’t discern with our limited resources whether this sudden decision to use the technology was coincidental or not, but certainly the result was that Lamarr got screwed out of probably millions of dollars. Or perhaps even more, when you consider that her and Anthiel’s frequency switching is closely related to that used today for global positioning systems and Bluetooth. Since Lamarr claimed in her book to have blown through more than thirty million dollars in her life, the fun and creative ways she might have spent a massive military windfall makes the mind boggle. We’ll get back to Hedy Lamarr a bit later, because she certainly deserves a more detailed treatment.
|Vintage Pulp | Sex Files||Jan 16 2012|
In our continuing search for rare magazines of high entertainment value (if sometimes dubious quality), we stumbled across the above gem—the first issue of the self-described sexploitation film graphic Flick. Published in the U.S. out of Libertyville, Illinois, it was basically just reviews of x-rated films in tabloid form. The publishers admit in their introductory editorial that the tabloid market is glutted, but insist America needs a magazine that helps porn consumers separate the wheat from the chaff. They do it with utter seriousness and, as a bonus, also throw in some musings on film history, with discussions of Rudolph Valentino, Douglas Fairbanks, Theda Bara, Jean Harlow, and Hedy Lamarr, who all had pre-Hays Code flirtations with screen nudity.
It might be difficult to imagine actors appearing nude on screen during the 1920s and 1930s, but the idea back then was that, because the medium was considered an art form, motion picture nudity was no different from nudity in sculpture, photography or painting. Theda Bara's and Jean Harlow’s screen nudity was merely implied, but Hedy Lamarr went all the way in her 1933 Czech-made romance Ekstase, aka Ecstasy, in which she ran starkers through the woods, giving audiences a gander at her backside and breasts. She was known at the time as Hedy Kiesler, but it’s her.
There’s also a non-nude love scene containing what some critics believe is the first cinematic depiction of an orgasm. As you can imagine, Ekstase was controversial. Only four-hundred prints were ever made, and most of those were butchered by censors. By the 1940s, the only complete copy known to exist was in Russia. It had first been Hungarian property and had been exhibited in Budapest in ’33, but because the Hungarians had fought alongside Nazi Germany and helped conquer swaths of Russian territory in the early 1940s, when the Russians reversed those gains and occupied Budapest in 1944, they sort of helped themselves to a few choice cultural treasures.
Elsewhere in this inaugural Flick you get reviews of the adult films A Hard Man’s Good To Get, Sisters in Leather, College Girls, and Jack Hill’s first full-length effort Mondo Keyhole. The editors remind readers that their magazine is a collector’s item. At the time—January 1970—they probably imagined it would be quite valuable in forty-one years. Well, we got it for $4.00. But just for the hell of it, maybe we’ll hang onto it for another forty-one years. You never know. By the way, if you’re curious, you can actually see that famous Hedy Lamarr nude scene here. It is not a complete version, though. We doubt a complete one exists. See ten scans from Flick below.