Giving in to the inevitable.
German actress Karin Schubert is an interesting figure in international cinema—she began in mainstream films in the late 1960s, appearing in efforts by acclaimed directors such as Edward Dmytryk and Yves Boisset, then transitioned into adult cinema. Usually actresses attempt to do the reverse. Some of Schubert’s early roles, such 1975’s Black Emmanuelle, were of the sexploitation variety, but it wasn’t until 1985 when she was aged 41 that she starred in her first hardcore film, Double Desire. Some sources say there are rare prints of 1975’s Il Pavone nero, aka Voodoo Sexy that show Schubert in x-rated action, but those sources are wrong—as was common at the time, down and dirty scenes performed by a body double were added later. However, Schubert did shoot fully hardcore magazine spreads earlier than her entry into adult cinema.
She last acted in 1994, and since then has dropped completely out of sight. We got curious what happened to her, and in our wanderings visited a forum where a user claimed he spoke to former adult film colleague of hers at a porn convention. According to the user, Schubert’s colleague said she died, but we doubt that’s true. Schubert was a significant star. Notices of a woman who had the unusual distinction of working with both film noir icon Edward Dmytryk and porn stallion John C. Holmes would have appeared somewhere in the German—if not global—press. We checked, and there was no word anywhere. As far as the supposed info provided by her old colleague, picture this exchange:
“Say, Karin, I’m going to the adult film expo in Hamburg this year. You going?”
“Hellz fucking no, and if anyone asks about me please tell them I died.”
The photo at top shows Schubert from around 1975, and below are some of her many covers for the West German magazine Wochenend. You can also see a nice Ciné-Revue cover of her here. We’ll try to get into some of her non-x-rated films later and report back.
, Black Emmanuelle
, Double Desire
, Il Pavone nero
, Voodoo Sexy
, Karin Schubert
, Edward Dmytryk
, Yves Boisset
Robert Young tries to solve a murder that seems to have no motive.
Above is a Swedish poster for Edward Dmytryk’s Hämnden är rättvis, aka Crossfire, a really interesting film noir about an ex-soldier who is murdered, and his fellow ex-soldiers who are suspects. Police detective Robert Young tries to get to the bottom of the crime, but is increasingly baffled as he realizes the killing did not occur for any of the usual reasons—money, lust, revenge, etc. Different character recollections provide different information about the victim’s last hours, but only serve to underscore the apparent senselesslness of the crime. We can’t reveal the direction Young’s investigation turns without giving away the ending*, but we’ll mention that the movie won an award at Cannes—the Prix du meilleur film social, or Best Social Film.
Though technically and visually brilliant, as a whole we don’t think Crossfire has weathered as well as other noirs (for casual movie watchers it may be too static and talky). But it does have a bravura performance from Robert Ryan, and solid work from both Gloria Grahame and the always excellent Robert Mitchum. As far as the art is concerned, note the strong contrast between the Swedish version and the riotously colorful American ones, which we have below. Swedish film noir posters often de-emphasized color and used long lines to apportion space into several distinct boxes (as seen here, here, here, and here), but the above is one of the most severe examples we’ve found. Crossfire premiered in the U.S. in July 1947, and first played in Stockholm as Hämnden är rättvis today the same year.
*We’ve never worried about giving away endings before. Our capsule reviews are really just excuses to show the poster art and joke around. However, a few recent emails have revealed that some readers actually visit Pulp Intl. for viewing ideas, which just goes to show that after five years online you receive credibility whether you were looking for it or not. So even though recent scientific research shows that people enjoy stories more if they know the endings in advance, we’re going to be better about spoilers in the future. Promise.
, Prix du meilleur film social
, Hämnden är rättvis
, Robert Mitchum
, Robert Ryan
, Robert Young
, Gloria Grahame
, Edward Dmytryk
, poster art
, film noir
, movie review
When you get on his wrong side, it’s the other side of a marksman’s scope.
A few days ago we mentioned the Noir City Film Festival and waxed nostalgic about San Francisco. The festival schedule reminded us of noirs we haven’t seen in a while, and revealed others we’ve never seen. On the Noir City bill this evening is a film from the latter category, Edward Dmytryk’s 1952 thriller The Sniper. We watched it last night and it more than deserves a slot in a prestigious festival like Noir City. The film was shot in San Francisco, and stars Arthur Franz as a former mental patient named Eddie Miller who is gripped by murderous impulses. Perching in windows and on rooftops, he uses a carbine and scope to target unsuspecting victims. As yet the gun isn’t loaded, but his sexual feelings for a female acquaintance catalyze his urges. The expert marksman begins killing, ultimately slaying four women (that’s not a spoiler, given the four scoped targets on the poster art). Eddie Miller treads similar ground as hundreds of other cinematic lost souls, but film historians say he was first—American film’s first serial killer. This one is worth it both for the movie and for its usage of San Francisco exteriors, which are so expertly and extensively intergrated into the production, we have a feeling Bay Area audiences will marvel over that more than the actual plot. But they should pay close attention to both. Dmytryk is the same director who gave the world Murder, My Sweet and Crossfire. This is top tier filmmaking.
, Noir City Film Festival
, The Sniper
, Murder My Sweet
, Edward Dmytryk
, Arthur Franz
, poster art
, movie review
, film noir
The headlines that mattered yesteryear.
1938—Alicante Is Bombed
During the Spanish Civil War, a squadron of Italian bombers sent by fascist dictator Benito Mussolini to support the insurgent Spanish Nationalists, bombs the town of Alicante, killing more than three-hundred people. Although less remembered internationally than the infamous Nazi bombing of Guernica the previous year, the death toll in Alicante is similar, if not higher.
1977—Star Wars Opens
George Lucas's sci-fi epic Star Wars premiers in the Unites States to rave reviews and packed movie houses. Produced on a budget of $11 million, the film goes on to earn $460 million in the U.S. and $337 million overseas, while spawning a franchise that would eventually earn billions and make Lucas a Hollywood icon.
1930—Amy Johnson Flies from England to Australia
English aviatrix Amy Johnson lands in Darwin, Northern Territory, becoming the first woman to fly from England to Australia. She had departed from Croydon on May 5 and flown 11,000 miles to complete the feat. Her storied career ends in January 1941 when, while flying a secret mission for Britain, she either bails out into the Thames estuary and drowns, or is mistakenly shot down by British fighter planes. The facts of her death remain clouded today.
1934—Bonnie and Clyde Are Shot To Death
Outlaws Bonnie Parker and Clyde Barrow, who traveled the central United States during the Great Depression robbing banks, stores and gas stations, are ambushed and shot to death in Louisiana by a posse of six law officers. Officially, the autopsy report lists seventeen separate entrance wounds on Barrow and twenty-six on Parker, including several head shots on each. So numerous are the bullet holes that an undertaker claims to have difficulty embalming the bodies because they won't hold the embalming fluid.
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