|Vintage Pulp||Jan 18 2016|
When we shared a poster for Roger Vadim’s Il sangue e la rosa way back in 2009 we didn’t talk about the movie. But since we found this beautiful alternate promo to show you, we thought we’d watch the film again to refresh our memories. It’s an ethereal gothic drama about a woman caught in a love triangle who is subsequently possessed by a vampire after an accidental explosion opens the monster’s centuries buried tomb. It feels like a supernatural version of Emily Brontë, but the source material was actually from Sheridan le Fanu, whose vampire story Carmilla predates Bram Stoker’s Dracula by more than twenty years. Long on lustful gazes, lingering fog, and lilting harp music, short on chills and thrills, Il sangue e la rosa is more of a Vadim art piece than a conventional film, but it has some charms, personified by Elsa Martinelli and Annette Vadim, aka Annette Stroyberg. Il sangue e la rosa premiered in Italy today in 1961. See the other poster here.
|Vintage Pulp||Dec 11 2015|
|Vintage Pulp||Nov 5 2014|
If you’re thinking this West German poster for Sophia Loren’s 1954 drama Die Frau vom Fluss, aka La donna del fiume, aka The River Girl looks a bit like this promo for Riso Amaro, you're right—and the actual films are quite similar too. During the 1950s Italian filmmakers produced at least a few movies with identical blueprints—i.e. improbably hot peasant girls performing hard labor somewhere in the Po Valley while wearing bodyhugging clothing. Generally, the girls dream of better circumstances but possess little means to achieve such an end—until into their lives tumble dudes with big plans.
Sounds like light fare, but sultry summer settings and sexy attire notwithstanding, these were serious films—usually tragedies. Where the staple food in Riso Amaro (and Elsa Martinelli’s 1956 drama La risaia) was rice, here it’s eels. Loren works in an eel cannery by day, dances a mean mambo during her spare hours and, like Silvana Mangano in Riso Amaro, finds herself torn between a decent bore and a thrilling criminal. The choice she makes opens up a whole different can of eels and she spends the rest of the film having to manage the consequences. That’s about all we’ll say, except that we watched the flick last night and more or less enjoyed it. As for Loren, she’s 100% more and 0% less, a big personality whose stardom was a matter of destiny. The movie is worth seeing just because of her.
|Vintage Pulp||Jan 9 2013|
Above, the cover and some interior scans from the Dutch cinema magazine Cheerio! #117, featuring an eclectic selection of international stars, 1956.
|Hollywoodland||Aug 26 2012|
Inside Story of August 1957 offers up stories on Elsa Martinelli, Ann Sothern, Clark Gable and others, but the subhead reading “The Night Audrey Hepburn Can’t Forget” is irresistible. So what happened on the night in question? Nothing fun, unfortunately. Fully expecting to read about some wild party or drunken escapade, journo Gwen Ferguson instead tells us that in 1942, when Hepburn was a Dutch teen named Audrey Kathleen Ruston, she was “brutally kidnapped and subjected to terrible indignities” by a Nazi soldier. As is typical for mid-century tabloids, this claim comes not from direct interviews, but rather from a fly-on-the-wall third person account. In this case, the magazine claims she confessed what happened to prospective husband Mel Ferrer, pictured next to her below, because she wanted him to have a chance to rescind his marriage proposal. The implication is clear—“indignities” is a euphemism for rape. Or else why would Ferguson suggest Ferrer might turn tail and run?
|Vintage Pulp||Jun 14 2011|
We found this issue of the magazine Paris Frou Frou with cover star Lili St. Cyr, always lovely but wearing a crown this time, which is a fitting accessory for one of the queens of burlesque. The issue was incomplete, but below are a few interior pages, including one with the semi-famous 1950s dancer who billed herself as Miss Kalantan, as well as shots of Kirk Douglas and Elsa Martinelli. Also mixed in were some clippings from a second issue of Paris Frou Frou, and we’ve added those pages too. All the images date from the mid-1950s.
|Vintage Pulp||Jul 12 2010|
First the Festival of San Fermin, and now Spain’s World Cup victory. To say last night’s celebration was exuberant is an understatement. Nevertheless, we’re back to doing what we do, so here’s a random Spanish-language magazine we ran across, the long-running film publication Ecran, which is not from Spain but rather from Chile. This issue is circa 1965, with Italian actress Elsa Martinelli on the cover. Martinelli starred in a couple of our favorite cheesy flicks from the sixties, which means we’ll be getting back to her in more detail soon.
|Vintage Pulp||Mar 30 2010|
Assorted frolicsome images from Japanese celeb magazines, with “Sharlon” Tate in panel four and Sylva Koscina in panel eleven.
|Vintage Pulp||Jan 18 2009|
If this looks like a poster for some sort of gothic lesbian vampire romance, well, you should start up your own psychic friends network, because you’re right. Alternatively, maybe you aren’t psychic, and this is just extremely successful promo art. Directed by Roger Vadim, Il sangue e la rosa is loosely based upon Irish author Sheridan LeFanu’s classic tale Carmilla, which appeared in his 1872 anthology In a Glass Darkly. Vadim’s adaptation was originally released in France under the title Et mourir de plaisir, but later renamed and paired with the fantastic art you see above. It premiered in Italy in… well, if you’re psychic you already know.