Whatever she asks the answer is yes.
Maria Mari starred in such films as the 1978 roman porno Lusty Transparent Man and the 1981 ama flick Nympho Diver: G-String Festival, and you see her above in a beautiful promo photo from around 1978. Mari didn't make many movies—the Japanese Movie Database lists six, while IMDB has her in eight. All in all, it was a three-year run. Well, once you've had sex with an invisible man there's really nowhere else to go career-wise.
In a place like Atlantic City there's always one more chance.
The poster you see above was painted by the Spanish artist Francisco Fernandez Zarza-Pérez, who signed his work as Jano. As you can see, it was to promote Louis Malle's drama Atlantic City, U.S.A. Most sites call the film just Atlantic City, but we're going with what the opening credits called it. Though the movie starred U.S. performers and tends to be thought of as an American effort, it was French produced and premiered all over Europe in 1980 before reaching the States in 1981. It opened in Spain today in 1980 and tells the story of a sixty-something minor crook who finds himself involved with twenty-something hustlers and their sale of stolen drugs. Circumstances place both the party favors and the profits in his hands, and he suddenly has a chance to be the big time mobster he never was.
Not only did Atlantic City, U.S.A. win the Golden Lion at the Venice Film Festival, it's one of the few movies to be nominated for all five major Academy Awards—Best Actor (Burt Lancaster), Best Actress (Susan Sarandon), Best Director, Best Picture, and Best Screenplay. With a résumé like that we don't have to tell you the movie is good. Watch it. You'll like it. The woman on the poster, by the way, looks nothing like Susan Sarandon, but it was early in Sarandon's career, and we suspect Jano wasn't too invested in getting her likeness correct. It was within his capability, certainly—his Lancaster looks great. We don't know why he got Sarandon wrong. Considering how famous she eventually became, we have a feeling he wished he'd done better.
Nikktasu's revitalized roman porno screens for NYC audiences.
Today in New York City at the New York Asian Film Festival, two productions from Nikkatsu Studios' ballyhooed Roman Porno Reboot Project will screen for audiences. The Reboot Project was announced last year, and includes major directors such as Hideo Nakata of Ringu fame, Sion Sono of Cold Fish and Tokyo Tribe, and Kazuya Shiraishi, who made The Devil’s Path. Three films will be included in the New York fest, which began several days ago—Kazuya Shiraishi's Mesunekotachi, aka Dawn of the Felines, and Akihiko Shiota's Kaze ni nureta onna, aka Wet Woman in the Wind, will screen today. Isao Yukisada's Gymnopedies ni Midareru, aka Aroused by Gymnopédies premieres on July 14.
Will these be as edgy as Nikkatsu's vintage roman porno offerings? We have our doubts—some of those movies indugle in excesses so extreme we're amazed they're even available on DVD. We expect the new roman porno to be milder but perhaps contain a modern feminist twist, a shift in point-of-view that would be welcome, at least to us. All three of the movies playing in NYC have already seen release in Japan and gotten decent reviews, which means festival audiences should find something enjoyable in them. If you're in the Big Apple area you now have a potential plan for the next ten days. As for us folks who live far across the ocean, hopefully we'll get a chance to see some of the films soon as well, and if we do we'll certainly report back.
He'll learn any tune you want him to.
The above poster, with its sinister art, was made for the Japanese run of a 1970 French movie titled L'aveu, aka The Confession. It was directed by Costa-Gavras, who often delves into political themes, and here Yves Montand stars as a Czech communist party official named Anton who is one day followed, arrested without warrant, and thrown in jail without charge or access to legal counsel. He thinks it's a mistake but soon realizes party officials suspect him of treason and plan to extract a confession through whatever means are required. He's subjected to isolation, sleep deprivation, and rough treatment, all presented here unequivocally as torture. And indeed when the movie was made there was no doubt what it was. But these days, in the U.S., tens of millions of people and many government officials say it isn't torture—or worse, say it is torture and should be used more. For that reason the film, in the fullness of time, now offers a double lesson—its intended one about a Soviet empire that collapsed, and an unintended one about an American empire making the same mistakes. In L'aveu the state tries to forcibly program Anton; in the U.S. millions have been programmed to accept torture simply because the state has told them to. For us, it was all pretty hard to watch, but it's a damned good movie. It premiered in Japan today in 1971.
The fog of noir creeps into San Francisco.
Once again the Noir City Film Festival gears up in our former home turf of San Francisco, and once again the event provides a perfect excuse for us to watch a few of the films. Noir City, now in its fifteenth year, is one of the most established film noir festivals in the U.S., along with those in Los Angeles and Palm Springs. However, the San Fran version sets itself apart with great promo posters like the one you see above, and others you can see from previous fests here.
This year's slate features twenty-four noir and crime thrillers, including entries from Japan, England, France, and Italy. We'll keep our musings on these films brief as always, because yet more extravagantly written amateur movie reviews are not needed online. For those in the Bay Area, we recommend taking advantage of the opportunity to see these classic movies as they were intended to be shown—on a big screen in a packed house.
The only way to learn it is to do it.
This is a really nice poster for the Italian sex comedy La matriarca. We watched it on Daily Motion, and Catherine Spaak plays a young widow who discovers her dearly departed kept a secret apartment reserved for his serial philandering. Wondering if her lack of sexual experience contributed to her husband's wanderings, and spurred to curiosity about various carnal practices, she proceeds to seduce pretty much everyone she knows, absorbing lessons along the way. She becomes particularly fixated on the wisdom of Aristotle, which leads to her comically using men as horses (see below). We're mainly interested in the poster, though, which is unsigned, but was painted by Giuliano Nistri, a conclusion we came to because he painted the alternate Italian promo which you see below, and because it's very similar to another Nistri poster you can see here. La matriarca premiered in Italy today in 1968. If you get the urge to watch it, try this link.
To a hammerer every problem looks like a nail.
In Dorothy Salisbury Davis's A Gentle Murderer a man visits a confessional and reveals murdering someone with a hammer and flees into the night before the priest knows what to do. The dismayed padre decides to search for the mysterious man who burdened him with this terrible knowledge, thus taking on the role of detective in the story, though the police are on hand to conduct a parallel investigation. Naturally, another murder will soon occur if the killer isn't caught. The plot is similar to that of Alfred Hitchcock's 1953 film I Confess, but appeared in hardback two years earlier. However, the Hitchcock movie was actually based on Paul Anthelme Bourde's 1902 play Nos deux consciences, so perhaps Davis was inspired by either the play or Hitchcock's adaptation. Whatever the genesis, the result was a highly regarded mystery, considered by some to be among the best of the era. The cover art on this Bantam paperback edition is by Charles Binger, and dates from 1953.
Upon examination this movie is really bad.
We suspect 90% of women—if not more—would assume this poster is for an obscure Japanese horror movie. They'd be wrong, though, because it's actually for a lighthearted made-in-West Germany erotic film called Obszönitäten, aka Obscenities, aka Confessions of a Male Escort, which premiered today in 1971. The promo art, which is completely different from the European or U.S. art, is symptomatic of the Japanese penchant for violent imagery in erotica. We've talked about it before, and we're still trying to figure it out. The movie, though, isn't violent, at least not until the end, briefly. It's a slapstick comedy about a gynecologist who is rendered impotent, and offers a gigolo named Johnny the kingly sum of 100,000 DM for his penis, which the doctor has the ability to transplant to himself. 100,000 DM was about $27,000 back when this film was made. Would you take an offer like that? No, neither would we. Plus our girlfriends would kill us if we suddenly turned up with tiny, uncircumcised dicks. No offense to the uncut but the girls have made their preferences clear. Getting back to the movie, the only real obscenity is how bad it is. Please skip it.
It isn't whether you win the game. It's who you play.
And speaking of summer, Sharon Tate is the picture of summertime in this shot of her playing ping pong on the beach. We've seen the photo around the internet, but of course with zero information, so for the record, she's attending the 21st Cannes Film Festival, held in 1968, not in the summer, but in spring—May to be exact. But summer comes early on the Côte d'Azur. Her husband Roman Polanski was on the festival jury that year, but since that isn't actual work, he made time to be at the other end of the table here. He may have lost the game for all we know, but when Tate is your partner you've already won.
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