A Schell of her former self.
Above is our second issue of Colleción Idolos de Cine, this one featuring Austrian born actress Maria Schell. Not well known now, Schell was an acclaimed figure who won best actress at the 1954 Cannes Film Festival for Die Letzte Brücke and won the Volpi Cup for best actress at the 1956 Venice Film Festival for Gervaise. As we mentioned before, we found these obscure Idolos magazines in Barcelona a while back and grabbed six. You can see the previous issue we posted here. Spain
, Cannes Film Festival
, Venice Film Festival
, Colleción Idolos de Cine
, Die Letzte Brücke
, Maria Schell
, Horst Hächler
West German cinema begins looking at the world in a different way.
Confession d'une pécheresse, aka The Sinner caused a bit of a scandal in West Germany, where it premiered as Die Sünderin in 1951. The movie's depictions of pre-marital sex, prostitution, nudity, and particularly double-suicide got the Catholic church bent out of shape. Despite protests against cinemas and death threats directed toward star Hildegard Knef, the movie was a smash, seen by two million West Germans within the first two weeks of its run. So based on that preamble you know pretty much what the film is about—amid a desperate post-war backdrop a prostitute falls in love with less-than-satisfactory results. But even if the story is familiar by now thanks to the many newer films that have touched upon similar subject matter, Die Sünderin is a cinematic landmark, produced in a war shattered country that had begun to put the pieces back together in a new way, including in its film industry. The above poster, a beautiful piece by the way, was made to promote Die Sünderin's French run, which began today in 1953.
Slow down, baby. How's about I love you ’til I finish, then roll over and fall into a death-like sleep? That work for ya?
Love Me to Death was written by Alex Blake, known in real life as veteran author Charles Neutzel, who also wrote as Alec Rivere, John Davidson, Jay Davis, Stu Rivers, Howard Johnson, et al, and in 2008 published the notable sleaze industry memoir Pocketbook Writer: Confessions of a Commercial Hack. The cool art here is by Doug Weaver, who was kind enough to legibly sign it, thus saving us the usual research efforts. More of that, please. 1961 from Epic Books.
, Pocketbook Writer: Confessions of a Commercial Hack
, Alex Blake
, Doug Weaver
, Alec Rivere
, John Davidson
, Jay Davis
, Stu Rivers
, Howard Johnson
, cover art
Some people just can't keep out of trouble.
We already showed you a poster for Reiko Oshida's 1971 pinku actioner Zubekô banchô: zange no neuchi mo nai, aka Delinquent Girl Boss: Worthless To Confess. She returns above on two rare alternate promos. Those inclined can visit our earlier write-up on the movie here.
Round after round she goes and where she stops nobody knows.
Above, an unusual and provocative promo image of Japanese singer and actress Mari Natsuki, née Junko Nakajima, who appeared in 1983's Satomi hakken-den, aka Legend of Eight Samurai, and 1998's SF: Episode One, better known as Samurai Fiction. Does the latter movie sound familiar? We talked about it a bit when we saw it at the amazing Cinema Caravan during the San Sebastian Film Festival back in 2013.
Belted, booted, and perfectly jumpsuited.
French actress Michèle Mercier began her film career in 1952 and was still going strong as of 2013. Among her many films were Casanova 70
, Le plus vieux métier du monde
, aka The World's Oldest Profession
, and I tre volti della paura
, aka Black Sabbath
. We love this shot of her. She seems ready for anything—from dancing at the disco to dealing with danger. It dates from 1971.
1960 thriller combined voyeurism, repression, child abuse, and sexual crime long before the public was ready.
Hollywood lore is sprinkled with tales of maligned cinematic masterpieces. British director Michael Powell’s 1960 voyeuristic thriller Peeping Tom is one of them—a film so savagely reviewed that it irreparably damaged what had been an acclaimed directorial career. While Powell should not have suffered so brutal a fate, his film’s rebranding as a work of incandescent genius is also not fully deserved. In the end Peeping Tom is a perfectly decent piece of filmmaking, amazingly forward-looking but also flawed. It deals with a man-child obsessed with filming women at the moment the fear of death appears in their eyes, and our villain does this of course by murdering them, and he manages to kill, film, and keep his subjects in frame at all times by using a spear-like contraption attached to his camera tripod. As you can probably guess, his carefully balanced existence is upset by the arrival of a prospective love interest, and we know from the moment she appears that she’ll be in front of his lens at some point.
In the U.S., Peeping Tom came after Alfred Hitchcock’s similar Psycho, but it Britain it arrived first. Censorship was slipping in British cinema, but to get a sense of how prudish authorities still were, consider the fact that Hitchcock’s movie caused controversy not only for its shower murderand for showing Janet Leigh in her bra and in bed with a man, but for being the first film to show a flushing toilet—an affront to bluenoses though the contents were merely a torn up note. Peeping Tom pushed the envelope farther and did it first, showing the killer Mark Lewis preying on sex workers and nude models, showing nudie reel star Pamela Green sprawled topless on a bed just before her murder, and drawing out the killings to agonizing length as Lewis coaxes the perfect expression of terror from his victims. Powell develops his killer to the extent that the audience must understand him as a human, and uses point-of-view to make the character’s films-within-the-film the equivalent of snuff movies.
The list of technical achievements goes on—Powell deftly manages to make Peeping Tom brutal without spilling a drop of blood, and his visual approach is engrossing. So why isn’t the movie a 10? Well, there are a few glaring script incongruities, some of the acting is below professional level, the killer seems careless for someone that has been at it for a while, and the idea of so obviously disturbed a man—stuttering, mumbling, visibly shying from any form of human contact—being able to attract even awoman as kind and credulous as Anna Massey just doesn’t ring true. There are men who are projects, and there are men who are lost causes—are we right, girls? That’s what the Pulp Intl. girlfriends say anyway. But Peeping Tom is a film every cinephile should see. The moral objections of contemporary critics seem quaint now—many hated being forced to experience the murders from the killer’s perspective, but the viewer’s loss of choice echoes the killer’s helplessness to control himself, and that may very well be Powell’s best trick.
The Noir City Film Festival ends tonight with a pairing of Peeping Tom with the Michelangelo Antonioni classic Blow-Up, which means here at Pulp Intl. we’ll close the book on the fest and move back into the more diverse subject matter that usually makes up our website. We wanted to use Noir City as an excuse to delve into the film noir catalog and we managed to watch sixteen of the twenty-five films on the schedule—some for the second or third time—and write about twelve of them. This all made for a quite enjoyable week, with much wine drunk and popcorn noshed (we have a Whirley popcorn maker we had sent over from the States that does a bang-up job), but it was also a bit of work. At this point we doubt we’ll go through all the considerable effort of screening next year’s Noir City slate, but you never know. Next January is a long, long way off—or at least, it should seem that way if you’re living life the way you should. We shall see.
, Noir City Film Festival
, Peeping Tom
, Michael Powell
, Carl Boehm
, Karlheinz Böhm
, Anna Massey
, Moira Shearer
, Pamela Green
, Alfred Hitchcock
, poster art
If only their taste in mates matched their taste in music.
The Noir City Film Festival continues its challenging 2016 slate when it screens another pair of classics tonight—Love Me or Leave Me and Young Man with a Horn. Both are musical dramas, and though neither is a noir, both take viewers to dark places. In the 1920s period piece Love Me or Leave Me velvety-voiced Doris Day stars as a struggling chanteuse given a break by gangster James Cagney. He quickly becomes her manager and uses force to launch a national career, blind to the fact that she has real talent and can succeed with no strongarm man to back her. But Cagney doesn't see her talent—show business is gangsterism for him, and bullying is how he operates. When he finally bullies his way into marriage with Day his constant rage transforms her into an indifferent and isolated woman.
This is one of those movies that will, especially in a full house in San Francisco, trigger groans of distaste as Cagney ticks all the worst boxes of reprehensible human beings—treating women like meat, slapping them around, trying to obtain sex by force, dispensing emotional abuse, and using violence as a tool in every situation, against both women and men. But the audience may be just as hard on Day by the final reel forpossessing a level of forgiveness that is alien to people circa 2016. Love Me or Leave Me is an excellent movie—cringe inducing in parts, but deeply involving, and perhaps destined to be the most discussed film of the festival.
Day stars in Young Man with a Horn as well, singing again, this time with Kirk Douglas, who plays a gifted child musician who grows up to be an ace trumpet player thanks to the tutelage of an elder jazzman. Unfortunately he has a congenital inability to conform, particularly when it means playing dance band music over improvisational jazz. The arrival of a femme fatale—in the person of the awesome Lauren Bacall—brings a whole new set of troubles. The gender roles are reversed from Love Me or Leave Me, but the films each explore how a bad relationship saps the joy from the soul of an artist, and Day is winningly sweet in both.
Perhaps by now you’ve noticed the theme that has emerged with this year’s Noir City offerings—they are all about artists or their artistic output. In Rear Window and The Public Eye it’s photographers, in The Two Mrs. Carrolls it’s a painter, In a Lonely Place and The Bitter Stems deal with a screenwriter and journalist, Deception and Humroresque look at classical musicians, and The Dark Corner and Crack Up deal with art ascommerce and contraband respectively. The theme is nice, but once again two films will be screening tonight that present yet another challenge to noir purists attending this year’s fest. Both films are great, but we’ll be surprised if organizers stray this far from the form next year.
, Noir City Film Festival
, Love Me or Leave Me
, Young Man with a Horn
, Doris Day. James Cagney
, Kirk Douglas
, Hoagy Carmichael
, Lauren Bacall
, poster art
, movie review
San Francisco welcomes murder and mayhem for the fourteenth time.
San Francisco's Noir City Film Festival remains one of the best of its type in the U.S. Its fourteenth incarnation kicks off today in San Fran with Rear Window and The Public Eye. The first isn't a noir, but fits comfortably on the festival program; the second is a sort of noir, though a newer one, and is an inspired choice, in our opinion. We just wonder whether people who pay for two films noir will be happy with those two selections on opening night. In any case, we take a peek at both films below. Other offerings this year include the Bogart vehicles The Two Mrs. Carrolls and In a Lonely Place, Screaming Mimi, Corridor of Mirrors, The Dark Corner plus more than twenty other titles, and we'll be taking a look at some of these films throughout the next week.
, Noir City Film Festival
, The Two Mrs. Carrolls
, In a Lonely Place
, Screaming Mimi
, Corridor of Mirrors
, The Dark Corner
, Rear Window
, The Public Eye
, film noir
Getting the most out of challenging positions.
Did we not just see Raquel Welch yesterday, as well as earlier this week? Indeed we did, but we assume you don’t mind the return engagement. This Japanese poster with her and Michèle Mercier was made to promote the comedy Le plus vieux métier du monde, aka The Oldest Profession, which played in France in 1967 but didn’t appear in Japan until today in 1971. We watched it last night, and it's a six-part anthology dealing with prostitution through the ages. For example, the first sketch is set during prehistory—that time inhabited by slender Anglo Saxon fashion models—another is set in ancient Rome, and another during the Parisian gay nineties, where Welch makes her appearance wearing corsets and speaking French. The last segment, directed by Jean-Luc Godard, takes place in the future. Or what used to be the future in 1967—the year 2000.
While all the skits deal with prostitution, some also deal with money, and the efforts of the female characters to obtain it. For instance Welch finds out her dumpy customer is a banker and the rest of the segment follows her ultimately successful gambit to trick him into marrying her. Besides Welch and Michèle Mercier, the movie features top sixties sex symbols Elsa Martinelli, Jeanne Moreau, Anna Karina, Marilù Tolo, and Nadia Gray. That's a lot of star power in a somewhat low wattage movie, but there are laughs here, as long as you accept going in that comedies about prostitutes are not in any way realistic or politically correct. One great by-product of Le plus vieux métier du monde was a great Welch promo shoot, of which we have photos below. These will probably make you want to watch the film no matter what we think of it.
, Le plus vieux métier du monde
, The Oldest Profession
, Raquel Welch
, Michèle Mercier
, Elsa Martinelli
, Jeanne Moreau
, Anna Karina
, Marilù Tolo
, Nadia Gray
, Jean-Luc Godard
, poster art
, movie review
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