In the land of bad men the one eyed woman becomes queen
Above is a promo poster for the Swedish sexploitation flick Thriller - en grym film. When it was released in the U.S. it was retitled Thriller: A Cruel Picture, then edited and given the revised name They Call Her One Eye, and still later dubbed Hooker's Revenge, which we think gives a bit too much away. But what do we know? It's not like we have marketing degrees. Anyway, the poster above for the film's Thriller incarnation has an unusual shape sometimes referred to as subway size because such promos were usually displayed on mass transit vehicles. As far as we know, no standard vertically oriented poster was ever made with the title Thriller: A Cruel Picture. But if any do exist, you can be sure they're worth a fortune.
Sweden's best export Christina Lindberg stars here as a Frigga, a young woman gone mute due to a sexual assault in her youth. Terrible luck strikes again when, as an adult, she's abducted, addicted to heroin, and forced into prostitution. She resists, but after she harms a customer her pimp punishes her by cutting her eye out with a scalpel. After enduring further indignities she eventually musters the courage to try and escape. Heroin addiction is the leash her pimp counts on to keep her in line, but she's otherwise free to use her down time as she wishes. With the little money she has she secretly buys lessons in martial arts, shooting, and tactical driving, then when the moment is ripe she finally goes on a revenge spree.
There's nothing here you won't find in other 1970s revenge sexploitation flicks except lots of slo-mo, but for Lindberg's fans—among them Quentin Tarantino, who borrowed the eyepatch look for Daryl Hannah when he made Kill Bill—this is probably a must-see. As a side note, you'll sometimes find Lindberg referenced as a porn actress because of this movie. BAV Film made two versions, one with x-rated inserts and one without. The explicit stuff was done by a stand-in. Or a lay-in. In an interview Lindberg once said the hardest part of her career was resisting the constant pressure to do porn. We suspect this was a film she had in mind when she said that. After premiering in France at the Cannes Film Festival in 1973 and later playing in Sweden, Thriller: A Cruel Picture first opened eyes in the U.S. today in 1974.
Short of breath? Accelerated pulse rate? It might not be the altitude.
Since we're from Denver (we know it's tough to keep track because we've written about living in L.A., San Francisco, Guatemala, and the Philippines, but we are indeed from the Mile High City) we thought we'd share this promo for the Noir City Film Festival's new Denver edition. This particular noir fest (there are several) is affiliated with the San Fran fest, so it's not a surprise to see that they're reusing the art from the 8th San Francisco get together. What is a surprise is that the event is at the Alamo Drafthouse in Littleton—i.e. suburbia. Usually these events are held at historic cinemas such as the Castro in San Francisco or the Egyptian in Los Angeles. Denver has a few landmark cinemas, including the Mayan right in the city center. We assume it wasn't available. But on the plus side crime author James Ellroy will be co-hosting at the Alamo along with Film Noir Foundation president Eddie Muller. The festival will be a quickie—three days and six great thrillers: The Prowler, 711 Ocean Drive, Wicked as They Come, The Lineup, He Walked by Night, and I Walk Alone. Denverites, we highly recommend seeing film noir on a big screen. Opportunities in cities like New York, San Fran, L.A. and Chicago abound. Opportunities in the mountain west are rare. Take advantage.
Rosanna Schiaffino gets a kick out of Venice.
According to Italian actress Rosanna Schiaffino it's easy to tame a wolf. And it probably is—for her—because she looks part wolf herself, based on the expression she's wearing on the cover of this National Enquirer published today in 1962. The photo, which we'd say doesn't capture her true appearance, was made in Venice in 1960, right when her career got very busy. Venice was the site of her cinematic breakthrough in 1958 when La Sfida won two prizes at that year's Venice Film Festival and was nominated for The Golden Lion. During the next two years Schiaffino would make ten films. She continued to be busy until 1977, when she left show business to focus on marriage and children. We have another shot from the Venice session below, and a trio of nice images of her we uploaded of her from Triunfo magazine several years ago here.
The Noir City Film Festival arrives in the Bay for its 16th year.
We wanted to show you the latest Noir City Film Festival promo posters, like we traditionally do, because it's a nostalgia trip for us from our time living in the San Fran Bay area. This year we aren't going to try to watch all the movies. Well, we may watch the movies, but we won't write about them. Or maybe we'll write about one or two. Anyway, Noir City, Bay area, audience members in period costumes—go. There's nothing like an old movie on a big screen.
Even paradise can be improved.
Italian actress Elsa Martinelli makes a beautiful beach look even better in this nice promo image, and we can only assume she didn't go in the water with all those necklaces on, because otherwise she might have sunk and been lost forever. Martinelli was an era spanning star who debuted onscreen in 1953, made numerous excellent films, including The Indian Fighter and Et mourir de plaisir, won the Silver Bear for Best Actress at the 6th Berlin International Film Festival in 1956, and accumulated more than fifty screen and television credits through 2004. The above photo was shot in Brazil around 1970.
A dozen bloody reasons to love Halloween.
This poster is a special edition promo painted by Nanpei Kaneko for The Texas Chainsaw Massacre, which was showing at the Tokyo International Film Festival on its fortieth anniversary in 2014. The Japanese title 悪魔のいけにえtranslates to “devil sorrowfully” or “Satan sorrowfully,” and that's a mystery to us, as we're sure there are chainsaws in Japan, as well as the concept of massacres, and some general inkling about Texas, but whatever. Sorrowfully it is—the poster is amazing.
Below, in honor of Halloween, which is becoming more and more of an event here overseas where we live, we have eleven more Japanese posters for 1970s and 1980s U.S.-made horror films. They are, top to bottom, The Prowler (aka Rosemary's Killer), The Fog, Lifeforce, An American Werewolf in London, Bug, Halloween II (aka Boogey Man), Let Sleeping Corpses Lie,Torso, The Evil Dead, Link, and Death Trap.
We've put together horror collections in the past. We have five beautiful Thai posters at this link, fifteen Japanese horror posters we shared on Halloween two years ago here, and we also have a collection of aquatic creature feature posters we shared way back in 2009. And if those don't sate your appetite for the morbid and terrible, just click the keyword “horror” below, and you can see everything we've posted that fits the category. No tricks. Only treats.
Cannes goods take on a whole new flavor.
Today in 1976 the U.S. porno movie Sensations premiered in Japan. We talked about it five years ago and shared an amazing Japanese promo poster painted by William Stok. That piece was an alternate promo. The one you see above was more widely used. While it's no Stok, in its own way it's almost as interesting, with star Brigitte Maier seeming to fellate psychedelic emissions of unknown composition and provenance. Of course, the Japanese designers merely painted over what she was really tasting. The visual effect is rather nice, we think.
Sensations—referred to on the poster as Sensation—was well received upon release. Bruce Williamson of Playboy called it a “sensually pulsating sextravaganza” that was “the best bet of all for outright voyeurs.” The film was so highly regarded it even screened at the Cannes Film Festival. Does that mean it's good? Not exactly. Not by any normal standard. But we mention the Cannes thing because if someone walks in unexpectedly while you're watching it you are now equipped to indignantly inform them: “Porn? Porn? I'll have you know this played in Cannes!”
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.
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