Being diplomatic is one way to get what you want. And then there's Bardot's way.
This is one of the most classic of Brigitte Bardot's movie posters, with the smiling superstar holding an Eiffel Tower in her hands, implying that all France is her plaything. That much is undeniable. It was originally titled Une parisenne, but for its English language release it was given the slightly different title La Parisienne, and in it Bardot does what Bardot always does—stops traffic, generates previously undiscovered quantum states of chaos, and flips reality upside down. This time around she plays Brigitte Laurier, the prime minister's stubborn daughter, in love her father's assistant, who tries as hard as he can not to get involved with her. Why would he resist Bardot? Because she's too young, and he already has a (married) girlfriend. He finally marries Bardot through a set of crazy circumstances, but refuses to give up his mistress, which of course leads to a jealous Brigitte taking matters into her own hands. This is a classic French style sex comedy, with confusion, mistaken assumptions, and people sneaking into each other's beds, all in service of teaching the lesson that what's good for the goose is good for the gander.
Focusing on the poster for a moment, you can see it's a high quality piece of art, but it's attributed to nobody. We checked around and came up with zip. You'll notice it says La Parisienne was Bardot's first big picture. We doubt that—it was her eighteenth movie. We can find no evidence anywhere that this one was different budgetwise than her other headlining efforts. Possibly, “big” is a reference to the plot's focus on international politics and diplomacy. The film does seem to have a larger scope, and take place against a larger backdrop than usual. So maybe that's it. Or maybe the American distributors meant that it was the first of Bardot's films to receive a big promotional push in the U.S. We just don't know. But here's what we're sure about: after a successful run in Europe beginning in late 1957, La Parisienne premiered in New York City today in 1958.
The dancers of the chorus line request your attention.
This is the fifth issue of Cancans de Paris we've shared. The magazine is fast becoming a favorite. It has that mix we like—celebs, showgirls, and cartoons. It's similar to magazines such as Paris Hollywood and Gondel, but with a simpler layout and all black-and-white photography. This issue is from July 1966 and features Gila Golan on the cover, and inside are Julie London, Mireille Darc, and others from the acting profession. You also get Sally Ann Scoth, Karin Brault, Juanita Sanchez, and other colleagues from the dancer side of show business. The entire issue appears below in thirty panels, and you can see the other issues by clicking the appropriate keywords at bottom.
I find plants ideal for alleviating stress. I've already successfully killed three ferns, a cactus, and four pots of posies.
A Pascal is a physics unit that measures, among other things, internal pressure or stress, and it's pretty clear that Pascale Roberts is feeling none of that. She's a César Award nominated French actress who appeared in such films as Weiße Fracht für Hongkong, aka Mystery of the Red Jungle, and the television series Allô police. This shot of her tending some unlucky plants appeared in Belgian film magazine Ciné-Revue in 1964.
Lady Luck shines on Roques book front.
Above is a beautiful cover for La Chance aime le jolies filles, published in 1955 with art by an unidentified genius. The work looks like Jef de Wulf to us, but we won't swear to it because we've guessed wrong before. French book titles can be a bit arcane but not this time—it translates as “luck loves beautiful girls.” Roques was an interesting character. He was both author and publisher of this and other books, running his company out of Boulevard Beaumarchais in Paris. He continually pushed the boundaries of what censors considered acceptable, for twenty years skirting but managing to avoid serious trouble, though books like 1955's Viol and 1957's Dit oui, madame were banned. Roques did not skimp on cover art. Every edition we've seen from his company is beautiful. In fact, one of our favorite fronts ever came from Roques. See that here, and expect more in the future.
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.
If I manage get out of this situation how about dinner Friday?
You should always thank your human shield. It's a tough job and they deserve some acknowledgment. Piège en enfer fits perfectly into our growing collection of hostage art, and in fact it's one of the best covers of this type we've seen yet. The book was written by Paul Berg, aka André Jammet, for Editions S.E.G., published in 1965, and the title means “trap in hell,” which seems about right considering what's developing here. The art is uncredited—not unusual for S.E.G., but it's always a shame. Maybe someone should have taken the editors hostage and explained that covers should always be attributed.
Crime magazine gives readers the gifts of death and mayhem.
Produced by the J.B. Publishing Corp. of New York City, Reward was a true crime magazine, another imprint designed to slake the American public's thirst for death and mayhem. Inside this May 1954 issue the editors offer up mafia hits, Hollywood suicides, domestic murder, plus some cheesecake to soothe readers' frazzled nerves, and more. The cover features a posed photo of actress Lili Dawn, who was starring at the time in a film noir called Violated. It turned out to be her only film. In fact, it turned out to be the only film ever acted in by top billed co-star William Holland, as well as supporting cast members Vicki Carlson, Fred Lambert, William Mishkin, and Jason Niles. It must have been some kind of spectacularly bad movie to cut short all those careers, but we haven't watched it. It's available for the moment on YouTube, though, and we may just take a gander later. Because Reward is a pocket sized magazine the page scans are easily readable, so rather than comment further we'll let you have a look yourself.
Bond is born in Ian Fleming's 1953 Cold War thriller.
We've read a few Bond novels, but not his debut in 1953's Casino Royale. When it comes to secondhand bookstores and yard sales you read what you find. But we decided to finally made a deliberate effort to go back to the beginning with an edition from Signet, which appeared in 1960 with Barye Phillips cover art. The debuts of franchise characters leave room for continuing adventures by design but we've never read a book that was so deliberately a prequel as Casino Royale. It's the essential novel for understanding Bond. You know the basics already: Cold War intrigue, opposing teams taking the field for a long struggle, a Soviet spy named La Chiffre who's dipped into funds not his and who hatches a desperate plan to restore them via the baccarat tables of a famous French casino, Bond dispatched to outplay him, break him, and ensure his downfall for stealing the money.
The book is fantastic from its opening, through its tremendously tense middle sections, and on to its brutal punchline of an ending. Bond is imperfect as both a spy and a man. He's sometimes kind, prone to sentiment, and philosophical about his work; he's also sexist, racist, and generally regressive. Casino Royale is designed to explain how the first three qualities were destroyed, making him a perfect spy. The latter three qualities remain. While in serious fiction many authors of the period were writing about racial equality and the essential sameness of people, Ian Fleming was declaring that Asians are terrible gamblers because as a race they lack resolve. None of this is a surprise because much is known about Fleming's personal views. Bond is an icon, but of a less enlightened era. We're readers, of ours. Yet we can meet on the page, and—with a tolerance Fleming never showed others—still manage to have a little fun.
Hiding behind her won't help you. She's my wife, and this morning she demanded a divorce.
Here's another cover to add to our collection of women being used as human shields, Faut pas me la faire by Robert Chirze, aka Georges Claveyre-Peyre, for Éditions le Trotteur's collection Les Grandes Roman Noirs, 1953. The art is a particularly nice example of the work of Alex Pinon, and you can see another piece here. |
The headlines that mattered yesteryear.
1926—Houdini Fatally Punched in Stomach
After a performance in Montreal, Hungarian-born magician and escape artist Harry Houdini is approached by a university student named J. Gordon Whitehead, who asks if it is true that Houdini can endure any blow to the stomach. Before Houdini is ready Whitehead strikes him several times, causing internal injuries that lead to the magician's death.
1973—Kidnappers Cut Off Getty's Ear
After holding Jean Paul Getty III for more than three months, kidnappers cut off his ear and mail it to a newspaper in Rome. Because of a postal strike it doesn't arrive until November 8. Along with the ear is a lock of hair and ransom note that says: "This is Paul’s ear. If we don’t get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits." Getty's grandfather, billionaire oilman Jean Paul Getty, at first refused to pay the 3.2 million dollar ransom, then negotiated it down to 2.8 million, and finally agreed to pay as long as his grandson repaid the sum at 4% interest.
1947—HUAC Hearings Begin
The House Un-American Activities Committee begins its investigation into Communist infiltration of Hollywood, resulting in a witch hunt that destroys lives, ruins careers, and makes Senator Joseph McCarthy the most feared politician of the era.
1968—Jackie Kennedy Marries
Former First Lady Jacqueline Kennedy marries Greek shipping tycoon Aristotle Onassis. The marriage comes as a total surprise to the American public, and results in a terrible backlash against her and also makes her the number one target of paparazzi for years.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.