|Vintage Pulp||Feb 5 2018|
|Femmes Fatales||Apr 10 2017|
|Vintage Pulp||Apr 18 2016|
First things first—this poster was painted by Nicola Simbari, yet another genius from the ranks of Italian illustrators, someone who today is thought of as one of Italy’s most important modern artists and has pieces hanging in museums all over the world. He painted the above masterpiece for the Howard Hughes produced Seduzione mortale, known in the U.S. as Angel Face. It's the story of a man who tries to trade up to a richer, flashier girlfriend and ends up entangled in a murder plot. Robert Mitchum stars as the fickle hero, Jean Simmons co-stars as the femme fatale, Mona Freeman is the loyal girlfriend, and Jim Backus—aka Mr. Howell from Gilligan’s Island—is a tough district attorney.
Angel Face opened in the U.S. in late 1952 and premiered, according to all the sources we checked, in Italy today in 1953. But the poster at top advertises a premiere at a Rome cinema called the Fiamma on 6 May, 1953. Which date is right? Possibly both. April 18, 1953 was a Saturday, which would be a typical day for a film’s run to commence. May 6 was a Wednesday—not typical for launching a wide release. We suspect the poster was made for a special engagement, probably one night only. But we’re only guessing. We may have to slot this question in the unanswered file. There are only so many things you can figure out from a computer terminal after all. We have another poster below, plus two nice promos.
|Vintage Pulp||Apr 23 2013|
One thing about writing Pulp Intl. is it gives us an excuse to fill in blanks in our movie résumé. The Public Enemy, starring James Cagney, Jean Harlow, Edward Woods, and Joan Blondell, was one such blank—until last night. A rags-to-riches-to-ruin story, it was one of the earliest gangster flicks, one that was a big hit but which had suffered the scissors of Hays Code censors. It’s always interesting to note the scenes cut from a post-Code movie, because those say the most about attitudes of the times. For example, the scene in which Cagney is measured for a suit by a gay tailor differs in no discernable way from such scenes in today’s movies. There’s macho discomfort by the lead and effeminate fussing by the tailor that leads to the inevitable inseam measuring, all played for cheap humor. We don’t condemn or endorse this sort of thing—it’s just fascinating to see how little has changed in eighty some years. Two other scenes were cut due to sexual suggestiveness, and those are also quite interesting to watch.
|Vintage Pulp||Feb 4 2013|
Above and below, the mix of fiction, fact, hysteria, photos, and art that is NYC-based Volitant Publishing’s Sir! This February 1954 issue has a great portrait of Gina Lollobrigida, along with articles on the danger of Peeping Toms, “Hungarian” dancer Yvonne Davis, and how to spot frigid women. The promised story on sex in the Caribbean, which the cover art is supposed to illustrate, does not appear in the magazine. We’ve never seen that happen with a tabloid. Maybe the writer had a Eureka! moment during his field research: Wait—I'm having sex in the Caribbean. Why would I ever go back to New York? In any case, the story is MIA.
|Femmes Fatales||Apr 20 2012|
Actually, referring to Ava Gardner as a man eater is a bit sexist, but the term matched her outfit, so we went with it. It's fairer to say that she went after what she wanted. She wanted and got Frank Sinatra, Howard Hughes, Artie Shaw, Luis Miguel Dominguín, and a string of lucky others stretching from Hollywood to Madrid. This shot, from a famous session that produced many images, dates from the mid-1950s.
|Vintage Pulp||Jun 7 2011|
The National Police Gazette didn’t become America’s longest running publication by not knowing which celebrities people wanted to read about. We see that at work on the cover of this issue published in June 1974, which features a triptych of the era’s most tabloid-worthy icons in the fields of sports, politics and music. Muhammad Ali at thirty-three was just past his prime, but was still a great boxer with two of his most memorable bouts still ahead of him; Jacqueline Kennedy Onassis was one of the richest women in the world and a full time obsession for an American public who remembered her mainly as a presidential widow; Elvis Presley was no longer a force on the pop charts, yet his albums were still selling millions of copies and his persona and lifestyle ensured that he remained the best known music star in the world. We’re told by editors that Ali had a master plan to regain the heavyweight title (which he did), that Onassis couldn’t forget a past love named Sir David Ormsby-Gore (unconfirmed), and that Presley wanted to be a preacher (we all know how that turned out). The Gazette also makes room for stories on Howard Hughes, the Oakland A’s, and Jack Dempsey, but they’re all just bit players to the Big Three. We’ve scanned some pages below, and we’ll have much more from The National Police Gazette later.
|Vintage Pulp||Mar 25 2011|
Confidential magazine, more so than other mid-century tabloids, could be counted on to report upon Hollywood’s interracial romances. Generally, the editors took no definitive stance on the divisive issue, but by placing such stories front and center were clearly pandering to their mostly conservative readership’s prejudices. In this issue from March 1956, it’s Billy Eckstine and Denise Darcel who are put under hot lights. Eckstine was a popular crooner sometimes referred to as the “black Sinatra”, the “sepia Sinatra” or even the “bronze balladeer”; Darcel was a French-born actress. When they met he was separated from a wife he would later divorce and was enjoying the NYC party circuit; she was an émigré from France circa 1947, newly divorced, and trying to establish a film career.
What broke them up? Even Confidential doesn’t know for sure, but career pressure is a likely culprit. Eckstine lost a movie contract when word got out that he was spending time with Darcel. It was a significant blow, because leading movie roles for African-Americans—rare today—were pretty much non-existent back then. Eckstine had already carved out a pan-racial popularity in music, but was denied a chance to do the same in cinema. He wouldn’t appear in a movie as an actor until 1975’s Let’s Do It Again. His music career survived, however, and he remained a hitmaker for another ten years.
As for Darcel, she made some Hollywood films, but never broke big. On a few French websites we learned that her career was possibly damaged by Howard Hughes after she refused his advances, but we can’t confirm that in a language we’re actually fluent in, so don’t quote us. We do know that at age forty she went on to a career in burlesque, which you see below. Asked why she had made the move into erotic dance, she replied, "Because that's where the money is." However, that period didn't last long—three years, more or less. In any case, Eckstine and Darcel certainly look happy on the cover of Confidential. The photo is from the party where they met. Asked that night about Eckstine by a reporter, Darcel said, “Billy is sooo wonderful!”
|Hollywoodland||Jun 5 2010|
Today we have a new entry for our collection of mid-century tabloids—Private Lives, published forty-five years ago this month, with a strikingly bright cover starring Jane Russell, and an accompanying article about aquatic sex timed to take advantage of her role in Underwater. Every tabloid had its visual gimmicks, and Private Lives began with the motif you see here of a black and white face floating on a Technicolor background. By the end of 1955 it had abandoned this look for a fuller color palette, but this older design is much more appealing, in our view. We’ll keep hunting for more of these.
|Vintage Pulp||Apr 17 2010|
Every once in a while we come across a piece of art so amazing we have to post it rotated in order to ensure that it’s viewable at the largest possible size. In this case, it’s a Japanese promo poster for Jane Russell’s widescreen adventure Underwater!, in which Jane dives in the Caribbean for lost bars of gold, tries on a Cuban accent (which doesn’t fit at all), but wears a red one-piece swimsuit (that conversely, fits quite nicely). The film was the brainchild of Howard Hughes, who specialized in thinking of ways to show off Russell’s breasts. We can only assume he shot bolt upright in bed late one night and cried, “Eureka! I’ll make them float!” He succeeded wildly, but in terms of time and treasure he may have gotten in deeper than he planned, since the film took three years and cost three million dollars. And for all that effort what you get is mostly pretty dull. But if you happen to love Jane Russell, or are particularly adept at suspension of disbelief, then by all means give this one a go. For all its flaws, we must confess we liked it. In addition to the Japanese art, we have below a color 1955 magazine ad, borrowed from Ebay and also apparently exceedingly rare. Underwater! premiered in Japan today in 1955.