The National Police Gazette really knew how to beat a dead Hitler.
Police Gazette sometimes faced a need for Adolf Hitler to star on their covers that surpassed available supplies of art. The February 1956 cover you see above was the first time that particular image was used, but they dug it out again for their January 1977 issue, which you see below, and which we showed you in larger size here. By now you know the Gazette’s mission post-World War II was to prove Hitler didn’t die in Berlin. In this issue George McGrath—the same writer who usually penned these stories—offers a list of reasons why Hitler was still alive as of 1956. Among them:
• The only eyewitness to Hitler’s suicide—his valet Heinz Linge—later recanted his testimony and admitted he never saw the Führer shoot himself.
• Hitler’s body was burned to unrecognizable ashes, but there’s no possibility that setting fire to human biomass with petrol could burn it to ashes. Most of it would remain.
• Despite the fact that every inch of the Reich Chancellery was searched and sifted, not a single trace of Hitler’s blood was ever found.
And so forth. For a thorough debunking of McGrath’s theories, you can go just about anywhere on the internet. We’ll just point out again that those who believe Americans’ receptivity to alternate theories of historical or current events is a new phenomenon haven’t read enough old tabloids. The Gazette enjoyed a quite decent readership, and during the 1950s it and other tabloids like Confidential—also a haven for occasional crackpot speculations—were among the most circulated magazines in the country.
In short—and this seems especially appropriate to point out with American news anchor Brian Williams in hot water for alleged on-air lies, and Fox News being laughed at for echoing an obviously fake story about the King of Jordan flying combat missions against ISIS—sloppy or false reporting in America’s most popular media outlets has always been a problem. The old tabloids fashioned themselves as maverick truthtellers, and that label, along with some flashy visuals, was enough to attract eyeballs. For today's cable news, the same self-labeling and eye candy visuals work the same way. We will have plenty more from the Police Gazette later.
Raft tries to navigate dangerous waters.
This poster for Vägen från Sing Sing showcases the clean style and bold negative space we’ve become fans of in mid-century Swedish promo art, and it also captures star George Raft’s famous profile. This was originally a 1939 American production called Invisible Stripes starring Raft, Jane Bryan, William Holden, and Humphrey Bogart, and it deals with a Sing-Sing ex-con’s perhaps doomed efforts to go straight. Check out the Swedish aesthetic here, here, here, and here. Vägen från Sing Sing premiered in Sweden today in 1940.
Way down Argentine way Bogart fronts the era’s definitive detective novel.
Leoplán was an Argentine magazine published by Ramón Sopena’s eponymous company Editorial Sopena from 1934 to 1965. This issue features a complete Spanish language reprint of Dashiell Hammett’s The Maltese Falcon and is fronted by a nice Manuel Olivas painting of Humphrey Bogart and the bird. It’s from 1949.
, Editorial Sopena
, The Maltese Falcon
, El halcón maltés
, Ramón Sopena
, Humphrey Bogart
, Dashiell Hammett
, Manuel Olivas
, magazine art
, film noir
He wasn’t very tall, but he cast a long shadow.
Above, Humphrey Bogart in a promo shot from 1941’s High Sierra, a movie that examines the futility of greed and violence (at least for those with no power or connections). It was more or less the fortieth film Bogart had made, and further cemented his bankability before he truly broke out as a leading man later the same year with The Maltese Falcon. Also, you can once again thank W.R. Burnett—he wrote the novel and collaborated on the screenplay.
Passage to Marseille has plenty of message but not enough movie.
We’ve seen nearly every Humphrey Bogart movie but had been warned away from Passage to Marseille. We finally watched it last night and the haters were right—it’s substantially below standard. You have Casablanca director Michael Curtiz at the helm and Casablanca alumni Bogart, Claude Rains, Peter Lorre, and Sydney Greenstreet in front of the camera, along with the lovely Michèle Morgan in the female lead, but all their combined efforts cannot elevate this clumsily written propaganda piece. Curtiz is not to blame—his direction is functional and James Wong Howe photographs everything beautifully. Likewise, Bogart manages his role adequately, Lorre and his emotive brow are put to ample use, and Rains dons an eyepatch and permafrown to bring some gravity to matters.
But Passage to Marseille is just a badly written film. Where Casablanca used patriotic sentiments adroitly (who can forget the way the singing of the French national anthem “La Marseillaise” both roused the audience and advanced the plot?), Passage to Marseille flounders under the weight of cheap nationalism and sticky sentiment. It enjoys a decent rating on many review websites but we daresay that’s mainly due to Bogart bias (wherein even his bad flicks like Chain Lightning and Battle Circus have good ratings). We love the guy too, but no actor in history has batted 1.000, and this movie was a clean whiff. As propaganda it doubtless got the job done, but as a film we suggest consigning it to a dusty, unreachable shelf. Passage to Marseille premiered in Sweden as På väg mot Marseille today in 1944.
, På väg mot Marseille
, Passage to Marseille
, Michael Curtiz
, Humphrey Bogart
, Claude Rains
, Peter Lorre
, Sydney Greenstreet
, Michèle Morgan
, poster art
, movie review
Need a model for your bookcover? We’ve got a recommendation.
This cover for Joli brin d’amour has Humphrey Bogart on it. Right? No doubt about it, that’s him. The guy turns up everywhere. Joli brin d’amour, which means something like “pretty bit of love” or maybe “nice bit of love,” (French speakers, help us out with this one) was published in 1960 by Editions de Lutèce as part of its Les drames de la vie series. As far as we know, it was not written by the famous French author of adventures and fairytales Comtesse d'Aulnoy, aka Marie-Catherine Le Jumel de Barneville, but we can’t identify the actual author (assuming D’Aulnoy is a pseudonym). No artist credit either. We’ll see if more info turns up later.
Update: We got a response from Miga almost immediately, who wrote:
"Since you asked for help, I'm not a linguist or anything but in my opinion the more appropriate choice would be "pretty bit of love." The way I understand English, pretty is more used in the sense of beautiful, good looking, etc. As for nice it can apply to appearance but it seems to be used more in the sense of personality like kind. I can assure you, however that "petit brin d'amour" refers to exterior look and that petit is not a qualificative of love. Hope this helps!"
Thank you, Miga, for clarifying that for us. Much appreciated.
Everybody who was anybody was there.
This photo made today in 1954 shows American singer/actress Abbe Lane posing outside Ciro’s nightclub in West Hollywood, California. Lane had begun in show business as a child actress, but became world famous after she married bandleader Xavier Cugat and began fronting his group as a singer. Although this is a famous photo, one you can find elsewhere on the internet, we thought it was worth posting anyway, not just because of Lane, but because supper clubs like Ciro’s really don’t exist anymore. Ciro’s, which by the way was unrelated to the many famous Ciro’s that existed in Europe during the Jazz Age, from its opening in 1940 to its closing in 1957 was a favorite spot of screen personalities, singers, producers, and writers, a place where the night’s meet-ups and trysts were reported in the next day’s gossip columns. Below you see Lane and Cugat, Charlie Chaplin with Paulette Goddard, Lane onstage fronting Cugat’s rumba band, Cary Grant with Betsy Drake, Lucille Ball with Desi Arnaz, Jr., and others.
, Los Angeles
, Abbe Lane
, Xavier Cugat
, Charlie Chaplin
, Paulette Goddard
, Cary Grant
, Betsy Drake
, Lucille Ball
, Desi Arnaz Jr.
, James Dean
, Ursula Andress
, Humphrey Bogart
, Lauren Bacall
Bad luck and trouble in post-war Germany.
We’re back to the West German publication Illustrierte Film-Bühne today, supplementing our post from two months ago. These examples are all from American dramas or films noir produced during the 1940s and early 1950s, but which premiered in West Germany later, typically 1954 or after. You can see the earlier IFB collection here.
, Illustrierte Film-Bühne
, 711 Ocean Drive
, Der Henker saß am Tisch
, The Bad and the Beautiful
, Stadt der Illusionen
, City that Never Sleeps
, Chicago—12 Uhr Mitternacht
, Vor verschlossenen Türen
, Lucky Jordan
, Vice Squad
, Knock On Any Door
, Private Hell 36
, Hölle 36
, Humphrey Bogart
, Edward G. Robinson
, Ida Lupino
, Alan Ladd
, film noir
I just got this a-maz-ing manicure. Nice, right?
We stumbled across this recently. It’s a promo photo of Humphrey Bogart made for his 1951 crime drama The Enforcer. The image was used on a great Israeli poster for the movie, as well as an almost-as-good Spanish promo. We showed you both of those, among others, a few years ago. If you haven’t seen them maybe click back there and take a look. They’re well worth a glance.
Sometimes a kiss is not just a kiss.
The above promo shot was made for Humphrey Bogart and Lauren Bacall’s 1944 thriller To Have and Have Not, in which he played a cynical boat captain and she played a tough girl with a heart ready to be given to the right man. It was set in French Martinique, and it’s one of our favorite old movies. Certainly not in the same league as Casablanca, which is the phenomenon it was trying to recreate, yet it was faster, funnier, and far less grandiose, all of which work in its favor. Haven’t seen it? Rent it. Or better yet—in the spirit of Bogart’s rum running character Capt. Harry Morgan—pirate it. Arrr.
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