It’s exotic, erotic, and psychotic—but is it good?
When Radley Metzger’s softcore movie The Lickerish Quartet was released overseas, its Italian distributors rightly decided that was a stupidish title for a movie and changed it to Esotika Erotika Psicotika. Unfortunately, Esotika Erotika Psicotika sounds glossier and more sophisticated than what you ultimately receive here. What you get is a rich, jaded couple and their surly son who watch 16-millimeter porno loops in their castle for thrills. One night they go out and encounter a motorcycle stunt rider who resembles a woman in one of the loops. They invite her back for what they hope will be a night of debauchery, but which turns out to be less conventional fuck than extended mindfuck. It quickly becomes apparent why the movie opened with a Luigi Pirandello quote pondering the nature of reality, as time and space soon become malleable, leading toward an ending that questions the truth of everything that came before.
The movie received good reviews when released, but we suspect much of that owes to its novelty and Metzger’s previous successes with Camille 2000 and The Dirty Girls. In other words, it hasn’t aged well. It’s like that summer you wore an orange shirt and your friends lauded you for experimenting with your wardrobe, but later you saw a photo of that night and realized you looked like a traffic cone with shoes. Like that shirt, this movie was a bold experiment that made sense at the time but seems a bit silly now. On the plus side, it’s shot on location at Balsorano Castle in L’Aquila, Italy, so at least the audience was able to indulge its fantasies of running away to Abruzzo. Esotika Erotika Psicotika, with Silvana Venturelli, Erika Remberg, and others, premiered in Italy today in 1972.
, The Lickerish Quartet
, Esotika Erotika Psicotika
, Camille 2000
, The Dirty Girls
, Radley Metzger
, Silvana Venturelli
, Erika Remberg
, Luigi Pirandello
, poster art
, movie review
They always say to aim high in life but I’ve found aiming low gets good results too.
Isa Miranda was born in Italy in 1909 as Ines Isabella Sampietro and by 1933 was acting in films. The next year she earned widespread acclaim in Max Ophüls’ La Signora di tutti, a role that paved the way for her to leap to Hollywood where she was billed as an Italian Marlene Dietrich. The above promo shows Miranda in character as Anna from 1939’s Hotel Imperial, a movie in which she shot nobody in the crotch, despite her low aim here.
Her touch turned a fish into a pile of money.
Above is a poster for a Japanese film called Caress with Poison. It starred Hisako Tsukuba, who made nearly fifty films beginning in 1957 and recorded some music before becoming Chako van Leeuwen and shifting into movie production in the U.S. She’s put together eight movies as a producer, but her prized property is the Piranha franchise. You know the ones—Piranha, Piranha Part Two: The Spawning, Piranha 3D, Piranha 3DD. Our kind of producer, especially since she apprenticed under none other than Roger Corman. Her first Piranha movie was made in 1978 for $800,000 and grossed $30 million worldwide. Hah hah—who’s smirking now? Piranha launched the careers of Joe Dante and John Sayles, and the sequel was James Cameron’s first turn behind the camera. Clearly, van Leeuwen knows how to make low budget films. True, she’s no Jeffrey Bloom, but she possesses a similar genius. Caress with Poison premiered in Japan this month in 1963. Japan
, Caress with Poison
, Piranha Part Two: The Spawning
, Piranha 3D
, Piranha 3DD
, Hisako Tsukuba
, Chako van Leeuwen
, Joe Dante
, John Sayles
, James Cameron
, Roger Corman
, poster art
Fifty years on and the American mainstream media have completely retreated into an alternate reality.
Stories about John F. Kennedy’s assassination have been appearing in the media for several weeks leading up the 50th anniversary of the event, as various outlets try to get ahead of the wave of interest, but we’re purists here, so we’re sharing this poster today, on the actual anniversary of the murder. Let’s get the basics out of the way first. As we’ve mentioned before, a Gallup poll taken days after the killing showed that a majority of Americans believed Oswald was not the only participant. That percentage has gone up since, reaching more than 80%, according to some surveys. That means people who believe Oswald acted with others have always been the majority, and today are the vast majority. That’s something your trusted media outlet always leaves out, doesn’t it? The point is if you think there was a conspiracy, you are the norm, part of an overwhelming norm, rather than some crackpot minority.
It’s an important point because many of the articles published today ask questions like, “Why do people believe in conspiracies?” The problem with that question lies in its framing—it implies that we live in a world that has no or few conspiracies, that it’s silly to believe they exist. That’s very interesting, considering that in the Libor scandal up to 20 major banks conspired to rig interest rates in a $350 trillion derivatives market, that Britain’s spy agency GCHQ conspired to secretly tap into the fiber optic cables that carry the world’s phone calls and internet traffic, that the bank HSBC conspired to launder billions of dollars in South American drug cartel money, that ING conspired to violate sanctions against certain types of business dealings with Cuba and Iran, that News of the World conspired to illegally hack the phones of private citizens, and that Merrill Lynch conspired to deliberately overcharge 95,000 customers $32 million in unwarranted fees. All of these happened in just the last few years.
To listen to the mainstream media, you’d almost think there weren’t actual criminal proceedings or lawsuits extant in every example we just mentioned. It takes a willful disconnection from reality to deny how prevalent conspiracies are in modern life when hundreds of perpetrators are at this moment sitting as defendants in court because they were caught… um conspiring. If we want to delve into a few historical examples of conspiracies, then note that the NSA conspired to mislead the U.S. public about the Gulf of Tonkin incident, that American asbestos companies conspired to cover up the truth about the danger of their product, and that in 1962 the U.S. Joint Chiefs of Staff conspired to kill American citizens. That conspiracy took the form of a proposal called Operation Northwoods. In short, American citizens would have been killed in a series of terrorist bomb attacks that would have been blamed on Cuba. Northwoods was approved for implementation by every one of the sitting Joint Chiefs. Really let that sink in. The only reason the American government did not kill American citizens is because John F. Kennedy said no—he wasn’t interested in committing high treason and murder so he could invade Cuba.
All of examples we’ve cited above—a small percentage of the whole, by the way—are incontrovertible historical facts, easily referenced in reams of unearthed documents and on the internet. And all are conspiracies by definition. So the question we should be asking today isn’t why so many people believe in conspiracies, but why the mainstream media are so far removed from the factual realities of human, corporate, and political existence, why they are so resistant to the simple truth that conspiracies are how powerful actors circumvent regulations, laws, and democratic rights. Or more to the point, exactly what planet do mainstream journalists live on? Not this one, seemingly.
Here at Pulp Intl., we do not style ourselves as truth tellers or serious investigators. We just like pulp art and good white wine, and if we can combine the latter with our naked girlfriends, all the better. Do we think JFK was the victim of a conspiracy? Yes. But he was dead before we were born, so in truth, we don’t feel any great passion about it. But to us he is symbolic of the steep decline of the modern American mainstream press. Consider this: in a world where conspiracies incontrovertibly occur, and occur so often that it's actually difficult to keep track of them all, the American press continues to use terms like "conspiracy theory" as an epithet and treats anyone who questions the official JFK assassination story like a fool or a nut case. At the very least, that’s a disservice. At worst it's deliberate social engineering.
, Operation Northwoods
, News of the World
, John F. Kennedy
The correct answer is always: “Why yes, I do want to keep on truckin’.
Above is a January 1978 cover for Australia’s Adam, a magazine you know well by now if you frequent this site. The art here illustrates Terry P. Duval’s story “The Final Run,” in which a hapless truck driver picks up what he thinks is a damsel in distress, but who soon shows she’s a pure femme fatale. Adam began in 1946, and this is the magazine near the end—it folded, looks like, in May 1978. Inside this issue you get the usual literary, artistic and photographic treats, including five pages of Patti Clifton shots, plus skiing Nazis, and a profile of the notorious but misunderstood Tokyo Rose, who we wrote about last year. Readers also get to visit a Dakhma, aka Tower of Silence, a Zoroastrian structure where dead bodies—considered in the religion to be unclean—are left to be sun baked and picked apart by scavenging birds, thus preventing putrefaction which would pollute the earth. Mmm. Fun! The author visits a tower near Yazd, Iran, and must have gotten there just before the government shut all such structures down permanently. Today, the only towers still used for ritual exposure are in India. So put those on your travel itinerary. And lastly, on the rear page, you get Paul Hogan in another ad for Winfield cigarettes. Forty-seven scans appear below.
, Adam Magazine
, Tokyo Rose
, Iva Toguri D’Aquino
, Patti Clifton
, Terry P. Duval
, Paul Hogan
, magazine art
They only have eyes for you.
We were researching our recent post on fascist-era femme fatale Isa Miranda when we stumbled across fourteen sets of eyes from some of the most famous starlets of the 1930s. They were on a Brazilian fashion blog (seemingly defunct, since it hasn’t been updated for more than a year), and we gather they came from a book—Fashion at the Time of Fascism—which we’d love to read if we could find a copy. Anyway, just a little eye candy for Friday.
Fashion at the Time of Fascism
, Sylvia Sidney
, Joan Blondell
, Jean Harlow
, Mae West
, Madeleine Carroll
, Carole Lombard
, Pat Paterson
, Isa Miranda
, Marlene Dietrich
, Dolores Del Rio
, Anna Sten
, Katherine Hepburn
, Diana Wynyard
, Greta Garbo
How many carry-on bags do I get again?
One never hears her name mentioned today, but Italian actress Isa Miranda, née Ines Isabella Sampietro, was one of the most popular performers of her time. She was a star throughout Europe during the 1930s, and during World War II continued to act in Italian films. As a result, she is linked to fascist cinema, though is not known to be a fascist sympathizer herself. Ultimately she carved out a fifty year career and earned a Best Actress award at the 1949 Cannes Film Festival for René Clément’s Le mura di Malapaga. She’s seen here circa 1935.
We haven’t been there but we’re pretty sure it’s nothing like this.
Today we have a Stag magazine from October 1967 with cover art by Mort Kunstler illustrating Emile C. Schurmacher’s exotic yarn about sex crazed women in Kashgai, Iran. Apparently free love was flowing like crude oil in the Fertile Crescent—or maybe it was just flowing in Schurmacher’s fertile imagination. That’s un-retouched color, by the way. Somehow, the magazine took some wear and tear over the years but did not fade. Content-wise, it follows the time-honored men’s magazine form, with tales of loose women, righteous violence, and international adventure, all while hitting the political hot buttons of the moment—Vietnam, hippies, and drugs. Fifteen years earlier it would have been Korea, commies, and the Mafia. The semi-gloss, two-color interior illustrations have a wonderful impact, including Charles Copland’s nice spread for W. J. Saber’s centerpiece story “The Big Frame.”
Also of interest is an exposé on Wallace Groves, a Wall Street exec/felon who, after serving a prison term for mail fraud, jetted down to the Bahamas, bought 214 square miles of wilderness and turned it into the resort and gambling haven known today as Freetown. Apparently crime really does pay, especially on Wall Street, but we digress. We love how the Bahamian wilderness is described in the text as useless. One day not too very far in the future, everyone—not just scientists and environmentalists—will think of resorts and gambling havens as useless and pristine swaths of trees and wetlands as indispensable. When that day inevitably comes, stories like these will seem like profiles in civilizational lunacy, but we digress again.
You also get an interesting story on Milton Helpern, an NYC pathologist who by 1967 had conducted 80,000 autopsies and been called as an expert witness in innumerable trials, typically by prosecutors on behalf of murder victims. The footer on the article pits Helpern against F. Lee Bailey, the famous Boston defense attorney, with inset text telling readers that Helpern’s experience “beats any lawyer’s grandstand play any day.” We have a feeling Bailey won a few battles too. All in all, you get more than your money’s worth with Stag—great art, diverting stories, and pervasive fantasies that women the world over hang around naked waiting for a Western stud to happen along. Highly recommended publication. Scans below.
, New York City
, Stag Magazine
, Mort Kunstler
, Charles Copland
, Milton Helpern
, F. Lee Bailey
, Emile C. Schurmacher
, W. J. Saber
, magazine art
Another ’60s movie reminds us what we’re not getting in today’s cinema.
When we saw these Japanese posters for the 1969 western 100 Rifles, we made a special point to watch the film just so we had a good reason to share the art. So there you go. Now as for the actual film, there’s a moment about halfway through where mega sex symbol Raquel Welch says to black ex-NFL football star Jim Brown, “Do you want me?” That’s about as rhetorical a question as has ever been asked on a motion picture screen. Of course he wants her—who wouldn’t? But this being an American movie, the real question is, “What will the consequences be?” Because after all, even though interracial romance works just fine for millions of real life couples, in Hollywood that simply can’t be. Especially when you’re talking about heterosexual black males.
So we know someone’s going to end up dead. We could have prefaced that last statement with a spoiler alert, but we all know it wasn’t really a spoiler. As moviegoers, we’ve been trained to know happily-ever-after isn’t a component of these black/white love affairs. When 100 Rifles was made in 1969, it may have seemed America was on the way—if perhaps a bit turbulently—to a post-racial future. But forty-two years later we bet youcan’t think of three other instances where a top tier white starlet had a love scene with a black man. So even though 100 Rifles offers up a reasonably compelling tale of guerilla warfare on the Mexican frontier, and Burt Reynolds co-stars in a role perfectly crafted for his special brand of smarmy brilliance, and you even get an unforgettable nude minute of cult siren Soledad Miranda, what you come away with is yet another reminder of how creatively bankrupt modern Hollywood has become.
We don’t mean backrupt in terms of race, per se, but in terms of reality. Despite modern cinema being awash in CGI and 3D and THX sound and obscene budgets, as well as dozens of edgy stars, along with teams of clever writers and yachtfuls of execs who all claim to be mavericks, the movies are overwhelmingly soulless. 100 Rifles is not a great film, but as a late-1800s period piece it asks 1969-style questions about racial mixing, social struggle, and offers serious introspection about the worth of warfare. It is an honest product of the time from which it sprang. In comparison, if we consider post-millennial movies a product of the time in which we now live, then the message seems to be: just don’t make us think.
So this is a maraca? Hmph. Now I know what men have been asking me to shake all these years.
Above, another Movie Show cover, this one from April 1943 with Rita Hayworth shaking her maraca. We never heard of this magazine before last week, but it's aesthetically brilliant. Hopefully, we'll find more out there somewhere. If we do, we'll definitely share. Below are selected interior pages from this issue, featuring Ida Lupino, Anne Sheridan, Mona Maris, Mapy Cortés and others.
, Rita Hayworth
, Ida Lupino
, Anne Sheridan
, Barbara Stanwyck
, Maria Montez
, Mona Maris
, Carmen Miranda
, Mapy Cortés
, Paulette Goddard
The headlines that mattered yesteryear.
1930—Movie Censorship Enacted
In the U.S., the Motion Pictures Production Code is instituted, imposing strict censorship guidelines on the depiction of sex, crime, religion, violence and racial mixing in film. The censorship holds sway over Hollywood for the next thirty-eight years, and becomes known as the Hays Code, after its creator, Will H. Hays.
1970—Japan Airlines Flight 351 Hijacked
In Japan, nine samurai sword wielding members of the Japanese Communist League-Red Army Faction hijack Japan Airlines flight 351, which had been en route from Tokyo to Fukuoka. After releasing the passengers, the hijackers proceed to Pyongyang, North Koreas's Mirim Airport, where they surrender to North Korean authorities and are given asylum.
1986—Jimmy Cagney Dies
American movie actor James Francis Cagney, Jr., who played a variety of roles in everything from romances to musicals but was best known as a quintessential tough guy, dies of a heart attack at his farm in Stanfordville, New York at the age of eighty-six.
1951—The Rosenbergs Are Convicted of Espionage
Americans Ethel and Julius Rosenberg are convicted of conspiracy to commit espionage as a result of passing nuclear secrets to the Soviet Union. While declassified documents seem to confirm Julius Rosenberg's role as a spy, Ethel Rosenberg's involvement is still a matter of dispute. Both Rosenbergs were executed on June 19, 1953.
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