Dobson welcomes a guest to her poster but there's still only one queen.
Above are two gorgeous Italian posters for the blaxploitation classics Cleopatra Jones: licenza di uccidere and Operazione casinò d'oro, better known as Cleopatra Jones and Cleopatra Jones and the Casino of Gold. The first poster is obviously a photo-illustration, but the second was painted by Robert Tanenbaum. It's an iteration of his original U.S. poster, which you see here as well, just below.
On the U.S. version star Tamara Dobson stands alone, but for the Italian promo a second figure appears to her right, representing we know not whom. You'll notice the Italy Dobson figure has lighter skin than on the U.S. poster, and lighter skin than her new sidekick. Was this a deliberate switcheroo? Were Italian moviegoers supposed to think the figure on the left, who was Dobson in the U.S., now represented co-star Stella Stevens? They probably did, even though Stella's face is present on both posters at about thigh level to the main figures. But we don't think Tannenbaum had any of that in mind. We think the second figure represents nobody and came out of his fertile imagination.
Something else interesting about these—Tannenbaum had no trouble reproducing Stella's face, but you'll notice none of the figures look like Tamara Dobson. Not unless you squint. Hmm. Well, even if he had trouble with Dobson's likeness, he did an amazing job on these pieces, which is no surprise considering he's a major contributor to cinematic art who painted promos for The Sting, Star Trek: The Next Generation, and other big budget releases. There are no known Italian release dates on these Cleopatra movies, but ballpark, figure summer 1974 and winter 1975. Read about them here and here.
Bad girl! You stay in your kennel until you learn how to behave!
The list of great Italian movie poster artists is long. We've discussed many and today we have another new member of the club—Basilo Morini, who painted these two promos for Sesso ribelle, aka Questo sesso ribelle, but best known as Pets. The quality of the art is shockingly good considering how terrible the movie is. What you get here is a counterculture drama about the various misadventures of a Southern California runaway played by Candice Rialson. She meets fellow drifter Teri Guzman and is drawn into a robbery plot, becomes a nude model and sex partner for possessive painter Geraldine Mills, and finds herself pursued by woman hating sadist Ed Bishop. Morini's art makes clear that Pets is sexploitation but the film is pretty tame by today's standards—at least on the sex front. In other ways it's wildly offensive. When Mills wails at one point, “It's like a bad dream! This can't be real!” that's exactly what you'll be thinking. Pets premiered in the U.S. in 1973 and reached Italy today in 1975.
Use the Force, Luke...
The neighbors always suspected there was something odd about the house on Paranormal Lane.
I love what you've done with the place. Late period Edgar Allen Poe?
Check out this painting I did of you. It's what I picture you looking like after I drain all your vitality and essential electrolytes.
One can only hope.
It don't mean a thing if it ain't got that swing.
One good swing deserves another, and since we screened Tarzana, sesso selvaggio, we thought we'd check out another Italian female Tarzan movie, 1968's Luana la figlia della foresta vergine. Basically, a man who disappeared into the African jungle many years ago is sought by the daughter he left back in civilization. The father had taken a second wife who bore him a second daughter. Unbeknownst to the first daughter, her father and his new wife died, and the second daughter grew up in the jungle alone, befriended by birds, primates, and an assortment of big cats. So the first daughter leads a jungle expedition and ends up stumbling upon a half sister that spends her time swinging on vines from water hole to water hole.
Describing the premise of this movie was probably more trouble than it was worth. All we really needed to say is that it's a film that features hot French actress actress Evi Mirandi and hot Vietnamese actress Mey Chen, aka Mei Chen Chalais, who has no lines at all but looks great running around in a loincloth. She also knows the jungle well enough to avoid the carnivorous flowers, something that—crucially—can't be said of others. The rest is unimportant. The poster art above is interesting, we think. It's signed, illegibly, and nobody has yet determined who the artist was. Someone in Italy needs to work that out. We'll just wait here trying to decide whether Luana la figlia della foresta vergine was actually any good. It premiered today in 1968.
She's been doing as the Romans do pretty much from day one.
Italian actress Leticia Román walks across the tarmac at Fiumicino Airport in Rome today in 1962, where she had arrived to begin work on the film The Nightmare. That's what the back of the photo says, anyway. But Román never appeared in a film with that title. Since titles change mid-production occasionally, we're going to guess the film was actually the 1963 giallo La ragazza che sapeva troppo, aka Evil Eye. Furthermore, we checked the production data, and the movie has scenes at the airport, so it's possible but not certain that this isn't really a press photo but rather a production promo. In any case, nice shot.
Il dolce corpo di Deborah is pretty but inside it has issues.
Renato Casaro does solid work as always on this poster he painted to promote the Italian giallo flick Il dolce corpo di Deborah. We've featured him often, and you can see some of his best work here, here, and here. If you were translating the title Il dolce corpo di Deborah into English normally, it would be the linguistically economical “Deborah's Sweet Body,” but instead the distributors went literal with The Sweet Body of Deborah. Going with something clunkier than needed is a good metaphor for the film.
The story involves a newly married American woman played by Carroll Baker who honeymoons with her Italian husband in Geneva, where he runs into a former friend who accuses him of murder. The death in question was of the husband's ex-girlfriend. It was ruled suicide, but the acquaintance claims it was murder. He spends a lot of time and effort trying to convince Baker her husband is a killer, but is he telling the truth, or is there something even more sinister going on? That's a rhetorical question. This is giallo.
Normally we'd suggest watching the film to find out what happens, but we won't do that because this is a limp and disjointed thriller made watchable only thanks to good cinematography, interesting Geneva exteriors, and Baker pushing the envelope of allowable skin. Bad scripting and bad acting really hurt here, and the double twist ending feels perfunctory. We won't go so far as to say Body blows, but it could be plenty better. Il dolce corpo di Deborah premiered in Italy today in 1969.
Gemser flick needs to be put someplace the sun doesn't shine.
Laura Gemser made many films, in which she mainly lost her clothes in exotic locales, and in 1980's Sexy Moon the Gemser world tour hits the island of Cyprus. First things first—the alternate titles. They include, but are not limited to, I mavri Emmanouella, which was the original Greek title, Secrets érotiques d'Emmanuelle, Emanuelle: Queen Bitch, Emanuelle: Queen of Sados, and Emanuelle's Daughter. Those last three were the titles for various English speaking countries, while Sexy Moon, interestingly, was what the film played as in Italy, where it opened today in 1980. So you're actually looking at the film's Italian poster above, and a nice one it is, painted by Enzo Sciotti, the brush behind more than 3,000 movie promos.
This was Gemser' s eleventh Emanuelle outing, depending on how you number them—she starred in two movies that had “Emanuelle” in the titles but no character in the films with that name. So some might say this was her ninth Emanuelle film. Whatever. The important aspect here is that the writers were running out of interesting things for her to do. By the time Sexy Moon came along Gemser couldn't merely be ravished by hairy Eurostuds, so after besting cannibals, becoming a nun, and smashing a prostitution ring, her handlers decided to have her play an unhappy wife who has her terrible husband murdered. At that point she becomes guardian to the departed's now rich daughter, who's played by Livia Russo.
Russo could, in some slow developing genetic universe, be eighteen, but she's more likely fifteen, which means we were ambushed by her nudity, which is both sexual and, later, violent in nature. We suspect the only reason this film isn't illegal everywhere is because nobody has a firm record of Russo's age—least of all her, since she dropped off the face of the planet right after Sexy Moon wrapped. It was a more daring time artistically. We mention that often. And it's just acting. We get that. But having a possible mid-teen even act a rape scene is sadistic. We recommend skipping this one. Sexy Moon, which turned out not to be sexy at all, premiered in Italy today in 1980.
The town's not big enough for the both of them.
We just wrote about a French werewolf novel—The Werewolf of Paris by Guy Endore—and now we've come across Les loups de la violence by Michael Shiofy. Some sources claim this was written by Belgian author Guy de Wargny under a pseudonym, but it's actually a 1966 reprint of a 1965 Italian novel called La dama dei lupi, which was written by Harry Small, a pseudonym used by Mario Penzauti. Yes, it's always complicated with these European books. It was published in France by Éditions Bel Air and was part of its Les Adventures de Dracula line, a twelve book series that featured all kinds of monsters, but not Dracula, strangely. However a vampire did star in entry nine, Frank Graegorius's Le vampire de la pleine lune, so that counts, we guess. We haven't read this. If it's as good as The Werewolf of Paris we'd be shocked. But the cover is comparable, we think. It was painted by James Hodges, whose artistic virtues we've extolled before. To see him at his best we suggest you check here and here.
The future is just a leotard and can of silver spray paint away.
Italian actress Leonora Ruffo is armed and ready to defend her patch of the cosmos in this photo from her 1966 sci-fi movie 2+5 Missione Hydra, perhaps a bit better known by the English title Star Pilot. She plays the commander of a spaceship that crash lands on Sardinia. Ruffo, who was born Bruna Bovi, began acting age fifteen and appeared in mostly b-movies, including several sword-and-sandal epics. Without having seen Star Pilot we already know it's cheap and funny. Ruffo's costume and spray painted plastic gun tell us that. We're going to watch it and report back later.
Mercedes Molina bends over backward to please her daddy.
Thanks to The Exorcist a wave of possession films flooded cinemas during the mid-1970s. Above you see posters for one of them—Le notti di Satana, which was originally released in Spain as Exorcismo. Basically, it's about a young woman whose behavior radically changes, causing friends and family to conclude that she's possessed by the spirit of her recently dead father. But the priest knows better. It's just Satan, up to his usual tricks. Mercedes Molina stars as the possessed, performing under the name Grace Mills, for some reason, almost as if she didn't want to be associated with the movie. Though it isn't terrible. Just uninspired. Check this dialogue exchange:
At times I'm certain my sister is possessed.
Yes. How can I say it? Like something has taken possession of her.
That's bad. On the plus side, Molina/Mills manages some good contortions and screams, until the exorcism brings the expected climax. Also, the lovely Maria Perschy co-stars as Molina's flummoxed mother, so there's that. And there's some nude ceremonial cavorting that'll catch your eye, so there's that too. Otherwise, not a top effort. But all these posters are fun, if of varying quality. Only one is signed—the last one, by Italian artist Angelo Cesselon, whose work we've shown you here and here. We have a few screenshots below that capture the essence of the movie. Now you don't even have to watch it. Le notti di Satana premiered today in 1975.
What's gloves got to do with it?
Austrian born actress Marisa Mell made this photo when she was starring in the 1966 Italian thriller New York chiama Superdrago, aka Secret Agent Superdragon, and what it shows is that opera gloves are the female spy's equivalent to James Bond's bow ties. Shooting someone is an important occasion, and the least you can do is dress formally when you do it. The title of this movie alone—we seriously must watch it. We'll report back.
The headlines that mattered yesteryear.
1927—Mae West Sentenced to Jail
American actress and playwright Mae West is sentenced to ten days in jail for obscenity for the content of her play Sex. The trial occurred even though the play had run for a year and had been seen by 325,000 people. However West's considerable popularity, already based on her risque image, only increased due to the controversy.
1971—Manson Sentenced to Death
In the U.S, cult leader Charles Manson is sentenced to death for inciting the murders of Sharon Tate and several other people. Three accomplices, who had actually done the killing, were also sentenced to death, but the state of California abolished capital punishment in 1972 and neither they nor Manson were ever actually executed.
1923—Yankee Stadium Opens
In New York City, Yankee Stadium, home of Major League Baseball's New York Yankees, opens with the Yankees beating their eternal rivals the Boston Red Sox 4 to 1. The stadium, which is nicknamed The House that Ruth Built, sees the Yankees become the most successful franchise in baseball history. It is eventually replaced by a new Yankee Stadium and closes in September 2008.
1961—Bay of Pigs Invasion Is Launched
A group of CIA financed and trained Cuban refugees lands at the Bay of Pigs in southern Cuba with the aim of ousting Fidel Castro. However, the invasion fails badly and the result is embarrassment for U.S. president John F. Kennedy and a major boost in popularity for Fidel Castro, and also has the effect of pushing him toward the Soviet Union for protection.
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