Hi! I'm in the bathroom freshening up. I'll be out in about an hour.
Above, a shot of Italian beauty Maria Fiore taking the world's most incremental bath in her 1952 cinema debut Due soldi di speranza, aka Two Cents Worth of Hope. We have experience bathing without a shower or bathtub, and the easiest way to do it is to use a bucket, pour some of the water over your head and body, thoroughly soap up, apply handfuls of water as needed (pits, crack), then pour the rest over your head to rinse. Even in warm countries the water tends to be uncomfortably cold, so a full drenching reduces the amount of time you spend shivering. Or you can bathe right after you've been outdoors in the heat. Of course, you need drainage for the bucket method, which Fiore seemingly doesn't have. So like she said, she'll be out in an hour.
You're going to like my movies or else. Now sit down and shut up.
Ann Smyrner was born in Denmark as Hanne Smyrner and came to wide attention for roles in cheeseball films such as Reptilicus and Journey to the Seventh Planet. The above photo was made when she filmed yet another cheeseball film—the 1967 Italian flop ...4 ..3 ..2 ..1 ...morte, aka Mission Stardust. These movies call out to us based on their titles alone, so we'll attempt to locate one or two and report back. They sound epically bad. Smyrner, on the other hand, looks epically good.
But I only want to kill my stepmom and take her money. What’s the big deal?
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.
This one is worth watching for the cringe-inducing central killing alone, which ranks top five in the annals of film noir for sheer brutality. Mitchum is good as always, Simmons less so due to her occasional tendency to act! rather than act, but that’s a minor issue. The movie works. It's well scripted by a trio of writers with an assist from Ben Hecht, and nicely directed by Otto Preminger. Best line in the film: “Is rigging a car like he says a very complicated thing? Or could anyone do it? Even a woman?” Ah yes, film noir—sexy and sexist. But there’s a real lesson there—never teach a femme fatale how a car’s transmission works. You’ll regret it.
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.
, Seduzione mortale
, Angel Face
, Robert Mitchum
, Jean Simmons
, Jim Backus
, Otto Preminger
, Howard Hughes
, Nicola Simbari
, poster art
, film noir
, movie review
Jane Bond, licensed to thrill.
We thought we’d bring back Georges H. Boskero/Bosckero today. Working for Edizioni Ma-Ga again, he authored Com licenza d’amare, which of course means, “licensed to love.” It was the debut entry for the Ma-Ga’s Jane Bond series, and an eyecatching entry it was.
La Lollo gives a child's toy a grown up workout.
The UPI photo above was shot today in 1959 and shows Italian actress Gina Lollobrigida hula hooping between takes on the set of United Artists' biblical epic Solomon and Sheba. La Lollo was apparently a big fan of the hula hoop—according to the info on the back of the photo she owned this one and brought it from her home in Rome. Interestingly, she was costumed almost exactly like this—in a glittery bra and skirt while showing a bare midriff—in 1950's Vita di cani, 1952's Les belles de nuit, and wore a circus performer's outfit of very similar style in 1956's Trapeze. Her most famous physical trait was her hair (lollo rosso lettuce is so named because it resembles the curly 'do she wore for much of her career), but it seems producers preferred her navel. Can't say we blame them.
Getting into the spirit of things.
A bit more foreign paperback art today. Among the pantheon of excellent vintage paperback artists, Benedetto Caroselli has become a favorite, as our many posts of his work attest. He painted this cover in 1964 for Sheila Norman's L'anima nuda, or "naked spirit," which was number thirty-three in Grandi Edizioni Nazionali's macabre series I Capolavori della Serie KKK Classici dell'Orrore. Norman was a pseudonym for Oretta Emmolo, who also wrote as Christoph Bonig, Valerie Greeves, and Reg Sattle. We have plenty more Caroselli art in the website. Just click here.
The city never rests and neither does she.
This cover featuring a beautiful nocturnal vision of Paris and an overheated femme fatale could have fit into two of our previous cover collections—either the group featuring Venetian blinds or the Eiffel Tower set. If you have a moment you should take a look at those. You’ll see amazing cover art. The book above comes from Rome based Edizioni MA-GA and was written for their FBI Story series by Georges H. Bosckero, a pseudonym used—along with Joe H. Bosk, Kriss Leclerc, Georges H. Boskero and possibly other variations—by Giorgio Boschero. The year on this is 1960 and the artist is, sadly, unknown.
Once you go Black Emanuelle you never go back.
Javanese beauty Laura Gemser isn't black in the ethnic sense, but you know that going into Black Emanuelle, first of the Italian-made sexploitation series that borrowed the French Emmanuelle concept and took it to places its originators could never have imagined. Gemser could actually be half black or mostly black, going by skin tone alone, but in a way her being South Asian in real life becomes the whole point, as it makes all her love scenes titillatingly interracial, whether she's getting it on with Africans or white foreigners. This is the tamest of the series—before poor Emanuelle was beset by voodoo priests, cannibals, and worse. In addition to the honeyed Gemser in the starring role you get a scoop of vanilla Schubert on top—German actress Karin Schubert. We aren’t going to bother to tell you about the plot of this one—it follows the form of other movies about westerners who get freaky in the African bush and eventually leave with profound insights and fond memories (cue shot of dreamy eyed actress gazing out airplane window as dark, mysterious Africa recedes below). In addition to the Japanese poster above we were able to locate quite a few promo images, including two of Gemser and Schubert doing field tests of Newton’s laws of physical motion. See below. Black Emanuelle opened in Japan today in 1976. Japan
, Black Emanuelle
, Laura Gemser
, Karin Schubert
, poster art
, sex symbol
, movie review
You ever wonder what nuns wear under their habits? Neither do we. But some people do.
What is it about nuns? We’ve never paid them any mind, but seventies filmmakers sure found them irresistible. We’ve shared a few examples of the phenomenon over the years, such as here, here, and especially here. Educande fuori… femmine dentro was originally made in West Germany, where it was called Die Klosterschülerinnen, and later it appeared in English speaking countries as Sex Life in a Convent. We watched it, and it’s nunsploitation without much in the way of successful humor or eroticism. You've been duly warned. But the Italian poster, which you see above, is pretty cool. Also German actress Astrid Boner—her name kills us every time!—is in a co-starring role. And probably most worth mentioning is the fact that the miraculous Doris Arden gets top billing, and deservedly so. To reiterate, deservedly so. From 1972, this one. West Germany
, Educande fuori… femmine dentro
, Sex Life in a Convent
, Die Klosterschülerinnen
, Doris Arden
, Philippe Dumont
, poster art
, sex symbol
, movie review
The headlines that mattered yesteryear.
1945—Germany Announces Hitler's Death
German radio in Hamburg announces that Adolf Hitler was killed in Berlin, stating specifically that he had fallen at his command post in the Reich Chancery fighting to the last breath against Bolshevism and for Germany. But in truth Hitler had committed suicide along with his mistress Eva Braun, and both bodies were immediately thereafter burned.
1960—Powers Is Shot Down over U.S.S.R.
Francis Gary Powers, flying in a Lockheed U-2 spy plane, is shot down over the Soviet Union. The U.S. denies the plane's purpose and mission, but is later forced to admit its role as a covert surveillance aircraft when the Soviet government produces its remains and reveals Powers, who had survived the shoot down. The incident triggers a major diplomatic crisis between the U.S. and U.S.S.R.
1927—First Prints Are Left at Grauman's
Hollywood power couple Douglas Fairbanks and Mary Pickford, who co-founded the movie studio United Artists with Charlie Chaplin and D.W. Griffith, become the first celebrities to leave their impressions in concrete at Grauman's Chinese Theater in Hollywood, located along the stretch where the historic Hollywood Walk of Fame would later be established.
1945—Hitler Marries Braun
During the last days of the Third Reich, as Russia's Red Army closes in from the east, Adolf Hitler marries his long-time partner Eva Braun in a Berlin bunker during a brief civil ceremony witnessed by Joseph Goebbels and Martin Bormann. Both Hitler and Braun commit suicide the next day, and their corpses are burned in the Reich Chancellery garden.
1967—Ali Is Stripped of His Title
After refusing induction into the United States Army the day before due to religious reasons, Muhammad Ali is stripped of his heavyweight boxing title. He is found guilty of a felony in refusing to be drafted for service in Vietnam, but he does not serve prison time, and on June 28, 1971, the U.S. Supreme Court reverses his conviction. His stand against the war had made him a hated figure in mainstream America, but in the black community and the rest of the world he had become an icon.
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