|Vintage Pulp||May 23 2016|
|Vintage Pulp||Mar 16 2016|
Above is an Italian poster for the World War II drama L’anima e la carne, which would translate as “the soul and the flesh,” but was better known as Heaven Knows, Mr. Allison. It was directed by John Huston, who was one of the greats and the man behind what many consider the first film noir The Maltese Falcon, but he wasn’t a strong stylist. He looked at himself as more of a technician, and often took on projects merely because they offered an opportunity for travel. He shot Heaven Knows, Mr. Allison, with Robert Mitchum and Deborah Kerr, in Trinidad and Tobago, and it’s an African Queen-like tale of a marine marooned on a Pacific island with a nun, and the romantic feelings that develop.
|Hollywoodland||Dec 23 2015|
Today in 1952 protestors comprising members of the 17th District American Legion Un-American Activities Committee demonstrate outside the Fox Wilshire Theater in Los Angeles against director John Huston and actor José Ferrer, whose new film Moulin Rouge was premiering that night. Why was the American Legion pissed? Basically because in 1947 Huston helped form the Committee for the First Amendment to protest the House Committee on Un-American Activities hearings (HUAC), and because Ferrer was a liberal. The anti-communist hysteria was in full swing at this point, and more than five-hundred names had been added to anti-communist blacklists.
Today there are numerous HUAC apologists, and their arguments boil down to nothing more than: “But there were communists in Hollywood!” Certainly that was true, but U.S. government incompetence and opportunism destroyed many more innocent people than communist spies were ever caught. A moral effort in crime fighting never hurts more innocent people than criminals. When it does, history laterlabels such periods tyranny. HUAC has been labeled exactly thus, an assessment that is extremely unlikely to change. And of course, it’s worth pointing out that being a communist was not equivalent to being a spy, nor was it a criminal offense. At least not yet—two years later President Dwight D. Eisenhower made communism illegal in the U.S. with the Communist Control Act.
|Vintage Pulp||Jun 25 2015|
Above, a thoroughly pulped out cover for C.S. Forester’s 1935 adventure tale The African Queen, published in this Bantam paperback edition in 1949. This is a great book with a letdown of an ending, in our opinion, but when John Huston made it into a film in 1951 he greatly improved the last act and the result was an all-time cinema classic. The beefcakey art here is by Ken Riley.
|Vintage Pulp||Aug 13 2012|
We’ll tell you right now that we are not neutral when it comes to John Huston’s Beat the Devil. We love it. It has Humphrey Bogart, Peter Lorre, Gina Lollobrigida, and the exquisite Jennifer Jones, so we loved it immediately. If only audiences had felt the same. The movie was such a flop that not only did it lose money, but its copyright went unrenewed, causing it lapse into public domain. But keen observers, after they got over being misled by the promotional campaign into thinking the movie was a standard Hollywood adventure, soon realized that what they had on their hands was something new—a camp satire bringing together some of the most distinct voices of 1950s cinema. And we mean voices literally. You have Humphrey Bogart with his famous lisp, Gina Lollobrigida with her vampy Italian drawl, Jennifer Jones trying on an English lilt, Peter Lorre with his trademark Germanic-accented sniveling, and more. The accents are your first clue that the movie is going to be all over the place.
Despite these and other charms, Beat the Devil is polarizing. Bogart declared that only phonies liked it. Huston, on the other hand, was well aware of its uniqueness and even told Jennifer Jones—who had already been nominated for four Academy Awards and had won once—that Beat the Devil would be one of her most remembered roles. True enough. The French and Dutch language poster you see above is for the Belgian release, and was put together by S.P.R.L. Belgique. Beat the Devil opened in France today, and Belgium this month in 1954.
|Vintage Pulp||May 29 2012|
|Vintage Pulp||Mar 16 2012|
You really can’t discuss pulp and San Francisco without mentioning The Maltese Falcon. Written by San Fran resident Dashiell Hammet and published by Knopf in 1930, the book’s protagonist San Spade became the archetypal private eye as he haunted the Bay area trying to solve his partner’s murder. The first edition has since become one of the Holy Grails of book collectors, which probably explains why the international auction house Sotheby’s sold a copy of the novel’s first pressing for $75,000. Before you say, “You’re shitting me,” we’ll add that 75K was actually lower than their upper end estimate of $90,000. The 1941 film version of The Maltese Falcon starring Humphrey Bogart and directed by John Huston is considered by most cinema experts to be the first real film noir, and Bogart said it best when asked in the movie exactly what the falcon was. His answer: “The stuff that dreams are made of.”
|Vintage Pulp||Nov 3 2011|
This is a prime example of how tabloid journalism works. The idea is to snare an audience by teasing, mystifying, outraging, or confirming deeply held hopes or suspicions. On this cover of Confidential you get three blurbs that hint at celebrity misbehavior—possibly sexual in Mansfield’s case—but the interesting bit is the top banner in which editors confirm that smoking cigarettes does not cause cancer. With a claimed distribution of four million copies, but a secondhand circulation that may have doubled, tripled or even quadrupled that figure, millions of Confidential readers probably hacked up a bit of grey phlegm before wheezing, “I knew it! Those damn scientists are just fascists trying to take away our liberties!” Well, not so much. But in November 1957, Confidential made an assertive case. It was the wrong case, but whaddaya gonna do? Nobody’s perfect.
|Vintage Pulp||Jul 31 2010|
Above are two French posters for one of our favorite movies, The Maltese Falcon. Dashiell Hammett’s novel was originally adapted in 1931 by Roy Del Ruth with Bebe Daniels and Ricardo Cortez in the leads. Though that version was good, John Huston and Warner Brothers Studios chose to remake the film in 1941 and hit the jackpot pairing Humphrey Bogart and Mary Astor as Sam Spade and Brigid O’Shaugnessey. With Peter Lorre, Sydney Greenstreet and Elisha Cook, Jr. in supporting roles, the film was loaded with top talent and is considered the first film noir. If you haven’t seen it, rent it. And if you like it, rent the 1931 version too—the contrast is striking. Le faucon Maltais opened in Paris today in 1946.
|Vintage Pulp||Jan 11 2010|
The Asphalt Jungle is half a century old, but remains one of the best procedural heist films ever made. The men who commit the robbery at the center of this movie come from all walks of life—some are perennial losers, others are opportunists, and others are just having a hard time and need a way out. All of them long for better lives. All desperately need the money to get there. These footmen, facilitators, and financial backers plan every aspect of a lucrative heist, but the caper begins falling apart almost immediately, due to back luck, mistrust, and greed.
Sterling Hayden, who we’ve mentioned before, is incendiary in the lead, exuding extreme menace but with a hint of recognizable humanity behind the eyes. One of his best moments comes in a brief but exquisitely choreographed shooting involving a thrown valise. All of this takes place under the sure hand of director John Huston, working from a 1949 book by William Riley Burnett. Burnett was a bit of a legend himself. He was a prolific crime novelist who wrote the source material for Little Caesar, Scarface, and High Sierra, and whose screenplays include This Gun for Hire, I Died a Thousand Times, and Nobody Lives Forever.
Put Burnett, Huston and Hayden together (not to mention James Whitmore, Jean Hagen, Sam Jaffe, and a young Marilyn Monroe in a small role as a rich man's plaything) and you get exactly what you’d expect—a genre classic that transcends its boundaries and becomes instead a piece of high art. The film was a major hit that wowed audiences worldwide. At top you see the Italian promo art, and below that we have both the hardback and paperback cover art. The Asphalt Jungle opened as Giungla di asfalto in Italy today in 1951.