Xenophobia: Don't leave home without it.
The above poster was made to promote the Japanese run of a West German sexploitation film that originally had the unwieldy title Die jungen Ausreißerinnen - Sex-Abenteuer deutscher Mädchen in aller Welt, which is sometimes shortened to just Die jungen Ausreißerinnen, or “the young runaways.” For distribution in English it was called Innocent Girls Abroad. It has nothing to do with Mark Twain's similarly titled classic, but is of course a softcore romp done anthology style, with Doris Arden headlining as the main innocent. She doesn't appear on the poster, though, save for in the lower lefthand corner. We suspect the Japanese distributors decided she wasn't boobalicious enough, which just goes to show what they know, because Arden is spectacular by any measure.
Anyway, what we have here is a cautionary tale featuring beautiful young travelers and the pitfalls they encounter, slavery among them, with the various misadventures taking place in Hong Kong, London, Beirut, Paris and Rome. Arden gets the Beirut segment and it consists of her telling the local police her story: raped by her stepfather when she was fifteen, a runaway drifting from place to place, ending up in a harem where she becomes a sexual servant, enduring a year of bondage before her escape. Many sexploitation films are joyful or comical or contain messages of female empowerment—Die jungen Ausreißerinnen isn't one of those. You've been warned. After opening in West Germany earlier in the year it played in Japan for the first time today in 1972.
Tate gives chase in an international fortune hunting comedy about a missing chair.
In ¿Las cual de 13?, aka 12 + 1, aka Twelve Plus One, an Italian barber played by Vittorio Gassman inherits thirteen chairs and, deeming them useless, sells them to a London antique shop. He later discovers one of the chairs contains a fortune, but when he returns to the shop he's told they've all been sold. So he offers the antique shop employee Sharon Tate half of the fortune to help him track down the chairs, which of course have scattered to the four winds. Their search takes them to Paris, Rome, and beyond, in 1960s screwball fashion with its expected pratfalls, mix-ups, and sticky situations. Gassman and Tate do reasonable jobs with the goofy script that's been made of Soviet authors Ilf and Petrov's satirical source novel, and the film is boosted by appearances from Vittorio De Sica, Mylène Demongeot, Terry-Thomas, and Orson Welles. This was an Italian production, but the poster above was painted for the film's Spanish run by Carlos Escobar, who signed his work “Esc.” This is the best we've ever seen from a very good artist. Since the movie didn't premiere in Italy until after Tate had been slain this month in 1969, and didn't reach Spain until mid-1970, the poster very likely was painted post-murder, which means Escobar probably was thinking of how to best portray someone who'd become a tragic figure. We suspect he put special effort into his work as a tribute, and if so, a fitting tribute it was.
It's a hard job but they make it look easy.
What better way to complement the collection of paperback covers above than with photos of actual dancers doing what they do best—making their strenuous and often unglamorous work look easy and fun? We present assorted burlesque dancers, showgirls, and strippers from the 1950s, 1960s, and 1970s, both onstage and off, photographed in such hot spots as London, Paris, Tokyo, Rome, New Orleans, and of course New York City. Among the performers: La Savona, Lilly Christine, Lynne O'Neill, the gorgeous Misty Ayres, Patti Cross, Tina Marshall, Carol Doda, Nejla Ates, Lili St. Cyr, Wildcat Frenchie, and more. If you like these, check out our previous set of dancers here.
But sold all over the world.
Christina Lindberg walks from plane to terminal after her arrival at Heathrow Airport from her native Sweden today in 1972. Her film career was little more than a year old but she was already one of the brightest lights in international cinema thanks to her turns in five films, including Rötmånad, Exponerad, and Maid in Sweden. Lindberg was visiting London to attend the January 6 premier of Rötmånad (English title What Are You Doing After the Orgy?) at the Cinephone on Oxford Street.
One of the last two functioning examples of revered World War II fighter plane hits the auction block today.
Today in London, Christie’s auction house is selling off one of the only two flyable, original spec Vickers Supermarine Spitfire fighter planes left in the world. One of the most elegant of World War II fighters, the Spitfire played a pivotal role in the Battle of Britain, going up against the German Luftwaffe and its comparable Messerschmitt fighter craft. This particular Spitfire made an emergency landing on a beach at Calais, France in 1940, and was quickly covered by tidal sands. The sands receded in 1980 to expose the aircraft once more, and it went into the Musée d’l’Air at Le Bourget, Paris, before being acquired and restored by the British company Aircraft Restoration Company/Historic Flying Ltd. Christie’s estimates the plane will sell for at least US$2.3 million, and could go for close to US$4 million.
They say it’s only skin deep.
Who does the woman on this issue of Harrison Marks’ Kamera No. 26 remind you of? Think carefully. If you said Rachel Dolezal that’s exactly who we were thinking of. In past times Dolezal would have been a local kook, but one considered harmless in the scheme of things. Today she’s landed smack in the middle of America’s poisonous race debate and everyone in the Western world with an internet connection is aware of her. So, while her fifteen minutes lasts, what better time could there be for Pulp Intl. to join in by sharing this Kamera?
As cover star Pamela Green shows, various degrees of race appropriation have a long history, done for show business (Al Jolson, C. Thomas Howell, Eddie Murphy, et al.), stupid fun (think frat parties of the past), economic or social gain (passing as white), malicious intent (typically the case), sex (we can only assume), and myriad other reasons. In Green’s case, she’s posing as Princess Sonmar-Harriks, a made-up Middle-Eastern persona she adopted for photo sessions conducted by Marks, who was her husband.
Green dominates this issue of Kamera, appearing in the centerfold and numerous other pages as both Sonmar-Harriks and herself, but readers are also treated to other models variously lounging on leopard skins, loitering in alleys, showing off oiled-up boobs, erased pubes, and more. We have more of these we’ll get around to posting, and meantime you can see another here, and something very rare in a smilar vein published by Harrison Marks here.
She’s got a dilly of a pickle on her hands.
A Yank on Piccadilly is another book that sounds blatantly pornographic, at least to us, but it's merely the adventures of an American soldier in World War II London. Mild sexual involvement? Yes, there's some of that. Dick yanking? Lamentably, no. In case you’re curious, the name Piccadilly comes from “piccadill,” which was a stiff—cough cough—collar with scalloped edges and a lace border that was the fashion rage during the late sixteenth century. The websites we checked have this cover as by an unidentified artist, but it’s Earle Bergey’s work, clearly. 1952 publication date.
Murder always rings twice.
The last book cover we shared was a Dell mapback, so today we thought we’d continue that theme by showing you a double-sided Hank Janson cover from London based Roberts & Vinter, Ltd., advertising Janson’s upcoming novel on the rear. This appeared in 1960 with uncredited art, but was painted, according to a couple of convincing sources, by an Italian artist named Fernando Carcupino, who did work for Digit Books, Mondadori, and other companies. We’ll dig for more info, but these do pass the initial eye test—i.e. they look very much Carcupino’s work.
A prescription for murder.
As long as we’re doing Spanish language pulp today, we might as well share this cover for El siniestro Doctor Crippen, or The Sinister Doctor Crippen, written by Enrique Cuenca for Barcelona based Ediciones G.P., and published in 1960 as part of its low cost Enciclopedia Pulga collection. Eventually, about five-hundred books appeared as part of the collection, including translations of Jules Verne, Robert Lewis Stevenson, and other classic authors. This particular novel is of course based on the strange story of Hawley Harvey Crippen, aka H.H. Crippen, the American physician and fugitive who murdered his wife Cora in 1910 and was eventually hanged in London’s HM Pentonville Prison. Many of the covers we’ve seen from Enciclopedia Pulga are nice, so we’ll try to revisit the collection a little bit later.
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