Modern Pulp Oct 20 2017
CAGE FIGHTERS
The only rehabilitation going on here is by the poster artist.


Above you see a striking color poster for the Roger Corman produced women-in-prison flick Women in Cages, one of the many sexploitation epics filmed in the Philippines during the 1970s. For an entertaining ninety minutes on that subject, by the way, you should watch the documentary Machete Maidens Unleashed. It's the final word on the chaos of Philippine movie production and covers everything from Savage! to Apocalypse Now. Women in Cages is one of the earlier Philippine women-in-prison flicks, coming after The Big Doll House.

Despite the fact that the poster is signed R. Engel and dated '72, it's actually a piece of modern pulp made within the last several years. The person behind it is German artist Rainer Engel, who put it together borrowing the DVD box cover art from Subkultur-Entertainment's 2013 re-issue of the movie, which in Germany was called Frauen hinter Zuchthausmauern. We ran across the re-styled poster on the artist's website, decided his mock-up beats the hell out of the 1971 original art, and thought it was worth sharing.

When we wrote about the film a while ago we said we thought it was a bit much. Specifically, it's relentlessly grim. Of the trilogy that includes The Big Doll House and The Big Bird Cage this middle entry is the one that forgot the first rule of the 1970s women-in-prison genre—the movie should be absurd and fun. When it isn't—i.e. when it shades into depressing realism—you come away wondering if there's something wrong with you for having watched it in the first place. You can read our post on the film here, and you can visit the artist's website here.

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Femmes Fatales Jul 15 2017
CALIFORNIA SOUL
Pam Grier is as refreshing as an ocean breeze.

We have to bring Pam Grier back every once in a while. This breezy shot currently making its way around the internet certainly ranks among the best promo images ever made of a classic figure. Whoever took this photo captured Grier in a seaside mode we've never seen before, and whoever originally uploaded it deserves thanks, but only partially—Grier deserves most of the credit just for being her. 

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Vintage Pulp Jan 4 2017
DOLLS IN DANGER
Treat your toys with care or they might break out.

Above is an Italian poster for the American financed, Philippine shot sexploitation actioner The Big Doll House, which starred Roberta Collins, Brooke Mills, Pat Woodell, Pam Grier, and Judy Brown. This wasn't the first women in prison movie—those had been appearing for decades—but it was the one that got the ’70s prison sexploitation ball rolling in the U.S. It offers a full slate of whippings, waterboardings, overheated isolation, and bizarre snake tortures, orchestrated by the evil wardeness Christiane Schmidtmer. Collins leads the beautiful convicts' eventual escape from bondage and hers is the most memorable character in the ensemble, though all the personalities are interesting. Don't get us wrong—the acting is of course atrocious, and the production values aren't high, but that didn't bother us and it didn't bother American audiences either. They made the movie a hit and the women-in-prison conveyor belt quickly cranked out other Filipino bondage productions like Women in Cages, The Hot Box, The Woman Hunt, The Big Bird Cage, and many others. The Big Doll House wasn't the best of the lot, by any stretch, but hey—being a trailblazer matters. We think it's worth a viewing.

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Vintage Pulp Dec 14 2016
COFFY WITH GRIT
It's strong and bold and might be just the wake-up you need.

Coffy is not a movie we planned to write about, due to the fact that it's been covered by so many websites. But then we came across this French poster made for its release in Paris today in 1973—where it was called Coffy: la panthère noire de Harlem—and we changed our minds. The movie possibly falls into the category of those everyone has heard about but few have seen, so we gave it a run for the first time in some years. The story is straightforward—a teen girl is in the hospital suffering from the effects of an overdose, and her sister, played by Pam Grier, goes looking for revenge. She kills the dealer who sold heroin to her sister, but soon learns there's another dealer behind that one, and so forth. In a world that's corrupt to the core, revenge is a maze where the center is impossibly difficult to find.

Coffy isn't well acted, but those who go in expecting Oscar worthy performances are setting up false standards. Blaxploitation was about telling stories from a new point of view, one lacking in American cinema. Trying to round out a black cast, as well as find compelling black leads, meant taking chances and bringing novice performers into the fold. The message is what mattered in these movies, and the message was that something was seriously wrong in America. Those who paid attention learned one of the most basic lessons anyone can learn—your reality is just one of many. Other people live entirely different lives governed by different, equally valid truths. Mainstream Americans who understood this concept learned plenty from blaxploitation. Those who denied this most simple of life's facts learned nothing—and are the same people who today look at what happens in America's inner cities with bafflement or scathing contempt.

Coffy was really an envelope pushing film. We'll just highlight one scene to make that point. Pam Grier's title character has sex with her boyfriend then heads toward the bathroom. On the way there, but off-camera, we hear her say, “Oops! Oh, you shouldn't have made me laugh.” What do you supposed happened? Here's a hint—it involves spillage, and not from a glass. It may well have been the first movie ever to hint at post-coital drainage. Later it does another off-camera bit with oral sex when Grier pours wine in her boyfriend's lap and proceeds to clean it up. Coffy may not have been well acted, but it had moments of earthy realism that were almost microscopic in focus. You also get plenty of action and a fierce, single-minded heroine you can root for. Coffy opened in France today in 1973. Check out a rare U.S. promo poster for it here.

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Femmes Fatales Mar 28 2016
A GRIER WINNER
Hah hah—you can only wish you knew me.


Pam Grier was one of Pulp Intl.’s first femmes fatales so it seems only right to bring her back every once in a while. This shot of her appeared on the May 1975 cover of New York magazine and is probably one of the best images of her ever made. The accompanying text called her “a new kind of Hollywood star.” That was true of her and several other women who came up through the blaxploitation ranks, but Grier was really top of the heap—she was the best, the bravest, and by far the most famous. She's had steady success for more than forty years, but we really enjoy those old movies of hers, and this photo captures her at the peak of that period. 

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Vintage Pulp Jan 10 2016
HEADLINING ACT
Grier reappears in her rightful place.

Remember the two excellent Italian posters for the 1974 swords-and-sandals/blaxploitation epic The Arena? Usually the American posters for films from this era compare unfavorably to the foreign versions, but in this case the U.S. promo is also very good. And as a bonus Grier actually gets to star on this one. On the Italian versions she was entirely whitewashed from one, and relegated to secondary status on the other. Not only that—on the text of both posters Italian actress Lucretia Love is given top billing, though she’s actually a supporting character in the film. We can only assume the distributors thought Italian audiences wouldn’t flock to cinemas to see a movie headlined by Grier, and dissed her twice over. Well, above we see her where she belongs. 

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Vintage Pulp Dec 27 2015
HUNGER GAMES
Grier and Markov team up for a Roman gladiator epic.

Though Margaret Markov stars on this poster for La rivolta delle gladiatrici, aka The Arena, aka Naked Warriors, while co-star Pam Grier is nowhere to be seen and barely manages to secure a spot on poster two, below, let there be little doubt—Grier is the center of this film about women thrown into a Roman arena to fight for their lives. The women begin as domestic and sex slaves, but when they get into a kitchen brawl the ferocity of the fight gives their owner Timarchus the bright idea to convert them into gladiators. What follows ends with a showdown between Grier and Markov, once rivals, now friends, but pitted against each other in a battle to the death. The two had already starred together in Black Mama White Mama, but this effort is better. Filmed in Rome and Lazio, it has a realistic look, a script that works, and co-leads with a developed chemistry as screen partners. As a bonus you get Rosalba Neri and Lucretia Love in supporting roles. Recommended stuff. La rivolta delle gladiatrici premiered in Italy today in 1974.

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Vintage Pulp Jul 30 2015
THE CAGED BIRD SCREAMS
If you’re looking for mercy you’ve come to the wrong place.

The Big Bird Cage finds writer-director Jack Hill at the top of his form as he sticks star Anitra Ford in a Philippine jungle prison where an evil warden uses the female inmates as slave labor to process sugar. Pam Grier and Sid Haig are revolutionaries who want to recruit women for their cause, so Grier infiltrates the prison and primes the women for a big break out. This is one of the most remembered of 70s B-romps, a sleazefest filled with iconic scenes such as Ford being suspended by her hair, and seven-foot model Karen McKevic slathering her body with grease and dashing naked through camp. The classic poster is above, a brilliant production photo appears below, and if you’re looking for actual reviews, well, there are about a thousand online. Wild, weird, and oh so incorrect, The Big Bird Cage premiered in the U.S. this month in 1972.

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Vintage Pulp Jul 1 2014
MEDIUM COOL
Is there a Breeze in here?


A little while ago we shared an image of American actress Judy Pace, and that got us thinking about some of her blaxploitation flicks. One we hadn’t seen was Cool Breeze, a reworking of the classic 1950s crime drama The Asphalt Jungle, which was in turn based on W.R. Burnett’s novel. We watched it last night and enjoyed it, though like many movies of the genre it’s the grittiness and other intangibles that make it good, as opposed to the acting and directing, which aren’t great.

But one bonus was the brief appearance of Pam Grier, who you see below in a totally nude still image you won’t find on any other website (at least not yet). We found it interesting that the scene in question did not actually show Grier nude. Instead, her entire torso was blocked by a character in the foreground. But obviously there was another camera and the still was taken from the alternate angle cinemagoers never got to see. You’re welcome internetgoers. Grier was once described by fellow actress Margaret Markov as fearless, basically up for anything, and here’s proof.

Moving on to the poster, it was made for the movie’s Italian run as I diamanti sono pericolosi, which means “diamonds are dangerous.” This piece of art is rare not just in the real world, but on the internet, which means that, like the Grier photo, you probably won’t find it on any other website (at least not an unwatermarked version). Cool Breeze premiered in the U.S. in 1972. No info on when it debuted in Italy.

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Vintage Pulp Apr 5 2014
THE FOX AND THE HOUNDS
They might catch her but they can never tame her.

There’s nothing we can write about Pam Grier’s blaxploitation thriller Foxy Brown that hasn't already been written. But our site wouldn’t be complete without an entry on this film, so above are two American promo posters, and below are some production stills. Foxy Brown was made using the same basic blueprint as 1973’s Coffy, and in fact was originally written as a sequel to the earlier film. Why American International ditched the sequel concept and denied itself a franchise is unclear, but the movie was a hit anyway. We love it, but in honesty, it’s clunkily written and badly acted, however we can also sense how visceral and different it must have felt at the time. At the very least, it’s worth seeing for Grier’s groovy opening dance number. We have some promo photos below, and sharp eyed readers may notice Grier wears the same red cut-out jumpsuit as in Coffy. We haven't mixed up our images. While Grier wears that red jumpsuit in the film Coffy and the promo shots for Foxy Brown, she doesn't actually wear it onscreen in the latter movie. Foxy Brown premiered today in 1974.

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Next Page
History Rewind
The headlines that mattered yesteryear.
November 25
1947—Hollywood Blacklist Instituted
The day after ten Hollywood writers and directors are cited for contempt of Congress for refusing to give testimony to the House Committee on Un-American Activities, the group, known as the "Hollywood Ten," are blacklisted by Hollywood movie studios.
November 24
1963—Ruby Shoots Oswald
Nightclub owner and mafia associate Jack Ruby fatally shoots alleged JFK assassin Lee Harvey Oswald in the basement of Dallas police department headquarters. The shooting is broadcast live on television and silences the only person known for certain to have had some connection to the Kennedy killing.
1971—D.B. Cooper Escapes from Airplane
In the U.S., during a thunderstorm over Washington state, a hijacker calling himself Dan Cooper, aka D. B. Cooper, parachutes from a Northwest Orient Airlines flight with $200,000 in ransom money. Neither he nor the money are ever found.
November 23
1936—First Edition of Life Published
Henry Luce launches Life, a weekly magazine with an emphasis on photo-journalism. Life dominates the U.S. market for more than forty years, publishing scores of iconic photographs that remain some of the most recognizable ever shot, and peaking at one point with a circulation of more than 13.5 million copies a week.
1963—Doctor Who Debuts on BBC
The BBC broadcasts the first episode of Doctor Who, starring William Hartnell as a mysterious alien who time travels in his spaceship, the TARDIS. With his companions, he explores time and space while facing a variety of foes and righting wrongs. The show would become the longest-running science fiction series ever broadcast.
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