|Intl. Notebook||Feb 27 2018|
But even if pulp and art deco didn't mix much back then, they mix here. Today we have an issue of Paris Plaisirs published in 1929 with drawings, paintings, studio photography, French wit and more. The cover photo-illustration was shot by Lucien Waléry, also known as Stanisław Julian Ignacy Ostroróg. Though his name was Polish he was a British citizen, born in London after his father Stanisław Julian Ostroróg—also a famed photographer—emigrated there in 1856 and became a citizen in 1862. The younger Ostroróg took the pseudonym Waléry and thus forever created confusion with earlier photographers who had used the same name. We won't bother unwinding all those Walérys. You can see another of our Waléry's beautiful art deco covers here, and we have other issues of Paris Plaisirs you can see by clicking the keywords at bottom.
|Vintage Pulp||Apr 25 2017|
Author Igor B. Maslowski was born in 1914 in Smolensk, Russia, which his parents left to settle in Poland, where Maslowski grew up. After studying French in Warsaw, he went to Paris to study law, and in 1935 he became a reporter for French radio. Later he became a film and theater critic, and from there he moved into writing fiction under his own name and the pseudonym Renée Gaudin. Above you see a very nice cover for his mystery Le jury avait soif, with unattributed art. The book was published by Éditions le Bruyère for its Collection la Cagoule in 1950, and the title in English means “the jury was thirsty.” However, the type of jury here is not a judicial one, but a literary one, convened to select the winner of a prize, a pursuit that's disrupted when one of the panel turns up dead. Pretty soon someone else is dead, and someone else, which in a way isn't a surprise, because the world of literature is actually pretty cutthroat. Aspiring novelists beware. Below, as a bonus, you see a cover of the same novel from Éditions du Chardon's Collection le Carillon, 1954.
|Femmes Fatales||Feb 18 2016|
|Vintage Pulp||Jan 19 2016|
Above is a Spanish poster by Josep Soligó Tena for La casa de la colina, which was originally released in the U.S. as The House on Telegraph Hill. The movie tells the story of a Polish concentration camp survivor—played by Valentina Cortese—who upon release takes the identity of her dead friend, and later insinuates herself into the lives of the dead woman’s San Francisco relatives. This identity swap is the classic Hitchcockian MacGuffin, which is to say it initially seems to be the plot driver, but later isn’t important at all. While Cortese’s labyrinthine lie is always a worrisome background element, the movie is really about how she finds herself embroiled in an inheritance mess and a love triangle. We thought this movie was quite good, but you do have to ignore bits like the improbable placement of a child’s playhouse above a sheer drop (in a sense, another MacGuffin, as the threat of falling has no bearing at all on later developments). Highly recommended movie, and it has nice San Fran exteriors as a bonus. The House on Telegraph Hill premiered in the U.S. in 1951, and as La casa de la colina in Spain today in 1952. See more work from Tena here.
|Vintage Pulp||Nov 20 2015|
Lots of skin this week. Don’t blame us. It’s all a matter of publishing randomness. You know we like to share items on the date they originally appeared, and it seems the stars have aligned for a naked mid-November. Above you have a Rampage published today in 1973, with rare photos of German actress Alice Arno and men’s mag fave Joyce Gibson. The monster referenced on the cover is Dean Corll, a serial killer who abducted, raped, tortured, and murdered at least 28 boys in and around Houston, Texas, from 1970 to 1973. He had been killed two months earlier by his accomplice Elmer Wayne Henley during a showdown over two potential victims, and terrifying details of the crimes had been laid bare for the American public, which was still trying to wrap its head around the concept of serial killers. We may get into the Corll murders a bit later. This is our eighth issue of Rampage, and you can see the others at our trusty tabloid index.
|Intl. Notebook||Sep 7 2014|
Britain’s Daily Mail newspaper has published a story in which it claims infamous serial killer Jack the Ripper has been identified through DNA testing. The analysis was performed on a shawl found by police on the body of Catherine Eddowes, the fourth of the Ripper’s canonical victims, killed on the same night as Elizabeth Stride in what is termed by Ripper scholars as “The Double Event.” The shawl had recently been bought at auction by an amateur sleuth and passed on to genetic experts, who took samples from the fabric and found matches to the DNA of descendants of Eddowes, and to the descendants of Aaron Kosminski, an original Ripper suspect who had been questioned and surveilled by police back in 1888.
The Mail has said the new evidence “puts to end the fevered speculation over the Ripper’s identity,” but we imagine independent corroboration will probably have to follow before that’s true. Kosminski was of Polish descent and had emigrated from the Russian Empire to London. Police reports from the time of the murder describe him as a serial masturbator, and indeed the Kosminski DNA sample from the shawl is thought to be semen, meaning that in the few minutes after the killing he both mutilated the corpse and ejaculated over it. Presumably more details will emerge in the coming days, but the announcement of Kosminski as the killer, if true, has to rank as one of crime history’s most significant, and may bring to a close one of its most baffling murder cases.
Update: That didn't take long. Various scientists and DNA experts say the genetic analysis done on the shawl was botched due to error of nomenclature. Instead of an extremely rare genetic match, DNA extracted from Eddowes' shawl actually matches that of most people of European descent. So forget everything we wrote above.
|Vintage Pulp||Sep 3 2014|
|Femmes Fatales||Sep 13 2013|
|Femmes Fatales||Aug 7 2013|
|Vintage Pulp||Jan 26 2012|
This excellent vintage poster is for the Italian nunsploitation flick Interno di un covento, which was known in English as, alternately, Within a Cloister, Within the Convent, and Behind Covent Walls. So, what exactly goes on behind convent walls? Well, they have lots of sex. With each other and with whatever men happen to be around. And they exercise naked a lot. Well, almost naked. They never take off those cornettes, no matter what, but everything else is on display, including some really lovely bushes.
All of this depravity is the work of Polish director Walerian Borowczyk, working from a novel—a novel!—by the French writer Stendhal, aka Marie-Henri Beyle. But we’re giving Borowczyk most of the credit, er, blame here, because we don’t think Stendhal had a scene in his book where a nun devirginized herself with a Jesus-faced dildo. What’s the plot here? It isn’t important. The question is, what’s the point?
Well, we’re talking about a movie made in Italy, so the point seems to have been to annoy the very powerful Catholic Church. Mission wholly accomplished, we suspect. We gotta say though, we have never gotten this fascination with nuns. But if that’s your thing, then this is your movie. It premiered in Italy today in 1978. We have a nice collection of production photos below, and if you just can’t get enough nunnage, check out this amusing post.