All it takes is one to ruin everything.
Successful blaxploitation movies often spawned sequels which benefitted from more resources than were put into the originals. Super Fly was a surprise hit in August 1972, so the Hollywood suits bent their efforts toward riding the gravy train and Super Fly T.N.T. premiered in the U.S. today in 1973, only ten months later. This was a big deal production. Paramount Pictures financed it, future Roots author Alex Haley wrote the script, the shooting took place in Rome and Senegal, and West African/Caribbean funk superstars Osibisa provided the soundtrack. But the movie needed star Ron O'Neal in the title role. And in order to get him Paramount had to let him direct. We can just imagine the high blood pressure meetings on the Paramount lot when the suits realized a blaxploitation star was actually blaxploitating them. So how did O'Neal do? We'll come to that.
In Super Fly the character of Priest wanted out of the drug business. In Super Fly T.N.T. he's living in Rome off the proceeds of his big score, and the ghetto is just a bad memory. And the U.S. as a whole is a place he understands will never change. There's too much invested in the status quo of racism. But in Rome he has friends from all walks of life. He eats in nice restaurants and nobody throws him attitude. He rides horses. And living there has given him some perspective. His novelist pal tells him, while the two are strolling in the city center, “These people are all walking around living right here in the middle of thousands of years of history. And I mean their own history. That's what makes them different.”
But Priest is directionless. He has no idea what to do with his life. Eventually he's asked to help the struggling African nation of Umbria stockpile guns for a revolution and decides this could be his higher cause. From that point forward Super Fly T.N.T. becomes an espionage drama. And not a good one either. While O'Neal's direction isn't scintillating, the main problem is that the script was written by someone who understood history, politics, and anthropology perfectly, but didn't have a firm grasp of cinematic pace and action. Yep, we're laying this failure at literary icon Alex Haley's feet. O'Neal may not have been the best director, but there wasn't much to direct. It's a shame, because Priest was one of the best characters to come out of the blaxploitation wave. Super Fly T.N.T. wastes his cultural capital.
She was a material girl living in a material world.
Above is a 1960 National Enquirer with Barbara Nichols on the cover, and editors claiming she said “men, money, and me” make a perfect triangle. Nichols was never a top star, mainly guest starring on dozens of television shows, but she was a staple in tabloids because she dated many rich and famous men but never married, which is why we suspect Enquirer editors came up with their cover quote. Some of her escorts included Jack Carter, Steve Cochran, Cesar Romero, and Elvis Presley. Nichols died in 1976 aged forty-seven due to liver dysfunction. It had initially been torn in an auto accident a decade earlier and gave her problem the rest of her life. We have a pair of nice femme fatale photos of her and you can see those here, and well as an awesome album sleeve here.
Seven ways to die in Rome.
We mentioned a while back we were taking a closer look at vintage giallo flicks, and today you see a Renato Casaro poster for Sette orchidee macchiate di rosso, aka Seven Blood-Stained Orchids. During a train trip a serial killer who's been dispatching women in various diabolical ways tries to make a victim of Uschi Glas. Uschi's man Antonio Sabato is the police's number one suspect, and the only way he can disprove their suspicions is by finding the killer. Uschi plays sidekick for him, which is good, because he looks terribly confused most of the time. This falsely-accused-must-find-real-killer gimmick had already reached perennial status when Antonio arrived on the scene, so you'd hope for a fresh take on it—and be disappointed. This isn't a bad movie, but it's undistinguished, a giallo without the high style of the best entries in the genre. Umberto Lenzi, who had directed numerous films but was making his first giallo here, would do a bit better later. Sette orchidee macchiate di rosso premiered in Italy today in 1972.
It's a self portrait. I don't know why I painted myself bloody and mutilated. Just a weird inspiration.
These are my new strangling gloves. 100% lambskin. Nice, right?
My last victim didn't like gloves so this time I'm going bareback!
Not cutting him down.
Wait, what? That's not fair. I didn't even see him until just now.
This mystery is probably far less complicated than we think.
Can you believe my stuffy old family won't let me wear this in the palace?
Above, a nice shot of Rome born Ira von Fürstenberg, whose full name is Virginia Carolina Theresa Pancrazia Galdina Prinzessin zu Fürstenberg. Yes, a princess, as well as an actress who appeared in films such as Playgirl 70 and Giornata nera per l'ariete. This image appeared on the cover of the Belgian cinema magazine Ciné-Revue and it dates from 1971.
Uncensored turns its unique journalistic eye toward Anita Ekberg.
There's nothing quite like tabloid writing, a fact once again amply demonstrated by Uncensored. This issue is from June 1963, and check out this short paragraph from its feature on Anita Ekberg: “This is the Uncensored story of how Prince Philip bagged a rare and exotic Scandinavian pouter pigeon. Though its native habitat is Sweden, this double-breasted dove prefers the warmer climate of Italy. It also migrates as far from home as London and Hollywood.”
Double-breasted dove? They don't write like that anymore, and a good thing too. It's sexist, of course, but the tabs were generally belittling of both females and males—though in different ways. Women were derided for dating around, such as when Uncensored refers to Ekberg as “Sexberg,” whereas men were usually disparaged for not being manly enough. That typically involved either being rebuffed by women, not scoring with enough women, or sexually preferring men. You see this in the story on Marcello Mastroianni, who's called “lazy” for passing on Brigitte Bardot. And you see it in the story on the United Nations, which is referred to as the “U.N. pansy patch.”
From the perspective of 2017, the heteronormative insecurity is pretty obvious. Men are to be prowling wolves, and any failure to live up to the ideal prompts insults; women are to be readily available for action, but not to other men. The story on Ekberg treads the line of admiring her beauty, but being suspicious about the freeness of her affections. There's a photo of her dancing with a black G.I. in Rome, and while the caption is neutral, in the context of the story the meaning of the shot is clear: “Ekberg will even dance with a black man!”
We love the photo. Ekberg looks a bit baffled, as if the soldier is telling her, “We'd be in mortal danger for doing this in most of the United States, you know,” and Ekberg is saying, “What the hell are you talking about?” The photo also shows how tall Ekberg was, almost 5' 7”, probably 5' 10” in heels, which is towering for an actress who needed to star alongside all those mid-sized leading men. We think this is the first time this image has appeared online.
Other elements worth noting in this issue include French actress and Pulp Intl. femme fatale Dominque Boschero as a mermaid, Marlene Dietrich looking dapper in a tux, Jayne Mansfield and one of her famed toy poodles, and burlesque queen Blaze Starr sudsy in a bathtub. There are plenty of other great shots too, and you can see them all below in nearly forty scans. Uncensored will return.
I may live in an old town but I'm a thoroughly modern woman.
This photo has a vintage look, but it's from 1978. Well, 1978 is still vintage, but you know what we mean. That year is the arbitrary dividing line we use on Pulp Intl. between what is vintage and what is modern. So in our view this is a modern photo of Italian actress Anny Papa, who we suspect is giving the papas on this old Rome street some naughty thoughts. Papa also was a centerfold for Italian Playboy during its most explicit years, so really, these bystanders have no idea how naughty she really got. See below.
Jack the Ripper, with an Italian twist.
Above, the original Italian poster for Dario Argento's horror thriller L’uccello dale piume de cristallo, aka The Bird with the Crystal Plumage, which premiered in Rome today in 1970 and has since become an iconic example of the giallo genre. We talked about the film, and shared the Spanish posters back in 2010. You can see those here.
Don't worry, dude. I got your back.
The BBC has an interesting report today about a man who has an elaborate full-back tattoo that, though it's attached to his body, he's sold to an art collector. Yeah, that's one's hard to wrap your head around. Let's put in another way. The man, Tim Steiner, earned $161,000 from German art collector Rik Reinking for rights to the piece. As part of the deal Steiner is required to sit shirtless in a gallery three times a year as a piece of living art, which isn't a bad way to make extra cash, we suppose. Especially when some of the exhibitions have occurred at the Louvre in Paris, Civita di Bagnoregio in Rome, the Art Farm in Beijing, and the Museum of Old and New Art in Hobart, Tasmania.
And as befits all good art, the exhibitions will continue even posthumously. After Steiner shuffles off this mortal coil, Reinking takes full ownership of his skin, which will be removed so the tattoo can be framed and displayed. Some people, not surprisingly, have called the unusual arrangement ghoulish, but those people perhaps have no idea how strange modern art can get. Steiner, who sees himself as merely a temporary mounting for the tattoo, is happy, if not exactly eager, to be immortalized on museum walls. He considers tattooing the ultimate art form. “Painting on canvas is one thing,” he says, “painting on skin with needles is a whole other story.”
The creator of the piece, Belgian artist Wim Delvoye, would doubtless agree. He's known in inking circles, not only for tattooing humans, but also pigs, whose skins he peddles. So Steiner's sell-off of his ownhide isn't really new. The pigs may be getting the better deal, though. They get to root around in mud and slop to their heart's content until they die of old age. Steiner still presumably has to earn a living a somehow. He probably should have had the pigs' lawyer negotiate his agreement.
We like tattoo art, but this skinning business is obviously a practice that's legitimized by social status. Put someone's framed epidermis on your wall at home and you're anything from seriously weird to a psychopath/subject of a murder inquiry; hang it in a gallery and wine swilling upper crusty types call you a collector. But that's sort of an encapsulation of how the entire world works, isn't it? Rob an old lady at a cash machine and you're a thief; take away her pension and you're a politician. Heavy drug usage in the ghetto is a crime wave; heavy drug usage in suburbia is a public health problem. We can do this all day, but we'll move on.
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.
The headlines that mattered yesteryear.
1967—Muhammad Ali Sentenced for Draft Evasion
Heavyweight boxing champion Muhammad Ali, who was known as Cassius Clay before his conversion to Islam, is sentenced to five years in prison for refusing to serve in the military during the Vietnam War. In elucidating his opposition to serving, he uttered the now-famous phrase, “I ain’t got no quarrel with them Viet Cong.”
1953—The Rosenbergs Are Executed
Julius and Ethel Rosenberg, who were convicted for conspiracy to commit espionage related to passing information about the atomic bomb to the Soviet spies, are executed at Sing Sing prison, in New York.
1928—Earhart Crosses Atlantic Ocean
American aviator Amelia Earhart becomes the first woman to fly in an aircraft across the Atlantic Ocean, riding as a passenger in a plane piloted by Wilmer Stutz and maintained by Lou Gordon. Earhart would four years later go on to complete a trans-Atlantic flight as a pilot, leaving from Newfoundland and landing in Ireland, accomplishing the feat solo without a co-pilot or mechanic.
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