|Vintage Pulp||Apr 26 2017|
|Vintage Pulp||Mar 14 2017|
Spanish artist Carlos Escobar painted this poster for the sci-fi flick Planeta prohibido, better known as Forbidden Planet, which premiered in the U.S in 1956 and reached Spain today in 1957. Escobar was a master of realistic figures, such as those he painted of Sharon Tate and Beba Lončar, but for this piece he used a more stylized technique to depict Robby the Robot and an unconscious figure we suppose is Anne Francis. We don't remember Robby carrying her in the film, but it's been a while since we watched it, so maybe we've spaced that. But in any case this is a fantastic piece of promo art. We especially love the trippy sky. It reminds us of this time we dropped acid in Bryce Canyon National Park.
|Vintage Pulp||Feb 27 2017|
We've run across some low characters in paperback art, but these guys are the lowest. Faced with danger they've grabbed the nearest woman to use as a shield. Women in mid-century fiction have it rough—they're interrupted while skinny-dipping, carried off against their will, manhandled, spied on, tied up, and more. They have their victories too, thankfully—put a gun in their hands and they start dropping men like two-foot putts. Well, good thing femmes fatales are so tough, because they'll need to be hard enough to stop bullets to get out of these jams.
|Vintage Pulp||Feb 12 2017|
Above you see a poster from the former Yugoslavia, in Serbo-Croatian (we think), for the film Devojka za zabavu, starring Beba Lončar. We haven't watched this, so no summary, but it's available should you feel the urge. We're primarily interested in the art. The poster says this is a Španjolski film, or Spanish film, and indeed it was originally made in Spain as Amor en un espejo, and titled in the U.S. Cover Girl. The poster was adapted from the Spanish promo art painted by Carlos Escobar, who signed his work as Esc. On the Spanish version his signature is prominent, but the Yugoslavians decided to wipe it out for some reason. We already showed one example of Escobar's talent featuring Sharon Tate, and it may be one of the most beautiful of the hundreds of posters to adorn Pulp Intl. over the years. This one, which uses the lovely Lončar as a model, is also good. Evidence of what a big star the Serb actress was in her native Yugoslavia exists in her name, thrice repeated above the film's title, which is not how the Spanish poster was set up. Check out the Tate promo here. And check out Lončar here. Amor en un espejo premiered in Spain today in 1968.
|Modern Pulp||Jan 29 2017|
The Noir City Film Festival in San Francisco closes tonight. We couldn't be there, living as we do across the ocean, but like last year we screened some of the films at home and that has been a treat. We said at the end of last year's group of write-ups that we probably wouldn't do it again, and that turned out to be a lie. Next year we definitely won't do it. It's fun, but makes the website almost like actual work, which isn't what this is about at all. It isn't you, Noir City, it's us.
Victoria doesn't know this at first. It becomes clear soon enough, but only after she's in too deep and stuck as a getaway driver. Of course, the audience knows she's in trouble long before that. If there's a flaw with the movie it's merely that Victoria doesn't seem lonely, reckless, or clueless enough to get herself into this mess. But maybe that's a function of the movie's nature. We can't know her in two hours, filmed in real time,with no structural concessions for subplots, flashbacks, or any of the standard expository digressions. We have to take her at face value, and accept her as revealed to us. If you do, then the blossoming of her inner danger junkie is logical and seamless. Victoria is really an astounding achievement, and not just because of the single take. Schipper is almost twenty years older than the cast he directs, but he's made a generational landmark of a film.
|Modern Pulp||Jan 28 2017|
Expert safecracker Gal Dove, played by Ray Winstone, has retired to sunny Spain, but criminal associates back in England want him for a job. Arriving in the Costa del Sol to make the pitch for them is the persuasive—and psychotic—Ben Kingsley, who terrorizes Gal and his close circle in an effort to bully him into partnering up. The movie mainly focuses on the battle of wills between a man trying to move on with his life and a monster that won't take no for an answer. For a long while it looks as though there won't be a heist at all, but the film circles around to that eventually, showing the event in montage form. And though this robbery is unique in execution it's ancillary plotwise, because Sexy Beast is less a heist film than a psychological drama about how difficult it is for a talented crook to get out the rackets, and how his former self and past sins are never deeply buried. Made in 2001 and directed by a man who clearly knows his film noir in Jonathan Glazer, this is both the most straightforward film showing at Noir City, and also the one—with its dialogue driven pacing and shorts bursts of violence—we can most easily imagine as a 1940s production. Dark, quirky, visually dazzling, and fun.
|Vintage Pulp||Dec 16 2016|
The seventies were an incredibly creative time for popular arts. Comics and graphic novels of the period have a certain caution-to-the-wind quality. Mercocomic's six part series Hitler is a prime example. It's an amazing tale in which Adolf Hitler successfully escapes Berlin at the end of World War II but is wounded by a bomb blast that induces amnesia. With his face drastically altered and his memory totally obliterated, he becomes a Nazi hunter in the service of the KGB. Of course all this digging around is bound to jog the memory of even an amnesiac, and then there will be hell to pay. Yeah. It's crazy—even crazier than Mercocomic's other offerings starring Che Guevara and John F. Kennedy. You can just hear the discussion going back and forth: “We can't do this.” “Of course we can.” “No we can't.” “I tell you we can.” In the end they did do it, because that was then and popular art consumers would give anything a chance. 1977 copyright on these, with covers by Prieto Muriana.
|Vintage Pulp||Dec 1 2016|
Years ago we briefly discussed the Marisa Mell thriller Una sull’atra and shared an Angelo Cesselon poster made for its Italian run. Well, we're back to the movie today with a poster made for its Spanish run under the title Una historia perversa. The illustration was painted by Francisco Fernandez Zarza-Pérez, who signed his work as Jano, and was one of Spain's more prolific cinematic illustrators. We put together a small collection of his work a while back and you can check that out here. Una historia perversa made its Spanish premiere in Barcelona today in 1969.
|Vintage Pulp||Nov 27 2016|
A couple of months back we shared a cover from Spain's Ediciones G.P. for Franck Marchal's Natalia enciende la mecha, which we mentioned was part of a series written by French authors Pierre Aspetéguy and Monique Henry. Above is the first entry in that series, simply titled Natalia, featuring the 1959 debut of their part-time fashion model/full-time ass whipping super spy. We're sharing this today because we've dug up some new info on the series—we couldn't identify the cover artist on the previous example, but we we think this one may have been painted by a Spanish artist who called himself or herself Chaco. That's all the info we have, but we'll keep digging. Anyone out there know anything? Drop us a line.
|Vintage Pulp||Oct 3 2016|
Above, Natalia enciende la mecha, or Natalia Lights the Fuse, from Ediciones G.P. out of Barcelona, 1961. This was one of a series of books about Natalia, a French model who leads a double life as an international spy, with Marchal serving as the shared pen name of French authors Pierre Aspetéguy and Monique Henry. We first saw a front for this paperback over at the blog Spanish Book Covers way back, but this scan comes from a different copy, so we thought we'd share it here. Spanish Books Covers has been on hiatus a long while, but the site is still live and there are numerous interesting fronts there worth viewing. What we'd really like to know is who painted the cover art. Often with these European editions you get art reworked or copied from U.S. paperbacks, but in the case of Ediciones G.P. we think not. Put this one in the unknown file until further notice.