There's a common assumption that Swedish actress Anita Ekberg began her acting career in Europe and later appeared in Hollywood productions, but the opposite is true. She debuted onscreen in 1953's The Mississippi Gambler, and her first credited role was in Abbott and Costello Go to Mars, for which the above promo image was made. She had competed in the 1951 Miss Universe Pageant, and as one of six finalists been awarded a contract with Universal Studios. In Abbott and Costello Go to Mars she played a member of the Venusian Guard (Abbott and Costello's ship landed on Venus by mistake). By 1955 she was a regular supporting player, and by the next year was earning $75,000 a movie. Not a bad way to fly. 

This photo features pre-Code actress Doris Hill in a shot made by photographer Eugene Robert Richee. She looks about to bowl, but we think she's holding balloons, not balls. Anything else would be too heavy. Usually when we say someone is pre-Code we mean they got famous before the Hays Code took effect and continued acting afterward, but in Hill's case everything she did was pre-Code, with her entire career spanning 1926 to 1934. Among her films: Thief in the Dark, The Studio Murder Mystery, and Darkened Rooms. We thought because of the unusual background on this photo that we'd be able to pinpoint what film it was made for, but we had no luck. But we can tell you the date. Most sources say it's from 1929. 

The posters you see here were made for the French thriller Les félins. While the French posters are fine, we thought these Italian promos were a bit more interesting. The first two were painted by Enzo Nistri, the second two by Sandro Symeoni. The movie was called Crisantemi per un delitto in Italy—“chrysanthemums for a crime.” No idea why. But fine, it's lyrical, which is never bad. It's based on the imaginative Day Keene novel Joy House, which is the title the movie retained for its U.S. run. In the book a derelict is plucked from a Chicago homeless shelter by a rich widow who needs a chauffeur, but her benevolence seems likely to backfire because her new driver was in the shelter only because it offered a perfect hiding place from mobsters seeking to kill him. But she has her own secret plans, and they're as sinister as they come.

Working from a screenplay co-written by director René Clément and crime author Charles Williams, the movie slightly alters the approach of Keene's book. With Lola Albright playing the widow and Alain Delon as the hunted man, the story is transplanted from urban Chicago to the Côte d'Azur. Pre-Barbarella Jane Fonda features in a co-starringrole as Albright's cousin and household helper. The two are soon in competition for Delon's affections, though he never forgets that his main goal is to escape the mobsters. While the general thrust of the plot remains a mystery as in Keene's novel, there's a heavy dose of action too, with excellent stunts. The ending differs as well.

The result is good, but also an example of both the highs and lows of French cinema of the period. Delon, Fonda, and Albright are decent actors bestowed a good script, and are all gorgeous and charismatic, but the movie spends a lot of time being cute. Even so, Clément and company pull it all together. Make sure you appreciate the production design, especially the Rolls Royce that Delon drives, with its completely transparent roof, c-pillars all. It's something we never knew existed. To us it looked like a good way to get heatstroke, but we guess it was made for rich occupants to see and be seen. We think Joy House should be seen. It premiered in France in June 1964, then opened at the Taormina Film Fest in Italy today the same year.