Vintage Pulp Feb 1 2017
THE BLOB THAT ATE THE PLOT
This is our most desperate hour. Help us Santo—you're our only hope.

We were dubious toward Santo when we learned of his movies, but after screening three features the guy has really grown on us. So last night we watched Santo contra los asesinos de otros mundos, which was known in English as Santo vs. The Killers from Other Worlds. You know the basics—Santo is a Mexican luchador who is also an ace international crimefighter. Which is convenient, because an evil mastermind named Malkosh is demanding a fortune in gold bars from the Mexican government or he'll unleash a monster on the populace. This terrifying blob, which in the script has been somehow derived from moon rocks, in reality is three guys huddled under a giant shammy. Doubtless bumping heads and asses while crabwalking under this thing, the poor guys move at about the same speed as traffic in central Mexico City. But no matter—the blob is a whiz at triangulation, and its victims are agility challenged. Whoever it chases inevitably finds himself or herself trapped and, after futilely heaving staplers and coffee cups, consumed down to a skeletal state.

Santo's crimefighting technique is often to be captured. It's never intentional—it just works out that way. And just as form dictates, Malkosh snares Santo, but rather than kill him outright forces him to fight Spartacus style against ever more deadly opponents, an entertainment that of course backfires when the third gladiator accidentally flamethrowers a guard, allowing Santo to grab a machine gun and get the drop on everyone. You have to wonder why these villains toy with him so. The man is well-known as the most lethal crimefighter in Mexico, if not all of the Americas, yet the crooks insist upon underestimating him. Maybe it's just hard to be awed by a guy in a gimp mask who's wearing the drapes from a Guadalajara whorehouse as a cape. Even so, Santo's record speaks for itself, which means you ignore the brief at your peril. Malkosh, foolish lad, dies ignominiously, screaming even, but not before Santo learns from him that the moon blob grows like federal overreach. And indeed, soon there are four guys knocking body parts under the shammy, then five, looks like.

The rest of the film tracks Santo's efforts to find Malkosh's partner Licur, who has imprisoned a Professor Bernstein, the only person on Earth who knows how to corral the lunar abomination busily scuttling across the landscape. Locating Licur involves a bit of Holmesian deduction, at which point Santo gains access to the top secret high security lair by scaling a low wall. In the subsequent fistfights, he's ferociously pounded about his face and semi-soft body, yet his gimp mask never slips and his whorehouse drapes never rip. Finally he squares off against Licur himself, who proves to be no match, and at that point all that's left is to defeat the beast, now about the size of a Winnebago. We'll leave the last bit as a surprise, but suffice to say Santo is always one step ahead. In the end, the film was another satisfying outing, with all the hallmarks of the series—terrible dialogue, poorly staged fights, truly atrocious acting, and a script conceived during a blinding mezcal bender. What's not to love? Queue it. Watch it. Santo contra los asesinos de otros mundos premiered in Mexico today in 1973.

You got anything to eat around here? I'm famished.

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Vintage Pulp Aug 28 2011
RIGHT TO DIE
Blame it on the Gardner.

Above, a poster for Robert Siodmak’s Oscar nominated film noir The Killers. Adapted from a short story by Ernest Hemingway about an ex-boxer who meekly accepts his own murder for reasons that only become clear after a detailed investigation by an insurance adjuster, this was the film that gave us the great Burt Lancaster. Why did he let himself be murdered? Well, Ava Gardner had something to do with it. You can see the unusual French poster here, and the Swedish poster here. The Killers opened in the U.S. today in 1946. 

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Vintage Pulp Apr 3 2010
SHADOW OF HER FORMER SELF
If Ava I see your face again.

Above is an unusual one-sheet for Robert Siodmak’s 1946 film noir Les Tueurs, aka The Killers, with Burt Lancaster and Ava Gardner. You may remember we showed you the colorful Swedish poster last year. This rather hazy French effort is unusual because it features a photo of one of the stars, which is a promotional technique that wouldn’t become popular until decades later, when retouched (later digitally tweaked) photography replaced handpainted images, forever to the detriment of the art world. We’ve talked about this before, and we still have the same question. Namely, what is it inside of us that made us divorce art from commerce? We’ve embraced the soulless in every form of promotional art from movie posters to book covers to billboards. Is it simply about money? Does capitalism drive us inexorably toward an artless pursuit of profit? We have our theories, but what do you think? Or is this a little too much to be dumping on you on a spring Saturday? Right, we can take a hint. Les Tueurs premiered in Paris today in 1947. 

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Vintage Pulp Sep 29 2009
WHEN THUGS CRY
In noir you can run but you can’t hide.

You can’t explore film noir without getting acquainted with director Robert Siodmak. We mentioned him before when we showed you the Swedish promo art for his great film The Killers, and today we have the U.S. poster for his also brilliant Cry of the City. The story involves two friends who both grew up in good families, but ended up on opposite sides of the law—one as a cop, the other as a criminal. Victor Mature plays the cop, and we have to say, we wish he hadn’t gone on to do all those sword and sandal epics, because we kept picturing him covered with bronzer, splitting Philistines’ heads with the jawbone of an ass. But his performance here is good, a perfect counterbalance to the intense Richard Conte’s ailing crook, who opens the film wounded in a hospital bed. Conte eventually escapes to track down the real perpetrator of a jewel heist the police have pinned on him. After a few twists and turns, he finds the real thief, but in noir, you can't buy off fate even with a last act of selflessness. Conte is still a bad man, and he's still gotta pay the piper. Cry of the City premiered in the U.S today in 1948. 

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Vintage Pulp Mar 7 2009
BURT OFFERING
Lust for a dame brings another man to an unfortunate end.

Here’s a colorful Swedish one sheet for The Killers, which is considered one of the most important noirs. Inspired by an Ernest Hemingway short story, and helmed by director Robert Siodmak, the movie opens with an unresisting Burt Lancaster being snuffed by two hit men, then follows an insurance investigator as he tries to figure out what possibly could have happened in this man’s life that would make him virtually offer himself to his murderers. All roads lead—as all roads must—to the femme fatale. In this case it’s the magical Ava Gardner, in her first starring role as the hard-as-nails Kitty Collins. The art here effectively tells the story of the film in a snapshot—we see Burt beset by his two killers as Ms. Gardner seems to burn in his breast. That pretty much sums it up. The film was a smash hit, and it remains a must-see. It first played in Stockholm today, in 1947.     

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History Rewind
The headlines that mattered yesteryear.
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.
November 22
1963—John F. Kennedy Is Assassinated
In Dallas, Texas, U.S. President John F. Kennedy is killed and Texas Governor John B. Connally is seriously wounded as they ride in a motorcade through Dealy Plaza. Lee Harvey Oswald, an employee of the schoolbook depository from which the shots were suspected to have been fired, was arrested on charges of the murder of a local police officer and was subsequently charged with the Kennedy killing. He denied shooting anyone, claiming he was a patsy, but was killed by Jack Ruby on November 24, before he could be indicted or tried. Today, Americans who believe JFK was killed as the result of a conspiracy are routinely dismissed in the press, yet the vast majority of them believe Oswald did not act alone.
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