Los Angeles homecoming goes awry for Alan Ladd.
The Blue Dahlia is often cited as a top film noir, but it really isn't. That didn't matter to the Hollywood movers and shakers who nominated Raymond Chandler's screenplay for an Oscar, but we suspect the nod was for stringing together hard boiled dialogue, since it certainly wasn't for stringing together a coherent plot. The movie tells the story of a vet who returns home to find his wife cheating with the shady owner of a Hollywood nightclub. When she's murdered, the husband is sought by police, but he goes fugitive and attempts to find the real killer. With pretty boy Alan Ladd in the lead, plus support from Veronica Lake, William Bendix, and the beautiful Doris Dowling, The Blue Dahlia has a lot going for it, including a cool nocturnal vibe, but a script too reliant on improbable occurrences and Lake's flat performance in a basically ornamental role keep it from being upper echelon. It's worth a watch just to see Bendix go bathouse crazy every time he hears what he calls “monkey music,” but go into it knowing there are at least twenty better films in the genre.
The city that helped inspire film noir hosts a celebration of the genre.
Above is a very nice promotional poster for the 19th Noir City Film Festival in Los Angeles, which starts this evening at Grauman's Egyptian Theatre in Hollywood. Some of the featured films include The Accused, Lady on a Train, and Chicago Deadline, and film noir buffs will have noticed that the promo art features Veronica Lake and Alan Ladd from 1942's This Gun for Hire, which is also on the slate. In fact that one opens the festival tonight as part of a double bill with Quiet Please, Murder.
Seeing the movies in the Egyptian, which opened in 1922, just adds to the authenticity of the experience. And of course film noir wouldn't be the same without Los Angeles, a city that is almost itself a character in many films. Mainly, though, we were drawn to the promo art and had to share it. It mimics the original This Gun for Hire poster, which is one of the nicer efforts from the time period and a collectible that runs upwards of $20,000 for original prints. We tried to determine who painted it and had no luck. Below we also have a couple of shots of the Egyptian, which is a place we recommend visiting if you're ever in Hollywood. You can learn more about Noir City Los Angeles at this link.
It may be the second version but it’s first rate.
Above is French poster art for La Clé de verre, aka The Glass Key, the second Hollywood adaptation of Dashiell Hammet’s 1931 novel. We’ve shared other Glass Key materials, but never talked about the film. Suffice to say this Alan Ladd/Veronica Lake vehicle is excellent—much better than This Gun for Hire, which starred the same beautiful pair (Ladd and Lake appeared together in seven movies). Complicated, engrossing, and liberally spiced with excellent action and Hammett’s wit—“My first wife was a second cook at a third rate joint on Fourth Street”—The Glass Key is mandatory viewing. It’s also interesting for its cynical look at American politics, portrayed as corrupt, built on lies, and fueled by legalized bribery. That much hasn’t changed. The first Glass Key was made in 1935 with George Raft in the lead, but this remake from 1942 is the one to watch. Its French premiere, delayed for years due to World War II and its aftermath, was today in 1948.
Glass Key paperback art is tops thanks to another Italian master.
Brian Donlevy and Veronica Lake’s film noir The Glass Key, which was Hollywood’s second try at Dashiell Hammett’s novel, premiered this month in 1942. To be exact, it opened yesterday in New York City and throughout the U.S. on October 23. The poster most often seen online is the theatrical release version we showed you several years ago, but alternates were produced and two of them appear below. What we really wanted to share, though, is this great paperback cover from UK-based Digit Books. It’s from 1961 and features the art of Italian illustrator Enrico de Seta, who we’ve mentioned before. If you haven’t watched The Glass Key we recommend it, and if you haven’t read the book, just know that it was Hammett’s personal favorite.
This Gun for Hire is a celebrated proto-noir—but is it good?
We checked the movie rating website Rotten Tomatoes for its assessment of the thriller This Gun for Hire and learned that the film scored over 92% among its stable of professional critics. Ninety-two percent? Then surely this must be one of the greatest films ever made, a near flawless work of art. But when you read the reviews more closely, many note the film’s unbelievable plot, reliance upon coincidence, cheesy musical interludes, and less-than-stellar dialogue. So then what’s with the high rating? Well, let’s just say professional critics sometimes rate with their sense of film history rather than their heads. This Gun for Hire helped establish tropes that would be used again and again as the film noir genre developed and flourished, so that’s a big reason film experts like the movie. But is it good? Well…
Now, don’t get us wrong—we aren’t out to slam the flick. Who’d listen to us anyway? We’re just a couple of heavy drinkers who slapped together a website out of sheer boredom. But we’re also fairly bright, and fairly well-versed in film, and we feel confident in saying that any honest assessment of This Gun for Hire would stress the bothersome structural improbabilities. Example A: Veronica Lake plays a San Francisco nightclub performer/magician who happens to catch the eye of a big-timeclub owner, who invites her to perform in L.A., resulting in a train ride that not only coincides with his, but with that of a hired killer he has betrayed, leading directly to an eye-roller in which that very same killer sits in the only empty seat in the carriage—right next to our singer Ms. Lake. Anything that puts Alan Ladd and Veronica Lake together is justified, to an extent, so you’ll probably let that pass. Example B: Lake is engaged to a cop who happens to be part of an investigation into two murders committed by the very same killer sitting next to Lake on the SF/LA night express. Hmm. There’s more, much more, but you get the point.
So what about that 92% rating? Well, Alan Ladd is magnetic and brutally handsome as the ice-cold killer Philip Raven. Veronica Lake is less good as the chanteuse Ellen Graham, but still manages a game performance in a role that could be better written. Robert Preston is note-perfect as the boyfriend detective. So there’s all that. The film looks good, is well-directed by Frank Tuttle, moves quickly and builds a nice atmosphere ofmenace. So there are those things too. And again, the film is a building block in the genre that would later become known as film noir. But if, hypothetically, you’ve never seen a film noir or classic melodrama and This Gun for Hire were to be your first, it would not convert you into a fan. On the other hand, if you already enjoy mid-century cinema, this one will fit snugly in your comfort zone. All in all, we very much appreciate the movie, but a film that rates 92% among professional critics should not be so chock-full of coincidences that even a fourteen-year-old would be incredulous.
At top you see one of the movie’s three French-language posters. The other two are below. This Gun for Hire, which opened Stateside in 1942 but went unseen in Europe due to the inconvenience of World War II, finally premiered in Paris as Tueur à gages or “Hired Killer” today in 1947.
Down Argentine way.
Above, a cover of Cine-Mundial, published in Argentina in January 1942, with an illustration of Veronica Lake by Morr Kusnet. Lake was just twenty years old at the time, on the cusp of a big year that would see her star with Alan Ladd in two of her best films—This Gun for Hire and The Glass Key.
Glass Key poster does black and white in blazing color.
American promo art for The Glass Key, based on a Dashiell Hammett novel and starring Brian Donlevy, Alan Ladd, and Veronica Lake. We’ll have more on this quintessential noir later, but for now we’re showing you the poster because it’s great, one of the better promos of the period, we think. The Glass Key premiered in the U.S. today in 1942.
She earned by dying what she sought while living.
Elizabeth Short was just another girl drawn like a moth to the bright lights of Tinseltown. She dreamed of becoming a star, but instead became the victim of a horrific January 1947 murder. The killing was never solved, and its enduring strange- ness served as creative inspiration for numerous authors, including James Ellroy, who crafted a feverish, violent and definitive crime novel entitled The Black Dahlia.
Short was from Massachusetts, but drifted between there, California, and Florida. In 1946 she made a trip to L.A. to reunite with a boyfriend. Six months later she was dead—sexually mutilated, her mouth slashed open, her torso cut completely in half, the pieces carefully arranged in a vacant lot for passersby to discover. Veronica Lake’s film noir The Blue Dahlia was in cinemas at the time, and so reporters christened dark-haired Betty Short the Black Dahlia.
At Pulp we often speak of people passing from history, but they arrive as well. The moment Betty Short steps onto the stage is in the mug shot above, from today in 1943, when she was arrested in Santa Barbara, California for underage drinking. After the arrest juvenile authorities shipped her back east, but she didn’t stay. They never stay. She returned to L.A.—and became more famous than she ever could have imagined.
He had a lot in common with the guy on those Dos Equis commercials, except he was real.
Today we’re back to the top dog of classic tabloids, the always-titillating Confidential. The above issue is from fifty-five years ago this month, July 1954, and as always the cover promises scandalous inside scoop—this time on champs, presidents, and filthy rich heiresses. But it’s the unassuming banner on the Rubirosa murder case that interests us, because it refers to none other than Porfirio Rubirosa, and if you’ve never heard of him, then prepare yourself to meet (cue grandiose flamenco chords) The Most Interesting Man in the World.
Rubirosa was born in the Dominican Republic in 1909 but raised in France, where his father, an army general, had scored the chargé d'affaires position at the Dominican consulate in Paris. When the young Rubirosa was seventeen he returned to the Dominican to study law, but enlisted in the military before finishing. In 1932, after a weeklong courtship, he married a seventeen year-old girl named Flor de Oro Trujillo, who happened to be the daughter of mass-murdering military dictator Rafael Leónidas Trujillo Molina. For normal men, rush-marrying a dictator’s little flower would result in a one-way ticket to the torture chamber, but for the charming Rubirosa it meant a diplomatic post in Berlin.
In 1935, Rubirosa’s cousin, Luis de la Fuente Rubirosa, was accused of assassinating exiled Dominican politician Sergio Bencosme in New York City. It was Rafael Trujillo’s work, but de la Fuente Rubirosa was the triggerman, and Porifirio was suspected of being an accomplice. That’s the murder Confidential references, and if you’re asking yourself why they cared about it nineteen years after the event, it’s because by then Rubirosa was very famous. But we’ll get to that.
Rubirosa had developed passions for polo, racing, gambling, and other expensive upper crust pursuits. He excelled at all of them. Perhaps the only thing he wasn’t good at was fidelity, which led to his divorce from Flor in 1937. But his sheer magnetism—or perhaps the fact that he was a valuable hired gun—kept him in dictator dad’s good graces, and he continued to receive diplomatic posts. When World War II swept across Europe, Rubirosa made a stack of money selling Dominican exit visas to fleeing Jews. At some point the Gestapo imprisoned him, but he was released after six months. After that, he was allegedly recruited as a political assassin.
In 1942 he met and married the French actress Danielle Darrieux, who you see above. From then on Rubirosa traveled in cinematic circles, which meant a more public profile. A consequence of this was that tidbits of his personal life began to leak out. Suddenly everyone knew he was a great lover, and that he had a penis measuring anywhere from eleven to fourteen inches, depending on whom you believed. After a while the slang term “rubirosa” became popular in France. They used it to refer to the giant pepper grinders in restaurants, and still do to this day.
By now there were open questions about Rubirosa’s racial background. He was very dark, and was often described as “nut brown.” Rumors spread that he was part black—a devastating accusation in the 1940s, and one still used very effectively as a smear even in today’s supposedly post-racial age. But Rubirosa handled the gossip with the panacheyou'd expect from The Most Interesting Man in the World—he never addressed it all, at least not in public. His silence basically amounted to: “So what if I am?” And if the rumors bothered him, he surely derived ample compensation from the fact that legions of female admirers who’d heard about that pepper grinder of his didn’t care.
Because of the ease with which he was able to meet and bed women, Rubirosa found it impossible to remain faithful, even to an elegant beauty like Danielle Darrieux. They divorced in 1947, and the high-profile involvements began to pile up. There was Dolores del Rio, Ava Gardner, Rita Hayworth, Soraya Esfandiary, Veronica Lake, Kim Novak, Doris Duke (who happened to be the richest woman in the world), and Barbara Hutton (who was the second richest woman in the world). He fooled around with his first love Flor during his marriage to Duke, and with Zsa Zsa Gabor during his marriage to Hutton. When Duke divorced him he walked with $500,000, a string of polo ponies, some sports cars, a converted B-25 bomber, and a 17th century house in Paris. When Hutton divorced him—after only five weeks—he added a coffee plantation in the Dominican, another B-25, and $3.5 million to his holdings.
By now he was a professional celebrity. He was friendly with Joe Kennedy, Frank Sinatra, and Sammy Davis, Jr. One night in Paris, after teaching Davis how to properly kiss a woman's hand, the two went out to perfect the technique by flirting with women on the Champs-Élysées. Frank Sinatra once asked Rubirosa, “Rubi, have you ever held a full-timejob?” Rubirosa reportedly answered, “Women are my full-time job.” At some point he met Ian Fleming, and the novice writer came up with the great idea of basing a character on Rubirosa—a certain spy named James Bond.
Rubirosa’s fame made him tabloid fodder, and the scandal sheets dutifully tried to dig up dirt on him. They went back to the racial stuff, and whispered about that nineteen year-old New York murder. But the rumors that he had been an assassin just fed into his growing legend. He seemed to know everything, was one of the boys, one with the girls, and had already done more than most men manage in a lifetime. Truman Capote saw Rubirosa’s cock and rated it eleven inches. A female acquaintance pointed out a size twelve loafer in a shoe store and said Rubi had it beat. Rubirosa partied his way from Hollywood to Rome to Monaco, and wherever he went local women hung around his favorite hotels and bars, hoping to meet him.
He was racing his Ferrari professionally, and competed twice in the 24-hour race at LeMans. He was also looking for a relationship that would last, and in 1956 he married for the fifth time to actress Odile Rodin. She was nineteen and he was 42. He had mellowed—not a lot—but just enough to remain faithful. The marriage seemed to work. He was still boyish and exciting, and his biggest asset—that famous pepper grinder—showed no signs of diminishing with age. He began working on his memoirs. He was still young for that, but he had lived so much.
In 1965 Rubirosa was part of a team that won the Coupe de France polo cup. He spent the night of the victory celebrating at a Paris nightspot called Jimmy’s, then headed home in his Ferrari. The roads werewet, and he was a little drunk. He lost control of the car and died in a fiery crash. The Most Interesting Man in the World was gone—literally burning out rather than fading away. He never finished his memoirs, and today the closest the world has to a Porfirio Rubirosa is a fictional character in a Dos Equis commercial.
More than almost any man of his era, Porfirio Rubirosa represents the lost glamour and mystery of a time that can never be reclaimed. He was the product of a more innocent and refined—yet also crueler—age. Reading about his life is like reading about an event you’d give anything to have witnessed, even if it would have been dangerous to be there. Rumor has it a few Rubirosa-based scripts are floating around Hollywood. Supposedly Antonio Banderas has rights to one, and wants to play the lead role. Maybe it’s a lack of imagination on our part, but we don’t see it. There is no shortage of legends in history, but we can’t think of one whose shoes would be more difficult to fill. As much as we’d like to see a Rubirosa biopic, our advice is this: if it’s better to burn out than to fade away, maybe it’s also better to never try and rekindle the flame.
The headlines that mattered yesteryear.
1942—Ted Williams Enlists
Baseball player Ted Williams of the Boston Red Sox enlists in the United States Marine Corps, where he undergoes flight training and eventually serves as a flight instructor in Pensacola, Florida. The years he lost to World War II (and later another year to the Korean War) considerably diminished his career baseball statistics, but even so, he is indisputably one of greatest players in the history of the sport.
1924—Leopold and Loeb Murder Bobby Franks
Two wealthy University of Chicago students named Richard Loeb and Nathan Leopold, Jr. murder 14-year-old Bobby Franks, motivated by no other reason than to prove their intellectual superiority by committing a perfect crime. But the duo are caught and sentenced to life in prison. Their crime becomes known as a "thrill killing", and their story later inspires various works of art, including the 1929 play Rope by Patrick Hamilton, and Alfred Hitchcock's 1948 film of the same name.
1916—Rockwell's First Post Cover Appears
The Saturday Evening Post publishes Norman Rockwell's painting "Boy with Baby Carriage", marking the first time his work appears on the cover of that magazine. Rockwell would go to paint many covers for the Post, becoming indelibly linked with the publication. During his long career Rockwell would eventually paint more than four thousand pieces, the vast majority of which are not on public display due to private ownership and destruction by fire.
It's easy. We have an uploader that makes it a snap. Use it to submit your art, text, header, and subhead. Your post can be funny, serious, or anything in between, as long as it's vintage pulp. You'll get a byline and experience the fleeting pride of free authorship. We'll edit your post for typos, but the rest is up to you. Click here
to give us your best shot.