|Hollywoodland||Jul 22 2018|
Denberg's story is filled with twists and turns, and yet it isn't unique in a place like Hollywood. As she makes clear, once enough power brokers, modeling agents, and studio types tell a woman she's special she's probably going to believe them, but once she believes them it's hard for her to keep her head on straight. She sums up her journey to Midnight, “They told me I was beautiful enough to go all the way to the top. They told me about all the fun up there, the kicks. They never told me about the booze and the drugs, the long slide down.”
|Vintage Pulp||Jan 15 2013|
So, quite by coincidence there’s another movie we watched recently that also premiered today, though thirty years later than The Shanghai Gesture (see below). The movie is Lo strano vizio della Signora Wardh, which would translate as “The Strange Vice of Mrs. Wardh,” but was released in the U.S. as Blade of the Ripper. This flick is considered one of the best gialli ever made, and it’s tough to argue the point. It’s intricate, absorbing, unpredictable, colorful, and shot in an array of amazing external locations and inside one of the greatest mid-century modern apartments ever conceived. It also has Edwige Fenech, whose gifts are well known. Taking place mainly in Vienna and climaxing in Sitges, Spain (which happens to be one of our favorite towns in Europe)Signora Wardh is a tale of obssession and infidelity wrapped in a murder mystery. Mrs. Wardh does indeed have a strange vice, but that’s just window dressing. It’s her that’s being hunted throughout the movie—either by a serial killer, a demented ex-lover, or both. Or neither. They say that the only way to keep a secret is if no more than two people know it and one of them is dead. But the only way to commit murder is if the killer has an iron clad alibi, and for that he often needs help. Rule one conflicts with rule two, and that’s the fun of Signora Wardh. Above you see a rare and wonderful Italian promo poster painted by Giuliano Nistri, the younger brother of equally talented Enzo Nistri. We'll get back to both Nistri brothers a little later. Lo strano vizio della Signora Wardh opened in Italy today in 1971.
|Vintage Pulp||Sep 3 2010|
The 1949 film noir The Third Man is a best-case-scenario of what can happen when great talents collaborate. Carol Reed directs, Orson Welles, Alida Valli and Joseph Cotten act from a screenplay penned by master storyteller Graham Greene, and the cinematographer is Robert Krasker. Krasker won an Academy Award for his work here, and when you see the velvety blacks and knifing shadows of his nighttime set-ups, as well as the famed scenes shot in the cavernous Vienna sewers and bombed out quadrants of the city center, you’ll understand why. The story involves a pulp writer named Holly Martins who arrives in a partitioned post-war Vienna only to find that his friend Harry Lime is dead, run down by a truck. When Martins learns that the police are disinterested in the circumstances of Lime’s demise, he decides to do what one of his pulp characters would do—take matters into his own hands. But nothing adds up. He learns that Lime died instantly, or survived long enough to utter a few last words. He finds that Lime was a racketeer, or possibly not. And he discovers that two men were present when Lime died—or possibly three. That third man seems to be the key to the mystery, but he proves to be damnably elusive. We can’t recommend this film highly enough. Above you see a pair of rare Japanese posters from The Third Man’s premiere in Tokyo today in 1952.
|Vintage Pulp||Feb 15 2010|
Liliana Cavani’s controversial drama Il portiere di notte, aka The Night Porter, is a landmark of Italian cinema, and another of those seventies films that could never be made today. It involves the sado-masochistic relationship between a concentration camp survivor, played by Charlotte Rampling, and a former camp officer, played by Dirk Bogarde. The camp is eventually liberated, but the Nazi manages to escape the Allies. Postwar he builds a normal-seeming life but must carefully hide his former identity. Meanwhile, the woman builds a normal-seeming marriage, but conceals her psychological scars. In Vienna years later, the woman is shocked to encounter the Nazi again, and soon their destructive codependency is rekindled. The amazing promo poster above uses a frame from the movie’s pivotal scene, a flashback in which Rampling performs a striptease wearing an SS uniform, after which her captor rewards her á la Salomé with the head of a prisoner who has been tormenting her. Il portiere di notte is dark, slow, and deadly serious, but for the true film buff it’s probably a must-see. It was generally well-reviewed upon release, but there were also slams from a few major critics. In the end, you’ll have to make your own decision. Il portiere di notte premiered in West Germany yesterday, 1974.
|Vintage Pulp||May 31 2009|
Here’s a nice Romanian promo poster for the anti-Nazi drama Lissy, starring Sonia Sutter, and based on a novel by Franz Carl Weiskopf. The film was made in East Germany, and against all odds, earned an American release and brought Sutter a measure of critical acclaim. She eventually acted in more than twenty films, but is better remembered for her distinguished four-decade career at the famous Burgtheater in Vienna. Lissy premiered in East Berlin yesterday in 1957.