| Intl. Notebook | May 8 2024 |
I'm sorry I hurt your feelings. Have you considered looking for a woman out of your league who's closer to your age?
Above you see one of the items we picked up in Lisbon. It's an issue of Colecção Cinema. Basically, these and others of its ilk in multiple countries were print versions of current release films. Starring on front are Curd Jürgens and Eva Bartok from their 1956 West German movie Ohne dich wird es Nacht, which was titled in Portuguese À Beira do Pecado, meaning “on the verge of sin.” It was known in English as Without You It Is Night, the literal German title. Sounds dark, and it is. It's about drug addiction. Though there isn't as much art inside Colecção Cinema as you'd think considering it's a cine-novela, we picked it up anyway for the interesting cover and the low price—a mere €1. Fifteen scans below.
PortugalWest GermanyGermanyColecção CinemaOhne dich wird es NachtÀ Beira do PecadoWithout You It Is NightCurd JürgensEva BartokBarry Coecinema
| Femmes Fatales | May 5 2024 |
With her new progressive lenses she can finally shoot accurately near and far.
Austrian actress Hennelore Auer sees with new clarity exactly who she plans to ventilate in this fun promo photo made for her 1968 spy flick X: Drei blaue Panther, aka Kill Panther Kill. She acted in more than thirty films, mostly in West Germany, between 1960 and 1972, including Kommissar X - Drei goldene Schlangen, aka Three Golden Serpents, and Willy, der Privatdetektiv. This image came from the West German film magazine Film Kurier.
AustriaWest GermanyFilm KurierKommissar X: Drei blaue PantherKill Panther KillWilly der PrivatdetektivKommissar X - Drei goldene SchlangenThree Golden SerpentsHannelore Auer
| Vintage Pulp | Apr 26 2024 |
Every top notch private investigator knows the best clues are found in bed.
We wanted to show you another poster painted by John Solie, who was responsible for numerous blaxploitation, sexploitation, and action promos, all executed at the extremely high level you see here with his one sheet for Stacey. His other notable efforts include those for The Arena, Star Crash, Hit Man, and Hollywood Boulevard. You can click his keywords at bottom to see everything we've shared from him.
Naturally we watched Stacey and it's a cheesy detective tale starring erstwhile Playboy centerfold Anne Randall, who plays a model-turned-private dick hired to investigate a rich woman's extended family before any of them are allowed to be included in her will. Randall arrives just in time for intrigue and murder. Private investigators need to possess a Class C license in order to legally take on clients. The C on Randall's license probably stands for “casual sex.”
Even so, there's not much here. The detective elements are uninspiring despite a noir style voiceover, and the sexual elements, even with Randall and co-star Anitra Ford in occasional undress, are not going to blow your skirt up. To put the overall nothingness of the movie in perspective, consider the fact that we couldn't find a copy with sharp enough resolution to make screenshots worthwhile, nor enough official production photos to make them worth sharing. That's how much of a historical afterthought it is.
In lieu of imagery you could use your imagination, but we recommend not bothering. Stacey resides at the low end of grindhouse cinema characterized by numerous bold and outrageous entries. In our opinion it's notable only for being the first exploitation effort by director Andy Sidaris, who would go on to helm boobalicious ’80s throwaways such as Malibu Express, Hard Ticket to Hawaii, and Savage Beach. Stacey premiered in the U.S. this month in 1973.
StaceyMalibu ExpressHard Ticket to HawaiiSavage BeachPlayboyAnne RandallAlan LandersJames WestmorelandCristina RainesAnitra FordMiki GarciaJohn SolieAndy Sidarisposter artcinemamovie review
| Modern Pulp | Apr 13 2024 |
Nygren and friends teach moviegoers all about natural selection.
We'll return to paperback covers tomorrow, but for the moment we're running with the same sort of material we posted a couple of days ago, because as the weather warms thoughts naturally turn to sensual pleasures. We can't think of a movie more sensual than Emmanuelle IV. Set in our planet's most sensual country, steamy Brazil, it was the entry in the Emmanuelle series that ushered original lead Sylvia Kristel out the studio gate, and brought in the first of several new Emmanuelles, in this case Swedish actress Mia Nygren.
This West German poster, on which the film is titled Die orgien der Emmanuelle, or “the orgies of Emmanuelle,” caught our eye because—well, for several reasons—but mainly because Nygren is pushed into the background by Camella Donner, aka Camella Thomas. Why is that so interesting? Because she isn't in the cast. She probably wasn't even on the same continent. We guess the West German distributors wanted to sex up the poster a bit more. Donner would have been a great addition to the film, but even without her it was fun. Ridiculous, stupid, carnivalesque fun. They don't make 'em like that anymore. Emmanuelle IV premiered in West Germany today in 1984. Bonus imagery below.
West GermanySwedenDie orgien der EmmanuelleEmmanuelle IVMia NygrenSylvia KristelCamella DonnerCamella Thomasposter artcinemasexploitationnudity
| Vintage Pulp | Mar 5 2024 |
British adventurers get high in South Asia.
The cover you see above for Berkely Mather's, aka John Evan Weston-Davies', 1960 adventure The Pass Beyond Kashmir is one of the more pleasing we've come across. It's by Barbara Walton, a preeminent dust sleeve illustrator from the 1950s until around 2000. We've featured her a few times, such as here, here, and here, and this effort maintains her incredibly high standard. The scene depicted makes one think there's a major romantic subplot in the novel, but the love interest is in the book for maybe twenty pages. It isn't Walton's fault that the art gave us expectations that weren't met. It happens with covers sometimes. No romantic adventure here.
The story actually revolves around a sardonic and extremely determined ex-intelligence operative named Idwal Rees who gets caught up in a search for missing documents in the Himalayas that might reveal the location of an oil discovery. The action takes the form of a quest from Bombay-Mumbai into the high mountains, with new difficulties encountered in each stop by he and partner Smedley, servant Safaraz, and reluctant informer Poison. Each obstacle is followed by desperate problem solving, and hairsbreadth escapes. The aforementioned sort-of love interest, a nurse named Claire Culverton, is mainly a source of consternation for Rees and a focus for his chauvinism.
The set-up and framework are fine, but we felt that the book got bogged down with too much local color. Obviously, authors wish to impart that they've at a minimum done their homework, and at a maximum lived some version of what they're writing about, but there's also such a thing as narrative flow. We get it—Mather was really in India and Pakistan. He even served in the army there. But in our opinion he needed another pass from an editor to make for a better book. Still, as it resolved, it was decent, though anyone of Indian, Pakistani, or Chinese descent—or of good conscience—will bristle at the treatment meted out by Rees and other Brits. But you know that going in, right?
IndiaPakistanChinaBombayMumbaiWilliam Collins Sons & Co.Berkely MatherJohn Evan Weston-DaviesBarbara Waltoncover artliterature
| Vintage Pulp | Nov 21 2023 |
Did somebody order a spaghetti western with extra cheese?
We take every opportunity we can to show you the work of Renato Casaro, even when it's used to promote a movie as bad as Carogne si nasce. Casaro painted a lot of spaghetti western posters but this one is a bit more intense than most. There's a reason for that—the character he painted was intense. The movie is known in English as Cry of Death, and it deals with conflict that erupts between squatters and ranchers in fictional Houstonville, Texas, and the marshal—Glenn Saxson—who first tries to stay out of it, but later chooses a side when he realizes that inside the land rights struggle is a deeper problem regarding someone's secret past and corruption amongst the town bigwigs.
This is one cheap-ass movie. The budget is exemplified by a barroom brawl during which a character is shoved through a cardboard wall. Every castmember is a b-level actor at best. And the script—don't even bring up the script. It's like it was accidentally shot full of holes during one of the gunfights. But we'll give this cheeseball movie one thing—the main bad guy is amazing. He's played by ex-bodybuilder Gordon Mitchell, and he looks like a demon wearing bronzer. Spaghetti western producers were good at casting villains, and Mitchell fits the tradition with a capital V. Otherwise, this flick—even with its final act twist—is nowheresville. Carogne si nasce premiered in Italy today in 1968
That's right. I'm the bad guy. You never guessed, did you?
I'm pure evil, but I can smile winningly. See?
Though I'm from hell and consume only souls, I can mimic human rituals such as drinking beer.
But I don't mimic swallowing it. My master should serve this pisswater to the thirsty wretches in his realm.ItalyCarogne si nasceCry of DeathGlenn SaxsonGordon MitchellRenato BaldiniNello PazzafiniMirella PamphiliRenato Casaroposter artcinemaspaghetti westernmovie review
| Vintage Pulp | Nov 17 2023 |
They're going to salvage a lost cargo come hell or Haie water.
We had a foreign double feature last night, following up La tentación desnuda with Haie am Todesriff, which was originally Italian made as Bermude: la fossa maledetta. Known in English as Cave of Sharks, it premiered in Italy in June 1978 and opened in West Germany today the same year. It is, to be succinct, a Jaws knock-off made with less imagination and less budget.
Set on and around the fictive island of San Domingo, which is somewhere near Bermuda, the movie stars Andrés Garcia as a member of an oceanographic expedition who turns up with amnesia six months after his boat goes missing and his colleagues are lost. During those six months that Garcia was presumed dead, his brother tried to move in on his girl Janet Agren—for which he cannot in any be blamed—but with his bro's reappearance there's now a budding love triangle.
Later a plane crashes near San Domingo under strange circumstances with an illegal cargo, sending organized crime figures into to action to recover their loot. Under false pretenses, they hire Garcia, sending him right back into the dread sector of ocean from he'd been fished. He discovers strange, mystical sharks, and thinks they might be the key to getting his memory back. He loses all interest in the crooks' treasure, but they think he's found it and is withholding it. Trouble looms.
Does all this sound dumb? You aren't wrong. And the bad plot isn't helped by bad acting, bad action, and incredibly bad miniature work. This one isn't worth your time, even with Janet Agren in the co-starring role. But to make reading this worthwhile, we've added a nice Agren shot to the promos below.
ItalyWest GermanyGermanyBermudaHaie am TodesriffBermude: la fossa maledettaCave of the SharksAndrés GarcíaJanet AgrenArthur Kennedyposter artcinemamovie review
| Femmes Fatales | Oct 29 2023 |
She's a mean green fighting machine.
This photo shows German actress Renate von Holt, who appeared in a grand total of four films during her short cinema career, including Heißer Sand auf Sylt, which we wrote about here. The shot came from the West German magazine Caballero, and according to those folks von Holt was in reality Baroness Renate von Holzschuher. We checked it out and the gents at Cabellero are correct. She was minor royalty, a famed presence in society circles, a denizen of the hottest nightspots in Europe, fluent in six languages, and for ten years the companion of Prince Johannes von Thurn und Taxis. Even royalty can become obscure with the passage of time, though. There isn't much on von Holt even on German sites. Well, we're happy to raise her profile. The photo is from 1968.
GermanyWest GermanyCaballero MagazineHeißer Sand auf SyltThe New Life Style (Just to Be Love)Naked and Free... The New Life StyleRenate von HoltRenate von Holzschuher
| Vintage Pulp | Oct 6 2023 |
He can run from the past but he can't hide.
It took us a while but we've returned to Richard Stark, aka Donald E. Westlake, and his Parker series. We read entry one a few years ago. 1963's The Man with the Getaway Face is number two. The cover art here is by Harry Bennett and he basically copied his cover for book one, but changed the background and added the facial bandages. Those bandages reveal the premise—Parker has had a cosmetic surgeon change his face in order to help him evade “the Outfit,” who owe him in spades for various transgressions.
But Getaway Face doesn't focus on Parker's pursuers. Clearly, that's coming in the future. In the here and now he needs money, so he signs onto an armored car robbery, which, in adherence to the pulp law of tenuous connections turning into huge problems, boomerangs in such a way that his face doctor is murdered and Parker is blamed for it. His hands are full: deadly enemies, armed robbery, betrayal, murder, pursuit, and revenge. But he has very big hands. Nice work. We'll read book number three in the series soon.
| Vintage Pulp | Oct 2 2023 |
Russ Meyer and Co. do it in the desert.
Above is a Japanese poster made for Cherry, Harry & Raquel, on which the local distributors splash that magical English word “Sex.” Twice we've discussed this practice and shared examples, here and here. The movie is one of numerous exploitation efforts from Russ Meyer, who graced American grindhouse cinemas with such dubious classics as Wild Gals of the Naked West, Motorpsycho!, Mondo Topless, Beyond the Valley of the Dolls, and Faster, Pussycat! Kill! Kill!
Cherry, Harry & Raquel deals with a bordertown sheriff and his sidekick who smuggle marijuana, and are instructed by their drug boss to kill a former partner who's gone into business on his own. The hunt-and-kill operation goes wrong, as the prey quickly becomes the predator. In Meyer's hands the film is something of a desertified hallucinogenic short, intercut with random scenes of nudity and seduction to stretch it to feature length. The sexual content is mostly played for laughs, and none of it is erotic. At least as far as we were concerned.
It was the poster and Meyer's name that drew us, and we were also a bit curious to check out b-movie legend Charles Napier in one of his earliest roles, but none of what we saw impressed us. When Meyer was on his game his movies could be entertaining. Faster Pussycat and Valley of the Dolls are both worth a watch just for their self-conscious silliness. But unless you're a Meyer completist, we recommend skipping Cherry, Harry & Raquel. It opened in the U.S. in 1969, and eventually reached Japan today in 1976.
JapanCherry Harry & RaquelWild Gals of the Naked WestMotorpsycho!Mondo ToplessFaster Pussycat! Kill! Kill!Linda AshtonCharles NapierLarissa ElyUschi DigardRuss Meyerposter artcinemadrugsnuditymovie review
