Hollywoodland Oct 20 2014
IN LIKE FLYNN
In Lincoln Heights Jail, that is.


If you suspect the jailhouse photo above is associated with a good story you’re correct. Hollywood party animal Errol Flynn, pictured here in L.A.’s Lincoln Heights Jail, was arrested for public intoxication along with 21-year-old Irish aspiring actress Maura Fitzgibbons. It was an unexpected end to what was supposed to have been a celebratory night. A couple of hours earlier Flynn and Fitzgibbons had been at the Riviera Country Club in Pacific Palisades where the Publicists’ Association was staging an annual costume party called The Ballyhoo Ball. When Flynn and Fitzgibbons made their entrance a man approached for an autograph. Flynn explained, politely according to witnesses, that he would comply but never socialized or signed autographs until he had a drink in his hand. But the man insisted on an immediate autograph—he said the hatcheck girl was his wife and a big Flynn fan.

Flynn reluctantly let himself be led by this insistent man to the hatcheck stand, whereupon he saw that the man’s wife, who appears in the photo at right, was attractive. Since Flynn was a consummate horndog, he suddenly became eager to comply and not only signed an autograph, but even managed to steal a kiss on the cheek. Making polite chit-chat afterward, Flynn asked the man what he did for a living and learned that he was a cop. Or at least said he was. But since the man was in civilian clothes, Flynn said, “If you’re a cop where’s your badge?” Or something to that effect. When the man produced a badge Flynn grabbed it and tossed it to his date Fitzgibbons. This was a costume party, remember, so it’s quite possible Flynn never believed him. And it’s virtually certain the cop never considered that the situation might make any claim to be a cop appear to be a prank. In any case he got upset and arrested Flynn and Fitzgibbons.

Once at the Lincoln Heights Jail the police either decided the arresting officer—whose story was markedly different from Flynn’s, Fitzgibbons’ and several other witnesses—had been overzealous. Or perhaps they simply decided to show a little preferential treatment to a movie star. In any case, they offered to let Flynn go with a warning. But the actor was indignant: “I want to be arrested. I want the whole world to know of the injustice of this deed.” So the cops tossed Flynn in a cell with a group of Mexican drunk and disorderlies who were still singing tequila-fueled ranchero songs. Even as late as 1957 Flynn was one of the most recognizable men in the world, so when the realization struck the detainees that the newly arrived drunk and disorderly was Errol Flynn everyone stared in stunned amazement. Then they began shouting, “Viva El Capitán Blood! Viva El Capitán Blood!” They started up the ranchero songs with renewed vigor, and Flynn sang along in the choruses. As for Fitzgibbons, below, she never earned a single credited role in Hollywood, which makes her Ballyhoo Ball arrest the height of her fame. That all happened in the wee hours today in 1957.


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Vintage Pulp Oct 19 2014
ZONED OUT
She’s dreaming of the day when she gets to change out of that ridiculously uncomfortable outfit.


Above, an alternate promo for Yoru no saizensen: Tôkyô onna chizu, aka Secret Zone of Tokyo. This one is nice, but the previous version is one of the coolest Japanese posters we’ve seen.

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Vintage Pulp Oct 15 2014
MASTERFUL KEY
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. 

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Femmes Fatales Oct 15 2014
ALIAS ALEXIS
Undercover but not inconspicuous.

Above, Canadian actress Alexis Smith, née Gladys Smith, in a Universal International Pictures promo shot made in 1950 for her cop thriller Undercover Girl. She also appeared in Conflict, Of Human Bondage, The Two Mrs. Carrolls, and more than fifty other films.

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Vintage Pulp Oct 1 2014
INTIMATE PORTRAIT
Naomi Tani gets roped into a weird situation.


Above is a poster for Genso fujin ezu, aka Fascination: Portrait of a Lady, aka Fantasy Portrait of a Wife, one of many S&M movies starring Naomi Tani, aka the Queen of Pink. In this one Tani plays Hisako, a bored housewife married to a conservative art professor. Hisako is beset by bizarre sexual daydreams, including one of being captured like a stray dog and stuck in a cage. Her frustrations soon center on Tachiki, a visionary art student her husband has expelled from school for being too modernist. Hisako and Tachiki soon begin meeting, and Tachiki introduces Hisako to a world of bondage and other dubious delights. The husband doesn’treally understand the extent of his wife’s straying until she doesn’t come home one night. Not entirely her fault, though, as she’s tied up in Tachiki’s flat. In the morning Tachiki is inspired by lingering rope impressions on Hisako’s flesh to attempt something more permanent—he tattoos her entire body with a rope design. Hisako’s husband, you can be sure, is going to be pissed.

That’s all we’ll say about the plot of Genso fujin ezu. The idea of a person’s transformation taking on psychic then physical dimensions is pretty clear, but daydreams of domination and humiliation just don’t resonate for us. Bondage and rope arts occupy an important place in Japanese culture, so maybe that’s simply the default direction for bored cinema wives, the same way American movies from the period often featured women taking a walk on the wild side with hot-rodders or counterculture types. That’s our best guess, anyway. Oniroku Dan is the mind behind the literary genre that birthed these films, and if we’d read any of his books we’d have a better idea exactly why Hisako veers into S&M, but failing that we’ll just take the movie on its own merits. Genso fujin ezu premiered today in 1977.


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Vintage Pulp Sep 29 2014
ESOTIK DANCE
It’s exotic, erotic, and psychotic—but is it good?


When Radley Metzger’s softcore movie The Lickerish Quartet was released overseas, its Italian distributors rightly decided that was a stupidish title for a movie and changed it to Esotika Erotika Psicotika. Unfortunately, Esotika Erotika Psicotika sounds glossier and more sophisticated than what you ultimately receive here. What you get is a rich, jaded couple and their surly son who watch 16-millimeter porno loops in their castle for thrills. One night they go out and encounter a motorcycle stunt rider who resembles a woman in one of the loops. They invite her back for what they hope will be a night of debauchery, but which turns out to be less conventional fuck than extended mindfuck. It quickly becomes apparent why the movie opened with a Luigi Pirandello quote pondering the nature of reality, as time and space soon become malleable, leading toward an ending that questions the truth of everything that came before.

The movie received good reviews when released, but we suspect much of that owes to its novelty and Metzger’s previous successes with Camille 2000 and The Dirty Girls. In other words, it hasn’t aged well. It’s like that summer you wore an orange shirt and your friends lauded you for experimenting with your wardrobe, but later you saw a photo of that night and realized you looked like a traffic cone with shoes. Like that shirt, this movie was a bold experiment that made sense at the time but seems a bit silly now. On the plus side, it’s shot on location at Balsorano Castle in L’Aquila, Italy, so at least the audience was able to indulge its fantasies of running away to Abruzzo. Esotika Erotika Psicotika, with Silvana Venturelli, Erika Remberg, and others, premiered in Italy today in 1972. 

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Vintage Pulp Sep 24 2014
RIGHT NUMBER
Sommer isn’t over quite yet.

In June we shared a Japanese poster for Elke Sommer’s 1966 comedy Boy Did I Get a Wrong Number and talked about the movie a bit. Today we have an even better Italian promo for the same film. In Italy it was succinctly retitled Un bikini per Didi, and the art is by yet another Italian talent, this time Tino Avelli, who we haven’t featured before. Another version of the poster appears below, and we’ll have more from Avelli later.

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Vintage Pulp Sep 22 2014
HARM SCHOOL
One wrong answer and you’re done.

Sachi Hamano’s pinku flick Bankaku joshikökösei no sex to böryoku no jittai was retitled for its English language release True Story of Sex and Violence in a Female High School. If you’d like to experience a bit of digital age paranoia, think about inputting that online as a search term knowing that various entities are saving your browsing data forever. Luckily, we’ve done the work for you, and though we haven’t managed to find a copy of the movie, we know it involves Hitomi Kozue earning her way into her local high school’s female gang, which is led by Naomi Oka, and later realizing that the two were already linked by a terrible event in Oka’s past. In addition to the two main stars you get Meika Sera, Noriko Igarashi, and Hidetoshi Kageyama. If we ever find a copy of this we’ll screen it and report back. In the meantime, enjoy a previously unseen promo shot of Hitomi Kozue, below. Bankaku joshikökösei no sex to böryoku no jittai premiered in Japan today in 1973.

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Vintage Pulp Sep 21 2014
OF RICE AND MEN
We gotta get out of this place if it’s the last thing we ever do.


This great poster was painted by Italian illustrator Dante Manno to promote Riso Amaro, aka Bitter Rice, one of the neorealist movies that came out of Italy during the post-World War II period. If you watch the movie you’ll find that some elements aren't very “real,” but remember that the term neorealism refers to a rejection of the phoniness of Fascist-era film production, rather than a broad description of cinematic properties. Basically, the movie is about two petty criminals, played by Vittorio Gassman and Doris Dowling, who hide from the cops by posing as lowly rice pickers. What’s real here isn’t the rice pickers (whose female ranks are uniformly beautiful and sexily clothed), nor some of the action (typified by a scene in which the workers break into perfect operatic harmony even though the tune they’re singing is being made up on the spot). No, the realism is in the themes and production values. Riso Amaro deals with weighty issues and was made on location by director Giuseppe De Santis in the rice fields of Italy’s Po Valley in crisp, documentary style black and white.

One of Riso Amaro’s rice pickers is the voluptuous Silvana Mangano, who catches Vittorio Gassman’s eye. Since he’s a criminal, he spies opportunity in his circumstances, and while chasing Mangano also plots to steal the entire rice crop while everyone is occupied during an end-of-season festival. Mangano, who has her choice between the slick Gassman and the honest rice picker Raf Vallone, is symbolically torn between American-style and traditional values. Doris Dowling has the same dilemma to a lesser degree. The choice both make will be crucial. Riso Amaro is a good movie, beautifully rendered, and consistently interesting. Tame today, it’s easy to see how provocative it must have been when first released. As with many films, certain elements resonate more over time, and here the secondary theme exploring tensions between legal and illegal workers fascinate. The legal workers resent the presumed loss of jobs, but the illegals must eat somehow and are willing to toil much harder than the legals. All the while the bosses reap the benefits. Sound familiar? Riso Amaro premiered at the Cannes Film Festival in early September and opened in Italy today in 1949.

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Intl. Notebook Sep 18 2014
BRIGITTE TO NOWHERE
Bardot finds herself trapped in a very un-private affair.

This scan from last month’s issue of Paris Match shows that stardom isn’t all foie gras and champagne. Brigitte Bardot is trapped in a huge crowd of fans as a few gendarmes try to clear a path for her. The text at lower right reads: “In 1962 before the camera of Louis Malle, Brigitte Bardot takes her role in the cinema of life—the harassed star.” The photo was made while Bardot was filming A Very Private Affair.

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History Rewind
The headlines that mattered yesteryear.
October 23
1935—Four Gangsters Gunned Down in New Jersey
In Newark, New Jersey, the organized crime figures Dutch Schultz, Abe Landau, Otto Berman, and Bernard "Lulu" Rosencrantz are fatally shot at the Palace Chophouse restaurant. Schultz, who was the target, lingers in the hospital for about a day before dying. The killings are committed by a group of professional gunmen known as Murder, Inc., and the event becomes known as the Chophouse Massacre.
1950—Al Jolson Dies
Vaudeville and screen performer Al Jolson dies of a heart attack in San Francisco after a trip to Korea to entertain troops causes lung problems. Jolson is best known for his film The Jazz Singer, and for his performances in blackface make-up, which were not considered offensive at the time, but have now come to be seen as a form of racial bigotry.
October 22
1926—Houdini Fatally Punched in Stomach
After a performance in Montreal, Hungarian-born magician and escape artist Harry Houdini is approached by a university student named J. Gordon Whitehead, who asks if it is true that Houdini can endure any blow to the stomach. Before Houdini is ready Whitehead strikes him several times, causing internal injuries that lead to the magician's death.
October 21
1973—Kidnappers Cut Off Getty's Ear
After holding Jean Paul Getty III for more than three months, kidnappers cut off his ear and mail it to a newspaper in Rome. Because of a postal strike it doesn't arrive until November 8. Along with the ear is a lock of hair and ransom note that says: "This is Paul’s ear. If we don’t get some money within 10 days, then the other ear will arrive. In other words, he will arrive in little bits." Getty's grandfather, billionaire oilman Jean Paul Getty, at first refused to pay the 3.2 million dollar ransom, then negotiated it down to 2.8 million, and finally agreed to pay as long as his grandson repaid the sum at 4% interest.

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