Be careful who you kill—sometimes homicide comes full circle.
Unrelated to the 1967 film Deadlier Than the Male, Paul Chevalier’s novel More Deadly Than the Male came years earlier and is no breezy Mediterranean spy tale, but rather the story of an American in Britain who murders the husband of a woman he desires in order to clear the way for his advances. The scheme, of course, backfires, but in an unexpected way—the object of his affection becomes bent on revenge. There was a 1959 movie by the same name, screenwritten by Chevalier, but we found no listings of the novel other than for this 1960 WDL paperback. Thus, this appears to be a novelization of the film. We think the cover art here is quite nice. It's uncredited.
Building a better future through movies.
María Baxa was born in 1946 in Belgrade, which in today’s deconstructed Yugoslavia makes her Serbian. She appeared in a few Serbian-language films, then ascended into Italian cinema, appearing in productions such as Il commissario Verrazzano with Janet Agren and Patrizia Gori, and Incontri molto... ravvicinati del quarto tipo, aka Very Close Encounters of the Fourth Kind. According to Michele Giordano’s 2000 retrospective La commedia erotica Italiana: vent’anni di cinema sexy, Baxa left the movies in the late 1980s and became an architect. This shot is from 1970. Yugoslavia
, Il commissario Verrazzano Incontri molto... ravvicinati del quarto tipo
, Very Close Encounters of the Fourth Kind
, La commedia erotica Italiana: vent’anni di cinema sexy
, María Baxa
, Janet Agren
, Patrizia Gori
Reiko Oshida delights the senses.
Above are the front and rear cover for pinky violence icon Reiko Oshida’s album Nani ga doshite kounatta, which translates to something roughly along the lines of “Why does this happen?” It’s available with a couple of different covers, but we like the above version with its array of playful Oshidas. The rear is also nice, and some enterprising Tumblr.com user dug up an enlargement, which, since Oshida is a Pulp Intl. fave, we thought we’d share with you, just below. But what of the music, you ask? It falls, we suppose, into the kayokyoku category, which is to say it’s Western-inspired. We like it, but maybe you should judge its merits for yourself. Check out the album’s title song.
When Evelyn Keyes comes out of a lamp, is there really any need to wish for more?
The unusually beautiful French language poster above was made for the Belgian run of Aladin et la lampe merveilleuse, which was originally produced in the U.S. as A Thousand and One Nights. Some of the other posters for this set-in-Baghdad musical adventure are excellent too, such as the one you see at right (presumably made for the French run), but the version at top is the best—and rarest.
The art also manages to convey the mood of the movie quite accurately—it’s ninety minutes of cheeseball songs, Vaudevillian slapstick, and Cornel Wilde caught in the world’s silliest love triangle. All of this is slightly marred by the unfortunate sight of white actors hamming it up with brown shoe polish on their faces, but that's to be expected in a Middle-Eastern themed movie made during an era when actors of color were more-or-less barred from cinematic roles.
On balance, the movie is a real mood lifter, but the whole effort is just a little too stupidly sweet for us to truly call good, with a bit too much syrupy baritone crooning from Cornel Wilde (or more likely his voice double), and too much of the various love interests making cow-eyes at each other. But Evelyn Keyes as the troublemaking genie is a fun touch. She makes the movie worth it. Aladin et la lampe merveilleuse premiered in the U.S. in 1945, and played for the first time in France/Belgium today in 1949.
, Aladin et la lampe merveilleuse
, A Thousand and One Nights
, Cornel Wilde
, Evelyn Keyes
, Adele Jergens
, poster art
, movie review
Crucifixion, death, and insurrection.
Last night we asked the Pulp Intl. girlfriends if they wanted to watch a movie and they said no because the movies we pick are always bad. That obvious slur against our taste aside, we explained yet again that we choose poster art, not movies. Which is to say, we merely react to interesting vintage movie promos by following where we’re asked to go—to the sofa for a screening. The above poster for Hiroku Nagasaki onna-ro, aka Nagasaki Women’s Prison is about as successful as Japanese promo art gets. With its graphics, colors, and weird-ass content it demands that you watch the movie. The fact that it’s a quasi-sequel to 1970’s successful Onna-ro hizu, aka Island of Horrors gave us hope it would be good.
So we watched and what we got was Akane Kawasaki, Tomoko Mayama, and others in a women-behind-bars flick set in the seventeenth century that starts with a crucifixion, ends with a crucifixion, and has lots of scheming, catfighting, and mayhem between. The only English review we found online said the crucifixions were a framing device—i.e. we see the same woman up there both times and the film explains how she got there. That isn’t true. We see two different women crucified. The first serves mainly as an example of what happens to unruly prisoners, which of course is what Kawasaki and company quickly become. Escape may not be in the cards, but at least they exact some measure of revenge against their male tormentors before all is said and done.
These crucifixions, we should mention, are not like what you see on the poster. That image is designed to trick you into watching something a bit more screamy, stabby, and bloody than you’d expect, so proceed with caution. In the end, we didn’t like the movie very much, and we got to thinking maybe our girlfriends are right. Maybe we do watch a lot of bad movies. Maybe they’re smart to avoid them. But no worries—we don’t need no icky old girls watching movies with us anyway. Hiroku Nagasaki onna-ro premiered in Japan today in 1971.
, Daiei Studios
, Hiroku Nagasaki onna-ro
, Nagasaki Women’s Prison
, Akane Kawasaki
, Tomoko Mayama
, poster art
, pinky violence
, movie review
Was it self-defense or murder? That’s always the question.
Do embezzlers even exist anymore, or is all that legal now? That’s the first question we had about The Web. The second was whether it’s believable for a lawyer to accept a gig moonlighting as a bodyguard for a wealthy and arrogant businessman. Well, maybe, if he wants mainly to get close to his new employer’s hot secretary Ella Raines. And his plan seems to be working, too, but just when things are heating up between them he has to shift into bodyguard mode and ends up killing an intruder bent on ventilating the businessman. But was the shooting legit or was it all a set-up to eliminate a rival? The lawyer starts to have suspicions when the dead man’s daughter appears and accuses him of being a hired murderer. From her perspective, what else could he appear to be? Raines, Edmund O’Brien, William Bendix, Vincent Price, John Abbott, and Maria Palmer do tolerable work here, but director Michael Gordon hits a few snags. For example, he shoots a restaurant scene between O’Brien and Bendix on two different sets and splices the halves together. Did one set burn down? Did the budget not include provisions for continuity? You can spot that gaffe at about 45:00. There are others. If you don’t mind such details there’s enjoyment to be had here, but if you like technical proficiency in your cinema, perhaps steer clear. The Web premiered in the U.S. today in 1947.
Universal International Pictures
, The Web
, Ella Raines
, Edmund O’Brien
, William Bendix
, John Abbott
, Maria Palmer
, Vincent Price
, Michael Gordon
, poster art
, film noir
, movie review
Symeoni brings bad things to life.
Italian artist Sandro Symeoni painted posters for all genres of film, from zany comedies to spaghetti westerns, but we like him in thriller mode best. Above are five examples of his work promoting 1950s and 1960s crime and horror movies. Their English titles are, top to bottom, The Mistresses of Dr. Jekyll, Deadly Inheritance, Scandal Incorporated, Grisbi, and The Revenge of Frankenstein. Plenty more Symeoni to see—just click his keywords below.
, Confidential: Anonima scandali
, Omicidio per vocazione
, Le amanti del Dott. Jekyll
, La vendetta di Frankenstein
, The Mistresses of Dr. Jekyll
, Deadly Inheritance
, Scandal Incorporated
, The Revenge of Frankenstein
, Sandro Symeoni
, poster art
Martha Hyer gives us the long and the shorts of it.
We featured Martha Hyer as a femme fatale a few years ago, but these photos show a different side of her so we thought we’d bring her back. This is a pose she liked, apparently, and all the better that she looked great striking it. Both of these are from around 1955. |
The headlines that mattered yesteryear.
1914—Aquitania Sets Sail
The Cunard liner RMS Aquitania, at 45,647 tons, sets sails on her maiden voyage from Liverpool, England to New York City. At the time she is the largest ocean liner on the seas. During a thirty-six year career the ship serves as both a passenger liner and military ship in both World Wars before being retired and scrapped in 1950.
1914—RMS Empress Sinks
Canadian Pacific Steamships' 570 foot ocean liner Empress of Ireland is struck amidships by a Norwegian coal freighter and sinks in the Gulf of St. Lawrence with the loss of 1,024 lives. Submerged in 130 feet of water, the ship is so easily accessible to treasure hunters who removed valuables and bodies from the wreck that the Canadian government finally passes a law in 1998 restricting access.
1937—Chamberlain Becomes Prime Minister
Arthur Neville Chamberlain, who is known today mainly for his signing of the Munich Agreement in 1938 which conceded the Sudetenland region of Czechoslovakia to Nazi Germany and was supposed to appease Adolf Hitler's imperial ambitions, becomes prime minister of Great Britain. At the time Chamberlain is the second oldest man, at age sixty-eight, to ascend to the office. Three years later he would give way to Winston Churchill.
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