|Vintage Pulp||Jan 20 2017|
The best poster for the movie The Asphalt Jungle was, beyond doubt, the one we showed you a while back painted by the Italian artist Angelo Cesselon. But that one came a bit later. The above poster was made for the film's initial release in 1950. We think it's very nice as well, if remarkably different from Cesselon's masterpiece. As for the movie, we could tell you it's a top effort, but you already know that. If you haven't seen it, definitely do. It's showing at the Noir City Film Festival tonight, but even at home it's worth a screening.
|Vintage Pulp||Jan 5 2017|
A little something from Argentina today, a poster for Abismos, which was originally released in the U.S. in 1947 as Ivy. Most sources list the movie as a film noir, but it's also an Edwardian costume drama, which is a detail you'll want to know going in. Basically, what you get here is a woman in a love triangle whose husband dies under suspicious circumstances, prompting a police investigation of her lover. Joan Fontaine plays the eponymous lead character and does a bang-up job, which is no surprise for such an acclaimed performer. Her Ivy is nervous, elusive, and frustratingly indecisive—or is she? Strong noir elements accumulate as the movie progresses and the ending is a classic exclamation point. Well worth the time spent.
|Hollywoodland||Dec 25 2016|
Above is a cool promo shot for the classic film noir T-Men, which premiered yesterday in 1947. That's star Mary Meade posing with an unknown male model under a newspaper affixed to the background via dagger. It's headlined: “Dapper Killer Strikes Again.” But there's no Dapper Killer in the movie. We suspect the image was made for Reliance Pictures as a sort of general Meade promo, but later someone thought it could fit for T-Men. Even without a Dapper Killer the movie is very interesting, though. We'll circle back to it later.
|Vintage Pulp||Dec 25 2016|
A post on Christmas? Don't we ever quit? Well, we wrote some in advance and are allowing our Pulpbot to do the posting. We're actually on a tropical island with the Pulp Intl. girlfriends and have been for several days. But if we were watching the 1945 film noir Cornered it would not be a terrible misuse of time by any means. The movie deals with a war vet seeking revenge for the death of his wife, a member of the French resistance who was killed by French collaborators. While stalking them from Europe to South America he finds himself involved in a hunt for an entire cabal of traitors still up to their scheming ways. Motivations are murky all around, but the hero is hellbent on revenge—even if it upsets the delicate plans of a group of Nazi hunters. Good solid film noir, with good solid Dick Powell in the lead. The movie is set in France and Argentina but the production never left unexotic Culver City, California. Still works, though. Cornered premiered in the U.S. today in 1945.
|Femmes Fatales||Dec 21 2016|
Brooklyn born actress Claire Trevor made more than sixty movies over seven decades, including the important film noir entries Raw Deal, Born To Kill, Johnny Angel, Murder My Sweet, and Key Largo, the latter of which snared her an Academy Award for Best Supporting Actress. And if you haven't seen her in it you really should. She was one of film noir's defining artists, an indispensable participant in it. We're also fond of her in lighter fare such as 1965's How To Murder Your Wife, with Jack Lemmon. The noirish shot above was used as a reference photo by the legendary Peruvian artist Alberto Vargas. He painted a portrait of Trevor which you see inset just above, and you also see her posing with the piece below. The portrait was commissioned by her employers Fox Film Corporation as a promo image, a type of work Vargas did often, and the studio used prints of portrait as lobby cards. All of these images came about in 1934.
|Vintage Pulp||Dec 5 2016|
It's amazing the jams men in film noir get themselves into. Imagine you really like a woman but she wants financial security you can't offer. Would you try to satisfy her by marrying a completely different woman—a trusting nice girl type—with the plan of getting into her bank account, getting the marriage annulled, and walking with the cash? Of course not. You'd know a plan like that would come apart at the seams. But men in film noir don't. In Fallen Angel Dana Andrews craves sexpot Linda Darnell, and while we can certainly see a man losing his bearings over a stunner like her, the idea of her being worth destroying another woman's life is farfetched, especially when that woman is pretty and sweet. But in the capable hands of Andrews and Darnell, with Alice Faye and Charles Bickford co-starring and Otto Preminger in the director's chair, the plot actually works. And that's the beauty of film noir—the problems are often so convoluted you can't imagine how someone could get into them, let alone get out, yet often they do. On the other hand, often they don't. Fallen Angel premiered in the U.S. today in 1945.
|Vintage Pulp||Dec 4 2016|
This 1949 Pocket Books paperback of In a Lonely Place by Dorothy Hughes is a rarity. The novel is abundantly available today, but the first edition paperback you see above is hard to find. The story was made into a 1950 movie starring Humphrey Bogart and Gloria Grahame, but the final product bears little resemblance to the novel. Actually, the movie is a lesson in how source material can be completely cannibalized yet still made into a superior product. In a Lonely Place the movie, after all, is considered one of the best of the mid-century noirs. We said the same about it last year. But unlike the film, Hughes' novel leaves no doubt that main character Dixon Steele is a murderer. In fact, it's the central plot device—he kills a wealthy man and assumes his identity. The novel is said to be an inspiration for Patricia Highsmith's famed murderous grifter Tom Ripley. The nice art on In a Lonely Place was painted by Frank McCarthy, a prolific illustrator of paperbacks and magazine covers who toward the end of his career moved into fine art with frontier and western themes. We haven't featured him before but he'll doubtless pop up again.
|Femmes Fatales||Nov 25 2016|
Anita Colby, née Anita Counihan, is probably most remembered for her role as the bad girl Flossie in Jules Dassin's film noir Brute Force. It was one of only a few cinematic parts she landed, but it was a memorable one—she robs John Hoyt at gunpoint, kicks him out of his own car, and leaves him stranded. But he remembers her somewhat fondly anyway. Here's how he describes her to another character: “Flossie had looks, brains and all the accessories. She was better than a deck with six aces. But I regret to report that she also knew how to handle a gun—my gun.” Well, nobody's perfect. This image dates from 1947.
|Vintage Pulp||Nov 8 2016|
This poster was made to promote My Name Is Julia Ross, a tidy little film noir only sixty-five minutes in length, which makes it an economical expenditure of time. Dutch beauty Nina Foch is hired to be a live-in secretary but finds herself stuck in a house where everyone seems to think she's someone she isn't. She has a husband, a doting mother-in-law, and other people in her life, none of whom she's ever met before. What sort of plot is afoot here? Well, we quickly learn Foch was chosen to be an unwilling double for the former mistress of the house, who's dead, murdered by her husband actually—a fact unknown to the proper authorities. You can probably figure out the rest. Just think: inheritance. Realizing she's being set up to be murdered, she tries to tell everyone from the police to her doctor she's not the dead wife, but nobody will listen. Is everyone blind to the truth? Or is it that everyone is in on the plot? Either way she better figure out something quick. My Name Is Julia Ross isn't a perfect movie, but it's pretty good, and since it's barely longer than a television show we have to recommend it. It premiered in the U.S. today in 1945.
|Vintage Pulp||Oct 18 2016|
The Maltese Falcon is considered by most scholars to be the first major film noir. It was also one of the best, with legendary talents John Huston, Humphrey Bogart, and Peter Lorre coming together to make magic. Mary Astor was excellent too. This must-see film premiered in the U.S. today in 1941, but the poster above—one you don't see often—was made for its run in Australia. Put this film in the queue if you haven't seen it. And if you have, well, watch it again.