Vintage Pulp Oct 11 2013
X AND THE CITY
There’s just no escaping the past.

This understated but great poster was made for the Swedish release of Robert Siodmak’s film noir Cry of the City, which starred Victor Mature. In Sweden it was retitled Ond stad, which means “vicious city,” and in getting across that idea we like how the art positions Mature atop an X, or perhaps a crossroads, which we guess represents his presence at the center of a clash of difficult circumstances. This is a great movie that we talked about in detail back in 2009, and today we’re reiterating that it’s one to see. It opened in Sweden today in 1948. 

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Vintage Pulp Jun 10 2013
ILLUSTRIERTE CLASSICS
Bad luck and trouble in post-war Germany.

We’re back to the West German publication Illustrierte Film-Bühne today, supplementing our post from two months ago. These examples are all from American dramas or films noir produced during the 1940s and early 1950s, but which premiered in West Germany later, typically 1954 or after. You can see the earlier IFB collection here.

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Femmes Fatales May 23 2013
SMOKING IN PUBLIC
Just a girl and her thoughts.

Above, Lizabeth Scott is smoking in more ways than one in this promo image shot for her 1948 film noir Pitfall. She was born Emma Matzo, if you can believe that, which makes her real name maybe the second worst in Hollywood history. But her career has to rank as one of the best in the sense that unlike most actresses she began with starring roles, debuting in 1945’s You Came Along, and later appearing in such classics as The Strange Love of Martha Ivers, Dead Reckoning and I Walk Alone. She last acted in 1972’s Pulp with Michael Caine, and today, aged 90, is retired and living in Southern California. 

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Hollywoodland Mar 27 2013
A SHOW OF HAND
I just got this a-maz-ing manicure. Nice, right?

We stumbled across this recently. It’s a promo photo of Humphrey Bogart made for his 1951 crime drama The Enforcer. The image was used on a great Israeli poster for the movie, as well as an almost-as-good Spanish promo. We showed you both of those, among others, a few years ago. If you haven’t seen them maybe click back there and take a look. They’re well worth a glance.

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Femmes Fatales Mar 22 2013
RIGHT TURNER
The postman will ring as long as it takes.

This shot of American actress Lana Turner shows her at the height of her fame during the filming of the 1946 film noir The Postman Always Rings Twice. Turner’s own life rivaled that of any of her characters, encompassing the murder of her father to her daughter stabbing a Mafia thug to death. 

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Vintage Pulp Jan 30 2013
TOP GUN
When you get on his wrong side, it’s the other side of a marksman’s scope.

A few days ago we mentioned the Noir City Film Festival and waxed nostalgic about San Francisco. The festival schedule reminded us of noirs we haven’t seen in a while, and revealed others we’ve never seen. On the Noir City bill this evening is a film from the latter category, Edward Dmytryk’s 1952 thriller The Sniper. We watched it last night and it more than deserves a slot in a prestigious festival like Noir City. The film was shot in San Francisco, and stars Arthur Franz as a former mental patient named Eddie Miller who is gripped by murderous impulses. Perching in windows and on rooftops, he uses a carbine and scope to target unsuspecting victims. As yet the gun isn’t loaded, but his sexual feelings for a female acquaintance catalyze his urges. The expert marksman begins killing, ultimately slaying four women (that’s not a spoiler, given the four scoped targets on the poster art). Eddie Miller treads similar ground as hundreds of other cinematic lost souls, but film historians say he was first—American film’s first serial killer. This one is worth it both for the movie and for its usage of San Francisco exteriors, which are so expertly and extensively intergrated into the production, we have a feeling Bay Area audiences will marvel over that more than the actual plot. But they should pay close attention to both. Dmytryk is the same director who gave the world Murder, My Sweet and Crossfire. This is top tier filmmaking. 

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Intl. Notebook Jan 25 2013
NOIR AND REMEMBRANCE
Famed San Francisco film noir retrospective returns for its annual run.

The most popular film noir festival in the world launches its eleventh edition tonight in San Francisco when the Noir City Film Festival returns to the Castro Theatre. It runs until February 3, and screens 27 films, including three new 35mm restorations. Some of the movies on the slate this year include 1950’s Try and Get Me!, 1949’s Repeat Performance, 1948’s High Tide, 1950’s Sunset Boulevard, and 1962’s Experiment in Terror. Along with the films, the festival features guest of honor Peggy Cummins, who played the unforgettable character Annie Laurie Starr in 1950's Gun Crazy. There’s also a noir themed nightclub with live music, torch singers, burlesque and more. Although we love living overseas, events like this are a reminder of why the Bay area lifestyle is so wonderful. If we ever return to the U.S., it’ll be straight back to the Bay. The festival poster above is just the latest in a long series, and we’ve uploaded all the predecessors below. You can find out more about the Noir City Film Festival at the festival website.

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Femmes Fatales Sep 6 2012
BALANCING ACT
She’s well known for hopping from bed to bed.

Above, American actress Janet Blair, who appeared in many films, including the 1948 noir I Love Trouble, and the 1945 musical Tonight and Every Night, seen here clowning around in a cute shot by Joseph Jasgur, mid-1940s.

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Femmes Fatales Jun 26 2012
BRIGHT IDA
Anything you can do, I can do better.

England-born actress Ida Lupino began in film as a bleached blonde leading lady, and eventually appeared in fifty-nine productions. A nice career by any measure. But along the way she also produced, directed, and wrote, becoming one of the first women to take complete control of film projects in Hollywood. She contributed significantly to film noir with her work on 1953’s The Hitch-Hiker, and more importantly, contributed to the cause of women in the workplace with virtually everything she did. This Paramount promo shot dates from the beginning of her career, 1934. 

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Vintage Pulp May 29 2012
REVOLUTIONARY NOIR
Only the good go to sleep at night.


The French coined the term film noir, so it seems only fitting to feature a collection of French posters celebrating the genre. Above and below are fifteen examples promoting films noir from France, Britain, and the U.S., representing some of the best ever produced within the art form, as well as some less celebrated examples that we happen to love. Of those, we highly recommend seeing Le salaire de la peur, for which you see the poster above, and Ride the Pink Horse, below, which played as Et tournent les chevaux de bois in France. Just a word about those films (and feel free to skip ahead to the art, because really, who has time these days to listen to a couple of anonymous internet scribes ramble on about old movies?).
 
1953’s Le salaire de la peur is about a group of men stranded in an oil company town in the mountains of South America. In order to earn the wages to get out, four of them agree to drive two trucks filled with nitroglycerine over many miles of dangerous terrain. The idea is to use the chemicals to put out a raging oil well fire that is consuming company profits by the second, but of course the film is really about whether the men can even get there alive. Le salaire de la peur was critically praised when released in Europe, but in the U.S., political factions raised their ugly heads and got censors to crudely re-edit the prints so as to reduce the movie’s anti-capitalist (and by extension anti-American) subtext. The movie was later remade by Hollywood twice—once in 1958 as Hell’s Highway, and again in 1977 as Sorcerer. The original is by far the best.

1947’s Ride the Pink Horse is an obscure noir, but a quintessential one, in our opinion. If many noirs feature embittered World War II vets as their anti-heroes, Robert Montgomery’s Lucky Gagin is the bitterest of them all. He arrives in a New Mexico border town on a quest to avenge the death of a friend. The plot is thin—or perhaps stripped down would be a better description—but Robert Montgomery’s atmospheric direction makes up for that. Like a lot of mid-century films featuring ethnic characters, the most important one is played by a white actor (Wanda Hendrix, in a coating of what looks like brown shoe polish). It's racist, for sure, but within the universe of the film Lucky Gagin sees everyone around him only as obstacles or allies—i.e., equals within his own distinct worldview. So that makes up for it. Or maybe not. In any case, we think Ride the Pink Horse is worth a look. Fourteen more posters below. 
 

 
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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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