If you’re going to have an empty life, at least make it a beautiful one.
La poupée d’amour played in the U.S. by the silly title Take Me, Love Me, but was originally released in Sweden as Naná, after the Emile Zola novel from which it’s adapted. Director Mac Ahlberg and cinematographer Andréas Winding deserve credit for making the film look fantastic, star Anna Gaël is certainly beautiful, and the cabaret numbers are entertainingly staged, but on the whole we found this one a bit tedious. The movie is basically ’70s arthouse porn and, thanks to some coupling by Gaël’s body double, still qualifies today as adult cinema, but only barely. Zola’s Naná ended up covered with pustules and dying in agony; this movie wouldn’t dare harsh on its own groovy high to that extent, but Gaël does find happiness elusive, as do her lovers. If you watch the movie you may find enjoyment elusive, but in purely visual terms, it’s a real treat. The Belgian promo poster, also a treat, was painted by Loris, an illustrator whose online presence is small, which means we can’t tell you anything about him/her—not even a full name. But he/she did paint other nice promos, and we may dig some of those up later. La poupée d’amour premiered in France/Belgium today in 1970.
, La poupée d’amour
, Take Me Love Me
, Anna Gaël
, Emile Zola
, Mac Ahlberg
, Andréas Winding
, poster art
, movie review
Shine on you crazy diamond.
There’s some confusion online about whether this promo poster for Moon over Miami was painted by Alberto Vargas. Jan-Christopher Horak’s book Saul Bass: Anatomy of Film Design states: “Virtually all movie poster design work remained anonymous, although a few well-known designers received contracts, including Alberto Vargas for Moon over Miami.” On the other hand, several auction sites claim Vargas only worked on the print ads, and that the artist who painted the poster was charged with emulating the Vargas style. So there you go—cleared that right up, no? Well, we tend to believe Vargas would not have received a contract simply for print ads. What would the point of that be? So we think this piece is his.
In any case, we’ve always loved the poster and it prompted us to finally watch the film. Guess what? It’s just what you’d expect from looking at the art—goofy, gooey, and terminally good-natured. None of that is particularly pulp, but hey, crazy as it sounds, some filmmakers actually prefer to downplay death and mayhem. Betty Grable stars here as a woman determined to marry a millionaire. She sets up at a Miami hotel with her sister and aunt, and pretends to be rich herself, with the aim attracting the proper suitors. Confusion ensues, enlivened by musical numbers. Grable proves in this movie why she was a star, as does the object of her destiny Don Ameche, and excellent support comes from Carole Landis and Charlotte Greenwood. We don’t generally go for this sort of film, but we liked this one, as did our girlfriends. Now back to death and mayhem. Moon over Miami premiered in the U.S. today in 1941.
, Moon over Miami
, Saul Bass: Anatomy of Film Design
, Betty Grable
, Carole Landis
, Charlotte Greenwood
, Don Ameche
, Alberto Vargas
, Jan-Christopher Horak
, poster art
, movie review
Scenes from the class struggle in film noir.
This nice piece was painted by French artist Emmanuel Gaillard for Une femme dangereuse, which was originally released in 1940 as They Drive by Night. The movie, which is adapted from A. I. Bezzerides’ 1938 novel Long Haul, deals with two wildcat truckers caught in the American class struggle—you know, that thing all the millionaire pundits on television tell you doesn’t exist? The drivers want to rise above their station, but find many obstacles in their way, including leasing companies, fruit buyers, competing truckers, road accidents, injuries, fatigue, and eventually, murder. While the world-against-the-working-man aspect is interesting, the best part is watching George Raft and Humphrey Bogart play the two hard luck drivers. The movie also boasts the excellent Ann Sheridan, as well as film noir icon Ida Lupino in full-on crazy mode. But like the several trucks onscreen that veer off the road, the movie itself lurches into melodrama at the end. Une femme dangereuse had its French premiere today in 1947.
, Une femme dangereuse
, They Drive by Night
, Long Haul
, George Raft
, Humphrey Bogart
, Ida Lupino
, Ann Sheridan
, Emmanuel Gaillard
, A. I. Bezzerides
, poster art
, film noir
, movie review
An Affair to beat all affairs.
These two posters for The Thomas Crown Affair are among the more visually pleasing Japanese promos for Western films we’ve come across, both versions managing to capture the style and mood of the movie quite nicely. Directed by Norman Jewison, The Thomas Crown Affair was his follow-up feature to the bravura Oscar winner In the Heat of the Night and showed him in masterful command of his already razor sharp craft. And Faye Dunaway and Steve McQueen aren’t too shabby either, as what begins as enmity between a career thief and a genius investigator quickly becomes one of cinema history's most enjoyable mating dances.
Even if you’ve seen 1999’s redundant though palatable remake with Pierce Brosnan and Rene Russo, Jewison’s radiant original is still a must see, and it’s different in enough details to keep viewers guessing. Direction, cinematography, editing, music, production design, wardrobe, and script all combine self-consciously and expertly as if in an irresistibly decadent multi-layer cake baked by a top pastry chef. Good through and through, The Thomas Crown Affair opened in Japan today in 1968.
It isn’t really a racing movie, but it is a bit of a drag.
Hot Rod Gang falls into that category of movies that are better known for their poster art than for the actual film. And the poster art is definitely brilliant—no dispute there—but the movie? Not so much. John Ashley plays a hepcat who gets in trouble for reckless driving and, due to the pursuit of the local strongarm cop, has to adopt a new identity. Thrown onstage by happenstance, this new identity—Jackson Dalrymple—becomes a rock and roll star. Where’s the hot rodding, you wonder? The movie is really a musical comedy with a bit of racing wrapped around, while uniformly atrocious acting bogs down the whole enterprise. The main attraction is watching early rocker Gene Vincent play himself and put on a couple of numbers. The film also features other, less adept, probably dubbed performances, including several by Ashley, who you may remember for his run of Mystery Science Theatre-worthy 1970s horror/action epics shot in the Philippines. In the end Hot Rod Gang all comes together in a rumble and a chase. We can't recommended it, but it’s amusing if you’re in the right frame of mind. Oh, and we almost forgot—our copy kicked off with the ad you see below. Hot rods indeed.
For a pack of troublemakers they sure are hard to find.
This beautiful orange poster showing a brawl in front of the ocean is for the movie Zankoku onna rinchi, which was released in English as Mini-Skirt Lynchers and Cruel Women’s Lynch Law, and is credited as the movie that launched Japanese film's girl gang genre. It starred Annu Mari and Masako Ota, the latter of whom would become pinku icon Meiko Kaji. The film is elusive—nobody we know has seen it, and searching online for reviews just sends you to numerous empty landing pages designed toattract visits while offering zero information (gotta love the rampant false economy of the internet). Well, at least at Pulp Intl. we have this rare promo. It’s so rare, in fact, that we’ve never seen it on another website (though it will soon appear on all those lame landing pages we mentioned). We’ve also included a more commonly seen promo poster just below. We’ll keep searching for this film, and if we ever find it we’ll get back to you. Zankoku onna rinchi premiered in Japan today in 1969.
Macario Gomez shows an ability to see the bigger wicker.
A couple of years ago we shared some posters by the Spanish artist Macario Gomez, including one rather creative effort for La mansion de la niebla, aka Murder Mansion. But commercial art isn’t always about creativity. This Gomez effort for Emmanuelle, which premiered yesterday in 1974 (and we meant to post it yesterday, except we got deeply involved in a deadly combo of beachy weather and white wine), is an almost exact reproduction of the photographed French promo poster, at right.
We say almost, because you can see that Gomez, whose distinctive signature appears at middle left on the poster, put actress Sylvia Kristel in a bigger wicker chair than in the photo. Or maybe it’s rattan. Whatever, they’re known as peacock chairs, and when they appear in promo art they’re reliable signifiers that what you’re going to get is softcore or sexploitation. They especially pop up during the 1970s and early 1980s. It might even be the same chair each time. In any case, we really like this poster from Gomez. It’s nothing more than a portrait made from a photo, true, but the final product is very nice, we think. As for the movie, we talked about it a bit way back in 2008. If you’re into romantic softcore, it’s pretty much mandatory.
If you’re going to murder someone at least make sure they deserve it.
The above Japanese promo poster is for André Haguet’s French thriller Colère froide, which was made in 1960 and played for the first time in Japan today in 1961. Basically, the movie concerns a jealous journalist who kills his girlfriend’s previous lover. But it was really all a big misunderstanding—the journalist thought his girlfriend had been seeing her ex on the sly, but in reality she was only trying to tell him to stay out of her life forever. Oops. And then the girlfriend is accused of the murder. Double oops. The movie starred Estella Blain, Harold Kay, and Pierre-Jean Vaillard, and though it was directed by the very experienced Haguet, it’s mainly forgotten today. Nice poster, though.
As far as we’re concerned the answer is still no.
We already wrote about 1949’s The Bribe and thought the movie was so-so. What isn’t so-so is the Belgian poster, which features text in both French and Dutch, and was used for the movie’s run as L'ile au complot. It’s so good it almost makes us want to watch the movie again. Almost… See our original write-up and some nice production photos here. Belgium
, L'ile au complot
, The Bribe
, Robert Taylor
, Ava Gardner
, John Hodiak
, Charles Laughton
, Frederick Nebel
, Vincent Price
, poster art
, film noir
, movie review
She may look harmless but she hits below the belt.
Above, a rather nice poster with Salome Tsunoda for a film that had no Western release and thus no Western title, but would be something like “Agony Ball Break.” That just sounds bad, doesn’t it? Some sources give a longer title that would be something like “The Ball Break of Salome Tsunoda.” Hey, we only work here—anyone want to throw a better translation our way, feel free. The movie, which is a brisk 59 minutes long and was directed by Hiroshi Mukai, aka Kan Mukai, starred Tsunoda, Mami Sakura, and Lena Ogawa Lena. On the internet its premiere dates are all over the calendar, but what we consider a reliable source believes it opened today 1976.
The headlines that mattered yesteryear.
1965—Biggs Escapes the Big House
Ronald Biggs, a member of the gang that carried out the Great Train Robbery in 1963, escapes from Wandsworth Prison by scaling a 30-foot wall with three other prisoners, using a ladder thrown in from the outside. Biggs remains at large for nearly forty years.
NBC radio broadcasts the cop drama Dragnet for the first time. It was created by, produced by, and starred Jack Webb as Joe Friday. The show would later go on to become a successful television program, also starring Webb.
1973—Lake Dies Destitute
Veronica Lake, beautiful blonde icon of 1940s Hollywood and one of film noir's most beloved fatales
, dies in Burlington, Vermont of hepatitis and renal failure due to long term alcoholism. After Hollywood, she had drifted between cheap hotels in Brooklyn and New York City and was arrested several times for public drunkenness and disorderly conduct. A New York Post
article briefly revived interest in her, but at the time of her death she was broke and forgotten.
1962—William Faulkner Dies
American author William Faulkner, who wrote acclaimed novels such as Intruder in the Dust and The Sound and the Fury, dies of a heart attack in Wright's Sanitorium in Byhalia, Mississippi.
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