|Vintage Pulp||Jun 27 2016|
A widow gets back into the swing of things and trouble soon follows.
We're still working on that today-is-yesterday theory. Maybe we better explain. We planned to share both this and the ticket from the above post yesterday, but it's summer and our local beach is hopping and Saturday night we were at a party that didn't end until after sunrise, which pretty much wiped out Sunday for us, except for crawling to the aforementioned beach and sitting under a shady spot and oozing toxins until we were human again. But enough about us. Above you see a poster for 1981's roman porno production Mibōjin no shinshitsu, aka Widow's Bedroom, which we meant to share yesterday, on its premiere day. The movie deals with a smalltown inn proprietress whose husband has committed suicide, which is difficult enough to deal with, but whose situation is complicated by the arrival of two guests—a wheelchair bound novelist there to write a new book, and his beautiful nurse. The writer develops an obsession with the widow, the nurse likewise grows interested in a bit of same-sex fun, the widow's brother-in-law is determined to have her for himself, the dead husband reappears as a figment of the widow's imagination, and so on, in reliably complicated roman porno style, very much like the convoluted sentence we just wrote to describe the plot, and all in just about sixty minutes plus change—the movie, not the sentence. Mibōjin no shinshitsu stars Izumi Shima, who makes every one of those sixty-something minutes worthwhile. In order to make our writing worthwhile we've shared a rare promo image from the film below. Shima was one of Japan's top roman porno stars, and possibly the most beautiful, if one were inclined toward rankings. We've written about other movies of hers, which you can learn about by clicking here.
Japan, Nikkatsu, Mibōjin no shinshitsu, Widow's Bedroom, Izumi Shima, poster art, roman porno, cinema, movie review
|Vintage Pulp||Jun 25 2016|
Hitchcock's epic thriller shows his directorial gifts but misses the mark.
This Italian poster for Io ti salverò, aka Spellbound is wonderful. The movie, directed by Alfred Hitchcock, isn't. The central plot device involves a man who may have blacked out committing a murder. That's a good place for a thriller to start, but the actual psychiatric science is approached clumsily, the love story is overwrought, and the orchestral musical score is omnipresent and overbearing. You have to wonder if composer Miklós Rozsa actually watched the film, because while Spellbound is big, his music is positively galactic. A re-edit with 60% of his output removed would make this one a much smoother ride. It's always a danger to criticize a classic film, we know, but not all classics are created equal. This one lives on Hitchcock's reputation, the overall technical execution, and a groundbreaking dream sequence designed by renowned artist Salvador Dalí. At the end of the dream a faceless man drops a wheel. Maybe it was a steering wheel, because despite all the money and star power poured into Spellbound, somehow it went down a middling road. It premiered in 1945 and reached Italy as Io ti salverò today in 1947.
Italy, Io ti salverò, Spellbound, Ingrid Bergamn, Gregory Peck, Alfred Hitchcock, Miklós Rozsa, Salvador Dalí, poster art, cinema, movie review
|Vintage Pulp||Jun 23 2016|
West German cinema begins looking at the world in a different way.
Confession d'une pécheresse, aka The Sinner caused a bit of a scandal in West Germany, where it premiered as Die Sünderin in 1951. The movie's depictions of pre-marital sex, prostitution, nudity, and particularly double-suicide got the Catholic church bent out of shape. Despite protests against cinemas and death threats directed toward star Hildegard Knef, the movie was a smash, seen by two million West Germans within the first two weeks of its run. So based on that preamble you know pretty much what the film is about—amid a desperate post-war backdrop a prostitute falls in love with less-than-satisfactory results. But even if the story is familiar by now thanks to the many newer films that have touched upon similar subject matter, Die Sünderin is a cinematic landmark, produced in a war shattered country that had begun to put the pieces back together in a new way, including in its film industry. The above poster, a beautiful piece by the way, was made to promote Die Sünderin's French run, which began today in 1953.
France, West Germany, Confession d'une pécheresse, The Sinner, Die Sünderin, Hildegard Knef, poster art, cinema
|Vintage Pulp||Jun 23 2016|
Machine gun Margaret strikes again.
In the tropical Republic of San Rosario four beautiful nurses—Margaret Markov, Rickey Richardson, Andrea Cagan, and Laurie Rose—are kidnapped and forced to teach the healing arts to a revolutionary army so it can bring medical care to villages it liberates. While one of the nurses begins to agree with the captors, the others just want to escape. But when they do, they are captured by an army leader and what they learn prompts them to escape back to the revolutionaries' jungle compound to warn them of an impending government attack.
Scripted by Jonathan Demme and produced in the sweaty Philippines by sexploitation specialists New World Pictures, The Hot Box features most of the elements you expect from jungle sleaze, with perhaps less skin than the standard. But there's plenty of leering, drooling, and general depravity, followed by punching, kicking, stabbing, and Margaret Markov going cyclical with a machine gun. By the way, we'd not note this ordinarily, but post-massacre we'll add that mowing down people with machine guns is fine for cinema, but all other applications are idiotic and tragic.
There's a debate online about whether this is a women-in-prison film. People often get obtuse online—of course it's a women-in-prison film. The nurses don't spend three reels inside a bamboo cage being hosed down with river water, but they are twice held against their will and escape both times. Textbook stuff. Do we recommend the film? Not quite. But Markov is always worth the time. Amongst a slate of atrocious performers, she can almost act. Almost. The Hot Box premiered in the U.S. today in 1972.
Philippines, New World Pictures, The Hot Box, Andrea Cagan, Laurie Rose, Rickey Richardson, Margaret Markov, Jonathan Demme, poster art, cinema, sexploitation, movie review
|Vintage Pulp||Jun 22 2016|
French musical comedy looks at the follies, foibles and failures of a terminally chaotic burlesque production.
This beautiful and rare Japanese poster was made to promote the French burlesque comedy Ah! Les belles bacchantes, which was known in English by the titles Peek-a-Boo and Femmes de Paris. We managed to locate a copy and basically you get a musical about a local cop who decides to look into reports of sexual dancing at a local cabaret. The movie stars Louis de Funès as the cop, Colette Brosset as an aspiring dancer, and Les Bluebell Girls du Lido. The image on the poster features one of those Bluebell Girls personifying La nuit, or the Night, and as impressive as she looks on paper, you should see her in the movie. Other dancers portray the Sun, the Moon, and so forth. We'd go so far as to say that sequence alone was worth the time spent watching Ah! Les belles bacchantes. But is it actually a good movie? Sure—if you like ventriloquists, leopards, pratfalls, brawls, and sputtering doubletakes. In other words, it's very silly, and very likeable. It opened in France in 1954 and reached Japan yesterday in 1955.
Japan, Peek-a-Boo, Ah! Les belles bacchantes, Femmes de Paris, Colette Brosset, Louis de Funès, Les Bluebell Girls du Lido, poster art, cinema, burlesque, movie review
|Vintage Pulp||Jun 13 2016|
Colleen Brennan headlines history's worst mafia flick.
These two promos were made for the Japanese premiere of Mafia Girls, aka Love, Lust, and Violence, a grindhouse production that starred porn actress Colleen Brennan working under the name Sara Bloom and remaining fully garbed until the last three minutes. How do we describe this one? Plotwise, a general and member of the Joint Chiefs of Staff calls on a badass ex-soldier to take on the Chicago mafia, a motley crew that spends most hours of the day either watching live porno or getting blowjobs in a massage parlor. The movie is visually ambitious yet totally inept, which is a difficult combo to achieve, but director Norbert Meisel, a cast of b-grade co-stars, and several disinterested porno queens botch matters to such a degree that a comedic classic is the result. Imagine sweat, sideburns, semi-erect dicks, and pear-shaped bodies mixed with bad technical execution from acting to Z, and you'll have an idea what to expect. We cannot recommend this, but it provided some killer laughs. Mafia Girls premiered today in 1975, and its censored Japanese release occurred some years later.
Japan, Chicago, Mafia Girls, Gangster Girls, Love Lust and Violence, Sharon Kelly, Colleen Brennan, Sara Bloom, Norbert Meisel, poster art, cinema, movie review, xxx
|Vintage Pulp||Jun 12 2016|
You're always in the last place you look.
The war, a grenade, a head wound, and a case of amnesia bring a vet to Los Angeles in search of his identity. The only clue he has is the name of a presumed associate, not a nice guy, which makes the hero fearful, because who associates with not-nice guys but other not-nice guys? The main problem with Somewhere in the Night isn't that the amnesiac soon learns, as even a casual viewer would suspect from the beginning, that he and the not-nice associate are one and the same. The problem is that the script never provides for another possibility. This makes for minimal suspense, a sin compounded by dialogue that crosses the line from hard boiled into ridiculous—like in this exchange:
Friend: “Something smells bad, believe me. It's in the air—like an earthquake. Don't stand too close. Don't get hurt.”
Heroine: “I'm the girl with the cauliflower heart.”
Friend: "You think. You're as tough as a love song. You've got your face turned up and your eyes closed, waiting to be kissed.”
This is a little out there even by the standards of 1940s melodramas. Classics like Casablanca and Gilda didn't get too hip with the lingo, and that's a big reason why those movies remain scintillating today. Somewhere in the Night wears its age poorly. Blame not only its overly slangy dialogue, but the lame plot, wooden performances from the supporting cast, and an uninspiring John Hodiak in the lead. But the poster is an absolute killer.
Los Angeles, Somewhere in the Night, John Hodiak, Nancy Guild, poster art, cinema, film noir, movie review
|Vintage Pulp||Jun 8 2016|
Nakagawa demonstrates the benefits of one-on-one teaching.
Above, a promo poster for Danjo Seiji-gaku: Kojin jugyo, aka Man & Woman Sexology: Private Lessons. Haven't seen this one, but reviews exist online, if you can read Japanese or are inclined to use Google translate. Basically, it's about an impotent man who rescues a woman from an assault in a park, and her subsequent attempts to sexually rejuvenate him. Starring Rie Nakagawa, Danjo Seiji-gaku: Kojin jugyo premiered today in 1974.
Japan, Nikkatsu, Danjo Seiji-gaku: Kojin jugyo, Man & Woman Sexology: Private Lessons, Rie Nakagawa, poster art, roman porno, cinema
|Vintage Pulp||Jun 7 2016|
Raquel Welch's global hit One Million Years B.C. spawns another bad imitation.
There's little to say about When Women Had Tails. It's terrible Italian slapstick, complete with pratfalls and camel flatulence, punctuating a story dealing with a group of isolated cavemen who discover their first woman—Senta Berger. They want to roast and eat her, but she convinces one of them there are other satisfactions she can provide. We imagine this involves a little eating too, and the movie would be better if it showed something along those lines, but no such luck. Blame Raquel Welch for this fiasco, because once again this is an attempt to replicate the formula of her smash hit One Million Years B.C.—a bad attempt, far worse than When Dinosaurs Ruled the Earth, which we talked about recently. If you truly desire you can watch When Women Had Tails on YouTube here. It takes a full twenty-one minutes of idiotic slapstickery for the cavemen to finally come across Berger, but after that the movie is watchable, we think. It premiered in Italy as Quando le donne avevano la coda in October 1970, and had its U.S. unveiling today in 1973. Bad as it is, we can't resist these prehistoric fantasies, and we'll forge ahead bravely to the next.
Italy, When Women Had Tails, Quando le donne avevano la coda, One Million Years B.C., Senta Berger, Raquel Welch, poster art, cinema, movie review
|Vintage Pulp||Jun 1 2016|
Bal Tabarin is a movie that's a real kick.
We've been doing a lot on exotic dance of late, so keeping with that theme, above are two posters for Bal Tabarin, an American crime drama from Republic Pictures revolving around the Bal Tabarin cabaret in Paris. A Los Angeles secretary witnesses her boss's murder and flees to Paris to hide with a close friend. She's an aspiring singer, so naturally she soon receives a job offer from the owner of the cabaret. Add in a bit of romance and her Paris idyll is going better than expected, but the bad guys soon catch up to her, clued in by the many Paris postcards mailed to her apartment over the years. Standard ’50s drama with a good location gimmick and nice dance scenes, Bal Tabarin premiered today in 1952. But anyone going to Paris after that to visit the cabaret might have been disappointed. It closed in 1953.