*sigh* Sense of safety. Last shred of dignity. Trust in people's basic goodness. I think I lost all those tonight.
Sleazemeister general Orrie Hitt's Ex-Virgin is the story of a gaggle of youthful characters with zero life prospects stuck on the worst street in a jerkwater town. Abysmally dumb boys and girls have sex, cheat on each other, and roll the dice on pregnancy. In the midst of all this an innocent beauty hopes to make a good life for herself. But she lets a boy sample her wares, and once that becomes known her reputation goes down the tubes, with detrimental effects. Put this in the scare-kids-out-of-having-sex category. It's all very monotonous thanks to Hitt's colorless writing style. The cover art on this 1959 Beacon edition, which does not depict a scene that occurs anywhere in the story, is by Fred Rodewald, and was adapted from a piece that originally appeared on a September 1949 cover of True Crime Cases.
Don't! That's for salads or desserts, not meat!
This is very nice cover work for Everett and Olga Webber's U.S. Civil War novel Bound Girl. The art is by Sam Cherry, one of the best. After a 1949 hardback debut the book came out as this Popular Library paperback in 1950. The bound girl of the novel is an indentured servant living on the Kansas-Missouri border who experiences both war and various romantic ups and downs. Possibly her love problems stem from bad manners. After all, who'd want to date someone who doesn't even know that a three prong fork isn't for meat courses?
All it takes is one to ruin everything.
Successful blaxploitation movies often spawned sequels which benefitted from more resources than were put into the originals. Super Fly was a surprise hit in August 1972, so the Hollywood suits bent their efforts toward riding the gravy train and Super Fly T.N.T. premiered in the U.S. today in 1973, only ten months later. This was a big deal production. Paramount Pictures financed it, future Roots author Alex Haley wrote the script, the shooting took place in Rome and Senegal, and West African/Caribbean funk superstars Osibisa provided the soundtrack. But the movie needed star Ron O'Neal in the title role. And in order to get him Paramount had to let him direct. We can just imagine the high blood pressure meetings on the Paramount lot when the suits realized a blaxploitation star was actually blaxploitating them. So how did O'Neal do? We'll come to that.
In Super Fly the character of Priest wanted out of the drug business. In Super Fly T.N.T. he's living in Rome off the proceeds of his big score, and the ghetto is just a bad memory. And the U.S. as a whole is a place he understands will never change. There's too much invested in the status quo of racism. But in Rome he has friends from all walks of life. He eats in nice restaurants and nobody throws him attitude. He rides horses. And living there has given him some perspective. His novelist pal tells him, while the two are strolling in the city center, “These people are all walking around living right here in the middle of thousands of years of history. And I mean their own history. That's what makes them different.”
But Priest is directionless. He has no idea what to do with his life. Eventually he's asked to help the struggling African nation of Umbria stockpile guns for a revolution and decides this could be his higher cause. From that point forward Super Fly T.N.T. becomes an espionage drama. And not a good one either. While O'Neal's direction isn't scintillating, the main problem is that the script was written by someone who understood history, politics, and anthropology perfectly, but didn't have a firm grasp of cinematic pace and action. Yep, we're laying this failure at literary icon Alex Haley's feet. O'Neal may not have been the best director, but there wasn't much to direct. It's a shame, because Priest was one of the best characters to come out of the blaxploitation wave. Super Fly T.N.T. wastes his cultural capital.
Yep, from now on I think all my problems are behind me.
First published in 1945 with this Bantam paperback appearing in 1951, Dorothy Macardle's The Unforeseen deals with a woman who installs herself in a quiet Irish cottage to work on a book about birds, but begins having a series of hallucinations. The main character Virgilia at first thinks they're manifestations of second sight, especially since more than a few of her visions come true. But they're such minor predictions that it's easy for her—after seeing a psychiatrist friend who offers rational explanations—to dismiss them as imaginings brought on by fatigue and stress. But the doctor's psychic researcher son believes the visions are supernatural, and covets Virgilia as a prospective case study. Things get darker when the visions at the story's center go from basically harmless to darkly frightening, but are they actually real? We won't tell. The Unforeseen is pretty entertaining, all in all, especially considering we picked it solely because of the cover art by H.E. Bischoff. However, pulp fans may find the book slow, as it owes more to du Maurier than to any crime or adventure writers.
Frank McCarthy's hyper-detailed Bond painting requires a second glance.
Every James Bond movie has been exhaustively pored over online, which makes them not particularly discussion worthy for our website. But we're making an exception for You Only Live Twice for two reasons. First, because of the promo painting above. It's an amazing visual masterpiece created by the realist painter Frank McCarthy, and it was used in various types of promos, tilted to the left, as you see in the example just below. Looking at the painting oriented correctly, we see that Bond is actually defying gravity, and if you look super close you'll see he's wearing a pair of slippers and is managing to hang on using his strangely prehensile toes. The canvas is filled with intricacy, and within the whole there are various secondary set pieces. We've isolated a few areas below so you can see what we mean.
The second reason we decided to talk about this movie is because it has amas in it. Yes, we just talked about amas a couple of weeks ago when we shared a poster for Woman Diver's Beach: Red Pants. But if you missed that, we're referring to female Japanese skin divers who forage in shallow waters for pearls and aquatic delicacies. The entire concept of the ama was obscure at best in Western culture until they appeared onscreen in You Only Live Twice. They first appear in the film briefly when Bond looks at a surveillance photo, but later he goes undercover as a Japanese man (we know, we know) and has to pretend to marry an ama named Kissy Suzuki. The character is played by Mie Hama, who we've featured a couple of times. See here and here. Oh, and You Only Live Twice had its world premiere in London today in 1967. That's the third reason we decided to talk about it.
Eew. Please tell me you washed that hand after you were out there in that nasty gutter.
Above, an awesome cover for Gutter Star, Intimate Novel #52, written by Dorine B. Clark and published in 1954. The painting is by Frank Uppwall, and it was reused in 1957 by Beacon for Carol Emery's lesbian novel Queer Affair.
Mexican comic book artists left no wickedness unexplored.
In Mexican comic book art of the 1980s, which is a subset of modern pulp we've documented before, a motif that recurred was the looming head. Multiple artists used this idea, which can only mean it was encouraged or sought by the publishers of series such as Micro-Misterio, Frank Kein, and Sesacional de Maistros. We have a mini-collection today of art pieces with floating heads. The creators include Beton, Dagoberto Dinorin, Rafael Gallur, and others. Also, we've learned that Dinorin often worked as a colorist, filling in the pencil drawings of other artists, particularly Gallur. So it's possible Dinorin had a hand in the piece signed by Gallur. We'll get into that subject more at a later date. We have nine more scans below, and since the Mexican comic book market thrived on transgressive violence, a few of them are a bit disturbing. You've been warned.
I'm getting pretty fed up with your attitude, mister. You should try being as friendly as your wife.
John Deering meets a sexpot in a bar who offers him employment with her rich aunt. The aunt—this is a sleaze book, so she's a total cougar—is mysterious about the job, but when you send your daughter to find a man in a bar what do you suppose the job will be? The aunt lounges about in bed half naked and tells John she'll pay him just to hang around her mansion, allegedly so she can study him and see if he's the right man for the still unspecified job. It's about at this point that he realizes she has no feet. Which makes this passage rather interesting:
“He could not help noticing that her nightgown was high on her hips. She was exposed to his view. He tried not to look at her cunt, but found it next to impossible not to do so. She has a beautiful body, he thought. She must have been ravishing once, before her accident. She still is, he thought further—no mistake about it. There is nothing about her that repels me, as she feared there might be. I find her damned pleasant to look at—feet or no feet.”
John is finally told about the job. The cougar and her husband can't inherit unless they give the patriarch of the clan a grandchild. Why can't the hubby get the job done? Does it matter? This is sleaze. The only job that truly matters is giving readers boners. John is sexually attracted the aunt, but also likes her daughter, who's more age appropriate for him. Complications arise, including—gasp!—murder. And that's all we'll say. Except that we really enjoy these silly books. The copyright on this one is 1967 and the art is by Ed Smith.
Lawless border town brings out the worst in its inhabitants—and in its screenwriter too.
We've shared some promos from the Orson Welles film noir Touch of Evil before. Those were worthy efforts, but we think this Belgian poster is the best. We don't have a Belgian release date but we can guess at one. The movie premiered in the U.S. in early 1958, then crossed to Europe during the summer, with premieres in the UK in April and France in June—in fact today. The film won the FIPRESCI (Fédération Internationale de la Presse Cinématographique) Prize at the Brussels World Film Festival that year, which was held from April 21 through June 13, but we think the movie showed after its French premiere. So we're guessing sometime between June 8 and June 13 for its Belgian unveiling.
So about the film. We've hinted at this, but now we'll come out and say it: It isn't as good as many claim. Award winner, yes, but one that hasn't aged well. Visual masterpiece with numerous breathtaking shots, certainly, but one in which the script (written by Welles) lacks narrative logic. We could choose a dozen examples of this problem, but we'll give you just one. Early in the film Janet Leigh, who's married to a cop and thus shouldn't be naive, allows herself to be led down dark streets by an unknown male at four o'clock in the morning. And she does this in a Mexican border town Charlton Heston describes as “bringing out the worst in people,” which we can assume to mean “not safe.” Leigh traipsing off into the unknown with an obviously dodgy character is absurd. The movie lost our girlfriends at that point. "Oh, come on!" was the general sentiment.
The truth is Touch of Evil flirts dangerously more than once with being laugh out loud silly. Dennis Weaver's motel desk worker is Norman Bates from Psycho two years earlier, several degrees twitchier, and immeasurably hammier. Even the staging of the film is bizarre at times, with various characters required to physically orbit the central action so they can be glimpsed or encountered at just the right moment. We know, we know—our complaints are total sacrilege. Don't get us wrong. The movie is still entertaining, but people who call it a masterpiece have decided to overlook Welles' screenplay. And generally these people will also call you stupid for disagreeing with them, so be prepared for that. But don't take our word on Touch of Evil. Watch it and see what you think. And if you're interested, we dicussed other aspects of the film a while back here. |
The headlines that mattered yesteryear.
1928—Earhart Crosses Atlantic Ocean
American aviator Amelia Earhart becomes the first woman to fly in an aircraft across the Atlantic Ocean, riding as a passenger in a plane piloted by Wilmer Stutz and maintained by Lou Gordon. Earhart would four years later go on to complete a trans-Atlantic flight as a pilot, leaving from Newfoundland and landing in Ireland, accomplishing the feat solo without a co-pilot or mechanic.
1939—Eugen Weidmann Is Guillotined
In France, Eugen Weidmann is guillotined in the city of Versailles outside Saint-Pierre Prison for the crime of murder. He is the last person to be publicly beheaded in France, however executions by guillotine continue away from the public until September 10, 1977, when Hamida Djandoubi becomes the last person to receive the grisly punishment.
1972—Watergate Burglars Caught
In Washington, D.C., five White House operatives are arrested for burglarizing the offices of the Democratic National Committee in the Watergate Hotel. The botched burglary was an attempt by members of the Republican Party to illegally wiretap the opposition. The resulting scandal ultimately leads to the resignation of President Richard Nixon, and also results in the indictment and conviction of several administration officials.
1961—Rudolph Nureyev Defects from Soviet Union
Russian ballet dancer Rudolf Nureyev defects
at Le Bourget airport in Paris. The western press reported that it was his love for Chilean heiress Clara Saint that triggered the event, but in reality Nuryev had been touring Europe with the Kirov Ballet and defected in order to avoid punishment for his continual refusal to abide by rules imposed upon the tour by Moscow.
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