|Vintage Pulp||Jan 21 2017|
Four robbers knock off a bank in Kansas City with plans to split the money after the heat has cooled. The mastermind behind the job has arranged it so the crooks don't meet before the job, and wear masks during it, thus can't possibly identify each other. But each man has an ace, torn in half to create a unique mate, to match with the second half and confirm his identity when the time comes. It all sounds clever and foolproof, except the mastermind has framed someone for the robbery to throw police off their trail, and when this man is arrested but turned loose from police custody due to lack of evidence, he decides to track down the men who set him up.
There are more twists, including a star-crossed romance with Coleen Gray, but we'll stop there. This is a nice, multi-layered film noir, with good performances all around. Considering the risk Payne has to take we aren't sure we fully buy his motivation, but once he's made the decision there's no easy way out, and it's fun to watch him threaten and beat his way up the chain to the top guy. Coleen Gray always adds a nice element to any movie she's in, and Lee Van Cleef is good in a tough guy role. The only serious blemish here may be the silly final minute, but you shouldn't let it ruin the film for you. We recommend giving this one a whirl.
|Vintage Pulp||Jan 21 2017|
In Violent Saturday, a group of people are loosely connected to a smalltown bank that has been targeted by a trio of robbers. Yes, it's a heist double feature at the Noir City Film Festival. We meet the big shot at a local mine who is one of the bank's most important customers. We meet his cheating wife, who's having an affair with a bank employee. We're introduced to a group of Amish who have no idea their nearby community has been chosen as a rendezvous point. We get to know the bank manager—and the woman whose window he peeps through at night. As you might guess from our rundown, the examination of all these characters and their situations is detailed. In fact, it lasts two thirds of the film.
When the bank is finally robbed, some of these people will find themselves in the wrong place at the wrong time as the criminals' careful plan degenerates into a kill-or-be-killed fiasco. Lethal results are coming but we have no idea who will survive. Everyone is flawed, everyone has hope for a good future, but not all of them will get to see it. Violent Saturday is a DeLuxe color production rather than a standard black and white film noir. Set in Arizona, it was dubbed "southwestern noir" by the Village Voice, but really it's just a tidy little thriller—with an untidy little finish. We think it fits nicely on the Noir City slate.
|Vintage Pulp||Jan 20 2017|
This year's Noir City Film Festival opens with the 1949 heist drama Criss Cross. Based on a bestselling novel of the same name by Don Tracy, it's the story of man played by Burt Lancaster who returns to Los Angeles after some years away to find that his ex-wife Yvonne De Carlo has hooked up with a local gangster. The exes rekindle their flame, but when it looks as if the gangster has caught them in the act Lancaster spontaneously cooks up a story about how he was putting together a plan to rob the armored car service for which he works.
Lancaster's robbery idea is not only designed to deflect the gangster's suspicion away from the affair, but to also fund the future he envisions with De Carlo when she and him run away. This scheme, which strains credulity, is probably one of the most obviously terrible ideas in the long, celebrated history of doomed ideas in film noir, but with good direction by Robert Siodmak, who had worked with Lancaster on The Killers, and good acting by all involved, the film concludes on the positive side of the effectiveness ledger. Numerous excellent Los Angeles exteriors, including at Union Station and on now mostly leveled Bunker Hill, make this noir an important time capsule as well, an aspect that increases its appeal. And an excellent musical number by Esy Morales & His Rhumba Band gives the proceedings a further boost. All in all, Criss Cross is a winner.
|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 19 2017|
3 Doors to Death is a collection of Nero Wolfe mystery novellas by Rex Stout, published by the Viking Press in 1950, with this Dell paperback appearing in 1952. The stories are “Man Alive,” “Omit Flowers,” and “Door to Death,” and as the cover states, these all star Stout's famed detective Nero Wolfe, who was created back in 1935, and since has been adapted to stage, film, radio, and television. His assistant Archie Goodwin is on hand to assist in each of the tales. The art on this paperback was painted by Rafael DeSoto, who we've featured before, like here and here. And we should mention we found this cover at Noah Stewart's book blog. We recommend a visit there for more interesting covers.
|Vintage Pulp||Jan 18 2017|
Actually, this book has nothing to do with cousins, but the art spoke to us that way. Guess we've read too many Midwood sleaze novels. Ace Books is generally a bit more highbrow. The main character in 1957's Desire in the Ozarks is Shoog Dawkins, a happy-go-lucky hillbilly stereotype who, after some years of matrimony to his sweetheart Docey and the birth of a son, has his head turned by a girl named Genevy Trone. He's constitutionally unable to resist the basic pleasures of life, so trouble soon results. This was marketed as an authentic slice of rural life in the vein of Erskine Caldwell—unsuccessfully it seems, because though Steger authored numerous short stories, this seems to have been his/her only novel. Turning to the art, it's uncredited. We did a little digging and found that the original painting for this recently went up for auction and the sellers confirmed that it's unsigned. We figure if they can't identify the artist, nobody can, so this one will likely remain unattributed.
|Vintage Pulp||Jan 18 2017|
We already covered the Swedish sexploitation flick Flossie back in December and paired the write-up with a West German promo poster. Above you see an exceedingly rare Japanese promo for the same film, with young star Marie Forså giving us various O-faces, as well as reclining nude in the center. Pretty sure this one hasn't been seen online before. Flossie opened in Japan today in 1975. You can see the other poster here.
|Vintage Pulp||Jan 17 2017|
T.N.T. Jackson, for which you see the U.S. promo poster above, is a mid-budget blaxploitation flick built around clumsy martial arts, a flimsy plot, and shoddy acting. But it has Jeanne Bell. Playboy magazine had made Bell a centerfold in 1969. From there she launched a movie career, with T.N.T. Jackson coming ninth in her filmography. She plays Diana “T.N.T.” Jackson, who learns that her brother was killed by Hong Kong drug dealers and seeks payback. While the plot is nothing special, Bell certainly is. She was twenty-five and wore a bouffant hair-do when she first appeared in Playboy; in T.N.T. she was thirty and had blossomed into an unforgettable beauty with a frosted afro, kicking and chopping her way across the movie screen. All the fight scenes are hilarious, with their cut-rate choreography and claw-handed posing, but they're fun to watch, especially the one in which she kicks the shit out of a bunch of guys while wearing only panties. That bit seems to us a clear homage to Reiko Ike's totally nude fight in 1973's Sex & Fury, another movie that surpasses its limitations by piling on style and attitude. Is T.N.T. Jackson actually good? No—but we bet it'll make you smile. It premiered in the U.S. today in 1974.
|Vintage Pulp||Jan 16 2017|
Above, the cover and assorted scans from an issue of National Informer published today in 1972. This particular example is from a batch of ten we picked up cheap but which were water damaged. You can see that some of the ink has been washed away, but most of the images and text survived. Luckily, some of that text comprises one of the funnier typos you'll see: Woman Throws Baby To Loins! Elsewhere in the issue, resident seer Mark Travis gets one almost right in his “I Predict” feature: “I predict the abolition of so many jobs by automation will result in nine of ten citizens living on welfare within ten years.” Nine of ten? Not yet, but it looks like we're headed that way. But of course, under current policies there will be no welfare. Quite the opposite, in fact. While several other countries are seriously looking at universal basic income for their citizens, the U.S. is throwing more people to the, um, loins all the time. We have plenty more National Informer in the website and plenty more to come. Just click the keywords below.
|Vintage Pulp||Jan 14 2017|
Above, a cover for Lesbian Gym from Brandon House, by Peggy Swenson, aka Richard Geis, copyright 1964. This one caught our eye because the Pulp Intl. girlfriends are always mocking the guys in their gym, whose apelike nature—so they tell us—emerges rather strongly there. We can't comment because we don't go to the gym. We do a bit of heavy lifting at the local bar, though. Good thing we're naturally skinny. A couple of sources attribute this cover to Fred Fixler, but we think they're wrong. Keep this in the uncredited bin.