Vintage Pulp Dec 11 2014
SOPHIE'S CHOICE
Is it best to follow the head or the heart?

Sophie et le crime is from Hachette as part of its Collection Point d’Interrogation, and was written by Cecil Saint-Laurent, aka Jacques Laurent, 1953. It’s a whodunit. A youthful and beautiful aspiring journalist is convinced the murder of a neighbor was committed by someone other than the missing husband. When the spouse appears on her doorstep proclaiming his innocence, she decides to solve the crime. But is he really innocent? There’s no artist info on this cover and no signature, which is too bad, because it’s excellent.

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Vintage Pulp Dec 10 2014
LEAPING AHEAD
Speaking of jumping me, what are you doing later?

It had been two years since we found any cover art from Louis Carrière, but Bordeaux solved that problem. Above you see his front for L’amour se joue aux dames, written by Christiane Leleu-Mazeron and published in 1950 by Éditions S.T.A.E.L. for their Collection Ciboulette. Regarding the title, “dames” means ladies of course, but “jeu de dames” actually refers to the game of checkers, or what Brits call draughts, so the complete title means “love is playing checkers.” You see that Carrière went literal with his art. If you’re interested in more of his work, just click his keywords below.

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Vintage Pulp Dec 9 2014
TOMBE RAIDER
The widow is about to join her husband.

Above is another treasure from Saturday—Une tombe pour la veuve, which means “a grave for the widow,” 1961, from publishers Éditions de Lutèce for their L’Agence Héléna series. The book is billed as an unpublished novel from Francis Fortunas, a pseudonym of Jean Denis, and it cost us two little euros at the Place de Quinconces. Art is uncredited, but signed GB, which is probably Georges Boland. 

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Vintage Pulp Dec 8 2014
PAINTING THE PLUNGE
Aslan dreams up a wish that comes true.

Above, L’Auberge des étreintes written by A. Clavelle for Presses de la Nuit’s collection Les quatre vents de l’amour, 1958. The great cover art of a femme fatale in a plunging swimsuit is by Aslan. We’re pretty sure swimwear like this didn’t exist in 1958, but they soon became this revealing and even more so. The guy was a visionary.

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Vintage Pulp Dec 7 2014
HODGE PODGE
Virtually unknown French artist James Hodges shows he’s a top tier illustrator.

Above are fifteen more covers from French artist James Hodges, who we’re still trying to learn details about. Was he actually French, with a name like James? That much seems certain. Was he a genius? Clearly. We’ll keep digging until we know all there is to know.

Update: On the other hand, he could be less of a genius than we thought...

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Vintage Pulp Dec 6 2014
RAVE REVUE
Sex and cinema in an open age.


When we went to Paris a couple of months ago we mentioned that we found a stack of Ciné-Revue magazines in Le Marché aux Puces de Saint-Ouen. Their dimensions make for extra work because we have to scan every page in two pieces and put them together in Photoshop, and even more daunting, any two-page spreads have to be scanned in four pieces and assembled (this is actually true for all the tabloids we post). That’s why we get a bit lazy about it sometimes. Yeah, yeah, we know—get a bigger scanner. Easier said than done, unless someone wants to mail us one. Anyway, we managed to get some pages together from the above issue of Ciné-Revue published today in 1973.

Ciné-Revue originated out of Belgium in 1944 and was the premiere French-language cinema magazine there and in France for many years. Today it remains popular, making it one of the longest-lived cinema magazines as well. On the cover of this one you get German softcore and hardcore actress Karin Schubert, and inside you get John Wayne, Pia Giancaro, Brigitte Bardot, Jean Gabin, and an artful nude shot of impossibly handsome Austrian actor Helmut Berger. You’re welcome, girls, but please don’t start doing internet searches trying to find out what he looks like now—you won’t be happy. Berger also appears on the back of the mag.
 
Regarding the Schubert cover, the line between mainstream cinema and porn was never blurrier than back then, and Ciné-Revue reflected that with its features of hardcore and softcore performers. Could you imagine porn actresses routinely appearing in, say, Rolling Stone, and being given equal standing with mainstreamers? Nevertheless, popular American media is heavily porn-influenced, even if the seed, so to speak, goes unacknowledged. What is a Sports Illustrated swimsuit issue about, for example, with its models wearing not swimsuits, but rather paint on their fully waxed bodies?
 
When cinema first developed into an industry many filmmakers thought of movies as simply a motile version of photography, or painting, or sculpture. Nudity was a regular occurrence onscreen during the pre-code 1920s, but a funny thing happens when you add motion and character development to the static nude—Michelangelo turns into Brazzers. Today, all nudity in American cinema is on some level political. No? Then why is it that only in American cinema there is such a proclivity for the clothed sex scene? It raises a question. Is it possible for both men and women, gay and straight, to celebrate their sexuality without conflict? Maybe, but only with more economic equality for women, less stigmitization of homosexuality, less racism, and more understanding that we are—male and female, gay and straight, green and purple—biologically driven by sexual desire.
 
Looking at the Schubert image above, we’re reminded of a time (in which we were basically zygotes, but go with us here) during which mainstream movies asked questions about freedom for versus exploitation of women, and how commerce in an age of mass media impacts women’s security versus the ideal of sexual freedom. For instance, how do we have sex and sexual aspiration but also have a safe pressure release for the millions who aren’t having sex in any given week or year? Can sex and porn safely co-exist? No idea. Option two is to beat the need for sex out of every man and woman on the planet. Not our preferred solution, but we can talk about it. Why did we write all this? Probably because there’s nudity/exploitation in the next two posts, so these questions just came into our minds.
 
On another note, we had to go back to France on short notice, but to Bordeaux this time, and we’re there at this moment. So maybe hanging out with the always philosophical French made us write this missive. Possibly some fine red wine has contributed. Anyway, we will scour Bordeaux for more wine—er, pulp—but especially Ciné-Revue, as we’re very interested in 1970s international movie stars, and this magazine gave them as much exposure as any publication we’ve seen. We have eighteen scans below, and more from Ciné-Revue to come.


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Vintage Pulp Dec 6 2014
SHINE A LITE
National Spotlite isn’t exactly illuminating but at least it’s entertaining.

This National Spotlite was published today in 1971. Betty Flenders graces the cover and centerfold, the beautiful Mary Weston brags about her sexual prowess inside, burlesque dancers Ava Braniff, Gid-Jet, and Rita Atlanta pose for insets, and Swede Barbara Klingered tries to keep her balance on a Zündapp motorcyle in a photo that gives us a trifecta of rare images from that session. The issue concludes with a sexual horoscope from resident seer Celestia. For more from the rare National Spotlite click its keywords at bottom. 

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Vintage Pulp Dec 6 2014
GOING FOR THE THROAT
Toei Co. tries to copy the success of Deep Throat and ends up with something not deep and not tasteful.


You know that we’re sticklers about sharing art on its premiere date. Just by coincidence we had two tabloids published today, which we’ve shared above, and we also have movie promo art. This all makes for a very naked day on Pulp Intl., but that’s the way it happens sometimes. We take no responsibility—this is the smut of previous generations, not ours, so blame your grandpa. Anyway, the above poster is for Toei Studios’ Tôkyô dîpu surôto fujin, aka Tokyo Deep Throat, aka Deep Throat in Tokyo. This is a non-pornographic film because, as we’ve mentioned many times before, such acts were illegal to show in Japan at the time, so what you have here is really a pinku or softcore flick with a lot of suggestive action—such as star Kumi Taguchi tonguing a mango, as seen on the poster art—but no actual sex.

The plot is similar to the real Deep Throat in that a woman has a clitoris in her throat. How did it get there? Well, her husband had her undergo implantation surgery after she refused to give him a hummer. We know. She won’t go down on him, but somehow he’s able to make her go under the knife. Whatever. After the surgery oral sex is equally pleasurable for both of them, though she seems to have lost her voice, and what happens is… zzzzzzzzz. Where were we? What time is it? Oh yes—plot. Taguchi can now orgasm by eating a bananathat’s not a euphemism, as she does exactly that twice—and there’s some mobster stuff and a murder that really isn’t. But none of it matters. Just know that with a disastrously crappy transfer from the original print, production values here are so low you’ll feel like you’re in a sleazy, mid-disco era Kabukicho wankhouse. Not that we’d know. Tôkyô dîpu surôto fujin premiered in Japan today in 1975.


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Vintage Pulp Dec 5 2014
JUDGE DREAD
The court announces a sixty-minute recess so it can have—er, I mean speak—with the defendant in its chambers.

Sleaze from 1966, Sex Racket, from Saber, written by Mark Lucas. You wouldn’t think so, but he wrote other books. The mole on the defendant’s cheek gives this cover away as Bill Edwards art. 
 
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Vintage Pulp Dec 4 2014
NO TIME FOR TEARS
Actually, I was sad for a minute. Then I remembered what a bastard he was.

Above is a Roy Lance cover for Leonard Lupton's doublecross novel Murder without Tears, from Graphic Publishing, 1957, no relation to the movie of the same title from 1953. Lupton was aka Chester Warwick. Graphic's art is often great, which is why we’ve selected this today even though it’s not hard to find around the internet. We really need to put together a collection from this company.

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History Rewind
The headlines that mattered yesteryear.
December 18
1912—Piltdown Man Discovered
A hominid fossil known as Piltdown Man is found in England's Piltdown Gravel Pit by paleontologist Charles Dawson. The fragments are thought by many experts of the day to be the fossilized remains of a hitherto unknown form of early man, but in 1953 it is discovered to be a hoax composed of a human skeleton and an orangutan's jawbone. The identity of the Piltdown forger remains unknown, but suspects have included Dawson, Pierre Teilhard de Chardin, Arthur Conan Doyle and others.
December 17
1967—Australian Prime Minister Disappears
The Prime Minister of Australia, Harold Holt, who was best known for expanding Australia's role in the Vietnam War, disappears while swimming at Cheviot Beach near Portsea, Victoria and is presumed drowned.
1969—Project Blue Book Ends
The United States Air Force completes its study of UFOs, stating that sightings are generated as a result of a mild form of mass hysteria, and that individuals who fabricate such reports do so to perpetrate a hoax or seek publicity, or are psychopathological persons, or simply misidentify various conventional objects.
December 16
1985—Gotti Ascends to Mafia Throne
In New York City, mafiosi Paul Castellano and Thomas Bilotti are shot dead on the orders of John Gotti, paving the way for Gotti to assume leadership of the powerful Gambino crime family. Gotti is eventually arrested by federal authorities in 1990, and dies of throat cancer in 2002 in a federal prison hospital.

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