Crook and cop play hide and seek in Maurice Procter's Brit crime thriller.
1954's Murder Somewhere in This City by Maurice Procter was originally published as Somewhere in This City, and it turns out it was the source material for a movie we saw last year called Hell Is a City. We didn't know that when we started the book. We just liked the cover (which it turns out is uncredited). The plot deals with a criminal and cop who have been enemies for so long their feud is personal. A robbery, a kidnapping, and a murder pit them against each other for what both suspect will be the decisive last time. But the cop has to actually find his nemesis, who's in hiding somewhere in the big city, making plans, achieving objectives, laying groundwork for his final escape overseas. The plot began to seem familiar pretty quickly, and no wonder the movie was good, because the book is too. Procter writes an entertaining story that is part detective procedural, part heist thriller, and part domestic drama. The film tracks it closely, which means you can find out more about the novel at our write-up on the movie here.
That stocking she thought she lost? It's been under the bed the whole time.
Above is a nicely terrifying cover for Pierre Souvestre and Marcel Allain's novel Fantômas roi du crime, a police saga starring the recurring character Fantômas, a ruthless master criminal. Souvestre and Allain first dreamt him up in 1911, and saw their creation adapted to television, cinema, and comics. This particular edition, fifteenth in the Fantômas series and published by Chez Arthème Fayard & Cie, is from 1933, but the novel originally appeared way back in 1912 as L'Evadée de Saint-Lazare. We may try this out if we can find a translation somewhere.
Look! Down in the water. It's a fish. It's a submarine. It's super Joanne!
This fun shot of American model Joanne Arnold is from a famous underwater series by legendary photographer Peter Gowland, images from which were first published in Playboy magazine in 1955. We ran across a rare shot from the session in the Goodtime Weekly Calender of 1963, which we scanned and put online a long while back, and later found her again in two Technicolor pin-ups. So this great image of Arnold is her fourth appearance on our website, but probably not her last.
Humphrey Bogart meets an immoveable object.
If you haven't seen Mord for betaling, better known as The Enforcer, you may want to add it to your queue. In addition to featuring yet another excellent Humphrey Bogart performance, it's a historical curiosity. Central to its plot is Murder, Inc., a group of killers-for-hire used by organized crime gangs. Murder, Inc. contracted anonymous killers for mob hits, leaving police with bodies but no motives and no suspects. In fact, the terms “contract” and “hit” were invented by Murder, Inc. The Enforcer is also of historical significance because showings featured a foreword in which Senator Estes Kefauver, chairman of the U.S. Senate Committee to Investigate Organized Crime, talked to the audience about the mafia, which the general public was just learning about at the time.
In the film Bogart plays a prosecutor who has been trying for years to bring down a crime boss named Albert Mendoza. When a witness dies, Bogart becomes aware of the existence of Murder, Inc. (though they aren't named that in the film), which to him seems like an impossibly bizarre idea. But he keeps uncovering more traces of the group until he finally believes. The rest of the film deals with his efforts to convince (or coerce) one of the cartel's members into being a witness in order to fry Mendoza. There are some twists and turns that force Bogart to shift gears more than once, and all of this is told in flashback, after the death of his stool pigeon, which happens in the first reel to set up the plot.
As we said, Bogart is solid as always, and he's helped greatly by Zero Mostel, who's quite good as a shaky potential witness. As far as the film as a whole goes, most vintage cinema fans consider it middling Bogart, but that's plenty good enough to warrant a look. The poster you see above, which we absolutely love, was made for Denmark, where the movie's title means, appropriately, “murder for payment.” We have several other posters for the film you can see at this link, and a cool Bogart promo photo that mirrors the above image, viewable at this link. The Enforcer premiered in the U.S. in 1951 and opened in Denmark today in 1952. But I distinctly remember being told this was a bow tie-only affair. I guess not.
She's overworked, underpaid, unappreciated, and has no backup plan. Also there's that whole curse thing.
Can a working girl find happiness à la Pretty Woman? That's the eternal question asked by (Maruhi) jorô seme jigoku, aka The Hell-Fated Courtesan. An Edo-era geisha-turned-prostitute played by Rie Nakagawa is believed by superstitious locals to be cursed because some of those who've had sex with her died. Her only sort-of-friend in this dark existence is a perverted artist, and her pimp is of course cruel and untrustworthy. But eventually she meets a puppeteer to whom she offers herself romantically only to be rebuffed. Surprised, she intones, “This is not an ordinary guy.” She's right. He refused her because he thinks he can only be turned on if a woman looks like one of his puppets, but when he finally samples some of that sweet Nakagawa he changes his mind about that and offers to take her with him to Osaka, where her problems and alleged curse will be behind her. Will she go? Will she be allowed to go? Will fate cut her a break? Pertinent questions all.
In 1973 Nikkatsu Studios' roman porno line had not yet jumped the shark, which means (Maruhi) jorô seme jigoku resembles a normal film in most ways. Its plot is basically linear, though it contains one framing segment; its sexual content is perverse, though not pointlessly misogynistic; and its humor generally works. In fact, there are some truly funny moments in this, such as when Nakagawa lets a carp suck her nipples. We won't even bother to describe what direction that scene goes. Later she slices off a dead man's finger and masturbates with it. Afterward she tells the finger that, though its former owner was a scoundrel and a snake, he will now go to heaven. That's some magical pussy. Maybe Nakagawa isn't cursed after all. Maybe she just embodies male insecurities and fears and they punish her as a result. And if that's true, maybe there is a Pretty Woman ending for her. But you never know. One character observes that a woman's heart is unpredictable and terrifying. (Maruhi) jorô seme jigoku tries to prove that adage true. It premiered in Japan today in 1973
We've been seeing each other for a while now. I've decided you can start coming up the front stairs.
Above, a Jim Bentley cover for L.K. Scott's Backstairs, 1953 for Pyramid Books. Bentley also worked for various men's adventure magazines, including Stag, for which he illustrated the James Jones story “The Knife” in December 1957. Jones, you may remember, wrote From Here to Eternity. We'll see if we can dig up more from Bentley later.
Should she stay or go? The chair may be the factor that tips her one way or the other.
This rare poster of U.S. actress Candice Bergen was printed and distributed in 1972 by a company called Nats Co-operated Reproduction. The shot was made in 1968 by famed photographer Terry O'Neill. There are other photos from the session. A couple even feature the same weathered beach chair that looks set to snap at any moment like something made from chopsticks, but as far as we know only Nats Co-operated used a color shot of Bergen in this particular pose. We've seen a black and white on Getty Images, but never one in color until this treasure. The beach, incidentally, immediately looked to us like our occasional stomping grounds the Balearic Islands, and sure enough, when we checked it turned out Bergen sat for this when she was filming The Magus in Mallorca. Another shot from the session appears below.
Better late than never is our motto around here.
We're finally getting back to paperback artist Gene Bilbrew, whose odd style, with its scantily clad women and their muscular butts has become collectible in recent years. We didn't get it at first, but like a lot of art, once you're exposed to it regularly you begin to appreciate its unique qualities. There's clear intent in Bilbrew's work, a deliberate attempt to approach illustration from a different angle, and we've grown to understand that his cartoonish, chaotic, often humorous, and often bondage themed aesthetic is purposeful. In fact, his imagery has become so intertwined with the bdsm scene that in 2019 the National Leather Association International established an award named after Bilbrew for creators of animated erotic art. While it's not exactly a Pulitzer Prize, the point is that Bilbrew's bizarre visions keep gaining wider acceptance. So for that reason we've put together another group of his paperback fronts. You can see more of them here, here, and here, and you can see a few rare oddities here, here, and here.
*psst* I want you to stick your finger in my handhole, only I don't really mean finger or handhole.
The iconic sleaze publisher Midwood Books uses Robert Schultz art twice on covers for John Turner's Take Care of Me and Vin Fields' The Come On, 1963 and 1966 respectively, in which a woman makes clear in her not-so-subtle way what's on her mind. You can make a case that she's not actually simulating sex with her hands. We won't make that case though—we think the slight mispositioning of her finger merely provides enough wiggle room to deny the undeniable, probably a necessary precaution during an era when publishers were occasionally hauled into court on obscenity charges. We think this is a pretty daring piece of art.
Sometimes you need to take a moment.
We know this moment well. Occasionally you need the world to just stop. In fact, we've built our lives around making this feeling last for weeks at a time. The person you see here having some she-time is Lilia del Valle, a Mexican actress—though born in Santo Domingo, Dominican Republic—who was active throughout the 1950s and ’60s, with this promo shot dating from 1955. She made about thirty movies, including 1952's El bello durmiente, aka The Beautiful Dreamer. Which is what it looks like she's doing here. In that case let's move on and not disturb her.
The headlines that mattered yesteryear.
1943—First LSD Trip Takes Place
Swiss scientist Albert Hofmann, while working at Sandoz Laboratories in Basel, accidentally absorbs lysergic acid diethylamide, better known as LSD, and thus discovers its psychedelic properties. He had first synthesized the substance five years earlier but hadn't been aware of its effects. He goes on to write scores of articles and books about his creation.
1912—The Titanic Sinks
Two and a half hours after striking an iceberg in the North Atlantic Ocean on its maiden voyage, the British passenger liner RMS Titanic sinks, dragging 1,517 people to their deaths. The number of dead amount to more than fifty percent of the passengers, due mainly to the fact the liner was not equipped with enough lifeboats.
1947—Robinson Breaks Color Line
African-American baseball player Jackie Robinson officially breaks Major League Baseball's color line when he debuts for the Brooklyn Dodgers. Several dark skinned men had played professional baseball around the beginning of the twentieth century, but Robinson was the first to overcome the official segregation policy called—ironically, in retrospect—the "gentleman's agreement".
1935—Dust Storm Strikes U.S.
Exacerbated by a long drought combined with poor soil conservation techniques that caused excessive soil erosion on farmlands, a huge dust storm known as Black Sunday rages
across Texas, Oklahoma, and several other states, literally turning day to night and redistributing an estimated 300,000 tons of topsoil.
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