Steve Sandor draws first blood before Rambo arrives on the scene.
Above you see a low rent poster for The No Mercy Man, aka Bad Man, aka Trained to Kill: USA, which premiered this month in 1973 starring Steve Sandor and Rockne Tarkington, the latter last seen chilling with his pet lion in Black Samson. The No Mercy Man is a mash-up of a biker film, a High Noon-style western, and a blaxploitation film, done on the cheap. And of course with low budgets usually come bad acting, weak scripting, all thumbs in the technical departments, and a paucity of promo images (we found two). This film also has, as a special bonus, a deeply earnest theme song that sucks terribly:
And when he loves you, he loves as hard as he can.
You get no mercy, naw naw naw, from the no mercy man.
Love and lust are the same to him,
just like being raped by the Devil.
His kind of love can only bring you sin,
and his arms can only bring you evil... whooooa ohhh ohhh...
The “no mercy man” of the lyrics is the protagonist Olie Hand, played by Sandor, which means being raped by the Devil is about the hero. Incredibly, the closing theme is even worse, with the lyrics, “no one understands you ’cause you can't be understood.”
Well, let's give it a try. Olie Hand is a Vietnam veteran who did terrible things in the jungles of Southeast Asia, and has now returned to his Arizona hometown to find it plagued by amoral carnies and petty criminals. He's haunted by the war. The sight of violence sends him into a mental tailspin, as horrible memories of his time in action rise to the surface. Despite his aversion to violence, it isn't long before he's forced to take on the men who are turning his town upside down.
Hand is legitimately psychologically damaged, which makes him a clear precursor to Sylvester Stallone's disturbed John Rambo from First Blood. After that film became a runaway hit Stallone booted the mental imbalance of the Rambo character out of the franchise, thus dumping the subtext that violence is basically bad, which freed cinemagoers to revel in hyperviolence without guilt. Rambo became the type of archetypal tough guy many Americans imagine themselves to be—the basically solid guy who tries very hard to avoid trouble, but once he's pushed across the line, boy howdy, you better open wide for your just desserts.
The year after The No Mercy Man appeared Charles Bronson brought everyman architect Paul Kersey to the screen in Death Wish. Kersey wasn't tortured by previous violent acts; he was justified by current events to commit violence. Killing wasn't harmful but healing, and tookplace vigilante style because of the limits of the law. It was done reluctantly, but creatively, because the capacity for baroque forms of murder lurked beneath the surface all along. American action movies have largely resided in that space ever since: violence is a rarely used but well-oiled tool every real man has at the ready, tucked between his pliers and his socket wrench.
The No Mercy Man is exploitative schlock, but it's at least a bit more thoughtful than the average revenge flick. It suggests there's a price paid for violence beyond mere regret, or being turned into a taciturn curmudgeon whose warm side can eventually be teased out by the right woman or a precocious kid. The price is that you may be so altered that others are unable recognize you as human. If you've actually read your U.S. history—we mean the stuff they only gloss over in school—you know that violence has always been a first resort. The No Mercy Man acknowledges this, but of course in the end decides pacifism is for pussies. It is, after all, still an American movie.
Fatal confrontation leaves world a sadder place.
Here's a colorful little something from our house hunting raid last week, a pocket paperback entitled Diablo Rubio, or “blonde devil,” written by Jim Bravo for Madrid based Publicaciones Crucero. The narrative is set in Arizona and concerns a famed gunman and the rivals that dog his heels. We haven't actually read it yet. We can read Spanish but we're too lazy to do it right now, even though we're dying to know why the clown got shot. Ever been to a rodeo? Cowboys and clowns are natural allies, so there must be a complex story behind this tragedy. The art is uncredited, of course, but seems to be signed “M Leal” or “N Leal.” We get no hits on either name. Nor do we get hits on writer Jim Bravo, an obvious pseudonym. But we'll dig, and if we find anything we'll report back.
So that's where your arm went. The damsel in distress thing was just an act, wasn't it?
Dead As a Dummy is a thriller set in the unlikely locale of Tucson, Arizona, where a premiere for a horror movie called The Invisible Zombie goes completely awry when it becomes the backdrop for three murders. The main character is Ben Logan. His job is kind of hard to describe. Basically, he works for a cinema chain, and he handles whatever needs to be handled. Think of him as a troubleshooter. He puts together a lobby display for The Invisible Zombie featuring a coffin with a mannequin corpse inside, only to find the set-up put to use by a clever killer. The main attraction here besides the plot is good southwestern flavor, something author Geoffrey Homes was adept at after previous forays in the same milieu. The cover art on this is generally credited to George Fullington, but that's one of those cases of the internet replicating an error. It happens. We've done it ourselves. The art is by Ray Johnson—says so right on the second page—and the copyright is 1949.
You spend all week looking forward to Saturday and then this happens.
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.
Devil worshippers give politicians another harsh lesson in Constitutional law.
The folks at the Satanic Temple have engineered a cage fight against the political establishment once again. We wrote about how they made a group of Oklahoma lawmakers look like idiots a couple of years ago. The politicians had decided to use a legal loophole to allow a Ten Commandments monument to be placed on state property, despite the fact that it violated the federal separation of church and state requirement. But the problem with loopholes is that anyone can use them if they have the time and money. Which is exactly what the Satanic Temple did when it designed a Satanist monument for the same plot of land. Needless to say, chagrined lawmakers were left with no choice but ignominious retreat and removed their religious monument.
The Satanic Temple has now taken aim at Christian prayer clubs in public schools. The organization contacted nine school districts across the country this week seeking to launch after school Satanist prayer programs. Their reasoning is the same as before—if Christian clubs are okay on state property, then by extension Satanist clubs must be fine. After all, trenchcoated loners need a place to congregate too. With the Constitution's supremacy clause giving it legal authority over states in the matter, lawmakers have to either allow all religions, including Satanists, equal access to schools after hours, or admit that they are enforcing an unconstitutional preference for Christianity.
We get that it's disconcerting to imagine Luciferian chanting in public schools at night—we've seen our share of horror movies, after all—but even so, these politicians never learn. A charitable interpretation of their folly might be that they're so blinded by belief they've forgotten their religion is just one of many in the country, and one of thousands that have existed across time, but the truth is they're worse than blind—they're deluded. Rather than accept the undeniable fact that the country's founding fathers wanted state and religion kept separate, they've convinced themselves that Jefferson, Madison, et al simply forgot to write special standing for the Christian church into the Constitution. This despite the fact that they amended the document more than ten times, and the very first of those amendments explicitly denied Christianity and all other religions special rights.
When asked for comment, Satanic Church leader Lucien Greaves took time from etching pentagrams and deflowering virgins long enough to suggest that children being threatened with eternal hellfire need the healthy alternative belief system Satanism provides. He's being disingenuous, of course—the Satanists are really just atheists with a finely honed sense of humor. The confrontation promises to be political theater of a uniquely American sort, but it will inevitably end in judicial defeat for Christian clubs. At least until they manage to write Christianity into the U.S. Constitution—not so farfetched, considering there are politicians like Arizona's Sylvia Allen publicly pondering whether her state can force citizens to attend church. Maybe the founding fathers should have taken a tip from Satan and written the Constitution in blood. That way breaking the deal would cost politicians their souls.
Before you charge in here, maybe I should tell you I got to be a eunuch by doing exactly what you’re about to.
Above, an April 1959 cover of Man’s Conquest, featuring a man about to risk life and limb to obtain a harem of girls. It’s actually a fitting theme, because inside the issue there’s an article about the infamous Short Creek raid of 1953, in which Arizona police and National Guardsmen stormed a fundamentalist Mormon compound where thirty-six men were living with their eighty-six wives and more than 250 children. Afterward, Arizona governor John Howard Pyle claimed that Short Creek inhabitants were engaged in a conspiracy to produce “white slaves”, but the public wasn’t buying it, and the fallout from the raid cost him his job when the next election rolled around. In an interesting twist, though, the LDS church, through its official newspaper the Deseret News, originally applauded the raid on the grounds that polygamy had been stricken from Mormon doctrine decades earlier.
Oh my, I don't know whether to call a lifeguard, the police, or British Petroleum.
This Master Detective from July 1960 has cover art that incorporates two elements millions of people dream about every night—a beautiful girl and a dead BP executive. Inside is a grisly story on housewife Nancy Haas, who was murdered by nineteen year-old Robert Elton Edwards in March 1960. Edwards’ MO was to knock on the doors of houses with For Sale signs in the yards, then rob the people inside. In this case, he tried to chain Haas to a bed but when she struggled he shot her dead with a .22 pistol. She was the first woman Edwards had killed, and the last, because Haas’s daughter, who was only three, told police, “A bad man hurt mommy and drove away in a white car.” That simple description led to police arresting Edwards three days later in Arizona, driving a stolen white 1959 Plymouth Fury. Edwards pleaded guilty to murder and at his sentencing the judge said he’d contemplated sending Edwards to the gas chamber, but changed his mind. The judge explained: “I’m not doing you any favors.” Then he sentenced Edwards to life in prison.
The headlines that mattered yesteryear.
1967—Apollo Fire Kills Three Astronauts
Astronauts Gus Grissom, Edward White and Roger Chaffee are killed in a fire during a test of the Apollo 1 spacecraft at the Kennedy Space Center in Florida. Although the ignition source of the fire is never conclusively identified, the astronauts' deaths are attributed to a wide range of design hazards in the early Apollo command module, including the use of a high-pressure 100 percent-oxygen atmosphere for the test, wiring and plumbing flaws, flammable materials in the cockpit, an inward-opening hatch, and the flight suits worn by the astronauts.
1924—St. Petersburg is renamed Leningrad
St. Peterburg, the Russian city founded by Peter the Great in 1703, and which was capital of the Russian Empire for more than 200 years, is renamed Leningrad three days after the death of Vladimir Lenin. The city had already been renamed Petrograd in 1914. It was finally given back its original name St. Petersburg in 1991.
1966—Beaumont Children Disappear
In Australia, siblings Jane Nartare Beaumont, Arnna Kathleen Beaumont, and Grant Ellis Beaumont, aged 9, 7, and 4, disappear from Glenelg Beach near Adelaide, and are never seen again. Witnesses claim to have spotted them in the company of a tall, blonde man, but over the years, after interviewing many potential suspects, police are unable generate enough solid leads to result in an arrest. The disappearances remain Australia's most infamous cold case.
1949—First Emmy Awards Are Presented
At the Hollywood Athletic Club in Los Angeles, California, the Academy of Television Arts & Sciences presents the first Emmy Awards. The name Emmy was chosen as a feminization of "immy", a nickname used for the image orthicon tubes that were common in early television cameras.
1971—Manson Family Found Guilty
Charles Manson and three female members of his "family" are found guilty of the 1969 Tate-LaBianca murders, which Manson orchestrated in hopes of bringing about Helter Skelter, an apocalyptic war he believed would arise between blacks and whites.
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