Umpteenth Bond riff is cuter than most but a lot dumber too.
The Bond franchise could be the most imitated in cinema history. Most of the copycats came during the late 1960s. The serious ones are often unwatchable, but the tongue-in-cheek varieties sometimes manage to entertain. The most entertaining aspect of the Bond inspired Some Girls Do is the theme song by Lee Vanderbilt. Which is not a knock on the movie. It's just that the song is that good. We immediately went searching for a version to have as our very own but there isn't one, at least not one from the film, or one without serious sound issues. We're going to keep looking, though. The movie has another plus—the above promo poster made for Belgium, where it was known by the Dutch title God vergeeft... zij nooit, and the French title Dieu pardonne... elles jamais!
As far as the actual film goes, it stars Richard Johnson as Hugh Bond—er, we mean Hugh Drummond—and he's sent to deal with unknown forces determined to stop the development of the world's first supersonic airliner. You get beautiful women with shady intentions, spy gadgets of dubious efficacy, robot femmes fatales, and a super villain hiding in his (almost) impregnable lair. Johnson is reprising his role from 1967's Deadlier than the Male, another pretty cute, marginally enjoyable Bond copy, but here sequelitis has set in—which is to say, this movie is not quite as charming, nor as funny, nor as thrilling as the first. So ultimately, while some girls do, some movies don't, and most viewers shouldn't. Not unless you have a seriously unquenchable ’60s spy movie thirst. If so, Some Girls Do might do the trick.
Eddie G. never goes down without a fight.
Mid-century Belgian promo art strikes again. This is an epic poster. It was made for the crime drama Black Tuesday, which played in Belgium as Mardi ça saignera (French title) and Dinsdag zal er bloed stromen (Dutch title). Edward G. Robinson and Peter Graves star in the tale of two death row inmates who escape prison and go on the lam. Graves has hidden $200,000 from a bank robbery and Robinson plans to betray him and steal the dough. Unfortunately, Graves is critically shot during the escape and, even as he lies near death, refuses to say where the money is hidden.
This is a pretty nice flick. Virtually any movie with Robinson is worth a viewing. He played many types of characters in his career, but he's known for portraying tough guys, and this is classic Edward G., with all the snarls and sneers fans had come to expect from romps like Little Caesar and Key Largo. And why wouldn't he snarl? Unless a doctor he's taken hostage can save the day the cash he lusts for will never be found. But maybe Graves won't die. Maybe he's tougher than he seems—and smarter too. Robinson never wins in his gangster roles, so it's a question of how he'll lose, not if. But it's always fun watching him fight the bad fight. Black Tuesday premiered in the U.S. in late 1954 and reached Belgium today in 1955.
It's the sad songs that always come back to haunt you.
Above is a stunning Belgian poster in French and Dutch for François Truffaut's comi-tragic crime tale Tirez sur le pianiste, known in Dutch as Schiet op de pianist, in English as Shoot the Piano Player, and which starred Charles Aznavour as a hard luck nightclub musician. We talked about the movie in detail back in November. Shorter version: when French New Wave meets film noir strange things happen. There's no release date for Belgium but the movie probably opened there shortly after its premiere in France, which was in November 1960.
This tree right here? It's mine. This patch of land around the tree too. Actually this whole forest is pretty much mine.
You never know what wildlife you'll come across during a walk in the forest. If it happened to be U.S. actress Margaret Markov, well, she beats the hell out of a white-tailed deer or a black-rumped woodpecker or any other kind of fauna. Markov starred in the unforgettable prisonsploitation flick The Hot Box, the indelible blaxploitation flick Black Mama, White Mama, and the ineradicable swordsploitation flick The Arena. You won't get this photo out of your mind either. It appeared in the Belgian magazine Ciné-Revue in 1975.
Predatory housing market claims more victims.
Is there such a thing as a movie poster that's too effective? This particular promo was painted by J. Gommers to promote the Belgian run of the horror movie The Haunting. Luckily, we already saw the movie, because we aren't sure we'd brave it based on this freaky piece of art. It opened in the U.S. in 1963 and reached Belgium titled La Maison du diable in French, and Het duivelshuis in Dutch, sometime in early 1964. You can read a bit more about it here.
Look! Smooth as two baby peaches. Anywhere else you want me to shave?
Here's a nice cover for a Dutch paperback titled Nachtkatje, which translates as “night kitten,” written by Mike Splane, and published by Antwerp based Uitgeverij A.B.C. for its Collection Vamp in 1957. This publisher is not the same as Uitgeversmij, based in Rotterdam, Netherlands, and whose output we've shown you here and here. The cover on this is uncredited, but A.B.C.'s Vamp series often had Alain Gourdon art that had been modified from a previous form, and this piece has that look. Everything we just wrote, we learned with minimal research. Now comes the part where our research falls short. You might guess that this is a translated Mickey Spillane novel, but we can't confirm that. If it's a translated Spillane it's mighty short—just sixty-plus pages. Which presents a problem. Spillane's short stories weren't published in book form until after 1957, at least not in the U.S. So finding out if this is a Spillane short—which we actually doubt—will have to wait for more knowledgable people than us. See more covers in the same vein here.
Mansfield and her crew try to steal a million.
This fantastic Belgian poster with lettering in French and Dutch was made for the 1957 film noir L'Ange des mauvais garçons, better known as The Burglar. Well, better known is relative. The movie is somewhat obscure but it shouldn't be—it's a film noir clinic, and this great promo, which was made for its run at the Ciné Capitole in Antwerp, befits such an artful movie. It's unsigned, so the creator will have to remain unrecognized for now. Conversely, we think the movie will garner more recognition as time passes. Jayne Mansfield co-stars but don't get your hopes up—she doesn't wear a black jumpsuit. Not even close. You can read more about the movie here.
So far I've had malaria, dysentery, dengue, hookworm, and schistosomiasis, but baby, you make it all worth it.
Once again cover art works its intended magic, as we made the choice of reading Georges Simonen's African adventure Tropic Moon solely due to being lured by Charles Copeland's evocative brushwork. This edition came from Berkley Books in 1958, but the tale was originally published as Coup de lune in 1933. It's set in Gabon, then a territory of French Equatorial Africa, and poses the familiar question: does Africa ruins whites or were they bad beforehand? The main character here, Joseph Timar, is done in by heat and booze and easy sex, but he was surely a terrible person before he ever set foot in Gabon, and of course he's a stand-in for all white colonials. All we can say is we get the message. We got it way back when Conrad wrote it. What would be great is some sense of evolution in all these Conrad-derived works, for instance if occasionally the human cost of colonial greed were shown to be black lives and prosperity rather than white dignity and morality, but literary treatments of that sort had not yet come over the horizon during the pulp era. On its own merits, though, Tropic Moon is interesting, a harrowing front row seat for a downward spiral in the equatorial jungle.
Demongeot and her chambre of secrets.
Above, a beautiful Belgian poster in French and Dutch for La chambre de Madame, aka Upstairs and Downstairs. We talked about it a while back. Shorter version—Mylène is the pause that refreshes.
No night is complete until you get your fille.
Above you see a Belgian poster for the 1953 juvie drama Girls in the Night. This is an awesome piece of art. In basic form it isn't that different from the also great U.S. version we showed you at the bottom of this previous post, but here you get a purple and yellow color story, a different face on the femme fatale, and a nice treatment of the cityscape. Those make this piece a big winner. |
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