|Modern Pulp||Jul 16 2016|
|Vintage Pulp||Aug 13 2015|
Interesting Charles Copeland cover art for Victor Canning’s 1955 adventure thriller Twist of the Knife, published outside the U.S. as His Bones Are Coral. It’s the story of a drug smuggler flying contraband from Sudan to Egypt who crash lands near the town of Suabar, gets involved in a caper to raise gold from the waters of the Red Sea, and of course beds the only white girl within sight. This was actually made into a really bad Burt Reynolds movie called Shark! in 1970.
|Vintage Pulp||Dec 26 2014|
Paramount execs probably wet themselves when they finally made a deal to get American star Burt Reynolds and French icon Catherine Deneuve together onscreen. The promo poster tells us they’re hot—true, and it especially applies to Deneuve, who probably can't vent heat efficiently while shrouded beneath her enormous helmet of immobile, golden hair. You know those war flicks where a soldier in a ditch has a photo in his pocket of his beautiful girlfriend, and during lulls in combat he gazes at her and mutters about how he can’t wait to get back home to her? In Hustle Catherine Deneuve is a living version of that photo. Instead of being overseas she’s just across town, but she’s no less a signifier of impending doom than if she were a snapshot in someone’s pocket. We think writer Steve Shagan dropped the ball here, and not just by making her purpose in the film so obvious, but by making her role so thin. She has a key piece of evidence (she witnesses the villain making a phone call that leads to a murder) in a case that is never made, which we found bizarre. Hustle is mildly involving thanks to stylish direction and Reynolds’ innate watchability, but ultimately unsuccessful. It premiered in the U.S. yesterday in 1975.
|Vintage Pulp||Jun 3 2011|
When we saw these Japanese posters for the 1969 western 100 Rifles, we made a special point to watch the film just so we had a good reason to share the art. So there you go. Now as for the actual film, there’s a moment about halfway through where mega sex symbol Raquel Welch says to black ex-NFL football star Jim Brown, “Do you want me?” That’s about as rhetorical a question as has ever been asked on a motion picture screen. Of course he wants her—who wouldn’t? But this being an American movie, the real question is, “What will the consequences be?” Because after all, even though interracial romance works just fine for millions of real life couples, in Hollywood that simply can’t be. Especially when you’re talking about heterosexual black males.
So we know someone’s going to end up dead. We could have prefaced that last statement with a spoiler alert, but we all know it wasn’t really a spoiler. As moviegoers, we’ve been trained to know happily-ever-after isn’t a component of these black/white love affairs. When 100 Rifles was made in 1969, it may have seemed America was on the way—if perhaps a bit turbulently—to a post-racial future. But forty-two years later we bet you can’t think of three other instances where a top tier white starlet had a love scene with a black man. So even though 100 Rifles offers up a reasonably compelling tale of guerilla warfare on the Mexican frontier, and Burt Reynolds co-stars in a role perfectly crafted for his special brand of smarmy brilliance, and you even get an unforgettable nude minute of cult siren Soledad Miranda, what you come away with is yet another reminder of how creatively bankrupt modern Hollywood has become.
We don’t mean backrupt in terms of race, per se, but in terms of reality. Despite modern cinema being awash in CGI and 3D and THX sound and obscene budgets, as well as dozens of edgy stars, along with teams of clever writers and yachtfuls of execs who all claim to be mavericks, the movies are overwhelmingly soulless. 100 Rifles is not a great film, but as a late-1800s period piece it asks 1969-style questions about racial mixing, social struggle, and offers serious introspection about the worth of warfare. It is an honest product of the time from which it sprang. In comparison, if we consider post-millennial movies a product of the time in which we now live, then the message seems to be: just don’t make us think.
|Vintage Pulp||Apr 9 2010|
Yesterday, the Pulp girlfriends suggested that the only reason we posted all those album covers was because several of them featured nudity. We're just humble historians, chronicling mid-century art and discussing the social context within which it appeared—honest. But because our girlfriends called us voyeurs, we've decided to balance the scales a bit by posting something pretty much all women find exciting—crashing cars. Below is an assortment of Japanese posters for nine automotively-themed, vintage American movies. So there you go girls. If you don't find these exciting, well, we give up trying to figure you out.