Mess with her and you'll end up six feet under.
We can't say the promo poster you see above is expertly executed, but it has a quality we appreciate. It was made for the low budget action flick Bury Me an Angel, which premiered this month in 1971, and stars Dixie Peabody. She plays a tough biker chick named Dag Bandy whose brother is messily murdered via shotgun, sending her humping a hot steel hog on a roaring mission of revenge. Nice copy there from the promotional scribes behind the poster. It's a wonder people walking past the cinemas where the movie played weren't sucked bodily into the front row, such being the irresistible power of those words. Note to our non-U.S. readers (and thank you for your visits): a “hog” is a motorcycle. Normally, it's even a Harley-Davidson motorcycle. And to hump it, well, is— Oh, never mind.
The star here, Dixie Peabody, is obscure. She appeared in only two other films, Night Call Nurses and Angels Die Hard, both of which, like Bury Me an Angel, issued from Roger Corman's grindhouse mill New World Pictures. She was seventy-two statuesque inches tall—seventy-six counting her hair—so she definitely looks the part of an action hero, but even action heroes gotta act, and as Hamlet said so concisely: There's the rub. Peabody can emote, but she can't act. There's a difference. Of course, numerous b-movie performers of the 1970s couldn't act, so if we adopt the principle of willing suspension of expectation™, what do we have here? We have a lead performer with flashes of talent and more than a bit of presence, but who's stuck in a cheap-ass movie that doesn't feature much in the way of script or structure. It worked for Easy Rider, but not here.
You won't necessarily go away disappointed, though, because you get the expected cheapo movie fare: a drug montage, a bar fight, a skinny-dip, the three b's (boobs, bush, and booty), counterculture lingo, and cheesy mysticism. Somewhere in there you also get future Grizzly Adams portrayer Dan Haggerty as a guy in a diner who entices Peabody into bed, which somehow doesn't collapse under their combined weight. If you ever wanted to see a naked Grizzly, this is your chance. Eventually the film gets back on track toward Peabody's roaring rampage of revenge, which has been all roar and no rampage to this point, but finishes with a climax that asks the age-old question, also possibly from Shakespeare, since he seemed to ask every question ever: If you murder a murderer, is it justice or murder?
We can't actually recommend Bury Me an Angel, but as with its promo poster, though it isn't expertly executed, it has a quality we appreciate. It seems to us that, combined with the inhalation or ingestion of a psychoactive substance, you might find some real enjoyment here. Maybe in the end that's the surest sign of a worthwhile b-movie: it's much better high. As a side note, it was written and directed by Barbara Peeters, one of the few women who called the shots behind the camera during the grindhouse era. She would helm five motion pictures, all of them bad, reaching her apogee with 1980's Humanoids from the Deep, which took sexualized schlock to virtuosic levels. We'll be checking out one or two of her other efforts later.
The never ending quest for the ultimate shot.
Back during the heyday of on-scene crime reporting, mayhem-chasing news photographers were a standard sight at situations in progress, and they got very close to the action. The photos above were taken today in 1957 after police responded to a robbery, trapping the bandits inside a Los Angeles bar, where they were holed up with hostages. In the zoom, just above, note the photographers angling for a good shot. This in a situation in which bullets were likely to fly. They were a different breed of lensmen back then.
The police teargassed the bar, stormed the premises, rescued the patrons, and conducted the malefactors to jail. You see the aftermath below, courtesy of the numerous photographers on hand. The images came from the collection of the Los Angeles Examiner, which is held by the University of Southern California. We've mined their crime photo stash many times. You can see all those images by clicking the Examiner's keywords at bottom, but if you're very interested we recommend visiting USC's website. Just be careful—you could spend all day there.
Some guys just can't catch a break.
The Breaking Point is the second of three Hollywood adaptations of Ernest Hemingway's novel To Have and Have Not, and it's a very good one. You're already starting from an advantageous point when you have John Garfield in the starring role. He could act, and this part requires quite a bit from him. This was his next-to-last movie—he would be dead two years later, victim of a congenital heart problem, exacerbated by high stress, reportedly from his blacklisting that was the result efforts by commie hunters.
Casablanca director Michael Curtiz is on board here too, and he does a masterful job bringing the story to life. Curtiz, or Warner Brothers, or both, decided to transplant the novel's action from Cuba to Newport Beach, but the theme of a man caught in untenable economic circumstances remains. Those who wanted a reasonably faithful adaptation of Hemingway's story got it in this film. The first version, also called To Have and Have Not, was amazing but had little in common with the source material. The third adaptation, The Gun Runners, was also good but downplayed certain political themes. (There's also an Iranian version we haven't seen and which we'll leave aside for now.) So, which of the three U.S. versions is best? Is it really a competition? They're all compulsively watchable, but this effort with Garfield is the grittiest by far, and the most affecting. It's strange—To Have and Have Not is supposed to be Hemingway's worst book, but with three good movies made from it, maybe it isn't that bad after all. Perhaps because it's a work from one of the most influential authors ever to write in English, the bar was just set too high. Maybe it really is Hemingway at his worst, but personally we think it's very good. The Breaking Point premiered in the U.S. today in 1950.
You're the lawyer, not me, but listen—I have an idea for a defense strategy. First, let me introduce my mother-in-law.
The above photo from the University of Southern California archive of Los Angeles Examiner crime photos shows an L.A. homemaker named Karen Jacobsen in the midst of a pre-trial conference with public defendant Victor S. Baker today in 1961. Jacobsen needed a lawyer for the most important of reasons—to beat a murder charge. She had stabbed her husband Lawrence to death while they were in his car. She said it happened after a terrorizing ride, and claimed it was in self defense of both herself and her two daughters. She was arrested but freed on bail, and this conference occurred during her pre-trial release period.
When she was tried later in the year a jury acquitted her, but we knew that before even reading about the trial, and you wanna know how? That's her mother-in-law Edith sitting next to her in the photo below, offering emotional support. Her attorney: “Your honor, I'd like to enter into evidence defense exhibit A, the deceased's mom, who's obviously fine with his death, so, like... defense rests.” If your own mom isn't in your corner when your killer is on trial, forget it. Probably Lawrence never visited her, so she'd been thinking of him for years as dead already.
We get to the beach so rarely, shame to waste the trip. Who's up for a swim before we haul this stiff to the morgue?
Today in 1954 a man named Nathaniel Smith who was walking on Venice Beach in Los Angeles spotted something floating in the surf behind the breakwater of the old Venice Pier. He waded into the ocean and discovered the something was a person. Smith pulled him to shore, but the man was already dead, a victim not of drowning but of a gunshot wound to the head. Was he a murder victim or a suicide? There's no info available on that, nor on his identity. Whoever he was, we bet he never could have imagined thousands of people would be looking at photos of him nearly a lifetime later. We're doing that thanks to the University of Southern California, which holds these and tens of thousands of other images in its archive of Los Angeles Examiner press photos. You can see many more shots from the collection by clicking its keywords below.
So, this will shock you—I can tell you it shocked me—but I realized I've wanted to shoot you since our very first date.
Marian Marsh was born in what is now Trinidad and Tobago, but which was at the time of her birth part of the British West Indies. She started life as Violet Krauth, but for Hollywood changed her name. She appeared in such films as The Road to Singapore, Crime and Punishment, In Spite of Danger, Murder by Invitation, and the horror classic The Black Room. All worthy achievements, and she also founded a nonprofit called Desert Beautiful, which had a mission to preserve the environment of Palm Desert, California, where she lived after retirement. The organization lasted for about fifty years, which is quite good for a nonprofit. The above photo, made back when she was interested only in murder, is from the 1931 drama Five Star Final.
Man tries to catch train, train catches him instead.
These photos show an unfortunate man named John Heldt, Jr. trapped under a Pacific Electric freight car in Gardena, California. Getty Images has this listed as happening August 7, 1951, but the USC digital film archive where the image is stored has the date as today. We trust USC over Getty, but whenever it happened, it was a bad day for Heldt, maybe not the worst of his life, but certainly in the top five, we can be sure. His rescuers had to bring in special equipment to lift the train off him, so he was probably pinned for hours, his indignity compounded by the fact that a Los Angeles Examiner photographer made these snaps of him. “Can you hold that pose? Heh heh, that's a joke, see, because you can't move at all, you poor, stupid sap!” There's no info on whether Heldt recovered, nor whether he lost any body parts. Still, as bad as this looks, it's better than flying Ryanair.
The beach is always fun and games until someone gets burned.
What a coincidence. We were just talking about Joan Bennett a couple of days ago. You remember the story. Her husband tried to shoot her lover in the balls. Or unit. Or really anywhere in the vicinity of his reproductive organs. And he succeeded in hitting the vicinity, but missed all the crucial plumbing. It was a Hollywood love triangle that ended in blood and violence. Woman on the Beach stars Bennett, Robert Ryan, and Charles Bickford, and is also a love triangle that causes violence. The plot concerns a Coast Guard officer who becomes infatuated with a married woman. The woman's husband is an artist who lost his sight in an accident, but the Coast Guard officer becomes convinced the artist isn't really blind, but rather is using it as an excuse to hang onto his wife. Under the careful direction of French auteur Jean Renoir, Woman on the Beach makes for a decent ninety minutes of entertainment. We don't consider it a film noir, by the way, as some crowdsourced sites and blogs suggest. It just doesn't meet the requirements, in our view. AFI.com agrees, and calls it drama. It premiered in New York City today in 1947.
'Tis the season for generous giving—of prison time.
This unusual photo made today in 1953 shows a man named Edward Hallmark, aged seventy-three, being wheeled into a Pasadena courtroom to testify against twenty-four year old Donald Randazzo. Apparently, the previous September Randazzo kidnapped and beat Hallmark in an effort to rob him of his life savings. The shot is part of the large Los Angeles Examiner archive held by the University of Southern California, and which we've mined for interesting historical shots often.
In the photos below you see the defendant Randazzo conferring with his lawyer Edward S. Cooper. Randazzo is being shown a page from an edition of Advance California Reports. Advance reports or advance sheets are legal aids—specifically, pamphlets containing recently decided opinions of federal courts or state courts of a particular region. So basically Cooper is informing Randazzo of something relevant to their court appearance.
And we know exactly what that relevant something is—a standard in California case law stating that when the chief prosecution witness is trundled into court on a stretcher the defendant is seriously screwed. We have a feeling a wheelchair would have worked fine for Hallmark, but when you're facing your kidnapper you play your best card. The bedridden victim card beats everything king and below. Cooper is doubtless saying to his client, “As you can see here in Advance California Reports, Donald, legally you're fucked.”
Watch and marvel as I escape this cage using the incredible power of my court appointed defense attorney.
This odd photo shows Eric Pederson, whose real name was Charles E. Putnam, showing off for photographers after he had been arrested on suspicion of auto theft in Los Angeles today in 1947. He and a companion named Edward Sell were busted by cops inside a car belonging a third party, though both denied they were trying to steal it. Pederson is rock hard in this photo for a reason. He was the reigning Mr. California, a title he won at only eighteen years old. The win sent him onward to the Mr. America competition, but he was beaten for the national crown by future Superman Steve Reeves.
Pederson generated plenty of publicity off that and other bodybuilding competitions, which led to a Your Physique cover painted by none other than George Quaintance. Since Quaintance painted only about a dozen of these, this was quite an honor. From there Pederson was able to launch a long pro wrestling career, which is how he's mainly remembered today. At one time he had Hollywood aspirations, but ended up managing only one role—a bit part as a wrestler in 1951's Civilian Coast Guard, starring Brian Donlevy and Ella Raines.
We weren't able to find out how his auto theft arrest turned out, but considering his seemingly unbroken timeline from bodybuilding competitions to wrestling, it's safe to say the charges were pleaded down to a misdemeanor or dismissed altogether. Which just goes to show that even quasi celebrity is helpful in L.A. Or maybe the cops gave him a break in exchange for bodybuilding tips. In any case, Pederson retired from wrestling in 1961 and died in 1990, but the Quaintance painting guarantees he'll be remembered as long as people collect great magazine art. We have more from Quaintance here, here, and here.
The headlines that mattered yesteryear.
1934—Queen Mary Launched
The RMS Queen Mary, three-and-a-half years in the making, launches from Clydebank, Scotland. The steamship enters passenger service in May 1936 and sails the North Atlantic Ocean until 1967. Today she is a museum and tourist attraction anchored in Long Beach, U.S.A.
1983—Nuclear Holocaust Averted
Soviet military officer Stanislav Petrov, whose job involves detection of enemy missiles, is warned by Soviet computers that the United States has launched a nuclear missile at Russia. Petrov deviates from procedure, and, instead of informing superiors, decides the detection is a glitch. When the computer warns of four more inbound missiles he decides, under much greater pressure this time, that the detections are also false. Soviet doctrine at the time dictates an immediate and full retaliatory strike, so Petrov's decision to leave his superiors out of the loop very possibly prevents humanity's obliteration. Petrov's actions remain a secret until 1988, but ultimately he is honored at the United Nations.
2002—Mystery Space Object Crashes in Russia
In an occurrence known as the Vitim Event, an object crashes to the Earth in Siberia and explodes with a force estimated at 4 to 5 kilotons by Russian scientists. An expedition to the site finds the landscape leveled and the soil contaminated by high levels of radioactivity. It is thought that the object was a comet nucleus with a diameter of 50 to 100 meters.
1992—Sci Fi Channel Launches
In the U.S., the cable network USA debuts the Sci Fi Channel, specializing in science fiction, fantasy, horror, and paranormal programming. After a slow start, it built its audience and is now a top ten ranked network for male viewers aged 18–54, and women aged 25–54.
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