I didn't know that a girl like you could make me feel so sad...
A couple of weeks ago we shared a Mexican movie poster we weren't 100% sure was actually from Mexico. This time we're sure—this beautiful promo Antonio Caballero painted for the melodrama La red says right in the lower left corner “impreso en México.” In that previous write-up we also talked about how popular locally produced films were in Mexico before the industry was suffocated by U.S. business and political interests, and this effort is an example. It was made by Reforma Films S.A., based in Mexico City, and starred Libyan born Italian actress Rossana Podesta, Costa Rican actor Crox Alvarado, and U.S. born actor Armando Silvestre. Enticing a burgeoning international star like Podesta over from Europe indicates how established the Mexican film industry was in 1953, when La red was made.
Interestingly, when the movie played in the U.S. it was titled simply Rosanna, which makes sense, because it would be nothing without Podesta. It struck us that even though Toto didn't write their song of obsession “Rosanna” about Podesta, they might as well have. The film begins when a group of men botch a robbery, a shootout commences, and one of the bandits, Antonio, played by Alvarado, tries to help his wounded comrade. But the dying man gasps to Antonio, “Save yourself—for Rossana.” So we know she's a special woman even before seeing her. Antonio does save himself and goes to live on the seaside with Podesta, where the two harvest sea sponges. It's idyllic, but as a wanted thief he has to lay low, which means sending her alone to town to sell their catch. And the men in the town are... well... see below:
I am intrigued by this spicy redhead.
I too find myself somewhat taken with this mysterious chile pepper of a woman.
Perhaps I'll invite her to coffee and a cronut. That's a cross between a croissant and a donut, my friend, and living out there on the idyllic seashore as she does, I bet she's never had one.
I wonder if she's a fan of our great romantic poet Salvador Díaz Mirón?
I'm certain she has no idea how quickly European skin can burn in this tropical climate.
I'm admittedly less high minded than other men, and mainly wonder what she looks like naked, and whether the carpet is red too.
What the hell are all these guys staring— Oh. I think it's me.
Clearly, these trips into town are menacing affairs for Podesta. If you were to screen the sequences at an anti-sexual harassment seminar, every guy in the joint would bow his head in shame. Important to note, though, that within the narrative these aggressively pervy guys are depicted in a negative light, with even the soundtrack music growing ominous. When one of Antonio's robbery compatriots shows up in town, he gets into a shootout that leaves two men dead, and therein are sown the seeds of future troubles. We won't say more, save that the film is stagy, stylized, operatic, almost devoid of dialogue, and largely remembered because of Podesta's role. It all worked well enough to earn the Prix International du film le mieux raconté par l'image, aka the Award for Visual Narration, at the Cannes Film Festival.
Moving on to the poster, have a look at a previous Mexican promo we shared last year. It's here. We'll wait. Back? You'd think it was the same person who painted both, but the reason we wanted you to glance at the other one is because it exemplifies the strange phenomenon of artists within the same film industry biting each other's styles. It happened in Italy and Sweden too. Either through direct influence from the studios, or through osmosis due to mutual association, several Mexican artists delved into this art deco tinged style. Check out Leopoldo Mendoza Andrade here. Interesting, right? You'll see what we mean even more clearly when we share posters from other Mexican artists, for example Juan Antonio Vargas. That'll be soon. La Red premiered in Mexico today in 1953.
From behind the microscope to in front of the camera.
You don't know U.S. actress Emily Yancy but she's been around for a long time. She started performing on television in 1963 and is still going strong as of 2018. Of her few cinematic efforts two were notable—the blaxploitation classics Cotton Comes to Harlem and Blacula. Her small screen appearances include Starsky & Hutch, The Mod Squad, and MacGyver.
The above photo is from 1961, and it was made when she was eighteen years old and competing in the Miss American Beauty Pageant, not be confused with the Miss America Pageant. Interesting story, she was a biology major and was working at NYU Medical Center operating an electron microscope when her coworkers persuaded her to give parading up and down a stage in a swimsuit a shot. She won Miss American Beauty, which gave her a chance to compete again in France.
She was sent to Cannes and finished second in the Miss Cannes Film Festival competition. After that Hollywood called and those boring old electrons were forgotten. Television, film, nightclub performing, modeling and a lot of travel followed. There's a lesson in this story, and maybe not one that should be taught to little girls—Forget science! Give us a little leg!—but you don't need a microscope to see that Yancy takes a great picture, and her career longevity suggests she made a good choice.
In the land of bad men the one eyed woman becomes queen
Above is a promo poster for the Swedish sexploitation flick Thriller - en grym film. When it was released in the U.S. it was retitled Thriller: A Cruel Picture, then edited and given the revised name They Call Her One Eye, and still later dubbed Hooker's Revenge, which we think gives a bit too much away. But what do we know? It's not like we have marketing degrees. Anyway, the poster above for the film's Thriller incarnation has an unusual shape sometimes referred to as subway size because such promos were usually displayed on mass transit vehicles. As far as we know, no standard vertically oriented poster was ever made with the title Thriller: A Cruel Picture. But if any do exist, you can be sure they're worth a fortune.
Sweden's best export Christina Lindberg stars here as a Frigga, a young woman gone mute due to a sexual assault in her youth. Terrible luck strikes again when, as an adult, she's abducted, addicted to heroin, and forced into prostitution. She resists, but after she harms a customer her pimp punishes her by cutting her eye out with a scalpel. After enduring further indignities she eventually musters the courage to try and escape. Heroin addiction is the leash her pimp counts on to keep her in line, but she's otherwise free to use her down time as she wishes. With the little money she has she secretly buys lessons in martial arts, shooting, and tactical driving, then when the moment is ripe she finally goes on a revenge spree.
There's nothing here you won't find in other 1970s revenge sexploitation flicks except lots of slo-mo, but for Lindberg's fans—among them Quentin Tarantino, who borrowed the eyepatch look for Daryl Hannah when he made Kill Bill—this is probably a must-see. As a side note, you'll sometimes find Lindberg referenced as a porn actress because of this movie. BAV Film made two versions, one with x-rated inserts and one without. The explicit stuff was done by a stand-in. Or a lay-in. In an interview Lindberg once said the hardest part of her career was resisting the constant pressure to do porn. We suspect this was a film she had in mind when she said that. After premiering in France at the Cannes Film Festival in 1973 and later playing in Sweden, Thriller: A Cruel Picture first opened eyes in the U.S. today in 1974.
Cannes goods take on a whole new flavor.
Today in 1976 the U.S. porno movie Sensations premiered in Japan. We talked about it five years ago and shared an amazing Japanese promo poster painted by William Stok. That piece was an alternate promo. The one you see above was more widely used. While it's no Stok, in its own way it's almost as interesting, with star Brigitte Maier seeming to fellate psychedelic emissions of unknown composition and provenance. Of course, the Japanese designers merely painted over what she was really tasting. The visual effect is rather nice, we think.
Sensations—referred to on the poster as Sensation—was well received upon release. Bruce Williamson of Playboy called it a “sensually pulsating sextravaganza” that was “the best bet of all for outright voyeurs.” The film was so highly regarded it even screened at the Cannes Film Festival. Does that mean it's good? Not exactly. Not by any normal standard. But we mention the Cannes thing because if someone walks in unexpectedly while you're watching it you are now equipped to indignantly inform them: “Porn? Porn? I'll have you know this played in Cannes!”
It isn't whether you win the game. It's who you play.
And speaking of summer, Sharon Tate is the picture of summertime in this shot of her playing ping pong on the beach. We've seen the photo around the internet, but of course with zero information, so for the record, she's attending the 21st Cannes Film Festival, held in 1968, not in the summer, but in spring—May to be exact. But summer comes early on the Côte d'Azur. Her husband Roman Polanski was on the festival jury that year, but since that isn't actual work, he made time to be at the other end of the table here. He may have lost the game for all we know, but when Tate is your partner you've already won.
Josep Renau Berenguer cooks up a classic poster for a classic film.
Arroz Amargo, with Silvana Mangano, Vittorio Gassman, and Doris Dowling, was originally made in Italy and called Riso Amaro, or Bitter Rice. We already delved into this particular rice paddy, but we wanted to show you this beautiful alternate Spanish poster painted by Catalan artist Josep Renau Berenguer. The movie premiered in Spain four years after it opened at the 1949 Cannes Film Festival and had a long run in Italy. That was today in 1953. If you’re interested you can read our original write-up and see the Italian poster here.
Amid medieval Japan’s manners and restraint, how can a person tell the difference between love, honor, and duty?
Above is a poster for Teinosuke Kinugasa’s masterwork samurai drama Jigokumon, which was known in English as Gate of Hell. It was the first Japanese film shot in color, via the process Eastmancolor, which was a leap beyond three-strip Technicolor, and one that makes Jigokumon blaze like a supernova. The story, from a play by Kan Kikuchi, concerns a Heian-era samurai named Moritoh whose bravery during a battle is rewarded by his lord granting him anything he desires. What he desires is the Lady Kesa. Problem is she’s married to another samurai. The lord mistakenly grants Moritoh’s wish, which is soon revealed to be impossible, but Moritoh resolves to have Kesa anyway, by any means necessary—trickery, bribery, even all-out murder. What develops is not just a thriller about entitlement and lust, but a meditation on honor, love and, especially, social strictures.
Jigokumon was a sensation. A hit in Japan, it was a revelation to foreign audiences. It took home the Palme d’Or from the 1954 Cannes Film Festival, a 1955 special Academy Award for Best Foreign Language Film, an Oscar for Best Costume Design in a color film, and more prestigious nods. Along with Akira Kurosawa’s Rashomon, Kimisaburo Yoshimura’s Genji Monogatari, Kenji Mizoguchi’s Ugetsu Monogatari, and other films from the early 1950s, it marked the emergence of Japanese cinema onto the international scene. We’ve posted a large group of screen grabs below—perhaps overkill, considering how many—but the film just looks so damn good and the shots are so spectacular that we couldn’t help ourselves. Jigokumon premiered in Japan today in 1953.
We gotta get out of this place if it’s the last thing we ever do.
This great poster was painted by Italian illustrator Dante Manno to promote Riso Amaro, aka Bitter Rice, one of the neorealist movies that came out of Italy during the post-World War II period. If you watch the movie you’ll find that some elements aren't very “real,” but remember that the term neorealism refers to a rejection of the phoniness of Fascist-era film production, rather than a broad description of cinematic properties. Basically, the movie is about two petty criminals, played by Vittorio Gassman and Doris Dowling, who hide from the cops by posing as lowly rice pickers. What’s real here isn’t the rice pickers (whose female ranks are uniformly beautiful and sexily clothed), nor some of the action (typified by a scene in which the workers break into perfect operatic harmony even though the tune they’re singing is being made up on the spot). No, the realism is in the themes and production values. Riso Amaro deals with weighty issues and was made on location by director Giuseppe De Santis in the rice fields of Italy’s Po Valley in crisp, documentary style black and white.
One of Riso Amaro’s rice pickers is the voluptuous Silvana Mangano, who catches Vittorio Gassman’s eye. Since he’s a criminal, he spies opportunity in his circumstances, and while chasing Mangano also plots to steal the entire rice crop while everyone is occupied during an end-of-season festival. Mangano, who has her choice between the slick Gassman and the honest rice picker Raf Vallone, is symbolically torn between American-style and traditional values. Doris Dowling has the same dilemma to a lesser degree. The choice both make will be crucial. Riso Amaro is a good movie, beautifully rendered, and consistently interesting. Tame today, it’s easy to see how provocative it must have been when first released. As with many films, certain elements resonate more over time, and here the secondary theme exploring tensions between legal and illegal workers fascinate. The legal workers resent the presumed loss of jobs, but the illegals must eat somehow and are willing to toil much harder than the legals. All the while the bosses reap the benefits. Sound familiar? Riso Amaro premiered at the Cannes Film Festival in early September and opened in Italy today in 1949.
How many carry-on bags do I get again?
One never hears her name mentioned today, but Italian actress Isa Miranda, née Ines Isabella Sampietro, was one of the most popular performers of her time. She was a star throughout Europe during the 1930s, and during World War II continued to act in Italian films. As a result, she is linked to fascist cinema, though is not known to be a fascist sympathizer herself. Ultimately she carved out a fifty year career and earned a Best Actress award at the 1949 Cannes Film Festival for René Clément’s Le mura di Malapaga. She’s seen here circa 1935.
The headlines that mattered yesteryear.
1954—First Church of Scientology Established
The first Scientology church, based on the writings of science fiction author L. Ron Hubbard, is established in Los Angeles, California. Since then, the city has become home to the largest concentration of Scientologists in the world, and its ranks include high-profile adherents such as Tom Cruise and John Travolta.
1933—Blaine Act Passes
The Blaine Act, a congressional bill sponsored by Wisconsin senator John J. Blaine, is passed by the U.S. Senate and officially repeals the 18th Amendment to the United States Constitution, aka the Volstead Act, aka Prohibition. The repeal is formally adopted as the 21st Amendment to the Constitution on December 5, 1933.
1947—Voice of America Begins Broadcasting into U.S.S.R.
The state radio channel known as Voice of America and controlled by the U.S. State Department, begins broadcasting into the Soviet Union in Russian with the intent of countering Soviet radio programming directed against American leaders and policies. The Soviet Union responds by initiating electronic jamming of VOA broadcasts.
1937—Carothers Patents Nylon
Wallace H. Carothers, an American chemist, inventor and the leader of organic chemistry at DuPont Corporation, receives a patent for a silk substitute fabric called nylon. Carothers was a depressive who for years carried a cyanide capsule on a watch chain in case he wanted to commit suicide, but his genius helped produce other polymers such as neoprene and polyester. He eventually did take cyanide—not in pill form, but dissolved in lemon juice—resulting in his death in late 1937.
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