They're willing to hustle, side-hustle, and even hustle on their backs to get what they want.
When we stumbled across this Italian poster and saw that it was for a film starring the lovely Catherine Deneuve and her unbeatable hair, we felt a screening was needed. Due prostitute a pigalle is a French/Italian co-production that was originally titled Zig-Zig, with the name changing to Zig-Zag for the U.S. The movie is about two Parisians played by Deneuve and Bernadette Lafont who work as cabaret entertainers, bookies, and prostitutes in order to raise enough money to buy a chalet in the mountains. Their signature song and dance number “Zig Zig” earns them a small measure of fame around Paris, and the dream home seems closer by the day.
However, Deneuve has no idea that Lafont is involved with a gang of cross-dressers who've kidnapped the wife of a prominent politician. When she finds out, she freaks out, and it looks like her friendship with Lafont is cooked and their house will never come to be. The movie has its moments, but jarring shifts of tone from serious to farcical and an insistence upon an ironic and unrealistic ending definitively sink it. Even so, it has Deneuve, and her hair can't be sunk under any circumstances. Due prostitute a pigalle premiered in France in early 1975, and in Italy today the same year.
It was a good thing for its readers Hush-Hush didn't know the meaning of the term.
No, we're not going to get into teen-age rapist story that dominates this cover of Hush-Hush published back in January 1965. Though based on a real occurrence, the article is titillation disguised as crime reporting, written during an era when many men thought of rape in one of three ways: vandalization of personal property if the victim was his wife or girlfriend; an attack on the family castle if she was a relative; and she asked for it, which was reserved for most other women. We stress “many men,” not all. From what we gather the majority properly saw it as a heinous attack on the woman. Of course, the vicious nature of it didn't stop it from being widely used as a cinematic and literary device, but that's another discussion, one we've already had and doubtless will again.
Elsewhere on the cover you get photographic proof that topless bathing suits really did exist during the 1960s. There are only a few photos of the things, but Hush-Hush adds to the library of visual confirmation. Now we need proof of the existence of David Dodge's completely backless cache-sexe that made women look nude when viewed from the rear. He says they were worn on the French Riviera during the 1950s, but we have a feeling proof won't be forthcoming anytime soon, absent a time machine and careful coordinates. Lastly, the cover's bottom banner touts wife swapping. How popular was this practice? We can't know. We suggest asking your grandma. But first compliment her cooking: “This casserole is delicious, gram-gram. Did you and paw-paw ever screw other married couples for kicks? Can I have more peas?”
The next article we want to call attention to is, “How Do Tahitian Beauties Drive Men Wild?” Vintage novels that waxed pornographic about the sexual attitudes of Pacific Islanders were almost an official sub-genre, so this story was a must-read for us. And for you too, which can do below. At least mostly. We couldn't upload the entire thing. It's too long, but there's enough to give you the gist. And the gist is simply that Tahitians apparently had no taboos concerning sex, partners, and privacy. The story is framed around alleged trysts with various Hollywood stars, and how Hush-Hush avoided lawsuits from those stars is really a mystery. You'll be entertained. We will say, though, that it's rather unfortunate that the story is couched in insulting terms toward Tahitian women.
As a final note, Hush-Hush used a cheaper printing process and lower quality paper than other publications from the same rank. Those two aspects of the magazine worsened as time passed. By 1965, it was barely a step above the National Informers of the world in terms of technical values. Because of that our scans aren't great. The cheap printing resulted in a scanner moiré pattern on most of the black and white content (though the color came out fine). It's actually fixable in Photoshop or Gimp, so we hear, and we have both programs, but do we want to do all that work for cheap-ass Hush-Hush? We decided we didn't. Therefore, what you see is what you get—twenty-plus scans below.
Hitchcock says no festival for you this year!
The 73rd edition of the Festival de Cannes, aka the Cannes Film Festival, would have kicked off today in the south of France, but was cancelled a while back. It's just one of a wave of event cancellations that will cascade through the year. Festivals as diverse as Burning Man and San Fermin, aka the Running of the Bulls, have also been shelved. But getting back to Cannes, we thought this would be a good moment to commemorate past fests with some historical photos. Above you see Alfred Hitchcock on a boat with the town in the background, in 1972, and below are about fifty pix from the 1940s through 1970s, documenting various iconic moments, and a few quieter ones. Maybe the Cannes Film Festival will back next year, maybe not. At this point, predicting anything is an exercise in futility. But at least we'll always have the memories.
Edith Piaf sings on the terrace of the Carlton Hotel on the iconic Boulevard de la Croisette at the first Festival de Cannes to be held under that name, in 1946. Back then the event took place in September and October, but would shift to May a bit later. Diana Dors and Ginger Rogers arrive at the fest the only way anyone should—breezing along the beachfront in a convertible, in 1956, with an unknown driver. Kirk Douglas holds court on the beach in 1953, and Brigitte Bardot soaks up rays in the foreground. Michele Morgan poses at the first Festival in 1946. Photo ops of this sort were essential sources of publicity for stars, and would soon become opportunities for non-stars seeking to be discovered. Case in point. Robert Mitchum poses with actress Simone Sylva in 1954. Sylva was allegedly not supposed to be there, but shucked her top and photo-bombed Douglas in an attempt to raise her profile. It didn't work. She made only a couple of credited movie appearances after her topless stunt. Romy Schneider and Alain Delon at the 1959 fest. An unidentified model or actress poses in the style of Anita Ekberg from La dolce vita in 1960. This looks like it was shot at Plage du Midi, which is a beach located a little ways west of the Cannes town center.
A unidentified partygoer is tossed into a swimming pool after La Dolce Vita won the the 1960 Palme d’Or. The Festival is almost as well known for legendary parties as for legendary film premieres. Another unidentified model or actress poses on the boardwalk in 1979. Generally, you don't have to be known to draw a crowd of photographers—you just have to be nearly bare. She's wearing lingerie, so that explains the interest, though this is modest garb for a Cannes publicity stunt. It's never a surprise to see a headline-seeking film hopeful strip all the way down to a string ficelle féminin, or thong, which is the limit of what is legal in Cannes Sidney Poitier and Jean Seberg have a laugh in 1961. This was the year Poitier's flick Paris Blues was released, so it's possible he had jetted down from the capital for the Festival. Philomène Toulouse relaxes on the sand in 1962 while a boy practices the classic French look of disgust he'll be using the rest of his life.
Actor Bernard Blier, 1975.
An unidentified bikini wearer boldly enjoys a lunch in a café on the Croisette, 1958.
Natalie Wood aboard a sailboat in 1962. Grace Kelly, 1955. Kelly times two—Grace Kelly and Gene Kelly, hanging out, also in 1955. Sammy Davis, Jr. poses in front of a billboard promoting his film A Man Called Adam, 1966.
Joan Scott gets sand between her toes in 1955. Scott is obscure. She isn't even the most famous Joan Scott anymore. The IMDB entry for the only Joan Scott near the appropriate age is for an actress born in 1920 who didn't begin acting until 1967. The Joan Scott above doesn't look thirty-five, though, and we doubt she would have been the subject of this somewhat well-known photo without parlaying it into a film appearance before twelve years had passed. So we don't think this is the Joan Scott referenced on IMDB.
Sharon Tate, with Roman Polanski, and solo, 1968. Marlene Dietrich brings glamour to a tiki themed bar in 1958. Tippi Hedren and Alfred Hitchcock release caged birds as a promo stunt for The Birds in 1963. Sophia Loren sits with husband Carlo Ponti, who was a member of the 1966 Festival jury. Raquel Welch poses on a motorcycle in 1966. Jane Birkin takes aim with one of her cameras in 1975.
Dorothy Dandridge frolics in 1955, when she was promoting her film Carmen Jones. Cinematic icon Catherine Deneuve and her sister Françoise Dorléac in 1965. Dorléac died in an automobile accident a couple of years later.
Robert Redford lounges on the beach in 1972. Based on his outfit you'd think he was in Cannes to promote The Sting, but he was actually there for his western Jeremiah Johnson, which screened May 7 of that year. Sophia Loren waves to well-wishers in 1964. Bogie and Bacall paired up and looking distinguished in 1957. John and Cynthia Lennon in 1965, and John with Yoko Ono in 1971. Every story John told on that second trip probably started with, “When I was here with the first love of my life...” until Yoko smacked him across the mouth. Rock Hudson and bicycle in 1966. Unidentified actresses pose on the beach in 1947. To the rear is the Hotel Carlton, mentioned in the Edith Piaf image, built on the Croisette and finished in 1910. George Baker, Bella Darvi (right—your right, not his), and an unknown acquaintance have a surfside run/photo op in 1956. Jayne Mansfield and Russian actress Tatiana Samoïlova enjoy a toast in 1958. Mansfield probably shared the story of how she once made Sophia Loren stare at her boobs, and Samoïlova said, “Cheers to you—well played, you provocative American minx.” French actor Fernandel, whose real name was Fernand Contandin, on his boat Atomic in 1956. Arlette Patrick figures out a different way to generate publicity—by walking her sheep on the Croisette in 1955. A pair of water skiers show perfect form in 1955, as a battleship floats in the background. Jeanne Moreau, for reasons that are unclear, poses on a banquet table in 1958. Most sources descibe this in such a way as to make it seem spontaneous, but we have our doubts. It's a great shot, though. Two unidentified women take in the scene from the terrace of the Hotel Carlton, 1958. This shot is usually said to portray two tourists, but the woman on the left is the same person as in the bikini lunch shot from earlier, which tells us she's a model or actress, and both photos are staged. Like we said, publicity is everything in Cannes.
Danielle Darrieux and Sophia Loren at the 11th Cannes Film Festival, 1958. Italian actress Monica Vitti chills on a boat in 1968. Aspiring stars catch some rays on the Croisette beach in 1955. The two large posters behind them are for The Country Girl with Grace Kelly, and Jules Dassin's Du rififi chez les hommes, both below. The renowned opera singer Maria Callas, 1960.
Crazy for feeling so lonely.
Above, two really nice West German promos for Roman Polanski's quasi-horror flick Ekel, better known as Répulsion, with Catherine Deneuve as a woman who goes crazy in the isolation of her apartment. We talked about this one briefly and shared two Japanese posters for it a while ago. After opening in France and the UK, the film received its debut for German viewers at the Berlin International Film Festival today in 1965.
May Britt is spotted in Triunfo magazine.
The Spanish magazine Triunfo wasn't the most graphically beautiful of magazines, but it did publish rare celeb photos, such as the colorful cover at top of an amazingly freckled May Britt, and the centerspread of Italian star Anna Karina. Elsewhere in the issue are shots from Marilyn Monroe's funeral, Paola de Bélgica's shopping spree, Ava Gardner's bullfight, and Catherine Deneuve's wedding, plus Betsy Drake, Cary Grant, James Dean, and current fashions. We've shared several of those rare Triunfo centerfolds in the past, and they're all worth a look. You can see them here, here, here, and here.
No matter how far she ran dissatisfaction followed close behind.
This gold colored June 1963 cover for Confidential magazine is entirely given over to actress Barbara Payton, whose self-penned hard-luck story appears inside and details her life troubles. The tale is well known and is one we’ve touched upon before—early marriage and early motherhood, followed by stardom, romances, and riches, followed by booze, drugs, divorces and crime. Confidential being Confidential, the editors neglect to mention that the story here is not an exclusive, but rather is excerpted from I Am Not Ashamed, Payton’s painfully revealing autobiography.
I Am Not Ashamed did not sell especially well, and was pretty much forgotten a few years after its release. But it reappeared by chance two decades later when Jack Nicholson famously lent a rare copy to Jessica Lange to help her prepare for her femme fatale role in The Postman Always Rings Twice. Today the book is widely available. Just a few seconds reading Payton’s words conjures the suspicion she had a ghostwriter, and indeed, it was the king of lowbrow literature Leo Guild who gave shape to the prose, which reads like gutter level sleaze fiction.
For example: “He hated what I had been [but] loved me for what I was. He tortured himself. Every part of my body reminded him of another man.” And this bit: “I had a body when I was a young kid that raisedtemperatures wherever I went. Today I have three long knife wounds on my solid frame. One extends from my buttocks down my thigh and needed I don’t remember how many stitches.” Payton’s anecdotes are cringe worthy, but they read like she’d gotten a grip on her life. No such luck. After four more long years of drugs, drink, and disaster she was found dead on her bathroom floor in 1967.
Payton post-mortems usually describe her problems as self-induced, but that’s simplistic. In the 1950s famous men did anything they wished, but women had to be careful not to be seen doing the same. Still do today. That’s the part Payton had problems with. Even so, she had several happy periods during her life. One of those was the stretch she spent in Mexico married to a young fisherman. About this time she says, “We fished and I caught big ones, and we loved and for a couple of years it was beautiful. My big problems were what to cook for dinner. But it was inevitable the ants in my pants would start crawling again.”
We like that passage, because nearly all the stories about Payton declare, or at least suggest, that everything that happened after Hollywood stardom was part of a terminal plummet. That’s pretty much the default setting in American journalism—anything other than wealth and fame is by definition failure. It’s an idiotic conceit, even a harmful one, and Payton reveals that in Mexico she landed someplace solid and safe, and got along fine without money or recognition. Two years of happiness is nothing to take lightly. But she just couldn’t sit still—not because of where she was, but because of who she was.
And the spiral continued—cheaper and cheaper forms of prostitution, physical confrontations that resulted in her getting some of her teeth knocked out, and more. In all of these tales there’s a recurrent theme of lowly types taking advantage of her, but we can’t help noting that she was paid a mere $1,000 for her autobiography, an absurdly deficient amount for a former top star with a crazy story to tell, which suggests to us that guys in office suites take as much advantage—or more—of a person’s hard luck as guys in alleys. We have some scans below, and Payton will undoubtedly appear here again.
It should have been a classic but is really just a wasted opportunity.
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.
Which is better—Deneuve or the chair?
That’s a rhetorical question, of course. But we do really like the chair. It's one of many fanciful confabulations by Quasar Khanh, the iconic Vietnamese designer who made his mark in Paris during the 1960s. 1969 on the photo, and quite rare.
Whisper promises a nude Elizabeth Taylor. Does it deliver?
Elizabeth Taylor nude! Those sneaks at Whisper raised the hopes of millions of readers who bought this March 1965 issue, but inside revealed that the whited-out silhouette on the cover with Richard Burton is in reality a wooden statue of Taylor made to promote her role in The Sandpiper. It was to be unveiled at a party aboard the Queen Mary, but producer Joseph E. Levine connived a way for the sculpture to be stowed below decks so his star Carroll Baker wouldn’t be upstaged. In the end, nobody at the party saw the Taylor statue and Carroll Baker—once again wearing that amazing dress, by the way—ruled the day.
Elsewhere in the issue readers are treated to a story about French gadabout Roger Vadim, who had been involved with Brigitte Bardot, Catherine Deneuve, and various other high profile women, but at the moment was with rising star Jane Fonda. Whisper outs Vadim on pretty much every bad act of his life and issues a dire warning to Fonda that she should get out of the relationship while she can. Fonda must not have listened, though, because she and Vadim were married for eight years and along the way made a classic movie called Barbarella and a daughter named Vanessa.
Whisper also tells the story of a girl cruelly sold into prostitution by her mother, shares the seedy career tribulations of a hard luck New Orleans stripper named Babs Darling, and exposes the vast flesh racket in Seoul, South Korea, where sex slaves from the “reeking slums” of the city were being purchased by American soldiers, some them “Negroes.” Best line: Themselves the descendents of slaves, they now own light-skinned slaves of their own. The next sentence should be, but isn’t—And white soldiers, many the descendents of slave owners, scoff: “Amateurs.” Scandal, irony, outrage, sex, death, crime, and plenty of casual racism—Whisper delivers it all. Nude Liz Taylor? Not so much. Scans below.
The headlines that mattered yesteryear.
1964—Mass Student Arrests in U.S.
In California, Police arrest over 800 students at the University of California, Berkeley, following their takeover and sit-in at the administration building in protest at the UC Regents' decision to forbid protests on university property.
1968—U.S. Unemployment Hits Low
Unemployment figures are released revealing that the U.S. unemployment rate has fallen to 3.3 percent, the lowest rate for almost fifteen years. Going forward all the way to the current day, the figure never reaches this low level again.
1954—Joseph McCarthy Disciplined by Senate
In the United States, after standing idly by during years of communist witch hunts in Hollywood and beyond, the U.S. Senate votes 65 to 22 to condemn Joseph McCarthy for conduct bringing the Senate into dishonor and disrepute. The vote ruined McCarthy's career.
1955—Rosa Parks Sparks Bus Boycott
In the U.S., in Montgomery, Alabama, seamstress Rosa Parks refuses to give her bus seat to a white man and is arrested for violating the city's racial segregation laws, an incident which leads to the Montgomery Bus Boycott. The boycott resulted in a crippling financial deficit for the Montgomery public transit system, because the city's African-American population were the bulk of the system's ridership.
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