Hong Kong sexploitation epic isn't very good, but give it credit for ripping the scab off a historical wound.
Above is a poster for the sexploitation flick Nu ji zhong ying, known in English as The Bamboo House of Dolls, and to get right to the heart of the matter, this one must have set Sino-Japanese relations back a few years. The film stars Danish actress Birte Tove as a nurse in Hong Kong who during World War II gets corralled along with her co-workers into Japanese Women's Concentration Camp 13, there to undergo various indignities before finally deciding that escape is her only option. You know the drill. Tove is the marquee attraction, but the film is largely cast with Hong Kong actresses such as Lee Hye-Sook, Hseih Wang, and others, which means that while the movie resembles entries in the women-in-prison sub-genre—with the scheming wardeness, lesbian sex, group showers, and half-cocked escapees made into examples of what not to do while in a tropical women's prison—the obvious historical context of Japan actually sexually abusing Chinese women during the war gives it an underlying grimness that's hard to ignore.
We suspect that if this were made today it would spark an international crisis, insults traded by high ranking officials on Twitter, and possibly diplomats kicked out of China and Japan, but 1970s filmmakers did not shy away from uncomfortable subject matter—and this is about as uncomfortable as it gets. That isn't the problem, though. Well, that isn't the problem for us. The objective problem is the movie is just bad. Legendary Hong Kong producers the Shaw Brothers (and by legendary we mean Run Run Shaw would be knighted in 1977) wanted to copy Jack Hill's women-in-prison movies The Big Bird Cage and The Big Doll House, but possibly overlooked the fact that setting such films in imaginary Central American hellholes as Hill did was worlds away from making the Japanese villains in a historically laden sexual abuse epic. But what do we know? Run Run got knighted, not us. In any case, Tove's escape plan runs into some snags, but we won't reveal what those are, just in case you're in the mood for politically explosive titillation. Our advice? Give it a pass. Nu ji zhong ying premiered in Hong Kong today in 1973.
I get the feeling there's history here. Since I'm from Denmark, maybe I can I just leave?
Calcutta is heavy on looks but light on substance.
We'll tell you right out that Calcutta came very close to being an excellent movie, but doesn't quite get over the hump. It deals with a trio of pilots flying cargo between India and China on fictional China International Airways. The trio, Alan Ladd, William Bendix, and John Whitney, stumble upon a highly profitable international smuggling ring and quickly find that the villains play for keeps. Along with the fliers, the film has Gail Russell as Whitney's girlfriend, and June Duprez as a slinky nightclub singer. While the exotic setting marks the film as an adventure, it also fits the brief as a film noir, particularly in Ladd's cynical and icy protagonist.
As we said, the movie isn't as good as it should be, but there are some positives. Foremost among them is Edith King as a wealthy jewel merchant. She smokes a fat cigar, the masculine affectation an unspoken but clear hint of her possible lesbianism, and with a sort of jocular grandiosity simply nails her part. Another big plus is the fact that the miniature work (used in airport scenes), elaborate sets and props, and costumed extras all make for a convincing Indian illusion—definitely needed when a movie is filmed entirely in California and Arizona (Yuma City and Tucson sometimes served as stand-ins for exotic Asian cities, for example Damascus in Humphrey Bogart's Sirocco).
On the negative side, Calcutta has two narrative problems: the head villain is immediately guessable; and Russell is asked to take on more than she can handle as an actress, particularly as the movie nears its climax. Another problem for some viewers, but not all, is that the movie has the usual issues of white-centered stories set in Asia (or Africa). However, within the fictional milieu the characters themselves seem pretty much color and culture blind, which isn't always the case with old films. Even so, the phalanxes of loyal Indian servants, and the dismissiveness with which they're treated—though that treatment is historically accurate—probably won't sit well with a portion of viewers.
Here's what to focus on: Alan Ladd. He's a great screen presence, a solid actor in the tight-lipped way you often see in period crime films, and the filmmakers were even smart enough to keep him shirtless and oiled for one scene. We swear we heard eight-decade-old sighs on the wind, or maybe that was the Pulp Intl. girlfriends. They'd never seen Ladd before, but immediately became interested in his other films. We were forced to tell them he was a shrimpy 5' 6” and they were a bit bummed. But he had it—and that's what counted. His it makes all his films watchable, but doesn't quite make this one a high ranker. Calcutta had its official world premiere in London today in 1946.
When someone says they're playing the role of their life they usually mean it figuratively.
This nice photo shows actress and singer Li Xianglan, aka Li Hsiang-lan, and based on her name you'd guess she's Chinese, but she was actually Japanese and her real name was Yoshiko Yamaguchi. Early in her career the Manchukuo Film Association noted that she had grown up in Manchuria and was fluent in Mandarin, so they decided to hide her Japanese origin, which made it possible for her to star in Japanese films posing as Chinese. The purpose was to make films promoting certain Japanese ideologies, disseminated onscreen by someone the Chinese public saw as one of their own. In other words, at a time when Japan had invaded and occupied part of China, she starred in propaganda films.
The ruse wasn't perfect. People Xianglan worked with figured out she was Japanese, but the Chinese public didn't know until 1946, when she was arrested after the Second Sino-Japanese War as a collaborator. She avoided execution only by revealing her Japanese identity to the Chinese court. It's a long and interesting story, but we won't get into it here. We'll note, though, that her tale didn't end there. She became a journalist in the 1950s using the name Yoshiko Otaka, and was elected to the Japanese parliament in 1974, where she served eighteen years. Quite an autobiography. The photo above was made to promote her 1957 film Shénmì měirén, aka Lady of Mystery. Indeed.
Sexplay goes south in a big way for cock cage gamesters.
Everything—truly everything—is going digital. We're thrilled to inform you that they finally upgraded the cock cage. We're surprised we missed this tech bombshell when it happened a while back, but finding out late is better than never. Longtime readers will know right away why we had to write about this, because they'll remember the Pulp Intl. cock cages. For newer visitors, back when we bothered putting ads on our website, for a few months we accepted the filthy but spendable lucre of a manufacturer of cock cages. They're metal devices designed to keep your junk trunked, and the idea is to prevent erections, bdsm style, for purposes of denial or punishment. Fun, right?
Now it seems there's a digital version, remotely controlled, compatible with the internet of things. The device, seen above, is called the Cellmate. It's from China-based manufacturer Qiui, and basically you slide this puppy on, lock it, and give someone else the code—and the power over whether to unleash your kraken. This is a quantum leap in sexual discomfort. Back during the analog cock cage days you'd whine to your master or mistress in person to set your peehole free. Now you text them. Maybe send them a frowny emoticon. And somewhere, near or far, they tap a code into their phone and it's sweet release for you.
Except some cheeky hacker found a security flaw and kept an unknown number of unlucky willies locked up against their will. What can you say? Hackers gonna hack, right? And they weren't content just to harass and terrify. They also demanded bitcoin ransoms, and sent messages to the effect of, “Your cock is mine now.” We don't know how many dismayed consumers lost their digital innocence through this scam, nor how many—if any—paid the ransom, but we would. Fuck yeah we would. We'd pay plenty. But we're happy to say it could never happen. The only people who keep our cocks locked up are the Pulp Intl. girlfriends.
Analog cock cage with cheap dime store lock. Digital cock cage with encrypted security. Which would you choose?
China figures out how to kiloton of people.
This photo shows the first Chinese nuclear device, detonated today at Lop Nur in 1964. The U.S., Russia, France, and England were already members of the worst club ever devised—the nuclear club, the one aliens will write into the galactic history books as proof of humanity's inferior intelligence. China's tower mounted bomb was about the size of the U.S. bomb dropped on Hiroshima, a mere balloon pop. For the sake of comparison, the most powerful nuke ever detonated exploded with the power of 57 million tons of TNT, more than 1,500 times the destructive power of the Hiroshima and Nagasaki bombs combined. Put another way, it was ten times more powerful than all the munitions expended during World War II. Put still a third way, its shockwave circled the entire Earth three times. China very well might build a bomb like that too one day. Just to be like the cool kids. See another image of the above test here.
It's all skin no wit as tabloid stumbles along on its last legs.
It's July 14, 1974 and it's getting late in the game for National Informer. This issue shows that the magazine is exhausted of ideas and inspiration, and is bereft of all but the crassest humor. We suspect staff reductions. As magazines decline in circulation they lose pages and bleed staff. This issue is a full eight pages shorter than two years earlier. We aren't sure how much longer Informer lasted, but by this point the writing seems to be on the wall.
One mainstay, though, is resident seer Mark Travis, who offers his thoughts about the far future, predicting that Greenland will become the next frontier by 2050 due to underground volcanoes turning it into a tropical paradise, and Brazil will become a world power by 2075, ranking only after the U.S., China, and the U.S.S.R., thanks to cheap labor and the vast resources of the Amazon.
This guess is not far wide of the mark. The current president of Brazil is selling off the Amazon. But Travis's prediction is undermined by the fact that the U.S.S.R. no longer exists. Future visions tend to be notoriously select, but a non-U.S.S.R. future should be glaringly readable even within swirling clairvoyant mists. Well, no seer is perfect. Maybe Travis will do better in the next issue. You'll find out, because we have more to come.
Forget it, Jake. It's Tinseltown.
We were poking around the architecture forum skyscraperpage.com and ran across this interesting photo of a billboard advertising the film Chinatown. This was located in Los Angeles at the intersection of Sunset Boulevard and Marmont Lane, and as you can see it touts the opening of the film today in 1974. We lived on the west side of L.A. for four years, and used to pass this spot occasionally. Marmont Lane winds to the right toward the famed Chateau Marmont Hotel, where luminaries such as Howard Hughes, Natalie Wood, Elizabeth Taylor, and James Dean once made the scene, and a couple met their ends, including Helmut Newton and John Belushi.
We knew the intersection was one of the city's most important billboard spots and wondered what else had been advertised there. So we had a look. We expected to find an assortment of examples, but it turns out the locale was so coveted a relative few companies monopolized it. The first was the Sahara Hotel in Las Vegas, which erected a sign there in 1957, complete with a rotating showgirl and an illuminated marquee listing the headlining acts.
The sheer novelty of the sign helped establish the heavily trafficked intersection as one of L.A.'s go-to spots for promotion, and the sign itself became a landmark. In fact, in 1961 Jayne Mansfield unveiled a Rocky and Bullwinkle statue across the street that was inspired by the Sahara showgirl. It was commissioned by Jay Ward, producer of the television series Rocky and His Friends, for the opening of his office complex.
After the Sahara moved on in 1966 the location was divided into two-tiered advertising. For almost three decades the iconic Marlboro Man towered above the intersection on the higher billboard, first on a horse, and later sans mount. During the time Chinatown was advertised Mr. Marlboro was standing vigil above. The lower location hosted ads for Stroh's and numerous other products, but was a particularly popular home for movie billboards. We found shots of billboards for Looking for Mr. Goodbar, Black Sunday, and other popular films of the 1970s.
Tens of thousands of billboards dot the Los Angeles landscape, especially around Hollywood. An uptick of political billboards has some Angelenos considering whether these objects are more akin to visual pollution. They're already illegal in entire U.S. states, including Hawaii and Maine. We always thought they further cluttered an already chaotic landscape, but we imagine they will survive in Los Angeles longer than almost anywhere else in the U.S. Tinseltown is a place where you don't get people's attention unless you scream for it. Nothing screams better than a well placed billboard.
In mid-century action magazines trouble always has a woman at its center.
Adventure for Men is new magazine for us, part of a group a friend couriered over from the U.S. last year. The art in this April 1968 issue is uncredited in the masthead, but two spreads are signed by Howell Dodd. The stories range from tales of wild 1890s San Francisco to uncharted Madagascar to your nearby nudist camp. And of course, par for the course for such publications, all the adventures seem to revolve around women, which makes them miss-adventures, so to speak. But we'll admit we haven't read all of the magazine yet. The piece “Sex Mistakes Most People Make!” for example. We figured we're better off not knowing.
But we did read the story on the sex camps of the Red Chinese. In times of stress people will believe anything, and there was no greater time of stress than the Cold War, a period during which most people feared they were seconds away from nuclear incineration. We're all still potentially seconds away from nuclear incineration, but back then those fears were openly exploited for political gain and monetary profit by con artists as diverse as the U.S. government and the New York City tabloid industry. Adventure for Men joins in the fun with its China sex camps tale.
During the 1960s, when Chinese were already suffering from both famine and widespread state violence, many were sent to prison camps to work and be re-educated. Conditions were generally awful, and often life threatening. Inmates were cold, underfed, besieged by vermin, and physically abused. As terrible as all that is, it still isn't enough for Adventure for Men, as journalist Alexander Ford takes the harrowing story of Chinese dissident Kuo Chung-hsaio and his wife and inflates it into sleaze fiction. Oh yeah. Political imprisonment can be erotic. All Reds are perverts. But the “sex camps” trumpeted on Adventure for Men's cover refers not to any state sanctioned sexual abuse. That accusation is never made. No—it refers to a specific voyeuristic prison official.
This official would not let Chung-hsaio see his wife unless the couple had sex while he was in the room watching. Chung-hsaio describes through Ford how humiliating and horrible the experience was, though he neglects to explain how he and his wife were even able to sexually function with their tormentor staring from the corner. Naturally, in the end it's the official's deviancy that creates the opportunity for the couple's daring escape. Do we buy this titillating tale of how a jailer got his rocks off, let his guard down, and ended up permanently cooled by Chung-hsaio's righteous hand? Not even a little bit. It's right from Hollywood's b-movie playbook—smash cut and they're out. But we'll admit that for short form sleaze it's actually pretty good. Scans below.
That was interesting. Next time can we just do it the normal way?
There's no festish sex or podophilia in With Naked Foot. This is actually a serious novel about whites coming to ruin in Africa, which is a crowded literary niche, but one in which Emily Hahn carved out an important place for herself. In fact, maybe the adjective “Hahnesque” should be used alongside “Hemingwayesque.” This is a person who wrote fifty-four books and more than two hundred articles and short stories, whose works were significant in romanticizing Africa and Asia for western readers, who lived in Florence and London in the mid-1920s, traveled to the Belgian Congo where she worked for the Red Cross, lived with a pygmy tribe for two years, crossed Central Africa alone on foot, and journeyed to Shanghai where she taught English for three years while becoming acquaintances with political powerhouses the Soong Sisters and the Chinese poet Zau Sinmay. With Naked Foot is, therefore, unusually well informed. It revolves around a beautiful Congolese girl named Mawa whose relationships with various lustful white men bring disaster. The reviews were rapturous, though some critics protested that it was too focused on sex. That's never a complaint you'll hear from us, though some of the usual flaws of mid-century racial fiction are evident. The cover art on this Bantam paperback was painted by an unknown, and the copyright is 1951.
The headlines that mattered yesteryear.
1918—U.S. Congress Passes the Sedition Act
In the U.S., Congress passes a set of amendments to the Espionage Act called the Sedition Act, which makes "disloyal, profane, scurrilous, or abusive language" about the United States government, its flag, or its armed forces, as well as language that causes foreigners to view the American government or its institutions with contempt, an imprisonable offense. The Act specifically applies only during times of war, but later is pushed by politicians as a possible peacetime law, specifically to prevent political uprisings in African-American communities. But the Act is never extended and is repealed entirely in 1920.
1905—Las Vegas Is Founded
Las Vegas, Nevada is founded when 110 acres of barren desert land in what had once been part of Mexico are auctioned off to various buyers. The area sold is located in what later would become the downtown section of the city. From these humble beginnings Vegas becomes the most populous city in Nevada, an internationally renowned resort for gambling, shopping, fine dining and sporting events, as well as a symbol of American excess. Today Las Vegas remains one of the fastest growing municipalities in the United States.
1928—Mickey Mouse Premieres
The animated character Mickey Mouse, along with the female mouse Minnie, premiere in the cartoon Plane Crazy, a short co-directed by Walt Disney and Ub Iwerks. This first cartoon was poorly received, however Mickey would eventually go on to become a smash success, as well as the most recognized symbol of the Disney empire.
1939—Five-Year Old Girl Gives Birth
In Peru, five-year old Lina Medina becomes the world's youngest confirmed mother at the age of five when she gives birth to a boy via a caesarean section necessitated by her small pelvis. Six weeks earlier, Medina had been brought to the hospital because her parents were concerned about her increasing abdominal size. Doctors originally thought she had a tumor, but soon determined she was in her seventh month of pregnancy. Her son is born underweight but healthy, however the identity of the father and the circumstances of Medina's impregnation never become public.
1987—Rita Hayworth Dies
American film actress and dancer Margarita Carmen Cansino, aka Rita Hayworth, who became her era's greatest sex symbol and appeared in sixty-one films, including the iconic Gilda
, dies of Alzheimer's disease in her Manhattan apartment. Naturally shy, Hayworth was the antithesis of the characters she played. She married five times, but none lasted. In the end, she lived alone, cared for by her daughter who lived next door.
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