French magazine celebrates essential American film genre.
A few years ago we used this image of German actress Dorothée Blanck as a femme fatale, but didn't scan the rest of the magazine in which we had found her. By now you know why—the pages of these old film mags are large and we have to scan them in halves and put them together in Photoshop or GIMP, which is time consuming, something that's a real problem for lazy people like us. But here we are three years later and we've finally done it. Above is the full cover of the issue of Cinémonde—“cineworld” in English—from which Blanck came.
Cinémonde was first published in October 1928 and ran until being interrupted by World War II in 1940. Post hostilities the magazine reappeared, running from 1946 until 1968, taking another pause, running again from 1970 to 1971, and finally folding for good. This issue hit newsstands today in 1965. Like other European magazines of the era, the main attraction with Cinémonde is that its photos generally have not been seen online before. This issue was devoted to the American western, and the subjects include some of the biggest cowboy stars in cinema history, including John Wayne, Glenn Ford, Clint Eastwood, and Jimmy Stewart.
That's the first half of the issue. Afterward editors move outside the western milieu, and you get Marlon Brando, David Niven, Francois Dorleac, Barbara Bouchet, Serge Gainsbourg, hair secrets of the stars, the top ten Don Juans of French cinema, and more. Do we have other issues of this magazine? You bet. We own a group that includes Cinémonde, Ciné-Revue, and others. Will we ever scan them? Well, we make no promises at this point, but you never know—maybe we'll splash out for a bigger scanner and solve the problem with money instead of effort. Seems to work for everyone else. Thirty plus images below.
She upgraded from broomsticks and black capes a long time ago.
This promo photo was made for the Italian anthology movie Le streghe, aka The Witches, and shows Italian actress Silvana Margano in costume as Giovanna, a bored housewife who imagines herself in elaborate fantasies. This particular fever dream, in the segment called “Una serata come le altre,” or “An Evening Like the Others,” lasts mere seconds, but Margano still makes an impression in her futuristic femme fatale garb. The segment is also memorable because it was directed by Vittorio de Sica and featured Clint Eastwood, but Margano was the star of the movie, appearing in all five witch-related portions as different characters. We may get back to it at some point. This photo is from 1967.
Famed movie cemetery rises from the dead.
Spaghetti westerns earned their name because they generally premiered in Italy and the studios that financed them were usually Italian, but the films were often predominantly shot in Spain. The climax of The Good, the Bad and the Ugly, with its unforgettable three-way gunfight between Clint Eastwood, Eli Wallach, and Lee Van Cleef, was shot outside the town of Santo Domingo de Silos, Spain, in the province of Burgos, in a unique circular cemetery put together by set builders. In the script it was called the Sad Hill Cemetery. After the shoot Sad Hill was abandoned, and soon nature began to overtake the set.
That would have been the end of the story, but a group of film fans calling themselves the Sad Hill Cultural Association decided Sad Hill was a historic film treasure deserving of resurrection, and pledged to rescue it from oblivion. Toiling in their spare time, they labored with pick, hoe, and shovel to clear the site. They needed money to accomplish the work, so they set up a crowdfunding campaign with a unique enticement—those who contributed would have their names inscribed on the restored grave markers. The restoration efforts are finally complete, and the famous graveyard has been returned to its former state.
Spanish filmmaker Guillermo de Oliveira shot a documentary about the salvation efforts, and hopes to release a film titled Sad Hill Unearthed. He's now trying to raise money to pay for the rights to clips and music from The Good, the Bad and the Ugly, with the plan to premiere thefinished product at film festivals and share the restorer's unique dedication with the world. Meanwhile Sad Hill will become not only a tourist attraction for people passing through the province of Burgos, but a destination for those who contributed to its renewal. As Oliveira commented, “It’s the only cemetery in the world where you can visit your own grave.”
Eastwood tries to teach a new dog old tricks.
Squirrelly young criminal Lightfoot, played by Jeff Bridges, is just the kind of guy you want to smack. Always running his mouth, never paying attention, totally wrapped up in himself. He picks up John Doherty, played by the older Clint Eastwood, and the two form a bromance. During their travels, Lightfoot learns that Doherty is a famed bank robber known as the Thunderbolt, for his usage of an anti-aircraft cannon to penetrate a bank vault. Thunderbolt has two ex-partners on his trail who are seeking a cache of hidden money from a previous job. The money is hidden behind a blackboard in an old, one-room schoolhouse, but when Thunderbolt and Lightfoot travel to the site of the school it's been replaced a modern new building.
The angry ex-partners eventually corral Thunderbolt and Lightfoot, but when they learn the money is gone, rather than exact revenge, they decide to pull off the same job, the same way, and maybe the loss of the other cash will be forgiven. The only snag is they have no way to finance the robbery—particularly the acquisition of another cannon. So they do what any career criminals would do—get jobs. They drive an ice cream truck, groom dogs, anything to earn cash. The question is never really whether they'll finance the heist, but whether their fragile coalition—which is strained by mistrust from the loss of the previous bank loot, as well as by Lightfoot's grating antics—can hang together.
Jeff Bridges' Oscar nominated performance is a reminder that Millennial, Generation X, Beat Generation, et al, are just marketing terms used for social engineering. Every young generation is infuriating to the older ones. It's genetic, not social. Lightfoot is impatient, oblivious, andrude—like someone raised on mobile devices, only decades before those existed for people to focus their ire upon. A constant underlying concern is whether he will finally go too far and get his ass seriously beaten, or maybe even get killed. He's likeable, of course, but he's also a protagonist. If you met him on the street you'd wonder if he was ever dropped on his head as an infant—and then proceed to drop him on his head. And no—he doesn't turn out to be secretly a criminal genius. He's exactly the constant annoyance he seems.
Though Thunderbolt and Lightfoot isn't film noir, it's full spectrum entertainment, with laughs, thrills, and a touch of sex, as well as just enough menace to keep viewers on edge. But we don't think Noir City patrons will walk away from the screening 100% pleased. We get that they're being asked to think outside the box, but there's a pretty wide gap between noir, with its beautiful visual palette and nostalgia invoking cultural stature, and a ’70s road thriller, with its dusty look and twangy country music soundtrack. Thunderbolt and Lightfoot is a great movie in the wrong festival, in our view. As a side note, the promo poster, which we're sure you've noticed is high quality, was painted by Ken Barr, who was a respected comic book and promo artist for many years. You can read a bit more about him here.
Who needs a name when none of your enemies survive to remember it anyway?
There are precious few movies that truly age well, and far fewer series. But like the Clint Eastwood spaghetti western series colloquially known as the Man with No Name Trilogy, these Japanese posters have stood the test of time. From top to bottom they are for A Fistful of Dollars, aka Koya no yojimbo, For a Few Dollars More, aka Yuuhi no ganman, and The Good, the Bad, and the Ugly, aka Zoku yuuhi no ganman. There are some who say Eastwood’s character actually has a name in these films, but we beg to differ. In the first he’s referred to once as Joe, which is a name, yes, but more likely is a tag, like calling him “hotshot,” or “buddy.” In the second he’s referred to as Manco, which colloquially means “one armed” in Spanish. And in the third film he’s referred to as Blondie. But whatever his real name was, probably everyone thought of him the same way—as trouble.
Sandro Symeoni proves once again that his poster art is unparalleled.
While we’re aware that web searches generate different results depending on the where and when, we were still a bit thrilled when we did a random search today on Italian poster artist Sandro Symeoni and came up as the number one result. That has to do with having featured his art in three different posts over the last couple of years. Today, we have another rare Symeoni, a piece of production art he painted for the Clint Eastwood western A Fistful of Dollars in 1964. It’s truly brilliant. We also located several more of Symeoni’s posters and uploaded those below. Symeoni died in 2007. There was a posthumous exhibition in Italy last year that raised his profile a bit, and we suspect collectors will focus on his work even more in the coming years. If you want to see a bit more on him, definitely do so at our previous posts here, here, and here.
One more crack about my afro and you’re history punk.
While we’re on the subject of screen legends, here’s one from a different era—Clint Eastwood, on a Japanese poster for Magnum Force, second installment in his five-part Dirty Harry franchise. Having watched Eastwood’s middle-aged disciplinarian Harry Callahan bust caps on various hapless San Francisco miscreants in installment one, seeing him begin to understand in chapter two that corruption starts at the top feels like witnessing major personal growth. It’s just the realization you’d expect him to have given the time period—America’s cherry had been popped by Watergate and Callahan now personified the country's fresh understanding of reality. The series would eventually loose steam, but Magnum Force strikes a balance between the old reactionary Callahan and the new mature one that makes the film the best in the franchise, in our opinion. It opened in the U.S. thirty-seven years ago this month.
The headlines that mattered yesteryear.
1984—Marvin Gaye Dies from Gunshot Wound
American singer-songwriter Marvin Gaye, who was famous for a three-octave vocal range which he used on hits such as "Sexual Healing" and "What's Going On," is fatally shot in the chest by his father after an argument over misplaced business documents. Gaye scored forty-one top 40 hit singles on Billboard's pop singles chart between 1963 and 2001, sixty top 40 R&B hits from 1962 to 2001, and thirty-eight top 10 singles on the R&B chart, making him not only one of the most critically acclaimed artists of his day, but one of the most successful.
1930—Movie Censorship Enacted
In the U.S., the Motion Pictures Production Code is instituted, imposing strict censorship guidelines on the depiction of sex, crime, religion, violence and racial mixing in film. The censorship holds sway over Hollywood for the next thirty-eight years, and becomes known as the Hays Code, after its creator, Will H. Hays.
1970—Japan Airlines Flight 351 Hijacked
In Japan, nine samurai sword wielding members of the Japanese Communist League-Red Army Faction hijack Japan Airlines flight 351, which had been en route from Tokyo to Fukuoka. After releasing the passengers, the hijackers proceed to Pyongyang, North Koreas's Mirim Airport, where they surrender to North Korean authorities and are given asylum.
1986—Jimmy Cagney Dies
American movie actor James Francis Cagney, Jr., who played a variety of roles in everything from romances to musicals but was best known as a quintessential tough guy, dies of a heart attack at his farm in Stanfordville, New York at the age of eighty-six.
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