If she were architecture she'd be streamline moderne.
Above, a Columbia Pictures promo image of Dutch actress Nina Foch made for her 1949 drama Johnny Allegro. She looks like she's getting her gloves on for some shady activity or other, which fits, since in the movie she plays a woman with a very mysterious background. We may revisit the subject later. In the meantime you can see another Foch photo here.
Welch proves indispensable to yet another ’60s caper flick.
Above you see a promo poster for 大泥棒, or “Great Thief,” made for the 1968 Raquel Welch/Robert Wagner caper flick The Biggest Bundle of Them All. The U.S. poster was painted by master illustrator Robert McGinnis, but we decided to show you the Japanese art instead because it's rare. There are two more Japanese promos below that are also rare. We'll get to the McGinnis version later. In the film, Wagner and his henchmen kidnap an elderly Italian gangster played by Vittorio De Sica and hold him for ransom. Problem is he has no money. At first they don't believe him, but when it finally becomes clear he's broke, Wagner and Co. try to cut bait. But De Sica is terrified all Italy will find out he couldn't pay his own ransom. His reputation would be ruined. So he convinces his kidnappers to join him in a swindle that will maintain his reputation, make him rich again, and earn the kidnappers more money than they ever imagined. De Sica becomes the boss of his own abductors.
For a crime-comedy, it's an ingenious premise, which makes it a shame it wasn't original. Another movie with an almost identical plot called The Happening was in production at Columbia, and when the studio got wind of The Biggest Bundle of Them All it threatened to sue. Metro-Goldwyn-Mayer agreed to give Columbia a cut of Bundle's profits and a legal bloodbath was avoided, but in the same way De Sica's big caper doesn't exactly play out perfectly, Bundle's profits didn't blow the roof off MGM headquarters as planned. And no wonder. It wasn't just the script that wasn't original—the film falls into the same category as continental crime capers like Charade, To Catch a Thief, and Topkapi, and those make for crowded and treacherous cinematic waters. Bundle isn't sophisticated enough, or exciting enough, or infused with enough sexual chemistry to compete with better films of its ilk.
Speaking of sexual chemistry, Welch is naturally the big attraction of any movie she's in, and we've seen enough of her work now to understand that she was more of a persona than an actress during this mid- to late-’60s period. In film after film she basically played herself. Here she smiles and quips and poses, and it's all very Welchian in that groovy way her fans had come to expect—bikinis, lingerie, go-go dancing and all. The movie would be worth far less without her. There are also supporting appearances by Edward G. Robinson and Femi Benussi, while future blaxploitation icon Godfrey Cambridge is one of the kidnappers, so there's plenty for stargazers to enjoy here, but we can't call the movie a success. If you have nothing to do some evening, it might give you a few smiles, but not a bundle of them. After premiering in the U.S. in 1968, The Biggest Bundle of Them All opened in Japan today in 1968.
Famed director ends up with too many cooks in his kitchen.
The film noir The Lady from Shanghai, starring Hollywood icons Rita Hayworth and Orson Welles, and directed by Welles, premiered in 1947 but reached Australia today in 1948, with this stunning promo poster having been distributed Down Under to help attract audiences. This film had amazing promos in many countries, some of which we'll show you later, and they all spelled Welles' last name correctly, which this one didn't. All the brilliant poster work around this movie is ironic, because Harry Cohn, who was the shot-caller at Columbia Pictures, hated it. He even shelved the flick for a year while he waited for what he deemed to be the best date to release it. When he finally did, what audiences saw was a radically altered version of Welles' original edit.
What did Cohn specifically hate about the film? Foremost there was its length, which was 155 minutes, and which Cohn ordered condensed, with the final running time coming to a mere 88 minutes. He also felt Hayworth didn't have enough close-ups, so he had those shot during extensive re-takes. Hayworth also didn't have a song, which was standard for film noir leading ladies, so Cohn had a number added and had Hayworth's voice dubbed. He hated the lighting, which he felt was a negative result of Welles choosing location work over controlled studio conditions. And he especially hated that Hayworth had agreed to chop off her auburn hair and dye it platinum. The list goes on but you get the point—clashing creative visions. Nothing new in Hollywood.
The Lady from Shanghai finds Welles playing a typical film noir schmo who falls in love with a femme fatale and is drawn into a murder plot. Other familiar film noir tropes include a trip to Mexico (not in the original novel by Sherwood King) and a tense court showdown. But what's decidedly uncommon here is Welles' visual mastery of the cinematic form. His abilities there have been exhaustively discussed and are in no way overrated, but visuals are only part of the filmic equation. There's also narrative pace and story cohesion and emotional tone, and those are areas where the movie runs into a bit of trouble. Since Welles' cut was so much longer (and presumably better) than what has ever been seen by the public, many of those problems were probably introduced by clumsy third parties.
But we can only judge what we see. Since all that missing footage is thought to have been destroyed, it takes a major leap of faith to see a masterpiece in what Welles himself thought was a diced up travesty of his original vision. We don't understand how anyone can truly revere him, yet disregard his artistic opinion. But that's exactly what some contemporary film writers do. We recently read a review that discussed how well the visuals and music work together, but Welles hated the score, which he had no control over and which lacked the subtlety he wanted it to have. We suggest that a critic is trying way too hard when they lavish praise upon a director for something he didn't even do. Welles was a genius—agreement on that point is universal. But even geniuses are not so magical that their abilities can overcome the artistic myopia and careless scissors of studio heads.
The Lady from Shanghai received mixed reviews when released, and ultimately, those reviews strike us as fair. There's plenty here worth seeing, particularly the ravishing Hayworth and nice location work in Acapulco and Sausalito, and of course Welles makes shots like Steph Curry makes 3s. But even so, the final result is good but not great. Not a failure, but not a top notch film noir. Calling The Lady from Shanghai one of the best of the genre is just unfair to the many, many great noirs that were made. Still, if you're a noir fan you should see it. And we're confident you'll enjoy it like we did. On the other hand, if you've never watched a film noir and this happens to be first one you see, we can easily picture you giving a shrug and drifting away from the genre, never to return.
Good thing they were both professional actors. They could act like this wasn't weird.
We have a feeling this promo image of Glenn Ford and Gloria Grahame made for their 1953 film noir The Big Heat never got published. Handout photos such as these were provided by studios—in this case Columbia Pictures—to the press for usage when writing about various movies, but what newspaper or magazine would have used this? It's beyond provocative for back then, and in fact its bizarre, coercive feel would make the internet explode even today, were any two stars to pose in this way. Amazingly, promos for vintage thrillers often featured female stars sitting or kneeling within phallus range. In fact, we've seen enough to consider putting together a collection. We'll give that some thought while you glance at another example we shared a while ago.
Spanish art for Casa número 322 may have traveled far from home.
We already showed you a beautiful yellow French promo poster for 1954's Pushover, starring Fred MacMurray and Kim Novak. Above is a cool blue Spanish language promo. This piece is signed MCP, which is the imprimatur used by the Spanish artists Ramon Marti, Josep Clave, and Hernan Pico. So is this a Spanish poster? Well, most online sites say so. But the distributor for Mexico is listed as Columbia Films S.A., and you can see that graphic right on top of the poster. The S.A., by the way, stands for “sociedad anónima,” and is a corporate designation, kind of like Inc., or LLC. The movie's distribution company for Spain is on record as plain old Columbia Films, with no S.A., so we think this poster was used in Mexico, where the movie played as La casa número 322, “house number 322.” There's no exact Mexican release date known for it, but late 1955 is a safe bet. All that said, there's no way we can claim to be correct with 100% surety that this is a Mexican poster. We're extrapolating.
Columbia had distribution branches in various Latin American countries. Its Mexican hub was the most important because Mexico had the most developed Spanish film market in the world. Yes, more than Spain, which was still recovering from civil war. Though dubbed or subtitled versions of foreign movies were routinely shown in Mexico, locally produced flicks were about 20% more popular at the box office on average, according to a 1947 report circulated by the U.S. Consulate in Monterrey. In fact, Mexican films were the most popular in all Latin America, particularly Cuba. Even in Mexico City, where U.S. and European films were more popular than anywhere else in the country, Mexican films took up more than 40% of exhibition time—again as reported by the U.S. Consulate. Why was the consulate studying this? Just wait.
The Mexican movie market isn't as competitive today. The decline was due to three main factors: political pressure that forced Mexico to submit to so-called free trade in mass media, suspicious difficulties obtaining raw film stock from the U.S. for movie productions, and, of course, dirty business tactics by Stateside studios. So that's where the consulate came in—gathering intelligence for both the U.S. government and U.S. business interests. Armed with alarming data about local preferences for local product, U.S. studios forced Mexican exhibitors into “block booking” agreements, which meant that if cinemas wanted to exhibit the best Hollywood films they were also contractually obligated to take on the worst. This was repeated all over Latin America, and those bad films, which were more numerous than the good ones, ate up exhibition hours and kept Mexican films off screens. Pushover, at least, was one of Hollywood's better films.
In Hollywood a good name is half the battle.
She had one of the most memorable monikers in Hollywood history. She appeared in more than sixty films, scores of television shows, and probably a couple of dozen television movies too, and all without very much in the way of serious studio push. She did have a contract with Columbia Pictures, but many of her appearances were uncredited. Nevertheless she worked steadily for forty years, which a lot of bigger stars can't say. She was born Jean Marie Donnell but she acted as Jeff Donnell—not a name you'd easily forget—and this photo shows her in 1942.
What does Rita Hayworth wear under her skirt? Advertising!
This unique Columbia Pictures promo image was made for Rita Hayworth's 1952 thriller Affair in Trinidad. It reunited Hayworth with co-star Glenn Ford in a attempt to recapture the magic of their 1946 blockbuster Gilda. It didn't quite work, but this promo is inspired.
She doesn't want to see, and you probably don't want her watching.
This poster of Sophia Loren was made to promote her drama Donna del fiume, aka The River Girl, and as we observed when we watched the movie a couple of years ago, only in cinema could backbreaking labor (harvesting rice by hand) make someone look like Loren. The poster is what we usually call panel length, which means it's about the right size to hang on a door, for instance in your bedroom. And Loren has exactly the facial expression you'd expect after seeing what you do in there. Columbia maybe should have manufactured a poster of her smiling and giving a thumbs up, but we love this promo anyway because even when Loren looks repulsed she looks great. Donna del fiume premiered today in 1954 and you can read what we wrote about it here.
Tarzan gets fully dressed but remains king of the naked jungle.
A killer ape, eh? Since the film opens with crocodiles getting axed to death—in real life—killer humans is more like it. Well, these old African wilderness flicks are never kind to animals, whether chimps, big cats, or what-have-you. The point of the croc massacre is that they're sick and have to be put down. Nobody can understand what's wrong with them, but it turns out an evil white scientist is testing bioweapons on wild animals. Wait—did we single him out as white? The distinction is meaningless, since everyone in the film is white or white-ish. That's what happens when deepest, darkest Africa is in reality a backlot in Simi Valley. In any case, someone needs to figure out why the crocs are sick. Who can do it? Why Jungle Jim, of course, played by Johnny Weissmuller. After years running around in a loincloth as Tarzan he got chubby enough that his body needed to be covered, so he slid into a new role as the khaki-garbed, pith-helmeted Jim, and for thirteen films did more or less the same things he did in twelve Tarzan films except yodel and swing on vines. The killer ape of the title is actually an ape/man hybrid, played by 7'7'' ex-wrestler Max Palmer in a pimp's fur coat and a putty nose. He lurches around uprooting trees like a one man lumber company and absorbing bullets with no ill effects. But though he's bulletproof, he isn't Weissmullerproof. Really, who among us can claim to be? The man subdued an entire continent, so certainly one pimped out wrestler isn't going to offer much resistance. Killer Ape is preposterous, but at least it has numerous unintentional laughs. It premiered in the U.S. today in 1953.
Stand back everyone. When I strip down to my fifteen-year-old Tarzan loincloth you don't want to be anywhere downwind, trust me.
So I had wardrobe trim this coat to expose my knees. Even during my wrestling days these sweet babies were my calling card.
Cut! Max, the camera is over here to your right. Can we get a hairdresser to trim the man-ape's bangs, please?
The name is Jungle Jim! Call me Junk Food Jim one more time! Just once! I dare you!
You know, even with this highly authentic costume I'm still not feeling very African. Maybe some cornrows.
It's about this long, give or take. I know that sounds like every man's dream, but size also brings real issues with it.
Hah hah, no, you're light as a feather, Carol. A feather that's been packing in high calorie Columbia Pictures catering for a few weeks, but still feather-like.
Just like you, Tarzan, I wear nothing under my costume. When I sit on your big ugly head those bristly things on your eyes will be my nuts.
She had every reason to smile.
This photo shows U.S. star Kim Novak and it appeared in the men's magazine Escapade in April 1957 in a feature titled “Love Goddess: 1957.” The idea was simply that Novak was the biggest new sex symbol of the year, and the spread featured a half dozen shots. The one above is the best of the bunch, in our opinion. Since Novak had become spectacularly famous in 1956, had won a Golden Globe in 1955, and had begun scoring important co-starring roles in 1954, and because we can assume her studio Columbia Pictures wouldn't have wanted her to be associated with a cheesecake magazine, we can safely guess the Escapade photos predate her 1954 Columbia contract. They probably came from some obscure photographer who suddenly realized he had valuable commodities in his archives. Escapade doesn't give a date, but we'd say Novak looks about twenty. In Hollywood, stardom means old photos will always come out unless preemptively purchased by the star themself. The same thing happened to Marilyn Monroe when she got famous, except her photos were early nudes. Novak's were early smiles.
The headlines that mattered yesteryear.
1934—Arrest Made in Lindbergh Baby Case
Bruno Hauptmann is arrested for the kidnap and murder of Charles Lindbergh Jr., son of the famous American aviator. The infant child had been abducted from the Lindbergh home in March 1932, and found decomposed two months later in the woods nearby. He had suffered a fatal skull fracture. Hauptmann was tried, convicted, sentenced to death, and finally executed by electric chair in April 1936. He proclaimed his innocence to the end
1919—Pollard Breaks the Color Barrier
Fritz Pollard becomes the first African-American to play professional football for a major team, the Akron Pros. Though Pollard is forgotten today, famed sportswriter Walter Camp ranked him as "one of the greatest runners these eyes have ever seen." In another barrier-breaking historical achievement, Pollard later became the co-head coach of the Pros, while still maintaining his roster position as running back.
1932—Entwistle Leaps from Hollywood Sign
Actress Peg Entwistle
commits suicide by jumping from the letter "H" in the Hollywood sign. Her body lay in the ravine below for two days, until it was found by a detective and two radio car officers. She remained unidentified until her uncle connected the description and the initials "P.E." on the suicide note in the newspapers with his niece's two-day absence.
1908—First Airplane Fatality Occurs
The plane built by Wilbur and Orville Wright, The Wright Flyer, crashes with Lieutenant Thomas Selfridge aboard as a passenger. The accident kills Selfridge, and he becomes the first airplane fatality in history.
1983—First Black Miss America Crowned
Vanessa Williams becomes the first African American Miss America. She later loses her crown when lesbian-themed nude photographs of her are published by Penthouse magazine.
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