|Vintage Pulp||Jul 31 2010|
Above are two French posters for one of our favorite movies, The Maltese Falcon. Dashiell Hammett’s novel was originally adapted in 1931 by Roy Del Ruth with Bebe Daniels and Ricardo Cortez in the leads. Though that version was good, John Huston and Warner Brothers Studios chose to remake the film in 1941 and hit the jackpot pairing Humphrey Bogart and Mary Astor as Sam Spade and Brigid O’Shaugnessey. With Peter Lorre, Sydney Greenstreet and Elisha Cook, Jr. in supporting roles, the film was loaded with top talent and is considered the first film noir. If you haven’t seen it, rent it. And if you like it, rent the 1931 version too—the contrast is striking. Le faucon Maltais opened in Paris today in 1946.
|Vintage Pulp||Oct 23 2009|
American promo art for The Glass Key, based on a Dashiell Hammett novel and starring Brian Donlevy, Alan Ladd, and Veronica Lake. We’ll have more on this slightly overlooked film noir later, but for now we’re showing you the poster because it’s great, one of the better promos of the period, we think. The Glass Key premiered in the U.S. today in 1942.
|Modern Pulp||Mar 24 2009|
These may look like new Dashiell Hammett book covers, but they’re actually promotional posters painted by the brilliant Owen Smith for the San Francisco Arts Commission’s Art on Market Street 2008 Program. If you read our post on author Daniel Chavarría you know we love Smith’s work. When we see it we immediately think pulp, but we aren’t particularly reminded of any other pulp artist’s work. To be fair, we don’t know if Smith considers himself a pulp artist, but we do think his paintings are lurid and mysterious in way that make them a fit for the genre.
Moving on from the Hammett pieces, the painting chosen for the cover of Maureen Dowd’s Are Men Neccesary? is also great, though we don’t think it belongs on a collection of essays. Below that, The Forgotten Arm is an Aimee Mann album, and the pairing is also a bit square peg/round hole. If it has to be music, we’d rather see Smith’s work on a José James cd; if on a book, then where better than on the next James Ellroy? But the art remains brilliant regardless, and we look forward to Smith’s future creations. You can see more here.
|Modern Pulp||Jan 17 2009|
Uruguayan author Daniel Chavarría was a miner, a model, and a museum guide, before landing in Cuba and launching a literary career. He’s since won the Dashiell Hammett Award for his novel Gijón and the Edgar Award for Adios Muchachos. His fiction is political, comical, and suspenseful, but most of all it is palpably tropical, the product of a languid and overheated island where material riches are few but passions run high. Read Chavarría and you’ll immediately perceive the difference between fiction written by foreign authors who maybe spend six weeks in Cuba, and a man who has lived there for decades and calls it home. For instance, what foreign author could hope to explain the concept of bicycle hookers, and all the subtleties associated with their trade? Chavarría does exactly that in Adios Muchachos—in fact he writes primarily about hookers. They’re his obsession, his muses, and he writes about them both unflinchingly and reverently. We won’t tell you more—except that we very much enjoyed the above two books. As a bonus, illustrator Owen Smith’s cover paintings serve as perfect encapsulations of the strange, dark beauty of Chavarría’s prose. More on Smith later.