| Intl. Notebook | May 18 2023 |
Lindberg unveils more than just her movie for the Cannes press corps.
The above image shot today in 1971 shows Swedish star Christina Lindberg in Cannes, France, where she was promoting her movie Exponerad at the Cannes Film Festival. She was also at the prestigious event in 1973 to promote Thriller - en grym film, aka Thriller: A Cruel Picture, so you have to give her production companies Olympic Film and BAV points for effort, even though Lindberg's movies are just arthouse sleaze when boiled down to their essence. And when your movies are not of particular merit what better way to bring attention to them than with random nudity? Shedding clothing was a go-to gimmick for Cannes starlets back when the line between mainstream and erotic film was blurrier than today.
In the first photo Lindberg is on the patio of a Cannes bar, and from her perch atop a table she stripped off everything except her panties while dozens of photographer captured her likeness and bystanders gawped at the spectacle. You can see some of assembled press in the fuzzy reverse angle at right. A bit later, on the terrace of the Majestic Hotel where she was staying, her clothes hit the tiles again, as you see below.She wasn't remotely finished. Here's her memory of a publicity stunt that set Cannes ablaze: “I was going to meet the press out on a pier over the water. After having signed about a thousand invitations, which were given out to select people, I was lowered down from a rented helicopter to the pier topless. There were hundreds of photographers.”
We find it amazing that so few photos of such an event seem to survive today. There must have been thousands of frames shot of that helicopter stunt. Lindberg's recollection of so many photographers shows you the sheer volume of imagery that's lost to time. Luckily, she's well documented anyway thanks to the photo sessions she made for various international magazines and her 1973 photo book. A few of our favorites are here, here, and here. She'll return to Pulp Intl. soon.
| Femmes Fatales | May 7 2023 |
It's better to apologize later than to ask now. But she's not going to do either.
This photo shows French actress Nicole Calfan and was made for her 1975 thriller Permission To Kill, also known as The Executioner, a film we've taken notice of because it starred Ava Gardner in one of her later roles, and future Bond boy Timothy Dalton in one of his first. Calfan has made more than seventy movies and is still busy today, having appeared in four in 2022, plus a television series. We'll try to track down Permission To Kill and report back.
| Intl. Notebook | Apr 30 2023 |
Because the Louvre and Versailles don't stay open late.
Above are the cover and various interior pages from Cancans de Paris issue thirty-three, which hit newsstands this month in 1966. The magazine was one of several that explored Parisian burlesque, along with Folies de Paris et de Hollywood, Paris Frou Frou, Regal, and others. For more from Cancans just click the keywords below and scroll.
| Vintage Pulp | Apr 27 2023 |
Is there really such a thing as too much?
Elke Sommer front and center on a vintage poster claiming she's “almost too hot”? Sign us up. Sweet Ecstasy was originally made in France as Douce Violence—“sweet violence”—and fits loosely into a cycle of films characterized as nouvelle vague, or the French new wave. Director Max Pécas, however wasn't a new wave director. He was better known for his work at the forefront of the cinéma Z style, also known as the nanar sub-genre, films loosely equivalent, we gather, to eroticized b-movies, meaning sex and stupidity. Pécas is also remembered for a trilogy of 1970s Saint-Tropez erotic comedies. But for Douce Violence he's an art director, trying to make a significant statement in the same broad category as La dolce vita or À bout de souffle, aka Breathless.
To that end, what you get here is a group of idle twenty-somethings for whom entitled boredom is the order of the day, as they rip around the French Riviera near and within Cannes, seeking thrills and not caring about the future. When Olivier (Christian Pezey) finds himself drawn into this clan of troublemakers living on their parents' money, their leader Maddy (Pierre Brice) enlists his own girlfriend to be the soft edge of the wedge in a scheme to corrupt the newcomer. It's for Olivier's own good, you see, because he's too bourgeois.
The girlfriend is Sommer, playing a character also named Elke, and she's in vamp mode here, which means cat-eyed make-up and cumulonimbus hair, as she taunts and teases poor Olivier in her efforts to make him into a fellow disaffected youth. Is she too hot? No. Elke is always just hot enough. She and her pals go water-skiing (really Elke in some of the shots), swimming, boating, driving, and most of all, partying. They question convention, conformity, society, mortality, and all the rest. Like other movies of this type, there isn't much plot. Also as in similar films, an event galvanizes and changes the group—or seems as though it might.
The main attraction in the film is Elke, and she delivers what early ’60s audiences wanted—an envelope pushing performance amidst a growing wave of censorship-destroying movies. Like Bardot and others, Sommer shows a lot of skin, and almost—almost—goes topless. Though it's supposed to be gauche to say so about a woman these days (but we don't care, because sex is why we're all here, and it's ultimately all that matters, despite modern attempts to obfuscate it, hide it, police it, and shame it), Elke's very stimulating. And she doesn't even look her best here, due to the crazy make-up and hair.
As a final note, we suspect the movie was censored in the U.S. to remove some revealing bikini scenes, some shots of Elke's asscrack, a bare breast caress by a male character, and (probably) some or all of a sweaty, open-shirted dance by a black character. The poster certainly was censored—no doubt about that. The word “ecstasy” was placed to cover the word “violence.” You can just see it if you squint. So the movie's title was set to be literally translated, but that was deemed too much for Americans—or at least some Americans (southerners, we suppose). Douce Violence opened in France and Belgium in early 1962, and reached the U.S. today the same year.
FranceCannesDouce ViolenceSweet EcstasyViolent EcstasyElke SommerPierre BriceAgnès SpaakChristian PezeyVittoria PradaMax Pécasposter artcinemamovie review
| Vintage Pulp | Apr 25 2023 |
And you don't want Jack knowing you either, if you owe him licensing fees.
Above is another French paperback cover that used U.S. actor Jack Palance as inspiration, this time from Éditions André Martel for its Collection d'Espionnage Le Crabe. Like the previous example, this one was based on a promo image from 1950's Panic in the Streets. The title of the book translates to “riot on command,” and H.T. Perkins was a house pseudonym used by several authors. As far as fees go, even if Palance ever knew he was an unwitting model for this cover, we doubt he got paid. So it's probably a good thing the cover artist is uncredited. French artists have papier-mâché muscles, while Palance was six-three and an experienced boxer. You didn't want him coming after you for money. See the other Palance here.
FranceÉditions André MartelH.T. PerkinsAndré MartelJack PalanceVolodymir Palahniukcover artliterature
| Femmes Fatales | Apr 14 2023 |
I know. I have a weird tan line. This season's French bikinis are very avant-garde.
The above shot of French actress Dominique Badou, sometimes spelled Badoue, appeared in the Italian magazine Men in 1967, and yes, she has a strange stripe on her derriere, but it's in the photo. Maybe it's a pale spot where she was wearing a swimsuit. That would be one strange swimsuit, but she's French, so anything's possible. Badou made seven films, six of the roles credited, among them Camille 2000, Blindman—which we talked about a while back—and 1971's Anche per Django le carogne hanno un prezzo. That last one was titled in English Django's Cut Price Corpses, and you know what we're going to say next: absolutely must watch. If we find it we'll report back.
FranceItalyCamille 2000BlindmanDjango le carogne hanno un prezzoDjango's Cut Price CorpsesDominique Badouenuditynudie mags
| Femmes Fatales | Apr 3 2023 |
But enough about why I did my entire house in leopard. What type of feline-inspired design do you have in your house?
This fun image stars French actress Danièle Gaubert, who we recently saw in La louve solitaire, aka The Golden Claws of the Cat Girl, and who also appeared in Snow Job, Camille 2000, and more than a dozen other films. This is from the French magazine Moi and was first published in 1969. Gaubert is another actress who hooked up with a dictator, or a dictator's son. In 1963 she married Leonidas Trujillo Martínez, son of Dominican Republic strongman Rafael Trujillo, a guy who killed tens of thousands of his fellow citizens. Could you imagine an actress linking herself to a dictatorship in 2023? Back before the social media age such romances occurred often (which is why you have to especially respect those who refused to do it). There are, of course, women involved with dictators today—sadly authoritarians get to reproduce too—but those women aren't global film stars. Gaubert was divorced from Trujillo Martinez by 1968, made several more movies, and was out of show business by 1972.
FranceDominican RepublicMoi MagazineLa louve solitaireThe Golden Claws of the Cat GirlCamille 2000Snow JobDanièle GaubertLeonidas Trujillo MartínezRafael Trujillo
| Vintage Pulp | Mar 24 2023 |
Please don't die. I promise from now on instead of going hiking we can sit on the sofa and watch sports.
With winter slipping into spring we thought we'd share the above cover of someone who possibly slipped into the great beyond. The 1951 novel Le forces de l'amour was written for Éditions Mondiales Del Duca's popular Collection Nous Deux by Italian author Lucienne Peverelly, who also published as Luciana Perverelli and Greta Granor. We said a while back we thought she might be Lucienne Royer too, but we found no evidence to confirm that. Peverelly was a prolific writer who churned out more than 300 novels, always of the romantic and adventure type. She also served as editor-in-chief of the Italian weekly Il Monello starting in 1933, wrote for many women's magazines, daily newspapers like Il Tempo, and movie periodicals like Stelle. Del Duca didn't credit this cover, so it goes in the unknown artist bin.
FranceItalyIl MonelloIl TempoStelleÉditions Mondiales Del DucaCollection Nous DeuxLucienne PeverellyLuciana PerverelliGreta Granorcover artliterature
| Vintage Pulp | Mar 14 2023 |
Finally some privacy. Now I can really play with these things.
It's time we circled back to Alain Gourdon, aka Aslan, whose wonderful work you see here on an amazing cover for Folco Romano's Quand la chair š'éveillé, a title that translates as “when the flesh awoke.” This is a coming-of-age erotic novel from Éditions Le Styx for its Collection Les Fruits Verts, and even in a country as dedicated to l'art de l'amour as France there are limits. It was published in 1958, and banned in 1959, along with numerous other books from Le Styx. How many? At least eleven in two years. Quand la chair š'éveillé is so rare we can't find info on what specifically got it cancelled, but we'll keep looking into it. Meanwhile, see more Aslan by clicking his keywords.
| Intl. Notebook | Mar 12 2023 |
Wherever you look, there it is.
We're back. We said we'd keep an eye out for pulp during our trip to Donostia-San Sebastián, and we did see some, though we couldn't buy it—it was all under glass in a museum. The Tabakalera (above), a cultural space mainly focused on modern art, was staging an exhibit titled, “Evil Eye - The Parallel History of Optics and Ballistics.” A small part of the exhibition was a selection of Editorial Valenciana's Luchadores del Espacio, a series of two-hundred and thirty-four sci-fi novels published from 1953 to 1963.
We snuck a few shots of the novels, which you can see below. Overall, though, what was on offer were photos, short films, political literature, and physical artifacts dealing with war and conflict. Since the participants were all artists, journalists, and witnesses from outside the U.S., everything naturally focused on wars that the U.S. started or sponsored—those ones they don't teach in school. The pulp fit because of its suggestion that human conflict would continue even into outer space.
We also said we'd try to pick up some French pulp, and that side trip happened too. We managed to score several 1970s copies of Ciné-Revue that we'll share a bit later, and those will feature some favorite stars. Though the collecting was fun, we're glad to be back. The birthday party was a success, as always, and now we're down south where the weather is gorgeous and hopes are always high. We'll resume our regular postings tomorrow.
SpainFranceDonostia-San SebastianEditorial ValencianaGeorge H. WhiteJosé Luis Macíascover artliteraturesci-fi
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