Who's afraid of him? Nobody anymore.
Isn't this a great poster? It was painted for La femme au gardénia, better known as The Blue Gardenia. Every once in a while you come across an old movie that's so ahead of its time you can't believe what you're seeing. This one is about woman's response to sexual coercion, and law enforcement's reaction to the aftermath. Basically, Anne Baxter, who's five-three and a buck twenty, ends up in the apartment of Raymond Burr, who's six feet and goes at least 230. Burr plies Baxter with booze, and when he later tries to get her horizontal a struggle ensues and he ends up dead. Baxter escapes the apartment, and thanks to the arrival of a very efficient cleaning lady nearly all the evidence of her presence is accidentally erased the next morning before Burr's body is discovered.
So Baxter's scot-free? Well, not quite. There's that whole guilt, edginess, and fear thing, which her roommates notice. And there are a few bits of evidence, which lead to police drawing ever closer. All these are good plot moves. Lacking an identity for the killer, the press begins calling her—the bit of evidence that exists indicates it's a her—the Blue Gardenia, which is a clear Black Dahlia echo. We liked that. And we also liked that, at this point, the film was a thriller built wholly around consent and power. But this was the 1950s. Of course they weren't trying to impart that lesson. What were we thinking? Instead, an ending so pat that it almost ruins the movie comes blundering over the horizon. Is it wrong to suggest watching the first 75 minutes of this and turning it off?
Okay, the movie isn't completely trashed by the ending. It's just that we thought we had something daring on hand, and in reality it's a decent-not-great semi-noir from Fritz Lang that flirts with feminism but decides not to close the deal. However, the story was derived from a novella by author and playwright Vera Caspary, and we can't help wondering if the suits overruled her on a different ending. Probably not, but we'll have to dig that tale up and read it anyway. Regardless, we think the movie is worth watching just for Anne Baxter's bravura performance. And we love the platinum poodle cut she sports too. Plus there's Nat King Cole as, presumably, himself. The Blue Gardenia opened in the U.S. in 1953, and premiered in France today in 1954
To a true hunter everyone is prey.
Richard Stark's, aka Donald E. Westlake's The Hunter, which was also published as Point Blank, is a landmark in crime literature, a precursor to characters like Jack Reacher. The standout qualities of this novel are its brutality and its smash cuts from set-piece to set-piece. As an example of the former, the main character, named Parker, basically scares a woman into committing suicide, dumps her body in a park, and slashes her face post-mortem as a way of foiling police attempts at identification. The latter quality, the narrative's disorienting transitions, is exemplified by a chapter that ends with Parker's hands mid-murder around an enemy's throat, and the next opening with him sitting in another enemy's house, holding a gun on him as he walks through the door. Westlake stripped away every bit of transitional prose he could in order to create breakneck pacing and heightened menace. Parker is not only dangerous, but is also emotionally barren. He feels nothing beyond the need to best his rivals. Permanently. Westlake's publisher knew The Hunter was something special, and convinced him to turn what was supposed to be a stand-alone novel into a series. Twenty-four entries in that series speak to its success. This first of the lot is highly recommendable. It came from Perma Books in 1962, and the excellent cover art featuring Parker's lethally large hands is by Harry Bennett.
Instead of fighting about this, let's compromise. My soul will go to church with you while my body stays in bed.
Julian Paul does top work on this cover for Richard Matheson's 1953 thriller Fury on Sunday. Paul painted some nice covers for men's adventure magazines as well, two of which we showed you here and here. We read this novel, and from a complex intro that hurries to introduce five main characters, it settles into a streamlined narrative of people stalked and held hostage by a madman. Of the captives—the coward, the tart, the everyman, and the good girl—we knew right away who would be killed, which dampened some of the suspense. Another problem is that the characters do not make the smartest decisions, sometimes to the point of straining credulity. If Fury on Sunday were a horror movie they'd all be murder bait, pretty much. For those reasons the book, Matheson's second, resides in the same not-fully-realized territory as his first, Someone Is Bleeding, also published in 1953. But in 1954 he would strike gold. That year he published I Am Legend, which is a sci-fi classic and became a movie four different times. We have that book lined up for later.
When men were men and Mamie was their obsession.
This is an unbeatable poster for Mamie Van Doren's crime thriller Girls Guns and Gangsters. The title is about as descriptive as they come. Van Doren is involved with a bunch of crooks who want to rob an armored car as it motors casino winnings from Las Vegas to Los Angeles. The plan is to shoot its tires—and anyone who gets in their way. While the caper is central, the plot is equally driven by everyone's sexual desire for Van Doren. Gerald Mohr in particular is constantly in her grill, and watching her fend off his persistent advances is squirm inducing. There's a fine line in old movies between desire and violence, so of course he crosses it by slapping her at one point, then trying twenty seconds later to kiss her. And the dude is really surprised to be rebuffed, like, “Huh?”
Put the blame on Mame? No, put the blame on men. They're all bad in this one. Van Doren's husband, Lee Van Cleef, is the worst of them. He breaks out of prison because she's asked him for a divorce. Everyone knows he'll kill anyone who even looks at Van Doren, which is problematic, considering gangster number three Grant Richards has been filling in for Van Cleef, so to speak, for quite a while. What a mess Van Doren is in. The robbery seems easy by comparison, but it wouldn't be a crime thriller if that went off without a hitch. Van Doren doesn't go off without a hitch either, because she isn't an expert actress and she sure as hell doesn't nail her singing numbers. But she's a great presence. That's enough to make an enjoyable movie. Girls Guns and Gangsters premiered in the U.S. this month in 1959.
Some wounds are too serious to ever heal.
Sometimes authors stumble upon themes that are ahead of their time. Richard Matheson's debut novel, 1953's Someone Is Bleeding, is highly improbable in its details, but his central character, Peggy Lister, is an interesting creation from the pre-#MeToo age. Perceived by men as beautiful while still a child, raped at age ten, molested by her father, as an adult she reacts in unpredictable ways to constant, unwanted male advances. Basically, she's a PTSD sufferer before that term existed, and before there were many, or any, aid mechanisms or understanding about the issue. It's clear Matheson has sympathy for her, but his narrative pre-supposes that her reactions aren't normal. It's a fine line. Matheson understands that Peggy is traumatized, but there's a bubbling undercurrent of suggestion that she should be able to somehow just get over it. This one is a pass, we think, because of a few too many cringes. Luckily for Matheson, he quickly improved and soon became an important writer.
Like the saying goes, if it feels good just do it.
Berlin based Goliath Books has developed a specialization in art volumes exploring the sexual practices and quirks of the past. Previous Goliath releases have focused on the Marquis de Sade and the underground porn of the Third Reich, among other subjects. Now the company has published a new collection authored by Richard Battenberg entitled A Visual History of Lovemaking Toys, with photos and illustrations proving that ingenious folk have been using sex devices to spice up their private lives for a very long time. Two-hundred and forty images, mostly vintage but also recent, show various uninhibited pleasure seekers using dildos, strap-ons, candles and more.
The images are shocking, funny, educational, and sometimes just plain weird, but more than anything else the five hundred plus years of erotic history examined serve as a reminder that time goes by, societies evolve, and nations rise and fall, but people don't really change much when it comes to their bodily needs. These days up to half of Brits and possibly two thirds of Americans own sex aids. It really gives the term Toys R Us a whole new meaning. We have a few scans from inside the book below, and needless to say, you should probably make sure nobody is looking over your shoulder when you view them. You can find more info about this and other items at Goliath Books.
A Visual History of Lovemaking Toys ISBN: 978-3-948450-07-6 €29.99
Why did the girl cross the river? For a chance at a better future.
This issue of Adam published this month in 1952 is the second oldest issue of the magazine we've scanned and uploaded, and we gotta tell you, this thing was fragile as butterfly wings. But we got it done, and the magazine survived. The beautiful cover painting is signed by Phil Belbin, and it illustrates longtime pulp western writer Bob Obets' tale “Señorita Spitfire's Kisses”—let's just pause and enjoy that title, shall we? There's all sorts of promise in a title like that. It's simultaneously evocative and ridiculous, which often bodes well. The story is an adventure set on the Texas/Mexico border just after the U.S. Civil War. Basically, it's about a Mexican woman named Carlotta O'Farel y Cavazos who enlists the aid of a mercenary named Ricardo Ruby to cross the Rio Grande into Texas in search of a cache of money buried there. She plans to use it to buy guns for Mexican soldiers, while the captain is thinking maybe to have it for himself.
Here's a fun exchange (Ricardo refuses to call Carlotta by name at first, preferring to make up nicknames):
Ricardo: “Look, Flame of the River, just tell me where that eighty thousand is—and how come you know about it.”
Carlotta: “I was tellin' you, brains-of-a-donkey, the money is in this place call Corpus Christi, where my brother wait for the sheep to take this money to Cuba.”
Her insult really amused us for some reason. “Sheep,” by the way, is “ship” pronounced with an accent. Genre authors sometimes use phonetic spellings to portray accents, but it can cross the line into making the speaker sound stupid. It's something to avoid. After all, the presence of an accent means the speaker knows at least two languages, not just one, like most Americans. The most elegant authors, like Cormac McCarthy, write accents without alternate spellings. Obets opts for the clumsy method, having Carlotta say things like “sometheeng,” and “fineesh,” but he's a good writer anyway. In fact the story is good enough that we checked his bibliography. He's written at least two novels—1958's Blood Moon Range and 1965's Rails to the Rio. We may pick one up. In the meantime, we have a few scans, which include photos of Marie Windsor and Mari Blanchard. More Adam to come.
On a map Route 66 runs east-west between L.A. and Chicago. In this book it turns sharply south and never stops.
We were pretty excited for Richard Wormser's 1961 novel Drive East on 66. It sounded like fun—a thriller set on an iconic U.S. road we've traveled parts of at least a dozen times. This road, for our international readers who may not know, was and remains for many Americans the embodiment of a specific type of freedom consisting of endless miles, open spaces, small towns, and the possibility of all sorts of adventure. It's a road where you'd expect to see strange sites and meet even stranger people. Which is pretty much what happens in Wormser's tale.
The protagonist is a lawman named Andy Bastian, who's paid $1,000 to drive a disturbed young man from California to a Kansas mental facility. Since the father wants to avoid publicity and the prospective patient is prone to violent freak-outs, flying or taking a train is not a possibility. That makes Route 66 the best way to go. It's a fertile premise but for the most part the book feels unrealized. Its plot is unlikely and its characterizations feel off-the-mark, particularly that of the student-psychiatrist along for the drive whose job is to keep the patient on an even keel. She's awful at her job, and the romance between her and Bastian is so clumsy an arranged marriage would feel more natural.
Wormser lost his way on this one, we think, but the book generated a follow-up, so there you go—our opinion means squat. If we had to guess, we'd say the concept alone helped put the story over for readers, because again, Route 66 is a piece of American iconography, and building a crime thriller around it will make up for a multitude of sins. Just not for us. The cover art here is uncredited, however some experts say it's by Mitchell Hooks, and we agree it looks like his work, but we're not experts. Absent official confirmation, mark it as unknown.
Whoops, wrong room. Unless you're the one who wanted the kilo of blow.
Sometimes when you're a cop crime comes right to you, such as on this cover for Lady Cop by J. T. Pritchard. This was a fast read. Basically, when her father's death is ruled a suicide, a woman comes to believe it was murder and joins the police force with the ultimate goal of finding the killer or killers. Pritchard has zero inclination to make a true mystery of this, so he takes the easy route of having the killer come to the heroine. Then, having put her in hot water, he again takes the easy route by having someone else save her ass. The provocative cover by Eddie Chan doesn't actually reflect a scene in the narrative. Lady cop is smart enough to lock her door. Conversely, girl wrestlers are not—the art came from 1952's Loves of a Girl Wrestler, below. See another cover for that at this link. Copyright on Lady Cop is 1955.
Nobody will suspect murder! You've told everyone you'd literally die if the Red Sox missed the playoffs!
Above, a September 1956 issue of Murder! magazine, which was the first issue ever published. It was put together by the same people who did Manhunt, was similar in content, with crime, procedural, and adventure tales, but lasted for only five issues. The action cover was painted by Frank Cozzarelli to illustrate Lionel White's “To Kill a Wife,” and it looks like the wife wins out definitively. Other contributors include Richard Deming, Carroll Mayers, Jack Ritchie, et al. And to Sox fans, better luck next year.
The headlines that mattered yesteryear.
1912—U.S. Invades Nicaragua
United States Marines invade Nicaragua to support the U.S.-backed government installed there after José Santos Zelaya had resigned three years earlier. American troops remain for eleven years.
1936—Last Public Execution in U.S.
Rainey Bethea, who had been convicted of rape and murder, is hanged in Owensboro, Kentucky in what is the last public execution performed in the United States.
1995—Mickey Mantle Dies
New York Yankees outfielder Mickey Mantle dies of complications from cancer, after receiving a liver transplant. He was one of the greatest baseball players ever, but he was also an alcoholic and played drunk, hungover, and unprepared. He once said about himself, "Sometimes I think if I had the same body and the same natural ability and someone else's brain, who knows how good a player I might have been."
1943—Philadelphia Experiment Allegedly Takes Place
The U.S. government is believed by some to have attempted to create a cloak of invisibility around the Navy ship USS Eldridge. The top secret event is known as the Philadelphia Experiment and, according to believers, ultimately leads to the accidental teleportation of an entire vessel.
1953—Soviets Detonate Deliverable Nuke
The Soviet Union detonates
a nuclear weapon codenamed Reaktivnyi Dvigatel Stalina, aka Stalin's Jet Engine. In the U.S. the bomb is codenamed Joe 4. It is a small yield fission bomb rather than a multi-stage fusion weapon, but it makes up for its relative weakness by being fully deployable, meaning it can be dropped from a bomber.
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