Albert Camus' fatal 1960 auto accident may have been a KGB assassination.
Italian author Giovanni Catelli has just published a book that claims French writer Albert Camus was assassinated by the KGB, rather than dying in an auto accident, as largely believed. When you say the words “Cold War intrigue,” we're all in, so the story caught our eye. Catelli's theory, which he first began airing in 2011, is that the KGB silenced Camus because he was a globally famous figure who made a habit of criticizing the Soviet Union. The order was allegedly given by Dmitri Shepilov, the USSR’s minister of internal affairs, after Camus slammed him in the French newspaper Franc-Tireur in March 1957. Camus died in 1960, so the killing took three years to come to fruition, according to Catelli.
His book length argument, La mort de Camus, is getting white hot press right now, however it's very interesting to look back at contemporary articles about the crash. Camus was riding as a passenger in a car driven by his publisher Michel Gallimard, with Gallimard's wife Janine and their daughter Anne in the rear seat. Michel Gallimard died, but his wife and daughter survived to describe the crash. Michel was driving fast and had been told to slow down, and had drunk wine at dinner.
A gander at the wreckage of the heavy Farcel Vega HK500 attests to its speed. We checked the various articles popping up online and found none that mentioned either the velocity of the car or the drinking of the driver, but that's how the internet works—a fantastic claim circles the world five times faster than anything resembling balance or a fact check.
Catelli, though, has an answer for the reckless driving theory—the Soviets had attached a device to the car that would puncture a tire only in the event of sufficient speed. If the Soviets came up with the device described, it would not kick in without the added ingredient of driver haste, which often happens in conjunction with alcohol consumption, which in turn is a near certainty when talking about French people, all of which means the chances of a crash with muddied circumstances were pretty high. The device, if it ever existed, was certainly clever. It would be like a device that tied your shoelaces together, but only if you went downstairs in a rush, and you happened to live in a fourth floor flat with a balky elevator.
Catelli's belief that Camus was disposed of via assassination is bolstered by the fact that the car he was riding in somehow careened off a stretch of straight road thirty feet wide. Nobody described Michel Gallimard trying to dodge a hedgehog or pothole, so despite speed and possible drunkenness, some unforeseen factor seems required to send the vehicle into the weeds. On the other hand, three years is a long time to enact a death plot. We've seen Yankees and Red Sox fans patch their shit up in less time. But let's move this death from the settled bin into the mysterious bin, which is where we like everything to be anyway. Camus, the famed absurdist, once wrote that, “There can be nothing more absurd than to die in a car accident.” And if Catelli is correct, nothing can be more convenient either.
How many secrets can one man keep?
Charade is one of the great romantic thrillers in cinema history, and is a movie you should definitely see if you haven't. Audrey Hepburn plays a woman whose husband is fatally thrown off a speeding train and Cary Grant is a charming but mysterious stranger willing to render aid in solving the murder. But Grant has ulterior motives, as well as multiple identities. Others are interested in the killing too, and it soon develops that they're after $250,000 worth of missing gold.
The movie is great, as legions of fans and critics have agreed, but in addition to its narrative, directorial, and acting brilliance, what we like about it is that the unlikeliness of the May-December attraction between Grant and Hepburn does not go unaddressed. At one point Grant, 59, quips to Hepburn, 30, that he's afraid he'll be arrested for transporting a minor. We love the tack taken in dealing with the romance because it gives the audience credit for being intelligent enough to appreciate the subtleties of life. That's increasingly rare in popular movies—as well as in popular culture.
For example, these days there's talk of such things as “age appropriate” relationships, the inference being that older men should not be with younger women (and possibly vice versa). Horseshit. We can think of little more sexist than assuming women aren't able to make their own life choices. Consenting adults—older/younger, male/male, female/female, other/other—trying to find love will tend to look anywhere they can, and internet tribunals can take a flying leap. We don't say that merely because neither Pulp Intl. girlfriend is age appropriate. We say it because nothing in this life is more important than finding the right partner.
Interestingly, numerous other mid-century films—among them classics like Sabrina and To Catch a Thief—also addressed the presumed incongruity of older men with younger women, and did it in an empathetic, humanistic way. Charade does it more amusingly than most. Grant is initially embarrassed by Hepburn's attentions, but of course she eventually wears him down. The film mixes comedy, romance, and thrills, plus it was made in beautiful locations around Paris, all of which makes it a total winner. It premiered in the U.S. today in 1963.
Oh, nothing. Just peeking through the blinds at lesser mortals. And you?
This is one of the most popular shots ever made of one of the most popular Hollywood figures ever. We usually do rarities here, but we make occasional exceptions. Not a lot more to be said about an image this great. Hepburn is eternal.
An afternoon on the South Side.
The above photos show the Regal Cinema in Chicago one afternoon during the spring of 1941 as locals flock to see The Philadelphia Story, starring Katherine Hepburn, James Stewart, and Cary Grant. The shots were made by Farm Security Administration photographer Edwin Rosskam, who had been tasked with documenting life in Chicago's black belt, which is where racist housing practices forced African Americans to live. Most of Rosskam's photos made abundantly clear that the underclass status forced upon blacks by redlining—the utilization of mortgage and insurance practices to hem them into tightly packed areas—led to less than desirable conditions, but many of his shots showed joyous moments and bustling civic life. These images of people decked out for a matinee are examples. They're part of the Office of War Information Collection maintained by the Library of Congress.
Clothes encounters of the Hollywood kind.
We've been gathering rare wardrobe and hairdresser test shots from the golden era of Hollywood, and today seems like a good day to share some of what we've found. It was standard procedure for all the main performers in a movie to pose for such photos, but the negatives that survive tend to belong to the most popular stars, such as Cary Grant, who you see at right. You'll see Marilyn Monroe more than amply represented below. What can we do? She's possibly the most photographed Hollywood figure ever, and she was beautiful in every exposure. But we've also found shots of a few lesser known stars, such as Giorgia Moll and France Nuyen.
Some of the shots are worth special note. You'll see Doris Day as a mermaid for The Glass Bottom Boat, Liz Taylor as a kid for National Velvet and an adult for Cat On a Hot Tin Roof, Farrah Fawcett in lingerie, Sheree North in both front and rear poses, and Yul Brynner looking like an actual man by sporting a body that had to that point seemingly known neither razor nor wax (he ditched the fur for his actual onscreen appearances). Usually the photos feature a chalkboard or card with pertinent information about the production and star, but not always, as in the case of Brynner's photo, and in Audrey Hepburn's and Joan Collins' cases as well. If the names of the subjects don't appear on the chalkboards you can refer to the keywords at bottom, which are listed in order. We may put together another group of these wardrobe shots later.
She's not bad. She's just painted that way.
Peter Driben illustrated relatively few book covers compared to his magazine output. We showed you a rare paperback from him a few years ago, and above you see another—his work on W. T. Ballard's 1943 thriller Say Yes to Murder, for publisher Martin Goodman. The book is part of a series starring Ballard's character William Lennox, who was a detective-like troubleshooter for fictitious General Consolidated Studios. He investigates the murder of an actor found stabbed and lying under the bed of actress Jean Jeffries, who is the granddaughter of one of Lennox’s close friends. As a troubleshooter, Lennox's first duty is to move the body to avoid scandal for the studio (that's the difference between a detective and a troubleshooter) and only then does he try to unravel the mystery. Lennox appeared in three other Ballard novels—1946's Murder Can’t Stop, 1948's Dealing Out Death, and 1960's Lights, Camera, Murder, which he wrote as John Shepherd. Martin Goodman, you probably know already, later went on to create Marvel Comics. You can see that other nice Driben cover we mentioned here, and three brilliant Dutch covers here. We'll keep an eye out for more.
Tonight they're gonna party like it's 1955.
Questions abound on this cover of Inside Story, but for each one there's an answer. What did Prince Rainier not tell Grace Kelly? That the palace in Monaco was cold and drafty, and she couldn't sleep in the nude anymore because the premises were open to the public from 9 to 5. What was the amazing Frank Sinatra hoax? His studio Carlyle Productions started a whisper campaign that he was such a dedicated actor that he actually used heroin while filming the heroin drama The Man with the Golden Arm. What is the secret fear that haunts Perry Como? That his family might be kidnapped.
All of these pieces are fascinating, but since it's baseball season and people are high on the front-running New York Yankees right now, we'll point to the story, “The Real Reason the Yankees Lost!” What they lost was the 1955 World Series, and it happened—according to Inside Story—because they were partying too hard. They were ensconced at the Concourse Hotel for the Series, a hole-up made possible by the fact that their opponents were the Brooklyn Dodgers. So with both the home and away games taking place in New York City, and the players barred from sleeping in their own houses to avoid family distractions, the superstar Yanks did some major league carousing.
Inside Story scribe Manuel Shaw describes an allegedly typical scene: “Mickey Mantle, Phil Rizzuto, and several other Yankees were sitting around the lobby of the hotel when three lovelies from a nearby night spot showed up. Since the cuties were entertainers familiar to one or two of the players, and were rabid Yankees boosters, it was not remarkable that they were soon in animated conversation with the group, which shortly adjourned from the lobby to an upstairs suite.”
Then he moves into this bit: “A beauteous brunette [was in the hall] clad only in a negligee. The two players wanted to spend some time with her, and they agreed that they would rather do it separately, but she insisted it would be more fun if they both stayed, and after a while she persuaded both of them to come back with her to her room. Soon a real party was underway, joined by many other Yankees, and several doting females who lived at the hotel.”
Well, what good is being a member of the famed Yankees if you can't do some Yankee doodle diddling? Most guys we know can't resist a free beer, let alone a woman in lingerie. A little later in the story, after the question of whether professional gamblers employed the party girls to distract the Yanks, we get this: “If true, this parallels the persistent story in gambling and diamond circles that the voluptuous Marilyn Monroe was introduced to Yankee star Joe DiMaggio just in order to take his attention off the Yankee pennant drive of a few years back.”
Did Inside Story really just say Marilyn Monroe was a mafia Trojan horse? Yup. They did. No ambiguity there. The magazine does not go so far as to say Monroe was aware of the set-up, so perhaps it was a matter of maneuvering her into the same space as DiMaggio at the same time and letting nature take its course. There are worse ways for a man to fall from the sporting mountaintop. And talk about a soft landing. We doubt the story, but you never know. There are far crazier tales starring Monroe. We have about thirty-five scans below, and more tabloids coming soon.
Girls, stop! *gasp* I take it back! *choke* We're not gonna play hide the kielbasa!
Above, Judson Grey's Twilight Girls, from Epic Originals, 1962. Grey was a pseudonym, of course, because who'd actually take credit for this? The authors were Jim Harmon and Ron Haydock, two guys who as Grey, Vin Saxon, and Don Sheppard cooked up such fare as Wanton Witch, Lust for Lace, and Ape Rape, the last title made all the more frightening because it isn't in any way a euphemism. In Twilight Girls a man is pitted against a militant lesbian group called the League of Amazons and wins by using the only tool at his disposal—his cock. High art it isn't, but the Doug Weaver cover made us smile, and we especially like the placement of the knife in the composition as both a penis substitute and castration threat. Silly and sublime.
The headlines that mattered yesteryear.
1992—Sci Fi Channel Launches
In the U.S., the cable network USA debuts the Sci Fi Channel, specializing in science fiction, fantasy, horror, and paranormal programming. After a slow start, it built its audience and is now a top ten ranked network for male viewers aged 18–54, and women aged 25–54.
1952—Chaplin Returns to England
Silent movie star Charlie Chaplin returns to his native England for the first time in twenty-one years. At the time it is said to be for a Royal Society benefit, but in reality Chaplin knows he is about to be banned from the States because of his political views. He would not return to the U.S. for twenty years.
1910—Duke of York's Cinema Opens
The Duke of York's Cinema opens in Brighton, England, on the site of an old brewery. It is still operating today, mainly as a venue for art films, and is the oldest continually operating cinema in Britain.
1975—Gerald Ford Assassination Attempt
Sara Jane Moore, an FBI informant who had been evaluated and deemed harmless by the U.S. Secret Service, tries to assassinate U.S. President Gerald Ford. Moore fires one shot at Ford that misses, then is wrestled to the ground by a bystander named Oliver Sipple.
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