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Pulp International - Hey
Vintage Pulp Jan 19 2022
OUT OF HIS MISERY
It's both appropriate *grunt* and ironic *gasp* that ballroom dancing *argh* is going to give me a hernia!


This 1955 Berkley Books cover for Horace McCoy's They Shoot Horses, Don't They? is one of the most striking art pieces of the paperback era. It's uncredited, incredibly. Still, the image succinctly gets to the core of McCoy's story—exhaustion in a dance contest, but metaphorically, exhaustion in the contest of capitalism. It revolves around a set of young people who enter a dance marathon in an attempt to win a $1,000 prize. The entire story, more or less, takes place during this dance-a-thon, which goes on for weeks. Those who quit early get nothing. Those who suffer long enough may profit a few measly dollars. Only a vanishingly small percentage desperate enough to exhaust themselves to the point of physical disintegration—in this case one couple—have a chance to come away with the prize.

Some reviewers say the book is a metaphor for life rather than capitalism. Well, that too, but what makes it an obvious capitalism critique are the celebrity guests intermittently paraded before the dancers. They show that wealth is real, function as suggestions to the dancers that the obstacle is not the rules for victory, but the will to succeed, though the odds are staggeringly, cruelly against them. Oh yes, it's a metaphor for capitalism, alright. The American Dream—generally defined as a decent salary, home ownership, sufficient family and leisure time, and retirement—increasingly really is just a dream. This fact makes mid-century capitalism critiques prescient by definition, but They Shoot Horses, Don't They? is more on target than most. And purely as a piece of fiction it's a total winner. 

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Vintage Pulp Jul 30 2021
SLEEPLESS NIGHTS
This art is both a Sym-ulation and the real deal.


Italian illustrator Sandro Symeoni signed this 1959 Ace Books cover for Peter Cheyney's He Walked in her Sleep just “Sym,” but however he marks his work, we'd know it at first glance. For years we thought he was a movie poster and record sleeve artist only, then we suddenly started finding his paperback covers. All are brilliant. Oh, and speaking of brilliant, this is an awesome title for a thriller. It was originally published in 1946 as part of the Cheyney collection He Walked in Her Sleep and Other Stories, but Ace got hold of it and typeset it to novel length. More from Cheyney and Syemoni soon. 

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Vintage Pulp Jul 21 2021
HURACAN WARNING
Tropical storm conditions combine with shark migration to form deadly sharkicane


We're circling back to Peter Cheyney's novel Dark Bahama to show you a couple of Spanish covers from Ediciones G.P. These came in 1953 and 1958 respectively and are, sadly, uncredited. And the bad news keeps coming—there's no hurricane in the novel, therefore no sharkicane. Sorry. You can read about the book here.

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Vintage Pulp Jul 9 2021
FRESH SEAFOOD
Turns out sharks like the catch of the day too.


As soon as we saw this cover for Peter Cheyney's 1950 novel Dark Bahama we had to read the book. We had to find out if this was a literal illustration. And yep, a guy gets eaten by a shark. The artist here, John L. Baker, painting this for Fontana's 1960 edition, must have really enjoyed creating something different from the usual gun toting studs and chain smoking femmes fatales. The story is different too. In a tale set on the fictional Bahamian island of Dark Bahama, Cheyney creates an array of Afro-Bahamian characters, filling roles from fishermen to police officials, and, surprisingly, writes them with something nearing respect. The addition of a mysterious Belgian character makes for another fun spot of diversity.

The protagonist is Julian Isles, a British detective hired to locate a globetrotting ingenue and rescue her from Dark Bahama before her partying and dubious associations permanently embarrass her family. Isles immediately walks into a murder scene, is suspected by the local cops, begins to think his client has lied to him, and sets about defying orders and expectations to get to the bottom of it all. Getting to the bottom involves working with the aforementioned Belgian cipher, Ernest Guelvada, a tough, romantic, eloquent, and ruthless operative of vague provenance. We think he's one of the best characters we've come across in mid-century literature. Just listen to this guy:

I am delighted to meet you. I am more than delighted to bring a little excitement into your—what is the word—prosaic existence. Yes, goddam it, you will agree with me that there is nothing like a couple of murders to stir the blood of a police commissioner at three-thirty in the morning.”

And:

You think so? You lie. More than that, my friend, you love her. That I know. When you speak of her I see the look in your eye. I have discovered your secret. I will tell you something else. I also love her. I, Guelvada, who loves every woman in the world, love her at least as much as the other few million.”

And:

When I go into action, my friend, I like a lot of room and a lot of space. Like great armies I must have room to develop. Like great fleets I must have space to maneuver. You understand? It is for this reason that I do not wish this island to be cluttered up with non-essential women, and at the moment our beautiful Miss Lyon is non-essential. Therefore, she will stay in Miami.”

To us, that sounds like a writer having a very good time with an off-the-wall character. Guelvada's reasons for turning up change Dark Bahama from a mystery to an espionage tale, but we won't reveal the details. We suggest reading it yourself. Cheyney is famous for his Lemmy Caution series, which began back in 1935, but we think he's better here fifteen years later—a better stylist and a better conceptualizer, who's produced a generally better read than we think he was capable of back when he started out. The story is engaging, the femme fatale is fascinating, the secondary characters ring true, the bizarre Ernest Guelvada keeps reader interest high, and the island backdrop adds atmosphere and spice. With Dark Bahama Cheyney gave us more than our money's worth.

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Vintage Pulp Jun 23 2021
GALLIC SYMBOL
Paperback publishers get it up in Paris.

Below, seven more examples of vintage paperbacks using the Eiffel Tower on their covers. You can add these to the collection of twenty-two we put together a few years back.
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Intl. Notebook Mar 14 2021
POLICE PRESENCE
There's never a RoboCop when you need one.


The city of Detroit recently rejected a statue of the main character from 1987's RoboCop, made by a local artist group and meant to be displayed at the city's Michigan Science Center. Seizing the opportunity, the mayor of Stevens Point, Wisconsin—which is where RoboCop star Peter Weller was born—has offered a place for the statue in the town of 26,000. Mayor Mike Wiza called the artists, as well as Peter Weller's family. in a so-far unsuccessful attempt to secure the figure. The story amused us because, though on the surface the statue seems like a fitting public monument for Weller's hometown, we wonder if Mayor Wiza knows that RoboCop, aside from being a very good movie, is director Paul Verhoeven's dark satire of the U.S.

The movie hits on several areas, including policing and television culture, but most particularly it's a cautionary epic about the power of corporations. It made the prediction, also made by others, that all life would soon be controlled by corporations, and by extension the unelected, megarich heads of those entities. Those who doubt we've reached this point should read up on private prisons, or Citizen's United v. FEC, or Facebook's recent attempt to punish the entire country of Australia by slapping it with a news ban.

RoboCop goes on to posit that corporations allowed to grow and spread unchecked inevitably make the business decision to place profit above human lives. It didn't mean lives in some distant corner of the globe, or some urban niche of Detroit, where the movie was set. That was already clear. The movie's incisive subtext was that the lives of middle Americans—the very people who live in Stevens Point—would soon be deemed expendable too.

When movies like this pop up they create a paradox: people generally won't watch social critique films unless they're violent and/or funny, but when they're violent and/or funny the majority of people don't get the critiques, even when those are obvious. Examples: Starship Troopers (also a Verhoeven film), Being There (which starred Dr. Strangelove's Peter Sellers), 2019's Us (whose unspoken but glaringly obvious alternative title is, “U.S.”), and, to cite a particularly clear-cut example of blunt satire, They Live, which a substantial minority of filmgoers still managed to think of as merely a strange and slow-moving sci-fi invasion flick.

It's possible Mayor Wiza knows exactly what RoboCop is about, but simply can't pass up the chance to plant something in the town square that will bring gawkers and Instagramers to local restaurants and add warm bodies to the yearly artwalk. If he succeeds, in public he'll hail his coup as an economic victory for his administration (though mainly for the town, always the town first). But later he'll stand at a window in city hall, looking down at RoboCop, nodding thoughtfully as he explains to some nearby aide, “The ironic part of turning that statue into a public monument is that RoboCop, aside from being a very good movie, is director Paul Verhoeven's dark satire of the U.S.”

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Vintage Pulp Mar 1 2021
ICI DOES IT
1957 crime farce offers Slim pickings—at least until Dominique Wilms comes along.


We were busy little beavers last night. We watched a second vintage drama. At least, we thought it was a drama. Above you see an Italian poster for Slim Callaghan... il duro, which was originally made in France as Et par ici la sortie. It had no English title since it never had an English language release, but it was adapted from a novel by British author Peter Cheyney, who made a career of imitating American hard boiled detective novels. As many reviews of his fiction note, the vernacular was tricky for a guy who'd spent little if any time Stateside, making for some clunky prose at times.

When you watch Et par ici la sortie, it's clear that French filmmaker Willy Rozier picked up on the quirkiness of Cheyney's writing and decided to inject heavy doses of comedy into his film version. Thus in addition to gunplay there's a cream pie fight, a slapfest of attrition between Dany Dauberson and Pascale Roberts, a comedic brawl on a passenger airliner that almost results in a crash, and another brawl features that hoary vaudeville classic—seltzer water sprayed in the face. Much of this is hilarious, though not in the way Rozier and Co. intended—you'll laugh out of amazement.

The plot involves a Scotland Yard detective who is the virtual double of a criminal arms dealer, and decides he can infiltrate and bust the arms gang by relying upon this resemblance. But the arms dealer likewise realizes the resemblance and embarks on his own scheme to take advantage. Sounds positively scintillating, doesn't it? Erm... maybe not. But the movie isn't a total loss. Dominique Wilms gets a co-starring role here as the femme fatale Myrna de Maripasula. Think she isn't reason enough to watch? Think again. Et par ici la sortie premiered in France today in 1957.

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Vintage Pulp Jan 9 2021
EXTREME CAUTION
Lemmy put it to you as directly as possible.


Peter Cheyney debuted as a novelist in 1936 with the Lemmy Caution novel This Man Is Dangerous, and true to the title, his franchise character is one bad mutha-shut-your-mouth. We like the scene where he leg locks a guy around the neck, then proceeds to lecture him for two pages about how he's going to kill him and enjoy it, before actually breaking his neck. The crux of the story involves a plot to kidnap an heiress in London. Cheyney details Caution's wanderings around the dark recesses of the Brit underworld and slings the slang like few writers from the period. Much of it is amusing, though he never quite makes it to the level of “moo juice.”
 
But here's the thing about loads of slang in vintage literature—it can wear on you after a while. And when paired with a storyline that doesn't exactly sprint like Usain Bolt, it can really wear on you. You have to give Cheyney credit, though. He was unique. And successful. This Man Is Dangerous was adapted to the screen as the French film Cet homme est dangereux in 1956, and numerous other novels of his made it to the moviehouse as well. We weren't thrilled with this tale, but it's significant in the crime genre, and objectively we think many readers will love it. The Fontana edition you see above has amazing cover art by John Rose and was published in 1954.

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Vintage Pulp Nov 5 2020
LONG DIVISIONE
The FBI stretches its jurisdiction all the way to Morocco in 1953 thriller.


Above, two beautiful Italian posters for F.B.I. divisione criminale, originally titled La môme vert de gris, but known in the U.S. as Poison Ivy. The film was based on a Peter Cheyney novel also named Poison Ivy, and starred Eddie Constantine as an American G-man in Morocco, and Dominique Wilms as a femme fatale known as—you guessed it—Poison Ivy. We talked about the movie at length in May, so if you're curious have a look here.

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Vintage Pulp May 27 2020
SPUR OF THE MOME
French crime drama throws Caution to the wind.


Here you see two posters for the 1953 French crime drama La môme vert de gris, which was called Poison Ivy in the U.S. This was adapted from a 1937 novel by Peter Cheyney that featured his recurring character FBI agent Lemmy Caution, who onscreen is played by Eddie Constantine. When two million dollars worth of gold goes missing Constantine is sent to Casablanca to determine its disposition and identify all malefactors involved. He finds himself pitted against a criminal mastermind of sorts, and a hive of henchmen that occupy a nightclub, a yacht, and a hideout in Casablanca's old quarter. Constantine deals with all comers by applying the time-honored advice: when in doubt, punch them out.

Film buffs the world over associate Casablanca with the Humphrey Bogart film of the same name, but the city you see here is different from the one made famous by Bogart and Co. ten years earlier. The Casablanca of this film is a maze of L.A.-style roads, white skyscrapers, and an industrial port the size of Long Beach. We checked population figures and learned it was already a major city of more than 500,000 people during the early 1940s, which means that Casablanca's village feel is really just a clever cinematic fantasy. Poison Ivy's Casablanca is real, and the many location shots mixed into the movie prove it.

That's Dominique Wilms on the top poster, and she's the reason we watched the movie. In this, her cinematic debut, she plays a femme fatale named Carlotta de la Rue, which of course indicates that she's a woman from the street. If that isn't enough to warn the men away, her friends call her Poison Ivy. Why? Because she burns. Hopefully that's meant figuratively, and above the waist. A character bringing so much heat must of course perform a torch song, which she sings with detachment, while the lyrics—as they usually do—indicate deeper issues: “I wander with my sorrow, along with my memories, looking for my old joys, which I've seen fade and die.” See? She just wants to be loved, assuming a man isn't thwarted by her acid tongue, that ironic right eyebrow, and the barbed wire encircling her heart.

The movie is certainly watchable, though it's nothing special aside from its exotic setting. But you have to appreciate the French love for U.S. crime fiction. In fact, director Bernard Borderie got the band back together and cast Constantine, Wilms, and her prehensile eyebrow in the next Caution movie, 1954's Les femmes s'en balancent. Constantine and Wilms also co-starred in 1957's Le grand bluff, another Caution adaptation, but helmed by Patrice Dally. Constantine went on to make Caution the signature character of his career. Wilms, who at age ninety is still out there somewhere, had about a dozen more roles before leaving cinema behind, but we think she had “it,” and will definitely check out some of her other work.

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History Rewind
The headlines that mattered yesteryear.
March 29
1951—The Rosenbergs Are Convicted of Espionage
Americans Ethel and Julius Rosenberg are convicted of conspiracy to commit espionage as a result of passing nuclear secrets to the Soviet Union. While declassified documents seem to confirm Julius Rosenberg's role as a spy, Ethel Rosenberg's involvement is still a matter of dispute. Both Rosenbergs were executed on June 19, 1953.
March 28
1910—First Seaplane Takes Flight
Frenchman Henri Fabre, who had studied airplane and propeller designs and had also patented a system of flotation devices, accomplishes the first take-off from water at Martinque, France, in a plane he called Le Canard, or "the duck."
1953—Jim Thorpe Dies
American athlete Jim Thorpe, who was one of the most prolific sportsmen ever and won Olympic gold medals in the 1912 pentathlon and decathlon, played American football at the collegiate and professional levels, and also played professional baseball and basketball, dies of a heart attack.
March 27
1958—Khrushchev Becomes Premier
Nikita Khrushchev becomes premier of the Soviet Union. During his time in power he is responsible for the partial de-Stalinization of the Soviet Union, and presides over the rise of the early Soviet space program, but his many policy failures lead to him being deposed in October 1964. After his removal he is pensioned off and lives quietly the rest of his life, eventually dying of heart disease in 1971.
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