Pulp International

Mar 21 2024

Strange ideas from the minds and lenses of mid-century promo photographers.

A while back we shared a promo photo of Glenn Ford and Gloria Grahame from 1953's The Big Heat that was meant to imply oral sex (it absolutely was, and you can see for yourself here). We commented on its weirdness, and noted that an actress would probably not be asked or made to pose that way today. The shot got us thinking about whether there were other kneeling promo shots from the mid-century era, and above you see two others from The Big Heat.

Below we have more such shots, and while none are as jarring as that previous promo, they're all interesting. We assumed there would be few if any featuring kneeling males, but we found a couple. Even so, there are probably scores more kneeling actresses that we missed. While many of shots took the form they did to highlight the criminal/victim themes in their parent films, you still have to wonder what else—consciously or not—was in the various photograhers' minds. Anyway, just some food for thought this lovely Thursday. Ready, set discuss!

Rod Taylor and Luciana Pauluzzi swap subordinate positions for 1967's Chuka.

Edmund O'Brien goes for the time honored hair grab on Marla English for 1954's Shield for Murder.

Marilyn Monroe swoons as Richard Widmark snarls for Don't Bother To Knock, 1952.

Inger Stevens and Terry Ann Ross for Cry Terror, an adaptation of a novel we talked about a few years ago.

Kim Hunter soothes an overheated Marlon Brando in a promo for 1951's A Streetcar Named Desire.

George Raft menaces Marlene Dietrich in the 1941 comedy Manpower.

As promos go, these actually make sense. They show three unidentified models mesmerized by vampire Christopher Lee for 1970's Taste the Blood of Dracula.

Glenn Ford is at it again, this time looming over Rita Hayworth for the 1946 classic Gilda.

Aldo Ray and Barbara Nichols for 1958's The Naked and the Dead.

This one shows less domination and more protectiveness, as Humphrey Bogart prepares to defend Ida Lupino for High Sierra, 1941.

Humphrey once more. Here he's with Lizabeth Scott for Dead Reckoning, 1947.

This shot shows Brazilian actress Fiorella Mari with an actor we can't identify in a movie we also can't identify.

Shelly Winters and Jack Palance climb the highest mountain together for I Died a Thousand Times, 1955.

As we said, we didn't find as many examples of kneeling men, but we found this gem—Cappucine makes a seat of director Blake Edwards on the set of The Pink Panther in 1963. Does this count, though? While Edwards is subordinate, he isn't kneeling and it really isn’t a legit promo.

And lastly, in a curious example, Hugo Haas seems to tell Cleo Moore to stay in a shot made for 1953's One Girl's Confession.

Vintage Pulp

Nov 27 2022

Seventy-five minutes of movie time never went so slowly.

Above you see a poster for Hold Back Tomorrow, a movie written and directed by Hugo Haas, the man behind numerous low budget noirs, usually with Cleo Moore in a leading role. This effort is more of a melodrama than a film noir, but Haas and Moore dutifully collaborate once again, with Moore introduced to the audience when despondency over her descent into prostitution prompts her to jump off a bridge. Her suicide attempt is thwarted by a passerby and she returns to her lowly room, pretty much beaten by life.

Next the audience meets the world's most annoying death row inmate John Agar, who, when promised a last wish by the warden, asks for several ridiculous things, most importantly a woman to keep him company. Just like that two prison officials go to the local dance hall, catch wind of Moore, ask her to keep Agar company, and conduct her, bedraggled and knackered from her near-death experience, to the penitentiary.

Most of the remainder of the film consists of Moore-the-suicidal and Agar-the-soon-to-be-executed getting to know each other in the cozy confines of his cell. Agar sums up the tedium of this with his hilarious line: “Shut up! I didn't ask for a psychiatrist. I asked for a girl!” Nevertheless, Moore keeps digging into that restive brain of his, and the two trade insights, debate finer existential points, talk of their pasts, fall in love, and get married by the prison priest before Agar is marched off to the death chamber for his just desserts. Oops—spoiler alert.

The movie is exactly as cheesy as it sounds, and isn't a mandatory watch when there are scores of better period films from which to choose. Seriously—state authorities lock a suicidal woman in a cell with a convicted strangler? Come on. But don't take our word for it. Try it yourself and see if you feel like tomorrow can't come fast enough. Hold Back Tomorrow opened this month in 1955.

I wore my best dress. I hope this isn't too festive for death row.

So I hear you're a strangler and dead man walking. That's fascinating. I'm a dancer and part-time hooker.

My time in prison has taught me that strangling was always just a cry for help and a substitute for snuggling.

Do you think we're in command of our own destinies, or do you think we were always meant to be in such a bad movie?

Screw destiny! I believe in free will and I'm outta here!

Hold Back Tomorrow Cleo Moore John Agar Hugo Haas poster art cinema film noir movie review

Vintage Pulp

Feb 24 2022

There's one suborned every minute.

Above is a poster for Bait, which is a sort of a b-movie version of The Treasure of the Sierra Madre, but produced with half the budget and talent. Hugo Haas plays a man who made a gold strike two years ago, then got caught in a snowstorm, almost died, and hasn't had been able to locate the mine again. To accomplish this he takes on a partner played by John Agar. Meanwhile Cleo Moore plays a fallen townie woman Haas impulsively marries, and from that point onward the trio live together in a one-room mountain cabin. Haas has no intention of splitting the gold, and the close quarters lodging is all according to his master plan. It's unclear at first what that is, but we eventually find out: induce Agar and Moore into committing the then-crime of adultery so he can legally kill them. And you'll think: Isn't there an easier way not to share gold?

This flick is pure cheeseball stuff, with a cautionary introduction by the Devil himself (played by Cedric Hardwicke), and lots of sinister voiceover and greed sweats, but since it's one of seven collaborations between director/writer/star Haas and his muse Moore, for fans it's probably worth seeing. Objectively, however, though some of those collaborations managed to rise above their meager budgets and dubious scripts to result in entertaining films, this one doesn't. It's a bit like a bad high school play. Also, not a film noir, no matter what IMDB claims. The American Film Institute calls it a drama. Our recommendation: don't take the Bait. It premiered in the U.S. today in 1954.

Bait Hugo Haas Cleo Moore John Agar Cedric Hardwicke poster art cinema movie review

Vintage Pulp

Apr 6 2021

They say the truth will set you free, but it'll send her to prison.

Written, directed, produced by, and co-starring Hugo Haas, One Girl's Confession is a morality play that ponders the role of fate in people's lives. Imagine a man leaving his house and stopping for a few moments to help a boy retrieve a ball. Ten minutes later a flower pot falls from a highrise balcony and crushes his skull. If he hadn't stopped to help the boy the pot would have missed him by ten feet. Terrible luck. But at his work that day there's a natural gas explosion, which would have killed him anyway.

That's the type of idea Haas plays with. He has Cleo Moore in the lead role as a woman who steals $25,000, wants to use the money to get ahead, but various metaphorical flower pots keep landing on her head. Maybe wealth just isn't in the cards. On the other hand, it's possible the fault, as they say, is not in her stars, but in her self. Helene Stanton plays a crucial support role, tipping the balance of fate at just the right moment, and Glenn Langan plays Moore's love interest.

One Girl's Confession is just a b-movie, but it manages to elevate itself above its ilk thanks to a charismatic lead performer. A seventy-four minute running time doesn't hurt either, as the curtain falls just before as central idea begins to wear thin. You probably have worse movies in your queue, so adding this one can't hurt. Maybe it'll help you avoid a flower pot. One Girl's Confession premiered in the U.S. today in 1953.

One Girl's Confession Cleo Moore Hugo Haas Helene Stanton poster art cinema movie review

Vintage Pulp

Sep 7 2018

A textbook case of pianist envy leads to serious trouble.

This poster was made for Strange Fascination, a film put together by triple threat Hugo Haas, who wrote the screenplay, directed, and starred. It premiered this month in 1952. Plotwise a rich widow traveling in Europe meets a brilliant pianist who wants to leave the continent to get away from its “recent misfortunes.” She sponsors him and brings him to New York City, where he has immediate success, but his head is soon turned by platinum blonde showgirl Cleo Moore. She's got show business ambitions but no avenues, so she hitches herself to the rising pianist and proceeds to make his career go limp.

Hugo Haas headlined scores of movies and accumulated more than forty credits directing and writing, so Strange Fascination was no vanity project. In fact we suspect it was uniquely important to him because of its autobiographical elements. For instance, like the pianist he plays Haas left eastern Europe—Brno, Austria-Hungary, which is now part of the Czech Republic—and became respected in his chosen industry. And his given name was Pavel Haas, while his lead character here is named Paul, the Anglicization of Pavel.

In Strange Fascination Haas crafted a solid movie but don't let the online reviews fool you—it isn't film noir. These days any movie that's mid-century, black and white, and dramatic gets the noir stamp on crowd sourced websites like IMDB and Wikipedia. Strange Fascination contains bits of noir iconography, but films of the period have no choice about that—after all, rain falls even in musicals and neon signs occur even in comedies. Strange Fascination is really a straight melodrama. Go into this little b-movie with that expectation and it may prove satisfying.

So when I sign this I'm giving you permission to turn my life into an unrelenting hell?

Austria-Hungary Czech Republic Brno New York City Strange Fascination Hugo Haas Cleo Moore poster art cinema movie review

Vintage Pulp

Jul 24 2017

First rule of plotting a murder: make sure the victim isn't listening in.

Above you see a poster for Pickup, one of the nastier little noirs we've run across our years maintaining this website. Beverly Michaels tries to worm her way into a retired man's affections in order to have the life of leisure she thinks she deserves. But her target, in addition to being old fashioned and a bit obtuse, has some sort of chronic or psychosomatic brain injury that results in confusion and hearing loss. Even so, she manages to marry the poor slob, then sets about figuring how to kill him to obtain his savings of $7,300. When he's hit by a car one afternoon his hearing returns, but Michaels has no idea it's happened and openly plots to murder him, assuming he's still deaf while the entire time he listens in horror. This isn't supposed to be funny, but it is, uproariously. Michaels says the most vicious things about the guy, behind his back and right to his face, day after day, with no idea he can hear every word. These crazy sequences are a big reason why this cheap little b-flick has survived the decades. Plus Michaels knocks her first starring turn over the center field bleachers, playing shrill, wall-eyed evil to the hilt. She was rewarded with more work, including similar gold digger parts in 1953's Wicked Woman and 1956's Blonde Bait. The latter was her last role, making for a short career, but a memorable one. We recommend Pickup, morbid plot, shoestring production values, and all. It premiered in the U.S. today in 1951.

Pickup Beverly Michaels Hugo Haas poster art cinema film noir movie review