Some love lasts forever. Other times it doesn't survive the wedding night.
Another of the movies we watched recently was Bluebeard, a castle and dungeon-style, quasi gothic horror flick about a folk tale character who murders a series of wives. Its Spanish poster was the best of those we saw, and we chose today to share it because the film premiered in Spain today in 1974, after opening in the U.S. two years earlier. This piece was painted and collaged from photos by Fernandez Zarza-Pérez, also known as Jano, now a regular visitor to Pulp Intl. Just for the sake of it, we've also included the U.S. poster at right (or above if you're on a mobile device). You can see that it's built fully around a photo-illustration, and while it's interesting, we thought Jano's work had a little more merit.
Bluebeard stars Richard Burton, who's supposed to be a great actor, but we have to admit we'd seen exactly zero of his acclaimed movies up to this point. He was a Shakespearean stage guy who transitioned to Hollywood in similar type roles, and being decidedly non-pulp in style, we've highlighted none here. He later made a couple of war movies, though, as well as the overbudget epic Cleopatra, and we might get around to those. Going on the example presented by Bluebeard, however, you'd have to conclude that he's a hack. Those who know more than us say that by the 1970s heavy drinking had impaired both his judgment and skill.
You'd think that a famous folk tale would provide a trove of potential cinematic possibilities to sift through, but Bluebeard is uninspiringly written, and the direction—from film noir vet Edward Dmytryk—presents little evidence of engagement with or inspiration by the material. The women Bluebeard murders are played by Karin Schubert, Nathalie Delon, Virna Lisi, sexy nun Raquel Welch, Marilú Tolo, Agostina Belli, and Joey Heatherton—not neccsarily in that order—plus Sybil Danning makes an appearance. Heatherton has the key role as Anne, the wife who elicits a confession from a psychologically tortured Bluebeard as to why he kills.
And the reason? Dude can't get it up. Therefore, in the era before little blue pills, as a prominent member of Austria's post-World War I patriarchal society, Bluebeard murders to keep his limpness secret. You'd think dying wives would destroy his matrimonial suitability, but ata certain point we suppose money papers over all flaws. Rich or not, though, never marry a guy who sits around with a raptor on his shoulder. And speaking of hunting, we should warn the kind-hearted that there's an extended hunting sequence in Bluebeard, and the animals are killed for real, in detailed action. We're talking several rabbits, a number of birds in flight, a couple of foxes, a boar, and a deer.
Based on what we've written so far, you might think we're not recommending Bluebeard, but not so fast, friends. The female cast—to state the obvious—comprises some of the loveliest actresses of the era, and in diverse ways. Welch is sculpturally flawless, Lisi is ethereally beautiful, Toló is broodingly dark, and Heatherton, whose resting face is ingenuous and slightly open-mouthed as if she's always concentrating on a problem, can only be described as luscious. She also has one of cinema's all-time greatest hairdos. Is it pervy to say you should watch a movie solely for the beauty of its actresses? Probably—but it's the truth. The filmmakers must have agreed, because they published lots of nude production stills, when in fact the film has less skin. See below.
Garner's portrayal of a classic detective feels a lot like a Rockford Files test run.
Raymond Chandler's novels have been adapted to the screen several times. One of the lesser known efforts was 1969's Marlowe, which was based on the 1949 novel The Little Sister and starred future Rockford Files centerpiece James Garner as Chandler's famed Philip Marlowe. You see a cool Spanish popster for the movie above, painted by Fernandez Zarza-Pérez, also known as Jano. As usual when we show you a foreign promo for a U.S. movie, it's because the domestic promo isn't up to the same quality. In this case the U.S. promo is almost identical, but in black and white. The choice was clear.
Since you know what to expect from a Chandler adaptation, we don't need to go into the plot much, except to say it deals with an icepick murderer and ties into show business and blackmail. What's more important is whether the filmmakers made good use of the original material, either by remaining true to its basic ideas or by imagining something new and better. They weren't going for new in this case. They were providing a vehicle for the charismatic Garner and ended up with a movie that features him in the same mode he would later perfect in Rockford.
Marlowe has a few elements of note. Rita Moreno plays a burlesque dancer, and it's one of her sexier roles. Bruce Lee makes an appearance as a thug named Winslow Wong. Garner is the star, so it isn't a spoiler to say that Lee doesn't stand a chance. He's dispatched in unlikely but amusing fashion. Overall, Marlowe feels like an ambitious television movie and plays like a test run for Rockford, but it's fun stuff. We recommend it for fans of Chandler, Moreno, Lee, Carroll O'Connor (who co-stars as a police lieutenant), and especially Garner. It premiered in the U.S. in 1969, but didn't reach Spain until today in 1976.
In a place like Atlantic City there's always one more chance.
The poster you see above was painted by the Spanish artist Francisco Fernandez Zarza-Pérez, who signed his work as Jano. As you can see, it was to promote Louis Malle's drama Atlantic City, U.S.A. Most sites call the film just Atlantic City, but we're going with what the opening credits called it. Though the movie starred U.S. performers and tends to be thought of as an American effort, it was French produced and premiered all over Europe in 1980 before reaching the States in 1981. It opened in Spain today in 1980 and tells the story of a sixty-something minor crook who finds himself involved with twenty-something hustlers and their sale of stolen drugs. Circumstances place both the party favors and the profits in his hands, and he suddenly has a chance to be the big time mobster he never was.
Not only did Atlantic City, U.S.A. win the Golden Lion at the Venice Film Festival, it's one of the few movies to be nominated for all five major Academy Awards—Best Actor (Burt Lancaster), Best Actress (Susan Sarandon), Best Director, Best Picture, and Best Screenplay. With a résumé like that we don't have to tell you the movie is good. Watch it. You'll like it. The woman on the poster, by the way, looks nothing like Susan Sarandon, but it was early in Sarandon's career, and we suspect Jano wasn't too invested in getting her likeness correct. It was within his capability, certainly—his Lancaster looks great. We don't know why he got Sarandon wrong. Considering how famous she eventually became, we have a feeling he wished he'd done better.
You're annoyed? I'm the one who's a human armchair.
This is a classic piece of tabloid art. Brigitte Bardot is pictured on this National Enquirer published today in 1962 reading what is supposed to be a tabloid paper and looking annoyed. The art suggests she thinks the press is lying about her, reporting fake news, as it were. And being the tabloid press, it probably was. Below you see the photo Enquirer cropped to get the cover. In it, Bardot sits on her younger sister Mijanou's lap between takes on the set of the 1959 comedy Voulez-vous danser avec moi?, aka Come Dance with Me, in Nice, France. Sis looks just as bothered as Brigitte, but she was probably just bored, since she wasn't appearing in the film. She did act in more than a dozen movies of her own, though.
There's no business like Monroe business.
Spanish illustrator Francisco Fernandez Zarza-Pérez painted this beautiful poster for the comedy Luces de candilejas, aka There's No Business Like Show Business, and signed the piece as his alter ego Jano. As you can see by comparing the poster to the set photo below, he covered Monroe's leg, which maybe isn't surprising, since he was working in Franco's fascist Spain. Even so this is by far the best poster we've seen from him. The movie's Spanish title Luces de candilejas translates as “candle lights,” which is appropriate, as Marilyn Monroe gets into the type of moth-to-flame difficulties in which she specialized, with her arrival as a new talent on the Vaudeville scene bringing strife to a show business family. No pulp material here—it's a pure musical, with a lot of performance numbers from Monroe, Mitzi Gaynor, Johnnie Ray, Dan Dailey, and headliners Ethel Merman and Donald O'Connor. The Jano artwork makes the poster a must share, but the film is a pass—not because it's a Vaudeville musical, but because it's bland, due in part to Monroe's minimal screen time. Luces de candilejas premiered in Spain today in 1959, and you can see more Jano here.
Perversion never goes out of style.
Years ago we briefly discussed the Marisa Mell thriller Una sull’atra and shared an Angelo Cesselon poster made for its Italian run. Well, we're back to the movie today with a poster made for its Spanish run under the title Una historia perversa. The illustration was painted by Francisco Fernandez Zarza-Pérez, who signed his work as Jano, and was one of Spain's more prolific cinematic illustrators. We put together a small collection of his work a while back and you can check that out here. Una historia perversa made its Spanish premiere in Barcelona today in 1969.
1950s male fitness magazine features a surprising guest star.
Today we’re back to the bodybuilding publication Tomorrow’s Man. The content of TM was health focused, but in the same way that the Sports Illustrated swimsuit issue is about swimwear. We’ll let a contemporary from the period say it: “When I was a closeted teenager Tomorrow’s Man was my favorite guilty pleasure magazine. I was so impressed that in 1965 I mentioned Tomorrow’s Man specifically in my first novel What They Did to the Kid.” That’s from award winning author Jack Fritscher.
So you had a health and fitness publication that—for some customers—also served as a sexual outlet, exactly like Sports Illustrated. One difference here, though, is that underaged boys were often featured in TM’s pages, and that holds true for this issue as well, in which a fifteen-year-old boy named Steve Jano poses in the woods wearing a thong and holding a spear. Of course, back then there were nudist publications that published photos of entire families—including completely naked pre-pubescent girls—so there’s nothing going on with TM that heterosexuals weren’t doing too, probably long earlier and doubtless in far greater numbers.
None of that is the reason we wanted to share this issue, but as we’ve said before, sometimes to get where we want we have to first address the elephant in the room. Okay, done. What actually struck us about this issue from May 1956 is the inclusion of Marilyn Monroe. We thought we’d seen Monroe everywhere, but no—here she is in a male bodybuilding publication. There seems to be no limit to her range. But we do think she needs to bump up the weight she’s lifting just a bit. You can check out more TM covers here.
Argento’s first film was among his most restrained and most successful.
Above we've posted two Spanish one-sheets for El Pajaro de las Plumas de Cristal, aka L’uccello dale piume de cristallo, aka The Bird with the Crystal Plumage. This was horror grandmaster Dario Argento’s first film, a thriller in the Hitchcockian mode about an American in Italy who witnesses an attempted murder. The police make him stay in the country, the would-be killer soon begins stalking him. After an attempt on his life he realizes unmasking the maniac himself is probably his best defense.
This was the beginning of a storied career for Argento. In subsequent efforts, he would explore realms of gore Hitchcock probably never dreamt of, but in this early effort he relies on mood to achieve his goals, and the English language version mostly succeeds despite the distraction of some less than breathtaking dubbing. Overall, we consider this well worth a viewing, imperfections and all. The Bird with the Crystal Plumage premiered in Italy today in 1970.
Turning to the poster art, it was painted by another grandmaster, Spanish illustrator Francisco Fernandez Zarza-Pérez, who worked under the pseudonym Jano—aka Janus, the two-faced Roman god of doorways, arches, beginnings and endings. Jano painted thousands of pieces beginning in the 1940s, and we’ve cobbled a few more together and posted them below for you to enjoy this lovely Friday. More on Jano later.
The headlines that mattered yesteryear.
1924—St. Petersburg is renamed Leningrad
St. Peterburg, the Russian city founded by Peter the Great in 1703, and which was capital of the Russian Empire for more than 200 years, is renamed Leningrad three days after the death of Vladimir Lenin. The city had already been renamed Petrograd in 1914. It was finally given back its original name St. Petersburg in 1991.
1966—Beaumont Children Disappear
In Australia, siblings Jane Nartare Beaumont, Arnna Kathleen Beaumont, and Grant Ellis Beaumont, aged 9, 7, and 4, disappear from Glenelg Beach near Adelaide, and are never seen again. Witnesses claim to have spotted them in the company of a tall, blonde man, but over the years, after interviewing many potential suspects, police are unable generate enough solid leads to result in an arrest. The disappearances remain Australia's most infamous cold case.
1949—First Emmy Awards Are Presented
At the Hollywood Athletic Club in Los Angeles, California, the Academy of Television Arts & Sciences presents the first Emmy Awards. The name Emmy was chosen as a feminization of "immy", a nickname used for the image orthicon tubes that were common in early television cameras.
1971—Manson Family Found Guilty
Charles Manson and three female members of his "family" are found guilty of the 1969 Tate-LaBianca murders, which Manson orchestrated in hopes of bringing about Helter Skelter, an apocalyptic war he believed would arise between blacks and whites.
1961—Plane Carrying Nuclear Bombs Crashes
A B-52 Stratofortress carrying two H-bombs experiences trouble during a refueling operation, and in the midst of an emergency descent breaks up in mid-air over Goldsboro, North Carolina. Five of the six arming devices on one of the bombs somehow activate before it lands via parachute in a wooded region where it is later recovered. The other bomb does not deploy its chute and crashes into muddy ground at 700 mph, disintegrating while driving its radioactive core fifty feet into the earth, where it remains to this day.
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