Modern Pulp Jan 28 2020
THEY STILL LIVE
And at this rate it looks like they'll outlast us all.


Is it one of the greatest allegorical science fiction films ever made? Well, sci-fi is conducive to metaphor, so the list of contenders is long, but certainly John Carpenter's They Live is somewhere in the mix. You see its Japanese poster above. The film invaded Japan today in 1989, after premiering in the U.S. during November of the previous year. We suspect this one falls into the category of movies many have been told they should see, but few have bothered to make the time for. We're here to suggest that you make the time. The premise is ingenious—Earth's ruling class are actually aliens in human form. What do these offworld one-percenters want? Mainly for humans to obliviously embrace behavior that is beneficial to the maintenance of elite power. To that end the everyday world people see is a mere curtain over a deeper reality totally geared toward making humans obey, consume, conform, and reproduce.

Carpenter said about the film, which is based on the 1963 short story, “Eight O'Clock in the Morning,” by Ray Nelson, “The picture's premise is that [our current economic system] is run by aliens from another galaxy. Free enterprisers from outer space have taken over the world, and are exploiting Earth as if it's a third world planet. And as soon as they exhaust all our resources, they'll move on to another world.” The idea is certainly poignant in this age of inequality, low wage employment, population explosion, environmental ruin, and all-powerful international corporate overlords that somehow are regarded by U.S. courts as “people.”
 
The aliens of They Live, not unlike corporations, want to go unchallenged while they suck the planet dry. But Roddy Piper, playing a drifter passing through Los Angeles, happens upon a small resistance who have made special sunglasses that penetrate the disguise laid over the world. When he dons these glasses his mind is simply blown by what they reveal. Even the money people work so hard for is nothing more than plain white paper bearing the message: “This is your god.” Carpenter builds the drama of They Live slowly, and plays it for laughs on multiple occasions, but the sense of dread mounts as Piper and co-star Keith David realize the illusions that maintain order are broadcast from a massive fleet of hovering drones, and if they don't expose the truth perhaps nobody will.

We've seen They Live several times, and loved it more on each occasion. Generally, people who don't like it find it too slow, which is ironic considering it's a film that suggests people are deliberately being prevented from taking the crucial time needed to see what's real and what isn't. They Live makes us imagine what would happen if aliens really did arrive on Earth. Most likely they would be sifting through the ruins of what was once here, and they'd say, “This strange species had diverse art that often discussed hostile alien invasions, but it appears they didn't realize the thing that would destroy them was already here—it was their own economics.”

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Modern Pulp Nov 15 2018
CRUCIBLE OF HORROR
Eli Roth and AMC make History with a seven part look at horror cinema.


Those of you in the U.S. who appreciate horror cinema may want to carve out a little time Sunday night for the final episode of the retrospective Eli Roth's History of Horror. It's been airing weekly on the cable network American Movie Classics, aka AMC, since mid-October. Though the British network BBC broadcast a very good three part horror retrospective in 2010 (and it even had a similar title—A History of Horror), genre landscapes shift quickly. The Brit series was made before important films like Get Out, It, Let Me In, its remake Let the Right One In, et al hit cinemas. Eli Roth's History of Horror is a newer and deeper look at fright films. Each 60-minute episode focuses on a specific type of terror, such as vampires, monsters, demons, and slashers.

Overall the series is great. Roth discusses not just the movies, but horror's cultural impact, and weights those observations toward the last ten years. Because of the change that has occurred this decade those sections resonate nicely. Horror's ability to make social issues digestible as allegories is a key part of the form's worth. For instance, Get Out's idea of the sunken place, a metaphor for living (and dying) while black in America, would be rejected by many white filmgoers if it were in a standard narrative. But for us the social impact of horror movies is merely a bonus. We love them viscerally first, intellectually second. We lovethe tension that results from not knowing—usually, at least—which characters will survive. We love how the films' kinetic and often low budget natures lead to amazing little accidents, such as the bit in The Texas Chainsaw Massacre when Leatherface grabs Teri McMinn on the porch of his house and both the girl's sandals fly off. That sort of detail isn't in a script. It happens during the shoot, and the director thanks the filmic gods for the extra iota of serendipitous realism.

While very good, the series isn't perfect. In the episode on zombies, Roth discusses slow moving zombies for a while, then erroneously credits the arrival of speedy zombies to Danny Boyle 2002 hit 28 Days Later. But it was 1985's Return of the Living Dead that featured the first sprinting zombies in an American movie, and this was preceded by the 1980 Italian zombie epic Incubo sulla città contaminata, aka Nightmare City. We also were surprised Near Dark was ignored in the vampire episode. Timehas shown it to be better and more influential than The Lost Boys, which was discussed at length. If you doubt that, note that Near Dark's critic score on Rotten Tomatoes is 88%, while Lost Boys' is 27%. Critics are often wrong, especially when it comes to horror, but that level of variance is no fluke. And just to settle the argument, the audience rater on that website also prefers Near Dark. We suspect either box office receipts or Roth's personal preference played a role there, when quality should have been the deciding factor.

But we were gratified to see that many of our cherished beliefs were echoed by Roth and his co-hosts Rob Zombie and The Walking Dead producer Greg Nicotero. Yes, the towering w
erewolf from The Howling is the scariest ever put on screen. Beyond a doubt, John Carpenter's The Thing, which was close to universally panned upon release, is a top tier thriller. We're anticipating the segment on ghosts, the focus of Sunday night's series finale. We imagine these were saved for last because viewers are most interested in the subject, a curiosity that derives from the fact that many people actually believe ghosts exist. We expect the episode to discuss such old and new classics as The Haunting, The Shining, The Ring, and The Woman in Black. We'll see. But no spoilers, please. If you're in the States you can watch it before we do, whereas we'll have to (totally legally, we swear) download it the next day. But whenever you watch it, the show has been a nice treat for horror aficionados.

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Modern Pulp Jun 1 2017
A MIST ARRIVAL
Low visibility and even lower survivability.


Yes, we're tripling up on films this lovely Thursday because all three premiered today in some year or other. This third poster is the Spanish promo painted by Macario Gomez for John Carpenter's horror flick The Fog, about a town beset by a ghost ship filled with murderous lepers. It's an oldie but a goodie, we'd say, with Jamie Lee Curtis, her real life mom Janet Leigh, Adrienne Barbeau, and Hal Holbrook. Couple of takeaways from this one—Jamie Lee will hook up with any old schlub, and haunted fog really scoots. Think you can outrun it? Forget it. If you hated the 2005 remake (and who didn't) give this one a try. There are some legit chills here. The Fog premiered as La niebla in Spain today in 1980.

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Modern Pulp May 24 2009
RED EYES AT NIGHT
Someone's knocking at the door.

Japanese promo art for John Carpenter’s The Fog, featuring some uninvited visitors from the sea. The film premiered in Tokyo today in 1980.

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History Rewind
The headlines that mattered yesteryear.
February 27
1922—Challenge to Women's Voting Rights Rebuffed
In the United States, a conservative legal challenge to the nineteenth amendment to the U.S. Constitution establishing voting rights for women is rebuffed by the Supreme Court in Leser v. Garnett. The challenge was based partly on the idea of individual "states rights" to self determination. The failure of such reasoning as it applied to basic human rights created a framework for later states rights losses involving the denial of voting rights to African-Americans.
February 26
1917—First Jazz Record Is Made
In New Orleans, The Original Dixieland Jass Band records the first ever jazz record for the Victor Talking Machine Company in New York. The band was frequently billed as the "Creators of Jazz", but in reality all the members had previously played in the Papa Jack Laine bands, a group of racially mixed performers who helped form the basis of Dixieland while playing under bandleader George Laine.
February 25
1947—Prussia Ceases To Exist
The centuries-old state of Prussia, which had been a great European power under the reign of Frederick the Great during the 1800s, and a major influence on German culture, ceases to exist when it is dissolved by the post-WWII Allied Control Council comprised of the United States, the United Kingdom, and the Soviet Union.
1964—Clay Beats Liston
Heavyweight boxer Cassius Clay, aged 22, becomes champion of the world after beating Sonny Liston, aka the Dark Destroyer, in one of the biggest upsets in boxing history. It would be the beginning of a storied and controversial career for Clay, who would announce to the world shortly after the fight that he had changed his name to Muhammad Ali.
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