|Femmes Fatales||Sep 20 2021|
|Vintage Pulp||Sep 22 2019|
From meager expectations often great entertainment arises. Such is the case with Ralph Carter's 1945 melodrama Blonde Venus. It's the story of a Kansas farm girl who goes to New York City to become a writer and finds that people are more interested in her body than her brain. We were surprised by this one. It's better than we expected for three reasons.
First, its protagonist Wandalee Fernald is uniquely likeable for a female character playing out a male writer's outdated Madonna/whore dichotomy. Often male writers fumble that theme, but Carter makes his take on it work.
Second, the narrative explores the change in attitudes toward sex that occurred during World War II, a time when the idea of female virginity before marriage was being temporarily tossed out the window due to the realization that life could be cut short.
And third, in a country that was rapidly urbanizing, the story makes good use of the tension between smalltown provincialism and big city cynicism, a struggle Wandalee internalizes as she tries to find out who she is.
Throughout the book we wondered whether she would end up with the backward hayseed hurt by her loss of purity or the jaded urbanite who accepts her as is but can't offer love in the romantic sense. Well, it turns out she chooses neither, and finds real love in New York City after all. That's a spoiler, but are you really going to seek out this flimsy old paperback? We don't think so. But if you happen to run across a copy, it's worth a read.
|Vintage Pulp||Dec 9 2018|
|Modern Pulp||Aug 16 2018|
Another plus is this killer promo poster. When we saw it we had to watch the movie. But what's the most important reason to watch it? Altman, of course. It's always fun to see what a director does with the 1930s. What's the main drawback? Aside from its narrative quirkiness, we suspect its racial content may be a bit much for those with millennial sensibilities. But don't fault art for holding a mirror to history. When we can't reflect the past in cinema we'll have fallen pretty far. Kansas City premiered in the U.S. today in 1996.
|Hollywoodland||Aug 12 2018|
Metro-Goldwyn-Mayer's famed lion mascot, who roared at the beginning of every MGM picture, was known as Leo. But like an actor playing a role, the lions used in those famed openings had real names. The first lion was used by MGM's predecessor Goldwyn Pictures. He was named Slats, and you see him above in this profile shot made at Gay's Lion Farm in El Monte, California. Slats played Leo for Goldwyn and MGM from 1916 to 1928, to be followed by such luminaries as Jackie, Teller, Tanner, George, etc. Slats was the only lion that didn't roar, because he got the gig before sound was introduced into film. While he's immortal as a logo, he died in 1936. For his faithful service he was skinned and his hide was put on display. It's still around, at the moment residing at the McPherson Museum in McPherson, Kansas.
|Vintage Pulp||Jun 15 2018|
This is very nice cover work for Everett and Olga Webber's U.S. Civil War novel Bound Girl. The art is by Sam Cherry, one of the best. After a 1949 hardback debut the book came out as this Popular Library paperback in 1950. The bound girl of the novel is an indentured servant living on the Kansas-Missouri border who experiences both war and various romantic ups and downs. Possibly her love problems stem from bad manners. After all, who'd want to date someone who doesn't even know that a three prong fork isn't for meat courses?
|The Naked City | Mondo Bizarro||Jun 16 2017|
Speaking of doubles, put this one in the amazing coincidences file. A Kansas man who spent seventeen years in prison was released Monday when a judge admitted that an exact double may have committed the crime for which he was jailed. Richard Jones, the man who was released, appears on the right in both mugshots, while an almost identical man appears on the left. This doppelgangbanger is an ex-convict who lived in Kansas City, Kansas in the vicinity of where several people were robbed at gunpoint in 1999, while Jones lived with his wife and kids across the state line in Kansas City, Missouri. Since Jones was convicted only on eyewitness identification by the victims, and there was no physical, DNA, or fingerprint evidence to link him to the crime, a judge ruled that there was sufficient cause to order his release.
|Vintage Pulp||Jan 21 2017|
Four robbers knock off a bank in Kansas City with plans to split the money after the heat has cooled. The mastermind behind the job has arranged it so the crooks don't meet before the job, and wear masks during it, thus can't possibly identify each other. But each man has an ace, torn in half to create a unique mate, to match with the second half and confirm his identity when the time comes. It all sounds clever and foolproof, except the mastermind has framed someone for the robbery to throw police off their trail, and when this man is arrested but turned loose from police custody due to lack of evidence, he decides to track down the men who set him up.
There are more twists, including a star-crossed romance with Coleen Gray, but we'll stop there. This is a nice, multi-layered film noir, with good performances all around. Considering the risk Payne has to take we aren't sure we fully buy his motivation, but once he's made the decision there's no easy way out, and it's fun to watch him threaten and beat his way up the chain to the top guy. Coleen Gray always adds a nice element to any movie she's in, and Lee Van Cleef is good in a tough guy role. The only serious blemish here may be the silly final minute, but you shouldn't let it ruin the film for you. We recommend giving this one a whirl.
|The Naked City||Nov 30 2016|
This FBI wanted poster was issued for Clarence Vernon Stevens today in 1937, in connection with a kidnapping case dating back to 1933. Clearly, the FBI were having no luck finding their target. In May 1933 Stevens and three accomplices had kidnapped Kansas City rich girl Mary McElroy right out of her bathtub one night and demanded a hefty $60,000 ransom from her father for her safe return. In the end they got $30,000, but they also got caught—all except for Stevens. While his accomplices were tried and sentenced to, respectively death, life, and eight years, police scoured the state for Stevens. Eventually they decided he might have hidden himself somewhere in the Pacific Northwest. The FBI got involved in the search, resulting in the above poster.
Whether McElroy's problems originated from the kidnapping itself or from subsequent anxiety concerning the state punishing them on her behalf, the rest of her life did not go well. She had several nervous breakdowns—as such incidents were called back then—never moved out of her father's house, and became addicted to opium. In January 1949 she committed suicide at age thirty-two by shooting herself in the head with a pistol. She left a note that read, “My four kidnappers are probably the four people on earth who don't consider me an utter fool. You have your death penalty now - so - please - give them a chance. Mary.” But her death brought about no change in her kidnappers' status. One had already been paroled as scheduled, but the other two remained in prison. As for Clarence Vernon Stevens, he was never caught.
|The Naked City||Jan 20 2015|
This photo made today in 1959 shows a woman named Jessie Mae Noah, who Los Angeles police had arrested and were questioning in connection to a crime that had occurred seven weeks earlier. On that December night a Samuel Goldwyn Studios suit named Kenneth Savoy walked into the In Between Café on Melrose Avenue during the time two men—one holding a sawed-off shotgun—were in the process of robbing it. Having collected the money and valuables of eight patrons and the contents of the cash register, they demanded Savoy’s wallet, and perhaps having watched too many of his own movies, he replied that if they wanted it they’d have to shoot him. That hard-boiled response earned him a load of buckshot in the stomach. The robbers scampered to their getaway car—where Jessie Mae Noah was waiting in the rear seat—and fled the scene.
After police published composite sketches of the robbers in the newspapers, Noah contacted police, resulting in the photo op at top. The robbers—George Scott and Curtis Lichtenwalter—were arrested later (for those who wonder whether composite sketches are ever accurate, check the comparison between Scott and his likeness at bottom).
Scott had fled all the way to Texarkana, Arkansas, and gave up only after a shoot-out with police at a motel. Jessie Mae Noah claimed she’d had no idea her two acquaintances were planning a robbery, and that she had simply gone for a ride with them for kicks. She avoided a murder charge, but Scott and Lichenwalter were both found guilty of robbery and first degree homicide. Scott—the triggerman—was gassed to death by the state of California in September 1960. And as for the victim Kenneth Savoy, you have to wonder what he thought in that instant when the shotgun went off. We suspect he thought that maybe calling bluffs was something best left to the stars of action films.