Glenn Ford, Lee Marvin, and Gloria Grahame raise the temperature in Italy.
Above, three Italian posters for Il grande caldo, better known as The Big Heat. The top piece was painted by Ezio Tarantelli, and middle one is by by Anselmo Ballester, both of whom we featured a while back, here and here. We already talked about the film. If you haven't watched it, try to make the time. It's good.
The temperature rises and the bodies fall in Fritz Lang's tense film noir.
In the thriller The Big Heat, which is based on a novel by William P. McGivern and directed by Fritz Lang, Glenn Ford plays one of the toughest men you'll find in film noir—ass kicking detective Dave Bannon, whose clash with organized crime sends him down a rogue path that leaves people battered, bruised, bloodied, burnt, and blown up. He co-starred with Gloria Grahame, and the way the plot develops, she turns out to be every bit as tough. We can't tell you anything about the movie others already haven't about a thousand times, so we're focusing instead on this top notch promo poster, a framable classic in the panel format we love. You'll see this online only occasionally because it's way too rare for sellers to ever have in stock, but it's a fitting piece for such a great movie. The Big Heat premiered in the U.S. today in 1953.
Get in his way and he'll roll right over you.
The movie Truck Turner was originally written to star Lee Marvin, Robert Mitchum, or Ernest Borgnine, but none of them were available. American International Pictures exec Larry Gordon reportedly said, “Well, we can't get any of them so now it's a black picture.” Marvin, Mitchum, and Borgnine were lucky they dodged this Truck. Isaac Hayes was signed up and he plays an L.A. bounty hunter who chases down a pimp named Gator only to end up pitted against a powerful madame named Dorinda. The movie is poorly put together, which you wouldn't guess from looking at its scores on sites like IMDB, where raters give it a 7.0. But we suspect those ratings derive from copious action and an amusingly bad script, particularly co-star Nichelle Nichols' tour de force segment in which, as Dorinda, she parades her whores before a group of pimps and describes their assets in a colorful monologue that's possibly the funniest moment from any blaxploitation movie. Here it is:
“Gentlemen, this is my family. These all prime cut bitches. $238,000 worth of dynamite. It's Fort Knox in panties. Candy did seventeen thousand last year. Velvet, Miss Sophisticate, did twenty. Used to be a Paris model. Jess and Annette each did twenty-two five. Show 'em your wares, bitch. [bitch licks lips, strikes a pose] See what you can get if you're good? That's Turnpike. She did twenty-six five. She's called Turnpike ’cause you gotta pay to get on and pay to get off. China, come here, baby. China did twenty-nine. Sweet piece a Oriental meat. Mmm, mmm, mmm. This is Frenchy. Gator used to call her Boeing 747. Show 'em why, bitch. [bitch shimmies] She did twenty-seven five. And that's sweet Annette. Show 'em that smile, you sweet thing. She did thirty thou last year. And where's my baby? That's Taffy. This bitch grossed thirty-seven thousand five hundred dollars working part time. Shit, her clients think she's too good to fuck. They call her Colonel Sanders because she's [bitch licks fingers] finger lickin' good.”
So that's pretty funny, in a horrible, un-2018 kind of way. The outtakes must have been uproarious. Nichols knocks this bit out of the park like a hanging curveball because she can act (in fact, watching how she makes those words sparkle is a clinic on the wide gap between screenwriting and an actor's interpretation). Yaphet Kotto as the pimp Harvard Blue makes his role work because he can act too. But nobody else can. Luckily, as action eventually overtakes dialogue matters improve considerably, with the last third of the movie developing enough momentum to sustain viewer interest. There's one other asset too—Hayes' groovy soundtrack. But you don't have to watch the movie to enjoy that, or Nichols' monologue, which you can watch at this YouTube link while it lasts. It starts about forty seconds in. Otherwise, we recommend giving Truck Turner a pass unless your sense of humor is—like ours—inclusive of semi-inept Hollywood obscurities. If that's the case, roll on. Truck Turner premiered in the U.S. in 1974.
Redhead risks serious sunburn to get a base tan.
Belgium's Ciné-Revue is one of the best film magazines of the mid-century era. It's also one of the hardest to scan. Not only do the pages need to be scanned in halves and joined via computer, but the tiny text makes lining the halves up a real challenge. We didn't think about that when we bought a stack of these in Paris several years back, and now the sheer effort involved causes us to doubt we'll ever get them all uploaded. But we managed to carve out a few hours, so today we have this issue from May 1975 with French actress Marlène Jobert doing a little topless boating on the cover, hopefully well slathered in sunscreen. Jobert also features in the beachy center spread wearing even less clothing (and theoretically more sunscreen), but the real star of this issue is Bette Davis, who receives a career retrospective with shots from seemingly every movie she ever made. You also get William Holden, Jane Birkin, Dominique Sanda, Sidney Poitier, Sophia Loren, Rita Hayworth, Agostina Belli, a feature on Steven Spielberg's Jaws, and much more, in forty-plus scans.
You spend all week looking forward to Saturday and then this happens.
In Violent Saturday, a group of people are loosely connected to a smalltown bank that has been targeted by a trio of robbers. Yes, it's a heist double feature at the Noir City Film Festival. We meet the big shot at a local mine who is one of the bank's most important customers. We meet his cheating wife, who's having an affair with a bank employee. We're introduced to a group of Amish who have no idea their nearby community has been chosen as a rendezvous point. We get to know the bank manager—and the woman whose window he peeps through at night. As you might guess from our rundown, the examination of all these characters and their situations is detailed. In fact, it lasts two thirds of the film.
When the bank is finally robbed, some of these people will find themselves in the wrong place at the wrong time as the criminals' careful plan degenerates into a kill-or-be-killed fiasco. Lethal results are coming but we have no idea who will survive. Everyone is flawed, everyone has hope for a good future, but not all of them will get to see it. Violent Saturday is a DeLuxe color production rather than a standard black and white film noir. Set in Arizona, it was dubbed "southwestern noir" by the Village Voice, but really it's just a tidy little thriller—with an untidy little finish. We think it fits nicely on the Noir City slate.
It’s a mostly forgotten flick, but in Prime Cut Lee Marvin reminds us he was one of the all time screen tough guys.
Prime Cut is another one of those movies that falls squarely into the could-not-be-made-today category. Starring Lee Marvin and Gene Hackman, it’s the story of a Chicago mob enforcer sent to Kansas City to make a local meatpacking and prostitution kingpin pay a debt of $500,000. The meat aspect of Hackman’s KC operation is both literal and metaphorical, with his enemies occasionally ending up ground into actual hot dogs, and young girls being sold like cattle. Marvin starts as just a debt collector but soon becomes a white-haired angel of retribution, an avenger intent on righting a few moral wrongs. When Marvin gets that familiar look in his eyes, is there any doubt Hackman and his sleazebag underlings are in seriously deep shit? Prime Cut is an uneven flick with a few jarring 1970s quirks, but we sure enjoyed it. It’s bold, violent, and offensive by today’s standards, but nicely rendered by director Michael Ritchie and cinematographer Gene Polito. Of special note is Sissy Spacek, who makes her first credited film appearance. Prime Cut premiered in New York City today in 1972, but what you see above is the great Japanese promo, with its alternate title Kansas City Prime. If you like 1970s crime thrillers, you’ll certainly appreciate this one.
A classic noir raises the temperature in the icy north.
When Swedes heard about The Big Heat, they said “Gud, tack själv,” because they were all freezing their asses off and thought the movie was a documentary about how to stay warm. But no, it was just top-notch film noir, which generated its own warmth, especially if you looked at Gloria Grahame. The movie was directed by film noir black-belt Fritz Lang, and tough guy Lee Marvin had a great supporting role. Oh, and if you’re wondering, yes, Jocelyn Brando is related to Marlon—she was his older sister. She died in 2005 after a lengthy career acting mostly on the telly. The Big Heat opened today in Stockholm, 1953.
The headlines that mattered yesteryear.
1921—Sacco & Vanzetti Convicted
Nicola Sacco and Bartolomeo Vanzetti are convicted in Dedham, Massachusetts of killing their shoe company's paymaster. Even at the time there are serious questions about their guilt, and whether they are being railroaded because of their Italian ethnicity and anarchist political beliefs.
1933—Eugenics Becomes Official German Policy
Adolf Hitler signs the Law for the Prevention of Hereditarily Diseased Offspring, and Germany begins sterilizing those they believe carry hereditary illnesses, and those they consider impure. By the end of WWII more than 400,000 are sterilized, including criminals, alcoholics, the mentally ill, Jews, and people of mixed German-African heritage.
1955—Ruth Ellis Executed
Former model Ruth Ellis is hanged at Holloway Prison in London for the murder of her lover, British race car driver David Blakely. She is the last woman executed in the United Kingdom.
1966—Richard Speck Rampage
breaks into a Chicago townhouse where he systematically rapes and kills eight student nurses. The only survivor hides under a bed the entire night.
1971—Corona Sent to Prison
Mexican-born serial killer Juan Vallejo Corona is convicted of the murders of 25 itinerant laborers. He had stabbed each of them, chopped a cross in the backs of their heads with a machete, and buried them in shallow graves in fruit orchards in Sutter County, California. At the time the crimes were the worst mass murders in U.S. history.
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