Bogart and Bacall mix love and career.
Above, two Luigi Martinati posters for Il grande sonno, aka The Big Sleep, with stars and spouses Humphrey Bogart and Lauren Bacall. These posters are more colorful than the U.S. versions because Warner Brothers had cut back on printing costs due to World War II. But when the film came out in Italy today in 1947 a full palette of color had returned to the mix. See a small collection Martinati's great work here.
It's always the person you least suspect.
Above are a couple of beautiful Italian posters for L'alibi di Satana, better known as The Unsuspected. The set-up of this is too complicated to explain in the short form we use here on Pulp intl., but basically it's a murder mystery dealing with family jealousy, thwarted romances, inherited money, and amnesia. Despite the complexity of the script, which is derived from a Charlotte Armstrong novel, thanks to the title you can guess who the killer is by ignoring all the clues and simply picking the person with the best alibi. We know—that's a spoiler. But we bet 95% of you would have nailed it within twenty minutes anyway. The Unsuspected is still an interesting flick, though. The main attraction is Claude Rains, always great no matter the circumstances, and he's accompanied by Joan Caulfield, Audrey Totter, Constance Bennett, and others. It premiered in the U.S. in 1947, and opened in Italy today in 1949.
She was more than just a movie star.
Smithsonian.com published an in-depth story yesterday about Austrian born Hollywood icon Hedy Lamarr, and how her technical genius helped bring the world Wi-Fi, Bluetooth, GPS, and cell phones. Hah! Get with it Smithsonian. We talked about this under discussed aspect of her life years ago.
It's curious that no matter how many times people write about Lamarr's technological exploits it never seems to become a generally known aspect of her personality. Maybe people want to see her as a beautiful actress, and much of the interest stops there. The Smithsonian piece will probably help change that a bit, and it's well written also (though considering what digital technology has wrought we'd probably add the phrase "for better and worse").
Yesterday's piece comes in tandem with the Smithsonian's Washington D.C. based National Portrait Gallery acquiring a rare original Luigi Martinati poster painted to promote Lamarr's 1944 thriller The Conspirators. We have no idea what it cost, but certainly a pile of money, since Martinati was not just a great artist, but one who tended to focus more on portraiture in his promos. You can see what we mean just below, and by clicking here and scrolling. As for Lamarr, we'll doubtless get back to her—and all her interesting facets—later.
I may be a bum but that's Sergeant Bum to you.
Above, an Italian promo poster painted by Luigi Martinati for the U.S. adventure flick South Sea Woman, with Burt Lancaster and Virginia Mayo. In Italy it was called Il sergente Bum! There's no Italian release date known. We did a little write-up of the film you can see at this link, and you can check out more of Martinati's brilliant brushwork here.
Italian master’s genius spanned decades.
Back in August we showed you a poster from Luigi Martinati, who worked from 1923 to 1967, and said we'd get back to him. Below, seven more great promotional pieces with his distinctive signature on each.
To Have and Have Not
On the Waterfront
Phantom of the Rue Morgue
The Wrong Man
In Cloak and Dagger Gary Cooper plays a physicist who causes a violent chain reaction of a different kind.
These posters promote the Italian run of the American War World II propaganda thriller Cloak and Dagger. The film even admits to being propaganda, with a dedication to the OSS in the ending credits. But since all states produce propaganda, and each generation’s is clumsy and laughable to those who come later, the silly flag waving here isn’t really the problem—rather it’s a tepid central romance, an unlikely plot, and an overcooked musical score that loudly punctuates every mood and movement of the characters. There are other flaws, especially with Gary Cooper’s fighting physicist, who begins the movie as a lab egghead but by the halfway point inexplicably unveils better fighting skills than the seasoned fascist killers on his trail. But whatever—willing suspension and all that. At least these action sequences are well staged—in fact, they’rethe highlight of the movie. And if you don't mind Coop's unsubtle moralizing about courage, country, sacrifice, and love, then Cloak and Dagger may hold some charms for you. For our part, we think seeing a cynic converted to the cause à la Casablanca is infinitely more interesting than a true blue patriot trying to convert others, but that’s the difference between drama and propaganda—in the latter the hero’s doubts are merely cursory if they exist at all. The promo posters above are by Renato Casaro, the one directly below is by Luigi Martinati, who we’ll revisit soon, and the last is illegibly signed, which means it goes into the unknown category. We’ll try to figure out who painted that and get back to you. Cloak and Dagger premiered in the U.S. in 1946 and made it to Italy as Maschere e pugnali today in 1948.
The headlines that mattered yesteryear.
1967—Dorothy Parker Dies
American poet and satirist Dorothy Parker, who was known for her wit and wisecracks, and was a charter member of famed Algonquin Round Table, dies of a heart attack at age seventy-three. In her will, she bequeaths her estate to the Dr. Martin Luther King, Jr. foundation. Following King's death, her estate is passed on to the NAACP.
The Battle of Normandy, aka D-Day, begins with the landing of 155,000 Allied troops on the beaches of northern France in an event codenamed Operation Overlord. The German army by this time is already seriously depleted after their long but unsuccessful struggle to conquer Russia in the East, thus Allied soldiers quickly break through the Nazi defensive positions and push inland in the largest amphibious military operation in history.
1963—John Profumo Resigns
British Secretary of State for War John Profumo resigns after the revelation
that he had been sexually involved with a showgirl and sometime prostitute named Christine Keeler. Among Keeler's close acquaintances was a senior Soviet naval attaché, thus in addition to Profumo committing adultery then lying about it before the House of Commons, authorities pressed for his resignation because they also feared he had been plied for state secrets.
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