If you invite one into your house it's your own fault what happens.
Here's yet another wonderful Japanese poster for an English language film, this time for Mylène Demongeot's lightweight comedy Upstairs and Downstairs, or “above and below,” as the poster calls it. We enjoyed this one. In London a newlywed couple run into problems when they decide to hire domestic help. After the likes of Claudia Cardinale, Joan Sims, and Joan Hickson bring chaos to the household (sharp-eyed viewers may also recognize nude model Marie Devereux), Demongeot is finally summoned to restore order. While she's an efficient domestic, she's a complication in other areas. Which ones? Those that provide blood flow to male loins.
This is Bardotesque/Monroesque screwball craziness fueled by double entendre and pratfalls, rather than the types of films we usually feature on Pulp Intl., but we couldn't resist this brilliant Japanese promo. Nor Demongeot, for that matter, who's one of our favorite French stars. She does good work here in a genre we've come to think of as oops-I-didn't-mean-to-turn-you-on. Below are some promo photos from the film, including an interesting shot of James Robertson in the Messerschmitt KR200 he drives in one scene. Upstairs and Downstairs opened in the west in late 1959 and premiered in Japan today in 1960.
I know I'm new to lifting, but are you sure a spotter is supposed to just sit there and stare at me?
Unimprovable French actress Mylène Demongeot pounds the iron in this production photo made when she was filming the comedy Doctor in Distress in London in 1963. Mylène in impossibly short shorts was a sort of trademark, seemingly. See another example here.
National Enquirer disappears Demongeot's midriff.
This National Enquirer with the amazing Miss Mylène Demongeot on the cover was published today in 1962, and it's a photo we've never seen of her before. Demongeot has always been a full-bodied woman by cinematic standards, so there's some clumsy retouching happening here. Why do such a thing? And to Demongeot, of all people? She can't possibly be improved, so why bother? But it's still a striking shot.
Tate gives chase in an international fortune hunting comedy about a missing chair.
In ¿Las cual de 13?, aka 12 + 1, aka Twelve Plus One, an Italian barber played by Vittorio Gassman inherits thirteen chairs and, deeming them useless, sells them to a London antique shop. He later discovers one of the chairs contains a fortune, but when he returns to the shop he's told they've all been sold. So he offers the antique shop employee Sharon Tate half of the fortune to help him track down the chairs, which of course have scattered to the four winds. Their search takes them to Paris, Rome, and beyond, in 1960s screwball fashion with its expected pratfalls, mix-ups, and sticky situations. Gassman and Tate do reasonable jobs with the goofy script that's been made of Soviet authors Ilf and Petrov's satirical source novel, and the film is boosted by appearances from Vittorio De Sica, Mylène Demongeot, Terry-Thomas, and Orson Welles. This was an Italian production, but the poster above was painted for the film's Spanish run by Carlos Escobar, who signed his work “Esc.” This is the best we've ever seen from a very good artist. Since the movie didn't premiere in Italy until after Tate had been slain this month in 1969, and didn't reach Spain until mid-1970, the poster very likely was painted post-murder, which means Escobar probably was thinking of how to best portray someone who'd become a tragic figure. We suspect he put special effort into his work as a tribute, and if so, a fitting tribute it was.
Demongeot explains to Cinémonde how she aspires to inspire.
The French weekly Cinémonde debuted in October 1928, with the above issue hitting newsstands today in 1965 starring French goddess Mylène Demongeot on the cover. Inside, her feature is headed with the text “Il faut oser tenter le diable,” which means, “We must dare tempt fate,” and she goes on to say, “Il existe peut-être dix photographes au monde (seulement) à qui, pour nue... ou presque, une actrice puisse faire confiance,” or basically, “There are perhaps ten photographers in the world (only) who… (almost) naked, an actress can trust.” The literal translation reads a bit backward, but you get the drift—she of course means only a few photographers can be trusted to shoot an actress (almost) nude.
One of those is apparently British director Terence Young, who helmed Dr. No and two other Bond movies, as well as Zarak and Wait Until Dark, and whose photography you see here. However Demongeot, after all this philosophizing about the (almost) nude form, does not appear (almost) naked in any of the photos. Still, she looks amazing, as always. She says at the end, “Je voudrais qu'il ait envie de les decouper et de les regarder longuement, avant de se coucher. Pour qu’il fasse de beaux rêves.” Something along the lines of wanting men to cut out her photos and look at them before going to bed… to inspire beautiful dreams. Well, we would have to use a laptop instead of cut out photos, and we’d do it, except we have a feeling our girlfriends would not let us get away with it. Of that we’re (almost) sure.
They got wet and I suppose they shrank when they dried. But they still look okay, n'est pas?
French vision of perfection Mylène Demongeot takes a break while filming the World War II drama Sotto dieci bandiere, aka Under Ten Flags in the Ionian Sea off the coast of Sicily in 1960. She's dressed in character as Zizi, a name we really love, and you're surely wondering how the filmmakers managed to fit a blonde sexpot wearing white spray paint for shorts into a war epic. Well, let's just say if you get all the other historical elements correct, adding a little sex appeal is Zizi. Below you see her putting the legs that launched a thousand fantasies into action, during a scene from the film in which she climbs aboard a boat using a cargo net and miraculously doesn't throw a shoe. You'd think one of those sailors would give her a hand, but then again, maybe that's just not possible. Some say Demongeot is no Bardot. We agree—she's all that and more.
Fortune favors the gold.
French actress Mylène Demongeot, seen here glowing in the centerspread of the progressive Spanish magazine Triunfo, published December 1966.
The headlines that mattered yesteryear.
1919—Pollard Breaks the Color Barrier
Fritz Pollard becomes the first African-American to play professional football for a major team, the Akron Pros. Though Pollard is forgotten today, famed sportswriter Walter Camp ranked him as "one of the greatest runners these eyes have ever seen." In another barrier-breaking historical achievement, Pollard later became the co-head coach of the Pros, while still maintaining his roster position as running back.
1932—Entwistle Leaps from Hollywood Sign
Actress Peg Entwistle
commits suicide by jumping from the letter "H" in the Hollywood sign. Her body lay in the ravine below for two days, until it was found by a detective and two radio car officers. She remained unidentified until her uncle connected the description and the initials "P.E." on the suicide note in the newspapers with his niece's two-day absence.
1908—First Airplane Fatality Occurs
The plane built by Wilbur and Orville Wright, The Wright Flyer, crashes with Lieutenant Thomas Selfridge aboard as a passenger. The accident kills Selfridge, and he becomes the first airplane fatality in history.
1983—First Black Miss America Crowned
Vanessa Williams becomes the first African American Miss America. She later loses her crown when lesbian-themed nude photographs of her are published by Penthouse magazine.
1920—Terrorists Bomb Wall Street
At 12:01 p.m. a bomb loaded into a horse-drawn wagon explodes in front of the J.P.Morgan building in New York City. 38 people are killed and 400 injured. Italian anarchists are thought to be the perpetrators, but after years of investigation no one is ever brought to justice.
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