What evil lurks in the hearts of men? The psychologist knows!
We wanted to highlight once again the interesting output of Estudio MCP, which was the marquee under which Spanish artists Ramón Martí, Josep Clavé, and Hernán Pico worked. They created this poster for Retorno al abismo, known in English as Conflict, starring Humphrey Bogart. The movie was made during the height of public interest in psychology and attempts to portray a situation in which a man's subconscious distress manifests in unpredictable ways. The result is pretty hamfisted, but Bogart makes it work anyway because he's Bogart. We talk about the movie a bit more here. After opening in the U.S. in 1947, Conflict premiered in Spain today in 1947.
Sinbad may be the star but it's the dancers who shine brightest.
Howard Hughes had an entire slate of personal flaws, not least of which was that he was a frothing racist, but in terms of filmmaking he understood the concept of value-added cinema. He often battled censors, because if he had a beautiful actress on hand he'd build something around her that was as provocative as the market would bear. Jane Russell is his most famous protégée, but he shaped projects for Jean Harlow, Gina Lollobrigida, Faith Domergue, and others. In Son of Sinbad he wanted to show Lili St. Cyr to great advantage, and along the way, in typical fashion, added more, more, and more. He brought aboard MGM dancer-actress Sally Forrest and famed peelers Nejla Ates and Kalantan to compliment St. Cyr, made them all ornately clad harem girls, and ended up with a movie that was nearly banned.
The stars of Son of Sinbad are Dale Robertson as the fictional Sinbad's son and Vincent Price as the historical figure Omar Khayyám, and in the story, which is set in Baghdad, horny Sinbad is busted making time with one of the Sultan's harem girls and is imprisoned along with Omar. In exchange for his freedom Sinbad reveals the existence of Greek fire, a dynamite-like explosive, which could come in handy because the Sultanate is at war with the Tatars. Sinbad doesn't actually have the secret to this weapon himself—it's locked inside the head of his friend Kristina, who can only reveal the process for making it while hypnotized. The Sultan is suitably impressed after a demonstration and agrees to free Sinbad and friends, but due to some palace spying third parties have learned about the weapon, and from that point forward more complications ensue.
While Son of Sinbad is a fantasy adventure with elements of comedy, audiences also knew to expect titillation from RKO Radio Pictures, and the movie leans into that expectation with its sexy costumed dance numbers. Any movie that offers St. Cyr in motion is automatically recommended, and you'll get a sense of why she was probably the most famous burlesque dancer in America, though neither she nor the other dancers remove much clothing. Even so, it's a nice showcase of the burlesque arts, and the dancing offers reason enough to watch the film, and would even if the movie were terrible.
However, the bonus here is that the movie isn't terrible. The lavish sets, beautifully painted backdrops, and colorful costumes transport the viewer—not to ancient Baghdad, but to a magical, soundstage-bound, Technicolor realm similar to that from old Bible flicks. Robertson is fine as Sinbad Jr., but Price, as he tended to do, excels in his second banana role. The man was a born star, and a born ham. As long as you don't expect a masterpiece you'll be entertained. And as a point of added interest, Kim Novak makes a quick and uncredited appearance as a Tatar woman. It was her first screen role, but because the movie was delayed—like many Hughes projects—it was not the first time audiences had seen her. Son of Sinbad did eventually hit cinemas, though, premiering after more than a year of delays, today in 1955.
It doesn't show on my face but I'm enjoying this immensely.
Jane Greer and guns. There are quite a few photos of her armed. This one was made when she was filming Out of the Past, but it doesn't depict the iconic moment when she shot Steve Brodie. She shot him from the front door. Here she's by the fireplace, about where Brodie was when she ventilated him. So we guess RKO Radio Pictures made an entire set of Greer with a gun, complete with wardrobe changes. She looks good in all of them. See her armed and dangerous in three production photos—two from Out of the Past and one from The Big Steal—here, here, and here.
The toughest case to solve is a case of amnesia.
The poster above was made to promote the mystery Two O'Clock Courage, an interesting little noir-adjacent obscurity released today in 1945. It was directed by Anthony Mann of T-Men fame, and stars Tom Conway as a hapless everyman and Ann Rutherford as a cabbie who almost runs him over, but instead takes him under her wing. Conway needs help, you see, because he's been bonked over the head, and has no clue by whom or why. In fact, he doesn't remember anything before meeting Rutherford. Everything is a big fat blank. With his brain back to factory reset, he's a nice enough guy, but he soon learns that Rutherford found him near the scene of a murder. Did he have anything to do with it? He fears he might have. He and Rutherford pair up to sleuth their way to a solution, with cops and the press underfoot all the while.
The movie, while a mystery, also aims for laughs in the style of The Thin Man, with quips, wacky secondary characters, Bettejane Greer (Jane Greer) comically overacting the effects of alcohol, and an inspector who's entirely too willing to defer authority to nosy amateurs. Maybe it was uproarious in its day, but in our day it's a bit tedious. The problem is Conway's stumbling, stammering performance. A little more agency and competence would have played better, in our opinion. His all thumbs persona isn't a dealbreaker, though, thanks to Rutherford's presence. The two even manage to generate a few legit chuckles. As for the mystery, they're pretty bad as sleuths, but they eventually solve it, because with respect to cinematic amnesia you can always count on one thing—it's easy come, easy go.
So you really have total and complete amnesia? I guess you don't remember, but I've let you ride in my cab, like, hundreds of times and you owe me probably three grand. Cash only, please. Oh, also we've had dozens of wild, carnal nights together. Since you forgot we better do all those again.
She's a one woman market disruption.
This photo shows British actress Lilian Bond, sometimes Lillian Bond, made when she was filming the 1933 romance When Strangers Marry—and when strangers marry they sometimes want to shoot each other. Other films of hers include Scotland Yard, The Picture of Dorian Gray, and The Old Dark House. We have some nice art for the latter here and here. Bond was not a big star, but she worked steadily from 1929 to 1958, which means we may run into her again.
Disaster looms if she moves even a millimeter.
Not only is Monica Bannister precariously positioned on her pedestal, but her gown is precariously positioned on her body. One wobble and she'll end up on the floor showing plenty more than planned, but it just so happens she's too graceful for that because her show business career was based on coordination. As dancer and actress she appeared in more than thirty films, including 1933's Mystery at the Wax Museum, 1941's Moon over Miami, and 1945's The Picture of Dorian Gray. All her film appearances save two were uncredited, but she went on to open a dance school and teach others how to be graceful too. This photo came out of the studio of famed lensman Murray Korman, who photographed thousands of famous and would-be famous people from the 1920s into the 1950s. There's no exact date on this, but it's from the mid-1930s.
Gladiatorial combat is all fun and games until the gladiators decide you're the one who needs killing.
We've featured master fantasy artist Frank Frazetta a few times, so it seems only fair that we feature the yang to his yin, Peruvian born legend Boris Vallejo. Here you see his art on a promo poster for Naked Warriors, which is better known as The Arena, released this month in 1974 starring another legend, Pam Grier, along with occasional co-star, the lovely Margaret Markov. We've talked about the movie twice, shared its Italian and U.S. promo art, and shared rare promo images of Grier once or twice, or maybe even three or four times, as well as a beautiful centerfold of Markov. All of that imagery is worth a look. Vallejo's art is a nice fit for a tale of enslaved gladiators pitted against each other eventually defying their sadistic masters to fight for freedom. He painted when Corcorde Pictures acquired the rights to the film from MGM/UA for a VHS release in 1988. Concorde/New World was formed and run by schlockmeister Roger Corman, and that explains the black wedges at the top and bottom of the promo. When you do thingson the cheap as a matter of course like Corman did, tilting the art in an inelegant way to make the two figures fit a door panel format seems logical. We can imagine him: “Just lean the fucker left. Who cares about the blank spots?” And indeed, who does, really?
In addition to a great piece of art, as a bonus we've also uploaded some Arena production photos we found scattered around the internet over the years. Most of them were shot by Italian lensman Angelo Frontoni, whose work we've admired often. As it is a lusty sort of movie, some of the shots are a bit lusty too. We had these sitting about and didn't have a real good excuse to share them until today, so from the good old days of ’70s sexploitation behold: Grier, Markov, Lucretia Love, Maria Pia Conte, Rosalba Neri, and others in barely-there gladiatorial gear—and sometimes less. We can't say the film is perfect, but it's definitely worth a watch.
Okay, no peeking. And this time I mean all of you.
Above: Raymond Connoleer's set-in-Mexico 1965 crime novel Morte d'un idolo, which was published by Edizioni MA-GA's series Federal Bureau of Investigation Stories. Connoleer is a pseudonym but we couldn't dig up his real name. Lot of that going around lately. The unusual cover is uncredited, but it's Franco Picchioni for sure, yet another great illustration from a unique talent. See a few of his best here, here, and here.
The headlines that mattered yesteryear.
1914—Rasputin Survives Assassination Attempt
Former prostitute Jina Guseva attempts to assassinate Grigori Rasputin in his home town of Pokrovskoye, Siberia by stabbing him in the abdomen. According to reports, Guseva screamed "I have killed the Antichrist!" But Rasputin survived until being famously poisoned, shot, bludgeoned, and drowned in an icy river two years later.
1967—Jayne Mansfield Dies in Car Accident
American actress and sex symbol Jayne Mansfield dies in an automobile accident in Biloxi, Mississippi, when the car in which she is riding slams underneath the rear of a semi. Rumors that Mansfield were decapitated are technically untrue. In reality, her death certificate states that she suffered an avulsion of the cranium and brain, meaning she lost
only the top of her head.
1958—Workers Assemble First Corvette
Workers at a Chevrolet plant in Flint, Michigan, assemble the first Corvette, a two-seater sports car that would become an American icon. The first completed production car rolls off the assembly line two days later, one of just 300 Corvettes made that year.
1950—U.S. Decides To Fight in Korea
After years of border tensions on the partitioned Korean peninsula, U.S. President Harry Truman orders U.S. air and sea forces to help the South Korean regime repel an invasion by the North. Soon the U.S. is embroiled in a war that lasts until 1953 and results in a million combat dead and at least two million civilian deaths, with no measurable gains for either side.
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