|Vintage Pulp||Feb 2 2019|
Much of the movie examines Belafonte's and Ryan's respective attitudes along these lines, with the heist coming in a flurry of action at the end. The robbery is basically foolproof, but only if the powder keg of racial resentment doesn't blow it sky high. The points Wise is making here, which originate with William P. McGivern's novel, are simply these: cooperate and succeed, or fight and fail. All Ryan needs to do is extend the hand of respect, but because of his prejudice he fails again and again, which hardens Belafonte's already suspicious attitudes. Who do these two hate more—their circumstances or each other? That's what Odds Against Tomorrow asks, about its characters, and America. Noir City festivalgoers will leave the cinema talking about this one.
|Vintage Pulp||Jan 29 2016|
Above you see a poster for the 1955 drama The Big Knife, which, along with The Bad and the Beautiful, plays on tonight’s dark-side-of-Hollywood double bill at the Noir City Film Festival. Based on Clifford Odets’ play of the same name, The Big Knife tells the story of a star actor who wants to expand artistically, but is being tormented by his studio boss to ink a new deal locking him into more of the unfulfilling schlock that put him on the map. The studio has leverage because it helped the actor—played by Jack Palance—hide his role in causing a fatal car accident years ago. The studio boss—Rod Stieger, shamelessly hamming up the place (see photo below)—will stop at nothing, including blackmail, to get the contract signed. The stage-based origins of The Big Knife are clear, as the action rarely leaves one room and the dialogue is at times florid, but the question of whether Palance has the constitution to stand up to Stieger’s abuse offers some tension, and Ida Lupino as Palance’s wife helps elevate the exercise. Above average, we’d call this one, but we think festivalgoers will like The Bad and the Beautiful a lot better.
|Vintage Pulp||Dec 11 2015|
|Hollywoodland||Oct 30 2015|
Tempo was a pocket-sized celeb and pop culture magazine published bi-weekly out of Atlanta and New York City by Sports Report, Inc. We don’t know how long it lasted—this one is vol. 7, issue 9—but we know we’ve never seen one dated before 1953 or after 1958. When Dane Arden appeared on the cover of this one from today in 1956, she was already famous thanks to her appearance as Playboy’s centerfold just the previous month. But she had posed under her real name Elsa Sørensen, and back then that may have kept most Playboy readers from realizing Sørensen and Arden were the same person. We have no idea if that was her intention, or why she’d have wanted to do it, but it’s curious. Our guess is that Playboy wanted an exclusive association with her Sørensen identity, and pressed her to choose a new name for future modeling. Or perhaps she thought of magazines like Tempo as lower class, and didn’t want to diminish her Playboy image. Strange, considering Tempo had been around longer, but possible. Or maybe she simply thought Elsa Sørensen was a little too Danish sounding for Hollywood. But there’s no evidence she ever had an interest in movies, and if she did wouldn’t she have been sacrificing much of the useful recognition she’d gained as a Playboy centerfold? All we can say is it’s one of history’s little mysteries. Hmm… that has a nice ring. Think we’ll claim that one—History’s Little Mysteries™. More Dane/Elsa below, plus Brigitte Bardot, Shirley Falls, Erroll Garner, Sabrina, the Cleveland Browns, Anita Ekberg, et al.
|Vintage Pulp||Nov 11 2013|
|Vintage Pulp||May 29 2012|
|Hollywoodland||Aug 5 2010|
Hush-Hush magazine goes for broke in this issue from August 1963, offering up a slate of tales narrated in their usual breathless style. First, they tell us how Roddy McDowall took nude photographs of Elizabeth Taylor on the set of Cleopatra and tried to sell them, but was thwarted when she “erupted like Mount Vesuvius”. They then demonstrate the limits of their imaginations by telling us that Italian singer Silvana Blasi reacted like “an uncontrollable Mount Vesuvius” when an African-American dancer was hired at the Folies Bergère. Two volcano similes in one issue is bad enough, but the same mountain?
For investigative journalism, Hush-Hush shows us photographs of a dead Carole Landis and an unconscious Susan Hayward, and concludes that sleeping pills are bad. And finally, the magazine stokes the fires of paranoia with two stories: in the first, they explain how Fidel Castro plans to conquer America with heroin, which he’s growing with the help of two-thousand Chinese advisors; in the second, they reveal that the second wife of Dr. Sam Sheppard is a Nazi who plans to revive the Third Reich, and that she’s being helped by—you guessed it—Fidel Castro, who is somehow a communist and a Nazi. Neat trick that.
As we’ve mentioned before, though these stories are laughable, people actually believed them, and believed them by the millions, as evidenced by Hush-Hush’s sales figures. The lesson is clear: the choice between popularity and truth is really no choice at all.
|Hollywoodland||Jun 19 2009|
We have another issue of On the Q.T. today. The cover subject, Beverly Aadland, was a teenaged actress who earned notoriety for being Errol Flynn’s last lover. Flynn always preferred young girls—oftentimes too young, depending on whom you believe. When he wrote his disappointingly bland (at least to us) autobiography My Wicked, Wicked Ways, the dedication read: To a small companion. We would have guessed Flynn meant his cock, since it got him into so much trouble during his life, but more informed sources than us say the companion he meant was Beverly Aadland. We stand corrected, and she stands explained for those who didn’t know who she was.
Moving on, On the Q.T. also mentions a person named Giesler. This would be Jerry Giesler, who is little known now, but was once Tinseltown’s lawyer-to-the-stars. To say he possessed secrets is an understatement considering he represented the likes of Charlie Chaplin, Edward G. Robinson, Marilyn Monroe, Shelley Winters, Lili St. Cyr, Busby Berkeley (from triple manslaughter charges), Zsa Zsa Gabor, Errol Flynn (again, with Flynn), and too many more to name. But of all his exploits, the most famous was his sensational defense of fourteen year-old Cheryl Crane from murder charges.
It’s one of the most lurid stories in Hollywood history. Crane was the daughter of megastar Lana Turner, and had endured many difficulties early in life, including alleged molestation and rape by Turner’s fourth husband, actor Lex Barker. Turner had an abusive situation of her own with mob enforcer Johnny Stompanato, a violent man who slapped her around but clung onto her for dear life no matter how hard she tried to dump him. On April 4, 1958, Cheryl Crane stabbed Stompanato to death. She claimed the mobster was beating her mother and she had no choice but to attack him. Not to be morbid, but oh to have been a fly on the wall as this fourteen year-old girl went Benihana on a feared mobster. What an astounding scene that must have been, especially to Stompanato, who you see in peaceful repose above. Anyway, Cheryl Crane said the stabbing was done in her mother's defense, and Jerry Giesler convinced a jury she was right.
Already famous enough to command what were at the time enormous retainers, Giesler's reputation was forever sealed after the Crane trial. He was simply the best, the go-to attorney for a celeb in a town that was always boiling with trouble. As a result of Giesler's exploits, Hollywood coined a catchphrase, a collection of magic words believed to possess the power to solve even the toughest problems. The phrase? "Get me Giesler."