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.
Everything you want in a woman—and more.
Above we have another cover from the always entertaining National Spotlite. This one appeared today in 1970 and showcases model Tany Kominski. Not to body shame Tany, especially since according to the cover text she's selling herself to the highest bidder, but she must have an enormous head under that mop. We'd go so far as to say impossibly huge, maybe even otherworldly. Hmm. Could it be the bouffant hairdo that was so trendy during the 1960s was invented by aliens trying to disguise their megacraniums?
We know, we know—there's no proof whatsoever of alien visitation to this planet, but a disguise is the most logical explanation for Tany's hairstyle. We've done a little retouching of the cover so you can see what her head probably looked like under that candyfloss, and just how wildly disproportionate it was. Convinced? Well, our mock-up isn't conclusive, we'll admit.
But it makes you think, doesn't it? And we're also convinced Tany wasn't the only one of her kind here on our unsuspecting planet. Below are other possible interstellar visitors, including a malevolent Hayley Mills, Jean Shrimpton, Dolly Parton, and Priscilla Presley, who ruins her disguise somewhat with her psycho alien eyes. You're asking yourself what these creatures want, right? Hey, they're females—they don't even know.
She doesn't want to see, and you probably don't want her watching.
This poster of Sophia Loren was made to promote her drama Donna del fiume, aka The River Girl, and as we observed when we watched the movie a couple of years ago, only in cinema could backbreaking labor (harvesting rice by hand) make someone look like Loren. The poster is what we usually call panel length, which means it's about the right size to hang on a door, for instance in your bedroom. And Loren has exactly the facial expression you'd expect after seeing what you do in there. Columbia maybe should have manufactured a poster of her smiling and giving a thumbs up, but we love this promo anyway because even when Loren looks repulsed she looks great. Donna del fiume premiered today in 1954 and you can read what we wrote about it here.
Cut, cut, cut! Wardrobe! Make-up! Somebody! Can't you come up with any way to make her look average?
Above, a rather awesome image of Sophia Loren printed from the negative from Vittorio De Sica's 1960 drama La Ciociara, aka Two Women. Even when she looks bad she looks good.
Folies de Paris et de Hollywood kept readers guessing with their models but this one we know.
This issue of Folies de Paris et de Hollywood is from 1963 and its theme is “les peches capiteaux,” or the seven deadly sins. You see them listed at bottom left on the cover, if you ever wanted to learn them in French. While the theme is interesting, we're sharing this cover for one reason—Sophia Loren. Well, we think it's her. Folies never credited its cover models, so we can't be sure. The editors used her image on at least three other covers, and those instances are identifiably Loren because the shots are standard portraits, leaving no doubt. But this one has an oblique angle, which is enough by itself to make positive ID more difficult. And the model is wearing a see-through blouse. For casual fans of Loren that may seem out of character, but it isn't. Her early nude scene in Era lui... sì! sì! is well known today. We've discussed it a couple of times. And of course who can forget her wet-shirt appearance in Boy on a Dolphin. The point is Loren was not shy, so the see-through lingerie here is not a sign the cover model isn't her. We're going to say this is indeed Loren until someone convinces us otherwise. Inside the magazine identities are a bit clearer. You get various Parisian showgirls, as well Vicki Kennedy, aka Margaret Nolan, who we're beginning to think may have been the most photographed glamour model of the 1960s, centerfold Terry Higgins (in a crib, disturbingly), and June Palmer as “la paresse,” or sloth—though not so slothful she wasn't able to pose for three pages of photos, then don a blonde wig and appear on the rear cover too. That's more than we did all last week. Scans below.
Some accessories—and some people—never go out of style.
This extremely rare Sophia Loren item comes from Japan and appeared in magazines and promo pamphlets, but the actual photo was originally shot in Italy in 1970 by Tazio Secchiaroli for Vogue. Ironically, Loren is known today for wearing wigs, but not in a good way—the now eighty-one-year-old star usually sports big red hair in public but vicious internet snarks joke that it isn't real. Perhaps not, but were any of her detractors ever this perfect? We doubt it. We think Loren should turn the jokes around and make her next appearance in one of the wigs above.
Minor noble causes major scandal.
On the Q.T. labeled itself “The class magazine in its field.” In practice that was less than true. This cover from September 1962 offers teasers about Liz Taylor’s inability to be made happy, the fatal ring beating of boxer Kid Paret, and the inside story about Ivy Nicholson’s suicide attempt. But the banner goes to the nude countess who shocked America. That would be Christina Paolozzi, aka Christina Bellin, who was a New York City fashion model and the offspring of United Fruit Company heiress Alicia Spaulding and Italian conte Lorenzo Paolozzi. The photo was shot by Richard Avedon and appeared in Harper’s Bazaar. Paolozzi was already considered “the first of the ’60s free spirits” by the tabloids, and by stripping for Avedon she became the first recognized fashion model to pose nude, a practice that is now common.
While Avedon earned widespread recognition for the shot, which you see at right, Paolozzi was dropped from the New York City Social Register, shunned by Manhattan’s upper crust, and subjected in the press to what is today sometimes called “body shaming.” Columnist Inez Robb wrote that Paolozzi was “no more favored by nature than the average daughter of Eve,” and added for good measure, “Harper’s Bazaar, with its excursion into overexposure, has unwittingly proved that not diamonds but clothes are a girl’s best friend.” If that wasn’t bad enough, just imagine what people wrote in the comments section. They had those then, right?
In any case, Paolozzi was a bold personality, and she went on to make waves yet again with her many wild parties and open marriage to cosmetic surgeon Howard Bellin, commenting in a mid-1970s newspaper article, “[It’s] just the way life is today—one man is simply not enough.” But she didn’t just spend the years having a good time. She also raised money for hospitals in Cambodia and Gabon, orphanages in Afghanistan, and supported eighteen foster children. In a sense, she gave the shirt off her back. Twenty-eight scans from On the Q.T. below.
Straight to the toplessness.
This issue of the Swedish magazine FIB Aktuellt appeared today in 1973 and its cover star, Sophia Loren, is exposed inside in exklusivt! photos from her 1951 campfest Era lui... sì! sì, aka It’s Him!... Yes! Yes! You probably know the story by now. Loren described the decision that led to her toplessness this way: “The scene involved several girls like myself in harem costume and, for the Italian version it was all right to wear clothes. The director asked that we do one take topless for the French version. I did not want to, but I was hungry. The other girls obliged him and, after a moment’s hesitation, I did too.” Loren said later that in general she couldn’t bear to be naked. “I’m not exactly a tiny woman. When Sophia Loren is naked, this is a lot of nakedness.”
It’s interesting that the photos are labeled exclusive by FIB Aktuellt, considering images from Era lui... sì! sì! had been floating around for years. We shared a page from the low rent Goodtime Weekly Calendar of 1963 featuring the same topless shot you see above. But we suppose in the days before the global internet the images were a scoop each time a new magazine acquired them. Playboy made a big deal of printing them in 1966. Loren’s nudity remained mildly controversial for decades due to her superstar status, but time marches on, and in 2011 she appeared on prime time television on Italy’s RAI 1 with a humungous topless still from Era lui... si! sì! in the background. That’s progress.
The headlines that mattered yesteryear.
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.
1939—Journey of the St. Louis
The German passenger liner MS St. Louis, carrying 963 Jewish refugees, is denied permission to land in Florida, United States, after already being turned away from Cuba. Forced to return to Europe, many of its passengers later die in Nazi concentration camps. The event becomes the subject of a 1974 book, Voyage of the Damned, by Gordon Thomas and Max Morgan-Witts, and is later adapted into a film with the same title, released in 1976.
1968—Andy Warhol Is Shot
Valerie Solanas, feminist author of an anti-male tract she called the S.C.U.M. Manifesto (Society for Cutting Up Men), attempts to assassinate artist Andy Warhol by shooting him with a handgun. Warhol survives but suffers health problems for the rest of his life. Solanas serves three years in prison and eventually dies of emphysema at San Francisco's Bristol Hotel in 1988.
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