Femmes Fatales | Dec 9 2020 |

From Hong Kong with love (at a price).
Nancy Kwan poses in costume as the title character of her hit 1960 film The World of Suzie Wong, which is about a romance between an American painter in Hong Kong and a local “yum yum girl”—i.e. a prostitute. This shot is excellent, we think. Kwan made numerous movies in Hollywood, including 1961's Flower Drum Song and 1968's The Wrecking Crew, but Suzie Wong remains her legacy, a subject of much debate due to its sex trade subject matter, and a source of interesting memomorabilia, such as here and here. Maybe we'll talk about the movie later.
Vintage Pulp | Aug 16 2019 |

With special guests the Slaymates of the year.

The Wrecking Crew was the last film, coming after 1966's The Silencers and Murderer's Row, and 1967's The Ambushers. The movies were populated by a group of women known as Slaygirls, and the actresses on the posters below are posing as members of that deadly cadre. They are, top to bottom, Sharon Tate, Elke Sommer, Nancy Kwan, Tina Louise, and a fifth woman no other website seems able to identify, but who we're pretty sure is Kenya Coburn.
These posters are 51 x 152 centimeters in size, or 20 x 60 for you folks who measure in inches, and they caught our eye mainly because of Tate. There's been renewed interest in her, including portrayals in two 2019 films—The Haunting of Sharon Tate and Quentin Tarantino's new effort Once Upon a Time in Hollywood. Her poster is definitely one of the nicest pieces of Tate memorabilia we've seen.
We glanced at The Silencers a while back and found it just a little too dumb to consider slogging through the series, but maybe we'll have another go at it. We're sort of newly interested in Tate too, and since The Wrecking Crew was her next-to-last screen role, we want to have a look. Allegedly, Dean Martin quit this highly successful franchise because it felt wrong to go on with it after the Tate–LaBianca murders in August 1969. From what we've read about the era, Martin was far from the only person who felt as if that event changed everything. These days Tate's death makes anything she's in seem ironic and portentous, even, we suspect, a piece of fluff like The Wrecking Crew.




