She's arrived on this earthly plane to love you to death.
We said you'd see sexploitation star Laura Gemser again sooner than you thought, and here she is—or at least here's an interesting depiction of her—on a poster made in Turkey to promote her film Ateşle Oyun. That translates as “game with fire,” but the movie was known in English as Divine Emanuelle and Love Camp. There's no Turkish release date, but we're talking about it today because it premiered today in 1981 in West Germany, where it was released as Die Todesgöttin des Liebescamps, or “the death goddess of love camp.” Death goddess, eh? That doesn't sound fun, but we'll get to that in a minute. As you can see in panel two, the West German promo is nothing to write home about, which is why we decided to focus on the Turkish art. It's signed by an illustrator named Ömer Muz. We looked him up and got many hits, but with no way of knowing whether any of them were the Muz we were seeking. A few of them were artists, and one was even an art director in movies back in the early 1980s, but final identification eluded us.
Die Todesgöttin des Liebescamps was written, directed by, and co-starred Christian Anders, an Austrian musician/singer/composer and man-in-over-his-head in terms of technical ability. His character oversees a free-love cult on Cyprus called Children of Light. He's the servant of the Divine One, played by Gemser, who bathes in milk, parades around topless while flanked by an oiled up bodybuilder, and preaches an apocalyptic schadenfreude doctrine that sounds a lot like the Rapture. In her cult, you can give love freely, but cannot be in love. “Love for only one person is egosim,” she puts it. “When two people love each other they shut the world out. That's a sin.” Basically, that means the cult is an ongoing orgy. Rulebreakers get slapped around or whipped. Gemser even whips herself occasionally. She's a true believer.
The plot kicks into gear, sort of, when one of the cult babes decides she wants to leave and is instead thrown off a cliff by the oiled up bodybuilder guy. There had to be a dark side to all this sex, and that dark side is you can check in anytime you like but you can never leave. We next learn that the police have become suspicious about missing cult members and have inserted an undercover operative who's poking around even as Gemser tries to indoctrinate an heiress and soak her down for her fortune. Will the undercover cop learn the truth of the cult? Will Gemser expose him? Will she expose herself? On the latter score, fans will be satisfied, rest assured. But for objective film buffs, we have to tell you that, like most Gemser efforts, this flick is terrible.
But it's also significant because there's bizarre trivia associated with it. Most notably, David Koresh has a small role. You perhaps remember him? As the leader of the Branch Davidian cult he sought to create a new lineage of world leaders, had sexual partners as young as ten years old, and finally died in 1993 with seventy-five disciples during a fire that broke out at the cult's compound during an FBI raid. On top of all that, writer director Anders propagated various conspiracy theories in books and interviews. The lesson is don't take a movie script too seriously. Especially a sexploitation script. Die Todesgöttin des Liebescamps premiered today in 1981.
Witness me, little ones! Are my abdominals not out of this world? Bring forth the divine ointments and sexual lubes! I and my slippery, steroid enraged servant shall now engage in the holy rite of hot raw sex. You may want to rewind this part a few times. I came here to find myself, and she gives me this room. Feels like she's mocking me. There's something to find right under these holy raiments, little lost blonde one. Divine One, I prefer this female version of myself. Diversity is good and all, but we're a matched set. Hope you're okay with that. Throw them both into the pit of eternal-despair-without-hope-of-redemption-or-surcease! Hmm... probably need to shorten that name. And who forgot to order the lube for today's orgy? Throw him in the whatever pit too! I'm a cruel goddess, it's true. But behold the everloving fuck out of this!
Claudia and Co. keep on trucking all the way to Turkey.
Above is a poster made for Turkey to promote the film Dişi Soyguncular, which you know as Truck Stop Women. Or maybe you don't. If not, you can get acquainted with it at our write-up from last year. There's no release date for Turkey, and we couldn't begin to guess when it played there, but we like this piece of art.
Bailiff, dispose of the deputy mayor's corpse. Anyone else got complaints about how much time I spend in the jacuzzi?
Above, a nice 1967 photo of award winning Turkish actress Fatma Girik, who appeared in almost two-hundred films. We featured her as a femme fatale long ago, back in 2009, and as we noted then she left acting to become a politician. Her political career spanned 1989 to 1994, when she was mayor of Şişli, which is one of thirty-nine districts of Istanbul, or so we're informed by the internet. We suspect she ruled with an iron rod.
Vintage men's magazine stands at the threshold to a new era.
In many countries during the late 1960s the newsstands were still dominated by nudie mags that bore classical, studio nude-style depictions of women, but the transition toward magazines recognizable as modern porn was well underway. Knight, from Sirkay Publishing out of Los Angeles, is one of those transitional magazines. It debuted as Sir Knight in 1958 with a focus on fiction, humor, and demure photo features. The above issue published in 1967 is a bit racier, but still middle-of-the road for the time period. In another few years pubic hair would be on display in American men's magazines. Soon after that the pearly gates would appear, and in short order they'd be wide open. Did we really write that? Sorry—it's the booze talking.
On the cover here is Rita Rogers, touted as the next big thing, but who made only a few magazine appearances as far as we can tell. Inside you get William Holden, Turkish bellydancer Kiash Nanah, aka Aïché Nana, whose impromptu strip in a Rome cafe we talked about a while back, and actress Joi Lansing, whose age resistant DNA we talked about here. And you get some fantastic art, much of it with a psychedelic edge. There's also an article on psychedelic music, so that seems to have been a theme with this issue. We love these old nudie publications. They're so innocent by today's bizarro standards that if you caught your kid looking at one you'd probably hug him and go, “You've made me very, very happy!” Scans below.
Schell, Mercouri, and Ustinov plan a field trip to the local museum.
This French promo poster was made for the big screen Technicolor thriller Topkapi, which was based on a novel by Eric Ambler, who was such a popular author that the book was optioned before it even hit bookstores. The sedateness of the poster, which was painted by Yves Thos and René Ferracci, belies how outlandish the movie is at points. It starred Greek actress Melina Mercouri, British actor Peter Ustinov, and Austrian actor Maximilian Schell, with American Jules Dassin in the director's chair, filming mainly in Istanbul and using the location to voyeuristic effect as he documents exotic aspects of Turkish life. Inside all the window dressing is a heist flick about a group intent on stealing a priceless jewel encrusted dagger from the Topkapi Palace Museum. Aspects of this will look familiar to fans of the Mission: Impossible films, but Dassin adds extravagances such as direct-to-audience narration by Mercouri, a touch of Hitchcockian vertigo, and some overly broad comedic digressions that make the final result thrilling and bizarre in equal parts. While we had issues with the movie, who are we to argue with the top critics of the day? They mostly liked it and audiences did too. Topkapi had its world premiere in France today in 1965.
Nana gives Turkey something to be thankful for.
We don't often find stuff from Turkey, but we ran across this item and thought it was worth a share. It's the cover of a pop culture magazine called Peri Kizi, which translates into English as “fairy,” as in a mystical creature from ancient folklore. The reason this caught our eye is because the cover star, billed as Nana Aslanoglu inside the magazine, is famed Lebanese born bellydancer and impromptu Rome stripper Kiash Nanah, who was also known as Aïché Nana. The photos feature her sporting a top added by censors, sadly, but the images are still quite nice. Almost forgotten in this millennium, Nanah was quite the sensation in her day. What did we mean by impromptu Rome stripper? Check here, uncensored.
A stranger in strange lands comes to know pure evil.
Because Eric Ambler's 1939 thriller The Mask of Dimitrios is the source of the 1944 film noir of the same name starring Peter Lorre and Sydney Greenstreet, we should have read it long ago, but better late than never. The book tells the story of a writer in Istanbul who becomes interested in a killer, smuggler, slaver, and political agitator known as Dimitrios Makropoulos. In hopes of finding inspiration the writer begins to piece together the life of this mystery man.
The investigation carries him from Istanbul to Sofia to Geneva and beyond. That sounds exotic, but the story is almost entirely driven by external and internal dialogues, with little effort spent bringing alive its far flung locales. While we see that as a missed opportunity, and the book could be shorter considering so much of the aforementioned dialogue fails to further illuminate matters, it's fascinating how Dimitrios is slowly pieced together. Here's a line to remember, as the main character Latimer reflects upon the modern age and what the world is becoming:
“The logic of Michelangelo's David and Beethoven's quartets and Einstein's physics had been replaced by that of The Stock Exchange Yearbook and Hitler's Mein Kampf.”
That isn't one you'd soon forget. Ambler sees casino capitalism and Nazism as twin signposts on a road to perdition built by people like Dimitrios. We can't even imagine that being written by a popular author today without controversy, but Ambler, writing in England during the late 1930s, had zero trouble identifying exactly what he was looking at. This Great Pan edition of The Mask of Dimitrios appeared many years later in 1961, and it has unusual but effective cover art from S. R. Boldero.
Virtuoso poster artist finds inspiration in Serb star.
Above you see a poster from the former Yugoslavia, in Serbo-Croatian (we think), for the film Devojka za zabavu, starring Beba Lončar. We haven't watched this, so no summary, but it's available should you feel the urge. We're primarily interested in the art. The poster says this is a Španjolski film, or Spanish film, and indeed it was originally made in Spain as Amor en un espejo, and titled in the U.S. Cover Girl. The poster was adapted from the Spanish promo art painted by Carlos Escobar, who signed his work as Esc. On the Spanish version his signature is prominent, but the Yugoslavians decided to wipe it out for some reason. We already showed one example of Escobar's talent featuring Sharon Tate, and it may be one of the most beautiful of the hundreds of posters to adorn Pulp Intl. over the years. This one, which uses the lovely Lončar as a model, is also good. Evidence of what a big star the Serb actress was in her native Yugoslavia exists in her name, thrice repeated above the film's title, which is not how the Spanish poster was set up. Check out the Tate promo here. And check out Lončar here. Amor en un espejo premiered in Spain today in 1968.
The headlines that mattered yesteryear.
1954—Joseph McCarthy Disciplined by Senate
In the United States, after standing idly by during years of communist witch hunts in Hollywood and beyond, the U.S. Senate votes 65 to 22 to condemn Joseph McCarthy for conduct bringing the Senate into dishonor and disrepute. The vote ruined McCarthy's career.
1955—Rosa Parks Sparks Bus Boycott
In the U.S., in Montgomery, Alabama, seamstress Rosa Parks refuses to give her bus seat to a white man and is arrested for violating the city's racial segregation laws, an incident which leads to the Montgomery Bus Boycott. The boycott resulted in a crippling financial deficit for the Montgomery public transit system, because the city's African-American population were the bulk of the system's ridership.
1936—Crystal Palace Gutted by Fire
In London, the landmark structure Crystal Palace, a 900,000 square foot glass and steel exhibition hall erected in 1851, is destroyed by fire. The Palace had been moved once and fallen into disrepair, and at the time of the fire was not in use. Two water towers survived the blaze, but these were later demolished, leaving no remnants of the original structure.
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