Robert Montgomery rides into town and trouble soon follows.
We’d seen the movie adaptation of Dorothy B. Hughes’ novel Ride the Pink Horse before, more than once, but decided to watch it again because its premiere date was today in 1947. It differs from the book, of course—it’s more streamlined, the real life town of Santa Fe becomes fictional San Pablo, the villains are more proactive, the heartless anti-hero Sailor becomes the not-so-bad Lucky Gagin, and the Mexican girl Pila is an adult instead of a fourteen-year-old. All these changes work fine. The most striking addition is the movie’s use of Spanish dialogue, five or six lines worth, untranslated and unsubtitled. It adds authenticity, plus a touch of bonus material for Spanish speakers. Robert Montgomery directs and stars, handling the dual chores solidly. In the end Ride the Pink Horse is a good film noir that has increased in stature over the years. It’s always been one of our favorites, but we admit that after seeing so many rote entries it’s the quirky ones that tend to stand out. We wouldn’t recommend this to novices as their first noir, but if you’ve seen many and are looking for something that surprises, Ride the Pink Horse will do the job. You can learn more about the movie by reading our detailed write-up about the novel here.
Hallucinatory southwestern noir takes readers to a land of saints and sinners.
It’s said that a good book teaches you how to read it. The author instructs while building the story. Dorothy B. Hughes’ 1946 crime novel Ride the Pink Horse, which was the source material for the 1947 film noir starring Robert Montgomery, falls into that category. In the story a man wanders around the southwestern U.S. town of Santa Fe, New Mexico, searching for someone he calls the Sen, which is short for the Senator. We suspect the shortening of his title is designed to make it a heterograph with “sin,” because this Illinois senator-turned-crime boss rather sinfully hired out the murder of his wife then shorted the murderer part of his fee. That’s why the main character, named Sailor, is adrift in this town. He’s followed the Sen there from Chicago to get his money. He plans to find him, confront him, collect payment, then scurry away to Mexico.
But this comes out in trickles. Initially Sailor merely criss-crosses the town, unable to find a hotel room because it’s fiesta weekend, with crowds everywhere and processions filling the streets. He sleeps under the canopy of a merry-go-round which features a pink horse.
As he keeps going in circles around town more characters emerge—the cop who’s trying to solve murder of the senator’s wife, the carousel owner who appeals to Sailor’s sense of honor, the girl who recalls an innocence he can barely remember, and the beautiful Iris Towers, the focus of his wishes for a better life.
Hughes loves symbolic names: there’s the Sen, as we already mentioned; there’s Iris Towers, dressed in ivory colors and pale of skin; and there’s the girl Pila, whose name is the Spanish word for a laundry trough, a place of cleansing. The book is composed of encounters rather than events, hallucinatory meanderings punctuated by tense verbal standoffs. Each tête-à-tête clarifies matters a bit more for the reader. Did Sailor really kill the Sen’s wife? Did he ever intend to? Was she ever to be the actual target? Were others involved?
When Sailor goes from seeing the town’s Mexican and Native American inhabitants as something other than sub-human, maybe, we think, he isn’t irredeemable. But even if he grows in some ways his hatred continues to drive him. He thinks the Sen is vermin. He wonders how such an abomination can even walk upon the Earth. When he follows the Sen into the cathedral this thought passes through his mind: He didn’t know why the dim perfumed cathedral didn’t belch the Sen out of its holy portals.
Hughes is a good writer, a unique stylist, and she gives Ride the Pink Horse the disorienting feeling of taking place in purgatory. It’s a fever dream, an acid trip across a constantly shifting landscape, literary rather than pulp in approach, as much Faulkner as it is Chandler, with nothing quite solid or real apart from Sailor’s hatred, which is so intense it seems as if it will consume him and leave nothing behind but a cinder. Sailor’s racism is appalling, but he’s not supposed to be a good man. This town filled with people that frighten and confuse him could be his salvation or his doom. He’s the one who has to decide whether to step back from the precipice. Every wise character sees that he’s headed for destruction. But the future isn’t set. He has a chance for redemption—small, but real. Top marks for this one.
This 1949 Pocket Books paperback of In a Lonely Place by Dorothy Hughes is a rarity. The novel is abundantly available today, but the first edition paperback you see above is hard to find. The story was made into a 1950 movie starring Humphrey Bogart and Gloria Grahame, but the final product bears little resemblance to the novel. Actually, the movie is a lesson in how source material can be completely cannibalized yet still made into a superior product. In a Lonely Place the movie, after all, is considered one of the best of the mid-century noirs. We said the same about it last year. But unlike the film, Hughes’ novel leaves no doubt that her main character Dixon Steele is a murderer. In fact, it’s the central plot device—he kills a wealthy man and assumes his identity. The novel is said to be an inspiration for Patricia Highsmith’s famed murderous grifter Tom Ripley. The nice art on In a Lonely Place was painted by Frank McCarthy, a prolific illustrator of paperbacks and magazine covers who toward the end of his career moved into fine art with frontier and western themes. We’ve featured him before and he’ll doubtless pop up again.
The Pulp Intl. girlfriends want more depictions of men on the site. Can we oblige them? Probably not. Vintage paperback art features women about ninety percent of the time, and they’re often scantily clothed. Men, on the occasions they appear, are not only typically dressed head to toe, but are often sartorially splendid. There are exceptions—beach-themed covers, bedroom depictions, gay fiction, and romances often feature stripped down dudes. We’ll assemble some collections of all those going forward, but today the best we can offer is an assortment of g’d up alpha males, with art by Victor Kalin, Robert McGinnis, and others. Enjoy.
Above is the cover of Rufus King’s 1945 mystery The Deadly Dove, which isn’t a particularly notable book, except that it demonstrates one of the time-honored motifs in pulp cover art—the woman fighting for her life. We’ve cobbled together a small collection of such covers, with art by Robert Hilbert, Robert Stanley, and others.
We’re curious, but unfortunately have no way of knowing, how readers reacted to these depictions when they first hit newsstands. There are probably some examinations of that question out there somewhere, but not in a place where we can find them. To our contemporary eyes, though, some of these images seem brutal to the extent that if someone actually saw us holding one in a store, we’d be like, “Oh this? Not mine. No, no, no. Found this uh, on the floor and was just, er, putting it back on the shelf. No, I was actually buying this copy of Genital Warts and U.“
Okay, maybe that’s a bit of an overstatement. You get the point, though. But violent or not, there’s no denying the artistry on display on these covers. Thanks to various Flickr groups for some of these, by the way. In other news, that long delayed internetinstallationis so close we can almost taste it. How much you wanna bet it all fails spectacularly?
Dion O’Banion, leader of Chicago’s North Side Gang is assassinated in his flower shop by members of rival Johnny Torrio’s gang, sparking the bloody five-year war between the North Side Gang and the Chicago Outfit that culminates in the St. Valentine’s Day Massacre.
1940—Walt Disney Becomes Informer
Walt Disney begins serving as an informer for the Los Angeles office of the FBI, with instructions to report on Hollywood subversives. He eventually testifies before HUAC, where he fingers several people as Communist agitators. He also accuses the Screen Actors Guild of being a Communist front.
1921—Einstein Wins Nobel
German theoretical physicist Albert Einstein is awarded the Nobel Prize for his work with the photoelectric effect, a phenomenon in which electrons are emitted from matter as a consequence of their absorption of energy from electromagnetic radiation. In practical terms, the phenomenon makes possible such devices as electroscopes, solar cells, and night vision goggles.
1938—Kristallnacht Begins
Nazi Germany’s first large scale act of anti-Jewish violence begins after the assassination of German diplomat Ernst vom Rath by Herschel Grynszpan. The event becomes known as Kristallnacht, and in total the violent rampage destroys more than 250 synagogues, causes the deaths of nearly a hundred Jews, and results in 25,000 to 30,000 more being arrested and sent to concentration camps.
1923—Hitler Stages Revolt
In Munich, Germany, Adolf Hitler leads the Nazis in the Beer Hall Putsch, an unsuccessful attempt to overthrow the German government. Also known as the Hitlerputsch or the Hitler-Ludendorff-Putsch, the attempted coup was inspired by Benito Mussolini’s successful takeover of the Italian government.
1932—Roosevelt Unveils CWA
U.S. President Franklin D. Roosevelt unveils the Civil Works Administration, an organization designed to create temporary winter jobs for more than 4 million of the unemployed.