Vintage Pulp

November 27 2024

MANCHE TRAP

You can't spell “demon” without Demongeot.

French filmmakers often gravitated toward English language crime novels for inspiration. Une manche et la belle, another thriller set in the fertile South of France, was based on British author James Hadley Chase’s 1954 thriller The Sucker Punch. Henri Vidal plays an ambitious young exec at Pacific Bank, for whom trouble starts when he aces his colleague out of a rich client. The client, played by Isa Miranda, takes a personal liking to Vidal. Isa’s secretary is Mylène Demongeot, and she takes a liking to Vidal too, in that flirtatious but elusive way she was good at bringing to the screen. Vidal marries Miranda and the two head off on a Venetian honeymoon, but rich people need staff, so the cherubically beautiful Demongeot is brought along for the ride. But three’s a crowd. Under the circumstances, wedded bliss develops a quick end date. A murderous one, if Demongeot has her way.

Can she entice Vidal into a reckless decision? Well, sure, who wouldn’t get reckless for her? Imagine if there were a murder trial. The judge: “Can’t show you any leniency without suffering professional ridicule and the loss of my cushy gig up here on the bench, but bro—I get it.” The entire world got it, which is why Demongeot became a popular cinematic sex symbol. You’ll frequently see the movie cited as one in which she was topless, but the bare frontage on display was that of a body double, which we determined thanks to the wonders of the pause button. Too bad—even playing purest evil Demongeot is special. She might be the original inspiration for the ubiquitous “Distracted Boyfriend” meme. Une manche et la belle, a pretty fun flick all things considered, premiered in France today in 1957.

France, Italy, Nice, Venice, Une manche et la belle, A Kiss for a Killer, Henri Vidal, Mylène Demongeot, Isa Miranda, James Hadley Chase, poster art, cinema, movie review

Vintage Pulp

July 30 2018

INTERNATIONAL INCIDENT

Being diplomatic is one way to get what you want. And then there's Bardot's way.

This is one of the most classic of Brigitte Bardot’s movie posters, with the smiling superstar holding an Eiffel Tower in her hands, implying that all France is her plaything. That much is undeniable. It was originally titled Une parisenne, but for its English language release it was given the slightly different title La Parisienne, and in it Bardot does what Bardot always does—stops traffic, generates previously undiscovered quantum states of chaos, and flips reality upside down.

This time around she plays Brigitte Laurier, the prime minister’s stubborn daughter, in love her father’s assistant, who tries as hard as he can not to get involved with her. Why would he resist Bardot? Because she’s too young, and he already has a (married) girlfriend. He finally marries Bardot through a set of crazy circumstances, but refuses to give up his mistress, which of course leads to a jealous Brigitte taking matters into her own hands. This is a classic French style sex comedy, with confusion, mistaken assumptions, and people sneaking into each other’s beds, all in service of teaching the lesson that what’s good for the goose is good for the gander.

Focusing on the poster for a moment, you can see it’s a high quality piece of art, but it’s attributed to nobody. We checked around and came up with zip. You’ll notice it says La Parisienne was Bardot’s first big picture. We doubt that—it was her eighteenth movie. We can find no evidence anywhere that this one was different budgetwise than her other headlining efforts. Possibly, “big” is a reference to the plot’s focus on international politics and diplomacy.

The film does seem to have a larger scope, and take place against a larger backdrop than usual. So maybe that’s it. Or maybe the American distributors meant that it was the first of Bardot’s films to receive a big promotional push in the U.S. We just don’t know. But here’s what we’re sure about: after a successful run in Europe beginning in late 1957, La Parisienne premiered in New York City today in 1958.

France, New York City, Une parisienne, La Parisienne, Brigitte Bardot, Henri Vidal, poster art, cinema, movie review

Vintage Pulp

December 28 2017

DANCING WITH THE STAR

Bardot uses smooth moves to solve a murder.

Brigitte Bardot graces a black Clément Hurel promo poster for Voulez-vous danser avec moi, and a Belgian poster as well, where the film was known by both its French title and as Wilt jij met mij dansen? In English it was called Come Dance with Me!, and in it Bardot indeed dances, but also pouts, flirts, schemes, and sleuths. It all starts when she weds a dentist. The couple are in love, but within months they’re in constant marital conflict. The husband goes out one night and gets fishhooked by Dawn Addams, though he doesn’t go all the way. Doesn’t matter though, because it looks like he did in the photos shot by sneaky ass Serge Gainsbourg, who’s photographing everything through the French doors—or as the French probably call them, the doors.

Nearly cheating makes the dentist realize how good he has it with Bardot—duh—but blackmail rears its ugly head when his almost affair shows up with the heavy petting photos. Though it may not sound like it, Voulez-vous danser avec moi is a comedy, or perhaps a dramedy. It’s generally considered lesser Bardot, but is there really such a thing? It’s satisfyingly wacky like Bardot films tend to be. For example, when Addams turns up dead, Bardot connives her way into a position at Addams’ dance studio in order prove her husband is innocent of murder. The rest of the film is basically a caper comedy with dance numbers. Lesser Bardot or not, we suspect it’ll get the job done for you just fine. Voulez-vous danser avec moi premiered in France today in 1959.

France, Belgium, Wilt jij met mij dansen?, Brigitte Bardot, Henri Vidal, Serge Gainsbourg, Clément Hurel, poster art, cinema, movie review

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HISTORY REWIND

The headlines that mattered yesteryear.

November 6

1935—Parker Brothers Buys Monopoly

The board game company Parker Brothers acquires the forerunner patents for Monopoly from Elizabeth Magie, who had designed the game (originally called The Landlord’s Game) to demonstrate the economic ill effects of land monopolism and the use of land value tax as a remedy for them. Parker Brothers quickly turns Monopoly into the biggest selling board game in America.

November 6

1991—Gene Tierney Passes Away

American actress Gene Tierney, one of the great beauties in Hollywood history and star of the seminal film noir Laura, dies in Houston, Texas of emphysema. Tierney had begun smoking while young as a way to help lower her high voice, and was hooked on cigarettes the rest of her life.

November 5

1937—Hitler Reveals His Plans for Lebensraum

Adolf Hitler holds a secret meeting with Nazi officials and states his intention to acquire “lebensraum,” or living space for Germany. An old German concept that dated from 1901, Hitler had written of it in Mein Kampf, and now possessed the power to implement it. Basically the idea, as Hitler saw it, was for the Nazis to kill, deport, or enslave the Polish, Russian and other Slavic populations to the east, whom they considered inferior, and to repopulate those lands with a Germanic upper class.

November 5

1991—Fred MacMurray Dies

American actor Fred MacMurray dies of pneumonia related to leukemia. While most remember him as a television actor, earlier in his career he starred in 1944’s Double Indemnity, one of the greatest films noir ever made.

November 4

1955—Cy Young Dies

American baseball player Cy Young, who had amassed 511 wins pitching for five different teams from 1890 to 1911, dies at the age of 88. Today Major League Baseball’s yearly award given to the best pitcher of each season is named after Young.

November 4

1970—Feral Child Found in Los Angeles

A thirteen year-old child who had been kept locked in a room for her entire life is found in the Los Angeles house of her parents. The child, named Genie, could only speak twenty words and was not able even to walk normally because she had spent her life strapped to a potty chair during the day and bound in a sleeping bag at night. Genie ended up in a series of foster homes and was given language training but after years of effort by various benefactors never reached a point where she could interact normally in society.