It takes a lot of guts to watch these sometimes.
A long while back we put together a collection of posters for bdsm themed Japanese pinku films. Why? Why not. But we hadn't seen the movies. One was called Shojo no harawata, aka Entrails of Virgin, aka Guts of a Virgin, and we came across it recently and figured let's watch this thing. The story concerns a slimy fashion photographer and his equally slimy buddies who take two models to a secluded cabin with the intent to take advantage of them, but are attacked by a hairy monster from the woods who has a massive boner. The film is part of Kazuo Komizu's, aka Gaira's, “splatter-eros” trilogy along with Bijo no harawata, aka Guts of a Beautiful Woman and Gômon kifujin, aka Female Inquisitor. A few of his other directorial credits include Violence porno: Jôkan and Violence porno: Nawa to bôkô. You get the idea.
We try not to make any cultural judgments when we watch these pinkus. There's a line from James M. Cain (you knew we'd work in a pulp author somehow) where one of his characters says of bullfights, “If it was my own country I'd be against it, but when it's somebody else's, I go.” That's how we feel. When something in a pinku flick confuses us or weirds us out, we generally shrug and go, “Not my place to criticize.” And now, of course, we'll criticize. In terms of Japanese erotica, the actresses make noises of pleasure that are indistinguishable—at least to our ears—from noises of pain. Not cool. It's sort of a whining, like this feels soooo good I'm on the verge of tears. That's one reason we don't generally get turned on by pinku movies. While the women are uniformly fantastic, their erotic acting is way off target for us.
The blurred line between pleasure and pain in this movie is liable to do a number on your head. And if it doesn't, the scene where a model masturbates with a severed arm while blowing the monster certainly will. Hope we didn't give too much away there. As far as the entrails aspect, well, the title is provocative, but while there's a virgin, we see no entrails. Thank fucking God. And because sex in pinku movies is mostly implied due to laws against the showing of pubic hair or sex organs, the sexualized violence is largely implied too. It's cleverly implied though. So be forewarned. We can't recommend this movie, but the poster art is so amazing we had to share it. It's signed—see just below—but we were not able to ascertain by whom. Too bad. There's real talent there. More so than in the film. Shojo no harawata premiered in Japan today in 1986.
It's just the wind. Or possibly the screaming of damned souls in torment. But more likely the wind.
“You dare not even guess the strange story of The Red House,” this promo poster tells us about Edward G. Robinson's 1947 psychological suspense drama, but we dared, and we didn't have any trouble guessing correctly. What you get here is a mystery with a suggestion of the supernatural—always a draw for us. Some sites call this a horror movie. We're okay with that too. Horror, psychological suspense, and mystery walk hand in hand—in this case through the creepy night. Working from a screenplay adapted from George Agnew Chamberlain's 1945 novel, Robinson plays a man living in idyllic simplicity on a farm with his sister and adopted daughter. He hires a helper, a decision that goes awry when the new help develops an interest in the nearby cursed woods, in which there's supposedly a haunted red house, disembodied screaming voices (or maybe just the wind), and other dangers sane people would avoid.
But this new farmhand is filled with the arrogance of youth, isn't superstitious, and resolves to solve the mystery, a decision that threatens to tear Robinson's makeshift family apart and unearth terrors from the past. Edward the G. isn't at his very best working with what is a tricky script, but he gets useful support from young co-stars Lon McCallister, Rory Calhoun, Allene Roberts, and Julie London. Roberts in particular has a crucial role, and in her first film, and aged only nineteen, she manages to keep her head above water—barely. While The Red House isn't top notch, it's enjoyable enough, and if you appreciate vintage creepfests it might give you a chill or two. So what's in the woods? We can't tell you, but you can be sure there's something—and it ain't good. The Red House premiered today in 1947.
You really don't want to wake this guy.
Here's an amazing piece of international pulp, a cover in Yiddish from M. Mizrahi Publishing for Robert Bloch's thriller Psycho. We recently posted a collection of Psycho covers, but we held this one back because it deserved its own moment. This was painted by an artist named Arie Moskowitz, sometimes referred to as M. Arie, who produced several more fronts we may share later. We found this one on Israeli Wikipedia, of all places, where it was posted by the National Library of Israel. It's quite a find.
They always faint from shock. Then I read them my poetry and they realize they've misjudged me.
The lagoon is lovely, dark, and deep, but I have miles to go before I creep. Frost, in case you didn't know. This is a poster for the Creature from the Black Lagoon from Spain, where it was called La mujer y el monstruo, and premiered today in 1954. See more creature stuff here, here, and here. And something related here.
Some people need a mental health day every day.
We were going to post an assortment of covers we thought were scary, but when we came across these Psycho fronts we realized they were all we needed. The creation of veteran horror author Robert Bloch and originally published in 1959, one of literature's early homicidal psychopaths remains frightening even today. When Bloch wrote Psycho the concept of psychopathy was little known in American culture, but after Alfred Hitchcock's 1960 movie adaptation, as well as the real-world Dahmers and Specks and Bundys, that naïveté evaporated. Now everyone knows psychopaths are real and live among us.
Bloch's man-child Norman Bates, a sadist and misanthrope with lust/hate feelings toward women, was able despite his dysfunctions to operate in society with a veneer of civility, and was capable of love, but only a stunted and twisted variety instilled by an emotionally violent forebear from whose shadow he could never fully escape. Sound like anybody you know? We have mostly front covers below, along with a rear cover and a nice piece of foldout art we found on the blog toomuchhorrorfiction. These are all English editions. We'll show you one or two interesting non-English covers later.
When is a monster not scary? When it's a guy in a latex suit.
Maybe yesterday's Halloween themed post was a bit too grim. After all, it's a kid's holiday. So, continuing along the same lines but with less macabre realism, above and below we have a collection of monsters (full disclosure: some are actually monster-fighting good guys) culled from 1970s Japanese television and shlock cinema. There are hundreds of these from the period, but we restricted ourselves to twenty. You may recognize a few. For example, we tossed Hedorah, aka the Smog Monster, into the mix just for fun. You can definitely impress friends and the general public if you dress up as one of these ferocious entities. That'll have to wait until next year, though. Which is actually good, because it would probably take that long just to put one of these get-ups together. Most of these are a bit ridiculous, so theoretically they shouldn't give anyone nightmares. Then again, that's what they say about clowns.
Carmellini issues a Terrore alert.
Above are two brilliant Italian posters for Il terrore sul mondo painted by an artist who signed as Carmellini. That's all we know about him, but what great work. The movie is better known as The Creature Walks Among Us. Is it as good as the posters? Are you kidding? It doesn't even deserve posters.
Predatory housing market claims more victims.
Is there such a thing as a movie poster that's too effective? This particular promo was painted by J. Gommers to promote the Belgian run of the horror movie The Haunting. Luckily, we already saw the movie, because we aren't sure we'd brave it based on this freaky piece of art. It opened in the U.S. in 1963 and reached Belgium titled La Maison du diable in French, and Het duivelshuis in Dutch, sometime in early 1964. You can read a bit more about it here.
Holiday revelers come face to fungi with their worst fears.
This is a simply awesome poster. It was made for the Japanese horror movie Matango, which was known in English speaking countries as Attack of the Mushroom People. The second title pretty much gives it all away—mushroom people aggressive. Plotwise, a group of sailboating jet setters get swallowed by a fog bank and end up marooned on a mysterious island. There they find a derelict boat, evidence of scientific research into the island's unique giant mushrooms, and disturbing indications that the fungi are more than what they seem. Not long afterward the castaways begin to fear they're turning into mushrooms themselves. This is of course a terrifying prospect, but since they're food challenged the upside is they'll have something to put in their eggs. Overall Matango is better than you'd suspect. It's atmospheric, nicely photographed, and the hallucinatory efx work pretty well. If you like 1960s sci-fi and horror we think this one will do the job for you. It premiered in Japan today in 1963.
Wow, how much did I drink last night? I feel terrible this morning.
You guys run! I'll hold them off with this garlic and bottle of olive oil!
Today our seminar for giant monsters will cover how to get human heads unstuck from your mouth.
How can you not love this? This startling poster that looks like someone has bitten off more than they can chew was made for Aullidos, a movie better known as The Howling. It was painted by Macario Gomez Quibus, an artist who also crafted promos for the horror movies The Fog and Murder Mansion, among others. After opening in the U.S. in 1981, Aullidos premiered in Spain today in 1982. Have you seen it? No? You might need to. Read about it here. |
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