Vintage Pulp

August 29 2024

URBAN HEAT EFFECT

Anyone for barbecue? 1970s disaster epic charbroils entire city.

City on Fire is a good old fashioned ’70s disaster movie, and we have to tell you, it’s been ages since we’ve seen one. We’re talking rentals at Blockbuster ages. We never had a chance to see one in a cinema, but we have to wonder if a big room with a booming Sensurround system is what City on Fire needs to make it enjoyable, because on our television the movie didn’t get the job done.

Everything starts when three kids accidentally set a blaze while trying to smoke cigarettes, but the real firestorm ignites when a disgruntled oil refinery employee gets sacked, decides as revenge to sabotage the works. He twists some valves and whatnot, causing flammables to run through the city sewers. The stuff combusts and the rest, as they say, is hysteria.

The cast of this flick is outstanding. Leslie Nielsen is the mayor, Henry Fonda a fire chief, Ava Gardner an on-air news personality, Barry Newman an emergency room physician, and Shelley Winters a nurse. Their perspectives continually alternate as the city-eating fire runs rampant. To pull off the incendiary visuals the filmmakers use models of skyscrapers, rear projection, and practical fire stunts of types that died with the advent of computer graphics.

While we appreciated the work that went into the movie, and some of the cinematography was spectacular, we were largely unmoved. Maybe it needed Hindenburg correspondent Herbert Morrison to narrate: “Oh, the humanity!” However, we were very moved by the poster art, which is another top effort by John Solie. City on Fire was made in Canada and, after opening in Europe, premiered in the Great White North today in 1979.

Avco Embassy Pictures, City on Fire, Barry Newman, Leslie Nielsen, Ava Gardner, Susan Clark, James Franciscus, Shelley Winters, Henry Fonda, John Solie, poster art, cinema, movie review

Vintage Pulp

March 18 2020

INCOMPLETE PASS

Mixed race woman finds herself in a cultural grey area.

You sometimes hear the term “mixed race,” but as far as black and white in America goes, in practice there isn’t any such thing. In the past, half black was termed “mulatto,” a quarter black was “quadroon,” and one eighth black was “octoroon.” The fact that white America invented these terms shows you that whites were obsessed with knowing at all times exactly what the ratio was of cocoa to milk. And in reality, of course, all those people with their various shades were fully black in terms of day-to-day treatment. The same is true in 2020, without the demeaning terminology. Government forms may have a box for mixed race or n/a, but in the real world a person who appears to be even a little black is still treated fully black.

I Passed for White, which premiered in the U.S. today in 1960, deals with this cultural truth. It was based upon a novel by Reba Lee, as told to Mary Hastings Bradley, and stars Sonya Wilde, a white actress. Her mere casting says more than the script can, but even so, this is an interesting little b-movie. Not good, exactly, but certainly watchable. Wilde plays Bernice Lee, a beautiful young woman who’d be happy to be either white or black but can’t stand being something in between. Tired of all the unpleasantness and uncertainty, she decides to take the solution available to her and become white, renaming herself Lila Brownell. Respect, career, and romance quickly follow.

The question soon arises for Bernice/Lila of whether she can pretend to be something she’s not, whether she can disown her black family, whether she can live in peace when there’s the constant fear of discovery, whether she can be to witness racism and, like most of white America, ignore it or pretend it doesn’t exist, and whether she can explain to her white husband why she dances so well. It’s not possible to explore all this to great depth in ninety-three minutes, but the film doesn’t have to because all these questions are familiar to viewers. As we’ve noted before, science has trash-binned the concept of race because it doesn’t exist biologically. I Passed for White is more than sixty years old, yet is still a reminder that, culturally, the day when race doesn’t exist is a long, long way off.

I Passed for White, Sonya Wilde, James Franciscus, Reba Lee, Mary Hastings Bradley, poster art, cinema, movie review

Vintage Pulp

February 11 2013

TAILS OF THE CITY

Dario Argento’s Code may prove difficult for most to unravel.

Above are three excellent posters for Dario Argento’s Il gatto a nove code, aka, Cat o’ Nine Tails. Only one bears a signature—P. Franco, who in everyday life was Franco Picchioni. We suspect he painted the others as well. With posters this great, plus Argento at the helm, we had to watch the movie, but while it’s a serviceable giallo with an interesting central murder mystery, it’s nothing to write home about. But it does have Karl Malden doing a bang-up job as a blind ex-newspaperman and James Franciscus as a solid lead.

And then there’s the heavenly French creature known as Catherine Spaak. You have to work pretty hard to somehow make a love scene featuring this stunner possibly the worst ever filmed, but Argento manages to make her romp with Franciscus as erotic as watching a hardware store clerk stack two wooden planks. Want your kids to avoid premarital sex? Have them watch this scene. They won’t even have a clue what happened.

The title of the movie refers to neither a cat nor a nine-tailed whip, but rather to the many leads that need to be investigated before the mystery can be unraveled. It could also describe Argento’s struggle to weave an involving narrative. In the end, even with his stylish direction framing the story, it’s Malden that carries this movie to the finish line. Plus he has a sword cane, which is always a bonus. Many Argento fans use the term “underrated” to describe this effort. That’s a euphemism for strictly average. Il gatto a nove code premiered in Italy today in 1971.

Italy, France, Il gatto a nove code, Cat o’ Nine Tails, Karl Malden, James Franciscus, Catherine Spaak, Dario Argento, P. Franco, Franco Picchioni, giallo, poster art, cinema, movie review

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HISTORY REWIND

The headlines that mattered yesteryear.

September 10

1935—Huey Long Assassinated

Governor of Louisiana Huey Long, one of the few truly leftist politicians in American history, is shot by Carl Austin Weiss in Baton Rouge. Long dies after two days in the hospital.

September 9

1956—Elvis Shakes Up Ed Sullivan

Elvis Presley appears on The Ed Sullivan Show for the first time, performing his hit song “Don’t Be Cruel.” Ironically, a car accident prevented Sullivan from being present that night, and the show was guest-hosted by British actor Charles Laughton.

September 8

1966—Star Trek Airs for First Time

Star Trek, an American television series set in the twenty-third century and promoting socialist utopian ideals, premieres on NBC. The series is cancelled after three seasons without much fanfare, but in syndication becomes one of the most beloved television shows of all time.

September 8

1974—Ford Pardons Nixon

U.S. President Gerald Ford pardons former President Richard Nixon for any crimes Nixon may have committed while in office, which coincidentally happen to include all those associated with the Watergate scandal.

September 7

1978—Giorgi Markov Assassinated

Bulgarian dissident Giorgi Markov is assassinated in a scene right out of a spy novel. As he’s waiting at a bus stop near Waterloo Bridge in London, he’s jabbed in the calf with an umbrella. The man holding the umbrella apologizes and walks away, but he is in reality a Bulgarian hired killer who has just injected a ricin pellet into Markov, who develops a high fever and dies three days later.