Vintage Pulp

September 26 2024

UNDER LOCK AND KEY

When the door Slams you can't depend on anyone but yourself.

Jim Brown went from an NFL career to become one of the most popular blaxploitation screen stars of his era, and The Slams, for which you see a promo poster above, proves it. This was the second Brown movie to hit U.S. screens in a month, coming today in 1973, hot on the heels of Slaughter’s Big Rip-Off, which had premiered on August 31. Unlike that film, in The Slams Brown is on the wrong side of the law. He’s thrown in supermax after a robbery and violent doublecross. $1.5 million in cash and a shipment of heroin are missing, and the prison authorities, the police, the mafia, and Brown’s cellmates all want a piece. He actually threw the heroin in the ocean, but the money is secreted away.

Brown is facing one to five years inside, which he figures he can do easily, but the mafia—who he robbed of the cash and drugs—wants him dead. He’s attacked even before he’s placed in his cell, and the bad guys keep coming. But Brown is saying nothing about the money. It’s the only thing keeping him alive. He could potentially leverage everyone’s greed into release, protection, or anything else he wants, but his plan is to do his time, get out, recover the cash, and disappear. But his timeline changes—urgently—when he learns from the prison television that the place he hid the money is going to be demolished. Escape becomes his only choice.

Low budget ’70s action movies rarely weather well, but we thought The Slams was actually rather good. Better acting would be helpful, but on the whole Brown is about on par with everyone else in terms of thespian talent, and he brings an intangible extra to the screen—charisma. His physicality works in his favor, and his cool delivery of dialogue provides gravity. Being a vintage movie, the language is off the charts incendiary, with n-bombs and f-bombs (not fuck—the other kind) flying left and right, so viewers who might be sensitive to that should take a pass. Otherwise, we recommend The Slams for blaxploitation fans, and give it a cautious thumbs up for fans of ’70s actioners. It premiered today in 1973.

The Slams, Slaughter's Big Rip-Off, Jim Brown, Judy Pace, Roland Bob Harris, Ted Cassidy, poster art, cinema, blaxploitation, movie review

Vintage Pulp

March 28 2024

HIGH POWERED RIFLES

Even though it didn't quite hit the target 100 Rifles gave moviegoers its best shot

The western adventure 100 Rifles, which premiered in the U.S. today in 1969 and starred Burt Reynolds, Jim Brown, and Raquel Welch, is a shot that went wide of the mark. But even if it could have been better, it has very nice promo art. Above you see the U.S. poster and a few production images to go along with the ones we shared before. See those and read a bit about the film here.

100 Rifles, Jim Brown, Raquel Welch, Burt Reynolds, poster art, cinema

Vintage Pulp

January 16 2024

THE BIGGEST AND THE BADDEST

Jim Brown commits multiple instances of polizia brutality.

We never like to go very long without highlighting the blaxploitation cycle in cinema, so above you see a nice poster for the 1973 Jim Brown actioner Slaughter’s Big Rip-Off, which was retitled Un duro al servizio della polizia for its Italian release. That translates as, “a tough guy in the police service,” which is fitting for Brown, one of the toughest guys around. It should be noted though, that he doesn’t play a cop in the film, but a vigilante who partners with the cops. There’s no Italian premiere date, but Rip-Off screened in most of Europe in 1974, so it’s safe to say the same is true for Italy. We’ve seen it, but we’ll return to the subject later after we have another look. In the meantime you can enjoy two Italian posters for 1972’s Slaughter here.

Italy, Un duro al servizio della polizia, Slaughter's Big Rip-Off, Jim Brown, poster art, cinema, blaxploitation

Vintage Pulp

October 17 2022

BLACK DON’T SLACK

The man with the ebony gun.

Above is an Italian poster for the 1972 blaxploitation movie Black Gunn, which starred the one and only Jim Brown, along with Brenda Sykes and Martin Landau. In Italy it was titled Pistola nera spara senza pietà, which translates to, “black gun shoots without pity,” a clumsy phrase, but one that fits the movie. There’s no release date for Italy, but it probably played there during the summer of 1973. We talked about it last year and shared a Japanese poster built around a photo-illustration, to which the above hand-painted effort serves as interesting contrast. The artist is uncredited.

Italy, Pistola nera spara senza pietà, Black Gunn, Jim Brown, Brenda Sykes, Martin Landau, poster art, cinema, blaxploitation

Vintage Pulp

August 16 2022

SLAUGHTER’S HOUSE

There's only one rule: walk away or be blown away.

Above: an alternate poster by George Akimoto for the Jim Brown blaxploitation movie Slaughter, which first hit cinemas today in 1972. We’ve talked about it twice: here and here. Shorter version: All work and no play makes Jim a dull boy, which is why it’s good Stella was totally down for some fun and games.

Slaughter, Jim Brown, Stella Stevens, George Akimoto, poster art, cinema, blaxploitation

Vintage Pulp

June 8 2021

GUNN RIGHTS

When Jim Brown stands his ground an entire city is turned upside down.

This Japanese poster was made to promote the U.S. blaxploitation flick Black Gunn, which in Japan was called スーパー・ガン, or “Super Gun.” The U.S. promo for the movie is nice too, but we prefer this version. Black Gunn starred Jim Brown as a Los Angeles nightclub owner whose little brother rips off the mob and stashes the cash in Brown’s office safe. Little brother has also stolen and stashed ledgers containing information that could bring down the entire organized crime apparatus. Naturally, the mob comes looking and they aren’t subtle about their methods. A few beatings and threats elicit some useful information, and pretty soon they’re knocking on the door of Gunn’s Club, as Brown’s joint is called. Think his little brother is going to survive all this? If he did, you wouldn’t get to see vengeful Jim beat, kick, and blast various members of mafia west.

Brown is usually a passable actor, no worse than average for action movies of the period, but here he seems to be sleepwalking, along with every other cast member apart from head villain Martin Landau. Brenda Sykes in particular seems to be adrift about a hundred nautical miles offshore. We chalk these performances up to a rushed production, but the good news is the action is explosive, so the film isn’t a total waste of time. Plus it has Bernie Casey, and we’ll watch him in anything. He had a palpable cool that should have been bottled and sold. Black Gunn premiered in the U.S. today in 1972.

Japan, Los Angeles, Black Gunn, Jim Brown, Martin Landau, Brenda Sykes, Bernie Casey, Timothy Brown, Luciana Paluzzi, poster art, cinema, blaxploitation, movie review

Hollywoodland

July 22 2018

DESPERATELY SEEKING SUSAN

Rumors of her demise were greatly exaggerated.

We’ve featured the Canadian tabloid Midnight numerous times. This one appeared on newsstands today in 1968. On the cover readers get a headline referring to Robert F. Kennedy, who had been assassinated the previous month. His name is accompanied by a prediction that his killer, Jordanian nationalist Sirhan Sirhan, would in turn be assassinated. It wasn’t an outrageous prediction—during the late 1960s newsworthy figures were being dropped like three foot putts. Sirhan was never murdered, though, and he’s still around today, languishing at Richard J. Donovan Correctional Facility in San Diego County, California.

Sirhan is an interesting character, but it’s the story on Susan Denberg we’re interested in today. Denberg, née Dietlinde Zechner, is a German born beauty who became a Playboy Playmate of the Year and screen actress, was a desired Hollywood party girl who,

acording to sources, had relationships with Hugh Hefner and Jim Brown. She was generally regarded as one of the major sex symbols of her time, but she also became a drug addict. After making the 1968 film Frankenstein Created Woman Denberg returned to Europe and shunned the movie business. In fact, she kept such a low profile that for years sources incorrectly reported that she had died.

Midnight journo John Wilson claims to have visited Denberg in a Vienna mental hospital near the beginning of her self-imposed exile, and his article is basically a recounting of his chat with her. He describes her depressing surroundings and portrays her as a sort of broken bird, quoting her as saying, “I was a real party girl, going out every night, dating one man after another, running around doing wild things like getting drunk and dancing nude at parties. And then someone got me started on LSD and it made everything seem so clear. It was wonderful. Only I couldn’t keep away from it, and after a while that was all I was doing, staying in my room and dropping LSD.”

In 1971 Denberg had a child, and by 1972 was making her living on the nudie bar circuit, working as a topless server at the adult cinema Rondell in Vienna, and later dancing fully nude at another Vienna nightspot called Renz. She also worked elsewhere in Europe, including Geneva, where in 1974 she tried to commit suicide by swallowing a reported 200 sleeping pills, an amount that surely would have been fatal had she not been quickly found and sped to a hospital. In 1976 she became a mother again and retired from nude dancing. Today she lives quietly in Vienna.

Denberg’s story is filled with twists and turns, and yet it isn’t unique in a place like Hollywood. As she makes clear, once enough power brokers, modeling agents, and studio types tell a woman she’s special she’s probably going to believe them, but once she believes them it’s hard for her to keep her head on straight. She sums up her journey to Midnight, “They told me I was beautiful enough to go all the way to the top. They told me about all the fun up there, the kicks. They never told me about the booze and the drugs, the long slide down.”

Jordan, Austria, Vienna, Geneva, Playboy, Midnight, Frankenstein Created Woman, Susan Denberg, Dietlinde Zechner, Lee Harvey Oswald, Sirhan Sirhan, Robert F. Kennedy, Hugh Hefner, Jim Brown, tabloid, drugs, nudity

Vintage Pulp

September 29 2017

FURIOUS VENGEANCE

He's an extinction level event all by himself.

The two Italian posters above and the accompanying production photos below are from Jim Brown’s violent 1972 blaxploitation actioner Slaughter, a movie we talked about in detail last month. Short version: we really need to hit the gym. The photos show Brown, Stella Stevens, and Marlene Clark. The last two aren’t frames from the film—in the film Brown’s and Stevens’ characters meet for the first time at a swimming pool, but there’s no kissing, only wary flirtation. Those two photos show them getting along quite swimmingly between takes. Stevens has given the impression in interviews that sparks flew between her and Brown, and the images seem to confirm that. You can check out our original write-up on the movie here.

Italy, Slaughter uomo mitra, Slaughter, Jim Brown, Stella Stevens, Marlene Clark, poster art, cinema, blaxploitation

Vintage Pulp

August 16 2017

WHOLESALE SLAUGHTER

The mafia are no match for Jim Brown.

In the blaxploitation flick Slaughter Jim Brown plays Slaughter—no first name—a former Green Beret captain whose underworld connected father is killed by a car bomb. He vows revenge and guns down some of the responsible parties at an airport. That’s when the government steps in and turns Slaughter into an operative in exchange for dropping murder charges. All he has to do is head to Mexico and capture the top mobster. South of the border he goes, where shootings, chases, and general mayhem follow as he pretty much turns the country upside down. There are occasional interesting visual flourishes during the violence, including hallucinatory ultra wide angle shots. Maybe director Jack Starrett heaped on the style a bit heavily, but it does set Slaughter apart, and in the end doesn’t really harm the final product. Another thing heaped on is the racial insults, even more than in most blaxploitation, and if there’s a lesson being imparted it’s that eventually n-bombs go off in your face.

Blaxploitation is nothing without its femmes fatales, and in those roles Slaughter casts Marlene Clark and Stella Stevens. Clark, though talented, is mere window dressing here; Stevens gets a substantial temptress role, and she’s perfectly suited for it, a dozen years after her Playboy centerfold appearance at age twenty-two, and about twice as beautiful in her mid-thirties. According to Brown, Slaughter is one of the three favorite films he starred in. Maybe Stella had something to do with that. In an interview some years back she was asked about the love scenes and said, “I was told that in the movie he did with Raquel Welch, he had a towel put between them, because he didn’t want to touch her flesh in the love scene with her.* I can tell you, we didn’t have anything between us except good feelings and fun.” Well, it looks like they had a good time to us too, and why not? Stevens is hot as hell and Brown is unadulterated manhood on a level few males can hope to reach. We think this one is well worth a watch for fans of the genre. Slaughter premiered in the U.S. today in 1972.

*Jim Brown is no fool, and we doubt he ever made such a request. Welch wore undergarments, which was probably always the plan, considering she has done no nude scenes during her career.

Mexico, Playboy, American International Pictures, Slaughter, Jim Brown, Stella Stevens, Rip Torn, Jack Starrett, Cameron Mitchell, poster art, cinema, blaxploitation, movie review

Vintage Pulp

March 16 2015

BASIC TRAINING

This trip sucks! Next time let’s just pay extra for first class!

The Mercenaries, aka Dark of the Sun isn’t a movie many remember, but we’re going to remember it, because this is a great pre-CGI action film—not perfect, but well above average. Based on Wilbur Smith’s novel Train from Katanga, and starring Rod Taylor, Jim Brown, Peter Carsten, and Yvette Mimieux, it tells the story of two mercenaries in the civil war-torn Congo hired to ride a military train upcountry, rescue a group of stranded people, and retrieve $50 million in uncut diamonds languishing in a time-locked safe. They have to do it within three days, which means making rushed preparations—notably, enlisting the aid of a dodgy ex-Nazi who commands the Congolese mercs needed to round out the mission. This Nazi is a really bad human, so it’s no surprise he gets into a chainsaw fight with the protagonist shortly after they meet. You’d think the hero would expect the unexpected from the guy after that—but no. The Japanese poster above, while not perfectly descriptive of the action, gets the mood of The Mercenaries across effectively, and it opened in Japan today in 1968.

Japan, Congo, Metro-Goldwyn-Mayer, Train From Katanga, The Mercenaries, Dark of the Sun, Rod Taylor, Jim Brown, Yvette Mimieux, Wilbur Smith, Peter Carsten, nazis, poster art, cinema, movie review

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HISTORY REWIND

The headlines that mattered yesteryear.

October 8

1918—Sgt. York Becomes a Hero

During World War I, in the Argonne Forest in France, America Corporal Alvin C. York leads an attack on a German machine gun nest that kills 25 and captures 132. He is a corporal during the event, but is promoted to sergeant as a result. He also earns Medal of Honor from the U.S., the Croix de Guerre from the French Republic, and the Croce di Guerra from Italy and Montenegro. Stateside, he is celebrated as a hero, and Hollywood even makes a movie entitled Sergeant York, starring Gary Cooper.

October 8

1956—Larsen Pitches Perfect Game

The New York Yankees’ Don Larsen pitches a perfect game in the World Series against hated rivals the Brooklyn Dodgers. It is the only perfect game in World Series history, as well as the only no-hitter.

October 7

1959—Dark Side of Moon Revealed

The Soviet space probe Luna 3 transmits the first photographs of the far side of the moon. The photos generate great interest, and scientists are surprised to see mountainous terrain, very different from the near side, and only two seas, which the Soviets name Mare Moscovrae (Sea of Moscow) and Mare Desiderii (Sea of Desire).

October 6

1966—LSD Declared Illegal in U.S.

LSD, which was originally synthesized by a Swiss doctor and was later secretly used by the CIA on military personnel, prostitutes, the mentally ill, and members of the general public in a project code named MKULTRA, is designated a controlled substance in the United States.

October 5

1945—Hollywood Black Friday

A six month strike by Hollywood set decorators becomes a riot at the gates of Warner Brothers Studios when strikers and replacement workers clash. The event helps bring about the passage of the Taft-Hartley Act, which, among other things, prohibits unions from contributing to political campaigns and requires union leaders to affirm they are not supporters of the Communist Party.