Pulp International

vintage and modern pulp fiction; noir, schlock and exploitation films; scandals, swindles and news

HAPPILY EVER AFTER

For Nick and Nora marriage and murder go together like Scotch and soda.

After the Thin Man, sequel to 1934’s seminal mystery-comedy The Thin Man, was the 1930s equivalent of a holiday event movie, premiering on Christmas Day 1936 with sky high expectations. It’s also set during the holidays, with its events bracketing New Year’s Eve. Because of the setting, general atmosphere, and romantic interplay between leads William Powell and Myrna Loy as spouses Nick and Nora Charles, the movie is pleasantly transporting, a good watch for the yuletide season. Most couples can’t even decide on pizza toppings together, but Nick and Nora laughingly solve murders.

Here in movie two, Nick and Nora return home to San Francisco after solving movie one’s baffling NYC murder case, only to find Nora’s cousin involved in a love triangle that leads to a fatal shooting. Once again, functional alcoholic Nick sifts his way through a roster of suspects that include James Stewart, Elissa Landi, and Joseph Calleia, as Nora remains the sharp marital foil who, to quote the screenplay, doesn’t scold, doesn’t nag, and looks far too pretty in the mornings. She also can drink like a fish, a crucial skill when wedded to Nick. Everything climaxes with Nick explaining the crime to a roomful of suspects, one of whom, as required by the format, completely loses his shit when unmasked as the killer.

Unsurprisingly, audiences made After the Thin Man a hit, and the Academy of Motion Picture Arts and Sciences favored it with two Oscar nominations for best screenplay. It’s definitely clever. That was job one for the follow-up to the pithy The Thin Man, an all-time classic. Hiring the same writing and directorial team from the debut was a no-brainer for MGM. The entire group was elsewhere by the time the series ended—which may be one reason why it ended. But the decline of the franchise is a long way off yet. After the Thin Man is a fine night’s entertainment. Watch it with a full flute of bubbly and your Christmas lights twinkling.

San Francisco, Metro-Goldwyn-Mayer, Academy Award, After the Thin Man, William Powell, Myrna Loy, James Stewart, Elissa Landi, Joseph Calleia, Sam Levene, poster art, cinema, movie review

UNRESOLVED TENSION

Give credit where credit is due—when possible.


Above is an MGM promo handout for the film noir Tension, which starred Audrey Totter and hit cinemas today in 1949. It was painted in ink by the same person who did the poster, one of the greatest artists in cinema poster history—the inimitable uncredited. It’s a great piece by a true master. We’ve shown you a lot of Tension‘s U.S. promo art, and today’s doesn’t even empty the well of what’s out there, but it’s the last time we’ll dip into it. So many vintage films, so little time… 

Tension, Audrey Totter, cinema, film noir

ANITA MOMENT

What's happens next only she knows for sure.


Above: a cool 1928 MGM promo image of top tier U.S. actress Anita Page, who featured in such films as West of Zanzibar and The Broadway Melody. Her career straddled the silent and talkie eras, and she was a star in both. This is a great and sexy shot, a bit eyebrow raising at the time, we’d guess, thanks to that wandering left hand that could be up to anything. You can see more of her here, and we’ll show you more of her soon. 

West of Zanzibar, The Broadway Melody, Anita Page

OUT IN AFRICA

Everybody, listen up! Grace is having a nap, so I guess the whole production has to grind to a halt until she's done.


Online you see this photo captioned something like, “Grace Kelly has a nap in Africa on the set of the 1953 Metro-Goldwyn-Mayer movie Mogambo.” It’s clear, though, that the shot is staged. See all those footprints around Kelly’s mattress? Grips, best boys, production assistants, and other species of cinematic wildlife have been constantly trekking through there lugging heavy gear. If she were really in need of a catnap we feel she’d be off to the side, somewhere under shelter from the brutal African sun, for example in a tent reserved for her, so we suspect she and the good folks at MGM chose this spot for a quick photo op. But it’s a fun shot. In Africa or out of it, Kelly was hella hot. 

Metro-Goldwyn-Mayer, Mogambo, Grace Kelly

MINOR FLARE-UP

Welch movie suffers from an outbreak of ineptitude.

Above: a couple of Metro-Goldwyn-Mayer promos for Raquel Welch’s 1970 drama Flareup. That’s a strange looking word, we know. The movie actually should be called, “Flare Up” or “Flare-Up.” If you think MGM was confused about how hyphenates work, you should see the movie. Non-stop confusion there. But we do like the Welch graphics that feature on these posters. You can read more here.

Metro-Goldwyn-Mayer, Flareup, Raquel Welch, poster art, cinema

POST POSITION

Charisse strikes a perfect pose on MGM mailer.


We have something a bit different for you today. We say that every time we have something from Israel, don’t we? Well, in our experience items from there are pretty rare. And like our many Japanese discoveries, they’re inherently interesting because of the different alphabet used. What you see here is a promotional postcard for the 1957 MGM musical film Silk Stockings, which starred Cyd Charisse and Fred Astaire. It’s not a film we’ll talk about, as it falls outside our purview, but we love this item, which we spotted on an auction site. It’s crudely printed, but beautiful just the same, thanks to Charisse, who was one of the special beauties of her era.

According to the vendor, the text says, “See you this week in the Esther cinema hall in the magnificent musical film, Silk Stockings. Yours, Cyd Charisse.” The Esther was a Bauhaus style cinema built in Tel-Aviv’s Dizzengoff Square. It opened in 1931 and was a popular social hub for decades before being closed, then reopened as a fancy hotel. As you know, we’re into old cinemas, and we managed to track down a shot of the Esther, which appears below. Consider it an addition to our collection of vintage cinema photos. We don’t have an Israeli release date for Silk Stockings, but if we had to guess we’d say it played there in 1958 or 1959.
Israel, Tel-Aviv, Metro-Goldwyn-Mayer, Silk Stockings, Cyd Charisse, Fred Astaire

THE JUNGLE LOOK

The costume designer made this out of monkey fur? That's interesting. Next time can he use a couple more monkeys?


A wild hairdo, a bit of animal hide, and not much else usually comprises an actress’s costume for the typical lost world flick. Raquel Welch is considered by many to be the pinnacle of visual achievement in that area (though opinions vary), but U.S. actress Edwina Booth beat Raquel to it by more than three decades. She’s clad in monkey fur and a few animal teeth in this striking promo image made for her adventure Trader Horn. We won’t talk about the movie extensively today because we may delve into it later, but let’s just say that as a pre-Code film set in Africa there’s a lot to unpack. In addition, though it made Booth a star it ruined her career because she contracted malaria or schistosomiasis, prompting her to sue MGM Studios for negligence, her illness being—according to her lawsuit—a direct result of being made to run around the jungle half naked. She was probably right. As a reward she was blacklisted in Hollywood. Nevertheless, she looks very beautiful here. Trader Horn came out in early 1931, so this shot would be from sometime in 1930. 

Trader Horn, Edwina Booth

RUN FOR THE BORDER

When you cross the line trouble is sure to follow.


This bright poster for Dödsdalen was made for the Swedish run of the U.S. drama Border Incident, an interesting vintage film about illegal immigration—a hot button issue everywhere these days. Ricardo Montalbán stars as a Mexican investigator named Pablo Rodriquez who goes undercover as a migrant worker and crosses the border illegally to try and get to the bottom of why and by whom migrants are being exploited and sometimes murdered. He gets support from U.S. immigration cop George Murphy, who’s equally eager to apprehend the evildoers.

We were curious what sort of treatment migrants would get in the screenplay, and it was generally compassionate. The years we lived in Guatemala we became acquainted with some locals and learned quickly that the vast majority of those who left for the States didn’t want to go. Well, we didn’t learn it—we already knew it because it’s a no-brainer. Leave their families, wives, children, culture, social networks, and all sense of security? Of course they don’t want to do it. But for the most part it’s go north or go hungry. If that kind of dilemma isn’t worthy of a person’s compassion, we don’t know what is.

Montalbán brings authenticity and passion to his performance. You may remember we thought he should have starred in Touch of Evil instead of Charlton Heston. His character comes under suspicion immediately—his hands are too soft to belong to a migrant. Murphy, working undercover from the other end, also gets into hot water, but survives a beating and torture to get next to the crooks. They’re from the U.S., which of course is plausible. No industry as profitable as human trafficking is controlled from only one side of a border. Americans make money on it and always have. These particular Americans will kill to keep the profits coming in, which means Montalbán and Murphy have their hands full.

Border Incident scores well in mood, tension, and seriousness, and is well photographed in noir style, and in fact qualifies as a film noir, though one that’s rarely cited. It was helmed by Anthony Mann—the noir veteran behind T-Men, Railroaded!, and Raw Deal, and his expereience and style help make the movie more than the sum of its production budget. When you add it all up, what you have here is a flick that’s worth seeing, not least because Montalbán is a natural star. He’s great in this. Border Incident premiered in the U.S. in late 1949 and opened in Sweden as Dödsdalen—”valley of death”—today in 1950.

Sweden, Mexico, Metro-Goldwyn-Mayer, Dödsdalen, Border Incident, Ricardo Montalbán, George Murphy, Howard Da Silva, Anthony Mann, poster art, film noir, cinema, movie review

THE HARLOW LOOK

Okay, happy thoughts, Jean! Give us a smile! Puppies and balloons! Use those face muscles. Please? Pretty please?

Jean Harlow actually smiled plenty, and was photographed that way numerous times. But for intensity she couldn’t be topped, as this smoldering Metro-Goldwyn-Mayer promo image from 1930 shows. It was made when she was filming The Secret Six. Want to see Harlow smile? There’s a good photo in this post.

Metro-Goldwyn-Mayer, The Secret Six, Jean Harlow

THE DEFIANT ONES

Gladiatorial combat is all fun and games until the gladiators decide you're the one who needs killing.
We’ve featured master fantasy artist Frank Frazetta a few times, so it seems only fair that we feature the yang to his yin, Peruvian born legend Boris Vallejo. Here you see his art on an amazing bias-cut promo poster for Naked Warriors, which is better known as The Arena, released this month in 1974 starring another legend, Pam Grier, along with occasional co-star, the lovely Margaret Markov. We’ve talked about the movie twice, shared its Italian and U.S. promo art, and shared rare promo images of Grier once or twice, or maybe even three or four times, as well as a beautiful centerfold of Markov. All of that imagery is worth a look.

Vallejo’s art is a nice fit for a tale of enslaved gladiators pitted against each other eventually defying their sadistic masters to fight for freedom. He painted when Corcorde Pictures acquired the rights to the film from MGM/UA for a VHS release in 1988. Concorde/New World was formed and run by schlockmeister Roger Corman, and that explains the black wedges at the top and bottom of the promo. When you do thingson the cheap as a matter of course like Corman did, tilting the art in an inelegant way to make the two figures fit a door panel format seems logical. We can imagine him: “Just lean the fucker left. Who cares about the blank spots?” And indeed, who does, really?

In addition to a great piece of art, as a bonus we’ve also uploaded some Arena production photos we found scattered around the internet over the years. Most of them were shot by Italian lensman Angelo Frontoni, whose work we’ve admired often. As it is a lusty sort of movie, some of the shots are a bit lusty too. We had these sitting about and didn’t have a real good excuse to share them until today, so from the good old days of ’70s sexploitation behold: Grier, Markov, Lucretia Love, Maria Pia Conte, Rosalba Neri, and others in barely-there gladiatorial gear—and sometimes less. We can’t say the film is perfect, but it’s definitely worth a watch.

Peru, Metro-Goldwyn-Mayer, United Artists, Concorde Pictures, The Arena, Naked Warriors, Pam Grier, Margaret Markov, Maria Pia Conte, Rosalba Neri, Lucretia Love, Roger Corman, Angelo Frontoni, sexploitation, poster art, cinema, nudity
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HISTORY REWIND

The headlines that mattered yesteryear.

1971—Corona Sent to Prison

Mexican-born serial killer Juan Vallejo Corona is convicted of the murders of 25 itinerant laborers. He had stabbed each of them, chopped a cross in the backs of their heads with a machete, and buried them in shallow graves in fruit orchards in Sutter County, California. At the time the crimes were the worst mass murders in U.S. history.

1960—To Kill a Mockingbird Appears

Harper Lee’s racially charged novel To Kill a Mockingbird is published by J.B. Lippincott & Co. The book is hailed as a classic, becomes an international bestseller, and spawns a movie starring Gregory Peck, but is the only novel Lee would ever publish.

1962—Nuke Test on Xmas Island

As part of the nuclear tests codenamed Operation Dominic, the United States detonates a one megaton bomb on Australian controlled Christmas Island, in the Indian Ocean. The island was a location for a series of American and British nuclear tests, and years later lawsuits claiming radiation damage to military personnel were filed, but none were settled in favor in the soldiers.

1940—The Battle of Britain Begins

The German Air Force, aka the Luftwaffe, attacks shipping convoys off the coast of England, touching off what Prime Minister Winston Churchill describes as The Battle of Britain.

1948—Paige Takes Mound in the Majors

Satchel Paige, considered at the time the greatest of Negro League pitchers, makes his Major League debut for the Cleveland Indians at the age of 42. His career in the majors is short because of his age, but even so, as time passes, he is recognized by baseball experts as one of the great pitchers of all time.

  • FEATUREd PULP

DON’T RIDE THE WHITE HORSE

Rafael DeSoto painted this excellent cover for David Hulburd's 1954 drug scare novel H Is for Heroin. We also have the original art without text.

BARN GIRLS

Two Spanish language digest novels from Argentine publishers Malinca Debora and Malinca Nueva Pandora.
Argentine publishers Malinca Debora reprinted numerous English language crime thrillers in Spanish. This example uses George Gross art borrowed from U.S. imprint Rainbow Books.

LOVES OF A BLONDE

Uncredited cover art for Orrie Hitt's 1954 novel Tawny. Hitt was a master of sleazy literature and published more than one hundred fifty novels.

INSATIABLE APPETITE

George Gross art for Joan Sherman’s, aka Peggy Gaddis Dern’s 1950 novel Suzy Needs a Man.

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