Modern Pulp | Sex Files Oct 4 2022
HOLEY TRINITY
There's never a cop around to perform a cavity search when you need one.


You probably suspect at a glance that this is a Japanese poster for an x-rated movie, and you'd be right. It was made for Trinity Brown, starring Sharon Kelly, aka Colleen Brennan, who's backed by a supporting cast of stalwart porn studs and b-level starlets. This is the fourth movie of Kelly's we've looked at, after Love, Lust and Violence, Gosh!, Scream in the Streets, and Ilsa, Harem Keeper of the Oil Sheiks. Do we have a special affinity for her? Not really. But the Japanese did, apparently. We've found Japanese posters for many of her flicks. They've retitled this one 弾を握る, which means “woman holding a bullet.” Or possibly they've retitled it SEXリボルバー, which means “sex revolver.” The rest says, “Right now, a miraculous comeback, Sharon Kelly. A trap of terrifying passion, the scent of lavender drifting in the cloudy darkness. A man never forgets the smell of Sharon.” Indeed.

You can always expect a plotline with vintage porn, and in this case Kelly plays a tough L.A. cop partnered with John Leslie, who she also happens to be banging off-duty. The two are assigned a murder case in which a strip club owner is thought to have shot a local gangster. Brennan and Leslie delve into the world of exotic dancers and show business to unravel the mystery. It isn't much of a mystery—psst the gangster's girl set him up—but getting to the end is reasonably fun.

Generally vintage porn features realistic sexual performances, without a lot of asinine screaming and backbreaking positions. It was made before the medium became festishistic performance art, and takes itself seriously as erotica for normal people. This particular flick was made without any of the most inspiring porn beauties from the era (Ginger Lynn, Angel, Shauna Grant, Jody Swafford, Annette Haven, et al), so it's possible some viewers might be aesthetically nonplussed by Kelly and company, but everything is real, rather than silicone, and that's worth something. We'll discuss some of those top stars again, and Kelly will be back too, on yet another Japanese poster we have. Trinity Brown premiered in the U.S. in 1984 and reached Japan today in 1986.

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Vintage Pulp Oct 1 2022
THE MARLOWE MAN
Garner's portrayal of a classic detective feels a lot like a Rockford Files test run.


Raymond Chandler's novels have been adapted to the screen several times. One of the lesser known efforts was 1969's Marlowe, which was based on the 1949 novel The Little Sister and starred future Rockford Files centerpiece James Garner as Chandler's famed Philip Marlowe. You see a cool Spanish popster for the movie above, painted by Fernandez Zarza-Pérez, also known as Jano. As usual when we show you a foreign promo for a U.S. movie, it's because the domestic promo isn't up to the same quality. In this case the U.S. promo is almost identical, but in black and white. The choice was clear.

Since you know what to expect from a Chandler adaptation, we don't need to go into the plot much, except to say it deals with an icepick murderer and ties into show business and blackmail. What's more important is whether the filmmakers made good use of the original material, either by remaining true to its basic ideas or by imagining something new and better. They weren't going for new in this case. They were providing a vehicle for the charismatic Garner and ended up with a movie that features him in the same mode he would later perfect in Rockford.

Marlowe has a few elements of note. Rita Moreno plays a burlesque dancer, and it's one of her sexier roles. Bruce Lee makes an appearance as a thug named Winslow Wong. Garner is the star, so it isn't a spoiler to say that Lee doesn't stand a chance. He's dispatched in unlikely but amusing fashion. Overall, Marlowe feels like an ambitious television movie and plays like a test run for Rockford, but it's fun stuff. We recommend it for fans of Chandler, Moreno, Lee, Carroll O'Connor (who co-stars as a police lieutenant), and especially Garner. It premiered in the U.S. in 1969, but didn't reach Spain until today in 1976.
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Modern Pulp Sep 25 2022
MAN ABOUT TOWN
Matt Dillon gets on an unstoppable roll.


Above is a poster for the U.S. movie The Big Town, which is a drama released today in 1987, set in 1957, based on the 1967 Clark Howard novel The Arm. We like 1950s movies. And we like new movies set during the 1950s. It's always interesting to see an interpretation of the era, versus productions actually made during those years. The Big Town is a fun rendition, as pretty boy Matt Dillon plays a skilled young dice shooter who leaves podunkville Indiana for Chicago and experiences all its pleasures and pains.

On the pleasure side is femme fatale fan dancer Diane Lane, and bringing the pain is Tommy Lee Jones as a gambler who runs a crooked nightspot called the Gem Club—and who happens to be married to Lane. It's always a bad idea to bed a bad man's wife, but it's an even worse idea to break his bank for $15,000. Dillon does both. Later he tries to engineer a high stakes double-cross that will allow him to win the Gem Club in a craps game. Along the road from rags to potential there are plenty of subplots, including revenge, good girl redemption, and the struggle to retain's one's soul.

The Big Town is often called a neo-noir, and though any film with a crime focus and numerous night scenes tends to get that label slapped on it, in this case we feel like the designation is accurate. The movie deals not only with crime and gambling, but also takes passes at burlesque, racism, and the culture clash between ’40s style tough guys and new generation hipsters, with their sculpted hair and rock and roll attitudes. On the acting front, Dillon does a good job, and Jones is excellent as always, doing that unique thing he does. If you're looking for a fast period drama you can certainly do worse.

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Vintage Pulp Sep 23 2022
MO WOMEN, MO PROBLEMS
Mogambo features the cruelest beast in all of Africa—and its name is Clark Gable.


As famous as Mogambo is, we'd never seen it, had never read a review of it, and had no idea going in what it was about except that it was a safari movie and a remake of the 1932 adventure Red Dust, which we'd also never seen. There are few hit movies—especially with stars the stature of Clark Gable, Ava Gardner, and Grace Kelly—that we don't know at least a little something about. So we cleared the slate, cooked up some popcorn in our special Lindy's hand-cranked popper, and settled in for a screening.

Shot in Kenya, Uganda, French Equatorial Africa (now Central African Republic), and the Tanganyika region of what is now Democratic Republic of Congo, the movie is about a hard-edged safari guide and hunter played by Gable (also the star of Red Dust, by the way) who tries to score with both Gardner and Kelly, and soon has them at each other's throats. These old movies often work on the presumption that the male star is irresistible—period. As a result, screenwriters were sometimes lazy. They'd fail to write the male lead with any charm at all.

That holds true here, as Gable is gruff, rude, twenty years older than Gardner, and almost thirty years older than Kelly. We're fine about the age difference, unlike the “age appropriate” crowd that thinks women are capable of making any decision except ones about whom they love, but because Grant is a complete sourdough some charm would have made Gardner's and Kelly's attraction to him more understandable. Handsome though he may be, here he's nothing more than moustache, hair tonic, and bossiness. But okay, Gardner and Kelly are both in states of need, and Gable is more than happy to introduce them to his bush snake, so what you get is a love triangle folded inside a Technicolor safari adventure. Fine.

The production is spiced up with majestic scenery, nice costumes, realistic animal footage, an overwhelming feel of the exotic, the tantalizing implication of intimacy with two of the most beautiful women in cinema, and a deft, assured performance from Gardner. In fact, while Gable is top billed, Ava gets nearly all the good lines. “Listen, buster,” she scolds Clark, “you and your quick-change acts aren't gonna hang orange blossoms all over me just because you feel the cold weather coming on!” That's a scathing way to call someone old and desperate. But Gable has his moments too. We liked when he blustered, “You know how it is on safari. It's in all the books. The woman always falls for the white hunter and we guys make the most of it.” That's meta, so we hear.

Obviously, tribespeople figure prominently, and you can discern marginal improvement in their portrayal since the days of Weissmuller's Tarzan. They're still just ornamentation in their own lands, but at least none lay down their lives to save a white man who's spent most of his screen time cracking a whip at them. Whew. Overall, we thought Mogambo was decent. Not great, mind you—because Gable deserved to play a more nuanced character and did not have that chance—but it was decent. It premiered today in 1953.
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Vintage Pulp Sep 16 2022
PREY FOR HIS SINS
Tired of checkers, chess, and cards? Has he got a game for you.


Man hunted in the wild by a supposedly more intelligent and powerful foe is a concept used numerous times in Hollywood with great success, perhaps reaching its pinnacle with 1987's sci-fi actioner Predator. The idea goes all the way back to The Most Dangerous Game, a pre-Code chiller starring Joel McCrae, Leslie Banks, and Fay Wray. When a luxury yacht of upper crust types runs aground off the Pacific coast of South America, only McCrae survives. He's landed on a jungle island owned by a mad Russian named Count Zaroff, played with walleyed fervor by Banks, who hunts humans for kicks.

Zaroff's creepy ole stone mansion doesn't look like a place where one might hope to find aid, but McCrae has no choice but to go there. He isn't the only stranded raw meat hanging around. Boats occasionally crash because the Count moved the channel markers that are supposed to warn boaters away from the rocks. With each shipwreck he has new game to hunt. Wray is already on the island, having run aground before McCrae. She has an inkling things are not kosher, and she turns out to be correct.

The movie is stagy and clunky in its expository sequences, like most pre-Code productions, and Wray's acting is a sheer hoot, but there are positives. There's striking outdoor footage shot around Rancho Palos Verdes, which adds excellent imagery to a film that is indisputably a high visual achievement, and that in turn helps the action sequences come across as both gripping and believable. And of course the basic idea always works. Hunter and hunted, a battle of wits, a match to the death. The Most Dangerous Game premiered today in 1932.
*sigh* I'm getting mighty fucking bored on this island. Even my best formal wear doesn't lift my mood anymore.

My God. I suddenly have the most dastardly idea.

And now we shall play a very dangerous game! Staring like cats! We'll be in danger of enjoying ourselves!

Stand against the wall and I'll throw this knife at you. I mean—not at you. Close enough to be dangerous. I mean— Okay, I can see you're not into it.

How about a little Russian roulette? That's a fairly dangerous game.

Erm... Joel? I think we should flee before he gets to the most dangerous game.

We're lost aren't we? I said flee. I didn't say flee with no goddamn idea which way you were going.

Are you sure we shouldn't have turned left back there at the bog of doom?

Just admit you're lost, Joel. And not to add to your worries, but I'm getting pretty hungry. If I'm snippy it's your fault.

Okay, now we're just going in circles.

See? He's found us! You never listen!

Count! Can you hear me? I'll make you a deal! Take her, and let me leave!

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Vintage Pulp Sep 11 2022
LIPSTICK AND A PIG
Some things are too ugly to be prettied up.


A thriller with two of Ernest Hemingway's granddaughters as stars? We had to check it out, especially when we found this beautiful Japanese promo poster. The movie was titled Lipstick, and the Japanese title リップスティック is identical. Margeaux Hemingway plays a New York City model, and her little sister Mariel Hemingway plays her daughter. They become obsessions for a pig of a sexual predator who insinuates his way into their lives, and things don't go well. At all.

Using rape as the central element of thrillers is not very 2022, even as the actual issue exists in perpetuity. Any film that aims for a realistic depiction, no matter how well meaning, opens itself to charges of exploitation. There's no doubt the filmmakers wanted to wrap an issue inside a thriller, which means despite the beautiful cinematography and a setting in the glitzy, glimmery realm of high fashion, there's a disturbing aura of reality that makes the movie tough to watch in places.

However, this is a serious production and deserves a fair assessment. It's adequately-but-not-amazingly acted by Margeaux, co-star Anne Bancroft is solid, Mariel—who was only fifteen at the time but is playing a character of thirteen, and looks it—does adequate work, and Chris Sarandon is believable as their assailant. Lipstick falls into the category could-not-be-made-today™, but overall it's worth a watch—and a post-credits discussion. It premiered in the U.S. in April 1976, and in Japan today the same year.
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Vintage Pulp Sep 1 2022
SCHOOL FOR BAD GIRLS
Reiko strikes down upon her enemies with great vengeance and Furyo anger.


More Reiko as soon as that? Why yes. Above you see her on a promo poster for her pinky violence flick Kyofu joshikôkô: Furyo monzetsu guruupu, known in English as Terrifying Girls' High School: Delinquent Convulsion Group. We shared this art as part of a collection ten years ago but didn't discuss the film. Reiko and Yûko Kanô star, and as the title suggests, it's about the rough and tumble lives of female juvenile delinquents. Reiko's high school is run by the Red Rose Clan. Things go very right when she's elected head of the gang, then very wrong when her father dies in a brutal auto accident, she's transferred to the outcast class for non-payment of tuition, the Red Rose tosses her overboard, and she finds out her mother is indulging in sexual extracurriculars. Talk about a run of bad luck.

But you can't keep Reiko down. She fights her way into the good graces of a group of girls that hang out in a local bar. They decide to form a new gang called the Union Clan to fight the Red Rose and take control of the school, which is beginning to descend into anarchy. Soon after forming her new gang, Reiko learns that her father's accident was orchestrated. Like any devoted daughter, she vows revenge. It won't be easy, but once a girl has dealt with the evils of high school, a cabal of heavily armed international drug dealers is a cakewalk. As required by the pinky violence genre, what follows are clouds of cordite and showers of sparks. Doesn't that sound fun? Reiko never disappoints. Kyofu joshikôkô: Furyo monzetsu guruupu premiered today in 1973.
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Vintage Pulp Aug 28 2022
INFINITE DESIRE
If it feels good just do it.


This rare and striking poster was made for the Japanese run of the French softcore flick Je suis une nymphomane, known in English as Libido: The Urge to Love, and I Am a Nymphomaniac. The Japanese text here, 色情日記, translates as “lust diary.” Filmed in Paris and Antibes, in the story Sandra Julien falls down an elevator shaft and the accident changes her personality from prim and proper to sexually insatiable. She hates her new urges, but has no control and proceeds to have relations with everyone around her, from her boss's slimy nephew to co-star Janine Reynaud. She also poses for dirty photos, has a threesome with a pair of carny workers, and even commits sexual assault. Possibly her low point comes when she seeks answers by enrolling in philosophy classes. You have to be really far gone to do that. In the end the answer to her problem is deceptively simple: find someone who likes her for more than her body. We can't count ourselves among that group, because other than Julien's nakedness, we don't feel there's much that's worthwhile here, but we'll give it points for being artsy. Je suis une nymphomane had its Japanese premiere today in 1971.

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Modern Pulp Aug 25 2022
VULVIC SYMBOLS AND PHALLIC SYMBOLS
When is a flower not a flower and a snake not a snake? In Japanese cinema.


Above you see a poster for the Nikkatsu Studios roman porno movie Hana to hebi: Jigoku-hen, known in English as Flower and Snake: Sketch of Hell. In this genre, any mention or sight of a flower is liable to be symbolic. Some call them vulvic symbols, some yonic symbols, but in either case something phallic is usually about to rear its ugly head. The movie starred Kaori Asô and Mami Fujimura, and it was second in a Flower and Snake franchise that eventually numbered eight entries, with this one premiering in Japan today in 1985. That puts it outside our vintage purview, since for our purposes we define modern as anything from 1980 and after, but we had to show you the poster art. How could we not? This amazing promo was painted by famed bondage artist Kaname Ozuma, whose work you can see with an image search. Japanese film studios were very interested in bondage, and Japanese audiences must have been too, because many roman porno films with bdsm themes did well at the box office.

Much of the interest in the subject derived from literature, particularly the works of Oniroku Dan, who wrote the source novel for this film. His books were behind about three-dozen roman porno productions. While we don't get these explorations of humiliation and bondage, we understand that every culture has its particulars. For example, if you go on Japanese Wikipedia, celebrities' biographies often contain their blood types. On the other hand, if you go on U.S. Wikipedia, celebrities' biographies often contain their political allegiances. Objectively, both types of information are completely pointless, yet they suggest—interestingly—what obsesses each culture.

What we're saying is that since we're not Japanese, we can't offer much insight into the roman porno wave that swept Japan. We can do the when, where, who, and how of it—but not the why. But we like the posters, the films are usually incredibly well shot, and the actresses are generally stunning, so we watch the movies and tell you whether we liked them. You're probably wondering if we watched Jigoku-hen. We did, and it's what we expected—longform bondage and torture, softcore style, with little shown, but plenty implied. While it stars Asô and the amazing Fujimura, we don't recommend it unless you're okay with plenty of tears and pee. Neither of those are our bag, and if they're yours, maybe talk to someone. Below, Fujimura is happy after washing off the stain of having starred in such a mean and pointless film, while Asô calls home from vacation and tells her family she's recovering fine.
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Vintage Pulp Aug 20 2022
HELL OF A WOMAN
She's just a hunka hunka burning love.


Hijinks at a girls school was a standard trope for Japanese filmmakers, so at the sight of the first school uniform in Yumeno Kyûsaku no shôjo jigoku you'll know what to expect. Known in English as Yumeno Kyusaku's Girl Hell, and Raging Hell Fires, this one, which premiered in Japan today in 1977, falls into the sub-category: upstanding-schoolmaster-who's-not-what-he-seems. It's an adaptation of Kyusaku Yumeno's novel Shojo Jigoku, and features Asami Ogawa as a school misfit and Yûko Asuka as a rich girl, who both learn that the principal Masakazu Kuwayama is a rapey old pervert, and decide to take revenge on him. Without getting too deeply into his misdeeds, we can assure you the man deserves to be punished. For that matter, Ogawa's father is a strange bird too. He and the principal know each other better than their rigidly formal attitudes suggest. After a tragedy strikes, the principal becomes convinced he's being haunted thanks to a curse having to do with a chunk of incinerated brain. How did the movie get all the way to brain briquettes? It's better if you don't know in advance. Overall Yumeno Kyûsaku no shôjo jigoku is interesting. Ogawa in particular gives a very game performance. Is the movie recommendable? Perhaps not quite. But there are worse expenditures of ninety minutes.

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History Rewind
The headlines that mattered yesteryear.
October 07
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 06
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 05
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.
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