|Intl. Notebook||Oct 9 2021|
Renoir takes impressionism in a whole new direction.
The above image shows French burlesque dancer Rita Renoir, who gained fame on stage at the Parisian nightclub Le Crazy Horse during the 1950s and danced there through the ’60s. She also performed onscreen, appearing in such films as 1958's Le Sicilien, 1967's Le Désir Attrapé par la Queue, 1970's Cannabis, and Italian legend Michelangelo Antonioni's 1964 drama Il deserto rosso, aka The Red Desert. We have more of this fun series below, and you'll see that Renoir had a real talent for musical progression. We don't think she actually knew how to play the double bass, but we bet she still managed to get her audiences jazzed.
FranceItalyParisLe Crazy HorseIl deserto rossoThe Red DesertLe SicilienCannabisLe Désir Attrapé par la QueueRita RenoirMichelangelo Antonioniburlesquenudity
|Sex Files||Oct 6 2021|
All the news that's fit to sucker people out of their cash.
Yellow press is a term for newspapers that presented little or no legitimate news, instead attracting readers with empty sensationalism. While the term was most widely used a century ago, 1960-70s tabloid National Informer may qualify. This issue was published today in 1974 and is pure sex from cover to cover. Among the jewels: “Is It Normal To Be a Girl Watcher?” and “Do Older or Younger Women Make the Best Sex Partners?” As always, the photos accompanying these stories are random handouts, but sometimes they feature semi-famous figures. In this case, one of the photos accompanying the girl watcher story is of glamour model Lois Mitchell. The other two models on that page are probably well known too, but we can't place them. In true yellow press tradition, there's nothing substantial in Informer at all, but as always, its nothingness is well worth documentation, which we've done with nineteen scans below. And yes, we have still more issues. We'll get to those later. Meanwhile, if you want to see more from National Informer, National Informer Weekly Reader, and more than four hundred other tabloids we've already uploaded, just click here.
|Vintage Pulp||Sep 27 2021|
She's pure pinku power in a pint-sized package.
This fantastic poster was made to promote the roman porno movie Joshidaisei: Sexy Dynamite, which was known in English as Female Coed: Sexy Dynamite, and starred the amazing Mari Tanaka, one of our favorite pinku actresses. Just as a reminder for the uninitiated, pinku is a Japanese film genre roughly analogous to sexploitation, though the definition can be more exclusive depending on where you look. Also, the films are not explicit, but manage to imply plenty with camera angles, props, and physical acting. Sexy Dynamite isn't available to us, sad to say, but we had to show you the poster anyway because it's so unusual. If we ever track down the film we'll update this entry. In the meantime, as consolation, check out the promo image of Tanaka below. Want to see more of her? Click her keywords below and start scrolling. Joshidaisei: Sexy Dynamite premiered in Japan today in 1972.
JapanJoshidaisei: Sexy DynamiteFemale Coed: Sexy DynamiteMari Tanakaposter artcinemapinkuroman pornosexploitationnudity
|Vintage Pulp||Sep 8 2021|
You can always bank on Andress.
Colpo da 500 milioni alla National Bank was originally made in England as Perfect Friday, and as you can see from the poster, it starred the Swiss vision known as Ursula Andress. That makes it a must watch, and what you get is the type of erotic caper Andress made more than once, as this time she becomes the center of a plot to rob a London bank of £200,000. Her partners are her husband and the deputy bank manager, and she's playing both ends against the middle, so to speak—i.e. doing the nasty with both while telling neither. The heist develops as heists always do, but the real question becomes who she'll choose to run away with in the end.
Andress must have loved making these films. If they weren't the easiest money in cinema history they sure look like it. Every time she got one of these scripts we imagine her going, “Ker-ching.” All she had to do was work in various European capitals, be charming and sophisticated, speak in that impossibly sexy Germanic rasp of hers—and of course strip. In that respect Andress was as reliable as government bonds. Getting naked isn't easy for some, let alone doing it in front of twenty people, but she had a pretty insouciant attitude about it, once saying, “I have no problem with nudity. I can look at myself. I like walking around nude. It doesn't bother me.”
Of course, the anti-nudity set in today's new age of prudishness would claim she said that because it was expected/demanded of her. Well, we have only her words to go by. When a person's own statements are ignored, that makes it mighty easy to turn them into whatever one wishes. There's a lot of that going around today. But we'll show her some respect and assume she said what she she meant. Her face and body got her in the door and kept her at the party, and she was aware of that. While she was a solid actress, she wasn't about to win any awards. At least not with these scripts. Colpo da 500 milioni alla National Bank is a silly little movie but it shows Andress at her best—in every way. For her fans it's mandatory. It had its world premiere in Italy today in 1970.
ItalyBritainLondonColpo da 500 milioni alla National BankPerfect FridayStanley BakerDavid WarnerUrsula Andressposter artcinemanuditymovie review
|Modern Pulp||Aug 29 2021|
That sound you hear is a great author spinning in his grave.
Guy de Maupassant? Really? We had no idea the master of the short story form and leader of the Naturalist school also wrote smut. Shows what we know. When we looked around for Folli piaceri delle porno prigioniere we learned it was originally made in West Germany in 1980 as Gefangene Frauen, but known in English as Caged Women. And instead of the highbrow rumination we expected from a movie based on de Maupassant, what we got was director Edwin C. Dietrich pushing the far bounds of sexploitation in ways that are crude, stupid, and unrepentant. Perhaps as compensation or apology, he also offers up more nudity per screen minute than a Jesús Franco film—and that's saying something.
Karine Gambier and Brigitte Lahaie headline a cast of bare blonde women and just-as-bare hairy eurostuds, as plotwise, a tinpot dictator worried about a U.N. sex trafficking investigation into his country's brothels hides his trafficked European prosties in a godforsaken island prison. You get every trope of women in prison flicks, but stretched to the max. There are showers, medical exams, naked whippings, naked manual labor, naked skeet shooting, naked arena wrestling, a naked prison break (but with comfortable shoes), and more. Notice how that went from standard sexploitation fare to waaay out there? Is it satire? Edwin Dietrich doubtless would have claimed it was. But merely turning the volume up to eleven is the dumbest kind of satire.
And as far as Guy de Maupassant goes, it's more like Guy de wishful thinking. We found no evidence the acclaimed author influenced this production in any way, regardless of what its writer (also Edwin Dietrich) said. It wasn't the only time Dietrich claimed he was inspired by classic literature. No surprise—when you make something like forty of these flicks you intellectualize them any way you can. De Maupassant's influence, we suspect, was merely to lend a veneer of credibility to the promo poster. If you watch Folli piaceri delle porno prigioniere, don't be a pretender like Dietrich. Just embrace your inner horndog and admit you're watching it for the skin.
ItalyGuy de MaupassantFolli piaceri delle porno prigioniereGefangene FrauenCaged WomenErwin C. DietrichKarine GambierBrigitte LahaieFrance LomayNadine PascalChrista Freeposter artcinemasexploitationnuditymovie review
|Femmes Fatales||Aug 28 2021|
All will be revealed in the end.
In complete contrast to the above photo of a couple of dead guys, here's something life affirming—a photo of Japanese actress Masumi Jun in nothing but a shirt. It was made for her 1974 roman porno movie Gendai shöfu-kö: no shita no uzuki, aka Modern Prostitution: Lust Under a Uniform, and now we see a bit of what's under the uniform. This is the same image as on the cover of the DVD release, but without text and other distractions. The original poster also features Jun in nothing but a shirt. You can see that here.
JapanGendai shöfu-kö: no shita no uzukiModern Prostitution: Lust Under a UniformMasumi Junroman pornopinkunudity
|Vintage Pulp||Aug 20 2021|
There's nothing like a walk in the woods to put you in touch with yourself.
Back in 2015 we shared several posters for a movie called Tokyo Chatterly fujin, made in Japan and later released in English as Lady Chatterley in Tokyo. Above is the original Japanese poster featuring Izumi Shima getting turned on in the woods. It's an extremely interesting film, inspired by D.H. Lawrence obviously, and dealing with the sexual frustrations and peccadilloes of a beautiful one percenter who can't keep her mitts off the gardener. Or maybe he can't keep his mitts off her. We forget. But we remember we liked it. Of course, we'll watch Shima in anything, so perhaps we're not objective. The movie premiered in Japan today in 1977, and you can read more about it here.
JapanNikkatsuTokyo Chatterly fujinLady Chatterley in TokyoIzumi ShimaD.H. Lawrenceposter artcinemasexploitationroman pornopinkunudity
|Femmes Fatales||Aug 17 2021|
From chieftain's daughter to chief attraction.
We're back to burlesque today with a photo of the famed Crazy Horse dancer who went by the name of Miss Zabou. Born and raised in Mali, she was the daughter of a village chieftain, and at sixteen became a member of Mali's le Troupe de Ballet. After a few years she went to Dakar, Senegal for more prosaic work as a hairdresser, and from there moved on to Paris to do the same. Upon visiting Crazy Horse she became interested once more in dance, which we imagine says a lot about either how thrilling Crazy Horse extravaganzas were, or how much more money Parisian burlesqueteers made than Malian ballerinas. In any case, she jettisoned hairdressing, and the beautiful Zabou and her radiant smile became the talk of Paris. We have one more photo of her we may post a little later.
|Femmes Fatales||Jul 31 2021|
Yuriko gets fresh in her bestselling photo book.
We could have gone several directions in posting a photo of Japanese actress Yuriko Hishimi, who appeared in such films as Kôshoku: Genroku (maruhi) monogatari, aka Diary of a Nymphomaniac, and Chikyû kogeki meirei: Gojira tai Gaigan, aka Godzilla vs. Gigan. We have shots of her in swimsuits, in flannels, in motorcycle leathers, in auto racing gear, in a nurse's outfit, and more. But underneath all those, there's this. Even then there are many choices because she has entire books of nudes. Well, one third of one book, and all of two others. One of her solo efforts, a big seller, was called Yuriko 1967-73, and this is one of the images from inside.
Japanese actresses posed nude often, which is why we have so many of the shots on our website. They were made, on average, fifty years ago. Today, in our current era, photos of nudes cause debate. Are they artful, or are they exploitation? If they differ from a nude Rodin or Modigliani, is it because of their realism? Is it because of their easy replicability? Or their existence outside a museum setting? Then what of a shocking museum Mapplethorpe or Schiele with the subject's exposed genitals? Perhaps nudes are exploitative only when distributed for profit. But if profit condemns a nude, then what of the profits of galleries and museums? Are nudes exploitative because of their tendency to arouse? Then what of Rodin's famed “Le Baiser”? Since our species owes its very existence to the drive for sex, if nudes arouse, isn't that a celebration of our ultimate purpose on this planet?
These are questions that interest us, which we attempt to ask with each nude image. Opinions differ, but for our part we don't believe there's anything inherently exploitative about the nude form, though clearly the production of such images can lead to that. But we don't live in an all-things-are-equal world, which is to say, for some it's easier to categorize and condemn all of something than try to understand which things might actually be in one category and which might be in another. We believe some nudes are exploitative (such as revenge porn), but not all. The photo above is a Rodin with a knowing look. It's erotic, playful, and a little shy. It's pure art. Which is why we have a similar bonus shot below, and more from Hishimi here.
JapanKôshoku: Genroku (maruhi) monogatariDiary of a NymphomaniacChikyû kogeki meirei: Gojira tai GaiganGodzilla vs. GiganYuriko Hishimiひし美ゆり子Keiko TakahashiTerumi Azumapinkunudity
|Modern Pulp||Jul 26 2021|
Keeping your problems bottled up is sometimes the best solution.
We had to watch this film. There was no choice. The poster removed all free will. When we first saw this art about ten years ago the movie wasn't available, but that's been fixed. This was painted for the roman porno drama Binzume jigoku, aka Hell in a Bottle, which premiered in Japan today in 1986. You may have noticed a similarity to this poster, and indeed it was painted by the same artist, who signed it at lower left but is still unknown to us. Looking at the art, you're probably thinking there's no way it can be literal, but you'd be wrong, as the screenshots below will show. We always wonder about the genesis of bizarro films like these. In this case: a 1928 story by author and Zen priest Yasumichi Sugiyama, who wrote as Yumeno Kyusaku.
The movie stars Chiyoko Ogura, Jun Numaoka, and the lovely Hitomi Kobayashi, who in addition to being an actress was popular as a photobook model, headlining at least ten. Plotwise, what you get here is a tale of forbidden attraction between siblings Numaoka and Ogura. They're on an isolated island along with Numaoka's girlfriend, played by Kobayashi, who is pretty much gobsmacked when she realizes the brother/sister attraction she's witnessing might actually come, so to speak, to fruition. She threatens her reckless boyfriend with a gun at one point, but nothing can stand the way of feverish incestuous fantasy, and eventually Numaoka and Ogura cast Kobayashi adrift in a bottle. That's a spoiler of course, but what are we to do when the poster art gives it away? If we told you she didn't end up in a bottle would you even bother to watch the movie? The good news is that imprisoning Kobayashi isn't the only use of bottles, so there's more to see than just her hallucinatory departure.
We're not sure what the point of the movie is. The plot is foreshadowed by another unfortunate incestuous love that took place in the past, ended in tragedy, and is described in an old diary, so the point could be that history repeats—particularly within families, since the previous diary was left by Numaoka's dead father. Does this original sin angle mean that Binzume jigoku is something more than just a piece of lowbrow exploitation? Sure, we guess. Is it recommendable? Are you kidding? Recommend a movie about unquenchable carnal desire between a brother and sister? Not a chance. This is roman porno, which generally leaves us adrift like Kobayashi in her bottle, even when it strives for deep metaphor. Watch the movie if you wish, but don't pretend you got the green light from us.
JapanNikkatsuBinzume jigokuHell in a BottleChiyoko OguraJun NumaokaHitomi KobayashiYasumichi SugiyamaYumeno Kyusakupinkuroman pornonudityposter artcinemamovie review