Pulp International

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

MICROSTATE OF AFFAIRS

Don't play coy, baby. We both know you're Monégasquing for it.

John Flagg’s thriller Murder in Monaco debuted in this Gold Medal edition in 1957, with cover art by Robert Peak, someone better known for producing notable posters for movies such as My Fair Lady, Lord Jim, and Apocalypse Now. We’ve shared his art for the more obscure films Sphinx and Modesty Blaise. This is the first we’ve seen of him on a paperback. The style is minimalist, but the quality is clear. We also shared a Red Seal edition of this book with nearly—but not exactly—identical cover art, though still attributed to Peak. It was part of this group.

Murder in Monaco brings back Woman of Cairo‘s Hart Muldoon, who’s asked by the editor of a tabloid called National Alert to find stolen letters written by the publisher. The tabloid is based in the U.S. but is doing a feature on the French Riviera jet set. When the mag’s publisher turns up dead via ingestion of a cyanide capsule, Muldoon makes a fateful decision to hide the body and is therefore up to his eyebrows in potential trouble.

Despite visiting every place of importance in the South of France, from Saint-Tropez to the microstate of Monaco, and putting together a cast of unusual characters, the book feels perfunctory, which is perhaps not a surprise, as this was Flagg’s third outing with Muldoon. It takes a higher level of skill to keep franchise characters fresh. But is Murder in Monaco readable? Sure. If you decide to read it as a standalone you’ll suspect you’re missing information about Muldoon from earlier books, but it’s fine, overall.

France, Monaco, My Fair Lady, Lord Jim, Apocalypse Now, Sphinx, Modesty Blaise, Red Seal Books, John Flagg, John Gearon, Robert Peak, Grace Kelly, Prince Rainier, cover art, literature

MODESTY TO A FAULT

Twentieth Century Fox chooses goofs over thrills for Blaise adaptation.


After writing about the first four Modesty Blaise novels over the last few years we figured it was time to talk about Twentieth Century Fox’s cinematic pass at character. You see a brilliant poster for the movie adaptation above by Bob Peak, who seems to be reminding people that Robert McGinnis wasn’t the only painter capable of working in this style. Two more versions of the poster appear below, and you can another example of his work here.

We’d heard for years that Modesty Blaise is a terrible movie, but it isn’t—lightweight might be a better description. It’s based on the debut novel, and while author Peter O’Donnell plays it straight apart from the affable relationship between Blaise and her partner Willie Garvin, here in the movie Blaise has a space age apartment, a sentient computer, a huge lobster tattoo on her thigh, an adoptive father, and a referential theme song. The villain, meanwhile, drinks goldfish water, wears a chauffeur’s cap, and uses a Japanese pai pai fan. At a couple of points Blaise and Garvin burst into song together. All these touches must have baffled fans of the book, and indeed the additions are pointless in our opinion, but that’s cinema. Filmmakers are not transcribers—they’re translators, and if you know anything about translation you know it’s not done literally.

The main question is whether star Monica Vitti does the legendary main character justice. It was a lot to ask, after Modesty became popular thanks to three years of popular daily comic strips followed by a well received novel. We think she manages fine with the material she’s given, but there’s the rub. While the screenplay follows the basic thread of the novel, the flow is clunky and the dialogue is cluttered with non-sequitur asides and attempts to be cute that make Vitti resemble Emma Peel from The Avengers rather than the lethal woman O’Donnell created. In terms of the actual story, Modesty is tasked with stopping a master criminal from stealing a cache of diamonds meant for her father (we know, we know—she’s an orphan in the books, and it defines her character). She’s had dealings with this quirky crook before and would like to settle matters between them permanently. That means traveling from London to Amsterdam to his rocky stronghold on Sicily for a final showdown—in good pumps and a diaphanous haute couture a-line dress.

The action, which is central to the books and written with deadly seriousness, is mostly played for laughs. We mean even to the extent of villains crashing into each other to the accompaniment of circus music. We think this is probably the movie’s only unforgivable sin. O’Donnell took pride in his action sequences, underpinning them with ingenious forethought by Blaise and Garvin and violent precision in execution. All the humor and cuteness would have been fine if the movie had thrilled where it most needed to, but no such luck. So in the end what you get is a cutesy spy caper of a type that was all too commonplace during the 1960s, but even goofier than most. We think the movie should have been something fresh and surprising, and in ways that go beyond its glossy high fashion aesthetic. Unfortunately, the final result is no better than watchable, though it becomes progressively more enjoyable the more booze that’s ingested. Hit the liquor store before screening it and you’ll find out for yourself. Modesty Blaise premiered in London today in 1966.
Italy, Britain, Sicily, Amsterdam, Modesty Blaise, Monica Vitti, Terence Stamp, Peter O'Donnell, Dirk Bogarde, Harry Andrews, Rosella Falk, Scilla Gabel, Tina Aumont, Bob Peak, Robert Peak, poster art, cinema, movie review

RIDDLE OF THE SPHINX

The riddle is this: why didn't Lesley-Anne Down wear that outfit?

We’ll admit we watched Lesley-Anne Down’s 1981 thriller Sphinx just to see if she ever got into the gauzy number she’s wearing in the promo photo above. We thought it unlikely, and we were right. She mostly wore what you see below—no spike heels with asp straps, sorry. But it wasn’t the worst expenditure of time, finding this out.

Sphinx feels like a television movie by today’s standards, but the location shooting is excellent, and some interesting performers pop up—among them Sir John Gielgud and John Rhys-Davies, the latter of whom you may remember as Sallah from another Egyptian themed movie—Raiders of the Lost Ark, which hit cinemas four months after Sphinx. Like Raiders, in Sphinx you get an antiquarian on the trail of a lost tomb while baffled by arcane clues and beset by duplicitous locals.

We don’t think a single Egyptian had a noteworthy role here, but at least a few of the cultural details are accurate (though perhaps not the most flattering ones). Are we recommending this one? Not without Down wearing that outfit we aren’t, but the movie isn’t as bad as many would have you believe. It premiered today in 1981, and the awesome poster was painted by Bob Peak.

Egypt, Sphinx, Lesley-Anne Down, Sir John Gielgud, John Rhys-Davies, Bob Peak, Robert Peak, poster art, cinema, movie review
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HISTORY REWIND

The headlines that mattered yesteryear.

1949—First Emmy Awards Are Presented

At the Hollywood Athletic Club in Los Angeles, California, the Academy of Television Arts & Sciences presents the first Emmy Awards. The name Emmy was chosen as a feminization of “immy”, a nickname used for the image orthicon tubes that were common in early television cameras.

1971—Manson Family Found Guilty

Charles Manson and three female members of his “family” are found guilty of the 1969 Tate-LaBianca murders, which Manson orchestrated in hopes of bringing about Helter Skelter, an apocalyptic war he believed would arise between blacks and whites.

1961—Plane Carrying Nuclear Bombs Crashes

A B-52 Stratofortress carrying two H-bombs experiences trouble during a refueling operation, and in the midst of an emergency descent breaks up in mid-air over Goldsboro, North Carolina. Five of the six arming devices on one of the bombs somehow activate before it lands via parachute in a wooded region where it is later recovered. The other bomb does not deploy its chute and crashes into muddy ground at 700 mph, disintegrating while driving its radioactive core fifty feet into the earth.

1912—International Opium Convention Signed

The International Opium Convention is signed at The Hague, Netherlands, and is the first international drug control treaty. The agreement was signed by Germany, the U.S., China, France, the UK, Italy, Japan, Netherlands, Persia, Portugal, Russia, and Siam.

1946—CIA Forerunner Created

U.S. president Harry S. Truman establishes the Central Intelligence Group or CIG, an interim authority that lasts until the Central Intelligence Agency is established in September of 1947.

1957—George Metesky Is Arrested

The New York City “Mad Bomber,” a man named George P. Metesky, is arrested in Waterbury, Connecticut and charged with planting more than 30 bombs. Metesky was angry about events surrounding a workplace injury suffered years earlier. Of the thirty-three known bombs he planted, twenty-two exploded, injuring fifteen people. He was apprehended based on an early use of offender profiling and because of clues given in letters he wrote to a newspaper. At trial he was found legally insane and committed to a state mental hospital.

  • FEATUREd PULP

KISS AND TELL STORIES

We can't really say, but there are probably thousands of kisses on mid-century paperback covers. Here's a small collection of some good ones.

INCLEMENT WEATHER

Two Spanish covers from Ediciones G.P. for Peter Cheyney's Huracan en las Bahamas, better known as Dark Bahama.

DON GIOVANNI

Giovanni Benvenuti was one of Italy's most prolific paperback cover artists. His unique style is on display in multiple collections within our website.

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