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Above you see Russian painter Boris Grinsson’s French promo poster for the international heist flick Un hold-up extraordinaire, better known as Gambit. Grinsson worked in France for most of his career. The movie, which premiered there today in 1967, starred Michael Caine and Shirley MacLaine as uneasy partners trying to rob a one-percenter of a priceless statue. Despite such a promising above-the-line pairing the movie could have been better. You can read what we thought about it here, and you can see more Grinsson by clicking his keywords.

Movie stars were always willing to give each other a hand.


Once again we’ve been struck, so to speak, by the sheer number of cinema promo images featuring actors and actresses pretending to slap each other. They just keep turning up. The above shot is more about the neck than the face, but it still counts, as Gloria Swanson slaps William Holden in 1950’s Sunset Boulevard. Below we have a bunch more, and you can see our previous collection at this link. Since we already discussed this phenomenon we won’t get into it again, except briefly as follows: pretend slaps, film is not reality, and everyone should try to remember the difference. Many slaps below for your interest and wonder.
Diana Dors smacks Patrick Allen blurry in 1957’s The Long Haul.

Mob boss George Raft menaces Anne Francis in a promo image made for 1954’s Rogue Cop.

Bud Abbott gets aggressive with Lou Costello in 1945’s Here Come the Co-Eds.

Jo Morrow takes one from black hat Jack Hogan in 1959’s The Legend of Tom Dooley.

Chris Robinson and Anita Sands get a couple of things straight about who’s on the yearbook committee in Diary of High School Bride.

Paul Newman and Ann Blyth agree to disagree in 1957’s The Helen Morgan Story.

Verna Lisi shows Umberto Orsini who gives the orders in the 1967 film La ragazza e il generale, aka The Girl and the General.

What the fuck did you just call me? Marki Bey slaps Betty Anne Rees loopy in the 1974 horror flick Sugar Hill.

Claudia Cardinale slaps (or maybe punches—we can’t remember) Brigitte Bardot in the 1971 western Les pétroleuses, known in English for some reason as The Legend of Frenchie King.

Audrey Totter reels under the attentions of Richard Basehart in 1949 Tension. We’re thinking it was probably even more tense after this moment.

Anne Baxter tries to no avail to avoid a slap from heel Steve Cochran in 1954’s Carnival Story.

Though Alan Ladd was a little guy who Gail Russell probably could have roughed up if she wanted, the script called for him to slap her, and he obeyed in the 1946 adventure Calcutta.

Peter Alexander guards his right cheek, therefore Hannelore Auer crosses him up and attacks his left in 1964’s Schwejk’s Flegeljahre, aka Schweik’s Years of Indiscretion.

Elizabeth Ashley gives Roddy McDowall a facial in in 1965’s The Third Day.

Tony Anthony slaps Lucretia Love in 1972’s Piazza pulita, aka Pete, Pearl and the Pole.
 
André Oumansky goes backhand on Lola Albright in 1964’s Joy House.

Frank Ferguson catches one from Barbara Bel Geddes in the 1949 drama Caught.

This looks like a real slap, so you have to credit the actresses for their commitment. It’s from 1961’s Raisin in the Sun and shows Claudia McNeil rearranging the face of Diana Sands.

Gloria Grahame finds herself cornered by Broderick Crawford in 1954’s Human Desire.

Bette Davis, an experienced slapper and slappee, gets a little assistance from an unidentified third party as she goes Old West on Amanda Blake in a 1966 episode of Gunsmoke called “The Jailer.”

There are a few slaps in 1939’s Gone with the Wind, so we had our pick. We went with Vivien Leigh and Leslie Howard.

Virginia Field takes one on the chin from Marshall Thompson in Dial 1119.

Clint Eastwood absorbs a right cross from nun Shirley MacLaine in 1970’s Two Mules for Sister Sara.

Down at the end of lonely street.

This amazing promo image of U.S. actress Shirley MacLaine was made for her iconic 1963 film Irma la Douce, about a prostitute in Paris and the cop who falls in love with her. Millennials and post-millennials often dislike its unserious portrayal of prostitution, and that’s understandable, but there’s more going on than meets the eye. MacLaine’s co-star Jack Lemmon has to come to grips with her sexual history if he’s to love her. That idea was an advancement for cinema, even if the trade-off was that the woman was portrayed as promiscuous. MacLaine had already played similar role in 1960’s The Apartment, and other films had begun to make explicit the fact that good women were not necessarily virgins. Irma la Douce was a landmark in that sense. It’s also a movie that has produced some stunning promo images, such as this one and this one. We may even dig up more later.

All the best people showed up.


The West German pop culture and celeb magazine Party, which was produced in Hannover by Lehning Press, is an obscure publication. It’s very vivid, with bright color, many full page photos, and many film celebrities represented. Equal time is given to unknowns too, for example, the cover features Annelies Niessner, who was… we have no idea, and inside a color page is given to Cornelie, identified only as a “millionärstochter geht eigene wege,” a millionaire’s daughter who goes her own way.

In terms of celebs you get Carol Lynley, Jane Russell, Sandra Dee, Stella Stevens, Laya Raki, a beautiful portrait of Jane Fonda, numerous shots of Ursula Andress, and many others. This publication didn’t waste words, even on the copyright date. The cover tells us this is issue eight, so we’re going to say it came in August, and we’re thinking it’s from 1967. Though it may be short on info, Party is an appropriate name, because it’s a very fun magazine. We have several more issues, so look for those later.

Pawn to king's palace—pawn takes queen.


They really don’t make many like this anymore. We’re talking about high budget adventures in an international setting, combined with romance and a few laughs. Hollywood used to specialize in international glamour, but nowadays in big budget movies Americans go abroad mainly to slaughter or be slaughtered. Gambit, which starred Shirley MacLaine and Michael Caine, and opened nationwide in the U.S. today in 1966, falls into the same category as Charade, To Catch a Thief, The Thomas Crown Affair, How To Steal a Million, Bedtime Story, and numerous other immensely pleasing cinematic excursions. Too bad those are far better films.

Caine plays a con man who has found in MacLaine the physical double of the dead wife of Ahmad Shahbandar, the richest man in the world. Shahbandar’s wife was in turn the virtual double of the ancient Burmese queen Li Szu. Shahbandar has an immensely valuable carved bust of this queen, which he bought for its resemblance to his wife. Caine hopes that once Shahbandar gets a look at MacLaine, he’ll let his guard down and invite them into his inner circle, setting himself up for a theft of the bust. If this plot premise seems a bit cluttered to you, we thought the same.

But it doesn’t matter because it’s not really the main gimmick in the flick. That would be Caine’s fantasy of his perfect crime, versus its reality. In his imagining, which makes up the first thirty minutes of the film, MacLaine goes through the motions of the heist like a mute automaton. Then the film restarts with the real MacLaine, and this one talks. Worse for Caine, she has questions, doubts, and, most upsetting of all, opinions. If half an hour of Caine imagining the perfect crime—especially when as a viewer you have no idea it’s a fantasy—seems overly long, we thought the same. Again. But we mention it specifically to keep you from turning the film off, which is definitely a possibility for any MacLaine fans dismayed that she’s trancewalking through her role. Stick with it and you’ll get the same lively star from The Apartment, Irma la Douce, and other hits.

Obviously, we wouldn’t have placed this movie in the same category as Charade et al unless there’s romance, and MacLaine and Caine—whose names, by the way, sound like a country band or a Vegas magic duo—duly fall in love. But you won’t buy it. The script says they fall in love, so okay, by the three-quarters mark they adore each other, but the love spark is never there. Luckily there’s also a heist, some comedy, and all the other trimmings of the adventure/romance genre, so despite the film’s shortcomings you may find it enjoyable. Then after you finish you can watch any of the movies we mentioned at top and note the difference when this formula is well executed.
Hi, I’m not Eurasian but I get to pretend I am in this movie.

What a coincidence. I get to pretend I’m Arab.

Hi, guess what? I’m white too, but Sikh and you shall find!

And me? I basically get to play myself, because, well, I’m Michael frickin’ Caine. Plus I can’t do accents.
One of Rome's foremost celeb photographers gives On the Q.T. the lowdown on his profession.

We managed to buy this issue of On the Q.T. published in July 1963 for seven dollars, which is about the range we prefer for a tabloid that’s often overpriced. Inside we found Shirley MacLaine, Melina Mercouri, Elsa Martinelli, Richard Burton and Liz Taylor. As expected the focus is on Hollywood, but in this issue the piece that jumped out at us was an insider’s account of the Italian paparazzi lifestyle written by top paparazzo Vito Canessi. He details his techniques for obtaining photos, his legal obligations, and the lengths some paps go to in getting saleable shots.

One of his examples involves taunting a target into a chase: “When French sexpot Brigitte Bardot and her flame of the moment, actor Sammy Frey, were conducting a sizzling romance which ranged across most of Italy, the paparazzi taunted love-hungry but brave Sammy into chasing them. But unknown to Sammy, his furious foot race was being photographed by other paparazzi behind him. It was a hilarious set of pictures of frail Sam, arms swinging and feet churning, zig-zagging through the streets of Rome…

But sometimes their tactics backfire. Paparazzo Umberto Spragna, a 260-pound giant, tried to shoot photos of the married Burt Lancaster walking in Rome with Italian starlet Beatrice Altariba. “The big photog didn’t know it, but Lancaster is quite a man himself. He found himself flying through the air, his camera smashed, and a furious Lancaster punching him liberally. The paparazzo fled the scene. Later he sued the actor for assault. Lancaster simply ignored the action and it was forgotten. That kind of thing gives me cold chills.”

Paparazzi behavior was closely examined—briefly—decades later with the paparazzi-involved death of Princess Diana of Wales. But a look at various celeb videos from recent years reveal the paps to be basically unchanged, as they sometimes taunt celebrities verbally, hoping for photographable retaliation. But one need not feel more than passingly sorry for celebs. Occasional harassment is the price of fame. It may be unpleasant, but it’s better than working for a living.

Though paparazzi come under the umbrella of defenders of press rights, with their often malleable ethics they’re probably not people you’d have at your dinner table. It often works that way. Rights defenders tend to be either people actually testing the limits of rights, or people negatively affected by forces that would curtail those rights. Either way, they’re sometimes outside the social mainstream. But the rights they defend apply to all. Thirty scans below.

Tabloid tells curious readers everything they always wanted to know about things that are none of their business.

The last time we checked in on Top Secret was with their October 1962 issue. Today we’re visiting January 1964 and plenty has changed in the intervening months. Foremost—the paper and printing quality have degraded to what surely must have been the lowest standard available at the time, which is why our scans are grainy. But we can still recognize June Wilkinson on the cover, who we’re told is retiring from modeling, and inside readers hear from Ursula Andress, Jack Lemmon, Brigitte Bardot, Shirley MacLaine, Mandy Rice-Davies and more.  

Editors also tout “one of the most earth-shaking advances in the exploration of outer space!” Wow. Was it warp drive? A transporter beam? A stargate? No. It was that America’s newest astronaut, Edward Dwight, Jr., was a different skin color than the other astronauts. We might deign to call that an advance in the attitudes of NASA during an age of state apartheid. Space travel, on the other hand, remained space travel, unchanged. Top Secret implies Dwight was the first black American qualified to be an astronaut, and by so doing avoids admitting that the door was simply closed before his arrival. You know this game—all backslapping, zero introspection. But we get it. “Our First Negro Astronaut!” is a bit more celebratory than, “We should have done this from the beginning.”
 
But we must move on, because the real gem in this issue comes later, in the story you see announced in the cover’s blazing red banner: Hidden Homos—How To Spot Them! Goodness, where to begin with this? First, we’ll say we would dearly love to reproduce this entire article as an artifact of an intellectual dark age, but it’s Saturday, and time is fleeting. Just know that the language is baroque in its viciousness. Thestory begins with the tale of a company president who unknowingly hired a gay man and had no idea until several years later when the hiree—now a manager—got drunk at a company party and began slapping and scratching another man. Soon four employees were involved in this spat. The company president exclaimed: “My God! Those men are all queers!”
 
Top Secret explains: “Once the camouflaged homosexual has gotten himself a snug berth, he starts easing others of his ilk into the office. Before long, most of the straight male employees are out on their ears and the camouflaged fags have taken over.” Editors then list the eight most common types of gay men against whom normal, red-blooded Americans must be vigilant (by refusing to hire for any sort of job, potentially harassing out of the neighborhood, and possibly reporting to the authorities). Ready? Here we go with a few highlights:
 
1: The Overly Fastidious Dresser—obsessive interest in clothes is a feminine trait, and in men it may well be a danger signal.
 
2: The Overly Hygenic Type—their faces are invariably too-closely shaven. They make a fetish of washing their hands.
 
3: The Uriah Heep Type—he seeks to prove how very humble and insignificant he is by heaping praise upon others.
 
4: The Maiden Aunt’s Delight—these men associate with older women because such women make no heterosexual erotic demands upon them.
 
5: The Solitary Drinker—although he is not gregarious or even friendly, his eyes are constantly roving, covertly peering at others in the bar, particularly other men, seeking a sign of recognition from another secret swish. When he sees one he will give a signal in return and soon both fruitcakes will depart to enjoy a “courtesy exchange.”
 
6: The Octopus—they put their hands on other men’s shoulders, dig them in the ribs, slap their thighs…
 
 
7: The Middle-Aged Mama’s Boy—such an obvious Oedipal situation may indicate homosexual tendencies or homosexuality in adult men of any age, married or single.
 
8: The Youth Lover—he is constantly engaged in youth work, organizing clubs, leading outings, playing the part of the jolly, ebullient uncle.
 
It would be interesting to do the opposite of everything on this list and see how long it takes our social, family and sex lives to fall apart. Just a thought. Anyway, Top Secret finishes the article with this bomb: “These are by no means the only types of secret swishes but they are the ones the average person is most likely to encounter.” So basically, the list is all well and good, but anyone can be gay. To which your average non-Neanderthal would reply, “Yes, anyone can be gay. And?” Well, and the editors of Top Secret suggest that anyone displaying suspicious behavior should be investigated more closely. Hmm… we wonder what depth and form those investigations should take? More scans below.

What was it Shakespeare wrote about rough winds and May?

Above is a publicity photo of American singer/actor/comedian Sammy Davis, Jr. with his Swedish bride, actress May Britt. The shot dates from today in 1960, and as you might guess, that was a very bad time for mixed couples. Sammy had for years been making tabloid headlines for dating white women ranging from Tinseltown icon Kim Novak to Canadian singer Joan Stuart, but when he announced plans to marry Britt, a chunk of the general public lost its collective mind. He faced racist banners and chants in London, received rafts of hate mail, and was confronted in Los Angeles with the bizarre spectacle of three men marching outside the Huntington Hartford Theater in nazi regalia. Even two admirers, John and Robert Kennedy, allegedly asked Frank Sinatra to tell Davis to delay the wedding until after the 1960 presidential election.

Professionally, Britt had to choose between her career and Davis, because it was quite clear that she would never be hired in Hollywood if she married him. Some websites suggest that she lost little because she was a minor talent at best, but she had appeared in over a dozen films and had made the cover of Life magazine twice before even meeting Sammy, so her expectations of a strong run in Hollywood were in no way delusional. Obviously, she chose love over career, and wed Davis at his home in the Hollywood Hills. Some of the guests at the reception included Peter Lawford, Diana Dors, Barbara Rush, Janet Leigh, Leo Durocher, Shirley MacLaine, Milton Berle, and Edward G. Robinson, Jr. The marriage lasted eight years—not long in the real world perhaps, but an eternity by Hollywood standards.

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HISTORY REWIND

The headlines that mattered yesteryear.

1925—Mein Kampf Published

While serving time in prison for his role in a failed coup, Adolf Hitler dictaes and publishes volume 1 of his manifesto Mein Kampf (in English My Struggle or My Battle), the book that outlines his theories of racial purity, his belief in a Jewish conspiracy to control the world, and his plans to lead Germany to militarily acquire more land at the expense of Russia via eastward expansion.

1955—Disneyland Begins Operations

The amusement park Disneyland opens in Orange County, California for 6,000 invitation-only guests, before opening to the general public the following day.

1959—Holiday Dies Broke

Legendary singer Billie Holiday, who possessed one of the most unique voices in the history of jazz, dies in the hospital of cirrhosis of the liver. She had lost her earnings to swindlers over the years, and upon her death her bank account contains seventy cents.

1941—DiMaggio Hit Streak Reaches 56

New York Yankees outfielder Joe DiMaggio gets a hit in his fifty-sixth consecutive game. The streak would end the next game, against the Cleveland Indians, but the mark DiMaggio set still stands, and in fact has never been seriously threatened. It is generally thought to be one of the few truly unbreakable baseball records.

1939—Adams Completes Around-the-World Air Journey

American Clara Adams becomes the first woman passenger to complete an around the world air journey. Her voyage began and ended in New York City, with stops in Lisbon, Marseilles, Leipzig, Athens, Basra, Jodhpur, Rangoon, Bangkok, Hong Kong, Wake Island, Honolulu, and San Francisco.

1955—Nobel Prize Winners Unite Against Nukes

Eighteen Nobel laureates sign the Mainau Declaration against nuclear weapons, which reads in part: “We think it is a delusion if governments believe that they can avoid war for a long time through the fear of [nuclear] weapons. Fear and tension have often engendered wars. Similarly it seems to us a delusion to believe that small conflicts could in the future always be decided by traditional weapons. In extreme danger no nation will deny itself the use of any weapon that scientific technology can produce.”

Uncredited art for Poker de blondes by Oscar Montgomery, aka José del Valle, from the French publisher Éditions le Trotteur in 1953.
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.
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.
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.

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