Above is a National Enquirer published today in 1965 with Italian actress and sex symbol Sophia Loren on the cover and her husband, film producer Carlo Ponti, in the upper left inset. Ponti claims he married the perfect female animal, which is interesting considering the marriage was not recognized in his home country. The problem was Ponti had married Giuliana Fiastri back in 1946, and divorce was illegal in Italy. Undeterred, he and Loren were married by proxy in Mexico in 1957 (i.e., two lawyers stood in for the couple, who were still back in Italy). When Pope John XXIII found out, he threatened Ponti and Loren with excommunication, eternal damnation, and so forth. This drama actually played out across the reigns of two Popes, because John XXIII exited from the scene via stomach cancer in 1963, giving way to Paul VI, who reiterated the whole excommunication/flaming pit/blood rain thing. In the end, Ponti and Loren became French citizens and—voilà—married in France. It was quite a lot of trouble to go through for a spouse, so you’d expect nothing less than for Ponti to call Loren a perfect female. But was she? Well, we only have visual evidence. See below and decide for yourself. 

This cool image features American actress Pamela Tiffin, who appeared in films such as Harper with Paul Newman, Kill Me My Love with Farley Granger, and the Italian production I protagonisti with Pulp Intl. fave Sylva Koscina. This photo session, from 1968, also produced the image below, which you see on the cover of the Japanese cinema magazine Movie Information/Movie Pictorial. See another Tiffin shot at the bottom of this post. 

This excellent vintage poster is for the Italian nunsploitation flick Interno di un covento, which was known in English as, alternately, Within a Cloister, Within the Convent, and Behind Convent Walls. So, what exactly goes on behind convent walls? Well, they have lots of sex. With each other and with whatever men happen to be around. And they exercise naked a lot. Well, almost naked. They never take off those cornettes, no matter what, but everything else is on display, including some really lovely bushes.

All of this depravity is the work of Polish director Walerian Borowczyk, working from a novel—a novel!—by the French writer Stendhal, aka Marie-Henri Beyle. But we’re giving Borowczyk most of the credit, er, blame here, because we don’t think Stendhal had a scene in his book where a nun devirginized herself with a Jesus-faced dildo. What’s the plot here? It isn’t important. The question is, what’s the point?

Well, we’re talking about a movie made in Italy, so the point seems to have been to annoy the very powerful Catholic Church. Mission wholly accomplished, we suspect. We gotta say though, we have never gotten this fascination with nuns. But if that’s your thing, then this is your movie. It premiered in Italy today in 1978. We have a nice collection of production photos below, and if you just can’t get enough nunnage, check out this amusing post.

Above, a cover for the thriller Où est le cavadre, which as you might guess means, Where Is the Corpse?, a question the man involved here seems to be asking with some urgency. Well, if you can’t find a corpse you might as well make one yourself. This book, which appeared in France in 1962, actually originated in Italy with Editions ERP, where in 1961 it was published as part of their I Gialle dello Schedario series. The writer, Joe Vivard, was really Pino Belli, and wrote under several names, including Ricky Lambert, Steve Cockrane, and others. The excellent is art by Mario Ferrari, whose work we showed you a while back when we did a post of eleven I Gialle dello Schedario covers. See those here, and see more from Ferrari later. 

European publishers, like Italy’s Tecnografica, often used celebrities on their book covers. Here’s a favorite example—Swiss actress Ursula Andress on the cover of the illustrated giallo Invito alla violenza, by Hugh Pentecost, aka Judson Pentecost Phillips, aka Phillip Owen. The shot is from a 1965 photo series, another frame of which appeared in Spain’s Triunfo magazine. We don’t know whether the series was shot for Triunfo and rented by Tecnografica, or vice-versa. Possibly neither. It could have been shot as a promo series and sold to both Triunfo and Tecnografica. Alternatively, maybe Tecnografica simply appropriated the image. We only suggest that because we can’t think of any reason Ursula Andress would have needed to gnaw grass on the cover of a cheapie giallo three years after she appeared in Dr. No. Maybe we’ll find out the answer to that one later. In the meantime, we’re working on an aggregate post of celeb covers, which we’ll get up soon. 

Update: Rafael wrote in with this: I suggest that these are promotional photos for 4 for Texas (USA 1963), freely appropriated by magazines everywhere.

And indeed he is right. Once we knew the movie we found many more promo shots of Andress wearing the same outfit.  4 for Texas also starred Frank Sinatra and Dean Martin, as well as Anita Ekberg, which all sounds worthwhile to us. We will defnitely screen a copy of it. Thanks Rafael, for the help.

This issue of the tabloid Exposed, with cover stars Anita Ekberg, Tony Steel, Edward G. Robinson, Elvis Presley, and Elizabeth Taylor, has a rather pleasing color scheme, but the usual rumor-mongering and innuendo inside. The “true story” of Anita Ekberg’s sudden wedding to Tony Steel isn’t really all that scintillating. Steel had met Ekberg when they worked together on the British motion picture Storm Over the Nile, which was filmed in 1955 and released the last week of December. Steel was smitten from the moment he saw Ekberg. In fact, he was so in love with her that he decided to break his contract with the film production company The Rank Organisation and follow her to Hollywood. They married in the Palazzo Vecchio in Florence, Italy, on 22 May, 1956, in a civil ceremony that was open to the public (the couple had asked the city government to bar spectators from the event but the request had been denied).

The press, however were restricted to a roped area just outside, which happened to be near a famous statue of David. According to several of the reporters present, when Ekberg passed by the nude sculpture after the ceremony she glanced up at its endowment and quipped, “My! Almost as big as Frank Sinatra’s.” You just knew Sinatra was involved in this somewhere, right? It’s like there were six or seven of him wandering around during the 1950s, so often does he pop up in other people’s personal business. Anyway, that statue of David—which is a copy of Michelangelo’s original masterpiece that stands in the Galleria dell’Accademia—has an incredibly small penis proportionate to the eighteen-foot-high body. At least, it seems small to us. Ahem. But we can assume Ekberg’s comment meant just the opposite, and concerned the non-proportionate size of the organ—i.e., quite a handful, taken on its own merits.

Now, should a bride really start married life with a public comment about another man’s dick? We think not, but we’re old-fashioned that way. Ekberg and Steel jetted off to Hollywood, where both hoped to expand their film careers. For Ekberg, that’s exactly what happened. But Steel struggled, possibly because of vitriol emanating from The Rank Organisation. He did find some work, but never attained the stature hecraved. In short order, his marriage to Ekberg was in trouble, their domestic woes either exacerbated by or rooted in his career problems. Either that or he never forgave her for that Sinatra comment. We kid, of course. Steel and Ekberg had serious difficulties, but Frankie wasn't one of them. In any case, in 1959 the couple divorced, and Tony Steel was pretty much yesterday’s news. Life goes on, after all, in the tabloids and in the world. 

Talk about an obscure movie. F.B.I. contro i killers stars Mark Damon, Nadia Grey, Annie Gorassini, and the lovely Dominique Boschero, all of whom are known actors. It was directed by Akos Ráthonyi, a Hungarian whose résumé goes back to the 1940s. But no webpage, no wiki page, and no database anywhere gives any details on the production. After scouring our usual resources, then searching only Italy-based or Italian language pages, and finally doing both with cross-referenced data, we found only a few ad container pages that had bounced our search terms back at us, and one page that had a small version of an alternate poster from the movie. So we’ve got no info on this one. This highlights both the wonder and weakness of the internet—it disperses otherwise inaccessible information with infinitely more efficiency than any other real world medium, yet limits our observation of that world to that which has been digitized and uploaded. And now that we’ve gotten all quantum and whatnot, anyone out there with info on F.B.I. contro i killers—either the movie or the poster art—feel free to drop us a line. 

A long while ago we showed you a paperback cover that featured a painting of Sharon Tate. That book specifically used Tate both as cover art and interior subject matter. In contrast, the two figures above aren’t explicitly supposed to be Tate, but it just so happens that both unknown artists modeled their work from an on set photograph from her 1966 Dracula spoof The Fearless Vampire Killers. The photo was shot by Roman Polanski, who also directed the film. As you can see, it was used on John Dexter’s sleaze pulp Chuck-a-Lust, painted by Darrel Millsap, and on Paul Collins’s, aka Renato Carocci's giallo Ordine di uccidere, painted by Bendetto Caroselli. The former was published in 1967, and the latter in 1968. One year later, Tate was gone.

The National Police Gazette shows signs of fatigue in this November 1969 issue that is tellingly thin, with just 32 pages, and offers no stories of great interest. It has a Femi Benussi cover, which is a plus, but Benussi is labeled Russian even though she was actually born in what is now Croatia and acted in Italy. Seems like Gazette editors weren’t trying very hard. Once a tentpole of the tabloid market, the magazine was 125 years old by this point and losing readers. After one more month it would change its trademark cover style slightly to this, but the magazine continued to decline. Downmarket tabloids like National Enquirer had sprinted past the Gazette in celeb and scandal coverage, and its sports coverage now looked woefully inadequate compared to the glossy sports mags that were on the newsstands. Gazette hung on for seven more years, then quietly folded. We have thirteen more scans below, and many issues of Gazette from all stages of its long life to share later. 

Edwige Fenech was born Edwige Sfenek in French-controlled Algeria to Maltese and Italian parents, and went on to become one of the most inspiring sex symbols of the late ’60s and early ’70s, acting in giallos, comedies, and horror films, hosting a chat show in the 1980s, and recently appearing in Hostel: Part II. The striking image above is from the West German magazine Sexy, and it dates from 1971 or 1972. The caption tells us Fenech is the “Traum-Girl der Woche,” or Dream-Girl of the Week.