Juvenile delinquency—it isn't just for juveniles.
Jean Moorhead, Joanne Cangi, Theresa Hancock, and Lee Constant look like they're ready for trouble—or planning to break into a dance number—in this photo made for the 1956 drama The Violent Years. The violent years, if we go by the age of the actresses, apparently occur in one's twenties. And how violent do they get? They rob a gas station, shoot a cop dead, take some hostages, crash a car through a plate glass window, and sexually assault a guy. So... pretty violent. We may circle back the film later.
Petroleum reserves discovered deep in the jungle.
No wonder the world can't get off petroleum. Photos of slippery actresses keep the addiction going. Above you see Maria Mari, who has starred in some of the most interestingly titled films you can imagine. Nympho Diver: G-String Festival may be her crowning achievement, but she also appeared in Lusty Transparent Man, Apartment Wife: Lust for Orgasm, and Do It Again: Like an Animal. All of those sound like much-watch flicks, and we did indeed watch and write about a couple, here and here. Mari appeared in five other films in a busy three-year career before moving onward to parts unknown. You can see another shot of her here, and more shiny actresses here, here, here, here, and here. Try not to become hopelessly depedent on oil.
I like to call what happens next the women's short program because it'll be over before you know it.
Olympic ice skater-turned-actress Belita gets the drop on an unseen foe in this crop of a larger promo image made by Allied Artists Pictures for its 1948 film noir The Hunted. We'll circle back to the movie—possibly in reverse while preparing for a triple axel—but if you want a teaser, we'll tell you that Belita has a skating routine in it, which makes it worth a look for that reason alone.
Looking pretty sharp, Gayle.
Have you ever seen a profile like this? It belongs to Texas born actress Gayle Hunnicutt, who we last saw in 1969's Marlowe with James Garner. She also appeared in The Wild Angels, The Spiral Staircase, The Legend of Hell House, and several other pulp-pertinent flicks before migrating over to television. She retired from acting in 1999, but her sharp profile will always be remembered.
One great photo. Triple the back pain.
We recently saw German actress Marlies Draeger stylishly garbed in a green jacket-dress, and here in a beautiful black and white promo image she gives her all, not because she's nude—though that too—but because she's recumbent across three metal tables that look like sheer hell on her sacroiliac. What resulted is a great shot, though we wouldn't be surprised if afterward she sent a stack of chiropractor bills to her agent. Speaking of sending, this was sent to us by Pulp Intl. reader Herman, who's been of great help in the past with model identifications. No date on this, but figure around the same time as the other image—say 1968.
Warning: some spectators may experience shortness of breath.
Above: beautiful dancer Misty Ayers performs in a production photo made for the 1953 burlesque movie A Night in Hollywood, which also starred Tempest Storm, Jeanne Saunders, and others. This is a return engagement for Ayers on Pulp Intl. See her first stint here, and if you want to see her routine from the film, check here while the link lasts.
Images of her are rare but you tend to remember the ones you see.
Above is a brilliant photo, which would have fit nicely into our tribute to the classic 1970s afro, of U.S. actress and singer Radiah Frye, made by famed black photographer Kwame Brathwaite. It dates from around 1971, a guess we can make because another frame from the session was used as the basis of one of our favorite film posters of all time—the ultra rare Japanese promo for Addio Zio Tom, aka Good Bye Uncle Tom. We wrote about the film many years back, and you can see the poster at this link. Prepare your eyes for a marvelous sight. Frye acted in the films Goodbye Emmanuelle, Madame Claude, and Spermula—a movie we're going to return to later—but never established a major cinematic presence. She was probably a bit more famous as a singer and general celebrity, but whatever you want to label her, she was very beautiful.
You always say guns don't kill people, people kill people. Before we go on, should I explain the concept of a false dichotomy?
Above is U.S. actress Iris Meredith, looking deadly and intense in a promo image from The Spider's Web, a Columbia Pictures serial based on the pulp writings of Norvell Page, dealing with the rivalry between a criminal called the Octopus and a masked hero called the Spider. Meredith was the female lead. She was a pretty big star by the time she appeared in it, having already amassed fifteen screen credits. Every time we read about a serial we remind ourselves to try and find some for viewing, and this one sounds especially fun. Thanks to Archive.org it's available for viewing right here. The image is from 1938.
Once you get into the habit it's hard to stop.
It's Jane Greer again, in yet another pistol packing promo image from her mandatory 1947 film noir Out of the Past. This makes the third we've posted. Here she's in a different outfit and on a different set than the other two. See those previous images here and here, and check out another nice armed promo of her from The Big Steal here. We'll share an image of her without a gun soon. Yes, she actually made some, amazing as it seems. Also, watch Out of the Past. It's one of the most visually gorgeous film noirs ever.
Hitomi hits the coast for a private holiday.
Here during the depths of winter (for those of you that experience winter) we thought we'd give you the hottest images we could find to stir your blood. Above are a few looks at Japanese actress Hitomi Kozue, who, according to a bit of accompanying text we didn't bother to show, is enjoying a rare sunny day during the 1974 tsuya, or East Asian rainy season. Hitomi is the star of such films as Sukeban Deka: Dirty Mary, Sex-Crime Coast: School of Piranha, True Story of a Woman Condemned, and its sequel, and you may remember we promised we'd return to her after sharing an image last year from this same photo session.
Based on what we've seen Hitomi seems to have been the boldest Japanese cinema star of the ’70s when it came to her promo images. These are nicely conceived and composed, tasteful, yet audacious and visceral. Some cultures, including the U.S., have regressed to the point where almost any nudity is now shocking, but eroticism has always been a valid art form, and it will survive the new puritanism once people remember that bodies forced under wraps are exactly what previous generations fought so hard against in order to wrest free expression from external control. Hitomi is uncontrollably beautiful.
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