AFI Catalog of Feature Films
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Name Occurs Before Title Offscreen Credit Print Viewed By AFI
Alternate Title: Memoirs of a Ghost Writer
Director: Mike Hodges (Dir)
Release Date:   Oct 1972
Premiere Information:   London opening: 16 Aug 1972
Duration (in mins):   92, 95-96
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Cast:   Michael Caine (Mickey King [also known as Chester Arthur King])  
    Mickey Rooney (Preston Gilbert)  
    Lionel Stander (Ben Dinuccio)  
    Lizabeth Scott (Betty Cippola)  
  And introducing: Nadia Cassini (Liz [Adams])  
    Dennis Price (The Englishman)  
    Al Lettieri ([Jack] Miller )  
    Leopoldo Trieste ([Milos] Marcovic)  
    Amerigo Tot (Partisan [Sotgio])  
    Roberto Sacchi (The Bogeyman [Jim Norman, the American FBI man])  
    Giulio Donnini (Typing pool manager)  
    Joe Zammit Cordina (The Beautiful Thing [Santana, the man who follows Mickey])  
    Luciano Pigozzi (Clairvoyant [Del Duce])  
    Maria Quasimodo (Office manageress [Senora Pavone])  
    Liu Bosisio (1st typist)  
    Cristina Gaioni (2nd typist [Blonde])  
    Janet Agren (Publisher's receptionist [Silvana])  
    Irene Sophie Opperman (Coach hostess)  
    Iver Gilborn (Coach tourist)  
    Elaine Olcott (Coach tourist)  
    Ave Ninchi (Fat chambermaid)  
    Ermelinda De Felice (Woman in barber shop)  
    Werner Hasselman (Tourist in restaurant)  
    Louise Lambert (Tourist in restaurant)  
    Victor Mercieca (Prince Cippola)  
    Cettina Borg Olivier (Gilbert's mother)  
    Anna Smith (Old woman in bar)  
    Guiseppe Mallia (Cripple outside bar)  
    Roy Marmara (Mario)  
    Louis Caruana (Toni)  
    Cyrus Elias (1st guide)  
    Mary Caruana (Mae West)  
    Jeanne Lass (Marlene Dietrich)  
    Kate Sullivan (Joan Crawford)  
    Anna Pace Bonella (Jean Harlow)  
    Jennifer Gauci (Shirley Temple)  
    Tondi Barr (Gloria Swanson)  

Summary: After leaving his wife, children and job as funeral director of his wife’s family’s mortuary, Chester Arthur King, an Englishman known as “Mickey,” moves to Rome. There he writes seedy pulp novels under pen names, such as Guy Strange, Susan Eager and S. Odomy, which he dictates onto a recording that is transcribed by the typists at a secretarial agency. When he realizes that a man has been following him for two weeks, Mickey at first assumes that his wife hired a private detective. Then one day, while meeting with his publisher Milos Marcovic, a gangster, Ben Dinuccio, enters, claiming that he handles public relations for a celebrity who temporarily wishes to remain anonymous. Dinuccio offers Mickey a large amount of money to ghostwrite the celebrity’s memoirs and promises Marcovic it will be a bestseller. Two days later, Mickey is traveling on a bus tour, at Dinuccio’s instructions, waiting for someone to make contact with him. When fellow tourist Jack Miller sits beside him, holding a copy of one of his books, Mickey assumes he is the contact man. However, Miller claims not to have realized that Mickey is the book’s author and begins to critique the book. Impatient for Miller to connect him with the mysterious celebrity, Mickey tells Miller that he knows “all about” him. To Mickey’s surprise, this perturbs Miller, who moves to another seat. At the hotel, Miller, presumably by accident, settles into the room assigned to Mickey, who then takes another room. Mickey is dining with fellow tourists when he receives a message from Miller to meet him in his room. Expecting that Miller will finally reveal the name of the celebrity, Mickey instead finds that Miller appears to be stabbed to death in his bathtub. By looking through his wallet, Mickey learns that Miller had been lecturer in English at Berkeley University. From his luggage, which contains the wardrobe of a transvestite, Mickey learns why the man was upset by their conversation on the bus. After concluding that Miller was not his contact person, Mickey then recalls that their rooms were switched and wonders if he, not Miller, was the killer’s intended target. The following morning is election day and one candidate, Prince Cippola, is vigorously campaigning on a law and order platform for the New Front party. Surprised that police are not investigating Miller’s death, Mickey questions the hotel clerk, who says that he personally checked out Miller early in the morning. Mickey then confronts the maid cleaning Miller’s room, but she seems oblivious of any misdeed and cannot speak English. At an ancient site Mickey’s tour group visits that day, Liz Adams, a young woman taking shots with a small movie camera, introduces herself as his contact. She explains that the man who wants to hire him is her “sugar daddy,” actor Preston Gilbert, who portrayed gangsters onscreen and had Mafia connections in real life. Liz and Mickey are met by Dinuccio, who now explains that he is Gilbert’s business partner. They proceed to Gilbert’s villa on a small exclusive island, where the former actor lives with his deaf mother. Upon learning from Mickey about Miller’s death, Gilbert is pleased, as he claims the man might have been trying to kill him. Over several days, Gilbert, who has recently learned that he is dying from cancer, discusses his life with Mickey, but never again mentions Miller. Later, he takes his entourage to the mainland to honor the anniversary of his father’s death. There, amidst the feasting and singing of Italian songs, Betty, Gilbert’s flirtatious, third ex-wife who has since married Cippola, introduces herself to Mickey. To entertain the crowd, Gilbert, a boorish prankster, performs his “routine,” in which he pretends to be a waiter and spills spaghetti and wine on a dining couple. Because of his reputation as a practical joker, when a man dressed as a priest draws near and shoots at Gilbert and two musicians, everyone at first assumes it is another one of his tricks, until they discover that Gilbert has been killed. Mickey then realizes that one of the bullets was aimed at him. Later, Mickey is at the local police station looking at a lineup, where he is made uncomfortable by the presence of an authoritative American, who he presumes is an employee of the FBI. The next day, Mickey and Liz return to the villa to question Dinuccio about who might be trying to kill him, when Liz recalls that Gilbert and another man had been involved in an old scandal. She and Dinuccio remember hearing that when Gilbert announced he would write his life story, the man was uncomfortable about it. Neither of them knows who the man is, but they had both assumed that Gilbert told Mickey about the scandal when he dictated his memoirs and conclude that Gilbert's killer also believes that Mickey knows about him. During the night, unable to sleep, Mickey sees the doorknob turn slowly and prepares to defend himself, but discovers it is Liz, who then joins him in bed. In the morning, Mickey meets with the clairvoyant, De Duce, who had been previously hired by Gilbert. For a sum of money, the psychic gives Mickey a small packet containing a picture of a young woman, a man’s address and a ten-year-old picture of Gilbert and other men at a shooting party. According to the De Duce, Gilbert believed that one of the men wanted to kill him and hired the psychic to determine which one. At Gilbert’s funeral, Mickey realizes that Cippola is one of the men in the photograph and that several other people from that event are in attendance. What Mickey cannot understand is why any of them would be concerned about Gilbert’s memoirs. While the mourners ceremoniously accompany Gilbert’s coffin to its final resting place, Mickey proceeds to the address on the piece of paper to a desolate, coastal village. When he asks for the person named on the paper, a one-armed man eventually strikes up a conversation and then takes him to a lonely grave on a vacant beach. The man explains that the grave belongs to the girl in the picture and that she died when her heart gave out from the strain of being used sexually abused by several men in the hunting party. After Mickey recalls reading about orgies held at a hunting lodge, the man tells Mickey that the girl’s father, the man he is seeking, was ashamed of his daughter and was paid to keep quiet. With the money, he moved north and never revealed to the police what happened. Suddenly, gunshots send them running to the man’s truck. Mickey is shot in the leg, but, dodging bullets, drives the truck toward the gunman, who is dressed like a priest, and runs him down. Afterward, Mickey sees that the dead gunman is Miller. Mickey returns to Cippola's villa, prepared to accuse the prince of several murders. Instead, he faints from his wound and later finds himself lying in a gilded room at the villa with his leg in traction. Mickey is visited by the American, to whom he reveals that Cippola is behind Miller’s assassination of Gilbert. Cippola, Mickey explains, feared that Gilbert would write about the girl’s death in his memoirs and jeopardize the politician’s ambitions. Unconcerned about the truth, the American says that Cippola is too important to allow his misdeeds to become public knowledge. After suggesting that Mickey enjoy his stay at the villa while he recuperates, the American physically threatens him to ensure his cooperation. Accepting his situation, the recovering Mickey begins writing his next book. Although the book is based on his experiences, in Mickey’s version the prince dies a well-deserved death. While the real Cippola and his friends are boar hunting, Mickey ineffectually vows revenge.  

Production Company: Three Michaels Film Productions, Inc.  
Production Text: A Klinger/Caine/Hodges Production
Distribution Company: United Artists Corp. (Transamerica Corp.)
Director: Mike Hodges (Dir)
  Michael Dryhurst (Asst dir)
  Malcolm Stamp (Asst dir)
  Graham Easton (Asst dir)
Producer: Michael Klinger (Prod)
Writer: Mike Hodges (Wrt)
Photography: Ousama Rawi (Dir of photog)
  Dusty Miller (Cam op)
  John Jay (Stills photog)
Art Direction: Patrick Downing (Prod des)
  Darrell Lass (Art dir)
Film Editor: John Glen (Ed)
Set Decoration: Sid Nightingale (Const mgr)
Costumes: Gitt Magrini (Cost des)
  Tirelli, Rome (Cost made by)
  Philippe Pickford (Ward master)
Music: George Martin (Mus comp and cond)
  Air Studios London (Mus rec at)
Sound: Christian Wangler (Sd rec)
  Richard Laughton (Boom op)
  Gerry Humphries (Dubbing rec)
  Peter Horrocks (Dubbing ed)
Special Effects: Ron Ballanger (Spec eff)
Make Up: George Partleton (Makeup)
  Paul Engelen (Makeup)
  Mike Jones (Hairdresser)
Production Misc: Robert Sterne (Prod supv)
  Irene Lamb (Casting dir)
  Tony Klinger (London liaison)
  Joe De Biasio (Italian liaison)
  Claudio Cutry (Italian liaison)
  Doreen Dearnaley (Cont)
  Jean Lambdon (Unit pub)
  Denton Scott (Prod accountant)
MPAA Rating: PG
Country: Great Britain and United States
Language: English

Source Text:

Copyright Claimant Copyright Date Copyright Number
United Artists Corp. 27/8/1972 dd/mm/yyyy LP41341

Physical Properties: Sd:
  col: DeLuxe

Genre: Satire
Sub-Genre: Detective
Subjects (Major): Assassins
  English in foreign countries
  Ghost writers
  Motion picture actors and actresses
Subjects (Minor): Americans in foreign countries
  Fascists and fascism
  Gunshot wounds
  Impersonation and imposture
  Mothers and sons
  Practical jokes
  Publishers and publishing
  Rome (Italy)
  United States. Federal Bureau of Investigation

Note: The working titles of the film were Memoirs of a Ghost Writer and Scandal . Before the opening credits, the words, "A Typing Pool somewhere in the Mediterranean," appear as several typists taking dictation through headphones are shown listening to the voice of Michael Caine, who portrays "Mickey" and narrates the story. Caine’s narration continues throughout the rest of the film. Most of the opening credits, including the title, which is repeated several times, appear onscreen, letter by letter, as if being typed. The opening credit of Nadia Cassini, who made her American feature film debut in Pulp , reads: "And introducing Nadia Cassini." Mike Hodges’ opening credit reads: "Written and directed by."
       Instead of stating “The End,” the penultimate end card reads: "The Enf½." A final card, which shows a picture of a printed funeral announcement with the initials RIP written at the bottom, thanks the government and people of Malta for their help and cooperation. The card also provides a production company credit for Three Michaels Productions and states that the funeral theme heard during the funeral procession sequence was played by a local band in Malta.
       Although the film was ultimately shot in Malta, a Sep 1971 Var news item reported that Italy was originally considered for the shooting location. The part of Mickey was written for Caine by Hodges and the film reunited Caine, Hodges and producer Michael Klinger, who had made the successful 1971 film Get Carter (see entry above) together. Pulp marked the final film of Lizabeth Scott, who had not appeared in feature films since the 1957 production Loving You (see entry above), starring Elvis Presley.
       Robert Sacchi, who marked his second feature film and American feature film debut in Pulp , resembles actor Humphrey Bogart and portrayed Bogart and Bogart-like characters throughout his career. Sacchi’s character is called “The Bogeyman” in the onscreen credits, a pun alluding to his resemblance to the actor, as well as the threat he represented. In Filmfacts and some other reviews, the character name is listed as “Jim Norman,” although, in the viewed print, he is never referred to by either name. In a scene near the end of the film, there is a humorous reference to the The Maltese Falcon , the 1941 film that starred Bogart (see entry above).
       Several characters, who are not referred to by name in the film, are given different names in reviews than in onscreen credits. Reviews stated that the death of the girl buried on the beach was the result of a gang rape, but in the film it is not made clear whether she had been a willing participant or was attacked against her will.
       Although Filmfacts and sources in the film's file at the AMPAS Library list six actresses portraying celebrities from a previous era--Mae West, Marlene Dietrich, Joan Crawford, Jean Harlow, Shirley Temple and Gloria Swanson--a sequence depicting those characters did not appear in the viewed print.
       There are several references to fascism and Communism in Pulp , and in an interview in The Times (London), Hodge stated that his script was “actually about the new fascism in Italy.” Although the film played briefly in Los Angeles in late 1972, according to Filmfacts , mixed reviews and poor box office returns prompted United Artists to cancel the New York opening. Pulp eventually opened in New York in 1973 for a one-week booking at a venue showcasing “lost” films.  

Bibliographic Sources:   Date   Page
Box Office   30 Oct 1972   p. 4535.
Daily Variety   30 Aug 1972.   
Esquire   Jun 1973.   
Filmfacts   1973   pp. 76-79.
Hollywood Reporter   4 Jan 1972.   
Hollywood Reporter   10 Oct 1972.   
Los Angeles Herald Examiner   9 Dec 1972.   
Los Angeles Herald Express   11 Dec 1972.   
Los Angeles Times   12 Dec 1972.   
The Telegraph (London)   20 Aug 1972.   
The Times (London)   15 Aug 1972.   
The Times (London)   20 Aug 1972.   
Variety   29 Sep 1971.   
Variety   25 Dec 1971.   
Variety   30 Aug 1972   p. 18.

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The American Film Institute is grateful to Sir Paul Getty KBE and the Sir Paul Getty KBE Estate for their dedication to the art of the moving image and their support for the AFI Catalog of Feature Films and without whose support AFI would not have been able to achieve this historical landmark in this epic scholarly endeavor.
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