Posts Tagged ‘Caleb York’

An “Antiques” Stocking Stuffer and the Walmart Big Time

Tuesday, December 11th, 2018

Yes, here I am with another selfless suggestion for something you might give to your loved ones or yourself at Yuletide.


Amazon Indiebound Books A Million Barnes and Noble

Antiques Ho-Ho-Homicides collects, for the first time, the three e-book novellas Barb and I did over the last five years. It’s a paperback (hence a perfect stocking stuffer), and I know some collectors out there prefer hardcovers, but “Barbara Allan” is thrilled that these stories are finally gathered in a real book.

If you are one of the hold-outs who like my stuff but can’t bring yourself to cross the cozy divide, Antiques Ho-Ho-Homicides is an inexpensive way to see Brandy and her mother Vivian in action. A sampler, if you will, and much tastier than those Whitman samplers some people insist upon giving you at Christmas.

I’ve discussed this before, but I still get questions about how Barb and I work together on the Antiques books, and how we stay married doing them. One aspect is that my office is on one floor and Barb’s is on another. But basically it’s this: Barb writes the first draft, and I write the final draft.

The less basic explanation is that Barb is the lead writer. Although I have more experience, and have been doing this longer, the books reflect her sensibilities and storytelling skills. We plot them together, but I stay out of the way while Barb prepares her draft. Sometimes we’ve described that as a rough draft, but really it’s not. Barb polishes each chapter thoroughly and, after at least six months of work, she gives me a perfectly readable and well-crafted novel that happens to be fifty or sixty pages shorter than what our contract requires.

My job is to further polish, and expand, and do lots of jokes. Barb has already done plenty of humor at this stage, but then I add more, with the result being that these novels are damn funny. Barb is wonderful about staying out of my way (as I’ve stayed out of hers, unless asked for input, during her creation of the initial draft). She claims to be so sick of the book at this point that she doesn’t care what I do to it.

This is not true.

She cares a lot, and will ask me why I’ve cut or changed something, and – when I tell her – will either agree or explain why (for plot or character reasons) (these are female point-of-view first-person novels) I need to restore what she originally wrote. Which I do.

The only time we’ve squabbled is when I’ve gotten crabby because I’m overworked. She will not tolerate snippiness. And I’ve been known on rare occasions (somewhat rare) (tiny bit rare) to be snippy, so there you go.

Consider Antiques Ho-Ho-Homicides our Christmas gift to you, except for the part where you have to pay for it.

Kensington publishes the Antiques novels, and also the Caleb York westerns. The accompanying photo will demonstrate that these Spillane/Collins westerns have hit the big time: we are in the Muscatine, Iowa, Walmart with The Bloody Spur! In fact, the Walmart chain bought a whole bunch of copies, and you can buy your copy at your local temple to the memory of Sam Walton.

The Antiques books haven’t made it into Walmart and probably won’t – the chain is very narrow about the kind of books they buy…mostly it’s romances, romantic westerns and westerns, plus a few bestsellers. Not a cozy in sight – not even an hilarious one like Antiques Ho-Ho-Homicides. How do they expect to stay in business?

Speaking of Antiques, here is a terrific review of Ho-Ho-Homicides at King River Life Magazine, which will give you a good idea of what to expect, including discussions of each novella.

Okay, now what you’re wondering is…what can I give Max Allan Collins for Christmas? I will be facetious and serious at the same time: you could write reviews (however brief) for my novels at Amazon, Barnes & Noble, your own blogs and whatever site you deem appropriate. There is a real reason why you might want to consider doing this, if you want new work from me.

The books I write – Mike Hammer, Quarry, Antiques – are seldom reviewed by the mainstream (including lots of Internet reviewers). I do not have the cachet or sales punch of a Lehane or Connelly, who are always reviewed. I am largely ignored, even by people who love my work, in “Best of” lists at the end of the year. This is a bit of a head-scratcher, but it’s a reality. Even the widely, glowingly reviewed non-fiction book Scarface and the Untouchable: The Battle for Chicago isn’t turning up on such lists.

I probably write too much. That keeps work that, if other people did it, would be taken more seriously. I am not whining or complaining (well, I guess I am) but I do understand that even readers who follow my work can’t always keep up with me.

Here’s the deal. If I don’t write, publishers do not send money to my house. That’s one thing. The other is that I am 70, have had some harrowing health issues (that I seem to have either overcome or am handling well) and realize that I don’t have forever to tell my stories.

And I have a lot more stories I want to tell.

Actually, I do not work as hard as I used to. Over the years, most Heller chapters were written in a day (25 to 30 double-spaced pages). I was a boy wonder till I got old. I slowed down starting with Better Dead. In general, my work load now is ten finished pages, six days a week. (Sometimes only five days.) It’s no different than with people with a “real” job – they work five or six days a week, and nobody applauds them, or tries to talk them out of it.

As I’ve mentioned, I have friends who have done these sort of interventions to get me to retire and get Barb and me to go take a cruise with other aging couples. I would rather write. Barb and I treat ourselves well and have a great time together, and don’t feel the need for a lot of travel to do that. She is a beautiful woman and lovely company, and is the one thing in my life that is worth hating me over.

She and I are watching one Christmas movie or television episode per evening right now. I may write about this soon. But I will say this – Holiday Inn is a wonderful movie, and White Christmas sort of stinks. Maybe my son Nathan is right: Die Hard is a better Christmas movie than White Christmas.

* * *

Here six great books (available inexpensively) are recommended, and one of them is True Detective (and I’m pleased and grateful, but it’s not “Allen,” okay?).

Shots looks at upcoming Titan titles, including the new Hammer, Murder, My Love.

The Strand magazine is on the stands now, with the key Spillane “Mike Hammer” short story, “Tonight, My Love.”

We’ve linked to this review before, but this time it’s attached to the mass market paperback of The Bloody Spur, out right now.

Finally, here’s a lovely write-up on the three Jack and Maggie Starr mysteries.

M.A.C.

Stan Lee, William Goldman, Orson Welles and Much, Much More!

Tuesday, November 20th, 2018

By the time this appears, Brad Schwartz and I will have made our Chicago appearance at the American Writers Museum. But as I write this, Barb and I haven’t even left Muscatine yet. So any report will have to wait till next time, when I’ll also talk about Thanksgiving with son Nate, daughter-in-law Abby, and grandkids Sam and Lucy.

But there’s plenty to talk about first. Let’s start with two great names in American pop culture, both writers, who met their final deadlines recently.

I interacted with Stan Lee any number of times. Coincidentally, the first and most memorable was at WGN in Chicago, where Brad and I will be taping something the day before this update appears. Brad and I will be doing television, but Stan and I did a radio show, where he fielded questions about Marvel and I did the same about the Dick Tracy strip, which I was writing then. I’m guessing this was early ‘80s. Stan was friendly and everything you’d expect him to be, and we got along fine. In future, I would encounter him at comics conventions, mostly just saying hello. He always seemed to remember me, but I doubt he did.

While I have little interest in Marvel today, and have only written a handful of things for them, I was a big fan in junior high and high school (and even college). I knew of Stan Lee by his byline on pre-superhero monster comics and even Millie the Model (I read lots of different comics). I’m sure it made an impression on me that this was a writer getting a byline on comics without doing any of the drawing. I bought all his early superhero stuff at Cohn’s Newsland in Muscatine, including the first issues of Spiderman, Fantastic Four, The Hulk and The Avengers. I knew of Jack Kirby, too – I subscribed to Challengers of the Unknown in grade school. Kirby was why I was buying monster comic books featuring creatures like “Fin Fang Foom,” “Mechano” and (yes) “Groot” (many Marvel super-hero characters had earlier incarnations as monsters).

How long was I a Marvel fan? As long as Ditko (and then John Romita, Sr.) was drawing Spiderman and Kirby Fantastic Four, I was in.

What I liked about Stan was the humor he brought to his super-hero work, and the way he interacted with fans. I was a charter member of the Merry Marvel Marching Society. Some have tried to diminish his work by saying he screwed over Jack Kirby and Steve Ditko, but I know nothing of that and don’t want to know. What I know is he entertained and inspired me, and was friendly to me in person. Excelsior, Stan.

I never met William Goldman, who was a friend of Don Westlake’s – occasionally Don told me stories about his buddy “Bill.” I admired Goldman as a novelist (Soldier in the Rain, Marathon Man), although his screenwriting was where I think he really made an impact. He brought a storytelling touch to the form that made scripts read like, well, stories, not blueprints. He did this to save his sanity and also to make the screenplays compelling to the studio execs and directors who read them.

Goldman is, of course, the man who revealed to the world that the first and only rule about Hollywood is, “Nobody knows anything.” And he gave us the book that became the film Princess Bride. I wrote the novelization of his Maverick, not his best screenplay by a longshot but still good and a pleasure to turn into a novel that some (myself included) consider superior to the film. I like having a small connection to the man.

By any yardstick, William Goldman was a writer who left the world a better place for what he did while he was here. Let’s say it all together now: “My name is Inigo Montoya, you killed my father, prepare to die!”

* * *

So Netflix is making theatrical movies now, and streaming those movies even as they are hitting theaters. This is a tragedy, because it almost certainly means I will have to buy an even bigger TV.

So are the movies any good? Having seen two, I may not have enough to go on. But both are worth talking about.

First, Outlaw King. This historical epic is essentially a sequel to Braveheart, although only the dismembered arm of William Wallace appears (apparently not contributed by Mel Gibson). Reviews on this have been mixed, but Barb and I thought it was terrific. Pine was fine (sorry) as Robert the Bruce, the Scottish warrior king who faced seemingly impossible odds in a struggle to win independence from Britain – as an American whose grandparents on my pop’s side were name MacGregor, I can relate. The filmmaking is first-rate, with an opening shot that goes on forever without a cut, just a dazzling piece of work from director, co-screenwriter David Mackenzie. There’s even a decent love story. Barb was happy with Chris Pine’s nudity (me not so much) but the final battle scene was a bloody wonder, making Braveheart look like a garden party. High marks for Netflix on this one.

Then there’s The Other Side of the Wind. Netflix backed this assembly of footage from 96 hours Orson Welles shot between 1970 and 1976. Welles was attempting something new, influenced and I think intimidated by the American wave of young filmmakers that included Dennis Hopper (who appears in the film) as well as Coppola, DePalma and Scorsese.

To call the production troubled is like saying Citizen Kane is pretty good. Cast members came and went, sometimes due to availability; locations meant to suggest California include Arizona, Connecticut, France, the Netherlands, England, Spain, Belgium and sometimes even California. The cast is stellar, to say the least, but the shifting players means nothing really coheres – Peter Bogdanovich plays (not particularly well) a role based on himself that was originally acted by Rich Little, who left the production to meet a prior Vegas gig. Lilli Palmer is in a few scenes (shot in Spain), interacting with almost nobody, though it’s supposed to be her house where the interminable Hollywood party is happening. John Huston reveals how limited his bag of acting tricks is, and does himself nothing but harm.

It’s a mess – something of a glorious mess, and that it works at all is due to editor Bob Murawski somehow stitching it all together. Cuts come quickly, from black-and-white to color and back again, creating an auto accident of a movie about a filmmaker’s (off-stage) auto accident. Much of Wind is a film-within-a-film spoof of pretentious European films of the Antonioni variety (at least I hope it’s meant to be a spoof) starring Welles’ female companion/partner, Oja Kodar, billed as co-writer, who is mostly nude (I did enjoy her nude scenes more than Chris Pine’s).

It’s a hateful, ridiculous film, clogged with Welles bitterly attacking Hollywood in general and critic Pauline Kael in particular (via Susan Strasberg, quite good), with side dishes of bile reserved for his supposed friend Bogdanovich, among others. But it is of course fascinating as well, and probably required viewing for any real film buff.

Better than The Other Side of the Wind is They’ll Love Me When I’m Dead, a Netflix documentary, itself feature-length, that looks at the making of the beleaguered film.

For all the hoopla surrounding The Other Side of the Wind supposedly having been finished along lines that would have satisfied Welles (who did leave about 45 minutes of the two-hour feature in an edited form), a similar situation with a great French filmmaker has led to a different approach and a much better film than Wind or even the documentary about it.

Available from Arrow on Blu-ray, Henri-Georges Clouzot’s Inferno is a 2009 documentary by Serge Bromberg that deals with another legendarily unfinished film. Clouzot, the genius who gave the world Diabolique and Wages of Fear among other masterpieces, stumbled in 1964 with his film, Inferno. Similarly to Welles, Clouzot was dealing with changing times and specifically the changing approach to filmmaking represented by the French New Wave. As far as I’m concerned, no New Wave filmmaker can touch him, but filmmakers are human and Clouzot allowed himself to get caught up in fascinating but largely pointless visual experimentation. He landed the leading starlet of the moment, Romy Schnieder, and cast an actor who’d been in a previous film of his, Serge Reggiani, in a story of sexual obsession and jealousy. It’s essentially James M. Cain’s Postman Always Rings Twice, if the older man with a younger wife is only imaging an affair she’s having with a younger man, and is driven mad to the brink of violence.

Working from fifteen reels of film, with most of the soundtrack missing, the documentation assembles the unfinished Inferno into sequences that appear, roughly, in narrative order. But these scenes are interspersed with revealing test films and interviews with cast and crew. Some of the missing scenes (there actually don’t seem to be that many) are staged with actors Bérénice Bejo and Jacques Gamblin, who provide dialogue. The imagery, particularly of lovely Schneider, is stunning. Like Welles in Wind, Clouzot shot in both black-and-white and color; but the French auteur had a method to his madness – the color footage, which was processed to have bizarre coloration, represents only the would-be cuckold’s warped imaginings.

Clouzot ultimately crashed with Inferno because his authoritarian treatment of actors drove his leading man to quit, shortly after which the director had a heart attack and production was halted, never to be resumed. (Clouzot did make another film, La Prisonniere, before his death in 1977.)

Unlike Wind, Inferno might have been a great film, had Clouzot (who wrote the script, as usual) been able to finish it. (Claude Chabrol shot the screenplay years later, but I haven’t seen that…yet.)

* * *

And now, my final verdict: Rotten Tomatoes, and the largely rotten reviewers whose opinions it gathers, is officially worthless.

Barb and I were very much looking forward to Widows. We were aware the source material was a two-season 1980s series from the dependable Lynda LaPlante, creator of Prime Suspect (but we had never seen it). The idea of a group of widows who take over for their late heist-artist husbands seemed pretty foolproof. The reviews for Widows are mostly raves. Rotten Tomatoes has it at 91%.

SPOILER ALERT: it stinks. We walked out, but not until we’d been subjected to an hour of poor direction and stupid scripting. Steve McQueen (much better an actor in The Great Escape than a director here) (yes, I know the British McQueen won a Best Picture Academy Award for 12 Years a Slave) co-wrote with Gillian Flynn. I suspect the original LaPlante series was good.

Virtually every sequence of Widows begins with a disorienting shot (for example, a substance that turns out to be hair being teased, when the camera pulls back; and a lengthy pointless sermon by a hypocritical black-church preacher, in close-up forever before revealing his stereotypical congregation). A sadistic diminutive thug (so sadistic he tortures a wheelchair-bound victim – he’s a baaaaaaad man!) constantly does things for no reason other than to shock the audience. Scenes go on endlessly, and are often staged in a ridiculously show-offy manner – how about a conversation between a Chicago candidate for alderman and his Lady Macbeth of a wife entirely from one-locked down angle on a car in motion, with no view of the people talking.

I seldom hate a film. I hated this. I knew at once (a real SPOILER ALERT sort of coming) where it was headed when Liam Neeson’s character was killed in the first five minutes (maybe I should saying “apparently killed”). I checked on line to see if I was right. And of course I was (Barb, too).

So Rotten Tomatoes gets a 0% fresh rating from the Collins household.

* * *

Paperback Warrior has posted an excellent review of Quarry’s Choice. This is really a wonderful, smart write-up of what is one of my two favorite books in the series (the other is The Wrong Quarry).

If you want to hear me talk about something that isn’t movies, go to Mystery Tribune for an interview with me on the new Mike Hammer: The Night I Died graphic novel.

Crimespree is giving away Scarface and the Untouchable. But, of course, you’ve already bought a copy.

The new issue of The Strand has the Spillane/Collins short story, “Tonight, My Love.” An important piece of the canon, though brief. It’s the holiday issue and a fine way to end the year in a Spillane centenary fashion. Check it out.

And here is a page with info about the next Caleb York western novel, Last Stage to Hell Junction. Next May, but why not start wanting it now?

M.A.C.

M.A.C. (Barbara) San Diego Comic Con Schedule (And More)

Tuesday, July 17th, 2018

This week’s update will mostly be the SDCC schedule promised above, and some links to reviews and an article from Brad Schwartz and me about Ness and Capone that you may enjoy.

Crusin’ has been active this summer, and it’s unlikely we’ll ever take on this many gigs again. This is the point in the picture where the grizzled movie star says, “I’m getting too old for this shit,” and a helicopter blows up.

Most of our gigs are outside and the Iowa weather (or rather excuse for weather) has lavished us with all the heat and humidity aging rockers could ever dream of. But I’m enjoying playing with the line-up that includes longtime members Steve Kundel, Brian Van Winkle and newbie Bill Anson. The Labor Day weekend induction of the band into the Iowa Rock ‘n’ Roll Hall of Fame will make a nice conclusion for my years of playing rock on a more or less regular basis. This does not mean we won’t do occasional gigs, when the event seems right.


Playing in the park at West Liberty on Sunday July 15 as the County Fair kicks off.

As for SDCC, I am trying to get a good chunk of Caleb York #4 done before I leave, plus putting together trade material for my comic art collecting jones. Unfortunately, Nate and Abby are not going with us this year (grandson Sam, either), and it’s likely Barb and I will attend in future only when we’re guests with somebody else paying the way. Much of what I have gone to the convention for in past years has either faded away – the RiffTrax boys don’t come anymore, and my favorite book dealer, Bud Plant, an old friend, will not be there after decades of attending – or is inaccessible. Don’t you think I’d like to see the panel with the Breaking Bad reunion? Yes, yes, and yes, but hell no, if I have to stand in line – perhaps overnight – to see it.

I am thrilled, however, that the convention is honoring Mickey Spillane’s Centenary. I am being interviewed about Mickey and Mike Hammer and me, and have done a big article for their program book, with an emphasis on Spillane’s comics work.

If you see me there, say hello – you’ve spotted an endangered species.

SAN DIEGO COMIC CON 2018 M.A.C. SKED
NOTE: If you are attending SDCC, check your program guides about these times and room numbers – they may have changed, or I may have screwed them up!

Thursday, July 19:
11:30am-12:30am “You’re Wrong, Leonard Maltin!” Discussing movies on social media has become a blood sport instead of a forum for debate. Leonard Maltin and his daughter Jessie, who host the “Maltin on Movies” podcast for the Nerdist network, are willing to take on all comers who have a gripe over one of Leonard’s reviews. Marquis of Queensbury rules will be enforced, but anyone who wants to have a lively discussion is welcome to spar (verbally) with America’s best-known film critic. Max Allan Collins will join Leonard to defend Deadpool 2. Rm 24AB

12:30pm-1:30pm In this special anniversary discussion, Titan Publishing’s Andrew Sumner sits down with writer Max Allan Collins (Quarry’s War, Road to Perdition) to discuss the life and legacy of Mickey Spillane on what would have been his centenary year. They delve into the history of his most famous creation, Mike Hammer, along with his return to comics in an all-new Titan series based on one of Spillane’s original plots. Room 24ABC

2pm-3pm signing, Titan, Booth 5537

Friday, July 20:
2pm-3pmInternational Association of Media Tie-in Writers: Scribe Awards – Max Allan Collins (Mike Hammer) will host this year’s Scribe Awards for excellence in tie-in writing. Join nominees/panelists Michael Black (The Executioner), David Boop (Predator), Matt Forbeck (Halo), Christie Golden (Star Wars), Jonathan Maberry (Planet of the Apes), and Sarah Stegall (Deadworld) for a lively look at one of the most popular and yet under-appreciated branches of the writing trade. Room 32AB

Sunday, July 22:
12:30pm-1:15pm Mysterious Galaxy booth #1119, Max and Barbara Collins will both be signing, with a number of titles available. (It’s always a great booth.)

* * *

A. Brad Schwartz – my co-author on Scarface and the Untouchable: Al Capone, Eliot Ness and the Battle for Chicago and I have done an article for the Chicago Review of Books on the upcoming Ness fest in Coudersport, Pennsylvania. We talk about Ness and Capone in some depth, so if you’re yearning for a real update/blog this week, check this out.

And check out this great five-minute clip from the forthcoming audiobook of Scarface and the Untouchable with the terrific Stefan Rudnicki (veteran of Quarry audios).

Speaking of Eliot Ness, here’s a nice Dark City review from Paperback Warrior.

Here is an intelligent and perceptive review of Quarry, a book I wrote a long time ago that seems to have something of a life.

The current Caleb York western, The Bloody Spur, makes the big time with this True West magazine review!

Here’s a Mike Hammer #1 comic book review, brief but nice.

And here’s another.

M.A.C.

Our Audie Murphy Film Festival

Tuesday, May 29th, 2018

Killing Town, the “lost” first Mike Hammer novel, is now available on audio read by the great Dan John Miller. Read about it here. If you support this audio (and the previous Journalstone Mike Hammer release, The Will to Kill), more will follow!

* * *

I am writing this week’s update on Memorial Day Weekend. It seems like a good time to say a few things about Audie Murphy.

First, let me share with you a part of my prep for writing the Caleb York novels for Kensington (under the Spillane & Collins byline) – essentially, how I get into the mood.

I am about to start the new Caleb, Last Stage to Hell Junction. Whenever I do a York novel, Barb and I have an appropriate western film festival, watching an “oater” each evening. For the first novel, The Legend of Caleb York (from Mickey’s screenplay, which started it all), we watched John Wayne westerns, as Mickey had written the screenplay for Wayne’s Batjac productions, though it had never been produced. My favorites, predictably, are The Searchers, Red River and Rio Bravo.

For The Big Showdown, we watched Randolph Scott, including all of his outstanding Budd Boetticher-directed westerns. For The Bloody Spur, our nightly western was a Joel McRae. And I have been gathering Audie Murphy’s westerns (and his other films) for several years now, with an eye on the festival Barb and I are beginning now.

Audie Murphy, of course, is celebrated as the most decorated American combat soldier of World War II. He received every military combat award, including the Medal of Honor, having – at age 19 – held off by himself an entire company of German soldiers for an hour, then (while wounded) leading a successful counterattack.

Murphy was a Texas boy from sharecropper stock who learned his skills with a rifle by putting food on the table for his six brothers and four sisters, after their father left their mother, who died when Audie was a teen. Murphy lied about his age to get into the U.S. Army, not long after Pearl Harbor (the Marines and Navy having turned him down).

After the war, making the cover of LIFE Magazine for his courageous service, he was taken under the wing of the great James Cagney. From the late forties until his tragic young death in 1971, Murphy was a movie star. Aside from a few A-pictures (like The Red Badge of Courage and The Unforgiven, both directed by John Huston), and several contemporary offerings, Murphy specialized in westerns, as well as a western TV series, Whispering Smith.

But his biggest success was starring as himself (a role he reluctantly accepted) in the film version of his autobiographical war account, To Hell and Back. He was a skilled horseman and a successful songwriter, his work recorded by such stars as Dean Martin, Harry Nillson, Eddy Arnold and Jimmy Dean, among many others. And, not surprisingly, he suffered from what we now call Post Traumatic Stress Disorder. He slept with a .45 automatic under his pillow.

Stopped for speeding, Murphy pulled over and, when the officer noticed the .45 on the seat next to the easily recognizable Audie, the cop smiled and said he was a big fan and wanted an autograph. Murphy provided it. Accosted by a gangster at a horserace, Murphy stared him down and said, “I killed sixty of you bums in Sicily – one more won’t make a difference.” The thug moved on. Many a brawny challenger who figured he’d pick a fight with Murphy was quickly and brutally dispatched by the five-foot-five war hero turned movie star.

Or so go the stories. More easily verified is Murphy’s refusal to do ads for cigarettes or liquor, not wanting to set a bad example for young people. He died in a small plane crash.

My character, Quarry, was in part inspired by Murphy. David Morell told me Rambo had the same source. And Robert Stack said his Ness portrayl was inspired by Murphy.

Around Memorial Day, and all year frankly, Audie’s grave at Arlington National Cemetery is among the most visited. He is probably remembered more for his incredible valor as a teenaged war hero than for his movie career, and while that’s understandable, I’m here to tell you he was a fine actor.

In his day – and still today – his ability to star in a film is perceived as a sort of “talking dog” thing – the dog doesn’t haven’t to say anything impressive to qualify for that distinction. My feeling is the studios (chiefly Universal) often felt they had to pair Murphy with a strong character actor – Walter Matthau, Dean Jagger, Barry Sullivan – to carry him.

But anyone at all savvy about film and film-acting can look at Murphy in almost any of his pictures and see how his instinctive, charismatic under-playing seems modern and real while many of the actors around him appear to be shouting and hamming it up. He is present in every scene, quietly reacting, watching, then delivering lines naturally and effectively.

And in scenes of violence, just who this baby-faced boy/man is always comes to the fore. He’s a killer. Real deal. Not a murderer, but a soldier who unflinchingly does what he has to. But he’s not one note: he can be boyish, he can be scary, he can be romantic, he can be funny, he can be tough as hell – as much as I like Randolph Scott (and that’s a lot), Murphy has far more colors to his palette.

We’ve been watching him for a week or so now, and not all of the movies are good – toward the mid-1960s (particularly when he’s not working at Universal), his films are programmers, bottom-bill fodder for drive-ins. But he made some fine westerns, too, and worked with such great genre directors as Don Siegel, Budd Boetticher and Jack Arnold.

My favorite, the latter director’s work, is No Name on the Bullet. Murphy is an assassin who comes to a small western town, quietly checks in at the hotel and minds his own business – only his business is killing someone while he’s in town…but who. Everyone in the community seems to have a secret worth killing for. It’s a very Quarry-like role. The quiet killer side of him is in evidence – the film is thoughtful, a sort of High Noon turned inside out, and Murphy is great. Just great.

In collecting Murphy’s films, I’ve had to order DVDs and Blu-rays from all over the world. A few are available here (including No Name on the Bullet), and there’s a nice boxed set from Turner Classic Movies – check it out.

Oddly, Murphy is considered a major star in Germany. Think about that – our decorated hero is revered by the losers, and patronized and even ignored by the winners. This is much odder than Jerry Lewis being lionized in France (though the French are right about Lewis, and they like Murphy, too, for that matter).

Salute this Texas sharecropper’s son, while Memorial Day is still in the air, won’t you? For his service to his country, by all means. But track down some of his movies. He was a real movie star, and – unlikely as it seems – a fine actor.

* * *

The forthcoming Scarface and the Untouchable is one of the ten summer books Chicago Magazine recommends.

Here’s a fine review of Killing Town.

Check out this advance look at the first issue of the Hammer four-issue comic book mini-series.

The Quarry TV series gets some love here.

Finally, here is a wonderful review of Antiques Wanted by a reviewer who really gets what Barb and I are up to.

M.A.C.