Posts Tagged ‘Road to Perdition’

Road Coming Plus Movie Walkouts

Tuesday, August 23rd, 2016

The Brash Books edition of the complete ROAD TO PERDITION novel is now available for pre-order at Amazon and Barnes & Noble in either print or e-book form.

It’s something of a dream come true for me to have my original version out there in the world, after having been forced back in 2002 to cut its 75,000 words to around 40,000, in addition to be made to rewrite it substantially to make it further conform to the film. This is the definitive edition of the prose version of what is undoubtedly my most famoeus and successful work. Read more about it at Brash’s web site.

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This Sunday Barb and I achieved something very special, a personal best: we walked out of two movies on the same day.

We watched forty-five minutes or so the new BEN-HUR, which I would describe as a travesty except a perfectly good word like “travesty” shouldn’t be wasted on this. Where to begin? A nothing score. Unneeded narration. Cheap-looking sets and costumes. Embarrassing dialogue. Slow pace. I felt sorry for actor Jack Huston, who was so memorable as a disfigured hitman on BOARDWALK EMPIRE. His Messala, Toby Kebbel, is an unattractive thug. The carpenter who, in the process of making a table or something, offers up some philosophy is…Jesus! Get it? Jesus.

Leaving a movie called BEN-HUR without staying for the chariot race is like leaving DEEP THROAT before Linda Lovelace gets examined by Doctor Harry Reems. But we left, scurrying across the hall with our 3-D glasses still on, to catch KUBO AND THE TWO STRINGS.

Now, some of you may have seen that film and loved it or anyway liked it, and lots of reviewers are gaga over it. But none of you suffered through 45 minutes of the new BEN-HUR before starting KUBO. KUBO is visually lovely, very poetic, and its use of stop motion over computer animation is most winning. But it’s also precious and full of itself, and is nothing approaching a story, at least not in the first hour. I would think for most children under twelve it would be mind-numbing. (My son Nate, with his bent for Japanese culture, may disagree with me.) There is a monkey, voiced blandly by Charlize Theron, who wore its welcome out quickly with us. The film is from Laika, the studio that produced PARANORMAN (which I liked very much) and BOX TROLLS (which I did not, though my smart friend Terry Beatty loved it…he may love this one, too).

As regular moviegoers, we are getting very worn down. I would suspect we have become cantankerous geezers if we didn’t find so much to like on TV. We just watched the excellent second season of THE TUNNEL, the British/French take on the nordic noir, THE BRIDGE, as well as a six-part Australian JACK IRISH mini-series called “Blind Faith” starring Guy Pearce. Both of these intelligently and skillfully use the police procedural and private eye melodrama respectively in ways that seem fresh and not at all dated, focusing on contemporary themes and subjects. The JACK IRISH is available on DVD and Blu-ray in the USA, but I got THE TUNNEL from Amazon UK (the first season has just become available here).

On an entirely different note, VICE PRINCIPALS with the great Danny McBride and the also great Walton Goggins is easily our favorite series currently airing – it’s very dark and yet somewhere deep down there is a beating human heart, in a world where the teachers are far more childish than the students.

Coming soon: QUARRY on Cinemax on September 9.

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Speaking of QUARRY, here is a positive UK review of the first novel, though the reviewer doesn’t quite get it….

And here’s a really great, perceptive QUARRY review from (wait for it) New Delhi!

Finally, give a listen to this interesting, interview-packed look at novelizations, featuring (among others) my pal Lee Goldberg and, well, me.


Catching up with Me

Tuesday, July 5th, 2016

Crusin’ at Muscatine’s Brew July 4

My pal Ed Gorman – one of the best writers around, and at least as good a friend – did an interview with me that I’d like to share with you. Here goes.

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1. Tell us about your current novel.

There are a couple of things that will become available soon. One is the complete version of the ROAD TO PERDITION novel. It was written in 2002 to accompany the release of the film, but DreamWorks licensing made me do a drastic cutting/rewrite, eliminating 30,000 words and any dialogue or action that wasn’t included in the book. I am very grateful to Brash Books for negotiating with DreamWorks for the real, complete novel to finally be published.

About the same time, Hard Case Crime will be bringing out QUARRY IN THE BLACK, obviously a new Quarry novel with what I think or hope is an interesting setting — George McGovern’s presidential campaign and a black leader in St. Louis who is supporting that ticket with public appearances. If you ever wanted to see how Quarry would behave at a Ku Klux Klan meeting, now is your chance.

And Otto Penzler is bringing out A LONG TIME DEAD, collecting eight Mike Hammer short stories that I developed from Spillane fragments. That’s exciting in part because there’s never been a Hammer short story collection before.

2. Can you give a sense of what you’re working on now?

I just finished a Mike Hammer novel, THE WILL TO KILL, working from a few chapters in Mickey Spillane’s files. It’s very unusual for a Hammer, because the mystery is right out of Agatha Christie, with greedy children fighting over the proceeds of a murdered patriarch’s estate.

Not too long before that, I did my pass on the new Barbara Allan mystery, ANTIQUES FRAME, co-written with my wife Barb. That was my first project after open-heart surgery and a minor stroke, and it was very gratifying to be able to get back up on the horse and ride so quickly. just weeks after the surgery.

Next up is EXECUTIVE ORDER, the third Reeder and Rogers political thriller, in collaboration with Matt Clemens.

3. What is the greatest pleasure of a writing career?

The greatest pleasure of a writing career is having one. The notion that I could ever hold down a normal job is highly suspect.

4. What is the greatest DISpleasure?

I don’t know if there’s a dis-pleasure for me. I really love this life. The things that frustrate me are minor in the bigger picture. For example, I despise having copy editors rewrite me, and have spent way too much time in my life putting various Humpty Dumptys back together. It’s always disappointing when a novel is critically ignored or particularly when the public ignores it. When a publisher drops a series, it can be crushing—I had to wait ten years before I felt I could re-launch Nathan Heller, and a lot of time was lost there.

5. If you have one piece of advice for the publishing world, what is it?

For the publishing world itself? Don’t judge an author by how well his or her last book sold. Judge each book on its own merits, and that includes proposed novels from authors whose professionalism isn’t in question.

6. Are there two or three forgotten mystery writers you’d like to see in print again?

So many of my favorites are back in print again in the POD and e-book fashion. But it would be nice to see Horace McCoy, Mike Roscoe and Roy Huggins out there in a more major way. I was pleased to see Ennis Willie finally get some attention, but unfortunately it’s faded somewhat.

7. Tell us about selling your first novel. Most writers never forget that moment.

Mine is easy to remember. I got the letter (my agent at the time never called me) on Dec. 24, 1971—BAIT MONEY, the first Nolan novel, had sold on Christmas Eve! When I told Donald E. Westlake about it—he’d been a mentor to me—he said, “Sometimes God behaves like O. Henry, and there’s nothing you can do about it.”

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Here are a few things on the Net you may enjoy.

First, this is a rare (and detailed) review of MICKEY SPILLANE ON SCREEN by Jim Traylor and me. The author gives me all the credit, which is wrong, but otherwise it’s an interesting read on what is apparently a very right-wing web site.

Take a gander at this early review of the Mike Hammer collection, A LONG TIME DEAD.

Finally, one of America’s greatest mystery book stores, Mysterious Bookshop, has signed copies (available by mail) of BETTER DEAD.


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I’m on the Tee-Vee!

Tuesday, June 21st, 2016

Actor Rick Gonzalez will play Wild Dog on ARROW

Plenty of people have been congratulating me on the addition of the character WILD DOG, the costumed hero Terry Beatty and I created in 1987, to the CW TV series ARROW. When I was preparing to put this update together, I decided to see how big a splash this news had made on the Internet. I stopped counting at 31 links to that news and to summaries of the WILD DOG comics from DC.

So I thought you might like an inside look at how this works for a creator of a comic book character. For example, you may be wondering how exactly DC informed Terry and me of this exciting news. The answer: they didn’t. You may be wondering how rich Terry and I will get from this wonderful windfall. The answer: we won’t.

Other comics creators in a similar situation have told us we can expect $100 for our trouble. I don’t know if that’s a C-note for each WILD DOG episode, or for his overall use. I also don’t know if Terry and I have to split that C-note.

Maybe we should haul out a Ouija board and see what Siegel and Shuster think.

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Tyler Hoechlin will play Superman on SUPERGIRL

In addition to the WILD DOG news, I’ve been popping up all over the Net due to the casting of Tyler Hoechlin as SUPERMAN on the CW series SUPERGIRL. (I am Trump huuuuuuge on the CW!). Tyler, as many readers of these updates surely know, played Michael Jr. in ROAD TO PERDITION. Many of the write-ups about Tyler’s good news point out that he’s played a comic-book hero before, which is how I managed to worm into a lot of the stories.

I remember vividly meeting Tyler on the set of ROAD. He was a smiling, friendly young man, and he got a kick out of it when I told him, “Don’t mention this to Tom Hanks, but you are the hero of this movie.” He was always a sunny, slightly shy presence at the various premieres of the film, and I am happy for his ever-expanding career.

In slightly related news, I received advance copies of the novel version of ROAD TO PERDITION, the complete book at last, something like 30,000 words longer than the previous paperback, with all of my dialogue and action restored. Brash Books has done a lovely job on it. Look for it in November (I’ll be signing copies at this year’s Bouchercon in New Orleans).

Here’s a link to one of the many “Tyler Hoechlin as Superman stories” that hit the Net this past week.

The Cedar Rapids Gazette published this terrific BETTER DEAD review.

By the way, Amazon (and other reviews) of BETTER DEAD, MURDER NEVER KNOCKS and ANTIQUES FATE would be much appreciated it. There’s an amusing BETTER DEAD review at Amazon that accuses Nate Heller and me of being left-wing loons – I’ve gotten a lot of that for SUPREME JUSTICE and FATE OF THE UNION, but this is a Heller first.

Finally, this nice WAR OF THE WORLDS MURDER review also popped up, appearing a couple of places.


Heart and Soul: Bonus Features

Tuesday, April 12th, 2016

Here’s a special treat that none of you have been asking for: brief reviews of every movie I watched while I was hospitalized.

Early on, when I learned open-heart surgery was in the cards, I bought a small portable Blu-ray player. Beyond its obvious use, during the upcoming hospital stay, I knew it would be cool to have on trips where early-to-bedder Barb could go to sleep in our hotel room while I watched something on the Blu-ray player, listening through headphones and not bothering her. Getting that Blu-ray portable was smart of me.

Here’s where I was dumb. Instead of picking DVDs and Blu-rays (from my stupidly large collection) that were either old favorites or which had a lot of potential, I filled a little CD case with oddball stuff I hadn’t got around to yet, and that I was pretty sure Barb would have no interest in.

But it was Barb who soon realized I was making my hospital time even worse by torturing myself with crap movies. I guess when you almost die, you have less patience for spending time pointlessly. So here’s a rundown on a bunch of movies that you should avoid. I’m using the Leonard Maltin four-star system, just don’t look for any four-stars. I usually am loathe to write bad reviews of movies. But since I loathed these movies, I’ll make these exceptions.

SMART GIRLS DON’T TALK (1948) – * ½. Pitiful excuse for a film noir with Virginia Mayo (her character all over the good-girl/bad-girl map) supported by Bruce Bennett and Robert Hutton, two of the dullest leading men on record.

CHRISTMAS EVE (1947) – * ½. Two of my favorite (if limited) actors, Randolph Scott and George Raft, in a sort of anthology movie that is among the dreariest Christmas movies ever made. After this contemporary misfire, Scott made only westerns. Good choice!

THE SUN SHINES BRIGHT (1953) – *. Worst John Ford movie ever. A personal favorite of his, and the pits – cornball smalltown humor, sentimental slop, and incredibly racist attitudes even for its era (Stepin Fetchit co-stars). A remake of a much earlier Ford starring Will Rogers. Full disclosure: the only one of these terrible movies I didn’t make it through.

CAPTAIN CAREY U.S.A. (1950). 1 ½ *. Incredibly dull, slow-moving Alan Ladd almost-noir. Don’t believe the “U.S.A.” – it takes place in a studio-created Italy. Somebody betrayed Ladd during the war and he wants to get even. I watched the thing and I’d like to get even myself.

THE CROOKED WAY (1949) – 1 ½ *. I’m a fan of John Payne, whose MIRACLE ON 34th STREET performance is pitch-perfect. Here he’s earning a paycheck as an amnesiac in a rote would-be noir that remembers only to hit every cliche, hard. I wish I could forget it.

YOU AND ME (1938) **. Probably the most interesting of these movies, but nonetheless an oddball misfire from director Fritz Lang. It’s a musical starring George Raft! Neither Raft nor co-star Sylvia Sidney sing. A Greek chorus of lowlifes, courtesy of Kurt Weill, recalls THREEPENNY OPERA, but nothing here was worth Bobby Darin covering. Bob Cummings plays a gangster!

MAN IN THE SHADOW (1957) 1 ½ *. Brain-numbingly predictable modern-day western in which the whole town stands up against a sheriff (Jeff Chandler) who wants to stand up against the rich guy who owns the place. That the rich guy is Orson Welles in a fake nose somehow only makes it worse. Written by STAR TREK scripter Gene L. Coon, who should have known better.

ASSAULT ON A QUEEN (1966) **. Conceived as a nautical take on OCEAN’S 11, and based on a Jack Finney novel, this one has Frank Sinatra very much in TONY ROME mode. Fine, but then the plot turns out to be about using a recovered Nazi sub to rob the Queen Mary. Sinatra participates because he likes the way Virna Lisi looks. I don’t disagree with that, but I wouldn’t try to knock over the Queen Mary for her, particularly in the company of an unbearable Tony Franciosa.

No Man's Woman

NO MAN’S WOMAN – (1955) *. This by-the-numbers low-end crime melodrama (calling it noir is a stretch) holds a strange fascination by playing like an early PERRY MASON episode, right down to Marie Windsor’s femme fatale racking up an array of suspects in the early reels for after she gets murdered. Just about every actor here appeared on a MASON, but without Raymond Burr, William Hopper and Barbara Hale, the result is lacking somehow.

THE ANGRY HILLS – * (1959). Barb actually brought me this at the hospital (it had arrived in the mail) because she was concerned about the effect lousy movies were having on me. Much looked forward to by me, it’s the rejoining of KISS ME DEADLY’s director (Robert Aldrich) and writer (A.I. Bezzerides). And it stars Robert Mitchum! And it blows!
During World War Two, reporter Mitchum wanders around Europe to deliver a message to somebody. The Warner Archive DVD must be the European cut, because there’s a lengthy topless dancer scene that doesn’t mitigate the agony.

CURSE OF THE FACELESS MAN – (1958) **. Slow-moving, unexciting rip-off of THE MUMMY. Standard B schlock from notorious team of director Edward L. Cahn and producer Robert E. Kent. Another STAR TREK writer, Jerome Bixby, shares the guilt. Why do I do this to myself?

BEACHHEAD – (1954) **. Tony Curtis gets out-acted by Frank Lovejoy as they portray two soldiers during World War Two, who openly hate each other, yet are somehow selected to cross enemy territory together to deliver a message (Robert Mitchum wasn’t available). They pick up a cute love interest along the way (Mary Murphy of THE WILD ONE) but I still fell asleep in the middle of it and didn’t bother going back to see what I missed when I woke up.

SPELLBINDER – (1988) **½. Probably my favorite of these movies, which is the faintest of praise. An okay ‘80s horror flick with Timothy Daly doing a nice job as a regular guy who falls for gorgeous coven escapee, Kelly Preston. Think of it as ROSEMARY’S BABE, with a predictably downbeat ending.

A LOVELY WAY TO DIE – (1968) **. A goofy, crazily sexist private eye mystery that is almost enjoyable, thanks to the high energy of Kirk Douglas. But it goes on forever…well, an hour and forty-one minutes, which is long enough. Remember when a helicopter chasing a car was exciting? Me either.

And you thought you’d heard about the worst horrors that greeted me during my hospital stay!

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Here’s a terrific MURDER NEVER KNOCKS review.

Jeff Pierce at the Rap Sheet wrote about the pending publication by Brash Books of my complete ROAD TO PERDITION novel. Scroll down for it.

Here, from Open Book Society, is a review of the recently re-published QUARRY’S CUT.

My pal Bill Crider wrote this great piece about QUARRY’S VOTE, also recently republished.

Finally, here’s a terrific ANTIQUES FATE review from the great Ed Gorman. The book is out soon!