Posts Tagged ‘Scarface and the Untouchable’

Valentine’s Day Reflections

Tuesday, February 20th, 2018

I try not to delve into politics much here. Most people know that I am left of center, but not so far left as to have any trouble with writing about Mike Hammer. This week I want to share a couple of things with you.

This cartoon, which appeared in the Quad City Times, is eloquent in its depiction of Iowa’s two senators, Joni Ernst and Chuck Grassley, who I consider to be embarrassments not just to my home state but the human race.

In another paper, a little thing called The New York Times, A. Brad Schwartz – my co-author on the forthcoming Scarface and the Untouchable: Al Capone, Eliot Ness and the Battle for Chicago – contributed an op-ed piece. Take the time to read it – “How the St. Valentine’s Day Massacre Changed Gun Laws.” You will among others things see how well Brad writes, and may wonder if in our collaboration I am up to anything more than keeping the pencils sharpened and making sure the printer doesn’t run out of paper.

My contribution to this fine piece, by the way, was to e-mail Brad, on the day the Florida shooting occurred, wondering why no one in media had yet made the St. Valentine’s Day connection. He was already on the case, but maybe I stoked the fire a little.

For the record, I support the Second Amendment. I just have no respect for (a) a hunter who needs an AR-15 or AK-47 to hit a deer, or (b) some guy who gets hard using that kind of weapon for target practice.

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Here’s a link to the Projection Booth podcast, Episode 352: Kiss Me Deadly (1955), a smart, in depth look at that great film with a lengthy, detailed interview with me. My only regret is that I didn’t focus more on the film itself – maybe next time.

Bill Crider is gone, but definitely not forgotten. Here’s a great interview with him.

And finally this lovely Crider tribute from J. Kingston Pierce.

M.A.C.

October Country

Tuesday, October 24th, 2017

Barb and I often watch a movie on Blu-ray or DVD in the evenings, and when October rolls around, we make a steady diet of horror films.

For many years, Barb avoided most modern horror films (she’s always liked “monster movies”), but after she worked on Mommy and Mommy’s Day, and had a behind-the-scenes glimpse at making movie mayhem, she has been much more open to such fare. In particular she is a fan of the Alien movies, in part because of the strong female central characters in those films (Aliens by far her favorite).

In the past we’ve gone through the Universal horror films, many Hammer UK films, as well as the Scream, Halloween and Nightmare on Elm Street franchises. This year we tackled Friday the 13th, although we stalled out after number five (a good entry), having begun to tire with number four (a bad entry). We decided to pick up next October with the rest of the series.

The only real misfire was the Phantasm series, which I like but Barb couldn’t abide. I understand that – the Phantasm movies are a very quirky affair and you either get into their sloppy but earnest amateur style or you don’t.

We took comedic side trips into Abbott and Costello Meet Frankenstein and Chopping Mall, the latter a film I’d watched earlier this year and put on the “Barb should see this” pile. I have several more of those I want to show her, mostly low-budget ‘80s fare that had limited releases theatrically but success on home video (not unlike Mommy); these include Warlock and Wishmaster, both spawning series that quickly got terrible. Vamp and the two Waxworks film are pending.

The top of the pile (and I spoke of this one before, briefly) is the South Korean film, Train to Busan. If you haven’t seen this, you need to. I avoided it for a while because it is a zombie film, and I’m fairly sick of those. But Busan is a remarkable piece of filmmaking that works on many levels, not the least of which is the scarcy-as-frigging-hell one. Most of it takes place on a train where a handful of survivors are wading through and battling off the many passengers who have gotten infected, died and quickly returned as ravenous zombies. In that regard, Busan is like Dawn of the Dead and other good zombie movies that have a strong adventure aspect – a resilient group of humans flees and outwits a zombie horde.

Train to Busan

But Busan has many serious socially charged themes, including greed, sacrifice, family, and bio-tech hazard. It’s also well-acted and brilliantly shot and staged; the director is Yeon Sang-ho. I think of the Hollywood fare that I’ve either suffered through or walked out on, in recent years, and see in BUSAN a level of filmmaking I’ve rarely encountered of late. I believe you can find this streaming on various services, and the Blu-ray is inexpensive.

We did take a break from horror to watch the fifth season of Wentworth, the reboot/re-imagining of the great Aussie soap opera, Prisoner Cell Block H (actually, just “Prisoner” in its native land, Patrick McGoohan nowhere in sight). We’re about two-thirds through and remain riveted to this deftly plotted and well-acted series, which strikes me as better than any TV series currently generated in America in the crime genre.

A sixth season is in the works. This one is on Netflix, I believe. We’re watching it on a Blu-ray from the UK.

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On the health front, I am doing quite well. I have a procedure scheduled this week that I may be able to skip, as medication seems to have gotten rid of my a-fib and put my heartbeat back where it’s supposed to be. A cough that has nagged me for many weeks seems beaten back, too, and my energy level is close to normal. I am taking a shitload of pills, but gradually am getting off some of them.

I do regret missing Bouchercon. Looks like everybody had a great time.

On the work front, editing on Scarface and the Untouchable by A. Brad Schwartz and myself continues apace. Killing Town has been delivered, and I am researching the next Heller and hope to be writing in early November.

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Here’s a review column by the great Maxim Jakubowski (no one knows his stuff better) that includes a nifty Quarry’s Climax review.

Check out this terrific Bookreporter review of Quarry’s Climax.

And here’s an interview with me on the Quarry novels from Adam Hill.

M.A.C.

Toe Hold

Tuesday, August 8th, 2017

This will be a brief update, because I have just returned from having Cortisone shot into my arthritic big toe. It doesn’t hurt but I am woozier than usual. Yes, after defeating open-heart and lung surgery, not to mention whooping cough (but I guess I did just mention it), I am facing defeat at the hands of a toe.

But it takes more than excruciating pain to stop me from entertaining my public. My wife will, however, tell you that living with when I am not just a pain but am in pain is no effing picnic. Just yesterday she lovingly reminded me that I am more trouble than I’m worth.

I knew that, but an occasional reminder comes in handy.

I’m preparing to get back to writing the new Mike Hammer comic book mini-series (issue #1 delivered) and fighting that just-stepped-off-the-merry-go-round feeling from having shipped Scarface & the Untouchable, co-written by Brad Schwartz. What an incredible collaborator! The level of research into Eliot Ness that Brad pulled off is staggering. Very proud of this – almost 150,000 words, not counting end notes!

A quick note on a movie that you should seek out, either streaming or on Blu-Ray (it’s available cheap, lots of places): Train to Busan, a South Korean film that’s on the list of all-time high-grossers (in several senses) in that country. I avoided this for a while because it’s a zombie movie and I’m kind of zombied out.

But this rivals any zombie movie I’ve ever seen, including Romero ones, and has a lot more going on that just the undead trying to catch a train, or claw their way off one, either. The story is about a business-oriented father and his neglected child, and the theme is our responsibility to each other. It’s always scary as hell. I found it more reminiscent of John Carpenter’s great Assault on Precinct 13 than any zombie film, and that’s high praise indeed.

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For the month of August, Supreme Justice, Fate of the Union, and Executive Order are $1.99 each on the Kindle Store. Check them out at these links:

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That top-notch scribe Ron Fortier likes Murder Never Knockssee what he has to say about it!

Here is JournalStone’s announcement of The Will to Kill on audio.

And here is their announcement for Hardboiled Horror, an anthology of noir horror yarns that includes a new one by me and my frequent cohort in crime, Matt Clemens.

Check out this terrific piece on tie-in writing (from the Atlantic, no less!) that includes sage wisdom from an expert (humility prevents me from saying more).

Here’s a podcast on Wild Dog that I haven’t had a chance to listen to yet.

Finally, here’s a new review of The Baby Blue Rip-Off, which I wrote forty or fifty years ago (the book, not the review….).

…I Spoke Too Soon

Tuesday, August 1st, 2017

Remember how last week I talked about how good the summer movies were, and how Barb and I didn’t seem to be walking out of movies anymore?

Then Atomic Blonde happened.

This was one I was really looking forward to – Charlize Theron as a spy in ‘90s Eurotrash-ville, showing off stylish clothes of the era, a popcorn flick with lots of action and a striking visual sense. Based on the trailer anyway.

And Charlize looks great. The visual style and the ‘90s fashions also look great. Lots of style, plenty of style, oodles of style.

No substance.

But you know what? I don’t care as long as I’m entertained. Hold me past my popcorn and I’m yours. But after forty-five minutes, Barb and I bailed. Life is too short.

Here’s the thing. The script sucks. It sets up a convoluted structure, where Charlize is getting debriefed (and not in the fun way) by solid actors Toby Jones and John Goodman. But the flashback-and-forth stuff tries to disguise a shopworn espionage set-up. Guess what the Maguffin is? Somebody has stolen a list of all the Western secret agents and if it’s found and they are exposed blah blah blah. Oh, and agent Jane Blonde…you are also try to uncover the traitor in our camp.

Then when you get to the airport, Jane, be sure to climb into the suspiciously waiting car not driven by the guy who’s supposed to pick you up. If you’re confused, just watch the start of Dr. No. You remember Dr. No, don’t you? It was released in fricking 1962!

Then, kids, stay tuned for mindless carnage and Charlize taking lots of baths in tubs full of fake ice cubes between stints of trying to convince you she’s a martial artist and…whoops, the popcorn’s gone.

Us, too.

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The Prowler

So what have I seen that I liked lately?

Bizarre as it may seem, I caught up with two very well regarded films noir that I hadn’t gotten around to seeing yet. Both looked splendid on Blu-ray.

The Prowler, directed by the sometimes obtuse Joseph Losey, is a terrific 1951 crime movie ghosted by blacklister Dalton Trumbo, also responsible for the script of the great Gun Crazy. Van Heflin plays against type (he’s not the friendly rancher of Shane here) as a sort of male “femme fatale” who ensnares lonely housewife Evelyn Keyes in a Postman Always Rings Twice variant. Heflin is a sleazy, smirky cop, and we don’t even see the husband/victim till the murder – previously just been a disembodied voice on the radio. Wonderful.

On Dangerous Ground is from 1952. I can’t believe I never saw this before! The stars are Robert Ryan, Ida Lupino and Ward Bond, and the direction is by Nicholas Ray, produced by John Houseman. Despite this pedigree, the key credits are writer A.I. Bezzerides (who penned the screenplay for Kiss Me Deadly) and composer Bernard Herrmann, who for this low-budget B offers up a haunting score that prefigures every major noir/crime score of his to come. Ryan is a tough cop, as beaten down by his job as the punks he batters confessions out of. Bezzerides is clearly taking Spillane on, three years before Kiss Me Deadly (!), lambasting both tough-guy brutality and eye-for-an-eye justice, by way of Ward Bond’s out-of-control bereaved father. Ryan encounters blind Ida Lupino, a gentle soul who reveals his own metaphorical blindness. The narrative moves a little too fast to be credible, but forget it, Jake – it’s melodrama-town.

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With luck, when you read this, I will have delivered the manuscript for Scarface & the Untouchable: Al Capone, Eliot Ness and the Battle for Chicago by M.A.C. and A. Brad Schwartz. Almost 900 pages, including end notes and bibliography.

So today’s update is brief.

I have things to do.

M.A.C.