Mr. George A. Romero

Some years ago now, I wrote a rambling blog post that was titled “Closing the Loop On Romero.” I still have what I wrote but I’ll spare us the reposting of it. The gist of it was that when I was in the seventh grade, in my Advanced English class, we watched two films, a 1955 film titled “Les Diaboliques,” in which a wife and mistress plot to get rid of the abusive man they’ve been sharing at their digs at a French boarding school owned by the wife, and a 1968 film titled “Night of the Living Dead,” in which a group of people hole up in an abandoned house in order to escape the “living dead” rising up out of the cemetery, whom seem to be interested in dining on human flesh, which makes it sound sophomoric when it is, in fact, completely adult, and despite our seeming cultural desensitization to such horrors, if you engage your brain and think about what you’re watching, it remains a completely terrifying film.

These two films taught me to understand films as art. These two films began my fascination with films as art. It was one of those moments in life when the world changed for me, expanded, deepened, became more interesting.

Imagine the world if George Romero had never made the film, “Night of the Living Dead.” It is an art film. It has been selected for historical preservation by the Library of Congress. “Night of the Living Dead” has a lot to teach us about the ways in which people interact with one another. It isn’t the first so-called zombie film, it is, however, the zombie film that irrevocably changed our cultural landscape.

Rest in peace, Mr. Romero.

The Girl in Geiger’s Bookstore Didn’t Know That

When it comes to my favorite films, I like what I deem to be good films regardless of genre. That said, I can also appreciate a film as being a good film, without actually, or necessarily, liking the film myself. There are also films that I have enjoyed or liked that I don’t know could even arguably be classified as “good” films. But, I was thinking the other day about my favorite Noir and crime films, and such.

Let’s get the Bogarting done.

The Big Sleep, 1946
Howard Hawks directed, based on the novel by Raymond Chandler, which I’ve read and enjoyed.
The running time on this one is just under two hours. It’s plot heavy, and it is good. Bogart portrays private eye Philip Marlowe in this one, hired by General Sternwood, to resolve the gambling debts of his younger daughter, the coy and coquettish Carmen Sternwood, played to perfection by Martha Vickers. Enter Lauren Bacall as the older daughter, Vivian Rutledge. Where Carmen is high, or drunk, and playing cutesy with everything, Vivian is sharp and savvy, and thinks that their father’s true motive in hiring Marlowe is to try to find the missing Sean Regan. This film is loaded with great lines and some of my favorite scenes in any film ever. Including a wonderful bit of business between Bogart and actress Dorothy Malone. Marlowe has just been at Geiger’s bookstore, asking questions, now he’s at the book store across the street…

That scene pains me, somewhat, as I know of a time or two when someone might have asked me something I should have known and I didn’t have the answer, but that’s not the point for this writing, the point is that in life, sometimes we forget things or our mind is “somewhere else,” but in Noir films, not having the answer when you should have the answer, that definitely means that something is rotten in Denmark.  A thoroughly enjoyable film, with the usual powder keg of chemistry going on between Bogart and Bacall, though really, every scene in this one is practically smoldering.

Martha Vickers as Carmen Sternwood. (Every time I see this scene, I think someone should smack her, I think that would be awfully cute.)

Dark Passage, 1947,
Delmer Daves directed this one, based on a book by David Goodis. This one is gimmicky, which is most of what makes this one worth the watch. Bogart is Vincent Parry, newly escaped from San Quentin, the open scenes are shot from his sight line so that we don’t see his face. Lauren Bacall is Irene Jansen, she followed Parry’s case and believes he is innocent. Enter Agnes Moorehead (Bewitched) as Madge, an acquaintance of Irene’s who won’t go away, and a woman who Vincent Parry once spurned, and you’ve got the makings of some good suspense. Exteriors were shot in and around San Francisco, also worth seeing.

Casablanca, 1942, Classified as a romantic drama, this is one is also ever bit a foray into the shadows of noir. An all-star cast, Bogart, Ingrid Bergman, Paul Henreid, Sydney Greenstreet, Claude Raines, and Peter Lorre. Set in Casablanca during World War II, Rick, ( Bogart), is caught between a rock and a hard place when he encounters an old love who is wedded to a new problem. This film is beautiful. Directed by Michael Curtiz, and, apparently based on a play ( I’m learning some of this as I go) by Murray Bennet and Joan Allison titled, “Everybody Comes to Ricks”, it wasn’t expected to do much of anything out of the ordinary at the box office. It went on to win the Academy Award for best picture. I’m not much of an Ingrid Bergman fan, this film though, is a favorite.

The Maltese Falcon, 1941, Based on the book by Dashiell Hammett, which I’ve read, this film was John Huston’s directorial debut. One of my favorite films of all time, this one is over the top Noir with a cast that is completely spot on nailing every line in every scene. Bogart, Mary Astor, Sydney Greenstreet, Peter Lorre, Jerome Cowan, Ward Bond, Elisha Cook Jr, Lee Patrick, really wonderful casting across the board. Bogart is Sam Spade, of Spade and Archer, Mary Astor is Ruth Wonderly, or Brigid O’Shaunessy, a woman with a sob story, or several, to sift through before we find out what everyone is really after, the black bird, the dingus, The Maltese Falcon, rumored to be encrusted with jewels and worth a fortune.

Rear Window, 1954, This is an Alfred Hitchcock Technicolor masterpiece based on a short story, “It Had to Be Murder”, by Cornell Woolrich. Photographer Jeff Jefferies, (Jimmy Stewart), has broken his leg and can’t leave his apartment which over looks a common courtyard and invites voyeuristic views into the apartments of his neighbors, one of which is Lars Thorwald, (Raymond Burr). Jeff and his girlfriend Lisa, (Grace Kelly), become enthralled with some of the goings on of his neighbors until their spying leads them to the conclusion that something has gone seriously wrong in one of the other apartments. Stylistically shot in fine Hitchcock fashion with some levity provided by Thelma Ritter as Stella, Jeff’s insurance company appointed nurse, I’ve watched this one many times and have never failed to be on the edge of my seat by the closing scenes.

L.A. Confidential, 1997, Directed by Curtis Hanson, based on the book of the same name by James Ellroy, set in 1953, I wish they made more films that look like this. A hard-boiled, old-style, neo-noir, crime story of organized crime and police corruption, it’s smarter than smart, but it also has great character arcs as each of the main characters undergoes a transformation to a change of perspective about whatever they though and however they’ve been doing things. There’s a depth to this one, and outstanding performances. One of my favorite scenes is at the beginning of the interaction between Lynn Bracken ( Kim Basinger), and Bud White ( Russell Crowe), when she pulls back the curtain on the silken facade of her life, and reveals her chintzy, private, bedroom, and lets him in. In addition to Basinger and Crowe, this film stars James Cromwell, Kevin Spacey, Guy Pearce, Danny Devito, David Strathairn, and a stellar cast of supporting players.

The Replacement Killers, 1998, Director Antoine Fuqua, based on a screenplay by Ken Sanzel. John Woo contributed his directorial skills to the action scenes, and this film is generally considered to be an action film due to the number of shoot ’em up scenes, Starring Chow Yun Fat, Mira Sorvino, Michael Rooker, and Kenneth Tsang, this is the story of a hit-man who decides not to carry out an assassination for a powerful crime boss, and the consequences of that decision. I think Mira Sorvino delivers one of her best performances as the tough as nails with tons of heart, Meg Coburn, who deals in forged documents and false identities. Danny Trejo is also in this one as one of the “replacement killers.”

Jackie Brown, 1997 Directed by Quentin Tarantino, adapted and written for the screen by Tarantino, from Elmore Leonard’s 1992 novel, Rum Punch. A stewardess, Jackie Brown, portrayed by Pam Grier, smuggles money from Mexico for Ordell Robbie, ( Samuel L, Jackson) and she gets caught. How she gets out of that mess is what the story is about. This one is about the performances. As Tarantino films go, I like this one far better than “Pulp Fiction”, I think it’s smarter, and a more interesting story. Robert Forster is fantastic as the unflappable bail bondsman, Max Cherry, Michael Keaton is spot on as the arrogant ATF agent, Ray Nicolette. Also starring Robert DeNiro and Bridget Fonda in supporting roles, this one has another killer Tarantino soundtrack as well.

Thief, 1981 Written and directed by Michael Mann, based on a novel written by real-life jewel thief, John Seybold, again, this one is about the performances. James Caan is Frank, a no-nonsense, career criminal, who, after falling for an equally disillusioned cashier named Jessie, (Tuesday Weld), decides that maybe he can have a family life too. Excellent performances by a supporting cast that includes James Belushi, Robert Prosky, and Willie Nelson.

Tequila Sunrise, 1988 Written and directed by Robert Towne. This film is classic 1980’s overly polished beautiful, in a way, like the polished noir films of the 40’s. Mel Gibson delivers an interestingly earnest performance as Dale McKussic, the drug dealer with the heart of gold who’s really trying to quit, and no one wants him to quit. He’s got a money-grubbing bitch of an ex-wife with whom he has a son, his oldest friend is a detective trying to bust him, his brother is an idiot who wants to play drug dealer too, he’s trying to untangle himself from his dealings with a Mexican drug-lord, and he’s fallen in love with a beautiful restaurant owner whom he fears would never want him and, though she is guileless, she is tougher than she looks. Not particularly hard-boiled, this is an entertaining film, with a big name cast, some great lines and gorgeous scenery.

Gunshy, 1998 Directed by Jeff Celentano. William Peterson plays Jake Bridges, a writer coming off of a bad relationship looking to punish himself with alcohol and getting into trouble. Really though, Michael Wincott as small-time gangster Frankie McGregor, who is in love with Melissa, portrayed by Diane Lane, steals a lot of this movie, as his friendship with Jake develops, and they all try to get out of this story alive.

HEAT, 1995, Written and directed by Michael Mann. This film is completely over-cooked with way too much star-power in it, and, it’s a good one anyway, with one of the biggest shoot outs ever. Apparently the film was based on a true story.

To Live and Die in L.A., 1985, Directed by William Friedkin, based on a novel by a former U.S. Secret Service Agent, Gerald Petievich, and that sounds like an interesting read. This movie is another one that really looks like the 1980’s, though with less polish. The main characters in this film are kind of pretentious and having a pissing contest with each other. Rick Masters ( Willem Dafoe)  makes funny-money, he is a very successful counterfeiter. Chance is the Secret Service Agent who is out to get him. I had a heck of a crush on “Chance”, portrayed by William Peterson, for a while, and I think that it’s the heart of the character Ruth Lanier, portrayed by Darlanne Fluegel, whom Chance is having a relationship with and extorting information from, that saves the movie because it gives some humanity to these characters who are operating completely without boundaries or conscience. Ruth wants out of the situation, has some feeling for Chance, wants to be able to see her kid, and is continuously faced with the reality that Chance is just using her. Agent John Vukovich, played by John Pankow, also lends some of that reality to the story as he is completely freaked out by how totally out of control Chance is. I’ve even seen the version of this with the alternate ending for Chance and Vukovich. John Turturo has a supporting role as snitch, Carl Cody. This film has in it what I think is the best film car chase of all time. It also has one of the best all time soundtracks by Wang Chung.

Double Indemnity, 1944 Directed by Billy Wilder, co-written by Wilder and Raymond Chandler, based on a novella by James M. Cain ( The Postman Always Rings Twice, Mildred Pierce), it is considered by many to be the film that set the standard for film noir. Walter Neff ( Fred MacMurray) sells insurance. Phyliss Dietrichson ( Barbara Stanwyck), is a cold, scheming woman, who wants her husband dead. The rest, as they say, is film history.  Listen baby, listen…

No Country For Old Men, 2007 Written and directed by the Coen brothers, based on the Corman McCarthy novel of the same name and classified as a neo-western, neo-noir, film, I tend to think of it as “rural noir,” this film was a surprise when it hit the box office and opened the door for a new era of story telling in the main stream. Llewelyn Moss ( Josh Brolin)  happens upon the aftermath of a massacre after a drug deal gone bad. He leaves the scene with two million dollars, the kind of money that someone is going to come looking for. Enter Anton Chigurh ( Javier Bardam) as the “bad guy,” the kind of bad guy that is keeping his own code, Carson Wells ( Woody Harrelson) as the other bad guy, and Sheriff Ed Tom Bell ( Tommy Lee Jones). This is one of those movies where the onscreen presence of Chigurh is such that you know how it’s going to end, but you keep watching anyway because it’s hard not to like Llewelyn Moss, or a man with two first names, Ed Tom, who is frustrated with the lack of common sense that he deals with on a daily basis in his general periphery.

The Usual Suspects, 1995 Directed by Bryan Singer, written by Christopher McQuarrie. An all-star ensemble cast in a complicated, convoluted, story of revenge. Who is Keyser Soze? And did Fenster always mumble? Seemingly coincidentally thrown together in a jail cell, a group of individual career criminals know that something isn’t adding up. They decide to pull a job together and are then approached by a Mr. Kobayashi, with an offer that none of them can really refuse. Worth watching for the casting, Gabriel Byrne didn’t want to do this film due to turmoil in his personal life at the time, it is, however, the intensity of his performance as Keaton, that anchors this movie.

In The Electric Mist, 2009 Directed by Bertrand Tavernier, adapted for the screen from a James Lee Burke novel, I watched this on the Netflix when it was briefly available for streaming. This one is Southern Noir. Detective Dave Robicheaux ( Tommy Lee Jones) is trying to solve a grisly murder while dealing with a film company that has set up camp in Iberia Parrish. He suspects Julie “Baby Feet” Balboni, ( John Goodman), a known criminal with ties to the mafia. He later gets information that perhaps it is another suspect. Meanwhile, a drunken actor has taken up residence in Robicheaux’s house while trying to dry out, and Robicheaux himself is drugged while at a party and has a strange experience where he meets a Civil War Soldier, played by Levon Helm, in the electric mist. Really good movie. I bet the book is worth reading as well.

Hell or High Water, 2016 Directed by David MacKenzie and written by Taylor Sheridan, this rural noir, is the story of brothers Toby (Chris Pine) and Tanner (Ben Foster) Howard trying to save the family ranch by robbing banks. But not just any banks, they’re robbing branches of the bank that holds the note on the family’s property. Texas Rangers, portrayed by Jeff Bridges and Gil Birmingham, are trying to catch them. This one has it all, great story, good acting, unpredictable.

Out Of Sight, 1998 Directed by Stephen Soderberg, adapted by Scott Frank, from an Elmore Leonard novel, one that I’ve read, this is a stylish crime movie with some good romantic comedy thrown in. Escaped bank robber Jack Foley ( George Clooney), and U.S. Marshall, Karen Cisco, ( Jennifer Lopez) end up temporarily locked in the trunk of a car together where he proceeds to try to charm her and discovers that though on opposite sides of the law they may be, they have something in common. Ving Rhames, Steve Zahn, Don Cheadle, Albert Brooks, Dennis Farina, Michael Keaton appears as Ray Nicolette ( Jackie Brown.) Some great dialogue. Good movie. “You wanted to tussle.”

The Noir that I cut my teeth on was episodes of the old Perry Mason television series that I was watching and figuring out who dunnit when I was in grade school, and those are still some great stories. I was also a big fan of the true crime series “City Confidential.” I will sometimes still watch episodes of both of those shows. I teared up at the last episode of “Justified”, and thought that the British series, “Luther”, was outstanding. “Twin Peaks” was good, though it was slightly more surreal than I like my Noir. Documentaries that I though were pretty good, “Cocaine Cowboys”(2006), “The Seven Five” ( 2014), checking Netflix I see that there are a couple of other installments of “Cocaine Cowboys” to check out. Other notable favorites along these lines, “Midnight in the Garden of Good and Evil” both the film and the book are excellent, a film called “The Town” from 2010 that was adapted from a novel  by Chuck Hogan, called “Prince of Thieves”, by Ben Affleck,  “Devil in a Blue Dress” 1995, 1957’s “The Sweet Smell of Success”, 1987’s “Someone to Watch Over Me”, though I haven’t seen that one in years, and my movies to watch list got a lot longer in writing this. I can add that to all of the James Ellroy novels that I want to get back to reading.

Enjoy!

TS

 

Writing, Reading Saint Joan, The Page for the Vampire Novels, Other Things

After having taken about a month off from writing, I’m writing again. I won’t say what or whats just yet. My former policy, of many years, of ever, was that I did not discuss what I was writing while I was writing it and that really works better for me. It also works out better for those times when you decided not to write whatever it is, as sometimes happens.

I’m reading, from what I am calling “The Big Book of Joan.” The Big Book of Joan is really this book,  “We Tell Ourselves Stories In Order To Live: Collected Non-Fiction” of one Saint Joan. She is intelligent, observant, her wit is dry, self-deprecating, she is unabashedly scathing in some of her commentary, unvarnished, bored, detached, engaged, morbidly interested in some very dark things, the criminal mind, her observations of having been present for certain historical events of the late 1960’s, the 1970’s, who knows what all, she sat in on a recording session with The Doors, wherein Jim Morrison was nearly a no-show and tells it in the most droll way as though it were any other day and I guess, for her, in those days, it kind of was, though not. She is habitually unimpressed, until she is impressed. It is speaking to me, and I am loving it.

I’m building up the page for my vampire hunter series of books, that would mean that there will be more than one but, I don’t know how many. I decided on something for the page that will be a constant throughout the books and that is The Agency, The Aeternus Fidei, and I invite you to really check out the page, to please follow it if you are interested, as there will be more character profiles and behind the scenes information about the book. This thing is smoking hot, sex, love, vampire hunting, vampires hunting, it is violent and contains adult themes, it is, essentially, a crime/horror novel about the hunt for a vicious serial killer and all that that implies,  I don’t want to mislead anyone about that. But, it is urban fantasy and romance as well. This book and series has it all and I hope that you will check it out here!

Recent movies, watching … “Hacksaw Ridge”, was really good. I managed not to watch some of the more graphic scenes which are apparently some of the most graphic such scenes ever portrayed on film, nonetheless, great story, wonderfully told and acted. I also recently watched, for the first time, the classic film “Mildred Pierce”, (1945), starring Joan Crawford, a Joan of a different…Joan. It was good enough that I watched the whole thing. I’d tried to watch it once before and for whatever reason didn’t. Classified as a noir, a crime story, and it is that, but it’s really one of those old school star vehicles, like “Imitation of Life” was for Lana Turner. What I found interesting about “Mildred Pierce”, is that despite Crawford herself having come from humble beginnings, she’s hard to believe as the scrappy nobody who’s determined to be successful in order to continue to give her spoiled daughter everything that she, herself, never had. Her onscreen presence is beyond that from the beginning, and her performance, while good, is classically Joan Crawford cold. Really, it’s kind of worth watching to see Eve Arden as Ida Corwin, Mildred’s co-worker and friend. Overall, I’d give it a B+. As classic films go, it is considered to be one of the all time greats. Still catching up on episodes of “Supernatural.” This was a show that I didn’t really start watching until maybe a year and a half ago? when I went to episode one and have watched it all the way through to nearly being caught up now. I love this show. Also watching “The Story of God with Morgan Freeman”, and so far it has been excellent. The series explores different views of spirituality from the perspectives of different religions, and you can check that out here, on Nat Geo.

I don’t feel as rushed lately, perhaps I should, but, nonetheless, I am drinking coffee and tea at all hours still so, there’s that. It’s good to be writing again.

TS