The recent death of Michael Cimino saw an outpouring of positive critical and fan commentary about the director’s work. The two films most talked about were the controversial Vietnam War drama, The Deer Hunter (1978), and the sprawling revisionist Western epic, Heaven’s Gate (1980). The Deer Hunter was a hit and won five academy awards. Heaven’s Gate virtually destroyed Cimino’s career and nearly bankrupted United Artists, but has since gone on to enjoy a curious critical rehabilitation, a development which will no doubt be given a prod by the director’s passing.
Cimino did make other films, including The Sicilian (1987) and Desperate Hours, based on the Joseph Hanson stage play and first filmed in 1955 with an ageing Humphrey Bogart, and he penned the scrips for a handful of others. His passing is an opportune time to revisit one of his lessor discussed directorial efforts, the first film he made in the wake the Heaven’s Gate debacle, 1985 neo noir, Year of the Dragon.
Set in New York’s Chinatown, Year of the Dragon opens with the assassination of one of Chinatown’s elders and the murder of an Italian grocery store owner who resists an attempt to shake him down for protection money. The new head of the Chinatown command of the NYPD, Stanley White (Mickey Rourke) believes both deaths are the result of an upsurge in Triad activity.… Read more
Posted in 70s American crime films, 80s American crime films, Neo Noir, Pulp fiction in the 70s and 80s, Stuart Rosenberg
Tagged Ariane Koizumi, Caroline Kava, Deer Hunter (1978), Heaven’s Gate (1980), John Lone, Michael Cimino, Mickey Rourke, The Last Emperor (1987), The Pope of Greenwich Village (1984), The Sicilian (1987), Year of the Dragon (1985)
A film sequel is always a risky venture, and thus it is with Goldstone, Ivan Sen’s follow-up to his 2013 outback crime drama, Mystery Road. But it is just one risk the writer–director–cinematographer director takes with this film.
You can read my review of Goldstone, in full, here at the Australian Books Review Arts Update page.
Posted in Australian crime film, Australian noir, Australian popular culture
Tagged Aaron Pedersen, Alex Russell, David Gulpilil, David Wenhem, Goldstone (2016), Ivan Sen, Jacqui Weaver, Mystery Road (2013), Outback noir
A quick heads up to Pulp Curry readers that pre-orders are open on Amazon for my second novel, Gunshine State, out through the crime fiction publisher 280 Steps on September 12.
For those of you who are up with things, Gunshine State is a heist thriller set in Queensland, Melbourne and Thailand. Think Richard Stark’s Parker, Garry Disher’s Wyatt, and Wallace Stroby’s Crissa Stone.
Here’s the pitch from the 280 Steps website:
‘Gary Chance is a former Australian army driver, ex-bouncer and thief. His latest job sees him in Queensland working for Dennis Curry, an aging Surfers Paradise standover man. Curry runs off-site, non-casino poker games, and wants to rob one of his best customers, a high roller called Frederick ‘Freddie’ Gao.
While the job may seem straightforward, Curry’s crew is anything but. Frank Dormer is a secretive former Australian soldier turned private security contractor. Sophia Lekakis is a highly-strung receptionist at the hotel where Gao stays when he visits Surfers. Amber is Curry’s attractive female housemate and part of the lure for Gao. Chance knows he can’t trust anyone, but nothing prepares him for what unfolds when Curry’s plan goes wrong.’
For those of you who do such things, review copies of Gunshine State are available from the Edelweiss site here.… Read more
Posted in Australian noir, David Whish-Wilson, Garry Disher, Gunshine State, Leigh Redhead, Wallace Stroby
Tagged Alex Hammond, Andrew Grant, David Whish-Wilson, Emma Viskic, Garry Disher, Gunshine State, heist fiction, Leigh Redhead, Timothy Hallinan, Wallace Stroby
When audiences emerged from the first screenings of The Omen, which debuted in the United Kingdom on 6 June 1976, they found customised posters affixed to the front of cinemas declaring: “Today is the sixth day of the sixth month of Nineteen-Seventy Six.”
The marketing gimmick played into the well-known satanic ‘number of the beast’ in the Book of Revelation, which features prominently in The Omen. Nearing the film’s dramatic climax, Robert Thorn (Gregory Peck) finds a birthmark of three sixes on his adopted son Damien’s scalp, the mark, he has been warned, of the Antichrist.
Forty years after its release, critical analysis of The Omen has nearly always taken a backseat to the film’s reputation as a ‘cursed movie’, a status resulting from the string of mishaps, injuries and deaths loosely associated with its filming and post-production. This has obscured its legacy as one of the more genuinely frighting of the satanic-themed films that flooded cinemas in the 70s.
You can read my latest piece for the British Film Institute on The Omen, it’s influences and the wave of 70s cinema with Satanic, witchcraft and occult themes, in full here.
The Melbourne based purveyor of boutique VHS, Celluloid Apocalypse, is about to unleash upon the world its special VHS edition of Mike Malloy’s excellent documentary, Eurocrime! The Italian Cop and Gangster Movies that Ruled the 70s. The documentary is a fascinating examination of the wave of Italian ‘poliziotteschi’ films that reached the height of its popularity in the mid-1970s, in response to the success of films like The French Connection (1971), The Godfather (1972) and the Dirty Harry films.
The films are fast past paced, ultra violent, ultra hard boiled and, at first glance, appear to yet another in the cycle of Italian rip-offs of successful American crime films, in much the same was as Spaghetti Westerns riffed off the popularity of the US Western. But while these films were cheaply made and quickly produced, for the most part they are far more interesting and sophisticated than simple knock offs.
While they utilised, and sometimes just plain copied, the standard tropes of seventies Hollywood crime film, they also interrogated uniquely Italian issues, including political dominance of organised crime, the wave of politically inspired terrorism characterised the country’s so-called ‘years of lead’, and the changing nature of society and gender relations in Italy. Another fascinating aspect is the fact that in addition to their Italian stars, many of these films boast performances by well known American and British actors who took the roles after their domestic film careers had began to decline.… Read more
Posted in 70s American crime films, Eurocrime, Fernando Di Leo, Uncategorized, Woody Strode
Tagged Adolfo Celi, Celluloid Apocalypse, Cyril Cusack, Eurocrime! The Italian Cop and Gangster Movies that Ruled the 70s, Fernando Di Leo, Henry Silva, Luciana Paluzzi, Mario Adorf, poliziotteschi, The French Connection (1971), The Godfather (1972), The Italian Connection, Umberto Lenzi, Violent Naples (1976), Woody Strode