Advance orders (& advance praise) for Gunshine State

Gunshine StateA 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

When Satan ruled our screens: The Omen turns 40 years old

The OmenWhen 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.

Celluloid Apocalypse’s mini-festival of seventies Italian crime cinema

The Italian Connection poster 2The 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

‘Scorsese’ at the Australian Centre for the Moving Image

King of ComedySorsese, currently showing at the Australian Centre for the Moving Image in Melbourne, is not exactly the exhibition that is advertised, and that is a very good thing. Martin Scorsese’s career has stretched over half a century and involves nearly sixty films. Yet anyone who has seen advance press and publicity forScorsese could be forgiven for thinking the focus is mainly on the early and more masculine examples of his oeuvre, Mean Streets(1973), Taxi Driver (1976), and Raging Bull (1980).

These movies are certainly compelling, both as individual examples of film craft and for the way they play into the myths and realities of 1970s American cinema, when Scorsese, along with fellow directors and friends Francis Ford Coppola, Stephen Spielberg, and Brian De Palma, tilted against the ailing Hollywood studio system and then become some of its leading lights. But these films in no way tell Scorsese’s whole story.

You can read my full review of ACMI’s Scorsese exhibition at the Australian Book Review Arts Update site here.

Book review: The World of Shaft

The World of Shaft

You might remember the news last year that New Line pictures had acquired the rights to do yet another film remake featuring the iconic character of John Shaft. If so, you may also remember the ensuring controversy that erupted over plans to make said film a comedy, including an open letter protesting the move by  award winning journalist, David F Walker.

I am not sure at what stage the proposal Shaft remake is at, but I totally agree with Walker in his introduction to Steve Aldous’s recently released guide to the character, ‘When author Ernest Tidyman’s book Shaft was first published in 1971, and director Gordon Parks’ cinematic adaption followed a year later, a new era of representation began in American pop culture.’

The World of Shaft attempts to chronicle the cultural phenomena that is the ex-juvenile delinquent, Vietnam Vet, New York private eye known as Shaft. From the character’s origins via the pen of white ex-newspaperman Tidyman to the, in my opinion, rather average 2000 cinematic remake, this is an exhaustive examination of every aspect of the character and his various manifestations.

Shaft emerged from a combination of Tidyman’s desperation to make it as a writer and, as he put it in an interview, his “awareness of both social and literary situations in a changing city.… Read more