Category Archives: Film Noir

M and my top 10 reads for 2019

It is no exaggeration to say I have been eagerly anticipating Samm Deighan’s monograph of Fritz Lang’s 1931 film. I love the film and I am a big fan of Deighan’s movie writing, so the combination is bound not to disappoint. And it didn’t.

As Deighan puts it in her introduction, M ‘exists in a liminal space between urban social drama, crime thriller, and horror film’. It was arguably the first serial killer film, long before the FBI coined the term in the early 1970s. Anchored by a superb performance by Peter Lorre as the paedophiliac child killer, Hans Beckert, it was certainly the first motion picture in which a serial killer was the central protagonist. Another crucial innovation was the way in which Lang depicted the character of Beckert in a not entirely unsympathetic light. This same sensibility would have a influence on some subsequent serial killer cinema, most notably in Alfred Hitchcock’s 1960 horror/thriller, Psycho.

Deighan discusses M’s broader social and political themes, including the film as a critique of modernity and a text for Germany on the brink of totalitarian control, appearing as it did a year before the Nazi’s assumed power and Lang had to flee the country.

Another fascinating aspect of the book is the discussion of how the themes in M would echo in Lang’s subsequent work, particular the threat of the lawless mob violence and what is perhaps the director’s most defining idea, how even the most noble individual is capable of brutal murderous thoughts and actions.… Read more

The grifters and con artists of Nightmare Alley

I have a piece on the new Crime Reads site – a spin off of the respected Literary Hub- on William Lindsay Gresham’s 1946 little known novel, Nightmare Alley. Gresham’s book is a masterful story about the art of the grift and the best fictional depiction of the carny (slang for the traveling carnival employee). But most of all, it is a stone cold classic piece of low life noir fiction, dark, visceral, surprisingly sex-drenched for its time, and utterly devoid of redemption.

The piece is available in full here on Crime Reads.

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The heist always goes wrong, part 4: 10 more heist films you’ve never seen

To celebrate the re-release of my heist thriller, Gunshine State, by Down and Out books, it is time for another of my top 10 heist posts.

This is my fourth post  along the theme of ‘the heist always goes wrong’. Previous posts have been: ‘The heist always goes wrong, part 1: ten of the best heist movies ever made’, ‘The heist always goes wrong, part 2: reader picks and other favourite heist movies’, ‘The heist always goes wrong, part 3: 10 of the best heist films you’ve probably never seen’.

This instalment continues where I left of in part 3, with 10 more unknown or under appreciated heist films that you might want to check out.

So have a read, and, if you haven’t already maybe pick up a copy of Gunshine State in e-book of paperback format here.

Machine Gun McCain (1969)

Even when he was slumming it, John Cassavetes was still incredible and Machine Gun McCain is proof. This hard boiled 1969 Italian film tells the story of a paroled armed robber (Cassavetes) whose plan to heist a Las Vegan casino falls foul of a battle for territory between the east and west cost Mafia. Cassavetes’s co-starts include Peter Faulk, Britt Elland, and such Italian genre film stars as Luigi Pistilli and Grabiele Ferzetti.… Read more

Projection Booth podcast #352: Kiss Me Deadly

It was a joy and a thrill to join film scholar Kevin Heffernan and Mike White, host of the terrific Projection Booth podcast, for an episode of his show on what is probably my favourite film noir, Robert Aldrich’s Kiss Me Deadly (1955).

Kiss Me Deadly is one of those films I watch every year or so and always find something new to appreciate about it. Talking with my two co-podcasters, I discovered even more to like about it. Issues canvassed during this podcast include:

Mike Hammer (and Mickey Spillane) as the personification of the crisis in post WWII masculinity, and the women in the film as examples of females who are fighting against the confines of their role in American society in the 1950s.

Pulp fiction.

The film’s popularity in France, particularly within surrealist circles for its depiction of the incoherence of everyday life and mass commercial culture.

The Cold War nuclear state, paranoia and surveillance.

THAT answering machine.

Jack Elam.

Ernest Laszlo’s sensational cinematography.

Los Angeles’ former Bunker Hill area as the 1940s/50s B-movie/noir outdoor film shooting location of choice.

The psychiatrist as an archetypal villain in 1940s/1950s American film.

Other fictional noir detective equivalents to Mike Hammer, including Harry Moseby in Arthur Penn’s 1975 film, Night Moves (okay that last part might of been just me).… Read more

Hornet’s Nest

If you’re a regular reader of this site, you’ll know that I have a lot of work coming out in the next few months. That means a lot of shilling from yours truly about my wares, on this site and my various social media feeds. It is unavoidable.

But amidst all the sales talk and my other commitments, I don’t want to forget why I originally started this site, reviewing books and films that take my fancy. Seriously, I miss bullshitting about this stuff with you all. Then it occurred me, the answer is shorter, sharper reviews, less formal, more stream of consciousness, fun to write and (hopefully), read. Obvious, I know, don’t know why it took me so long to realise it.

So, first up in the new regime of reviewing, Phil Karlson’s terrific 1970 revisionist World War II noir film, Hornet’s Nest. I first watched Hornet’s Nest with my folks, when it showed on a Sunday night on TV way back in the late 1970s. I can’t remember what I made of it then, but I sure as hell liked it when I re-watched it recently.

A detachment of US paratroops is dropped behind German lines in Italy to blow up a major dam and, thus, disrupt German troop movements ahead of a major allied offensive.… Read more