Category Archives: Neo Noir

Rewatching French Connection II

Can we talk for a moment about just how good John Frankenheimer’s 1975 movie French Connection IIis?

It did okay but not spectacular business on release but I feel like it has never received much love from critics and crime film fans alike, for a number of reasons.

Firstly, it is a sequel and with few exceptions, like oft citedThe Godfather II (1974), we are always pretty meh about sequels, and rightly so.

Second, is the shadow of the 1971 original, The French Connection, which won a tonne of Oscars, including best picture, best actor for Gene Hackman as Detective Jimmy ‘Popeye’ Doyle, and best director for the then wunderkind, William Friedkin, and is one of the most famous, if not the most famous American crime film of the 1970s.

Third, is the director, John Frankenheimer, who started his career strong with The Manchurian Candidate (1962) and The Train (1964 ), but with a few exceptions – 52 Pick-Up (1986), the nasty little film he did for Canon, and The Island of Dr Moreau (1996), which I know a lot of people hate on but I love – didn’t seem to do a whole lot else of particular note. It is a filmography I have always found hard to engage with and I probably need to make more effort.… Read more

Post coital fondue with Harry & Ellen

On his site, Hard Boiled Wonderland, Jedidiah Ayres is currently doing a series of posts In February on the theme of ‘Felonious Valentines’ – romance in crime cinema. I stopped by with a few words on one of my favourite scenes in 1970s American cinema and (to my knowledge), the only one featuring post coital fondue. The scene, featuring Gene Hackman and Susan Clark, is in, Arthur Penn’s existentially bleak 1975 neo noir, Night Moves. You can my post in full here.

Pass me a fondue fork.… Read more

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

A Time For Violence: Stories with an Edge

With everything that I have on at the moment, it has been a while between pieces of published fiction for me, which is why I am happy to have a story in this new crime fiction anthology by Close to the Bone Publishing, A Time For Violence: Stories with an Edge, edited by Andy Rausch and Chris Roy.

My story is titled, ‘Ladies Day at the Olympia Car Wash’. It is in there with some pretty decent company, including pieces by Joe R. Lansdale, Max Allan Collins and Richard Chizmar, among many others.

So, if you are after some short crime fiction to kick back with over the long weekend, you should pick this collection up.

It is available in ebook and hard copy from Amazon here.

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Moseby Confidential: Arthur Penn’s Night Moves and the Rise of Neo-Noir

To paraphrase Crocket, the cop character in Michael Mann’s 2006 movie, Miami Vice, I am a fiend for late 1960s/early 1970s American crime cinema. And Matthew Asprey Gear’s Moseby Confidential: Arthur Penn’s Nightmoves and the Rise Neo- Noir, reminded me exactly why.

Moseby Confidential is a monograph about the 1975 neo-noir, Night Moves, starring Gene Hackman as Harry Moseby. Moseby is a confused, disillusioned, deeply insecure, ex-professional footballer turned bottom feeding Los Angeles private investigator. As much to take his mind off suspicions his wife (Susan Clark) is having an affair as the need to turn a dollar, Moseby takes the job of finding the 16-year old tearaway daughter (a very young Melanie Griffiths in her first major screen role) of a washed up Hollywood star.

The case brushes up against the world of professional Hollywood stuntmen before taking Moseby to Key West, Florida, where the young girl is living her stepfather and his hardscrabble girlfriend, Paula (a terrific performance by Jennifer Warren, who Asprey Gear interviews for the book).

Like Asprey Gear, I am a big fan of Night Moves, which was reviewed on this site here back in 2013. I love its strange, discursive narrative and existentially bleak worldview, and its refusal to present its story in a nice, neat package. … Read more