Category Archives: 70s American crime films

Parker on the screen #3: The Outfit (1973)

The third instalment of my series on Parker on the screen is the 1973 film, The Outfit, written and directed by John Flynn, based on the 1963 Donald Westlake novel of the same name (one of three Parker novels Westlake wrote under the Richard Stark pseudonym that year, the others being The Man with the Getaway Face and The Mourner).

The book opens with a botched hit on Parker while he is enjoying one of his post-job trysts. It forces the professional thief to come to the conclusion that he needs to settle his ongoing feud with the shadowy crime organisation known as the Outfit once and for all. He puts word out through his various criminal networks that the unofficial underworld truce with the Outfit is over and it is now fair game. What follows is a series of independently run operations as various freelance criminal groups start hitting the organisation’s money-making activities while Parker goes after its leader, a man named Bronson. It has been a while since I read The Outfit, but I remember thinking it was definitely one of the better Parker novels.

The film starts with a hit on a man working on a remote farm. Next we see Earl Macklin (Robert Duvall) getting out of jail where he has been doing a stint for carrying a concealed firearm (a scene very reminiscent of Steve McQueen’s release from jail in Sam Peckinpah’s The Getaway a year earlier).… Read more

Parker on the screen #1: Mise a Sac (1967)

With Melbourne is back in Covid-19 lockdown, I have a bit more time than usual on my hands, so I’ve decided to start a project I have been meaning to undertake for a while now – to watch and review all the screen adaptations of Richard Stark aka Donald Westlake’s crime fiction character, the master thief known as Parker.

Regular readers of this site will be well versed in my adoration for Westlake in general and his character, Parker, in particular. I wrote about what it was that so fascinated me about Parker in some detail on Pulp Curry back in 2014. And my second novel Gunshine State is an Australian homage of to the Parker series.

A few ground rules for what I intend to be an occasional series. I’ll tackle every film, except for John Boorman’s Point Blank (1967), which I have already written about in some detail here. This means: Made in U.S.A (1966), Mise a Sac (1967), The Split (1968), The Outfit (1973), Slayground (1983), Payback (the director’s cut – 1999), and Parker (2013). That said, I will not do them in the order they appeared. While Made in U.S.A is the first film to be based on a Westlake book (although the adaptation is very tenuous), I’ve had issues getting a copy to watch, so I’ll tackle Mise a Sac first.… Read more

Pulp Friday: No Orchids for Miss Blandish

‘In 1939, amidst violence and wartime shortages, one hardboiled noir took the nation by storm, provoked moral outrage, and inspired legions of imitators.’

My latest piece for the CrimeReads site is a look at the popularity and controversy around James Hadley Chase’s 1939 blockbuster, No Orchids for Miss Blandish. You can read my story in full at the CrimeReads site here.

The article is a sequel of sorts to a story I did back in April on the popularity of mid-century faux American crime fiction in Australia and the career of one of the country’s least known most successful crime writers, Alan Yates, who wrote under the pseudonym, Carter Brown. A link to the full piece is here.

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Roy Scheider’s Last Embrace

This post is a short addendum to this piece I did on this site back in 2015 on the 5 great roles of Roy Scheider. I revisit these films every now and again and am always on the lookout for films I haven’t seen starring Scheider. So, when someone told me to check out Silence of the Lamb’s director Jonathan Demme’s thriller, Last Embrace, I was on it.

Last Embrace appeared in 1979, the same year as Scheider did his jaw dropping turn as the womanising, drug taking, dance instructor, Joe Gideon, in Bob Fosse’s All the Jazz. And, frankly, the two films couldn’t be more different.

Last Embrace sees the tanned, sinewy actor playing a character called Harry Hann, an agent for some shadowy unspecified US government intelligence agency. The film begins with Hann getting out of a sanatorium where he has been recuperating after the murder of his wife by unnamed assassins (look closely and you’ll see one of the killers is the late, great, Joe Spinell) in an attack that was obviously targeting him.

He makes his way back to New York City – nearly killing a civilian waiting for a train in PTSD flashback – and once there, goes to a makeup counter at Macy’s Herald Square, which is where he receives his assignments.… Read more

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