Category Archives: British crime cinema

Plastic surgery noir

EyesIt’s the end of the year and and there’s not much gas left in the tank.

But before I take a break over Christmas and the New Year, I thought Pulp Curry readers might be interested in checking out a guest post I’ve done at the US site, Do Some Damage on plastic surgery noir. Yes, it is a thing. Or, at least, I just said it was.

As those of you who have read my novel Gunshine State are aware, there’s a sub plot involving plastic surgery, the details of which I’ll say no more about. Anyway, the guest post looks my fascination with plastic surgery in books and film, how to successfully put a character under the knife and my top five films dealing with plastic surgery and its variants.

You can view the post on the Do Some Damage site in full here.

That’s it for for Pulp Curry for 2016. Thanks for reading this year. I hope you all have a great break and I wish you all good luck for 2017. Something tells me we’re going to need it.

Oh, and if you are looking for a Christmas present for me, if you’ve read Gunshine State I would really appreciate a review or rating at Amazon or Goodreads.… Read more

Police fictions: Law enforcement involvement in early Crawford crime TV

Homicide‘Why was Homicide so successful? One reason was its production values, which was much more advanced than previously made local television dramas. The fact it was shot partly on location was also an Australian first. But the most significant drawcard was the show’s realism. Its settings were Melbourne’s dimly lit streets and alleys, its public bars and cramped workers’ cottages. The show also presented a realistic portrayal of criminals, investigators and the methods used to solve crimes. This authenticity was the chief selling point of Homicide and its successors, Division 4 and Matlock Police. And crucial to this authenticity was the in-depth involvement of the Victorian police.’

Last year, myself and fellow research and friend, Dean Brandum, were lucky to be awarded with a joint fellowship at the Australian Film Institute Research Centre. Our research was on the making of Crawford’s early television crime shows, Homicide, Matlock Police and Division 4. This included the much talked about but little known history of Victorian police involvement in all three shows.

You can read the full text of a article myself and Dean wrote for the literary magazine Overland, about our findings, here.

Mike Hodges’ Pulp & mass paperback fiction on the big screen

Caine in PulpThe opening credits of Mike Hodges’ under appreciated 1972 film, Pulp, are a delight for any fan of cheap pulp paperback fiction. As text roles across the screen (in type writer font, of course), the camera pans between the faces of the three female stenographers transcribing the words of sleazy English expat pulp writer, Mickey King (Michael Caine). As Caine’s nasal voice-over recites his latest novel, The Organ Grinder, we see the different reactions of the women, disgust, shock, and excitement. It’s a reminder that once, before it was reduced to an object of outre fascination for its cover art, pulp fiction elicited strong emotions.

The movie shifts to King, in his cheap white suit and big hair, Jack Carter – the character he played in Hodges’ Get Carter only a year earlier – gone to seed, stepping out of the Italian hotel he lives in to hail a cab. As he sits in the reception area waiting for his completed manuscript, King’s voice-over goes: “The writer’s life would be ideal but for the writing. This was a problem I had to overcome. Then I read the Guinness Book of Records about Earl Stanley Gardner, the world’s fastest novelist who would dictate up to the rate of ten thousand words every day.… Read more

The 10 essential films of Stanley Baker

Stanley Baker in Val Guest's 1960 thriller Hell Is a City.Welsh born actor Stanley Baker didn’t live to see his 50th birthday, but he left an impressive body of work. Like his friend Richard Burton, he escaped life as a coalminer for acting after a chance sighting in a school play by the casting director of Ealing Studios led to Baker’s first role in the 1943 war drama, Undercover. His rugged physique and hard grace meant he was most often cast as the tough guy in crime movies and spearheaded the evolution of the British film criminal from the gentlemen thief to more ruthless figures, often working-class, in films such Hell Drivers (1957), Joseph Losey’s The Criminal and Peter Yate’s 1967 heist film, Robbery.

Last weekend he would have been 88, were he still alive. To mark his career, I have a piece on the British Film Institute site looking at his 10 essential films. You can read it in full here.

Get Carter, again

Ted 71 on set of GC

British author Ted Lewis on the set of the 1971 film, Get Carter

It is impossible to discuss British author Ted Lewis’s 1970 novel, Jacks Return Home, without mentioning its better-known 1971 film adaptation,Get Carter. Rarely has such an influential crime novel dwelt so deeply in the shadow of its cinematic adaptation. In the wake of the movie’s success, the book was quickly retitled Get Carter (which is how I’ll refer to it) and the main character forever associated with British actor Michael Caine, then at the height of his preternaturally long acting career, in a snappy suit and tie, grimly looking over the barrel of a shotgun.

Not that anything else Lewis wrote was particularly successful. As British crime writer Ray Banks observed in a piece on the site The Rap Sheet: “As far as forgotten books go, you could make a claim for pretty much anything Ted Lewis wrote.” But what Lewis lacked in sales, his books, particularly Get Carter, made up for in the glowing praise of crime writers, nearly all of it posthumous.

Get Carter and its subsequent prequels, Jack Carters Law (1974) and Jack Carter and the Mafia Pigeon (1977), have recently been rereleased by Syndicate Books, which marks the first time they have been available in North America for 40 years.… Read more