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- Blowback: late 1960s and 1970s pulp and popular fiction about the Vietnam War
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- Melbourne launch details for Sticking it to the Man: Revolution and Counterculture in Pulp and Popular Fiction, 1950-1980
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- “The Horror Never Leaves My Mind”: Ian Sharp’s ‘Who Dares Wins’
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- “There is no phone ringing, dammit!” Projection Booth episode 422 : The Omega Man
- Early praise for Sticking it to the Man: Revolution and the Counterculture in Pulp and Popular Fiction, 1950-1980
- The weird and wonderful history of the Logie Awards
- A Time For Violence: Stories with an Edge
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Tag Archives: In a Lonely Place (1950)
In a Lonely Place
One of my favourite classic film noirs, without doubt, is Nicholas Ray’s 1950 masterpiece In A Lonely Place.
It’s a taunt, claustrophobic film that works on a very emotional level for me, much more so than most classic noirs I can think of, a devastating story about the artistic process of writing and one of the few period noirs that casts a critical eye on male violence. No matter how many times I’ve seen it, I always end up with a knot in my stomach from on-screen tension.
Dix Steele (Humphrey Bogart) is a cynical screenwriter on the verge of being washed up. He also has a very violent streak to his personality that’s obviously got him into trouble many times. His agent gives him a chance for a comeback, a gig adapting a novel into a screenplay for a director well known for his popular mainstream fare. Exactly the type of film Dix hates.
His self-sabotaging distain for the job is evident when he discovers the hatcheck girl at the nightclub he’s spent the evening in has read the book he’s been asked to adapt. He invites her back to his apartment for her take about the tome. His worst suspicions about the job confirmed, he sends the girls on her way with taxi fare and goes to bed.… Read more
Warren Oates, Gloria Grahame & other subjects for fiction anthologies
The recent release of Crime Factory’s LEE, an anthology of crime fiction inspired by the life of iconic actor Lee Marvin, has got me thinking about who else would be a good subject for similar treatment.
There’s already been a bit of chatter on Twitter about other actors people would like to see as the subject of their own fictional anthology, and several authors have contacted me with ideas.
There are only two criteria involved I can think of in choosing a subject.
First, the subject concerned has got to be deceased, preferably passed a while ago. It’s just too complex, legally and other ways to do an anthology based on someone living.
Second, there’s got to be something about them. Not just an interesting body of cinematic work and an interesting life, but an ongoing cultural resonance or zeitgeist that sets them apart from other actors and allows crime writers discuss broader issues.
Here are my picks for actors I think would be good subjects. And I should stress, these are just my musings and in no way reflect what Crime Factory will do in the future.
That said, you never know….
Warren Oates
There’s already been a bit of social media chatter about the possibility of a Warren Oates inspired anthology.… Read more
Posted in 60s American crime films, 70s American crime films, Film Noir, Gloria Grahame, Lee Marvin, Stanley Baker, Sterling Hayden
Tagged 92 in the Shade (1975), Asphalt Jungle (1950), Badlands (1973), Bit Heat (1953), Bring Me the Head of Alfredo Garcia (1969), Cockfighter (1975), Dillinger (1973), Hell Drivers (1957) The Criminal (1960), Hell is a City (1966), In a Lonely Place (1950), innocent Bystanders, Johnny Guitar (1954), LEE, Lee Marvin, Major Dundee (1965), Naked Alibi (1954), Odds Against Tomorrow (1959), Race with the Devil (1975), Sam Peckinpah, Stanley Baker, Stanley Kubrick, Sterling Hayden, Stripes (1981), The Godfather (1972), The Guns of Navarone (1961), The Killing (1956), The Wild Bunch (1969), Two Lane Black Top, Warren Oates