Category Archives: Heist films

Fifty years later, Get Carter is still the iconic British gangster film

Posted on March 19, 2021 by Andrew Nette| 1 Comment

When you get a moment, my latest for the CrimeReads site is on 50 years of Get Carter, how the Michael Caine revenge flick attained cult status and changed the face of British crime cinema. I don’t think Get Carter is the best British gangster film ever made but it is certainly the most influential. You can read my piece in full at this site via this link.… Read more

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Posted in British crime cinema, British pulp fiction, Crime film, Heist films, Michael Caine, Neo Noir, Noir fiction, Richard Burton, Stanley Baker, Ted Lewis

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My top 10 British gangster films

Posted on March 6, 2021 by Andrew Nette| 10 Comments

One of my favourite British gangster films, Mike Hodges’s Get Carter, is 50 years old. It premiered in the UK in the northern British city of Newcastle, where it was filmed, on March 7, and in the US on March 18. I have penned a piece for a prominent crime fiction/related site on the influence of Get Carter on crime cinema, but am not exactly sure when this will come out. For now, I thought the film’s half century anniversary was as good a time as any to hit you with my top 10 British gangster films.

They Made Me a Fugitive (1947)

I wrote about They Made Me a Fugitive in some length on this site here. It was one of a trio of early post-war British gangster films that caused a stir with censors, the others being No Orchids for Miss Blandish and Brighton Rock, both of which appeared in 1948. Fugitive stars Trevor Howard as Clem Morgan, a demobbed Royal Air Force pilot who reluctantly joins a criminal gang headed by a flash gangster with a very nasty streak, Narcy, but baulks when his discovers his new employer is into drug trafficking. What I love about this film, and the aspect that attracted the most critical condemnation when it first appeared, is its depiction of the poverty and desperation of post-war British life.… Read more

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Posted in Billie Whitelaw, British crime cinema, British pulp fiction, Crime film, Heist films, James Hadley Chase, Joseph Losey, Michael Caine, Peter Yates, Richard Burton, Stanley Baker, True crime

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Parker on the screen #5: Payback Straight Up (2006)

Posted on December 13, 2020 by Andrew Nette| 2 Comments

The idea to review every screen iteration of Donald Westlake’s crime character, Parker, originated much earlier in the year, when Melbourne was in deep in winter and the middle of hard Covid lockdown. Melbourne is out of that lockdown now and summer is here, and I am much busier, hence the delay since my last entry.

Anyway, back to it with the next Parker film, Brian Helgeland’s neo noir, Payback Straight Up (2006). This is retelling of the very first Parker novel, The Hunter, published in 1962 and, of course, first filmed by John Boorman as the immortal Point Blank (1967), starring Lee Marvin (and which I wrote about on this site here on the 50th anniversary of the film).

Helgeland, who started out in the movie business as a scriptwriter, is not someone whose work I am particularly across. He did the script for the adaptation of Ellroy’s L.A. Confidential (1997), which I really liked. The same year he also performed wordsmith duty on the script for the simply abysmal post-apocalyptic Kevin Costner vehicle, The Postman. The 1999 film adaptation of The Hunter, titled Payback, was his first outing as a director (he also wrote the script) and by all accounts it was an exceptionally troubled shoot.… Read more

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Posted in 1960s American crime films, 1990s American crime films, Crime fiction, Crime film, Donald Westlake aka Richard Stark, Heist films, Neo Noir

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Projection Booth episode #495 :To Live and Die in L.A. (1985)

Posted on November 26, 2020 by Andrew Nette| 1 Comment

I am thrilled to be co-hosting another episode of Mike White’s film podcast, The Projection Booth, this one on William Friedkin’s 1985 neo noir, To Live and Die in L.A. The film pits Treasury agent William Petersen as Richard Chance against Willem Dafoe as artist and forger Rick Masters, and is based on the novel of the same name by former US federal agent turned crime writer, Gerald Petievich. Along with my fellow co-host, Jedidiah Ayres, we were joined by the film’s editor, M. Scott Smith, and one of the its stars, Willem Dafoe.

We dive deep into this film, discussing the breathtaking work of To Love and Die in L.A.’s cinematography Robbie Muller and how the Friedkin demands complete suspension of disbelief from his audience in some many respects of the story and gets it.

We we also talk about the Wang Chung soundtrack, Los Angeles on the screen, how the film embodies the deregulated economic and political policies of the Reagan era, and how it relates to Friedkin’s broader ouvre and other America crime cinema, particularly the other film based on a Petievich book, Boiling Point (1993) and the Michael Cimino effort also released in 1985, Year of the Dragon.

The entire episode is online for your listening pleasure here.… Read more

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Posted in 1980s American crime films, 1990s American crime films, Crime fiction, Crime film, Heist films, Neo Noir

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Wanda (1970): Barbara Loden’s film as a noir

Posted on November 18, 2020 by Andrew Nette| Leave a comment

The highlight of my Noirvember viewing so far has been Barbara Loden’s Wanda (1970). Most of the writing about Loden’s sole directorial effort has understandably focused on the marginalisation of women in the American film industry and Loden’s role as an, until recently, unacknowledged pioneer in this regard. But I want to discuss another reading I think can be made of the film, Wanda as a noir.

When I ventured this opinion on social media several people questioned my characterisation. But it seems a pretty solid interpretation to me. It is not just that Wanda contains the strong elements of a heist thriller. Its central narrative, a woman dealing with a world in which she has little control and getting slowly sucked into committing a serious criminal act, seems like core noir territory. I wonder whether the reticence to see Wanda in this light comes from the perception that a film can’t simultaneously be feminist, a serious piece of art and a noir crime film.

Wanda first came to my attention while I was attending 2016 Noircon in Philadelphia. One of the panels was about little seen crime films of the 1970s that deserved to be better known. Among the panelists was a film maker called Jennifer Dean, who nominated two female directed crime films – the only two American crime films directed by women I am aware of from that era – Elaine May’s Mikey and Nicky (1976) and Wanda.… Read more

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Posted in 1960s American crime films, 1970s American crime films, Burt Lancaster, Crime film, Heist films, Noir Con

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