Category Archives: Paul Newman

Dishing up Pulp Curry in a new way: why I am starting a Substack newsletter

After much thought I have decided that to experiment with moving the focus of my blogging from this site to a new Pulp Curry Substack newsletter.

Why am I doing this?

The first post on this website appeared on July 2010 (about the incredibly underrated 1979 Australian heist film, Money Moversyou can read the post here). I’ve been writing on the site with varying frequency ever since (579 posts in all), and for the most part have enjoyed it immensely.

But for the last 12 or so months I just haven’t been feeling it – or getting the hits to make it seem worthwhile – and have started to wonder whether it’s worth continuing with the effort. Posting on a website has been starting to feel like the equivalent of trying to read a broadsheet newspaper in a crowded tram carriage, unwieldy and inconvenient.

And, thinking about it, I suspect the blog format is starting to get a bit stale for me and is actually now a brake on my posting more regularly.

I know that I’m no Robinson Crusoe in this regard. The majority of the blogs I used to follow have gradually fallen by the wayside, as people have moved on, grown weary of the effort, found other interests, adopted other means to get their message out, or, in some cases (gulp), died.… Read more

10 underappreciated American neo-noirs of the early 1970s

The domestic blowback of the Vietnam War. The sleaze and corruption of Watergate. The incipient rollback of the counterculture and many gains of the 1960s. Economic recession. The upheaval and uncertainty in the 1970s may have been tough on America’s collective psyche, but it resulted in some incredibly good crime cinema, particularly prior to Jaws in 1975, which helped to usher in the culture of the cinematic blockbuster.

And while I will happily admit to being a due paying member of the First-half-of-the-1970s-was-a-great-period-of-American-crime-cinema-fan-club, it does strike me that we tend to focus on the same handful of films from this period over and over. Yes, The French Connection and Shaft (1971), The Godfather (1972), The Friends of Eddie Coyle and The Long Goodbye (1973), and Chinatown (1974), are all masterful neo noirs that in some way enlarged the culture’s notion of what crime cinema could be.

But the wellspring of American neo noir on the screen in the first half of the decade runs very deep, and it pays major viewing dividends to explore it more widely. My latest piece for the US site CrimeReads looks at ten underappreciated neo noirs from the first half of the seventies that are worth your time. You can read the piece in full on the CrimeReads site via this link.Read more

Pulp Friday: The Hustler

The Hustler

“A taunt, suspenseful novel of a strange smoke-filled world where drifters, sharks and lushes live by one rule that is a command: WIN!”

Today’s Pulp Friday needs no introduction, The Hustler, by Walter Tevis.

This cover is from the paperback version published by Dell Books in 1959.

I’m sure you’ll agree with me it’s a beautiful cover. The book is great and it was also a terrific movie starring Paul Newman. Indeed, just posting this image makes me want to see the movie again.

The back cover design below is also great.

Enjoy.

The Hustler back coverRead more

WUSA

Has anyone ever done dissolute as well as Paul Newman?

Cat on a Hot Tin Roof, Hud, The Hustler, Cool Hand Luke, and the little known WUSA.

WUSA numbers among that great batch of films made in the early seventies, when the Hollywood studio system was in crisis and desperate to give anything a try. The counter-culture had worked its way into the mainstream (but was dying on the streets), the country was struggling to come to terms with its increasing violent engagement in Vietnam.

Released in 1970 and set in New Orleans, WUSA is a character study of three people, all in the wrong place at the wrong time, even if they don’t know it yet.

Joanne Woodward is Geraldine, a dishwater blond with a razor cut across one check courtesy of the abusive husband she left behind in Texas.

Anthony Perkins is Rainey, an idealistic Christian who thinks he’s been employed to do a survey to help the city’s black population, but has actually been set up by the city’s right-wing politicians to help them throw people off welfare.

Newman is Rheinhardt, a cynical alcoholic drifter. His first point of call after arriving in New Orleans is a church service on skid row being run by a fafe priest, Farley, who owes Rheinhardt a hundred dollars from a previous scam in New York. … Read more