Posts Tagged ‘Crime zine’

Mickey Spillane, Tony Bulmer

Mickey Spillane, Mike Hammer: Kiss me deadly baby.

New York City, the west fifties. Stair rods of rain hammer from the heavens, playing a devils drumbeat on the roof of “the heap” and Private Eye Mike Hammer is chaining back his fifth pack of Lucky Strikes. Across the rain swept street, there is a dame in a down market coffee shop. Her sad little life is swimming around the drain, but she is about to find love like she never found it before…

Mickey Spillane was the man who distilled hardboiled crime fiction into something new and addictive for the pulp crime market. While Dashiell Hammett and Raymond Chandler provided an opiate for the thrill seeking masses, Spillane stripped the form to its white powder essence and mainlined it straight into the jugular.

The debut Hammer book I The Jury is a twisted story of revenge and murder, that Spillane says he wrote in three weeks; adapting it from a failed comic strip, Mike Danger that he worked up with illustrator Mike Roy. A none too enthusiastic E. P. Dutton & Co picked up the book in 1947 figuring there “might be a market for it” and by 1953, when it was made into a movie, it had sold 3.5 million copies. This book has it all: Dames in diaphanous night attire, twisted psychiatry, gonzo plastic surgery and more crimetastic caperings than you could catch in a cocked hat. The laughably brutal ending sets the standard for all the books that follow.

It is clear from the get go that Hammer is a .45cal kind of guy that you won’t want to mess with. Veteran of a “Jap-filled jungle hell” He affectionately names his Colt 1911 “Betsy” and you can bet he draws her out to “bark fire” at bad guys at every opportunity. I The Jury is aptly named. Mike Hammer is a one-man war on crime. He hates murderers and makes it clear to his long suffering cop buddy, Capt. Pat Chambers that “there ain’t no way in hell” the red-tape legal system is going to get chance to send any killers to the chair when Mike Hammer is in town. Big-lug irony of the most entertainingly unconstitutional kind.

My Gun is Quick? Damn right it is. Betsy is barking from the get go when horny Mike meets a redheaded prostitute at an all night coffee shop. He sweeps her away for a midnight assignation at the beach, where she writes V.D. in the sand. Mike pops the lucky lady one anyway, because he’s “not prejudiced” when it come to Dames. Naturally, the lucky girl falls deeply in love with our hero before he has even “stirred her coffee” for her. You can almost hear the wedding bells ringing before gunfire drowns them out. MEN WILL PAY FOR THIS! You betcha.

Vengeance is Mine! Damn that red tape loving liberal SOB at the DA’s office, damn him! Mike gets his gun permit and PI license revoked after one of his buddies carelessly loses the top of his head in a whiskey related incident involving Mike’s gun. Blackmailing underworld stereotypes of the “fat and slimy and suspicious” type must be involved. A veritable hail of gunfire ensues. Velda, Hammer’s long-suffering secretary, gets to pop her murder cherry. That babe is Hottttttt! Why on earth does Mike not see this? Is it because he is so driven by his mission to clean up the streets of Gotham? Is it because he has terminal halitosis? Or is it the charabanc of blondes, brunettes and redheads, [dressed in diaphanous night attire], who have just turned up at the office door—tearfully and pneumatically proposing marriage? [sigh].

One Lonely Night. Could it be true? Mike Hammer has a conscience? His tortured soul screaming into the endless snow filled night, as he balances on a lonely bridge contemplating the horrible existential choices he must make? Fear not dear Crimeziner. Clutch not your tear stained handkerchiefs! It is 1951, so Communists are at work! Stretching their nefarious tentacles of workers rights and organized labor into every orifice of the American dream—the deluded brainwashed saps. Wouldn’t it be great to twist them all on the end of a bayonet?

Right wing political crank and long-lost Addams family relative, Ayn Rand was a big league Spillane fan. No doubt she loved the unambiguous right wing politics and the chain-smoking histrionics. Rand singled out Spillane’s black and white morality as admirable. Praising Spillane publicly, she described him as, “An underrated if uneven stylist.”

The Big Kill. You got the idea by now. Murderers, they gots to die! Dames they get to walk past lamps and windows wearing see-through nylon scanties, and they are wearing nothing underneath! [Pant] Natch, all of them are “in love” with Mike. All of them I tell you! Even though he never bathes, [except in whiskey] has bullet riddled clothing, and chains back five cartons of Luckies a day.

But oh-no! What is this? A kid cramping Mike’s style? WTF! That snot-nosed little punk ain’t going to no lousy children’s home! He can stay home Chez Hammer with a goddamn wet nurse, fingering firearms until the big dénouement comes. Yay!

Until it meets the final furlong, Kiss Me Deadly is the best Mike Hammer story by far. The trouble with Spillane is he was never much of a hand with plot and endings in particular gave him a great deal of trouble. He tried just about everything: expositional blah-de-blah a la Agatha Christie; explosive, apocalyptic gunfight/car wreck finales, and twisted ‘brakes on’ revelations that leave the reader questioning the very nature of God and his relationship, or lack there of, to the Spillanian muse. Kiss me Deadly is an excellent read, but it is perhaps best remembered for the panting and high-wired 1955 film-noir adaptation by Robert Aldrich, featuring Ralph Meeker as Hammer and Maxine Cooper as the long suffering Velda. A glorious piece of movie kitsch that was described by morality Nazis in the Kefauver Committee as, “a film designed to ruin young viewers”. Which is recommendation enough in Crimezine’s view.

There you have it, the first six by Spillane. Why six ? Well you can buy them as two omnibus editions from the crimetastic New American Library. [determined readers will also dig a third omnibus edition in the series] There are those who will tell you that Spillane is a bad writer—by his own admission he only put pen to paper for money, and although you will find rich seams of wonderment within his work, you will also laugh yourself hoarse at the abundant failings. Many of the attitudes contained within his work are old-fashioned, although many are still worryingly prevalent: sexism, homophobia, bigotry and cliché are all well represented. But there is something much more vital and important on offer here: the distilled essence of crime fiction personified.

These influential books dictated the rules of crime fiction for many long decades, and there is not a single private eye book after 1950 that does not in some way pay homage to the legend that is Mike Hammer. Moneypenny in James Bond? That is Velda. Clint Eastwood’s Dirty Harry? That is Mike Hammer turned Cop. And those crazy- assed soliloquies by Marv in Frank Miller’s Sin City—every single one of them straight out of the Spillane playbook. Yes, Crimeziners, no one said it would be pretty. Matter of fact it is a dirty ugly business, but there is just no way it is possible to put crime fiction into any kind of context without reading Spillane. Do it today, tell ’em Crimezine sent ya.

Afterword: It is widely accepted that Spillane’s later work lacked the primal urgency of his early years. It should also be noted that Spillane’s literary executor, the awesome Max Allan [Road to Perdition] Collins, has done sterling work with the Hammer brand.

 

https://www.tonybulmer.com

http://www.barnesandnoble.com/w/the-mike-hammer-collection-volume-ii-mickey-spillane/1104312785?ean=9780451204257

http://www.barnesandnoble.com/w/mike-hammer-collection-mickey-spillane/1102663286?ean=9780451203526

https://www.amazon.com/Kiss-Deadly-MGM-Video-DVD/dp/B00UGQ2EE8/ref=sr_1_cc_4?s=aps&ie=UTF8&qid=1485473577&sr=1-4-catcorr&keywords=movie+kiss+me+deadly

 

Bonsoir Crimeziners. All hail the American night. It is rare that the fates align so fully as they do this week on the

Crimezine, Tony Bulmer

Dog Eat Dog: Paul Schrader’s latest crime masterpiece featuring Nicolas Cage and Willem Dafoe

cinematic release of Paul Schrader’s Dog Eat Dog featuring Nicholas Cage and Willem Dafoe; so the excitement at Casa del Crimezine is almost tangible.

Crimeziners will no doubt be aware that the movie is based on the book by legendary ex con and crime writer extraordinaire Ed [Mr. Blue] Bunker. Released in 1995, the book has been described by James Ellroy as, “the best armed-robbery novel ever written”. It is an ugly dirty book, based largely on the personal experiences that landed Bunker in prison. The themes of violence stupidity and betrayal feature heavily; it is easy to see from the very first page that the lives of those involved are never going to come good and we can only hold our collective breath as the pages flip by and we are drawn ever deeper into a spiral of conspiracy and degradation that is horrifying, compelling and exceptionally well written.

Paul Schrader needs no introduction. He is one of the great men of American cinema, a writer and director of exceptional talent and creativity. In a similar way to Bunker he has an understanding of adversity forged in hard fought experience. He once said he wrote the script for Taxi Driver while he was living rough in his car on Hollywood Boulevard, He said [to Bret Easton Ellis] that at the time he felt he was Travis Bickle. That understood, it is little wonder that Schrader became involved in Dog Eat Dog; a story that has much in common with the dysfunctional world of Travis Bickle, portrayed so unforgettably by Robert De Niro.

This is no mainstream crime movie. That is clear from the get go. The first five minutes of Dog Eat Dog are so dirty, weird and irredeemably nasty that strong emotions will rise within you—you may laugh, you may cheer, you may barf, and you may cry—you will certainly be clutching the seat rests, maybe even hiding behind the seat, your teeth embedded in the fabric, wondering just how bad, bad can get.

The horror comes in waves—the cast deliver performances that leave one wondering where reality ends and the snaking world of celluloid fantasy begins. Ghosts of David Lynch and the Cohn brothers rise before us. This can be no coincidence as the nexus of Willem Dafoe and Nicolas Cage conjures dark and surreal visions of Lynch’s 1990 movie Wild at Heart. Cage and Dafoe have decades of mainstream Hollyweird success behind them now, but it was darkness such as this [and the weirdness of the Cohn’s Raising Arizona] that led them on that path to mega stardom in the first place.

Dog Eat Dog is crime cinema at its ugliest and most primitive, but there is meaning and reason here too. We learn of the cruelty and dysfunction of the corporate world we also learn of the depth of struggle that the characters are involved in.

This is not a movie for the gone in 60 seconds generation, although they will no doubt thrill momentarily to the rampant drug use and cranial splatter that punctuates this savage tale. Schrader [who cameos in the move] delivers a characteristic humanity to the picture that lifts it high beyond b-movie status. In the hands of a lesser director Dog Eat Dog would have disappeared into a forgotten trench of hopelessness. But the man behind Taxi Driver, Raging Bull, and American Gigolo [and many more] moves in a different realm to other filmmakers. Schrader is something else. He is something special. He has said he is not a crime director, but let’s hope he makes another crime film soon, maybe something out of the Elmore Leonard oeuvre. When you see this movie you will see this happening—so clearly it might well be a prophecy from on high. Go see Dog Eat Dog today, tell ’em Crimezine sent ya. Tell ’em “I didn’t want justice, I just wanted what I wanted.”

The horror of it all Crimeziners. Awakening on blood-sullied sheets with a semi-decapitated stranger on the pillow beside you. A razor sharp hunting knife in your

William Hjortsberg Crimezine Tony Bulmer

                Mañana by the legendary William Hjortsberg.

hand and the echoing question—What happened last night?

 

Deep in the winter, after the summer of Love and the bright bloom of Flower Power has faded to black. The week before, an unknown assassin guns down Martin Luther King Jr. in Memphis, Tennessee. Protagonist Tod meanwhile, is having a bad day. Super bad. Mexico, South of the border. Stoned in Barra de Navidad in the cowboy state of Jalisco. Blood drenched knife in hand, like a bad day at Altamont raceway. Worse, Tod’s wife Linda is missing and the junkie parole violators they hooked up with to party hearty are long gone too. Welcome to Mañana.

William Hjortsberg wrote Falling Angel [1978] the book in which a Mike Hammer like private eye makes a deal with the devil. A book which The Alan Parker movie Angel Heart featuring Mickey Rourke and Robert De Niro was base on . He also wrote the wild fantasy film Legend the Ridley Scott directed fantasy vehicle for Tom Cruise and Tim Curry. Mañana is Hjortsberg’s latest book.

Hjortsberg’s last novel the awesome Nevermore (1994) featured the wild tale of Harry Houdini teaming up with Sherlock Holmes creator Arthur Conan Doyle to solve a series of murders, which eerily re-enact the stories of Edgar Allen Poe. The book was a work of conceptual genius. So what has the great man been doing for the last twenty years?

Living in Montana mainly, but also reinventing the literary wheel it would seem. There are no supernatural elements to Mañana as one might perhaps expect. Instead, Hjortsberg delivers a back to basics slice of noir nastiness that is straight out of the Jim Thompson playbook. It is hard to like the protagonist Tod or any of his drug-addled cohorts. But the quality of Hjortsberg’s writing reigns supreme; along with a pervasive love of Mexico that conjures a mood of Ernest Hemingway’s The Sun Also Rises [Fiesta].

The parallels with Hemingway are clear. Hjortsberg has already written a homage to bullfighting [Torro, Torro, Toro (1974)] and now, many years later, we see echoes of Hemingway’s Lost Generation. As Hjortsberg replaces the decadent, dissolute, and damaged youth of World War I with the drug-addled outcasts of the Vietnam years.

Hjortsberg’s generation of slackers is far more malevolent than the lost innocence of Hemmingway’s time however. Drugs and nastiness of every kind are featured heavily. It is nothing we have not seen [very many times] before however, provided by writers such as Burroughs, Kesey and Hunter S. Thompson. In fact, if one did not know Hjortsberg’s long experience, one could be forgiven for thinking that this was the work of a far younger writer, someone who still imagined that life as a drug-addled drop-out was exciting and glamorous.

Unfortunately for the writer, the all-pervasive nature of drug culture has lost much of its mysterious cachet to today’s youth, and readers who are old enough to have been there-seen that-done that, will be unimpressed. If one switches out drug references for the phrase—And then we spent a night in front of the television, you might be close to recreating the ennui of the ceaseless stonerism, here in contained.

There is mystery here too though, and suspense, tinged with the horrible understanding that things are going to turn out very badly indeed for our young hero Tod. Will he ever find his missing wife, or his wasted friends? Will his dissolute outlaw life in Mexico fill the yawning emptiness that chasms within, or destroy him utterly? The twists are ugly and brutal, reminiscent of Getaway/Grifters era Jim Thompson. If you love that kind of writing you are going to love Mañana. If not, you are going to need a hot, bleach-filled bath, and a course of Naltrexone in the hope that some day soon you might be clean again. Don’t count on it Crimeziners. After you have read this book, you will feel the dirtiness crawling through your flesh for a very long time to come.

That is the Hjortsberg magic.

Here’s hoping he doesn’t leave it another twenty years before his next book.

http://williamhjortsberg.com/main.html

Home, Myron Bolivar, Harlan Coben

Home the new thriller from Harlan Coben

Al Bolitar swilled rocks of ice in his Chivas 12. Television roar filling the room now, with the Mets bottom of the ninth against the Phillies. Pundit chatter, as the game cut to yet another break.

“So how did you like your trip to Europe son?”

“Not so much. London is kind of dangerous these days—gangs of rampaging Cockney chimney sweeps roaming everywhere, kidnapping children and selling them into slavery.”

His father frowned, gave him a hard look.

“The red busses were nice,” continued Myron happily, “and the London Eye of course. The queues for ice-creams are very long though.” Myron beamed with the easily relatable touristic memories, then added quickly, “Win says the child kidnappers are being controlled by an overweight nerd known as Pranjeet the Portly Punjabi, a criminal mastermind, who is part Fagin, part Ernst Stavro Blofeld. Although he looks a little more like a fat Dr. Evil if you ask me.”

Win: Windsor Horne Lockwood III. Of course Win would be involved. Al Bolitar sighed, swilled the rocks of ice around his glass. “How’s the job hunt going?”

Myron pulled a face. “I got to stay home with you and mom, pops. You are getting older now. I need to be home to look out for you, in case you need me to go out to the shops or something. Besides, with the injured knee that ruined my promising career with the Celtics, I cannot begin to think about full time work, maybe just a little part-time sleuthing once a year, when Win needs me.”

Again Win. Al Bolitar frowned. “Win was in London with you?”

“Yes,” admitted Myron, reluctantly.

His father frowned harder. “You ask me, that Win is nothing but trouble. Every time you hang out with him someone tangentially connected with the neighborhood gets murdered or kidnapped.” Al Bolitar gave his son a hard look. “Win didn’t have that rocket launcher of his with him did he?”

“No, of course he didn’t.” Myron let the easy lie roll off his tongue. The words came a little too quick. He saw his father’s eyes rolling to the heavens.”

“I don’t like you hanging out with Win, Myron. His shoes are a little too smart, his hair just a little too sharply parted, and he has effete eyebrows. I suppose you have noticed that, Mr. Detective?” His father slugged Whiskey. “ Say the word and I’ll have my teamster buddies score you a job at the airport. Not the schmancy kind of gig you are used to, but it is good honest labor. The kind of work that will help you move out of the basement into a place of your own.”

Myron sat forward in his seat, his heart leaping out of his chest. “Move out of the basement; but what about my childhood memories: my Sports Illustrated collection, and my posters of Burt Ward and Adam West, the greatest crime-fighters the world has ever seen? And who would tend my shrine to Farrah Fawcett, have you even thought about that?”

His father frowned. “It smells like moldy gym socks down there. Besides, you are fifty years old, son. Maybe it is time you made an honest woman out of that girl of yours. What’s her name, Terese? You wheel ’em in and out of her so goddamn fast, it is hard to keep track.”

Myron clutched at his fathers arm.

“I cannot move out of the basement, not with my ruined knee. I need to be home, with you and mom. I belong here, don’t you see?”

His father winced, moved his whiskey out of range of his son’s clutching fingers. “Here’s the thing son—me and your mom, we got things we like to do. We got our sky diving lessons, then we got ourselves another anthropological trip to the Amazon rain forest, and ever since you Mom got into EDM, we got a whole bunch of festivals lined up too: Coachella, Burning Man and Electric Daisy.”

“But who is going to make my dinners?”

“We will stock up the freezer with frozen lasagna and hungry-man ready meals, same as usual.”

“I don’t like ready meals,” sniffed Myron, his voice sulky.

Al Bolitar double slugged his scotch and banged the glass down on the coffee table. “You should have thought about that before you passed up the chance to be the next Jerry Maguire shouldn’t you jackass? You could have been lording it on the upper east side now, with your own apartment and a stable full of millionaire sports celebrities at your beck and call—all of them cutting you a big fat pay check every month. But oh-no, you and your injured knee had to throw it all away didn’t you? You ask me, you should have never sold the agency.”

The agency is in the past, just like my career with the Celtics. All I have to look forward to now is the pain of my ruined knee and the solace of my closest fiends. Sleuthing is my life. I want to solve mysteries pops, can’t you understand that?”

Al Bolitar held his hands to the heavens. “Mystery solving? Where’s the percentage in that? That kind of thing is a young mans game. Why only last week I caught some show on TV about an ex LAPD detective: Hieronymus Harry Haller. I remember thrilling to his adventures back in the day, when he was young and full of vim. But these days, since he went in the nursing home, and is taking his food through tubes—well, lets just say I am not digging his adventures quite as much as I used to. I am warning you son, you don’t snap yourself together, get your life back on track, that could happen to you!”

Myron sniffed, his bottom lip trembling, his eyes growing wide with uncertainty. “Are you saying I should throw away everything I have ever believed in, to a world of ‘standalone’ mysteries? I won’t let it happen. I swear I won’t! I will go see Win’s friend, Harlan Coben—he is so tall and wise and handsome. He is an unerringly talented mystery writer to boot—he will know what to do—most surely he will!”

His father sighed. “Don’t be bothering the neighbors again Myron. We talked about this already!”

Myron rose from his seat “I will got to the city and talk to him now. Mr. Coben will know the answers!”

Al Bolitar shot his son a doubtful look. “This time of night? Those local government assholes have got the George Washington Bridge closed off again.”

“Then I will take Jones Road to Riverside Drive!”

“You got a job at the airport, you could change that POS Taurus out for a proper car you know that don’t you?”

Myron’s fists grew tight. “I will never sell the Taurus, never!”

Just then, Myron’s mom peered around the door of the den. “Who wants chocolate Yoo-Hoo and fresh-baked cookies for their supper?”

Myron stood there for a long moment, his game knee twitching with the unbearable tension. Finally, he raised his hand. “Me please mom.”

His mother smiled. “It’s nice to have you home son, you sit right there on the couch for your cookies. You want that I should fetch your blanky? I got it warming nice and cozy for you!”

Myron felt the warm tears of love and happiness welling from his eyes. He sank back onto the couch. “Thanks mom. You are the greatest. Can we all sit together and watch Jeopardy together when the game is done?”

His mother beamed back at him, her heart full of unending love. “Of course dear. I am sure the modern mystery reading demographic would be delighted, and we would too, wouldn’t we father?”

Al Bolitar made a horrible snorting noise, pouring another generous snort of Chivas 12 over the top of the glistening ice cubes, as the Mets game came live again.

 

Crimezine Thomas Mullen Tony Bulmer

Darktown by Thomas Mullen

Well how y’all doing Crimeziners? Those nice folks at Simon & Schuster just couriered over copy of Thomas Mullen’s latest Southern-fried crime thriller Darktown. Yeeehawwww! Mullen, it goes without saying, has cast iron cojones for tackling the subject of racial discrimination—even if that discrimination is contextualized within the framework of the pre-civil-rights South, a land where swivel-eyed torch carrying bigots and bitter-faced Jim-Crow racists murdered and lynched their way across the burning cotton fields at will.

It is surprising then, that in such a world of dirty judges, bent cops and Krazy Klanish Kookishness that there could ever have existed a unit of black law enforcement officers, dedicated to keeping the peace. How is this even possible we hear you ask—Welcome to Darktown Crimeziners, a world where Atlanta Police department hires its first black officers, Lucius Boggs and Tommy Smith. Naturally, Klear Kut Kaveats hamstring our heroes from the get go—no arresting whites, no driving squad cars and definitely setting foot through the front door of Police headquarters—that is white man’s territory boy and don’t you forget it.

But wouldn’t you know it, Boggs and Smith meet murder head on, throwing themselves manfully into investigating the heartless slaying of a young black woman that sets them against the brutal regime of status quo racism they are expected to serve. Can they draw allies from across the color barrier and solve this vilest and most casual of crimes? Can they wrangle their way past their crooked colleagues, shady shine-swilling crooks and duplicitous madams? It is a crazy ride Crimeziners, but you are going to love every moment of it.

Darktown conjures the gumbo flavors of Dennis Lehane and Walter Mosley. The very title suggests more than a passing association with “James Devil Dog” Ellroy, but the sobriety of narrative thought is far removed from the Ellrovian world. Racial epithets are served here, but not with quite the same gusto as they are in the manic milieu of Ellroy’s City of Angels. The title is a not only a sophisticated play on the racial and moral climate of the Atlanta ghetto in the 40s but a reminder that in the “colored” part of town there were no street lamps, garbage collections or other comforts that whites took for granted—

Crimeziner’s will be no doubt aware that the fresh-faced Mullen already has a string of literary successes behind him  Atlanta native Mullen’s 2006 debut, The Last Town on Earth was named Best Debut Novel by USA Today, in addition it snatched Chicago Tribune Book of the Year, the New York Times Editor’s Choice award and the James Fenimore Cooper Prize for excellence in historical fiction. And now Darktown has been acquired by Sony Pictures for an upcoming TV series. Not bad for a skinny white guy.

Did you say white?

Yup—no doubt that will raise questions in the more politically correct reaches of the Whose Lives Matter movements. But Mullen doesn’t care. He has cast iron cojones after all. He is the kind of guy who can stuff the M80 of racial debate down the front of his Deliverance style dungarees and light the blue touch paper without blinking an eyelid.

Darktown—never mind the color of its skin, accept it for what it is—a damn fine crime novel.

Armando the Guatemalan pool boy has not been feeling himself of late, Crimeziners. It is as

Manitou Canyon, crimezine

Manitou Canyon by William Kent Krueger [No relation to Freddie]

though he has experienced a “wonderfully evocative examination of violent loss” or a, “Journey away from the shores of childhood, a journey from which he can never return as he experiences the heartbreaking price of adulthood and its wisdoms.” What manner of trauma has caused this, most perplexing condition we hear you cry?

 

Perhaps, you may muse, it is the nightly pursuit of our young hero by immigration and customs enforcement along the mean streets of West Hollywood’s boys-town barrio? Perhaps, the arduous task of fishing out party detritus and deceased starlets from the Crimezine swimming pool, or perchance it is the ardent and amorously unsolicited attentions of Crimezine cocktail wrangler Consuela, as she chases our Guatemalan Ganymede around the hot tub, in nothing but a cellophane tabard and a pair of heavily lubed pink marigolds?

Yet another sexual harassment case is something we are trying to avoid this month at Casa del Crimezine, after Jennifer Aniston and husband Justin Theroux dropped around for Mexican BBQ on the glorious 4th, and great uncle Eustace did his famous/notorious ‘drowned dolphin’ impression. Fortunately, after employing our finest Dónde está el cuarto de baño Spanish, it was established that the doleful, melancholia of our tan young Piscina niño has been facilitated by yet another mournfully evocative work from crime writer’s crime writer, William Kent Krueger [No relation to Freddie].

Having hungrily read his way through a dozen or more of Krueger’s Minnesota based masterworks, such as: Boundary Lake, Purgatory Ridge and the Edgar Award winning Ordinary Grace, Armando has been lapping up Krueger’s latest, Manitou Canyon, a mysterious mix of James Lee Burke, Tony Hillerman and just more than a hint of that lake loving Midwestern mad-man Ernie “Sure the gun ain’t loaded” Hemingway.

Naturally, the delightfully named Cork O’Conner features as protagonist. Half Irish, half Ojibwe American, our hero is this time out tracking down a mysterious missing person, as a perfect storm of family strife and merciless winter is closing in from the ever-darkening horizon. A high stakes finale ensues—of the kind that will have you sleeping with the lights-on and bracing the chasming darkness with a three-fingered shot of you favorite falling-down juice. Family struggles, hideous truths, baffling disappearances—it is no wonder that poor Armando hasn’t been himself. But fear not Crimeziners, as our proud hero sashays forlornly around the yard in shrink-wrap speedo’s, pool dredger in one hand, heavily thumbed Krueger tome in the other. We have already pried Crimezine cocktail wrangler Consuela away from the French doors with the aid of a fish-slice spatula and a very liberal spritz of Windolene, and instructed her to hit up our young hero with a generous Tanqueray Lime-Rita, or something of that nature.

“There are more things in the woods than a man can see with his eyes. More things than he can hope to understand.” Manitou Canyon by William Kent Krueger is available now.

Now, what was the name of that Krueger protagonist again? Donegal Fermanagh? Tyrone Wicklow? Kerry Kildare? Antrim O’Shaugnessy? Galway Roscommon? Monaghan McGrath? Wicklow O’Sullivan? Sligo Tipperary?

 

 

The Wannabe, Crimezine, Tony Bulmer

The Wannabe star Thomas, [Vincent Piazza] goes postal. Patricia Arquette recommends the Weaver stance.

Oh dear, Crimeziners. You know how excited we get when a gangster film pops off the Hollyweird production line. Plenty excited. More excited than NRA mouthpiece Wayne LaPierre waking up on xmas morning to find out that he has a big box of full-auto M16s under the xmas tree.

The fact that Mr. LaPierre gets a big box of guns under his Christmas tree every single Xmas is as existentially meaningless as the life of The Wannabe star Thomas, [Vincent Piazza] a young man whose moonish existence is consumed by dreams of becoming an associate of New York Crime boss John Gotti.

Poor Thomas. The kid is an inveterate loser with zero charm, whose delusional outlook conjures a fleeting nexus with that giant of existential psychosis Travis Bickle. Unlike De Niro’s Bickle, Thomas is a gutless bottom feeder, who quite literally pisses in his pants at the first sign of gunplay. This film is relentlessly depressing, with few—if any, redeeming moments.

That’s right Crimeziners, you are going to have to dry-swallow a handful of happy pills to make your world come good again after watching this cavalcade of doom and gloom. Based on a true story, screams the headline, as though this somehow gives the story legitimacy. Do we care? Frankly No.

The big barrel of New York gangster crime was scraped clean decades ago. The Wannabe licks hungrily at the lid of that empty barrel and the result is cinematic halitosis of a quite unappetizing variety.

Even the appearance of the gorgeous and prodigiously talented Patricia Arquette fails to raise the pulse of this flat-lining farce of a movie. The fact that she is forced throughout, to wear a wig so unlikely that not even John Travolta would be caught down the morgue in it is emblematic of the level of disaster that we are dealing with.

On the bright side, Crimeziners will be excited to note that the awesome Michael, Sopranos, Detroit 187 Imperioli is involved; but unfortunately, only in a cameo capacity. In Los Angeles this week Imperioli was in town with actor/director Nick Sandow and Vinnie Piazza to promote The Wannabe. He mumbled valiantly about Marty Scorsese and classic crime films, going to so far as to bracket Sandow in the same cinematic category. Unfortunately, that just ain’t the case.

You just know that Mean Streets and Bonnie and Clyde came up at the pitch meeting for this film; trouble is The Wannabe doesn’t come close to either. Gangsters. We love them, there used to be a time they stood for something—an outlaw breed, fierce and loyal, their lives filled with dangerous glamour—their bright and deadly career trajectory filled with excitement—something anyone who wanted it bad enough could achieve. The Wannabe tells us that is no longer possible. It tells us gangsters are no longer sexy. No one likes being told they aren’t sexy. Right Crimeziners?

Ross Macdonald Crimezine Black Money

First edition of Ross Macdonald’s Black Money

As Crimezine exclusively revealed several months ago Hollyweird kook-mongers the Coen brothers are turning Ross Macdonald’s 1965 murder mystery Black Money into box office big-bucks. And about time too we hear you shout.

Those familiar with the work of Ross Macdonald will realize immediately the depth of ambition required to batter one of his deliciously enigmatic and smoothly circuitous books into a square-peg slab of cinematography. How will it be possible?

Macdonald’s writing was perhaps so influential because of its ethereal and compelling nature. Delightful similes drip from every paragraph. Learned allusions and literary in jokes lead to smarty-panted chortles and cloth-brained internet trawls—so the rest of us can dig what the great man was rattling on about. Because Ross Macdonald was not only a great writer—he was also a big-league brain-box and if readers were too goddamned stupid to keep up, they would have to rush back to the book store to dig out the latest pulp by Mickey Spillane or John Creasy.

Chandleresque is a word perhaps fist coined for the work of Ross Macdonald. Indeed his first novels were so slavishly Chandleresque that the owlish éminence grise of crime fiction managed to rouse himself momentarily from a drunken puddle on his kitchen floor to grumble with much ill-humor, that mild-mannered Macdonald was, “No sort of writer at all”.

Black Money, Ross MacDonald, Crimezine

Modern Black Lizard issue of Ross Macdonald’s Black Money

Unlike Chandler however, Macdonald had a monstrous work ethic and managed within his lifetime [He died in 1983] to channel out a glorious sub-genre of SoCal detective fiction that has been widely influential. Private eye Lew Archer is the thinking mans Marlowe, Sam Spade sans the Bogartian bluster. Archer is wry and relentless, a man consumed to discover the truth, no matter what it takes.

Black Money sees Archer summoned to the fictional town Montevista. [Which may or may not be La Jolla, a fact that must have rankled with local resident Chandler] to discover why the lithesome love interest of portly trust-fund toff Peter Jamieson prefers the company of a roguish Frenchie-foreigner named Martel.

It would seem like an open and shut case, as aside from cold hard cash, it would appear that whining windbag Jamieson doesn’t have much to offer a young woman of beauty and ambition. But wouldn’t you just know it—as soon as Archer arrives, the bodies start falling thick and fast. Yerk alors, mes amis!

The title has wide metaphorical implications, as you would perhaps expect with a novel by Ross Macdonald. But seeing as you are so desperate to know, it wouldn’t be too much of a spoiler to reveal that IRS-free Vegas skim money is involved.

In Black Money, as with all Archer novels, there is a confluence of greed and murder where great wealth meets endless waters of the Pacific Ocean. But it doesn’t end there. Hell no. This is a tale of twisted lust and fragile innocence turned cold and vampiric. Meet a parade of swinishness and Machiavellian nastiness the like of which you have never witnessed—everyone Archer encounters has an angle and a certain cold ugliness. The twists and turns are endless. Macdonald likes to change character names half way through—he likes to kill off lead characters and have us believe others are important when they are not. When it comes to convoluted ingenuity and twisted reasoning, Ross Macdonald is an unparalleled master of the genre.

ROss MacDonald Black Money The Coen, Brothers, Crimezine

Hollyweird Kooksters the Coen Brothers are dealing with Black Money

So what will the Cohn brothers make of all this bad craziness? Well, their off-the-wall humor and non-linear style is well suited to the work of Ross Macdonald. Joel Silver is set to produce the movie and the valiant escapade is being backed by [Black Money?] from Warner Brothers. So will Steve Buscemi and John Goodman be involved? Will Gorgeous George Clooney play Archer? Watch this space Crimeziners Because Crimezine is right on the Black Money every time.

 

http://www.coenbrothers.net

http://www.barnesandnoble.com/w/black-money-ross-macdonald/1102570653

http://www.tonybulmer.com/

Robert Crais

Bonzo Bob Crais: America’s greatest detective writer

Crimezine neighbor Bonzo Bob Crais is without question Mulholland Drive’s favorite crime writer come dog walker. The New York Times best selling author and Olympic level BBQer is a legend, not only in the City of Angels but in Crimezine community at large.

It is with great pleasure therefore that Crimezine can announce that the Crais silent- writer—that marvelous machine that fills the Mulholland night with the mellifluous music of mystery— has fallen quiet once again, heralding the arrival of The Promise, the latest installment of the Elvis Cole Saga.

Times have changed considerably since the original 1987 outing of the wise-cracking private eye, in the gloriously named The Monkey’s Raincoat and in the ensuing years Bonzo Bob has been collecting literary gongs faster than a Hollywood traffic cop can dole out parking violations. As the years zip past, the unfeasibly monikered Elvis has come up against just about every kind of criminal conspirator you could name and a few more besides.

Some things remain reassuringly constant however: the grumpy cat, the A-frame house, Falstaff beer and the glittering backdrop of the city of Los Angeles. No one writes about LA like the Craisy one, apart from Raymond Chandler or Crimezines favorite Floridian, the awesome Conners.

Yes, the characteristic Cole wise cracks have been missing in recent years, but readers can be assured they are back in The Promise; a turn of events that has had Mulholland residents cheering in the street.

So what of the plot we hear you ask? Well, there is the nasty Mr. Rollins, a nice lady whose son has been killed and a terrorist bomb plot of the kind that would have the NCIS crew soiling their jockey shorts.

Then on page 76 Joe Pike turns up. He is wearing sunglasses. His lip coils very slightly, but he says nothing. Cole fans go ballistic. Mulholland neighborhood watchers start howling at the moon. Pike is of course the taciturn Yang to Cole’s ebullient Ying and has been for many a long year—since the Vietnam days in fact.

Vietnam? The calculations swirl. Yes, that is right Crimeziners, Cole and Pike are the same age as legendary Connelly creation Hieronymus Harry Bosch; the LAPD veteran who wheezed and stooped arthritically into retirement some years ago. No doubt Harry has many mysteries yet to solve from the comfort of his bath chair. But so do Cole and Pike, because they are now ably assisted by thirty-something Delta force whipper-snapper Jon Stone.

Jon likes guns and technology. He does the stuff the old timers can’t figure, like program the video machine—[Surely video stream from the internet?—Ed] You get the picture. Pike, Cole and Stone are like the Larry, Moe, and Curly-Joe of Crime fiction—

NYUK—Cole drops gags and gets into terrible trouble.
CLANG—Pike screeches up in the red jeep.
SPROING—Stone pulls open trunk full of military grade weapons.

Carnage ensues.

It is a wonder bad guys bother coming to Los Angeles at all these days—they really don’t stand a chance.

It is entertaining stuff of course. The goofball camaraderie and set-piece histrionics never fail to delight. Crais is a master storyteller, whose ligature tight prose never pulls out of the fast lane. It must also be mentioned that The Promise sees a very welcome guest appearance from LAPD dog handler Scott James and his K9 companion Maggie; stars of the awesome Crais standalone novel Suspect. A book that had Crimezine cocktail wrangler Consuela quite literally sobbing into her Chablis. We are Pack Crimeziners. We are Pack.

Bonzo Bob Crais is without doubt America’s greatest detective writer. Get Craisy, Get The Promise. Tell them Crimezine sent you.

George Raft Crimezine

George Raft the gangster’s gangster

Gangsters, everybody loves them Crimeziners. But who or what is responsible for this state of affairs—the Great Depression, Prohibition, or the shoot out sensationalism of 30s and 40s Hollywood? There can be no doubt that a confluence of these notorious times led to the rise of the gangster, but one man more than any other embodied the gangster legend.

Meet George Raft, a man who lived out the fast times and dangerous glamour of the New York underworld—famed for his roles in such classic movies as Scarface, Each Dawn I Die and the 1935 adaptation of Dashiell Hammett’s Glass Key, Raft hit Hollywood by a route even more wild and compelling than that told by his success on the silver screen.

Rising out of Hell’s Kitchen New York City in the 1920’s, Raft was a smalltime boxer and baseball player, working his way through tough times anyway he knew how. He was childhood friends with many gangster legends, including Owney “the killer” Madden leader of the ruthless Gopher gang, and Benny—don’t call me Bugsy—Siegel. Always coy about his connections with the mob, Raft confessed to knowing such notorious names as Al Capone and racketeering legend Arnold Rothstein, but maintains he himself did nothing more than run bootleg liquor for the Madden mob.

A slick mover, Raft also made a mint as a dancehall lothario with pal and future screen legend Rudolph Valentino. The dance hall gigs proved a lucky break for Raft leading to a showbiz life several worlds away from his seedy gangster past. He never forgot his roots however and utilized his personal knowledge of the underworld’s most dangerous movers and shakers in his many film roles.

Now I know you are anxious to hear all the stories aren’t you Crimeziners? How Raft met Al Capone and what Capone’s verdict on the movie Scarface was? How Raft made Humphrey Bogart by turning down roles in The Maltese Falcon and High Sierra? How Raft seduced Betty Grable, Marlene Dietrich and Mae West? How despite all these affairs, and being the most sought after male lead in Hollywood he could never marry the woman he loved—how his relationship with Bugsy Siegel came back to haunt him and nearly ended his life?

Teasing Crimeziners. If you want to know all this and more, you will have to read Lewis Yablonsky’s book, George Raft. This excellent tome dishes the dirt on Raft’s crime connections, gives fascinating insights into the birth of Hollywood and the gangster movie; it also sets the social scene for these crimetastic events with perhaps the greatest gangster actor Hollywood ever saw.

So, if you want to get in at ground zero of the American gangster legend and find out how it all started, this is the book for you. The painful demise of Raft is also covered in some detail—but his death from Leukemia in 1980 is omitted Crimezine thinks it is high time for a new edition with an updated conclusion—sadly this update is unlikely, as acclaimed Sociologist Yablonsky died in 2014. Like gangsters? Buy this book today.

http://www.amazon.com/George-Raft-Lewis-Yablonsky/dp/0070722358/ref=asap_bc?ie=UTF8

Crimezine George Raft

George Raft Scarface, Hollywood’s greatest gangster