Category Archives: 1960s American crime films

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

→ 2 Comments

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

Tagged , , , , , , , , , , , , ,

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

Posted on November 18, 2020 by Andrew Nette| 6 Comments

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

→ 6 Comments

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

Tagged , , , , , , ,

Parker on the screen #2: The Split (1968)

Posted on August 2, 2020 by Andrew Nette| 4 Comments

Several years ago on this site I referred to the 1968 film The Split as a Blaxsploitation style riff on Donald Westlake’s character, Parker. I have seen other reviewers make the same mistake, I suspect mainly on the basis that it was an action film starring a black man, ex-pro-footballer turned actor, Jim Brown, in the role of McClain (as the character of Parker is called). Not only did The Split appear several years before that cycle of films kicked off (1971 with the release of Sweet Sweetback’s Baadasssss Song and Shaft), but it displays none of the extravagant sexual and violent action stylings of that canon.

The second film in my series of Parker on the screen, The Split is a workmanlike neo noir based on Donald Westlake’s Parker novel, The Seventh. It is no Point Blank. I don’t even think it is as good as the 1967 French film, Mise a Sac, based on Westlake’s The Score, my first entry in the Parker on the screen series. But neither is it as bad as lot of people think.

The heist in The Seventh – stealing the ticket takings from a stadium football game – is over in the first dozen or pages of the book.… Read more

→ 4 Comments

Posted in 1960s American crime films, Blaxsploitation, Crime film, Donald Westlake aka Richard Stark, Ernest Borgnine, Film Noir, Gene Hackman, Heist films, Jim Brown, Neo Noir, Peter Yates

Tagged , , , , , , , , , , , , , , , , ,

Up periscope: a celebration of submarine cinema

Posted on July 13, 2020 by Andrew Nette| Leave a comment

I love a good submarine film. The claustrophobia of the confined setting, the tensions arising from a group of people having to co-exist and operate in a completely unnatural, extremely dangerous environment, is all pretty much guaranteed to hook me in every time.

I was reminded of this while I was watched the 2014 thriller Black Sea on the weekend. A hard as nails, embittered Scottish deep sea salvage expert, Robinson, (Jude Law), takes a job with a shadowy backer, to salvage hundreds of millions of dollars of gold rumoured to be in a sunken Nazi U-boat sitting on the bottom of the Black Sea. He has at his disposal a surplus communist era Russian submarine and recruits a fractious crew of washed up seafarers, half of whom are Russian because they are the only ones who know how to properly operate the vessel.

I don’t know why this film passed me by when it first came out but it ticked virtually every box on the my list of requirements for a good submarine film. The crew have to contend with a never ending series of life threatening technical and nautical challenges. Within the narrow confines of the aged submarine, the tensions between crew members ratchet up along ethnic grounds and how they will split up the gold.… Read more

→ Leave a comment

Posted in 1960s American crime films, 1990s American crime films, Ava Gardner, Burt Lancaster, Dystopian cinema, Ernest Borgnine, French cinema, Gregory Peck, Heist films, Jim Brown, Rock Hudson, Samuel Fuller, Sidney Poitier, Spies, War film

Tagged , , , , , , , , , , , , , , , , , , , , , , , , , ,

MacKenna’s Gold: gold, ghosts and frontier violence

Posted on April 4, 2020 by Andrew Nette| 2 Comments

1969 was arguably the year Hollywood fully embraced the revisionist western. In addition to Peckinpah’s The Wild Bunch, there was True Grit, Tell Them Willy Boy is Here, Death of a Gunfighter, and Midnight Cowboy. As well as playing with notions of ‘the cowboy’ and ‘the West’, they contained more stylised violence, more sex and stories that overtly fed off the cynicism and disillusionment of America’s war in Vietnam and domestic racial strife.

Released in May that year, Mackenna’s Gold straddles the divide between the classic big studio western and its revisionist successors. Headed up by Gregory Peck and Omar Sharif, the film boasts a cast to kill for. It is also a story filled with supernatural elements, in which humans are haunted not only by spirits guarding a lost canyon full of gold but by their own greed and paranoia.

In my debut for a website I have admired for some time, Diabolique Magazine, I wrote about gold, ghosts and frontier violence in MacKenna’s Gold. You can read the entire article on their site via this link. Enjoy.… Read more

→ 2 Comments

Posted in 1960s American crime films, Crime fiction and film from India, Gregory Peck, Westerns

Tagged , , , , , , , , , , , , , , , ,