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Nothing but noir
Recommended reading
The lurid world of pulp
- 20th century Danny Boy
- American Pulps
- Bear Alley
- Bloody, Spicy, Books
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- Too Much Horror Fiction
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Category Archives: Bryan Brown
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 Movers – you 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
Posted in 1960s American crime films, 1970s American crime films, 1980s American crime films, 1990s American crime films, Adrian McKinty, Albert Dekker, Andre De Toth, Angela Savage, Angie Dickinson, Anthony Zerbe, Asian noir, Australian crime fiction, Australian crime film, Australian noir, Australian popular culture, Australian pulp fiction, Australian television history, Ava Gardner, Beat culture, Belmont Tower Books, Ben Wheatley, Billie Whitelaw, Black pulp fiction, Blaxsploitation, Book cover design, Book Reviews, British crime cinema, British pulp fiction, Bryan Brown, Burt Lancaster, Carter Brown, Charles Durning, Charles Willeford, Chester Himes, Christopher G Moore, Christopher Lee, Cinema culture, Claude Atkins, Coronet Books, Crawford Productions, Crime Factory, Crime Factory Publications, Crime fiction, Crime fiction and film from Africa, Crime fiction and film from Cambodia, Crime fiction and film from China, Crime fiction and film from India, Crime fiction and film from Indonesia, Crime fiction and film from Japan, Crime fiction and film from Laos, Crime fiction and film from Latin and Central America, Crime fiction and film from Malaysia, Crime fiction and film from New Zealand, Crime fiction and film from Scandinavia, Crime fiction and film from Singapore, Crime fiction and film from South Korea, Crime fiction and film from Thailand, Crime fiction and film from the Philippines, Crime Fiction and film set in Vietnam, Crime film, Dangerous Visions and New Worlds Radical Science Fiction 1950 to 1985, David Goodis, David Peace, David Whish-Wilson, Derek Raymond, Diana Dors, Dirk Bogarde, Don Siegel, Don Winslow, Donald Westlake aka Richard Stark, Dystopian cinema, Ernest Borgnine, Eurocrime, Fawcett Gold Medal Books, Femme fatale, Fernando Di Leo, Filipino genre films, Film Noir, Forgotten Melbourne, French cinema, French crime fiction, Garry Disher, Gene Hackman, George V Higgins, Georges Simenon, Ghost Money, Giallo cinema, Gil Brewer, Girl Gangs, Biker Boys and Real Cool Cats: Pulp Fiction & Youth Culture, 1950-1980, Gloria Grahame, Gold Star Publications, Gregory Peck, Gunshine State, Heist films, Horror, Horwitz Publications, Humphrey Bogart, Ian Fleming, Interviews, Ira Levin, James Caan, James Crumley, James Ellroy, James Hadley Chase, James Woods, Jim Brown, Jim Thompson, Joel Edgerton, John Frankenheimer, Joseph Losey, Karen Black, Kerry Greenwood, Kinji Fukasaku, Larry Kent, Lee Marvin, Leigh Redhead, Lindy Cameron, M Emmet Walsh, Mad Max, Mafia, Malla Nunn, Martin Limon, Megan Abbott, Melbourne International Film Festival, Melbourne Writers Festival, Men's Adventure Magazines, Michael Caine, Michael Fassbender, Mickey Spillane, Monarch Books, Ned Kelly Awards, Neo Noir, New English Library, Newton Thornburg, Noir Con, Noir fiction, Non-crime reviews, Oren Moverman, Orphan Road, Ozsploitation, Pan Books, Parker, Paul Newman, Peter Boyle, Peter Strickland, Peter Yates, Poliziotteschi, Pulp fiction, Pulp fiction in the 70s and 80s, Pulp fiction set in Asia, Pulp Friday, Pulp paperback cover art, Qui Xiaolong, Raymond Chandler, Richard Burton, Richard Conte, Robert Aldrich, Robert Mitchum, Robert Ryan, Robert Stone, Rock Hudson, Roger Smith, Rollerball, Rosaleen Norton, Roy Scheider, Rural noir, Sam Levene, Sam Peckinpah, Samuel Fuller, Science fiction and fantasy, Scripts Publications, Sidney Lumet, Sidney Poitier, Simon Harvester, Snowtown, Snubnose Press, Spies, Stanley Baker, Sterling Hayden, Steve McQueen, Sticking it the the Man Revolution and Counter Culture in Pulp and Popular Fiction 1950 1980, Stuart Rosenberg, Tandem Books, Tart noir, Tartan Noir, Ted Lewis, Toni Johnson Woods, True crime, Vicki Hendricks, Victor Mature, Vintage mug shots, Vintage pulp paperback covers, Wallace Stroby, War film, Westerns, William Friedkin, Woody Strode, Yakuza films, Yaphet Kotto
Parker on the screen #4: Slayground (1983)
Next in my series on Don Westlake aka Richard Stark’s criminal character of Parker on the screen is the 1983 film, Slayground.
Slayground is based on the 1971 book of the same name, the 14th instalment in the first cycle of Westlake’s Parker series. I am going to put my cards on the table up front and say that while Slayground is among my least favourite of that earlier tranche of Parker novels, I think is film, however, is very good. It has very little to do with the book, but as I said early in this series, I’m not going to get hung up on how much the films adhere to their source material.
The novel depicts what happens after Parker and his criminal associates are forced to to hire a second-rate wheelman for an armoured car heist they are planning. The job goes wrong and Parker narrowly escapes the law with $74,000 from the robbery. He stumbles across an amusement park called Fun Island, closed for the winter, and figures it is as good a place as any to hide until the heat from the job dies down. A major hitch arises when a couple of corrupt cops make Parker entering the park.… Read more
Posted in 1970s American crime films, 1980s American crime films, Billie Whitelaw, British crime cinema, Bryan Brown, Crime film, Donald Westlake aka Richard Stark, Giallo cinema, Heist films, Neo Noir, Parker
Tagged Billie Whitelaw, British giallo, Bryan Brown, Donald Westlake aka Richard Stark, heist film, I'll Sleep When I'm Dead (2003), Mel Smith, Mike Hodges, Ned Eisenberg, Not the Nine O'clock News, Parker, Parker on the screen, Payback Straight Up (1999), Peter Coyote, Slayground (1983), Terry Bedford, The Omen (1976), Trevor Preston
Roger Donaldson double feature: Sleeping Dogs (1977) and Smash Palace (1981)
To the degree that I was familiar with the film career of director Roger Donaldson, it was probably because he made what I would argue is one of the best American thrillers of the eighties, No Way Out (1987).
Donaldson actually had a pretty lengthy and productive directorial career after he decamped to Hollywood in the early 1980s from his native New Zealand: The Bounty (1984), Marie (1985), Cocktail (1988 – a terrible but successful film which gets a pass from me only because it features another Antipodean who was making his way in the US film industry in the 1980s, Bryan Brown), the psychological thriller, White Sands (1992), the wonderful hot garbage that was his 1994 remake of Jim Thompson’s The Getaway, with Alec Baldwin and Kim Basinger, and the better than average action sci fi film, Species (1995).
But over the weekend I finally caught up with the two New Zealand films that Donaldson cut his teeth on as a director and which got him noticed internationally, Sleeping Dogs (1977) and Smash Palace (1981). I don’t want to go into too much detail but having finally watched them I wanted to write a little about them, because both of them are excellent.
Sleeping Dogs was Donaldson’s first film and tells the story of a loner, simply known as Smith (a very young Sam Neill), who is estranged from his family and living in a remote part of the country when he is reluctantly swept up in an underground revolutionary movement that is fighting against a right-wing dictatorial government that has taken over New Zealand.… Read more
Posted in 1980s American crime films, 1990s American crime films, Bryan Brown, Crime fiction and film from New Zealand, Dystopian cinema
Tagged Anna Maria Monticelli, Bruno Lawrence, Cocktail (1988), Greer Robson, Hunt For the Wilderpeople (2016), No Way Out (1987), Roger Donaldson, Sam Neill, Sleeping Dogs (1977), Smash Palace (1981), Taika Waititi, The Bounty (1984), The Getaway (1994), Warren Oates, White Sands (1992)
10 great Australian westerns
To mark the UK release of The True History of the Kelly Gang (2019), Justin Kurzel’s bold reimagining of the sage one of Australia’s most famous myths, bushranger Ned Kelly, the British Film Institute asked me to write about my ten favourite Australian westerns. Not only is Ned Kelly Australia’s most famous bushranger – the name given to convicts who had escaped and survived Australia’s harsh environment to become outlaws – his legend forms a mini industry in film and television. In addition to Kurzel’s, Kelly has been the subject of eight films. The Kelly filmography forms part of a larger of body of Australian westerns, made by overseas and local concerns. You can read my piece in full at the BFI site here.
Posted in Australian crime film, Australian noir, Australian popular culture, Australian television history, Bryan Brown, Crime fiction, Ozsploitation, Westerns
Tagged Australian westerns, Bryan Brown, Justin Kurzal, Ned kelly, Sweet Country (2019), The True History of the Kelly Gang (2019), Westerns