Category Archives: Crime fiction and film from India

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

Posted on October 26, 2023 by Andrew Nette| 2 Comments

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

→ 2 Comments

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

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 , , , , , , , , , , , , , , , ,

MIFF report back #2: Sunrise

Posted on August 4, 2015 by Andrew Nette| 2 Comments

Sunrise

A key question for me from Partho Sen-Gupta’s second feature film, Sunrise, which played as part of the 2015 Melbourne International Film Festival, is how does one make a gripping crime film out of a pervasive social problem like child trafficking? If this was indeed Sen-Gupta’s intention, I’m not sure he has entirely succeeded. That said, there is a lot to recommend it.

The narrative spine of Sunrise is fairly straightforward. Joshi is middle aged Inspector working in a poorly resourced unit of the Mumbai police. His life has been in tatters ever since a person or persons unknown kidnapped his young daughter, Aruna, in front of her school years ago. The crime has destroyed his wife’s sanity and threatens to do the same to him. Compounding his trauma is the fact that the unit he works in deals with other parents who have had similar experiences. Joshi and his colleagues are largely unable to help these people, usually because their resources and methods are no match for those of the criminals responsible for the disappearances.

Joshi spends his nights obsessively searching for Aruna. He thinks he sees her everywhere. One night he stumbles out of the torrential monsoon rain into a nightclub called Paradise. Through the crowd Joshi spies Aruna amongst a group of young girls dancing on stage.… Read more

→ 2 Comments

Posted in Crime fiction and film from India, Crime film, Melbourne International Film Festival, Neo Noir

Tagged , , , ,

My 10 anticipated films of the Melbourne International Film Festival

Posted on July 28, 2015 by Andrew Nette| Leave a comment

The Duke of BurgundyThe Melbourne International Film Festival (MIFF) is almost upon us and, this year, I am seeing more than my usual quota of films. I won’t go into detail regarding everything I’ve booked, but here are the ten films I am most excited about.

The Duke of Burgundy

Confession: I missed this in my first pass of the MIFF program and, thankfully, was alerted by a friend to the fact it was playing. Despite some problems with the last quarter of the film I adored Berberian Sound Studio (2013), Peter Strickland’s tasteful, authentic non-Tarantinoesque homage to Italian giallo films of the seventies. So The Duke of Burgundy, a tribute to the Euro sleaze films of Jess Franco and Walerian Borowczyk has me very excited.

Sunrise

My search for a decent Indian neo noir continues with Partho Sen-Gupta’s 2014 feature, Sunrise. In 2012 I sat through all six hours of Gangs of Wasseypur, the sprawling saga of two rival crime families in the Indian state of Bihar. It held together well for the first half before degenerating into a Spaghetti Western-like shoot ‘em up. In 2013, it was Monsoon, a Mumbai based crime drama about a rookie cop and his corrupt older partner. It showed promise but I felt it was too focused on achieving the right aesthete at the expense of story.… Read more

→ Leave a comment

Posted in Crime fiction and film from India, Crime fiction and film from Japan, Kinji Fukasaku, Melbourne International Film Festival, True crime, Yakuza films

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

MIFF 2013 progress report #1: Manila in the Claws of Light & Monsoon Shootout

Posted on July 28, 2013 by Andrew Nette| 3 Comments

ManilaA couple of weeks ago I posted on the films I was planning to check out as part of the Melbourne International Festival. Yesterday I ticked off my first two choices, the Indian noir Monsoon Shootout and Manila in the Claws of Light.

First up, Manila in the Claws of Light (or as it is otherwise known as, The Nail of Brightness). This 1975 film is considered one of the classics of Philippines cinema. I’d heard a lot about and I wasn’t disappointed.

Julio (Bembol Rocco) is a young man who leaves his idyllic life in a small rural fishing town and travels to Manila to find his childhood sweetheart, Ligaya (Hilda Koronel), who has been trafficked into the city’s sex trade. Finding himself flat broke after he is mugged, he has no choice but to take a job working on a high-rise construction site.

The conditions are brutal, he sleeps in a wooden shack next to the half finished building, and workplace deaths are common. He also has to deal with the foreman, who regularly rips the workers off for a portion of their wages and sacks anyone who complains.

He eventually loses that job and ends up homeless on Manila’s streets, where he skirmishes with criminal gangs and meets a male prostitute who tries to induct him into the world of sex work.… Read more

→ 3 Comments

Posted in Asian noir, Crime fiction and film from India, Crime fiction and film from the Philippines, Crime film, Melbourne International Film Festival, Neo Noir

Tagged , , , , , ,