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Category Archives: Joseph Losey
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
My top 10 British gangster films
One of my favourite British gangster films, Mike Hodges’s Get Carter, is 50 years old. It premiered in the UK in the northern British city of Newcastle, where it was filmed, on March 7, and in the US on March 18. I have penned a piece for a prominent crime fiction/related site on the influence of Get Carter on crime cinema, but am not exactly sure when this will come out. For now, I thought the film’s half century anniversary was as good a time as any to hit you with my top 10 British gangster films.
They Made Me a Fugitive (1947)
I wrote about They Made Me a Fugitive in some length on this site here. It was one of a trio of early post-war British gangster films that caused a stir with censors, the others being No Orchids for Miss Blandish and Brighton Rock, both of which appeared in 1948. Fugitive stars Trevor Howard as Clem Morgan, a demobbed Royal Air Force pilot who reluctantly joins a criminal gang headed by a flash gangster with a very nasty streak, Narcy, but baulks when his discovers his new employer is into drug trafficking. What I love about this film, and the aspect that attracted the most critical condemnation when it first appeared, is its depiction of the poverty and desperation of post-war British life.… Read more
Posted in Billie Whitelaw, British crime cinema, British pulp fiction, Crime film, Heist films, James Hadley Chase, Joseph Losey, Michael Caine, Peter Yates, Richard Burton, Stanley Baker, True crime
Tagged Alfred Dimer, Billie Whitelaw, Billy Whitelaw, Bob Hoskins, British crime film, Get Carter (1971), Helen Mirren, James Hadley Chase, Joanna Pettet, John Guillermin, John McVicar, Jonathan Glazer, McVicar (1980), Mike Hodges, Never let Go (1960), No Orchids for Miss Blandish (1948), Peter Sellers, Peter Yates, Richard Burton, Robbery (1967), Roger Daltry, Sexy Beast (2000), Stanley Baker, Stephen Berkoff, The Criminal (1960), The Great Training Robbery, The Krays (1990), The Long Goodbye (1973), They Made Me A Fugitive (1947), Trevor Howard, Villain (1971)
The 10 essential films of Stanley Baker
Welsh born actor Stanley Baker didn’t live to see his 50th birthday, but he left an impressive body of work. Like his friend Richard Burton, he escaped life as a coalminer for acting after a chance sighting in a school play by the casting director of Ealing Studios led to Baker’s first role in the 1943 war drama, Undercover. His rugged physique and hard grace meant he was most often cast as the tough guy in crime movies and spearheaded the evolution of the British film criminal from the gentlemen thief to more ruthless figures, often working-class, in films such Hell Drivers (1957), Joseph Losey’s The Criminal and Peter Yate’s 1967 heist film, Robbery.
Last weekend he would have been 88, were he still alive. To mark his career, I have a piece on the British Film Institute site looking at his 10 essential films. You can read it in full here.… Read more
Posted in British crime cinema, Heist films, Joseph Losey, Richard Burton, Stanley Baker, War film
Tagged Accident (1967), Anne Heywood, Cy Enfield, David McCullum, David Warner, Dirk Bogarde, Donald Pleasence, Eva (1962), Hell Drivers (1957), Innocent Bystanders (1972), Jacqueline Sassard, James Booth, Jeanne Moreau, Joseph Losey, Michael Caine, Patrick McGoohan, Perfect Friday (1970), Peter Yates, Robbery (1967), Stanley Baker, The Criminal (1960), The Guns of Navarone (1961), Ursula Andress, Violent Playground (1957), Zulu (1964)