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Category Archives: Lee Marvin
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
Prime Cut at 50: looking back at possibly the strangest American crime film of the 1970s
Want to talk about one of the strangest, if not the strangest American crime film to emerge in the first half of the 1970s? Then, let’s talk about Michael Ritchie’s neo-noir Prime Cut, as it turns fifty this year. It would be going too far to describe it as a neglected classic, but it is a fascinating film about a divided America that, as a result, finds obvious echoes today.
You can read my piece on Prime Cut in full at the CrimeReads site here.… Read more
Projection Booth podcast #546: Point Blank (1967)
It was a great pleasure to be able to perform co-hosting on the Projection Booth podcast for the second time in as many months, this time alongside my friend Jedidiah Ayres, on an episode about one of my favourite crime films, John Boorman’s Point Blank (1967). In addition to the film and how it figured in the careers of Lee Marvin, Angie Dickinson and Boorman, we talked about its place in 1960s American crime cinema, the film’s take on violence, and how it related to it literary source material the character of the hardboiled master thief Parker who appeared in the books of Richard Stark aka Donald Westlake. We also spent a fair bit of time talking about other cinematic adaptations of Parker, particularly Brian Helgeland’s 1999 film Payback – which was based on the same 1962 Parker book as Point Blank, The Hunter – and Payback’s various versions. It is a great episode and you can listen to it in full at the Projection Booth site via this link.… Read more
Posted in 1960s American crime films, 1970s American crime films, 1980s American crime films, Angie Dickinson, Crime fiction, Crime film, Donald Westlake aka Richard Stark, Heist films, Lee Marvin, Neo Noir
Tagged 1960s American crime cinema, Angie Dickinson, Brian Helgeland, John Boorman, Lee Marvin, Payback (1999), Payback Straight Up (2006), Point Blank (1967), The Projection Booth podcast
Being influenced by your favourite crime writer
As regular readers of this site will know, my second novel, Gunshine State, has recently been re-released.
To mark the occasion, the fine folks at my publisher, Down and Out Books, asked me to stop by their site and say a few works about the book.
Gunshine State has a number of literary influences. I am a big fan of the Crissa Stone books by Wallace Stroby and Australian writer Garry Disher’s Wyatt books. But my most obvious inspiration—and probably my desert island series—is the character of the master thief Parker, created by Richard Stark aka Donald Westlake.
For my post for the Down and Out Books site, I decided to talk about the very fine line between being influenced by your favourite crime writers and falling into a straight out pastiche or imitation. Doing the former without plunging into latter is something I was very conscious of, as I was writing Gunshine State – my attempt to do an Australian take on the heist gone wrong story – and the follow up, which I am currently in the midst of, Orphan Road.
The piece is available to read in full here.
And, if you are after a good weekend read, Gunshine State is available in all formats here.… Read more