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Category Archives: Snowtown
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
Snowtown
First time director Justin Kurzel’s Snowtown is the latest instalment in the burgeoning genre of what can be called, for want of a better term, ‘underclass cinema’.
Animal Kingdom (2010), Samson and Delilah (2009), Boxing Day (2007), Candy (2006), The Boys (1998), and Idiot Box (1996) are all Australian examples of underclass cinema, as are US films like Winter’s Bone (2010) and Frozen River (2008), to name a few.
What they share is their almost forensic depiction of the criminal, sexual and psychological dysfunction of the underclass in Western post-industrial society. I don’t want to argue about whether these films are accurate or a stereotype. The answer is that most of the have elements of both.
Snowtown is set in the bleak housing estates of Adelaide’s northern suburbs. There’s lots of beige brick public housing, kids play with stolen supermarket trollies, and spent looking women fag on in front of poker machines.
Lest this needs further sign posting, within minutes of the film’s opening ground-down mother Elizabeth (Louise Harris) has let her boyfriend from across the road mind her three boys while she goes to Centrelink. He feeds them, then tells them to strip and photographs them. Their passive acquiesce to this abuse sets the tone for the rest of the film.… Read more
Posted in Australian crime film, Snowtown, True crime
Tagged Daniel Henshall, Justin Kurzel, Luke Pittaway, Snowtown (2011)
Snowtown: the first review
Since my post earlier this year on Snowtown, the much anticipated cinematic take on Australia’s worst serial killing spree, I’ve been on the look-out for the first reviews. Well, I’ve found one.
Snowtown premiered at the Adelaide Film Festival in late February. You can read the review, from the website Cut Print Review, here.
The review, by Anders Wotzke, is not particularly positive. Wotzke writes that “the unrelentingly grisly first-time feature from Australian director Justin Kurzel that struggles to build an emotional rapport with its audience”.
His take corresponds with what I’ve heard from others who attended the Adelaide Festival, that Snowtown tries but fails to emulate the look and feel of the 1998 Australian film, The Boys.
Regardless, I expect I’ll be heading to the cinema to check out Snowtown for myself, if for no other reason than to support a crime film from a first time Australian director.
Snowtown is in cinemas nationally in May.… Read more
Posted in Australian crime film, Snowtown, True crime
Tagged Justin Kurzel, Snowtown (2011)
Snowtown
2010 was a great year for Australian crime film. In addition to the excellent Animal Kingdom, last year saw the release of the neo-noir Western, Red Hill, and the gritty revenge flick, The Horseman.
While one can argue the merits and otherwise of aspects of these films, all three were highly original, energetic attempts to put an Australian face on some of key sub-genres of crime film.
Interestingly, all three were also made by first time directors.
This trend appears set to continue in 2011 with the yet to be released Snowtown, first time director Justin Kurzel’s take on one of Australia’s worst serial killing sprees, the ‘Snowtown murders’.
For those who need to be brought up to speed, the Snowtown murders, also known as the ‘bodies in the barrels murders’, involved the killing of 12 people between August 1992 and May 1999. The crimes were discovered when the remains of 8 of the victims were found in barrels of acid in a disused bank building in Snowtown, South Australia, a small economically depressed area 145 kilometres north of Adelaide.
Four people were eventually arrested for the murders. The ringleader, John Bunting, was a white trash suburban psychopath with neo-Nazi leanings who hated gays, pedophiles, very fat people and drug users.… Read more
Posted in Australian crime film, Snowtown, True crime
Tagged Animal Kingdom, Justin Kurzel, Red Hill, Snowtown (2011), The Boys, The Horseman