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Category Archives: Stanley Baker
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
Fifty years later, Get Carter is still the iconic British gangster film
When you get a moment, my latest for the CrimeReads site is on 50 years of Get Carter, how the Michael Caine revenge flick attained cult status and changed the face of British crime cinema. I don’t think Get Carter is the best British gangster film ever made but it is certainly the most influential. You can read my piece in full at this site via this link.… Read more
Posted in British crime cinema, British pulp fiction, Crime film, Heist films, Michael Caine, Neo Noir, Noir fiction, Richard Burton, Stanley Baker, Ted Lewis
Tagged British gangster cinema, crime films set in northern England, Get Carter (1971), Jack's Return Home, Michael Caine, Mike Hodges, Ted Lewis
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)
Book Review: Getting Carter, Ted Lewis & the Birth of Brit Noir
The time is past when one could accurately describe Ted Lewis as a lost or under appreciated author. His best books have recently been re-released, Mike Hodge’s 1971 film, Get Carter, based on Lewis second novel, Jack’s Return Home, continues to be seen as a crime cinema classic, and Lewis’s profound, albeit posthumous, influence on the origins on Brit Noir is regularly reiterated by many of the leading lights of crime fiction.
But we know little about Lewis as a person and the influences on his work. Nick Triplow’s Getting Carter: Ted Lewis and the Birth of Brit Noir is obviously the product of considerable time, energy and shoe leather spent hunting down the facts of Lewis’s life. That Triplow doesn’t completely succeed in unravelling all the mysteries surrounding Lewis’s spectacular rise and fall is not for want of trying and, it must be stressed, the book is none the worse for it.
Contemporary literary culture, with its focus on the writer’s journey, literature as personal confession and the book scribe as media celebrity, is a relatively new phenomena. Lewis went to his grave without leaving a detailed archive of papers or journals and having only done a handful of newspaper interviews. He had neither the time nor, one suspects, inclination to record his inner most thoughts.… Read more
Posted in Book Reviews, British crime cinema, British pulp fiction, Crime fiction, Crime film, David Goodis, Neo Noir, Noir fiction, Pulp fiction, Stanley Baker, Ted Lewis
Tagged Cy Endfield, David Goodis, GBH, Get Carter (1971), Getting Carter: Ted Lewis and the Birth of Brit Noir, Hell Drivers (1957), Hell is a City (1960), Jack Carter and the Mafia Pigeon, Jack Carter's law, Jack's Return Home, Joesph Losey, Mike Hodges, Nick Triplow, Ted Lewis, The Criminal (1960), Val Guest
Pulp Friday: Hell is a City
A very quick Pulp Friday offering, Maurice Procter’s Hell is a City, published by Arrow Books, 1957. I am not sure, but this edition may even be the first British release of the novel in paperback.
Procter was a former Manchester policeman turned crime writer, best known for his police procedurals featuring the character of Detective Chief Inspector Harry Martineau, based in a tough fictional northern England industrial town. Proctor penned 14 Martineau novels, which appeared between 1954 and 1969, of which Hell is a City was the first.
Two things have got me thinking about the Martineau books. The first is my PhD research at the moment, which has been looking at the prevalence of American style detective and PI crime fiction in the 1950s in the US, UK and Australia. Procter’s work is different from a lot of post-war British crime pulp, which was set in America.
I’ve also been reading Nick Triplow’s excellent biography of English crime writer, Ted Lewis, Getting Carter (which I’ll be reviewing on this site in the coming weeks).
Among the popular cultural touchstones, Triplow writes, that would inspire Lewis’s work, including the iconic series of British gangster novels featuring the character of Jack Carter, was the 1960 film adaption of Hell is City by Val Guest.… Read more
Posted in British crime cinema, British pulp fiction, Crime film, Pulp fiction, Pulp Friday, Pulp paperback cover art, Stanley Baker, Ted Lewis, Vintage pulp paperback covers
Tagged Detective Chief Inspector Harry Martineau, Getting Carter, Hell Drivers (1957), Hell is a City (1960), Jack Carter, Maurice Procter, Nick Triplow, Stanley Baker, Ted Lewis, The Criminal (1960), Val Guest