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Category Archives: Sterling Hayden
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
James Coburn’s Hard Contract
American actor James Cobrun had a long and varied career that stretched from 1957 to his last role in 2002. He got his start playing tough guys in westerns on TV and then on the large screen, including his break out role in The Magnificent Seven (1960). He starred in the 1963 classic, The Great Escape, then rode the mid-sixties spy film craze with Our Man Flint (1966) and In Like Flint (1967). He spent the seventies appearing in action, crime and Westerns. Most of which were pretty average, notable exceptions being Pat Garrett and Billy the Kid (1973) and Walter Hill’s wonderful 1973 boxing film, Hard Times. The eighties and nineties were similarly varied in terms of his output, the highlight being Affliction, the 1999 film that won him a best supporting actor Oscar.
I have always liked Coburn for reasons I’ve found it hard to identify. I wouldn’t say he was a great actor. In nearly all the films I’ve seen him in the word that comes to mind to describe his performances is solid. He did have charisma of sorts and was good looking in an unconventional way, especially when he flashed that giant grin of his. I think I probably like him because of his work in the sixties and seventies, one of my favourite periods of US film making.… Read more
Posted in 1960s American crime films, Crime film, Sterling Hayden
Tagged Affliction (1999), Burgess Meredith, Claude Dauphin, Duffy (1968), Hard Contract (1969), Hard Times (1973), In Like Flint (1967, James Coburn, Karen Black, Lee Remick, Lilli Palmer, Our Man Flint (1966), Pat Garrett and Billy the Kid (1973), Patrick Magee, S Lee Pogostin, Sterling Hayden, The Magnificent Seven (1960), The President's Analyst (1967)
The Big Nowhere #4: Naked Alibi
The Big Nowhere is a series of columns I’ve been doing for the 4:3 site, in which I look at the best film noir you’ve never heard of. Number 4 in the series is Jerry Hopper’s 1954 B-noir, Naked Alibi. A tale of desperate men, a femme fatale, jealously, obsession, set in a seedy small town, just your average film noir cocktail. What makes this otherwise average film worth seeing is the presence of Sterling Hayden as the disgraced cop and Gloria Grahame as the singer, two of the most interesting actors who worked in film noir in the late ’40s and ’50s.
You can read the piece in full here on the 4:3 site.… Read more
Warren Oates, Gloria Grahame & other subjects for fiction anthologies
The recent release of Crime Factory’s LEE, an anthology of crime fiction inspired by the life of iconic actor Lee Marvin, has got me thinking about who else would be a good subject for similar treatment.
There’s already been a bit of chatter on Twitter about other actors people would like to see as the subject of their own fictional anthology, and several authors have contacted me with ideas.
There are only two criteria involved I can think of in choosing a subject.
First, the subject concerned has got to be deceased, preferably passed a while ago. It’s just too complex, legally and other ways to do an anthology based on someone living.
Second, there’s got to be something about them. Not just an interesting body of cinematic work and an interesting life, but an ongoing cultural resonance or zeitgeist that sets them apart from other actors and allows crime writers discuss broader issues.
Here are my picks for actors I think would be good subjects. And I should stress, these are just my musings and in no way reflect what Crime Factory will do in the future.
That said, you never know….
Warren Oates
There’s already been a bit of social media chatter about the possibility of a Warren Oates inspired anthology.… Read more
Posted in 1960s American crime films, 1970s American crime films, Film Noir, Gloria Grahame, Lee Marvin, Richard Burton, Stanley Baker, Sterling Hayden
Tagged 92 in the Shade (1975), Asphalt Jungle (1950), Badlands (1973), Bit Heat (1953), Bring Me the Head of Alfredo Garcia (1969), Cockfighter (1975), Dillinger (1973), Hell Drivers (1957) The Criminal (1960), Hell is a City (1966), In a Lonely Place (1950), innocent Bystanders, Johnny Guitar (1954), LEE, Lee Marvin, Major Dundee (1965), Naked Alibi (1954), Odds Against Tomorrow (1959), Race with the Devil (1975), Sam Peckinpah, Stanley Baker, Stanley Kubrick, Sterling Hayden, Stripes (1981), The Godfather (1972), The Guns of Navarone (1961), The Killing (1956), The Wild Bunch (1969), Two Lane Black Top, Warren Oates
The heist always goes wrong, part 2: reader picks and other favourite heist movies
My recent post The heist always goes wrong – ten of the best heist movies ever made, generated some great reader feedback. The best thing about the response was that it pointed me in the direction of a number heist films I hadn’t seen or that I need to revisit.
Based on your comments and the thoughts I’ve had on the subject since the original post, here are follow up list of other films that could be included in a best of heist films list (and my shameless editorialising regarding what I think about the merits of not of them).
Straight Time (1978)
A huge thanks to West Australian crime writer David Whish Wilson for alerting me to Straight Time, which I’d seen previously but forgotten. Dustin Hoffman plays a career criminal just out of prison, trying to stay on the right side of his ball breaking parole officer, masterfully played by one of my screen heroes, M. Emmet Walsh, and avoid the temptation of re-offending.
Straight Time is based on the book No Best So Fierce, by real life con Edward Bunker (who has a small role in the film). Everything about this film works, the script, the down at heel late seventies feel, the cast, which includes Theresa Russell, Gary Busey, Kathy Bates and Harry Dean Stanton.… Read more
Posted in 1960s American crime films, 1970s American crime films, Donald Westlake aka Richard Stark, Fernando Di Leo, Film Noir, French cinema, Heist films, James Woods, Jim Thompson, M Emmet Walsh, Robert Ryan, Sterling Hayden, Steve McQueen, Yaphet Kotto
Tagged Ali McGraw, Ben Johnson, Best Seller (1987), Blue Collar (1978), Clint Eastwood, Coleen Grey, Don Rickles, Donald Sutherland, Dustin Hoffman, Elisha Cook Jr, Elke Sommer, Faye Dunaway, Fernando Di Leo, Gary Busey, Gary Lockwood, Gavin MacLeod, Harry Dean Stanton, Harvey Keitel, heist films, Jack Palance, Jules Dassin, Karen Black, Kelly’s Heroes (1970), Lee J Cobb, Milano Calibre 9 (1972), oe Don Baker, Paul Schrader, Plunder Road (1957), Richard Pryor, Rififi (1955), Robert Ryan, Sam Peckinpah, Set It Off (1996), Slim Pickens, Sterling Hayden, Steve McQueen, Straight Time (1978), Telly Savalas, The Anderson Tapes (1971), The Getaway (1972), The Killing (1956), The Outfit (1973), The Thomas Crown Affair (1968), Theresa Russell, They Came to Rob Las Vegas (1968), Timothy Carey, Vince Edwards, Yaphet Kotto