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Tag Archives: Jules Dassin
“Every headlight’s a police car, every shadow is a cop”: Kiss the Blood Off My Hands (1948)
I have been writing a bit this year on the phenomenal popularity of faux American crime fiction in post-war culture in places like Australia and Great Britain. By this I mean crime fiction written and produced in these countries that not only mimicked the atmosphere and tropes of hardboiled American mystery novels and film, but was set in mythical versions of big American cities, such as New York, Chicago and Los Angeles. This fiction, for example many of the books written by Australian crime fiction author Alan Yates aka Carter Brown, was sometimes even mistaken for the genuine thing.
One of the countless cultural offshoots of the United States’ emergence as the dominant global power after World War II, the success of faux American crime fiction is often associated with the wide penetration of film noir and American writers such as Mickey Spillane. But as I wrote in this piece on the popularity of the controversial 1939 James Hadley Chase novel, No Orchids for Miss Blandish, its roots go much deeper; the influence of pre-war writers such as Dashiell Hammett, Raymond Chandler and W. R Burnett. Also the private detective and mystery fiction contained in the mass-produced American pulp fiction magazines that flooded into markets such as Australia and Great Britain in the 1930s.… Read more
Posted in Australian pulp fiction, British crime cinema, British pulp fiction, Burt Lancaster, Crime fiction, Crime film, Film Noir, James Hadley Chase, Mickey Spillane, Noir fiction, Pulp fiction, Pulp paperback cover art
Tagged Carter Brown, faux American crime fiction, Gerald Butler, Harold Hecht, James Hadley Chase, Joan Fontaine, Jules Dassin, Kiss the Blood off My Hands (1948), Mickey Spillane, Night and the City (1950), Robert Newton, The Unafraid
The heist always goes wrong, part 4: 10 more heist films you’ve never seen
To celebrate the re-release of my heist thriller, Gunshine State, by Down and Out books, it is time for another of my top 10 heist posts.
This is my fourth post along the theme of ‘the heist always goes wrong’. Previous posts have been: ‘The heist always goes wrong, part 1: ten of the best heist movies ever made’, ‘The heist always goes wrong, part 2: reader picks and other favourite heist movies’, ‘The heist always goes wrong, part 3: 10 of the best heist films you’ve probably never seen’.
This instalment continues where I left of in part 3, with 10 more unknown or under appreciated heist films that you might want to check out.
Machine Gun McCain (1969)
Even when he was slumming it, John Cassavetes was still incredible and Machine Gun McCain is proof. This hard boiled 1969 Italian film tells the story of a paroled armed robber (Cassavetes) whose plan to heist a Las Vegan casino falls foul of a battle for territory between the east and west cost Mafia. Cassavetes’s co-starts include Peter Faulk, Britt Elland, and such Italian genre film stars as Luigi Pistilli and Grabiele Ferzetti.… Read more
Posted in 1960s American crime films, 1970s American crime films, 1990s American crime films, Australian crime film, Australian noir, British crime cinema, Bryan Brown, Film Noir, Gunshine State, Heist films, Lee Marvin
Tagged Adolfo Celi, Allen Hughes, Bryan Brown, Dan Duryea, David Goodis, Dead Presidents (1995), Dirty Heroes (1969), Edward Woodward, Ennio Morricone, Ernest Borgine, Grabiele Ferzetti, Gunshine State, Heath Ledger, Ian McShane, Janet MacLachlan, Jayne Mansfield, Jill St John, John Cassavetes, Jules Dassin, Julien Mayfield, Kurt Jurgens, Larenz Tate, Lee Marvin, Luigi Pistilli, Machine Gun McCain (1969), Max Julien, McVicar (1980), Oliver Reed, Peter Faulk, Raymond St. Jacques, Robbery (1985), Roger Daltry, Roscoe Lee Browne, Rose Byrne, Sitting Target (1972), This film by Albert, Two Hands (1999), Uptight (1968), Victor Mature, Violent Saturday (1955)
Not so black & white: the exhibition of classical film noir in Melbourne
Today I’m celebrating Noirvember with a terrific guest post by my friend Dean Brandum, film scholar and the man behind the wonderful site, Technicolour Yawn: Melbourne cinemas of the happening years: 1960 – 84. Dean looks at the myths and realities around the exhibition of classical film noir in forties and fifties Melbourne. Film noir is often seen as mainly comprising B-movies that would never have graced the screens of reputable Melbourne cinemas. But, as Dean makes clear, for the most part this was not the case.
“You could always find me in the theatre round the corner. People like me liked our pictures dark and mysterious. Most were B-movies made on the cheap, others were classy models with A-talent, but they all had one thing in common, they lived on the edge. They told stories about life on the streets, shady characters, crooked cops, twisted love and bad luck. The French invented a name for these pictures – Film Noir.”
Richard Widmark narrating The American Cinema’s episode ‘Film Noir’
Whilst this TV overview of film noir was an excellent production and was immeasurably aided by the gravitas of the (then otherwise retired) voice of Richard Widmark’s narration, his opening introduction has always rankled with me, for it perpetuates a myth about film noir, one which has been developed to be shoe-horned into a narrative – that film noir was not a mainstream commodity.… Read more
Posted in Australian popular culture, Film Noir, Forgotten Melbourne, Robert Aldrich
Tagged Classic film noir in Melbourne, Dean Brandum, Gilda (1946), Gun Crazy (1950), Jules Dassin, Jules Dassin’s Night and the City (1950), Kiss Me Deadly (1955), Kiss of Death (1947), Liberty Theatre Bourke Stree, Night and the City (1950), Richard Widmark, The Lyceum
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