Tag Archives: The Laughing Policeman (1973)

10 underappreciated American neo-noirs of the early 1970s

Posted on July 27, 2022 by Andrew Nette| 2 Comments

The domestic blowback of the Vietnam War. The sleaze and corruption of Watergate. The incipient rollback of the counterculture and many gains of the 1960s. Economic recession. The upheaval and uncertainty in the 1970s may have been tough on America’s collective psyche, but it resulted in some incredibly good crime cinema, particularly prior to Jaws in 1975, which helped to usher in the culture of the cinematic blockbuster.

And while I will happily admit to being a due paying member of the First-half-of-the-1970s-was-a-great-period-of-American-crime-cinema-fan-club, it does strike me that we tend to focus on the same handful of films from this period over and over. Yes, The French Connection and Shaft (1971), The Godfather (1972), The Friends of Eddie Coyle and The Long Goodbye (1973), and Chinatown (1974), are all masterful neo noirs that in some way enlarged the culture’s notion of what crime cinema could be.

But the wellspring of American neo noir on the screen in the first half of the decade runs very deep, and it pays major viewing dividends to explore it more widely. My latest piece for the US site CrimeReads looks at ten underappreciated neo noirs from the first half of the seventies that are worth your time. You can read the piece in full on the CrimeReads site via this link.… Read more

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Posted in 1960s American crime films, 1970s American crime films, 1980s American crime films, Anthony Zerbe, Blaxsploitation, Cinema culture, Crime film, Heist films, John Frankenheimer, Neo Noir, Noir fiction, Paul Newman, Robert Stone, Stuart Rosenberg, Yaphet Kotto

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Headhunters and Laughing Policemen

Posted on March 21, 2012 by Andrew Nette| 6 Comments

Such is the speed with which Hollywood is keen to co-opt Scandinavian crime fiction, that even before the movie version of Jo Nesbo’s Headhunters hit Australian cinemas, a US remake was in the works.

I’m curious what exactly the remake could do differently, given that Headhunters already feels so much like a mainstream American thriller.

By that I mean it is slick, fast paced and requires viewers to suspend their disbelief to an increasing degree as the plot unfolds.

I make no bones about my lack of knowledge of Scandinavian crime fiction and film, but it seems to me the only really Nordic qualities Headhunters has are some pretty creepy characters, the huge level of graphic violence and a lot of Ikea-like interior design.

Not that the film doesnlt have its merits.

Could you submerge yourself in a pit human shit or take another human life to escape someone trying to find and kill you? Those are just two of the situations faced by the main character in Headhunters, Roger Brown (Askel Hennie).

Brown is Norway’s most successful corporate headhunter. He’s got a thing about being short (five and a half feet) and a problem maintaining the lavish lifestyle expected by his taller, impossibly blonde trophy wife, Diana.

To make ends meet Brown moonlights as an art thief.… Read more

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Posted in 1960s American crime films, 1970s American crime films, Anthony Zerbe, Crime fiction, Crime fiction and film from Scandinavia, Stuart Rosenberg

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WUSA

Posted on August 9, 2011 by Andrew Nette| 3 Comments

Has anyone ever done dissolute as well as Paul Newman?

Cat on a Hot Tin Roof, Hud, The Hustler, Cool Hand Luke, and the little known WUSA.

WUSA numbers among that great batch of films made in the early seventies, when the Hollywood studio system was in crisis and desperate to give anything a try. The counter-culture had worked its way into the mainstream (but was dying on the streets), the country was struggling to come to terms with its increasing violent engagement in Vietnam.

Released in 1970 and set in New Orleans, WUSA is a character study of three people, all in the wrong place at the wrong time, even if they don’t know it yet.

Joanne Woodward is Geraldine, a dishwater blond with a razor cut across one check courtesy of the abusive husband she left behind in Texas.

Anthony Perkins is Rainey, an idealistic Christian who thinks he’s been employed to do a survey to help the city’s black population, but has actually been set up by the city’s right-wing politicians to help them throw people off welfare.

Newman is Rheinhardt, a cynical alcoholic drifter. His first point of call after arriving in New Orleans is a church service on skid row being run by a fafe priest, Farley, who owes Rheinhardt a hundred dollars from a previous scam in New York. … Read more

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Posted in 1970s American crime films, Crime film, Neo Noir, Paul Newman, Robert Stone, Stuart Rosenberg

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