Monday 30 December 2019

Justified - a gold standard show that really deserves to be better known.

Recently I managed to catch up on the final two series of Justified, the series based on the writings of Elmore Leonard, and I'm really sorry that the show had to end but it didn't really put a foot wrong throughout the six seasons - it may have stumbled a little with a rather bland fourth season but it was still far superior to a lot of other shows that filled the airwaves.

No other show had dialogue like -

 ' I don’t believe in fate. I can’t believe in fate – not anymore. I believe you dictate the river of fate through your own actions.'

'You ever hear the saying? You run into an asshole in the morning, you ran into an asshole. You run into assholes all day, you're the asshole.'

'Dear Lord, before we eat this meal we ask forgiveness for our sins, especially Boyd- who blew up a black church with a rocket launcher, and afterwards he shot his associate Jared Hale in the back of the head out on Tate's Creek bridge. Let the image of Jared's brain matter on that windshield not dampen our appetites, but may the knowledge of Boyd's past sins help guide these men. May this food provide them with all the nourishment they need. But, if it does not, may they find comfort in knowing that the United States Marshal Service is offering fifty-thousand dollars to any individual providing information that will put Boyd back in prison. Cash or check, we can make it out to them. Or to Jesus. Whoever they want. In your name, we pray. Amen.'

 No doubt, the show will gain true cult status with the passage of time and with the preponderance of streaming services it'll be there for anyone who wants to check it out - in the UK it's available on Amazon Prime and I've just started the first season again. After all it really is that good.

The show originally launched before Amazon and Netflix were making TV shows, and it may in fact be the last great show of the pre-binge era. And given the way shows are made these days Justified's episodic nature may come across as a little dated, but there are a plethora of colorful recurring characters and a story arc that runs through the entire length of all six seasons. I'd go so far as to say that Justified is the best adaptation of Elmore Leonard's work to ever hit the screen. And that's high praise indeed.

Friday 29 November 2019

The Irishman is a gold standard mobster flick.....

The Irishman opens with a shot that calls to mind another Scorsese materpiece, Goodfellas - the latter used a voyeuristic camera to track behind Henry Hill as he parades his new girlfriend through the neighbourhood, all pastel shades and slick jet black hair. It was a scene that celebrated youth and mob culture. It was a celebration of a way of life that was abhorrent to right minded people and yet at the same time strangely alluring. And now comes the opening shot of The Irishman which turns that scene on its head by creeping through a Catholic OAP home, meandering past wheelchairs occupied by men with ancient lines upon their faces, dim soon to be extinguished glows in their eyes, snakes around orderlies to come to rest on the aged face of Robert De Niro in the role of real life gangster, Frank Sheeran - the man who actually confessed to killing union boss, Jimmy Hoffa. It's a scene that laments the inevitability of aging and perhaps pines a little over the extinction of the old school mobster. The stylishly suited, slicked back but ultimately deadly wise guys have gone, been replaced by gold toothed, bling dragging, steriod chested thugs.

The Irishman is based on the book,  I Heard you Paint Houses (a euphemism for splattering blood over the walls) by Charles Brandt which was the story of mob enforcer, Frank Sheeran. Before Sheeran died in  2003, he confessed to his part in the murder of Jimmy Hoffa, claiming to have redecorated the walls with his brains and this confession provoked an FBI investigation. The ensuring investigation revealed that blood splatter was found in the house where Hoffa was supposedly murdered but being thirty years old, the DNA was unable to be conclusive. Officially the FBI have never closed the case but the story depicted in the book and now the film seems entirely credible.

Back to the movie though - It is quite excellent and doesn't feel like its mammoth running time, giving that the audience are in the hands of absolute masters both in front of and behind the camera. It's great to see De Niro and Pacino, two of the finest actors in the world, sharing so much screen time ( I remember the excitement when Michael Mann's brilliant crime thriller, Heat was first released. Part of the thrill was finally seeing De Niro and Pacino on screen together, sharing scenes but as good as the movie was it was dissapointing that their time on screen together was so brief) and marveling at the way each performance feeds the other. De Niro is somewhat subdued in his portrayal of the average working stiff who finds himself elevated to professional criminal, whilst Pacino turns his Jimmy Hoffa up past eleven. Both performances are pitch perfect - likewise with Joe Pesci who provides a brooding grandfatherly figure,a man who is both endearing and sinister as mob boss, Russel Bufalino.

Director, Scorsese recently stirred up controversy when he stated that Superhero movies, specifically Marvel movies are not really cinema at all -  “I was asked a question about Marvel movies. I answered it. I said that I’ve tried to watch a few of them and that they’re not for me, that they seem to me to be closer to theme parks than they are to movies as I’ve known and loved them throughout my life.” - well, the Irishman is the most persuasive addendum to Scorsese's argument yet. There is a real sense of danger in this movie, of people who come across with the trappings of real life. So is the Irishman better than any of the Avengers CGI- fests? Of course it fucking is! What kind of fucking schmuck asks a question like that?

Sunday 6 October 2019

Bomber Braddock is Back!

The character of Matt Braddock first appeared in The Rover Comic back in 1952 - I wasn't even born then and I first came across the character in the 1970's when he appeared in The Victor. The character was popular enough that he even appeared in Warlord and several of his stories have been published in graphic novel format under the title, I flew with Braddock.

Braddock was known for his fearless nature, superb piloting skills and no-nonsense attitude. He had no time for petty rules and regulations, and remained at the rank of sergeant, refusing to be promoted to an officer rank. However this didn't stop him from standing up to incompetent superiors, or defending other enlisted men from overzealous courts-martial. He spent almost as much time clashing with superior officers as the Germans, and on two occasions in I Flew With Braddock he came fairly close to being court-martialled for assaulting a superior officer (although one incident was a misunderstanding and the other was under severe provocation). The narrator of these stories was his hero-worshipping navigator, George Bourne (a Dr. Watson-type narrator, a relatively sophisticated device for juvenile fiction).
Braddock was so highly regarded that he had carte blanche to pick his own flight crew, and was frequently called upon to advise high-ranking commanders of the RAF. Braddock flew several types of aircraft, but his most prominent command was the Lancaster Bomber "F Fox". At the start of I Flew With Braddock the crew was Braddock and Bourne, co-pilot and flight engineer 'Ham' Hancox, bomb aimer Tom Tanner, radio operator 'Nicker' Brown, mid-upper gunner 'Hoppy' Robinson, and tail gunner Les Howe. Les Howe clashed with Braddock early on and was replaced by 'Baa' Lamb, and later 'Hoppy' Robinson was badly injured in a raid and replaced by Arthur Atkins.
Vintage Braddock from The Victor

The  character makes a welcome return in the pages of Commando Books - this week, in Commando issue 5267 Braddock stars in a story entitled, Demons. This follows on from issue 5259 which featured a story simply entitled Braddock.

Issue 5267 Braddock: Demons is on sale now in both physical and electronic format

Friday 4 October 2019

Lord Peter Flint is back after nearly thirty years!!! Commando Comics brings back a classic character

To men of a certain age, those who grew up reading British adventure comics, the name of Lord Peter Flint will be a familiar one. The character, a kind of war-time James Bond, first appeared in the premier issue of Warlord comic way back in 1974 - I was eight years old at the time. The strip quickly became the flagship story with the comic even launching a Warlord club in which you, the reader, could join and become a Warlord agent - in the issue dated July 4th 1981 it cost a 30p postal order to join the top secret Warlord club and for this you would get a code book, a membership card and a rather spiffing badge.

Warlord Comic ran some great stories over the years - it was published weekly between 1974 and 1996 - and many characters became favourites - Union Jack Jackson, Killer Kane,  Major Heinz Falken and many others but Lord Peter Flint, Codenamed Warlord remained the centerpiece of the comic.

It was therefore great news to learn that Commando Comics, the UK's longest running comic series which has been publishing non-stop since 1961, recently brought the character back to action in the pages of its digest sized Commando books.

The return of Peter Flint, entitled Codename Warlord was published this August and was written by Iain McLaughlin, a scribe who in his younger days had been a fan of the character.

"The first issue of Warlord came out on a week when I was off school with a stinker of a cold. My dad bought me this new comic to cheer me up a bit - and also so he could read it himself. I read that issue of Warlord and I was hooked. After that, I read every issue for the next six or seven years. A huge part of what kept me reading was Codename Warlord with Lord Peter Flint. He was part James Bond, part Scarlet Pimpernel and completely brilliant. The scripts and the art came together to tell wonderful, gripping stories that stick in the memory even to this day. When I was asked to come up with ideas to bring Lord Peter Flint to the pages of Commando I leaped at the chance. Flint is a fantastic character with so much potential for the kind of fantastic adventure stories Commando is famous for. I hope the readers have as much fun reading Flint's return as I had writing it,"  Iain McLaughlin

 The re-birth was successful enough that a second book featuring the character, Codename Warlord: Ship of Fools was published only last month.

The welcome return of the character has been met with a strong response and Commando have revealed that other classic characters from its extensive archives will soon see print in the pages of Commando Comic - me, I'm eager to see the return of Union Jack Jackson and his Irish-American sidekick.

Tally Ho, Chaps!!!

The Harpe Brothers: America's first serial killers

Kentucky governor, Matt Bevin has suggested that his state really needs to capitalize on the connection to the Harpe brothers, America's first serial killers after reading a report on how much revenue Jack the Ripper tours bring into London on an annual basis.

The brothers killed at least 39 people and they had a signature move - they would remove a victim's stomach, open up the chest cavity and bizarrely fill it with rocks.

You can read up on the brothers HERE

Monday 23 September 2019

Libraries boost eBook sales

When publisher Macmillan took the step of allowing libraries only one digital copy of their new eBooks over fears that sales would be affected if libraries were allowed to hire out multiple copies at once, the library trade were angered. Steve Potash, the CEO of OverDrive, the American company which provides digital rights management for libraries, called the movie, horse shit.

Well now there seems to be data that proves that Macmillan were wrong to worry and the library rentals actually impacts positively on eBook sales. Rebecca Miller recently revealed the results of a survey in  Library Journal  and the results were positive for digital publishing.

  • 42 percent of US adults surveyed reported that they had bought the same book they had previously borrowed from a library, a number that jumps to 60 percent among millennials.
  • 70 percent reported that they had bought another book by an author whose other works they’d borrowed from a library, a number that jumps to 75.4, 76.1, and 77.2 for Gen X, Gen Z, and millennials, respectively.

Sunday 22 September 2019

Is Picard to die in new Star Trek

Rumors are that CBS have committed to a second season of its latest Star Trek spin-off series, Picard but without Patrick Stewert whose character is to die at the climax of the first season. Claims, made by  YouTuber Doomcock, who boasts about having a source within CBS,  suggests that a ship would then be named the USS Picard allowing the show to continue.

Doomcock said on You Tube - “Oh hell yes they are going to kill Picard Picard is the only reason anyone would ever watch this s***. But here comes the part that will make fans heads explode. The worst part you can imagine. Are you ready gang? Get this. There will be a Season 2 of Star Trek: Picard.They do that because Patrick Stewart costs too much money, dude. They are bleeding money at CBS. And there is no way with the anemic ratings and the subscriber money they are getting on CBS All Access that they can afford Sir Patrick for another season.They are going to kill Picard. And his ragtag crew of attractive and marketable ragamuffins will miss him b******* about his daggum lombego so much, they will name their stolen star ship U.S.S. Picard. And they will have more adventures aboard the U.S.S. Picard in Season 2. Boldly going where lots of fashion models have gone before.”

Rambo author draws first blood against Stallone movie

Author David Morrell, creator of Rambo, has come out  against the latest movie in the franchise, Rambo Last Blood.

 'I felt degraded and dehumanized after I left the theater. In 2016 Sly and I had numerous lengthy telephone conversations about creating what he described as a “soulful” Rambo. Then he stopped communicating with me. One element of our conversations is in the new film (the search for the missing child as an example of the family he never had), but instead of being soulful, this new movie lacks one. I felt I was less a human being for having seen it, and today that’s an unfortunate message.'  Morrell wrote on his Facebook page

The film, the fifth in the franchise, sees Sylvester Stallone's John Rambo in a quest to rescue a girl held captive by a criminal gang in Mexico. And it has left critics perplexed over its depiction of Mexico as a criminal wasteland, however in fairness the Rambo movies have never been meant to be taken seriously and best work if the viewer accepts the gung ho nonsense for what it is.

Morrell and Stallone in better days

'The film is a mess, resembling a 1976 James Mitchum (Robert Mitchum’s son) film called TRACKDOWN, which has almost the same plot, in which a Montana rancher gets even with sex traffickers (in this case in Los Angeles), who have kidnapped a young female relative. That film is typical of ultra-violent 1970s exploitation “grindhouse” films, the technique of which RAMBO: LAST BLOOD resembles. The sets here look cheap. The direction is awkward. The script is filled with explanatory dialogue (“she was like the family I never had” or words to that effect—we get it—explanation not required, and this from an actor/writer who prides himself on communicating visually rather than through unnecessary words). The music has that droning synthetic sound that TV dramas use to support needless, tedious dialogue. The characters are post-it-note caricatures. Rambo could be called John Smith, and the film wouldn’t change. It assumes the audience is familiar with Rambo’s background whereas anyone under 40 will wonder what on earth is going on with those tunnels. From multiple perspective, this film fails miserably. The best I can say is that the first two minutes were promising.' Morrell from his Facebook post.

The critics have been no kinder and have called the direction, lethargic and the acting and writing, risible. Empire Magazine claimed that fans should put their headbands to half mast and remember better days, because this new Rambo is a damp squib, while The Observer dismissed the film, claimit it was  nothing but cheap and nasty carnage.

The press have made much out of the original author's dislike for the film with the New York Times claiming that Morrell is ashamed to be associated with Stallone's take on the character, though in truth the author actually said that he was embarrassed to have his name associated with the movie rather than Stallone himself.

Dean Koontz signs with Amazon publishing

Amazon's in-house publishing imprint, Thomas & Mercer is just over ten years old and this week it  announced the signing of worldwide betseller, Dean Koontz.

 “This is so exciting, I’ve been creatively rejuvenated. The times are changing, and it’s invigorating to be where change is understood and embraced.” Dean Koontz.

“We are honoured Dean has chosen Amazon Publishing to bring his newest work to readers. Building on the success of Dean’s Amazon Charts best-selling short story, Ricochet Joe, our first publication together, we’re excited to expand our relationship with five new books from Thomas & Mercer and an episodic collection of short thrillers from Amazon Original Stories, delivering the kind of exhilarating and deeply resonant suspense his millions of fans expect and we know new readers will love.” Mikyla Bruder, Amazon

Koontz was previously published by Random House and boasts many bestsellers in his backlist including Watchers, the basis for a 1988 movie. Worldwide he  has enjoyed sales of more that 225 million copies of his books.

Thursday 12 September 2019

Interview from the Archive archive's: Max Allan Collins

Chandler loathed the brutal no nonsense Mike Hammer, seeing him as a sadistic version of his knight errant Marlowe and critics were no kinder and would draw attention to the violence and red baiting of Mickey Spillane's pugilistic gumshoe. In fact the books were often sneered upon and treated almost as pornography but that didn't stop them selling like hot cakes.

Course these days things are different and Hammer is seen as a quintessential part of the genre, equally as important as Marlowe and Sam Spade in the development of the genre.

Course the fact that Spillane was the best selling mystery writer of the last century may have had a lot to do with the criticism - critics have always loved to shoot down a success story, especially if it doesn't confirm to their often narrow sensibilities.

For many years one voice spoke louder than most at extolling the virtues of Mickey and Mike Hammer and that was the tones of Road to Perdition author, Max Allan Collins.

Max had always been a fan and wrote scores of letters to the author and years later when he met his hero, Spillane remembered the letters and remarked that they used to correspond. 

Max then replied - "Sure a hundred letters from me and one from you."

Spillane laughed at that and a friendship, built on mutual respect  was formed. When Spillane passed away in 2006 he had already placed his legacy in safe hands, by handing Max a pile of unfinished manuscripts, notes and such.

I wondered what it was about Spillane that had appealed to the young Max ?

"I began reading Mickey at an early age -- thirteen -- and I'm sure the exciting, superficial aspects of his work, the sex and violence, were key. I'd gotten interested in private eye fiction thanks to a spate of TV shows in the late '50s and early '60s, PETER GUNN, 77 SUNSET STRIP, PERRY MASON and the original MIKE HAMMER with Darren McGavin. I started reading novels by Dashiell Hammett and Raymond Chandler, but was always attracted by the dramatic covers of the Hammer paperbacks on the book racks. Of course, these had a reputation as "dirty books," so for a while I didn't dare buy one. In fact, the first time I bought a Mike Hammer paperback, I was out of town, on vacation with my parents...and lied about my age.

What has kept me a Spillane fan all these years is much more than the sex and violence -- the former seems tame by contemporary standards, although frankly the violence is as potent as ever -- those early books still shock in that regard. What Mickey had, particularly in the first seven novels, was a vivid, expressionistic style, a noir poetry, that combined with his compelling first-person portrait of Hammer presented something unique in the genre. Even Mickey's critics, and they've been legion, have credited him with incredible narrative drive. He probably wrote the best beginnings and endings of any popular writer."

So to go from fan to friend - how did this work out?

"It grew out of my becoming a defender of his work. In the 1950s, Spillane was blamed for the decline of literature and the rise of juvenile delinquency, among other absurdities. As a kid, I'd been shocked to find out that Mickey did not share the generally favorable critical appraisal that Hammett and Chandler routinely received, and I wrote any number of reviews and articles, singing his praises. I began publishing my own novels in 1973, and I sent the first two to Mickey, who responded with a warm letter, welcoming me to the profession.

In 1981, the big mystery fan convention, Bouchercon -- named for New York Times critic Anthony Boucher, who had often attacked Spillane -- was in Milwaukee, Wisconsin. Milwaukee is the home of Miller Beer, and Mickey was at the time in the midst of a big TV commercial campaign as a spokesperson for Miller Lite -- these were clever commercial spots with Mickey essentially playing Mike Hammer in trenchcoat and fedora. The Bouchercon people wanted to have Mickey as a guest of honor and worked through Miller Beer to make that happen. And I was recruited, as the "Mickey Spillane guy," to be the con's liaison with Mick. We did a two-man interview that was hugely attended, as Mickey had never appeared at a Bouchercon or any kind of fan event before.

Anyway, he and I hit it off, and he invited me to visit him at his South Carolina home on the oceanfront -- actually, an inlet off the ocean. The first visit was in 1982, I believe, the first of many. Most of Mickey's friends were local people with no connection to writing -- from car mechanics to dentists -- and I represented somebody he could talk to about the craft and profession of fiction-writing."

Max Allan Collins is a successful writer - he was responsible for the original graphic novel which became the movie Road to Perdition which is probably still his best known work. But he's produced scores of graphic novels and novels including the successful Nate Heller and Quarry series. He's responsible for many CSI novel tie-ins and recently his tie-in novel for American Gangster sat on the New York Times Bestseller lists and that's not to mention film production.

Oh and he did the Dick Tracy comic strip for a great number of years.

He also seems to have won at one time or other every award the genre can bestow. But for all this success being handed the manuscripts of Mickey's unfinished works must have been daunting.

"It's a huge sense of responsibility, but I am not intimidated. I have unwittingly trained for this moment my entire professional career and before that. I'd done a number of projects with Mickey -- we co-edited numerous anthologies and did a comic book together that ran several years -- so his belief in me, while incredibly gratifying, was no surprise. The real sense of responsibility divides in two -- first, handling these works in a way that I think would please and satisfy Mickey; and second, creating something that will resonate with contemporary readers, so that the books will be successful enough that all of them can be done. In particular, there were six substantial Hammer novel manuscripts, of which GOLIATH BONE is the first, and my minimum goal here is to get all six out there on book shelves. Imagine if Agatha Christie had left behind substantial portions of half a dozen Poirot and/or Marple novels -- with a writer of that stature, you don't just leave them in the file or a trunk. "

So far the Spillane/Collins partnership has resulted in Dead Street from Hardcase crime and a new Mike Hammer novel, The Goliath Bone. So what comes next?

"I have completed the second novel, THE BIG BANG, which is set in the mid-1960s, when Mickey began it. The idea is to set each book in the period Mickey conceived it. The third book will probably be KISS HER GOODBYE, a novel Mickey worked on in the '80s. If we're lucky enough to get a second three-book contract, what will follow will be COMPLEX 90, another mid-'60s story and a sequel to Mickey's THE GIRL HUNTERS, having to do with Russian spies; then LADY, GO DIE, which is a particularly exciting project, because it's a manuscript Mickey started in 1948 as the second Hammer novel, right after I, THE JURY; and finally KING OF THE WEEDS, the novel Mickey had originally intended to be the last Hammer novel, until he put it aside to write the post 9/11 novel, GOLIATH BONE.

After that, if readers want more, there are another half dozen smaller fragments -- a chapter or two with notes, in most cases -- from which I could develop Hammer novels. But the six I've mentioned are all substantial manuscripts -- 100 pages or more, often with notes, sometimes with roughed-out final scenes. Mickey often worked out the ending first."

The Goliath Bone, see my review on the Tainted Archive, was a welcome return for the hard as nails private eye and also gave us a happy ending to the on off Hammer/Velda relationship. How much of the book was completed when Collins received the manuscript?

"Mickey had done ten of twelve chapters, plus about half of the last chapter. But he knew he was working against the clock, ill as he was, and these were rough-draft for the most part, shorter than his usual chapters. So my job was fleshing things out in an unobtrusive way. There isn't a chapter that doesn't have Spillane material in it. This was possible because I also found a three-chapter false start in his papers, which allowed me to work some of that material in, as well."

The Mike Hammer books were often accused of being too right wing and the new book doesn't shy away from the odd political comment. Was Max worried about this in today's inane world where political correctness is censoring the language and destroying individualism?

"My politics are not Mickey's politics, but my responsibility was to honor his views, and I did. The Mike Hammer character was a classic outsider, always depicted by Mickey as a guy with friends of various ethnicity's -- he fought for the little guy, remember. There are some racist comments about Muslims in the book, but they come from the mouths of characters other than Hammer himself, our hero. He does make an outrageous statement late in the book, to a dying terrorist, and that's pure Mickey."

I wonder what it was like to have Mickey Spillane as a friend - I've seen video footage of him and he seems, what we would call in the UK - quite a character. What was he like?

"He was quite a character by American standards as well. He was a very unpretentious guy, warm and funny -- my wife often characterized him as a scamp, because he liked to tease and shock. But what a sweetheart -- generous and down to earth, and probably the most gracious celebrity you'd ever meet. He always had time for, as he put it, his "customers."

He would put himself down and laugh about the bad critical reception -- he called himself a "writer," not an "author," said he was "the chewing gum of modern literature." But that was a defense mechanism. Privately, he and I spoke about the art and craft of writing, and his love for language, his enthusiasm for sheer storytelling, was at the center of his being."

Eventually Collins will exhaust the unpublished Spillane material. Are there plans to continue Mike Hammer then as original works?

"There are so many fragments that there were never be a need for me to create a brand-new Hammer story. Anything I do will have a basis in something Mickey started to develop. Beyond the first six "new" novels, another six or seven are possible, as well as potentially four or five short stories -- I've already done one short story. Chronologically, GOLIATH BONE is the last novel. All the rest will be set in period, based upon when Mickey conceived them.

Beyond this, there are a number of non-Hammer novels, including a half-completed sequel to THE DELTA FACTOR, and a completed novella called THE LAST STAND. Lots of interesting things. But since Mike Hammer is, as Mickey put it, his "bread and butter character," the emphasis at first will be on Hammer."

Mickey Spillane was never considered in the top rank among the likes of Chandler and Hammett but in pacing, I think he was superior to both. I wondered what Max's thoughts on this were?

"The shocking content of the early books turned critics and social commentators against him. Mickey is the guy who opened the door on sex and violence in popular fiction -- it all flows from him, including and in particular James Bond and Ian Fleming. In America, the right wing attacked Mickey for what was then shocking sexuality; and the left wing were deeply offended by his hero's violent vigilante tactics. Spillane got it from all sides.

In addition, he wrote in an expressionistic pulp style, very vivid and even over the top, and this was a stark, even startling contrast to the understatement of Hammett and the literary tone of Chandler. To this day, it amuses me that so many critics will lavish praise on the brigade of slavish Chandler imitators, but many still refuse to recognize the distinct genius of Spillane at his best."

So which of Mickey's books would rate as Max's favourite?

"The first I read, at 13: ONE LONELY NIGHT. Mike Hammer takes on the "Commies" even as he attempts to recover from the criticism of a judge who attacked him from the bench in a manner that clearly was meant to invoke the critical attacks on Spillane."

A few years ago Max made a documentary about Mickey Spillane which I've never seen. I ask him about this?

"Mickey would never allow me to write his biography, saying he might write an autobiography himself one day. But he consented to take part in a documentary, because he understood the publicity value. I interviewed him at length, and also sat down with dozens of mystery writers at a Bouchercon to get their take -- people like the late Donald E. Westlake participated, and Sara Paretsky, Walter Mosley, Lawrence Block. London's own Maxium Jakubowski is in it. Anyway, it won quite a few awards at festivals, and has been shown at the NFT in London as part of a Spillane film retrospective mounted by my friend Adrian Wootten.

It's available in America as part of a film called SHADES OF NOIR, which gathers several short films of mine with the documentary, MIKE HAMMER'S MICKEY SPILLANE, as the centerpiece. Right now that compilation is only available as part of the boxed set ThE BLACK BOX, which gathers three other indie features I wrote and directed. Incidentally, Mickey plays an attorney in two of them, MOMMY and its sequel MOMMY'S DAY."

This interview is published in the memory of Frank Morrison Spillane 1918 - 2006

Monday 12 August 2019

J D Salinger goes last

J D Salinger's  books are finally to make the transition to eBooks after the estate of the late author, who couldn't stand digital media, relented on their ban on electronic versions of the author's small body of work.

Salinger had always valued accessibility, but preferred the experience of reading a physical book. The Catcher in the Rye author, who died in 2010 at the age of 91, also hated the internet; Matt told the New York Times that he once explained Facebook to his father, who had been horrified that people shared personal information online.

The U-turn comes after Salinger's son, Matt recieved a letter from a woman in Michigan who said she had a disability that would allow her to read a physical book but that eBooks enabled her to continue with reading books.

 “She took me personally to task in a very sharp but humorous way and from the moment I read her letter I was committed to figuring out a way to let her read my father’s books, as she so wanted. Making my father's books accessible to a new generation, many of whom seem to prefer reading on their electronic devices, and – specifically – people with health conditions or impairments that mean they’re unable to read physical books, is a very exciting development, and totally in keeping with his wishes even if he greatly preferred the full tactile experience of a physical book. Would he prefer and encourage readers to stick with the printed books? Absolutely. But not exclusively if it means some not being able to read him at all.” Matt Salinger

Salinger is not the only author to have opposed ebooks. In a 2012 interview, children’s author Maurice Sendak said: “Fuck them, is what I say. I hate those ebooks. They cannot be the future. They may well be. I will be dead, I won’t give a shit.” And in 2009, Fahrenheit 451 author Ray Bradbury told the New York Times: “They wanted to put a book of mine on Yahoo! You know what I told them? ‘To hell with you. To hell with you and to hell with the internet.’”

Wednesday 31 July 2019

The Comics at War Part One: The Early Days

Recently whilst reading the latest titles from DC Thomson's Commando Comics, a series of titles that have been running for longer than I've been alive, I was struck the realization that war stories have been a staple of comic books for as long as the medium's existed. It is said that at any point in time, on some foreign field, the British Army is fighting one war or other, and I suppose in many ways British history has been shaped by events on the battlefields. From Lionhearts crusades to the current struggles in Iraq and Afghanistan, stories have echoes down the centuries and inspired poets, novelists, storytellers of all kinds.

So it would seem natural that children's literature, the forerunner of the modern comic book, would turn its attention to war stories with early titles such as Boy's Own Paper, and Halfpenny Marvel churning out tales set during the Crimean and Napoleonic Wars. It is interesting to note that early war comics and story papers concentrated on war at sea which reflected Britain's pride in having a Navy that then truly ruled the waves.

War stories were part of a mix of tales that included sport, crime, western and adventure but by the end of the Nineteenth Century, with the country gripped by the wars against the Boer, comics and story papers started to present patriotic tales with these struggles as the backdrop. Fictional stories would sit alongside reports of true accounts of heroism and gradually comic books and the story papers became part of the national consciousness.

The real boom started in the mid 19th Century when the literacy rates were rising in Britain thanks to the sterling work done by social reformers, and when William Gladstone, then the Chancellor of the Exchequer, abolished duty on paper mass market publishing was able to come about. A number of entrepreneurs turned their attentions to the growing boys fiction market. Kids across the country, unable to find X-Boxes or Playstations in the shops, were eager for entertainment. Cheap fiction was hugely in demand by working class children who could not afford to buy books - Alice in Wonderland for instance which was first published in 1865 cost 6 shillings. This was a third of the average industrial worker's weekly wage. However children could manage a penny a week and this brought in the era of what would become to be known as the penny dreadfuls.

A popular title of this period was The Boys of England which sold, at its peak, around 250,000 copies a week but given that each copy wold be shared by around nine different readers it was estimated that its readership was more than two million.

Edwin Brent started his Newsagents Publishing Company in 1866 and as well as being responsible for the aforementioned The Boys of England, realized that there was a market for more salacious reading material, and he started churning out the first penny dreadfuls. These magazines were, in effect, part work novels which subjects that covered murder, street violence and other lurid subjects. Brett's published, The Wild Boys of London in 1866, which was a tale of juvenile street criminals in the capital city and this title became particularly notorious. It contains violence, mentions of nudity and a flagellation (torture) scene and it sold like the proverbial hot cakes and started the boom in the penny dreadfuls,  which would soon come to the attention of politicians.

'The malign influence of the "bloods" (penny dreadfuls) was creeping not only into the houses of the poor, neglected and untaught, but into the largest mansions; penetrating into religious families  and astounding careful parents with its frightful issues.'  Lord Shaftsbury, speaking in the House of Commons in 1878.

A moral backlash followed and fearing that soon issues would be forced out of publication, many publishers started to clean up their act. In 1879, the Religious Tract Society first published, The Boy's Own Paper, which would go onto become one of the most enduring and popular of boy's story papers. The first issue featured sport stories, adventure stories and for the first time in a boy's magazines, stories about the perceived glories of warfare. There were also features on hobbies, nature and health. One story, From Powder Monkey to Admiral, started in the early issues and across its run told of how an ordinary boy from the working classes joined the Navy and gradually worked his way to the highest rank. This may seem unlikely but, in fact, history proves otherwise and the story was very much influenced by the life of Admiral Edward Hopson, a boy of humble stock who did indeed attain the rank of Admiral.

War stories then were a stable of The Boy's Own Paper from its early issues. Largely these stories told of The Crimean War (1853-1856) or the Napoleonic Wars but there were stores that dealt with the French (1793 - 1815) and the Indian Mutiny of 1857. All of these stories were driven by a feeling of patriotism and national pride, but did not always seen things from the British perspective. One story, The Drummer Boy (1881) told of a yound boy conscripted into the French army for Napoleon's ill-fated Russian campaign of 1812.

In 1880 another titles was published. The Union Jack was billed as a magazine of 'healthy, stirring tales of adventure by  Land and Sea for Boys'. It was priced at one penny and it was hugely popular and offered strong competition to the Boy's Own Paper. Most of the stories were set in previous wars but the magazine did become the first title to set stories on campaigns which were then ongoing. In 1882 the magazine published a story that looked at the Sudan Campaign. Readers lapped the magazine up but after 129 weekly issues it ceased publication. However by this time there was no shortage of for British readers and new titles were launched at a speedy rate. These magazines, lavishly illustrated,  were all text based stories, and the dawn of the first true comic was still some way off but it was these magazines that were very much the parents of the modern comic book.

Tuesday 30 July 2019

Book Review: Death Wish by Brian Garfield

I was familiar with the Charles Brosnon/Micheal Winner movie (who isn't!) , but until now the original source novel by Brain Garfield (an author known previously to me for his many excellent westerns) had passed me by.

I picked up this novel for my kindle on a whim; having come across it whilst browsing and I very much enjoyed it. It's basically the same story as the movie it inspired, and it also justifies the actions of the vigilante that drives the plot in a similar fashion, but it contains much more depth than the the movie and leaves the reader empathizing with Paul Benjamin (Paul Kersey in the movie) and fully understanding, if not applauding him for bringing a kind of wild west gun juctice to the criminals who are ruling the streets of 1970's New York.

The novel fully gets inside the character of Paul Benjamin and shows us how an accountant, a life long liberal can step over that line and become the ultimate in right wing rhetotic - judge, jury and executioner. Much of the novel concentrates on the mundane aspects of the main characters life and his transition to madness is fully realized in a believable fashion.

It's not as nasty as the movie it spawned, and for that even more compelling, and it sense of time and place is vivid. I'd highly recommend this book.

Saturday 1 June 2019

Deadwood The Movie delivers a great ending to a TV masterpiece

When HBO abruptly cancelled Deadwood after three excellent season, fans were left furious and immediately started making their voices heard and although it took HBO a long while to admit their mistake, it took a whole lot longer for Deadwood to return to the screen - 13 years in fact. And they've been thirteen long years with the actors having obviously aged in that time, some of them unrecognizably so and recognizing this series creator, David Milch moves the story forward to 1889 with South Dakota about to be granted statehood.

This is a great hook because it allows for character who left Deadwood to return for the state celebrations and seems perfectly natural. Of course, with such a time jump Milch has to imagine what those passing years have been like for the characters and he doesn't miss a beat, remaining true to each and every character as well as the original series. It's quite an achievement but five minutes into the TV movie and it seems as if the foul mouthed citizens of Deadwood have never been away.

The Deadwood series was unmistakably Ian McShane's show, but the movie very much belongs to Timothy Olyphant who puts in a great performance as the Wyatt Earp-alike, Seth Bullock but all of the characters shine in one way or another.  Gerald McRaney for instance is brilliant as the manipulative  George Hurst. But going back to Ian McShane's iconic Al Swearengen -  the story arc between McShane's character and the one time prostitute, Trixie is a vital element of this movie and it delivers wonderfully

The movie, like the TV series,  also luxuriates in its dialogue, often lyrical and Shakespearean, which is  challenging to decipher. It always has been, but the reward for careful viewing is dialogue that challenges, surprises and delights.

“I’d not prolong the chewing up, doc, nor the being spat out — not go out a cunt.”

Deadwood originally came about during a golden time for televison, when networks including HBO, FX, and AMC debuted shows such as The Wire, The Shield, Mad Men, and Breaking Bad, and this TV movie wraps things up in an exciting and worthy fashion. There’s a particularly tragic tinge to the circumstances of the movie: Writer and creator David Milch recently revealed he was diagnosed with Alzheimer’s disease, making the entire affair feel particularly elegiac. Even so, this script is among the greatest things he’s ever produced.

Deadwood now has an ending and it's a brilliant one at that

Thursday 30 May 2019

Eastwood displays his thoroughbred status in The Mule

I've just gotten around to watching The Mule, last year's Clint Eastwood thriller that showed that even in his late Eighties, the actor can carry a movie and very much remains Hollywood's premier movie legend.

For someone who regularly watches old Eastwood movies it can be brutal to see just how old the actor really is, especially when you've been a fan for your entire life. Eastwood has always been craggy faced, even as far back as the Dollar movies but these days even his wrinkles are wrinkled. Still, he's not the only one - I was probably around ten years of age when I first started watching Eastwood moves, staying up late to devour Dirty Harry or Magnum Force on ITV back in the Seventies, and I'm into my Fifties now so I do hope that I wear my own wrinkles with the grace of Mr Eastwood.

He's still the same old Clint, too touch for age to change him and one scene in this movie sees the ancient thespian enjoying a romp with two prostitutes. Thankfully, the scene cuts away from the main action but the implication that things went well enough, even without viagra, is quite clear. There are several scenes where Eastwood's characters is pushed around by a group of thugs and the viewer does long for \a scene where Eastwood punches out one of these thugs and asks him if ,  'are you feeling lucky, punk?'. of course that would be silly and The Mule is anything but silly.

In this movie, based on the true story of drug mule, Leo Sharp Eastwood plays aged gardener Earl Sharp who has fallen on hard times - his flower business ruined by the onset of the Internet who becomes a drug mule after meeting a drug runner who offers him an easy way to make money - 'all you've got to do is drive'. In the real life story Leo Sharp was a veteran of World War II but in the movie Eastwood's character is a vet of the Korean War.

The real Leo Sharp and Eastwood's Earl Sharp
And so using the story of Leo Sharp as a basis for the story Eastwood's movie changes the facts slightly for dramatic effect - in our film Sharp is estranged from his family and in the movie Sharp's ex-wife dies of cancer, which prompts Sharp to send the drug cartel into a frenzy when he rushes home mid-job with the back of his pick-up truck concealing a fortune in cocaine.

The Mule is a great slow burning movie; a typical latter day Eastwood movie though in truth Eastwood's career is filled with slower films that take their time in telling their stories - think of Honkytonk Man, the underrated masterpiece, for one and even further back something like, Thunderbolt and Lightfoot. The Mule grapples with several of Eastwood preferred themes including regret, forgiveness, mortality and the power of redemption, and is a grown up drama that proves the silver screen can be magical without explosions and lycra-clad heroes. 

I for one thought The Mule was excellent, but then I may be a little biased since I fucking love Clint Eastwood.

Tuesday 14 May 2019

Game of Thrones: Missing a middle act

As I write, we are less than a week away from the final episode of Game of Thrones and I, like anyone who has been with the show since the start, am eager to see how this all plays out. At the same time the way the show's played out since season six has been a bit of a disappointment. There was a time when the show was character driven but since the show makers have run out of source material it's become action driven and there's been a definite sharp dip in quality.

If season 7 seemed rushed then season 8 has gone supersonic in its need to reach the end that George R R Martin envisaged.

I still love the show and will watch till the end but it is so very very disappointing given how groundbreaking the show has been - many of the major characters have suffered bizarre changes and the promise of many storylines have been thrown away - Jamie Lannisters redemption arc became a cheap joke at the viewer's expense, and whilst it may have been inevitable that Daenerys Targaryen become the mad queen it should have been built up to in a far better way - instead the program seemed to show her move from being a basically good person who cared about ordinary people, could not tolerate injustice and abhorred slavery to a crazy power mad harridan in the blink of an eye - 'Burn them all. Let them burn.'

The dragons too have been fucked up - at first they were treated almost like nuclear weapons, but as the seasons went on we saw they were vulnerable after two were destroyed and they were relegated to the status of effective military weapons and yet in the penultimate episode of the final season they, or rather it since there was only one left, became full nuclear and was able to destroy King's Landing without raising a sweat. It sure did look spectacular, though.

Over the last two season we've seen Daenerys Targaryen's army depleted after the battle with the Night King and her dragons paired down to one single creature. The show suggested an arduous battle for King's Landing not the walkover it eventually turned out to be - worse, it wasn't a even a battle but more mass murder on a grand scale carried out by some mad bitch on a dragon. This once beloved character has become  a mad bitch which is something that will surely annoy all those parents who named their daughters after the character. The name Khaleesi was given to 560 girls in the US last year, and in the UK there were 300 girls given the name. In total, more than 3,500 children have been named after her since the show began. A freer-of-slaves, mother-of-dragons and all-round badass, she won fans around the world but now that she's become a crazy murdering harridan those parents with little Khaleesi's of their own may be a little peeved.

Season eight  has done a lot of work trying to balance out the forces of Dany and Cersei so that a real threat could be presented -  decimating the Dothraki and Unsullied and leaving  her with a single dragon. However, it turns out that  Drogon has aced some off-screen arrow-dodging training, and in one fell swoop destroys the Iron Fleet, and blasts his way into King’s Landing.

Perhaps the single most ruined character of the entire show is Tyrion Lannister - where are his witty remarks? He's gone in the last two seasons from being a giant of a character to a sullen little dwarf . He's become little more than a paperweight in a show that his character once carried. Other characters too have suffered - Bron's has just become a bore but at least the writers haven't used him much this season and given the way the story has played out I can't really see him turning up in the final episode - then again, he just might.

There was once scene in the last episode where I felt we were watching the old Thrones - in one of the early episodes there's a line that says when Jamie was born he emerged from the womb holding his twin sister, Cersai's foot. The way they died together, in each other's arms was I feel a fitting end for their characters, even if the redemption arc Jamie was set off on was a bit of a cheat.

As I understand it this was how Thrones was always going to end - mad queen, King's Landing, Jon Snow and all that that but since George R R Martin seems to be suffering writers block and failed to finish the books, the showrunners have had to work with just his notes. This, to my mind, makes the show feel like it is missing a true middle act.

I'll be watching until the end, and I still rate the show has one of the best TV series ever but it's not lived up to the promise of seasons 1 - 6. Ah well, I guess I'll just have to wait for Martin to deliver the final books to get a worthy lead up to an explosive ending.

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