Thursday, June 15, 2017

Extra, Extra! Noir City!

First, an extra extra for you—hang on, is that right amount of extras? OK, yeah, it is. Rosemarie and I are very happy to be the guests on the new episode of Noir Talk, the podcast dedicated to the Film Noir Foundation’s efforts and hosted by Haggai Elitzur. We talk about the Noir City film festivals, how issues of the magazine are assembled, and the Foundation’s role in inspiring the work of our mystery fiction-writing alter ego Renee Patrick. Tune in here.

Speaking of Noir City the magazine, the latest issue of the FNF’s house rag is out this week, boasting a glorious new layout courtesy of ace designer Michael Kronenberg and bursting with top-notch material. A sampling of the treasures contained therein—

Sharon Knolle’s cover story on psychiatrists as heavies onscreen and off in Hollywood;

FNF honcho and TCM host Eddie Muller on Tod Browning’s crime drama Outside the Law, which just wowed audiences at the San Francisco Silent Film Festival;

A double dose of Noir City mainstay Jake Hinkson, with a look back at Bruce Springsteen’s bruising masterpiece Nebraska and a consideration of Elisabeth Sanxay Holding’s peerless domestic noir The Blank Wall and its two screen incarnations (The Reckless Moment and The Deep End);

A survey of Donald E. Westlake films by Ben Terrall, perfectly paired with novelist Danny Gardner’s appreciation of his favorite neo-noir, the Westlake-as-Richard-Stark-based The Outfit.

Plus we welcome back Noir City Sentinel scribe Eric Beetner with his new column The Dark Page. This look at noir fiction kicks off with an interview with the one and only Bill Crider. We also add whip-smart film writer Nathalie Atkinson to our roster of critics. And like all good meals there’s a sweet treat at the end in the form of a new book review from our ol’ pal Ray Banks.

Yes, I’m in it, too, with my usual Cocktails & Crime column. I also get in on the Westlake lovefest by recounting a favorite production story in our On The Set feature, spotlighting Point Blank.

How, you may ask, do I acquire such treasures for my own edification? Simply make a contribution to the Film Noir Foundation and all this, and more, can be yours!

Thursday, June 08, 2017

Coast to Coast

I’ve trumpeted this news on both my social media feed and my alter ego’s, and I sing it here from the rooftops. Because it is, in my world, a pretty big deal.

Renee Patrick is going to be on Turner Classic Movies. This Sunday, June 11, to be precise.

Rosemarie and I will be the guests of our friend and Film Noir Foundation cohort Eddie Muller on his TCM show Noir Alley. Eddie will be showing the brilliant 1944 film Phantom Lady, directed by Robert Siodmak from the novel by Cornell Woolrich. This one packs a wallop, full of astounding visuals and one did-I-just-see-that? scene after another. It’s worth getting up for. As a bonus, you get me and the missus, talking about the essential role costume design plays in the story as well as the real-life Tinseltown mystery connected to the film.

The fun begins Sunday, June 11, at 10:00 am Eastern, 7:00 am Pacific. So set the alarm or the DVR and get in on the action.

And if you can’t wait that long to see us, last month we appeared on Book Lust with Nancy Pearl. It was a pleasure to sit down with Nancy—librarian, NPR mainstay, and novelist—and talk about how Rosemarie and I got into the Renee Patrick business. As of today, our episode of Book Lust is available on YouTube and is presented here for your delectation.

Monday, April 24, 2017

The Rundown

Hang on, let me blow the dust off the—there we go. That’s better.

Things have been hectic lately, what with the launch of the second Lillian Frost & Edith Head novel from Renee Patrick Dangerous to Know. My co-alter ego has the scoop, and believe me when I say there’s more in the works. All kinds of fun and games are coming, including a few things I can’t believe. I’m popping in amidst the promo push to recommend a few items for your delectation.

Under the Midnight Sun, Keigo Higashino (2016). Here’s how busy it’s been: a new Chinese adaptation of Higashino’s The Devotion of Suspect X—easily my favorite mystery novel of the past 20 years—was playing two blocks for me and I missed my chance to see it. Higashino’s latest is also his most ambitious, at least of the novels that have been published in the United States. It’s a sprawling crime story-cum-social novel, spanning decades and touching on, among other things, the growth of the Japanese computer industry. In 1973, a man is murdered and a woman identified as the likely killer. Each has a child. Higashino tracks this pair through the years, but never as the viewpoint characters. Instead, they’re at a remove, always seen through the prism of others who fall into their orbits. It’s a daring structural choice that for the most part deepens the intrigue. As is so often the case with Higashino, any reservations are swept away by a climax at once elegant and charged with emotion. It’s not Suspect X, but then nothing is.

Five Came Back, Netflix. I raved about Mark Harris’s book, which cast a clear eye on a long-overlooked piece of Hollywood history. The three-part documentary based on it has the added advantage of film clips, and pairs contemporary filmmakers with some surprisingly simpatico predecessors (Guillermo del Toro and Frank Capra make an inspired match) who walked away from their Hollywood careers during World War II to make propaganda films.

Cork Dork, Bianca Bosker (2017). I was occasionally frustrated, frequently spellbound, and always fascinated by this memoir from a reporter-turned-sommelier. I remain a cocktail fanatic, but this opened my eyes (and nose) to vino in a way few books have.

Brockmire, IFC. What threatened to be a one-joke character is the centerpiece of a soulful if deeply, deeply profane comedy, thanks to Hank Azaria’s performance and a low-rent atmosphere out of Slap Shot. Granted, it helps knowing that lifelong Mets fan Azaria based Jim Brockmire in part on the team’s original announcers, specifically Lindsey Nelson’s wardrobe and Bob Murphy’s cadences. Hearing him wax rhapsodic about rye whiskey in that home run call voice is all my worlds colliding. And pontifidrinking is real. Not that I’ve done it or anything.

Friday, March 03, 2017

Around the Horn

I’m over at the Rap Sheet today, talking about a favorite Hollywood novel that’s not quite a Hollywood novel: Ellery Queen’s 1951 spellbinder The Origin of Evil. And my alter ego Renee Patrick has posted her schedule for the coming year, with more events still in the works.

Thursday, February 16, 2017

The Big Knockover Comes Home

It’s that time of year again, gang. The Seattle iteration of the Noir City film festival kicks off this evening at Capitol Hill’s Egyptian Theater. It’s the all-heist film edition. Seven straight days of double bills (with bonus matinees this holiday weekend!) equaling twenty, count ‘em, twenty capers. It all gets rolling tonight with a peerless pairing of The Asphalt Jungle and Criss Cross.

There’s so much to savor in this roster cooked up by Film Noir Foundation honcho and festival host Eddie Muller. My personal picks: Violent Saturday, in which pulp meets Douglas Sirk; my favorite movie of all time, the original The Taking of Pelham One Two Three, on the big screen at last; and El Aura, a film I’ve been touting for over ten years (and the subject of my first-ever Noir City contribution).

I’ll be living at the Egyptian for the next week—and possibly appearing on stage—so come on out and say hello. Live musical entertainment is on tap tonight and Saturday, as well. Given a battery of other commitments I won’t be doing daily recaps this year, but I’ll try to post updates as the fun unfurls.

Tuesday, January 17, 2017

Extra, Extra! Noir City!

One of the benefits of being on the masthead of Noir City, the magazine of the non-profit Film Noir Foundation, is pitching in on the planning. I’ve known about the all-TV issue, which went out to subscribers last weekend, for ages, and had my pick of subject matter. I could have cherry-picked a vintage series that provided a small screen home for the migrating talent responsible for the twisted cinematic crime dramas of the 1950s. Or I could have claimed the contemporary cable antihero of my choice. It’s good to be the king, or in this case the managing editor.

Instead I pitched the only story I wanted to write. Which is why the issue features a look back at HBO’s two Phil Lovecraft films. Cast a Deadly Spell (1991) somehow knew Raymond Chandler and H.P. Lovecraft were two great tastes that taste great together. The result is a sly salute to classic noir that’s also genuinely, consistently funny. The disappointing follow-up Witch Hunt (1994) is an object lesson in the powers that be preparing a sequel while not comprehending what makes the original work.

Joseph Dougherty wrote both films, and proved a funny and candid interview. An acclaimed playwright and TV hyphenate, he’s spent the past seven years working on Pretty Little Liars, which he describes as “mini-Hitchcock movies for teens.” Dougherty wrote and directed “Shadow Play,” a film noir-inspired episode that became a fan favorite. We did a second interview about that show, complete with the welcome news that PLL has introduced a new generation to classic cinema as well as Dougherty’s brilliant advice for penning dialogue for teenage girls: “think of them as a bomber crew in a Howard Hawks movie.”

I’ve also got my usual Cocktails & Crime column, plus reviews of a new Douglas Sirk/George Sanders Blu-ray set and Edward Sorel’s offbeat book Mary Astor’s Purple Diary, covered in the New York Times by some wet-behind-the-ears stringer named Woody Allen.

But I’m not the only person in this issue. You also get—

- A double dose of FNF honcho Eddie Muller, interviewing Warner Bros. Home Entertainment George Feltenstein and holding forth on the small screen-spawned Mulholland Dr.

- Cartoonist/illustrator Daniel Clowes’ one-of-a-kind list of his five favorite noir films

- Imogen Smith on the definitive noir TV show, The Fugitive

- Jazz aficionado supreme Brian Light’s appraisal of the offbeat Johnny Staccato

- Alan K. Rode charting the noir roots of Perry Mason

- Steve Kronenberg’s assessment of the noir episodes of The Twilight Zone and Thriller

- Danilo Castro’s remembrance of Fallen Angels, the ‘90s cable series that brought pulp to primetime

- Sharon Knolle on the recent bumper crop of noir on cable, including Quarry and Animal Kingdom

- Ben Terrall’s very personal history of the pulp origins of Shane Black’s The Nice Guys

And, believe it or not, even more. It’s a true gem of an issue, and it’s yours by making a contribution to the Film Noir Foundation.

Thursday, December 29, 2016

The Best TV Show You’re Not Watching!

Titles like the above irk the hell out of me. That’s the peril of PeakTV®: no matter how many hours you clock in front of your various screens, you know you’re missing something.

Unless you’re me, in which case you’re missing everything. I used to joke that watching TV was a skill set I didn’t possess. At some point in the last few years, it stopped being a gag. Television viewing became serious business—maybe the real business of America nowadays—and I lacked the chops for it. I also used to joke that when I could watch whatever I wanted whenever I wanted, I’d wallow like a pig in a trough. Came that very day and I couldn’t be bothered to waddle over from the sty.

Game of Thrones? Haven’t seen it. The Walking Dead? Not one episode. My televisual diet consists of baseball and old movies. I have the occasional spasm of sensibility—I flew through Stranger Things this summer, the show scratching an itch I didn’t know I had—but for the most part I bluff my way through conversations about TV. It’s actually not that hard to do.

That said, allow me to tell you about the best TV show you’re not watching.

I’d never heard of Count Arthur Strong when I queued up the first episode. I simply read a description of the show on Acorn TV, a streaming service that offers British television fare, saw that it was a comedy about an aging entertainer, and figured it was worth a look. (Savvy readers may be wondering why I, as someone who professes not to watch much TV, subscribes to such a service. My accountant has raised the very same question.)

What followed was the exact opposite of a binge. What followed was me doling the episodes out incrementally, not wanting them to end. Because Count Arthur Strong is without question one of the funniest shows I’ve ever seen. Discovering Count Arthur Strong was a rare high point in a dire year. If you have access to Acorn TV, which you might via Amazon Prime, you still have time before the bells toll the deserved demise of this annus horribilus to make the acquaintance of Count Arthur Strong yourself.

Count Arthur, honorific never explained, is the brainchild of writer/actor Steve Delaney. The Count is a bit player in his dotage now known for his “raconteuring,” a legend in his own mind whose greatest claim to fame is a brief partnership with a man who broke up the act to become a titan of English entertainment. The ex-partner dies and his hapless writer son (played by Rory Kinnear, best known to U.S. audiences as the prime minister in that episode of Black Mirror) is pressed to pen about a book about the old man, which sends him careering into the orbit of Count Arthur and his friends.

That’s it. That’s the show in its entirety, now at thirteen episodes and counting, every one of them packed with laughs. Delaney created Count Arthur in the 1980s and revived him for the Edinburgh Festival in the 1990s, where his popularity led to a radio series. He then teamed up with Graham Linehan (Father Tim) for the TV version, which combines their strong suits: Delaney’s genius at inhabiting a fully three-dimensional character, and Linehan’s flair for lampooning sitcoms while honoring their traditions. Kinnear sends the show deliriously over the top, the putative straight man every bit as mad as his partner. The six episodes of Season One form a nearly perfect whole, unified by the storyline of Kinnear’s dogged efforts to write the biography of the father he never knew and studded with moments of surprising emotional impact. Season Two is looser but frequently more hilarious, as in the episode that is a meticulously detailed send-up of Misery. I told my compadre Ray Banks about my love for Count Arthur. He welcomed me to the brotherhood and steered me toward the trove of Delaney’s radio broadcasts, which I am now again doling out gradually until Season Three crests on these shores.

It’s a few days late, but for a taste here’s Count Arthur Strong’s Christmas message.

While I’m at it, a few other lesser publicized shows I’ve enjoyed this year—

Occupied (Netflix). Created by crime novelist Jo Nesbø and brought to the screen by filmmaker Erik Skjoldbjǣrg (Insomnia), this political thriller details the slow-motion takeover of Norway by Russia in order to commandeer its energy resources. Over the summer I recommended it to people as preparation for the Trump administration, because I’m such a cut-up. Now I’d call it mandatory. Its daring structure, with each episode set in a subsequent month, means key plot business sometimes occurs offscreen and we only witness the fallout. It also makes it a potent exploration of normalization.

Difficult People (Hulu). We pay for Hulu solely to watch Billy Eichner and Julie Klausner say what we’re all thinking. The show that makes me miss living in New York City.

Red Oaks (Amazon). Of course I’m in the tank for a series set in the 1980s about a high school kid who dreams of being a filmmaker. Season One was so flawless I almost resented its return, but the sophomore year brought an abundance of pleasures beginning with a Paris-set premiere directed by Hal Hartley (who helmed the bulk of the episodes) that plays like an independent film. And every single music cue this season broke my fucking heart.

People of Earth (TBS). A comedy from Conan O’Brien and some of the Parks & Recreation team about a recovery group for alien abductees—though they prefer to be called “experiencers” because it gives them more agency—that’s funny, deeply human and astonishingly soulful.