tag:blogger.com,1999:blog-67624492024-03-13T14:08:42.795-07:00Vince KeenanMovies. Crime fiction. Baseball. Jazz. Cocktails.Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comBlogger1652125tag:blogger.com,1999:blog-6762449.post-47783168655573227502024-02-01T22:29:00.000-08:002024-02-01T22:29:43.253-08:002024 So Far at Cocktails and Crime<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_yWHu8bsPnh5gMYEwm8dTwMv5cZHfZhyCTXT_J4zG5AQVRmg9LjWAxVWCunBkEWNRG-Hzi4maaAkf8P4EIB9AMjm5sYAE8EYyLu_GsecPQVMM3Hq-7aC8kFWGrNLd63On6tbt91RVucckCGE-c_R-eW7rwCPMD2timoEvkCWChRRlUGPGGd5/s1600/Noir%20City%20Seattle%20image.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV_yWHu8bsPnh5gMYEwm8dTwMv5cZHfZhyCTXT_J4zG5AQVRmg9LjWAxVWCunBkEWNRG-Hzi4maaAkf8P4EIB9AMjm5sYAE8EYyLu_GsecPQVMM3Hq-7aC8kFWGrNLd63On6tbt91RVucckCGE-c_R-eW7rwCPMD2timoEvkCWChRRlUGPGGd5/s320/Noir%20City%20Seattle%20image.jpg" width="320" /></a></div><br />The main thing you need to know: <a href="https://www.siff.net/programs-and-events/noir-city" target="_blank">Noir City Seattle</a> is coming back from February 16—22, and I’ll be serving as your host for the final four nights. Meanwhile, here’s what I’ve written about so far this year at <a href="https://vincekeenan.substack.com/" target="_blank">Cocktails & Crime</a>.<br /><br />Amazon made a show starring an Academy Award winner and didn’t tell anyone, but <a href="https://vincekeenan.substack.com/p/c-and-c-29-the-oddest-show-i-watched" target="_blank">I watched it anyway</a>. Also, multiple movie recommendations.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-30-all-good-people" target="_blank">Good stuff from people I know</a>: books by Duane Swierczynski and Kate Alice Marshall, and music by Ethan Iverson.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-31-your-cohost-at-noir-city" target="_blank">More details on Noir City</a>, a report from the celebration of life held for Murray Stenson, and killer cats. <br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-61664088369226037582023-12-31T16:41:00.000-08:002023-12-31T16:41:04.912-08:00Farewell 2023 and December at Cocktails and Crime<p>Is there ever going to be a year I’m sorry to see end? I seem to remember that happening. In any event, bring on 2024.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAjxfL5hjzgsWjzOv6qhynaobC6Y7LqlhyphenhyphenYs9hEIkOLm4xGeVseHGkFDPubW_AWZg47-1D9SRzSzZm1Mu93UdgnFZQ5G5k2ys1uNqsXmGmkvG0ho9udXpPieBKtjMzxIfwsbQw9rvURSvBflH8Ir3vyBgbRCffh0kvn_W9zws7toz7l3ynHvkB/s340/Zero%20Effect%20Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="220" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAjxfL5hjzgsWjzOv6qhynaobC6Y7LqlhyphenhyphenYs9hEIkOLm4xGeVseHGkFDPubW_AWZg47-1D9SRzSzZm1Mu93UdgnFZQ5G5k2ys1uNqsXmGmkvG0ho9udXpPieBKtjMzxIfwsbQw9rvURSvBflH8Ir3vyBgbRCffh0kvn_W9zws7toz7l3ynHvkB/s320/Zero%20Effect%20Poster.jpg" width="207" /></a></div><br />2023 did turn out to be when I returned to blog-style writing. It just happened to be at Substack, that’s all. Here’s what happened at <a href="https://vincekeenan.substack.com/" target="_blank">Cocktails and Crime</a> this month.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-25-its-a-shane-black-christmas" target="_blank">It’s a Shane Black Christmas</a> made its debut over there.<br /><br />I started doing the program outlined in Julia Cameron’s <i>The Artist’s Way</i>, which meant dealing with <a href="https://vincekeenan.substack.com/p/c-and-c-26-the-agony-of-reading-deprivation" target="_blank">the terrors of reading deprivation week</a>. I also reviewed Sam Wasson’s <i>The Path to Paradise: A Francis Ford Coppola Story</i>.<br /><br />I decided to start taking <a href="https://vincekeenan.substack.com/p/c-and-c-27-directors-with-and-without" target="_blank">financial advice from movie directors</a>, a choice that I’m sure will not backfire.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-28-25-years-of-zero-effect" target="_blank">25 years of <i>Zero Effect</i></a>, the great private eye movie featuring a final terrific turn from the late Ryan O’Neal.<p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-89146571352672364022023-11-30T16:05:00.000-08:002023-11-30T16:09:05.680-08:00November at Cocktails and Crime<p>Hey, <a href="https://read.substack.com/p/substack-is-for-video" target="_blank">Substack is pivoting to video</a>! I’m sure that bodes well for the future.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinEHMM3PV7VyiLY1w8GYX_b1WepciYJXAGLkIBvPRIId1jgExzOaBdU2Hv5blLhma0qP0AM1sIHwXKUDjmUUQKlhICCggbBoIQCWfdBgz-xGCGaL_483vsco7-TwPg2B9oEhKUPSem_O3Sxq_SH_IHD9N8TTzqApfrS5vH9UtDVZsFZrcib9ym/s1500/Secret%20Hours%20cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinEHMM3PV7VyiLY1w8GYX_b1WepciYJXAGLkIBvPRIId1jgExzOaBdU2Hv5blLhma0qP0AM1sIHwXKUDjmUUQKlhICCggbBoIQCWfdBgz-xGCGaL_483vsco7-TwPg2B9oEhKUPSem_O3Sxq_SH_IHD9N8TTzqApfrS5vH9UtDVZsFZrcib9ym/s320/Secret%20Hours%20cover.jpg" width="213" /></a></div><br />I understand how the game is played. Platforms evolve to the point where they eventually stop doing what you want them to do. Case in point: the now non-functioning Twitter (to hell with that X nonsense) widget to your left. Maybe Substack is the answer, maybe it isn’t. The numbers indicate that it’s working for me right now. Still, I’m keeping my shingle up here even if it’s only to recap what I’m doing there, like the following.<p></p><p><a href="https://vincekeenan.substack.com/p/c-and-c-20-library-of-laffs" target="_blank">A look at three new books on the big-screen comedies</a> <i>Airplane!</i>, <i>The Blues Brothers</i>, and <i>Anchorman</i>.</p><a href="https://vincekeenan.substack.com/p/c-and-c-21-at-the-movies-and-at-the" target="_blank">Somehow I connect the icy, cerebral thriller <i>Anatomy of a Fall</i> with <span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">the raunchy comedy </span><i>No Hard Feelings</i>.</a><!--[if gte mso 9]><xml>
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<![endif]--> Plus a history of Siskel & Ebert and a martini variation from Phil Ward.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-22-where-i-am-where-weve" target="_blank">My social media report card</a>, along with Kliph Nesteroff’s new history of the culture wars and Scott Eyman’s <i>Charlie Chaplin vs. America</i>.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-23-comedy-compliments-and" target="_blank">Jesse David Fox’s survey of contemporary comedy</a>, documentaries on Albert Brooks and John le Carré, and a cocktail from the glory days of New York’s Amor y Amargo.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-24-more-spies-deep-water" target="_blank">The latest spy novel from Mick Herron</a>, plus <i>Nyad</i> and a documentary on the design studio responsible for some iconic album covers.<p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-18906805958225876152023-10-30T16:57:00.000-07:002023-10-30T16:57:07.279-07:00October C&C Roundup<p>I’m keeping busy at <a href="https://vincekeenan.substack.com/" target="_blank">Cocktails and Crime</a>, my Substack newsletter. This month’s offerings:<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9-qG7TlFbmrYArhiQ_XsN3mP4NSZOh-s7vHa7aNiHkXFhpeeuSGGWcO_Ie9-I4f0BgxM2QFgzEIXtWU87wD35QMuy82RCZ9KO8FmQuHKzmQL9uOKeKrCuiqBTK-HgFcDNfWXj8UDDy4hlrTqLysRuSQtpkRLnl0e77vV7UbEDW4cDm4ivoswN/s809/Down%20the%20Hatch%20cover%201.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="809" data-original-width="625" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9-qG7TlFbmrYArhiQ_XsN3mP4NSZOh-s7vHa7aNiHkXFhpeeuSGGWcO_Ie9-I4f0BgxM2QFgzEIXtWU87wD35QMuy82RCZ9KO8FmQuHKzmQL9uOKeKrCuiqBTK-HgFcDNfWXj8UDDy4hlrTqLysRuSQtpkRLnl0e77vV7UbEDW4cDm4ivoswN/s320/Down%20the%20Hatch%20cover%201.jpg" width="247" /></a></div><br /><a href="https://vincekeenan.substack.com/p/c-and-c-16-ten-years-of-down-the" target="_blank">The ten-year anniversary of my first book,<i> Down the Hatch: One Man’s One Year Odyssey Through Classic Cocktail Recipes and Lore</i>, plus the evolution of my martini and the French noir <i>Symphony for a Massacre</i>.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-17-ron-sheltons-lapd-films" target="_blank">Background on my CrimeReads feature about the LAPD films of Ron Shelton, <i>Dark Blue</i> and <i>Hollywood Homicide</i>, both of which were released twenty years ago.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-18-keeping-current-at-home" target="_blank">General thoughts on watching new movies at home, plus a few of those new movies: <i>Fair Play</i>, <i>Flora and Son</i>, Wes Anderson’s adaptations of Roald Dahl stories for Netflix, and (in theaters for a change) a pair of short films by Pedro Almodóvar.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-19-three-and-out" target="_blank">Bidding farewell to <i>How To with John Wilson</i> and <i>Reservation Dogs</i>, plus I retool my Manhattan.</a> <br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-37774460550462231252023-09-30T11:54:00.004-07:002023-09-30T11:54:58.371-07:00September Cocktails and Crime Round-Up<p>Another month, another series of posts you can have delivered straight to your inbox for free. Here’s a recap of what appeared in my Substack newsletter <a href="https://vincekeenan.substack.com/" target="_blank">Cocktails and Crime</a>.<br /></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLW7eh4TO6w_g0xRDodtmaurIB6NpmaHkGK3hd_nlTyzsxPcTGpJVPnFVCFVS7Uitr8QE5b-q3c0FAEFV3Sami4es-GijCJmazC3hjB9JkGa3VYJiD6C8PkqI6SzRX6sEzPLRWQRiBYHDYEm7iJU7hKudS5oKjfIoL1J9D7K_GKrGW8i674thP/s1500/Noir%20City%202022%20Annual%20cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1066" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLW7eh4TO6w_g0xRDodtmaurIB6NpmaHkGK3hd_nlTyzsxPcTGpJVPnFVCFVS7Uitr8QE5b-q3c0FAEFV3Sami4es-GijCJmazC3hjB9JkGa3VYJiD6C8PkqI6SzRX6sEzPLRWQRiBYHDYEm7iJU7hKudS5oKjfIoL1J9D7K_GKrGW8i674thP/s320/Noir%20City%202022%20Annual%20cover.jpg" width="227" /></a></div><p><a href="https://vincekeenan.substack.com/p/c-and-c-13-rabbit-hole-and-reading" target="_blank">I resurrected and updated my post on <i>Rabbit Hole</i>, my favorite new TV show of 2023, and touted my low-octane libation of choice.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-14-noir-city-annual-joseph" target="_blank">An overview of the 2022 <i>Noir City Annual</i>, which I edited, plus a rewatch of my childhood favorite <i>Colossus: The Forbin Project</i> and a review of Laura Lippman’s <i>Prom Mom</i>.<br /></a><a href="https://vincekeenan.substack.com/p/c-and-c-15-murray-stenson-rip" target="_blank"><br />A tribute to Murray Stenson, an extraordinary bartender and my friend.</a> <br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-13966812139747951842023-08-31T14:29:00.000-07:002023-08-31T14:29:05.246-07:00August at Cocktails and Crime<p>Things continue to go swimmingly at <a href="https://vincekeenan.substack.com/" target="_blank">Cocktails and Crime</a>, my Substack newsletter. Remember, sign-up is free. Here’s what was delivered to subscribers’ in-boxes in August.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PiUMBbV1unjYsOV13If6fZ92ylEFJ6LfPSnXsZBDQh-I1LIlm5jXDDcPlzM7yO6JKq802V21I2_17wXYHQJgopPzZ9ydNOTtBPqIVrgJn6Ps13ryFwA5xu5EvLQGxPzZstjHP3JsvaJhSWtJ-YtBpD9Sti-UVDGaDCalk_4WfrZK8FQT9bd6/s757/Nichols%20and%20May.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="757" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4PiUMBbV1unjYsOV13If6fZ92ylEFJ6LfPSnXsZBDQh-I1LIlm5jXDDcPlzM7yO6JKq802V21I2_17wXYHQJgopPzZ9ydNOTtBPqIVrgJn6Ps13ryFwA5xu5EvLQGxPzZstjHP3JsvaJhSWtJ-YtBpD9Sti-UVDGaDCalk_4WfrZK8FQT9bd6/s320/Nichols%20and%20May.jpg" width="271" /></a></div><p><a href="https://vincekeenan.substack.com/p/c-and-c-7-mary-tyler-moore-and-the" target="_blank">The HBO documentary <i>Being Mary Tyler Moore</i> sends me down the rabbit hole of MTM’s biggest failure, a variety show packed with future stars.</a></p><p><a href="https://vincekeenan.substack.com/p/c-and-c-8-rip-william-friedkin" target="_blank">A tribute to the late William Friedkin.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-9-show-biz-books-on-action" target="_blank">Reviews of a trio of new books about show business.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-10-project-greenlight-my" target="_blank">A new season of <i>Project Greenlight</i>, the only show I’ve ever hate-watched.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-11-the-gift-of-discomfort" target="_blank">Wanting to feel uncomfortable, I start an improv class.</a><br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-12-the-gift-of-discomfort" target="_blank">Somehow, I finish an improv class.</a> <br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-79053029603559378992023-07-31T11:34:00.003-07:002023-07-31T11:36:12.397-07:00C&C in July<p>In less than a month, my Substack newsletter <a href="https://vincekeenan.substack.com/" target="_blank">Cocktails and Crime</a> has racked up subscribers in the triple digits. Thanks to everyone who has signed up. If you haven’t, there’s no time like the present. Here’s what you’ve been missing.<br /><br />1. <a href="https://vincekeenan.substack.com/p/c-and-c-1-introductions-recommendations" target="_blank">Introductions</a> <br /><br />2. <a href="https://vincekeenan.substack.com/p/c-and-c-2-the-shady-side-of-the-sixties" target="_blank">My look at Library of America’s <i>Crime Novels: Five Classic Thrillers 1961-1964</i></a><br /><br />3. LOA’s <a href="https://vincekeenan.substack.com/p/c-and-c-3-the-shady-side-of-the-sixties" target="_blank"><i>Crime Novels: Four Classic Thrillers 1964-1969</i></a><br /></p><p></p><p></p><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHcZgndX4XdlhWngYWLp0D1oVUlucYPhosMM2f9-JJMSuUorRNiY35HKB4kut3YB1sQQmUW_Zru9ugmBjARp2JKq_03iP35nWlemGAENBkPszGnlhEAIeKE3Tb3Dr8Q4nCAQIZUzLp3ZDIX8GjjjQfiOjTLC9ZUA9g_DvSv2RORf4c5WDG4IZ/s2048/NC%20Matthau%20layout.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1326" data-original-width="2048" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPHcZgndX4XdlhWngYWLp0D1oVUlucYPhosMM2f9-JJMSuUorRNiY35HKB4kut3YB1sQQmUW_Zru9ugmBjARp2JKq_03iP35nWlemGAENBkPszGnlhEAIeKE3Tb3Dr8Q4nCAQIZUzLp3ZDIX8GjjjQfiOjTLC9ZUA9g_DvSv2RORf4c5WDG4IZ/s320/NC%20Matthau%20layout.jpg" width="320" /></a></div><p>4. <a href="https://vincekeenan.substack.com/p/c-and-c-4-noir-city-walter-matthau" target="_blank">On my feature story about Walter Matthau in the current issue of <i>Noir City</i> magazine, and William Redfield’s <i>Letters from an Actor</i></a></p><p><br />5. <a href="https://vincekeenan.substack.com/p/c-and-c-5-indiana-jones-5-gold-brick" target="_blank">I spin the <i>Dial of Destiny</i> and weigh in on the international capers <i>Gold Brick</i> and <i>The Siberia Job</i></a><br /><br />6. <a href="https://vincekeenan.substack.com/p/c-and-c-6-command-z" target="_blank">Steven Soderbergh’s SF/comedy web series <i>Command Z</i>, paired with a suitable cocktail</a> <br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-48977931716225067942023-07-05T14:53:00.000-07:002023-07-05T14:53:55.108-07:00Substack Season<p>Short version: I’ve got a new Substack called Cocktails and Crime, which will be the home for most of my ramblings going forward, so if you’re at all interested in whatever thoughts wander into my head, <a href="https://vincekeenan.substack.com/" target="_blank">you should subscribe to it</a>.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixch1hm30w0DkWc8547SS5EvFFc66MZ2HiyuCCZsv6poCbEUADkJgPlqO4XByM951yxzWfxZnd64s0aTzIHLHbvA4ZL8A4dYJjmipHsPNZdPEte7z4ZolBxKMwhLHDGfw5lpDOvnqvA1FO-kYud2nGf4pywumMu_OQ97FtMx-2Bi2enAAJHTAr/s1200/VK%20Substack%20Banner.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="333" data-original-width="1200" height="89" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixch1hm30w0DkWc8547SS5EvFFc66MZ2HiyuCCZsv6poCbEUADkJgPlqO4XByM951yxzWfxZnd64s0aTzIHLHbvA4ZL8A4dYJjmipHsPNZdPEte7z4ZolBxKMwhLHDGfw5lpDOvnqvA1FO-kYud2nGf4pywumMu_OQ97FtMx-2Bi2enAAJHTAr/s320/VK%20Substack%20Banner.png" width="320" /></a></div><br />Upon the advice of friends whom I trust, I have taken the plunge and hung out a shingle at Substack. The numbers here at the blog have held steady over the last few years, but like so much in life, they aren’t what they used to be. All the action is at Substack, and the cool kids are hanging out there as well. Based on concrete examples from people in the know, I started Cocktails and Crime. Which will pretty much be this blog in newsletter form.<br /><br />I’m not closing up shop here; I have too many fond memories of the ol’ internet homestead to abandon it. My plan is to use this site to promote my work whenever it appears, and on occasion cross-post some of the longer entries after they’ve debuted on Substack.<br /><br /><a href="https://vincekeenan.substack.com/p/c-and-c-1-introductions-recommendations" target="_blank">The first post</a> is up as of today. But again, the best way to keep up is <a href="https://vincekeenan.substack.com/" target="_blank">to subscribe</a>.<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge3chrsnlTtzfo7YFSe_WgCR4GLCSYiFafn5R-9KwLn1-zkbUJFDOxq4MSX7gvRJnV5JwA0ihvuzwUcxzdlw9eLc7b9KVmY215w70EMjb9RgjG6ZIv_YDremIHfsto5mrbt_ivvqeSDRjUZ_fGVWa6CJ5CbR_0PVQCwxeo8wyer-IULCkaj0aX/s242/Bing%20Crosby%20cocktail.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="242" data-original-width="219" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEge3chrsnlTtzfo7YFSe_WgCR4GLCSYiFafn5R-9KwLn1-zkbUJFDOxq4MSX7gvRJnV5JwA0ihvuzwUcxzdlw9eLc7b9KVmY215w70EMjb9RgjG6ZIv_YDremIHfsto5mrbt_ivvqeSDRjUZ_fGVWa6CJ5CbR_0PVQCwxeo8wyer-IULCkaj0aX/s1600/Bing%20Crosby%20cocktail.JPG" width="219" /></a></div><br /><p><br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-23951876701881502902023-06-23T16:58:00.001-07:002023-06-23T16:58:47.160-07:00Piss-Takes, Hurt Feelings, and Vamping<p><i>What I’m Watching<br /></i><br /><i>Operation Fortune: Ruse De Guerre</i> (2023). “Piss-take” is too good a term to be used solely by our cousins across the pond. For me, a piss-take isn’t a parody so much as a clear-eyed version of a story, one that says, “Yeah, here’s how that would <i>actually</i> work.” In Guy Ritchie’s gleeful savaging of globe-trotting action thrillers, the caper springs from ignorance and is motivated by greed. His version of an elite operative isn’t a square-jawed do-gooder like Ethan Hunt, but a prickly oddball with expensive tastes. Plus he’s blessed with the singular handle of Orson Fortune, and he’s played by Jason Statham.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlF4zokUqsqjonQV4ZX4qll_67lNUlWJzh9uIghtDIBY51aBib81Wi3IXMfR8su8XFYyRkK16FbP3AvXcqPjJPSiIzI7barVxm7m0u2Vi5-WzXfyzqks6tLiZn0kyxU_v59KQ3vn4p_9RFRhixCRsYMO25Z4BStgY7uDLQItXmITs61jpDANcC/s384/Operation%20Fortune%20poster.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="384" data-original-width="259" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlF4zokUqsqjonQV4ZX4qll_67lNUlWJzh9uIghtDIBY51aBib81Wi3IXMfR8su8XFYyRkK16FbP3AvXcqPjJPSiIzI7barVxm7m0u2Vi5-WzXfyzqks6tLiZn0kyxU_v59KQ3vn4p_9RFRhixCRsYMO25Z4BStgY7uDLQItXmITs61jpDANcC/s320/Operation%20Fortune%20poster.jpg" width="216" /></a></div>Fortune is tasked—only elite operatives are “tasked,” nobody else is—with recovering … well, something. The British government doesn’t know what has been stolen, only that billionaire arms trader Greg Simmonds (Hugh Grant, a welcome addition to the Ritchie company of players) is brokering its sale. How to access the man who has (almost) everything? Give him what he craves, the friendship of his favorite movie star. Josh Harnett is winning as the actor strongarmed into espionage and uncertain about his ability to play the role in which he has been cast: himself. Aubrey Plaza is also on hand to mercilessly mock the gun-wielding hacker babe archetype that always turns up in these movies.<br /><br />As is frequently the case with Ritchie, the entire enterprise is filled with fine clothes. Ritchie is one of the filmmakers whose work I watch for the wardrobe. See: Exhibits A and B, his still underrated <i>The Man from U.N.C.L.E.</i> (2015) and Colin Farrell’s coordinated track suits in <i>The Gentlemen</i> (2019). <i>Operation Fortune</i> keeps the streak alive.<br /><br />My Twitter ramblings about the movie convinced Ethan Iverson to watch it, and <a href="https://iverson.substack.com/p/tt-272-severance-defiant-jazz-operation" target="_blank">I love his take</a>.<br /><br /><i>You Hurt My Feelings</i> (2023). You don’t have to be married to a writer to enjoy Nicole Holofcener’s latest film, but boy, does it help. Julia Louis-Dreyfus and Tobias Menzies play one of those perpetually fretful, well-to-do Manhattan couples. But at least they’re happily married—until she overhears him telling a friend that he doesn’t care for her work in progress, despite the encouragement he’s offered her. It’s the funny hook on which Holofcener hangs a deeper look at the many kinds of honesty required in meaningful relationships. I’ll watch it again to wrap myself in the deep, fuzzy blanket of Menzies’ voice. If he was actually a therapist, I’d see him three times a week. <br /><br /><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4062iDrqnQSUiznTzx0z5E1DSMe3Tf2_kA-NOb3bNmgDplHgx3uV5-J5k48z2fjLZeUTXRYk7kHEP0ze9jSl_ULPVIxwVZRjciaq03d8E6edQEFSRhI6ZqOVNwTCSF49XYDifLKxP04NV9_iRwI12c00kxnxnFm19Tl2kggrsyrIRawYQAX_p/s680/Innocent%20Criterion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="383" data-original-width="680" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4062iDrqnQSUiznTzx0z5E1DSMe3Tf2_kA-NOb3bNmgDplHgx3uV5-J5k48z2fjLZeUTXRYk7kHEP0ze9jSl_ULPVIxwVZRjciaq03d8E6edQEFSRhI6ZqOVNwTCSF49XYDifLKxP04NV9_iRwI12c00kxnxnFm19Tl2kggrsyrIRawYQAX_p/s320/Innocent%20Criterion.jpg" width="320" /></a></div><br />The Innocent</i> (US 2023). Louis Garrel’s crime comedy is exclusively on <a href="https://www.criterionchannel.com/" target="_blank">the Criterion Channel</a>, yet another reason to sign up for the best streaming service there is. Garrel’s Abel, a still-grieving widower, tries to put the best face on his mother’s latest impulsive act, marrying one of her students in a prison acting class. When new stepdad Michel (Roschdy Zem) is released, Abel starts following him—and soon finds himself roped into Michel’s next job for the sake of family unity. Anouk Grinberg is fantastic as Abel’s impetuous <i>maman</i>, a character worlds away from the no-nonsense jurist she played in <a href="http://blog.vincekeenan.com/2023/06/what-im-watching-all-siff-edition.html" target="_blank"><i>The Night of the 12th</i></a>. And Noémie Merlant deservedly won a César Award for her turn as Abel’s surprisingly encouraging friend.<br /><br /><i>John Early: Now More Than Ever</i>. When I first saw John Early in the TV series <i>Search Party</i>, I thought, “If there’s ever a Mike Nichols biopic, he’s the guy.” His new HBO special blends comedy and music. The pseudo-documentary framework doesn’t add much, but the material—especially a brutal analysis of his generation’s spotty education and their resulting contributions to the English language—is strong, as is the “Wait, he’s not really gonna sing that, is he?” closing number.<br /><br /><i>What I’m Drinking</i><br /><br />The latest issue of <a href="https://imbibemagazine.com/" target="_blank">Imbibe magazine</a> spotlights clear spirits in summer drinks. I’m already partial to the Three of a Kind, created by Weisi Basore for Bar Cleeta in Bentonville, Arkansas. Maraschino liqueur is typically used sparingly—even a scant quarter-ounce will boldly declare its presence in a cocktail—so the generous pour here surprised me. But it plays beautifully. I expect to call this complex cooler in from the bullpen often as the season progresses.<br /><br />1 oz. London dry gin<br />1 oz. Cocchi Americano bianco<br />1 oz. maraschino liqueur<br />2 dashes grapefruit bitters<br /><br />Stir. Strain over fresh ice. Garnish with a lemon twist.<br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-59550493297379765132023-06-12T11:53:00.001-07:002023-06-12T11:55:50.196-07:00What I’m Watching: All-SIFF Edition<p><a href="https://www.siff.net/" target="_blank">The Seattle International Film Festival</a> ended on May 28, and I’m only getting around to it now. Which may be just as well, considering that my two favorite movies from this year’s fest are already turning up in theaters.<br /><br /><a href="https://www.youtube.com/watch?v=12uAuEcwgXA" target="_blank">Chile ’76</a>. The title of this piercing political thriller gives us the where and, more pointedly, the when: the Pinochet years. Retired stewardess Carmen (Aline Küppenheim in a powerhouse performance) is largely insulated from political unrest; her physician husband affords her a comfortable life, with grandchildren and a summer house remodel to occupy her time. But when a priest asks her to tend to a wounded young activist sought by the government, the fragile order of her world comes apart. Directed and cowritten by Manuela Martelli, it’s a look at how normal life can seem under a dictatorship—and how much effort even the smallest act of compassion takes under those circumstances. Mention must be made of Mariá Portugal’s moody and effective score, like something out of a 1970s giallo.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8phV3Z1jnJsqipGeM6Mlk1A6P1E5dNLRhiRF6otiQZ2lI4c72fjzjDCTAt5PEOiR3VPVSTalszunItxZsjno8QiYebjT0LrObRZbJOUs1Si-sNGfY4DkbsPyT8GZFBFYEZYj-9hHgGdL7UfMDO_KkIt2T2wGp6TaJJhthbv7yODmIqK0_XQ/s741/Night%20of%20the%2012th%20Poster.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="741" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8phV3Z1jnJsqipGeM6Mlk1A6P1E5dNLRhiRF6otiQZ2lI4c72fjzjDCTAt5PEOiR3VPVSTalszunItxZsjno8QiYebjT0LrObRZbJOUs1Si-sNGfY4DkbsPyT8GZFBFYEZYj-9hHgGdL7UfMDO_KkIt2T2wGp6TaJJhthbv7yODmIqK0_XQ/s320/Night%20of%20the%2012th%20Poster.jpg" width="216" /></a></div><a href="https://www.youtube.com/watch?v=ZQkDk5Oj3XI" target="_blank">The Night of the 12th</a>. This <i>policier</i> from director Dominik Moll (<i>With a Friend Like Harry</i>), which won France’s César Award for Best Picture, takes a big swing early. It tells you up front that the real-life case that inspired it will not be solved, and is only more compelling because of it. Tense and atmospheric, it follows a young detective (Bastien Bouillon) whose first assignment as the head of an investigative unit is an uncommonly brutal murder in the incongruously beautiful setting of Grenoble at the foot of the French Alps. As the years pass without a solution, he realizes he only knows two things for certain: “Something’s amiss between men and women,” and he’ll have to find a way to carry on in the face of never knowing the truth. It will be playing at Seattle’s Grand Illusion later this month as part of the theater’s <a href="https://grandillusioncinema.org/series/before-the-case-cracks-you/" target="_blank">“… before the case cracks you” series</a> alongside <i>Zodiac</i> and Bong Joon-ho’s <i>Memories of Murder</i>, and it deserves to be in their company.<br /><br /><i>Max Roach: The Drum Also Waltzes</i>, a solid documentary about the jazz musician, educator, and activist, will air on PBS’s <i>American Masters</i> in October. And fingers crossed that the Irish/UK science fiction film <a href="https://youtu.be/SlDFpppt3rU" target="_blank">Lola</a> reaches a broad audience. <span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">Its 79-minute running time contains an impressive amount of story,</span> about two charismatic orphaned sisters in the 1940s, one of whom constructs a machine that receives radio and TV signals from the future. They use this knowledge first to change their own lives, then the course of World War II. The found-footage conceit is initially hard to swallow, but director Andrew Legge ultimately makes it work through adept manipulation of historical images.<br /><br /><i>What I’m Drinking</i><br /><br />Call me a convert to the French Manhattan, taken from David Lebovitz’s book <i>Drinking French: The Iconic Cocktails, Aperitifs, and Café Traditions of France, with 100 Recipes</i> (2020). This version of the classic is made with cognac and orange liqueur. My next experiment, as I don’t have any of France’s orange-based Amer Picon, is to try one with one of my go-to Picon substitutes: Amer Boudreau, Bigallet China-China Amer, or Amaro CioCiaro. Will report back.<br /><br />The French Manhattan<br /><br />1 ½ oz. cognac<br />1 ½ oz. sweet vermouth<br />¼ oz. Cointreau or Grand Marnier<br />1 dash orange or Angostura bitters<br /><br />Stir. Strain. Garnish with a cherry.<br /> <p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-32154509524895577562023-05-11T12:25:00.003-07:002023-05-11T18:28:08.794-07:00Walking That Line<p><a href="https://www.wgacontract2023.org/" target="_blank">I’m on strike</a> at the moment, and that moment may last a while. Might as well keep limber by making a few recommendations.<br /><br /><i>What I’m Watching</i><br /><br /><i>Rabbit Hole</i> (Paramount+). I waited until all eight episodes of the first (only?) season of this show dropped to make sure it stuck the landing. It did, so now I can say this Kiefer Sutherland series is the best thing I’ve seen on TV in a while, and stronger than any thriller novel I’ve read recently. And I won’t tell you why.<br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWn4WmXpavgc9imFkRT6L6M57EzEt8tSfTmHjRW1kCBkQVphtHKf0Tus1r2iNuoj-hbrn7zNXotmq9N4zrNgfoBjQulyJcVXmhNN8DHATlO3vAmjczIuUEOpKz63uSEiboLeQWO5H3zcfAxl7_olpCK5qfS3Swnfl46-ogeMb8_ztz4F82PA/s697/Rabbit%20Hole.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="697" data-original-width="470" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWn4WmXpavgc9imFkRT6L6M57EzEt8tSfTmHjRW1kCBkQVphtHKf0Tus1r2iNuoj-hbrn7zNXotmq9N4zrNgfoBjQulyJcVXmhNN8DHATlO3vAmjczIuUEOpKz63uSEiboLeQWO5H3zcfAxl7_olpCK5qfS3Swnfl46-ogeMb8_ztz4F82PA/s320/Rabbit%20Hole.jpg" width="216" /></a></div>Doing so would spoil the fun. More than one episode of <i>Rabbit Hole</i> ended with a reveal that had me saying “What the <i>fuck</i>?” aloud to my TV. But every twist feels organic, thanks to the show’s devilishly intricate structure and to its premise. Sutherland’s John Weir specializes in shaping perceptions to aid his corporate clients, his tactics and slippery morals perfectly illustrated in the extended sequence that opens the premiere episode; right off the bat, you’re advised not to trust what you see. An old friend hires Weir and his team for a job that ends with Weir framed for murder. Where the show goes from there is … well, you’ll have to watch for yourself.<br /><br /><i>Rabbit Hole</i> is consistently funny, which shouldn’t have surprised me considering it’s the brainchild of Glen Ficarra and John Requa (<i>Bad Santa</i>). They write beautifully for Sutherland, wringing laughs out of his gruff persona. The show’s sensibility and Weir’s character are established in this early exchange between Weir and the FBI agent determined to take him down.<br /><br />FBI Agent: Corporate espionage is a dirty way to get rich.<br />Weir: Espionage? What are you talking about? I’m not a spy.<br />FBI Agent: Manipulating people and situations to influence markets for client advantage is … what, then?<br />Weir: Consulting.<br /><br />A sequence when Weir, the target of a city-wide manhunt, strolls into a New York police station to see the “evidence” against him is a marvel of low-tech deception and social engineering. And a running gag involving Kiefer and hammers got me every time.<br /><br />But the show also succeeds as a thriller, tackling thorny topical subject matter in a manner that consistently raises the stakes. The supporting cast is richly idiosyncratic, and when the actor playing the show’s Big Bad finally showed their face, I was ecstatic. (And even <i>that</i> reveal has a reveal.) If the show doesn’t return, its sole season goes into the books a winner, ending on a perfect note of 1970s-style paranoia.<br /><br />Paramount+ may be primarily known for <i>Yellowstone</i> and <i>Star Trek</i> spinoffs, but it’s also the home of <i>The Offer</i> (<a href="http://blog.vincekeenan.com/2023/01/adieu-2022.html" target="_blank">my favorite show of 2022</a>) as well as the bonkers Catholic <i>X-Files</i>, better known as <i>Evil</i>. That’s a solid batting average for a streaming service.<br /><br /><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAc06jGecz5N49RTAPQ3jqych4cRXS6u_amnCvkkzgji1qRqE_AyOzNDkXKiHQAmRYdXtAx4_plarOIV8BsiCVBg5tANFvVYZGYeFkSDeOGlkyhU34dqhHCfIbDrx3YHTtBjR2vP31n64hGIKLs_I9M9bckLT-TmgwucfugpZLw8pgm8qacQ/s512/Transatlantic.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="288" data-original-width="512" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAc06jGecz5N49RTAPQ3jqych4cRXS6u_amnCvkkzgji1qRqE_AyOzNDkXKiHQAmRYdXtAx4_plarOIV8BsiCVBg5tANFvVYZGYeFkSDeOGlkyhU34dqhHCfIbDrx3YHTtBjR2vP31n64hGIKLs_I9M9bckLT-TmgwucfugpZLw8pgm8qacQ/s320/Transatlantic.jpg" width="320" /></a></div><br />Transatlantic</i> (Netflix). I wrote about it in my guise as <a href="http://reneepatrickbooks.com/" target="_blank">Renee Patrick</a>, but nowhere near enough people are paying attention to this lush limited series, so I’ll also laud it here. It’s about the ragtag efforts of the Emergency Rescue Committee to transport artists from Europe to the United States in 1940. Like <i>Rabbit Hole</i>, it employs a tone you don’t expect; it’s light and even fizzy, which only lends the dark moments more impact. Watch it for Justine Seymour’s costumes, each and every one a knockout, and the haunting score by Mike Ladd & David Sztanke.<p></p><p><i>What I’m Reading</i><br /></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0xmiO1cwVHnxRiNw-mIizYTlj4oVlt5_w8MU6VoSJCnJG7LK0DmDKfdwWneLJHL7D_VemiNcMme-S4yyzd7inoAlVG9oWhu6JtXG-NKJrdCkEZ3vhGYd_sNmQ0J9veYU0DbkGx0ay2qX51FRKiXE6gua19pzAGRwusVV1qEVIKbQLDBSOw/s500/The%20Pitfall%20cover.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="324" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0xmiO1cwVHnxRiNw-mIizYTlj4oVlt5_w8MU6VoSJCnJG7LK0DmDKfdwWneLJHL7D_VemiNcMme-S4yyzd7inoAlVG9oWhu6JtXG-NKJrdCkEZ3vhGYd_sNmQ0J9veYU0DbkGx0ay2qX51FRKiXE6gua19pzAGRwusVV1qEVIKbQLDBSOw/s320/The%20Pitfall%20cover.jpg" width="207" /></a></i></div><i>The Pitfall</i>, by Jay Dratler (1947). The 1948 film noir <i>Pitfall</i> has been rediscovered, due in part to the efforts of my friend and colleague <a href="http://filmnoirfoundation.org/" target="_blank">Eddie Muller</a>. It also stands out by having a femme fatale who’s no seductress, but a woman simply trying to do her best. It’s not the fault of Mona, played by Lizabeth Scott, that men are drawn to her, like bored suburban family man/insurance investigator Forbes (Dick Powell) and sleazy stalker shamus Mac (Raymond Burr). The source novel is by Jay Dratler, who didn’t work on the film but whose own impressive string of noir credits includes <a href="https://crimereads.com/a-survey-of-hitchcock-films-not-directed-by-alfred-hitchcock/" target="_blank">the Hitchcock knockoff <i>Fly-by-Night</i> (1942)</a> and <i>Laura</i> (1944). Dratler’s book is back in print, part of <a href="http://starkhousepress.com/filmnoir.php" target="_blank">Stark House Press’s Film Noir Classics line</a>. (Hat tip to <i>Saturday Evening Post</i> columnist <a href="https://sassone.wordpress.com/2023/03/02/passing-fast-remarks/" target="_blank">Bob Sassone</a> for reminding me about this series.) Reading it is an object lesson in adapting material, particularly under the strictures of the Production Code.<br /><br />Which is ironic, given that in the novel, Forbes is no insurance man but a screenwriter. Mac isn’t a private eye but a Beverly Hills cop. He had a hand in arresting Mona’s purse-snatcher husband and wants to make a move on her, but knows he doesn’t stand a chance … unless his buddy Forbes, whose wife is currently very pregnant, sleeps with her first, then vouches for good ol’ Mac. Nothing that sleazy or disturbing occurs in the film version; in the 1940s, it never could. Mona remains the same, a goodhearted woman powerless before her power over men.<br /><br />The book is packed with vintage Hollywood detail. Forbes says of Schwab’s: “It’s movie-town’s drugstore, and better stories are enacted at its counters and in the rear of the prescription counter than many a studio shapes into its best product.” Toiling on assignment at Fox while he agonizes over Mona, he thinks, “I knew I’d lick the story. I never met one that couldn’t be pounded into shape if you beat your head against it long enough and if you made real people live in it.” Dratler certainly did that here. <i>The Pitfall</i> is a close-quarters study of obsession, as short and sharp as a kidney punch. And it features an extended metaphor involving a centipede that’s still wriggling away in my brain.<p></p><p><i>What I’m Drinking</i><br /><br />I discovered this Martinez riff courtesy of <a href="https://cocktailswithsuderman.substack.com/p/obviously-theres-a-martinez-riff" target="_blank">Cocktails with Suderman</a> and was sold on it before sip #1 because:<br /><br />a) it’s concocted by genius bartender Phil Ward, whom I’ve had the pleasure of seeing in action at the New York bars Death & Co. and Mayahuel and who has gifted us with modern classics like the Oaxaca Old Fashioned and the Final Ward;<br />b) it features the artichoke-heavy amaro Cynar, a personal favorite;<br />c) it’s named after a modern noir classic. Forget it, reader, it’s …<br /><br />Cynartown<br /><br />2 oz. London dry gin<br />¾ oz. sweet vermouth (Ward recommends Carpano Antica)<br />½ oz. Cynar<br /><br />Stir. Strain. Garnish with a Luxardo maraschino cherry.<br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-58813427202364893472023-04-27T11:49:00.002-07:002023-04-27T11:49:24.287-07:00One Last Round for April<p><i>What I’m Reading</i><br /><br /><i>The Autobiography of Matthew Scudder</i>, by <a href="https://lawrenceblock.com/" target="_blank">Lawrence Block</a> (2023). I’m faced with a tricky proposition in recommending this book, which I am absolutely doing. For one thing, it doesn’t come out until June 24, which also happens to be the author’s eighty-fifth birthday. (Preorders, as always, are welcome.) For another, I’m urging it on a very specific audience, namely people who have already made Matt Scudder’s acquaintance—and have ideally read most if not all of the books and short stories in which the character appears. Luckily, I fit both bills.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAHTHGYpVQRXPwDvCp_j5ReAXJC1pX7WDuxMa-XYDUO6dTxx9lZ0MJmRjp7WgvOzBpPQOHm_03lddXwKn36erl6qdeC386r5NIApHDN9Ija3s8aIzKZ7LKcQI4ByDR_QicCeI6Q2w1Phwb_MigXWgSqmDYx9BWb7NCtWZ-xlXOEeUVQCVN2Q/s1200/Ebook%20Cover_23-03-10_Block_The%20Autobiography%20of%20Matthew%20Scudder.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAHTHGYpVQRXPwDvCp_j5ReAXJC1pX7WDuxMa-XYDUO6dTxx9lZ0MJmRjp7WgvOzBpPQOHm_03lddXwKn36erl6qdeC386r5NIApHDN9Ija3s8aIzKZ7LKcQI4ByDR_QicCeI6Q2w1Phwb_MigXWgSqmDYx9BWb7NCtWZ-xlXOEeUVQCVN2Q/s320/Ebook%20Cover_23-03-10_Block_The%20Autobiography%20of%20Matthew%20Scudder.jpg" width="213" /></a></div>Scudder first appeared in <i>The Sins of the Fathers</i> (1976), and the alcoholic ex-NYPD cop turned quasi-private eye has walked the streets of the Big Apple ever since, aging in something close to real time. Larry Block, meanwhile, has embraced the changes in the publishing business to release adventurous books like <i>Dead Girl Blues</i> (2020), among the darkest work of his career (and is <i>that</i> saying something), and last year’s <i>The Burglar Who Met Fredric Brown</i>, in which he addresses the many challenges facing his long-running character Bernie Rhodenbarr by saying, “<i>Fuck it, PARALLEL UNIVERSE!</i>”<br /><br />This latest book is even more inventive, in that it is exactly what the title promises: a fictional character telling you his life story, or at least all the bits that Block chose not to include elsewhere. Scudder purports to be a real person in these pages, one whose exploits have been turned into fiction by a novelist—and Scudder isn’t entirely happy with some of the changes that scribe has wrought. (We even hear from Block occasionally if indirectly in his instructions to his subject.) It’s evident from his handling of this meta approach that Block hasn’t lost much speed off his fastball. But for devoted readers (like me), there’s an element of pure wish fulfillment at play. The book is essentially a chance to tug the sleeve of a character we’ve gotten to know quite well and offer to buy him another cup of coffee before he heads out, to hear an additional story or two and ask questions long wondered about. It’s an impressive trick that requires decades of work on the part of both writer and reader to carry off. You need to know Matt Scudder in order to appreciate this book, and if you know Matt Scudder you’ve already ordered it.<br /><p></p><p><i>What I’m Watching</i><br /><br /><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg00qNNbEzZ1H-jrMMMoaO8OsvpRggLLlm0XhVZOzUR7iUfgiVviYPHNEVnQUknn7YhAkJALjJ8ZYnJJkxEHIMCp5Q0MdjZtttUkmZHKehjaJd4DD2McL5siFKq2EyqDkwXaTRzY505SU6ETDgXmWKXYE_1azGEyZJVQ_lWZ3qaWQKzfygAPw/s1080/No%20Bears%20Criterion.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="810" data-original-width="1080" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg00qNNbEzZ1H-jrMMMoaO8OsvpRggLLlm0XhVZOzUR7iUfgiVviYPHNEVnQUknn7YhAkJALjJ8ZYnJJkxEHIMCp5Q0MdjZtttUkmZHKehjaJd4DD2McL5siFKq2EyqDkwXaTRzY505SU6ETDgXmWKXYE_1azGEyZJVQ_lWZ3qaWQKzfygAPw/s320/No%20Bears%20Criterion.jpg" width="320" /></a></i></div><i><br />No Bears</i> (2022). <a href="https://www.criterionchannel.com/" target="_blank">The Criterion Channel</a> is the exclusive streaming home for this remarkable film, which is yet another reason to sign up for the service. (Who else would bring you, in the same month, this movie and a lineup of erotic thrillers including 1994’s <i>Dream Lover</i>, featured in <a href="https://crimereads.com/a-survey-of-hitchcock-films-not-directed-by-alfred-hitchcock/" target="_blank">my survey of Hitchcock movies not directed by Alfred Hitchcock</a>?) Jafar Panahi plays himself, an Iranian filmmaker barred from leaving his homeland because of his political beliefs. Undaunted, he journeys to the Turkish border so he can direct a docudrama remotely. As that project takes unexpected and disturbing turns, Panahi finds his presence—and his images—drawn into village life in ways that illuminate his own standing in Iran. A powerful work of art. (And on the day that I’m composing this come reports that Panahi <a href="https://www.theguardian.com/film/2023/apr/26/jafar-panahi-leaves-iran-for-first-time-in-14-years-as-travel-ban-lifted" target="_blank">has been allowed to leave Iran for the first time in fourteen years</a>.)<br /><p></p><p><i>What I’m Drinking</i><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijZmQCX7hRBtN1KrYo99wDPYKyOuBdP6gBfnfuRT7Lf8qKqyirHnkPlRpTqJwL-qKMNM_SCpw9PSHGSy2AhSA78P_xN3szdz4zUm5Ahuuvpx3xnh-gXJMfIKyUx9Ij_G7QtViWZQk5lwCkcjbTw8jtxOLW9AAM8STR97g3D6xLitCHVwOb5g/s1000/Noir%20Bar%20cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1000" data-original-width="879" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijZmQCX7hRBtN1KrYo99wDPYKyOuBdP6gBfnfuRT7Lf8qKqyirHnkPlRpTqJwL-qKMNM_SCpw9PSHGSy2AhSA78P_xN3szdz4zUm5Ahuuvpx3xnh-gXJMfIKyUx9Ij_G7QtViWZQk5lwCkcjbTw8jtxOLW9AAM8STR97g3D6xLitCHVwOb5g/s320/Noir%20Bar%20cover.jpg" width="281" /></a></div>Time to sing the praises of another book at which I got a sneak peek. <i>Eddie Muller’s Noir Bar: Cocktails Inspired by the World of Film Noir</i>, available May 23, is a gorgeous volume, and I’d say that even if my name didn’t appear in it several times. <a href="http://eddiemuller.com/" target="_blank">Eddie</a>—my friend, colleague, Turner Classic Movies host, founder of the <a href="http://filmnoirfoundation.org/" target="_blank">Film Noir Foundation</a>, and imbiber extraordinaire—spotlights fifty cocktails, some classic, some original, each one linked to a classic film noir. It’s written with Eddie’s usual erudition and verve and it’s beautifully laid out, making it a cocktail book you can actually read from cover to cover. I christened it with one of Eddie’s creations, the Sailor Beware, crafted to commemorate Orson Welles’s <i>The Lady from Shanghai</i> (1948). As Eddie writes: “I felt it needed to be done in the true Wellesian spirit: something brash and startling, using ingredients rarely if ever combined, assembled in a totally unexpected way—and then I’d walk away before I finished making it.” (Time now for a gratuitous reminder that Orson is a recurring character in the novels of <a href="http://reneepatrickbooks.com/" target="_blank">Renee Patrick</a>.)<br /><br />Sailor Beware<br /><br />1 ¼ oz. Irish whiskey<br />¾ oz. brandy<br />½ oz. green chartreuse<br />½ oz. Domaine de Canton ginger liqueur<br />absinthe rinse<br />lemon peel twist<br /><br />Stir the first four ingredients, then let them rest in the mixing glass. Rinse a Nick and Nora glass with absinthe. Strain. Express the oil from a lemon peel over the surface, rub the peel on the rim of the glass, then place in the drink.<br /><br />It’s a fine concoction. Raise one in honor of the Czar of Noir, who has not only joined the exalted ranks of Cecil B. DeMille, Tyler Perry, and Guy Ritchie in <a href="https://www.nytimes.com/2023/04/20/movies/guy-ritchies-the-covenant-movie-titles.html" target="_blank">getting his name in the title with this book</a>, but who will also be receiving <a href="https://mysterywriters.org/mwa-announces-2023-special-awards-grand-master-raven-ellery-queen-recipients/" target="_blank">a Raven award from the Mystery Writers of America</a> tonight in recognition of his film preservation work.<br /><br /><br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-41178258515332299152023-04-13T11:54:00.001-07:002023-04-13T11:54:10.276-07:00Demented and Sad, but Social<p>Last week, the thought came to me unbidden: <i>Holy shit, I have a Post account!</i><br /><br /><a href="https://post.news/@/vpkeenan" target="_blank">It’s true</a>. Back when Twitter first went into convulsions, Post seemed the most viable alternative. I set up shop, made the rounds, then promptly forgot about it. I’ll probably forget about it again soon enough.<br /><br />Yesterday I nosed around <a href="https://on.substack.com/p/notes" target="_blank">Notes, Substack’s answer to Twitter</a>. Could this be the future of social media? I have to say, it looks pretty good. It underscored how many writers I follow are already on Substack. And it has me pondering questions I have long put off: should I start a Substack of my own? Would anybody read it?<br /><br />Anyway, that’s our first topic this morning. Give us a call. Our lines are open.<br /></p><p><i>What I’m Reading</i><br /></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpNNiS-eHYt1MBMhYx75GHU5590lcg9tJzMIMvtCx5JZEpjucJXGAi7stY3_pAINOMpdz0lpb8nRGFividWOBa-0fuq4WTTc_uaUR2GcwwQWYPQ-SIvt9jVhLgCb7nmqLG9siveoHGRF0Hmgm21yUbyZUCsIguSLWrH9PIHkLTHFmbRBaaw/s2438/Oscar%20Wars.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2438" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimpNNiS-eHYt1MBMhYx75GHU5590lcg9tJzMIMvtCx5JZEpjucJXGAi7stY3_pAINOMpdz0lpb8nRGFividWOBa-0fuq4WTTc_uaUR2GcwwQWYPQ-SIvt9jVhLgCb7nmqLG9siveoHGRF0Hmgm21yUbyZUCsIguSLWrH9PIHkLTHFmbRBaaw/s320/Oscar%20Wars.jpg" width="210" /></a></i></div><i>Oscar Wars: A History of Hollywood in Gold, Sweat, and Tears</i>, by Michael Schulman (2023). I wrote a little about this book while disguised as <a href="http://reneepatrickbooks.com/" target="_blank">Renee Patrick</a>, mild-mannered crime novelist. (Subscribe to Renee’s occasional newsletter <a href="https://us10.list-manage.com/subscribe?u=68340dc0466c2293fcb07353b&id=3061504537" target="_blank">here</a>.) Schulman, a <i>New Yorker</i> correspondent, analyzes the role that the Academy Awards have played during pivotal Hollywood moments. One of the best chapters reconsiders the 1989 ceremony, widely regarded as the worst Oscars ever. You know, the one featuring <a href="https://www.youtube.com/watch?v=9mronRVvdmw" target="_blank">the opening number with Snow White and Rob Lowe</a>, which is even longer than I remembered it being. (There was also <a href="https://www.youtube.com/watch?v=uAQ9Taunh7w" target="_blank">a stupefying “Stars of Tomorrow” number</a>, which is far worse.) Producer Allan Carr (<i>Grease</i>) bore the brunt of the nuclear-level negative reaction, which essentially ended his career. Schulman makes it plain that Carr, who had long dreamed of running the Oscars, sealed his fate by making the show partly about him. But he also highlights how much Carr got right, including several innovations that are now mainstays, and how tacky the telecast was before Carr got his hands on it. Although those two numbers are a lot to forgive.<br /><br /><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsKX3WL5HDr6-8_hyeqvsNUUVLDR_HWvPtzpNCHDnrfWv7hJiI0iTSmQ3bUrrS9TZe3jK54NGcq0VutRM1_qCYvvDtUMplVjmpzeQW4ZTPTi1Hj_v7-OU8MC8-fVlSQWyKLikUVNBFzC5KF4KJCLDxivAT8sa3Jj6MKPsvX-ZwS-0lQuevgw/s2416/Winning%20Fixes%20Everything.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2416" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsKX3WL5HDr6-8_hyeqvsNUUVLDR_HWvPtzpNCHDnrfWv7hJiI0iTSmQ3bUrrS9TZe3jK54NGcq0VutRM1_qCYvvDtUMplVjmpzeQW4ZTPTi1Hj_v7-OU8MC8-fVlSQWyKLikUVNBFzC5KF4KJCLDxivAT8sa3Jj6MKPsvX-ZwS-0lQuevgw/s320/Winning%20Fixes%20Everything.jpg" width="212" /></a></div>Winning Fixes Everything: How Baseball’s Brightest Minds Created Sports’ Biggest Mess</i>, by Evan Drellich (2023). If you’re a baseball fan you’re already aware of this book, the definitive chronicle of the Houston Astros’ legacy of cheating, particularly during 2017 when the team won the World Series. (<a href="https://twitter.com/BulldogBeing/status/1645496200374673408" target="_blank">Recent admissions from then-Astros player Evan Gattis</a> aren’t helping the bad blood go away, as any Yankee or Dodger fan will attest.) But I’d also recommend it as an incisive case study about how cultures are built, and how toxic ones can eat away at institutions that appear not only healthy but successful. It’s also about the financialization of every aspect of public life. One Astros player described the team’s mentality—perhaps best exemplified by owner Jim Crane bringing in McKinsey to improve operations, because playing nine innings is exactly like selling widgets—this way: “They just take the human element out of baseball. It’s hard to play for a GM who just sees you as a number instead of a person.” Another choice quote: “The closer I get to the world of the thirty owners, many of them are among the worst people in the world.” <i>Testify</i>, unnamed baseball executive. What makes it all harder to swallow is that the Astros never stopped winning. They’re baseball’s current defending champions—yet in true McKinsey fashion, they parted ways with the GM brought in specifically to right the ship <i>after</i> he’d won them a second title. Sometimes the bastards don’t lose. They don’t even learn.<p></p><p><i>What I’m Watching</i><br /><br /><i>Turn Every Page: The Adventures of Robert Caro and Robert Gottlieb</i> (2022). When I finished reading Caro’s <i>The Power Broker</i> last year, <a href="https://twitter.com/vpkeenan/status/1601333694467575808" target="_blank">I posted a photograph to mark the occasion</a>. Caro’s four-and-hopefully-five volume biography of LBJ awaits, and <a href="https://youtu.be/gv3CRojrbeE" target="_blank">this engaging documentary</a> about his life’s work and his enduring relationship with his editor Gottlieb (made by Lizzie Gottlieb, his daughter) has me eager to read them. I was struck by the deep modesty of both men, and by Gottlieb’s belief that having unexpected and intense interests—he collects plastic handbags and consults with ballet companies—contributes to his acuity and the longevity of his career. Above all, it’s a portrait of a genteel literary life out of a bygone era. Every day Caro dons a suit and tie to walk to his office, where he puts in the hours at a typewriter and backs up his work using carbon paper. All I could think as I watched him was <i>Who still makes carbon paper?</i><br /></p><p><i>What I’m Drinking</i><br /><br />Talk to bartenders and you’ll hear tell of the Great Chartreuse Shortage of 2023. This week, a friend told me that in the Seattle area, the price for a bottle has hit three figures. Jason Wilson has<a href="https://www.everydaydrinking.com/p/where-has-all-the-chartreuse-gone" target="_blank"> a nice overview of chartreuse and what brought its recent scarcity about</a>. I’ve been rationing my own supply, recently dipping into my stash to make a Diamondback after <a href="https://punchdrink.com/articles/diamondback-rye-whiskey-applejack-chartreuse/" target="_blank">Punch called for this boozy beauty to make a comeback</a>. It’s always been a staple at the Chez K bar—it’s included in my cocktail book <i>Down the Hatch</i>, which I just realized is coming up on <a href="https://www.amazon.com/Down-Hatch-Odyssey-Through-Cocktail-ebook/dp/B00FIU1IQC/" target="_blank">its tenth anniversary</a>—but I make it with green, not yellow chartreuse, the way bartending legend Murray Stenson taught me when he was behind the stick at the Zig Zag Café.<br /><br />1 ½ oz. rye whiskey<br />¾ oz. bonded applejack<br />¾ oz. green chartreuse<br /><br />Stir. Strain. No garnish.<br /><br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-79798983218783101622023-03-30T11:44:00.002-07:002023-03-30T11:44:23.875-07:00Temperature Check<p>It’ll be a footnote when the definitive history of Covid-19 is written, but it’s worth pointing out: <a href="https://www.fredhutch.org/" target="_blank">Rosemarie’s employer</a> was one of the first—possibly <i>the</i> first—in the United States to mandate remote work when the pandemic started. Rosemarie borrowed a monitor from the office to use at home. For over two years, she’d set it up on our kitchen island every morning and take it down each evening, the ritual marking the parameters of the new workday. It was large enough to be inconvenient—on weekends, we had to move it to do laundry—but absolutely necessary.<br /><br />On a Friday earlier this month, at the end of a week when Rosemarie was in the office for five straight days for the first time since March 2020, she announced, “I’m returning the monitor. I’m at work enough that I don’t need it anymore.” We toasted what felt like a milestone that night, a sign that the pandemic was finally, perhaps, in the rear-view mirror.<br /><br />Forty-eight hours later, we were both down for the count. After three years of ducking, diving, and blind luck, Covid had caught up to us. We’re fully vaccinated—get your boosters, people—so our cases were mild, and we’re back in the pink now. But “mild” Covid still rendered us completely useless for over a week, with a protracted recovery after that.<br /><br />We’re still glad Rosemarie returned the monitor.<br /><br /><i>What I’m Watching</i><br /><br /><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVErW_-35BFmr4L_FUrtD4KhctQ7HtldQ-Qzu9ztb4i6VmiPo7M-oKvdw32GInYrfB-cn6LrsZpt5OYniu4JTXZNbBW8t6BQ3b_bpe4-p5Yd_7ZZBMcweZYYZY4q0TgHA54Zm6Vdr_2nkakUt_77pb5ILliQbdlwijjkwQj8FLeW_tjxNyGg/s391/ISZ%20poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="391" data-original-width="255" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVErW_-35BFmr4L_FUrtD4KhctQ7HtldQ-Qzu9ztb4i6VmiPo7M-oKvdw32GInYrfB-cn6LrsZpt5OYniu4JTXZNbBW8t6BQ3b_bpe4-p5Yd_7ZZBMcweZYYZY4q0TgHA54Zm6Vdr_2nkakUt_77pb5ILliQbdlwijjkwQj8FLeW_tjxNyGg/s320/ISZ%20poster.jpg" width="209" /></a></i></div><i>Ice Station Zebra (1968)</i>. My main companion during my Covid haze was this year’s World Baseball Classic. I was so looped I hallucinated that Mets closer Edwin Díaz injured himself during a postgame celebration and was out for the season; can you imagine what a disaster that would be? I also watched this Alistair MacLean adaptation best remembered as Howard Hughes’s favorite movie. During his years holed up in Las Vegas, Hughes treated a local TV station he owned as a primitive DVR, calling them up and ordering them to air this film; in his autobiography <i>My Way</i>, Paul Anka wrote “any given week (Hughes) was in Vegas, you’d see <i>Ice Station Zebra</i> showing continually.” I recently recorded it, telling Rosemarie, “The next time I feel like Howard Hughes, I’m finally watching this thing.” Little did I know … A Navy submarine picks up some mysterious passengers before embarking on a secret Arctic mission to recover a downed Soviet satellite. I didn’t like the movie as much as Hughes—the second half lags, and its North Pole-adjacent sets look like the Christmas display windows at the third-best department store in town—but it’s still fun, with some excellent sub scenes and a typically canny Patrick McGoohan performance that includes this priceless bit of dialogue:<br /><br />“The Russians put our camera made by <i>our</i> German scientists and your film made by <i>your</i> German scientists into their satellite made by <i>their</i> German scientists.”<br /><br /><i>Troll (2022)</i>. I can’t be the only person who has asked, “What would a Scandinavian kaiju flick be like?” Netflix has provided the answer. Every classic monster movie trope is here, delivered with reverence and fresh life by their framing in Norwegian folklore. The ending promises a sequel, and I want it.<br /><br /><i>Marlowe (2023)</i>. All the glassware is too big.<br /><br /><i>What I’m Reading<br /></i><i> </i><p></p><p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCnXJ1aMGKnG-htIfu9BmuMvhYVN7TMneQ6fsnb7cjkGvEf4UtOc7X2RiwcdOssOkEE8raa2pgooPe9KPGnzh9_AAmCYv-55J2t8_Ic7c4Xz8M2NVrZwr7Z4Dpb6x2iSxNAuSFH532pzKz5KWWQGHqdmgLah2xNEM7ml3AaEwJNlIpu08jwQ/s2405/Ferguson%20Affair.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2405" data-original-width="1560" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCnXJ1aMGKnG-htIfu9BmuMvhYVN7TMneQ6fsnb7cjkGvEf4UtOc7X2RiwcdOssOkEE8raa2pgooPe9KPGnzh9_AAmCYv-55J2t8_Ic7c4Xz8M2NVrZwr7Z4Dpb6x2iSxNAuSFH532pzKz5KWWQGHqdmgLah2xNEM7ml3AaEwJNlIpu08jwQ/s320/Ferguson%20Affair.jpg" width="208" /></a></i></div><i>The Ferguson Affair</i>, by Ross Macdonald (1960). You crave comfort in your sickbed. While I was sweaty and feverish, I thought, “What I’d really love right now is a new Lew Archer novel.” A few years ago, I heeded the advice of several critics and read Macdonald’s landmark private eye series in sequence, the better to appreciate his evolution from writer working in the Hammett/Chandler mold to one pushing the form into new terrain. After finishing those books, I moved on to the rest of Macdonald’s work, holding two novels in reserve. Covid drove me to break the glass on <i>The Ferguson Affair</i>, which turns out to be an Archer novel in all but name. He wrote it after his breakthrough, 1959’s <i>The Galton Case</i>; Tom Nolan noted in <i>Ross Macdonald: A Biography</i> that despite widespread critical acclaim and its significance in Macdonald’s career, <i>Galton</i> proved a commercial disappointment, forcing the author back to the typewriter because, as Macdonald put it in a letter, “I have to make some money writing this year.” (Always reassuring to read one of the best in the game hustling for a buck.) <i>Ferguson</i> unfolds in Macdonald’s signature Southern California setting and its protagonist, small-town lawyer Bill Gunnarson, is essentially Archer with a very pregnant wife and a budding career to bear in mind, a foundation that make him a bit less preachy than his shamus semblable. The plot, which starts with Gunnarson assigned to represent a stubborn nurse on a stolen property charge, eventually becomes classic Macdonald as the sins of the past wreak havoc on the present. Not up to the level of the best Archers—it goes a twist too far—but exactly what I wanted to read. Fingers crossed I’m not in as bad a shape when I finally reach for that last Macdonald.<br /><br /><i>What I’m Drinking</i><br /><br /><a href="http://blog.vincekeenan.com/2023/02/the-format-is-formula.html" target="_blank">In my previous post</a>, I sang the praises of blanc vermouth. Since then, I’ve incorporated it into my martinis, settling on what is now the Chez K default.<br /><br />2 oz. gin<br />.5 oz dry vermouth<br />.25 oz blanc vermouth<br />2 dashes grapefruit bitters<br /><br />Stir. Strain. Garnish with a lemon twist.<br /><br />Side note: Whenever someone says “I’m famous for my martinis,” that means they don’t use vermouth. Which is fine. Just don’t call it a martini.<br /> <p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-60651493851196204042023-02-28T14:14:00.000-08:002023-02-28T14:14:15.412-08:00The Format Is the Formula<p>It took me long enough, but I finally figured out that social media, particularly Twitter, has become what the Krell overlooked in <i>Forbidden Planet</i> (1956): the monsters from the id. Subconscious desires given raging, destructive form, with the occasional <i>Simpsons</i> reference. Arguably, that has always been the case, but <a href="https://www.nytimes.com/2023/02/28/technology/twitter-outages-elon-musk.html" target="_blank">as Twitter continues to spiral down</a> the feeling has only intensified.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbkLv1Es2JdJ8rPI-jEbq4XEywnH874HNExuIqtvcT3CKSHCvtmGHbeE8twluxU3A3qgfxeVd5h6F2Y1boU6ck_jnTVzOiuHPslPgorjFSkeLgCnalXj_54K0p_aw-JBYjMwQC3eb16MBSnugG4_stybCSeZ6Gey5QcJC6l-Jzk3slez_Rw/s720/forbidden%20planet%20monster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="304" data-original-width="720" height="135" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbkLv1Es2JdJ8rPI-jEbq4XEywnH874HNExuIqtvcT3CKSHCvtmGHbeE8twluxU3A3qgfxeVd5h6F2Y1boU6ck_jnTVzOiuHPslPgorjFSkeLgCnalXj_54K0p_aw-JBYjMwQC3eb16MBSnugG4_stybCSeZ6Gey5QcJC6l-Jzk3slez_Rw/s320/forbidden%20planet%20monster.png" width="320" /></a></div><p>Given that, I thought a format change might spur me to post here more consistently. Let’s see if it sticks.<br /><br /><i>What I’m Watching</i><br /><br /><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP4Rbd2pZO7XV8R6-GnJ3eDjvLPEezUk4MtDxJuqYoiJJGz8dhN3YdKosvjDn_Vy98Ov_OA0HNjo2HoBbvjYcSZicTf_n8dyEeVGJqSWRL2lo2z81gDdC1kvSoVNMKdOneWF5NLj5PK2gJbJ1FRBFc-ecxJ3oadFRrj8l3yaS-0bp-_SIazw/s389/All%20My%20Sons.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="389" data-original-width="255" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP4Rbd2pZO7XV8R6-GnJ3eDjvLPEezUk4MtDxJuqYoiJJGz8dhN3YdKosvjDn_Vy98Ov_OA0HNjo2HoBbvjYcSZicTf_n8dyEeVGJqSWRL2lo2z81gDdC1kvSoVNMKdOneWF5NLj5PK2gJbJ1FRBFc-ecxJ3oadFRrj8l3yaS-0bp-_SIazw/s320/All%20My%20Sons.jpg" width="210" /></a></i></div><i>All My Sons</i> (1948). <a href="http://blog.vincekeenan.com/2023/01/noir-city-seattle-schedule.html" target="_blank">Noir City Seattle</a> has come and gone. Packed houses throughout the festival—including Valentine’s Day—and I had fun dispatching my hosting duties. It’s always interesting to see which movies really land with audiences. This year’s winner was <i>So Evil My Love</i> (1948), a noir-tinged Gothic with the blackest of hearts. The title I was most eager to see was <i>Sons</i>, the adaptation of Arthur Miller’s play which has inexplicably fallen out of circulation, resulting in what Noir City master of ceremonies Eddie Muller has called “the great lost Edward G. Robinson performance.” Robinson plays a self-made businessman who has rebounded from charges of selling defective airplane parts to the Army during WWII—a scandal resulting in multiple pilot deaths and the incarceration of his former partner—to participate in the nation’s postwar prosperity. Then his son (Burt Lancaster) announces plans to wed the ex-partner’s daughter, and Robinson’s self-deception collapses around him, jeopardizing all he’s created. <i>Sons</i> isn’t a true film noir. It has abundant noirish elements—how could it not, with that plot—which Miller and screenwriter Chester Erskine assembled into a family drama. A few of Miller’s gambits remain resolutely theatrical and I never bought Robinson and Lancaster as father and son, but it’s a compelling film that proved a great way to close out this year’s festival.<br /><br /><i>What I’m Reading</i><br /><br /><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9B4493yhPeV7_mOvots7HTGokzclrWCWAocsCu-eRPjLykBVUHnMi_Co31n4fNrQ5CubXs5RAfiRgNe0TCpcLM3kqDvoE7HmfZzNQQrzwN1XYGMOm8mCJ5ewAYQbjMUwSq0TvR_dD2ZVm_uEVupniZUiSsxrWIbuQ2jGDO2TMjXDeOWVeOQ/s2550/Death%20in%20Tokyo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="2550" data-original-width="1650" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9B4493yhPeV7_mOvots7HTGokzclrWCWAocsCu-eRPjLykBVUHnMi_Co31n4fNrQ5CubXs5RAfiRgNe0TCpcLM3kqDvoE7HmfZzNQQrzwN1XYGMOm8mCJ5ewAYQbjMUwSq0TvR_dD2ZVm_uEVupniZUiSsxrWIbuQ2jGDO2TMjXDeOWVeOQ/s320/Death%20in%20Tokyo.jpg" width="207" /></a></div>A Death in Tokyo</i>, by Keigo Higashino (2022). A Higashino novel was on <a href="http://blog.vincekeenan.com/2023/01/adieu-2022.html" target="_blank">my best-of-2022 list</a>, and his latest, published in December, may well appear on this year’s roster. Of course, there’s a murder—a businessman dies of a brutal stab wound on a bridge miles from his regular haunts—that serves as a vehicle for Higashino to explore aspects of Japanese culture. Here, it’s the fascinating, time-honored practice of worshipping at various shrines that provides essential clues. As usual, Higashino channels intense emotion with an exquisitely calibrated touch; <i>Newcomer</i> (2018), the previous entry in his Detective Kaga series in which Kaga unravels multiple neighborhood mysteries while investigating a woman’s death, has stayed with me as an example of his command of structure and his masterly control.<br /><br /><i>What I’m Drinking</i><br /><br /><a href="https://punchdrink.com/recipes/neal-bodenheimers-old-hickory/" target="_blank">Neal Bodenheimer’s Old Hickory</a>. If Rosemarie and I were on a game show and one of us was asked, “What’s something that’s always in your refrigerator?” the other would say, “Vermouth.” I’ve always got a few bottles open, and one that has belatedly joined the ranks is blanc vermouth. This variation, walking the tightrope between its dry and sweet brethren—more floral than the former, robust enough to smooth out edges like the latter—has become my new favorite cocktail ingredient to play with. But it’s no mere featured player, as its star turn in this lower ABV charmer demonstrates. Note the different approach to mixing.<br /><br />1 ½ oz. blanc vermouth<br />1 ½ oz. sweet vermouth<br />2 dashes Peychaud’s bitters<br />1 dash orange bitters<br /><br />Combine ingredients in a mixing glass without ice. Stir. Pour into a rocks glass over a single large ice cube. Express the oils in a lemon peel, then use it as a garnish if you so choose.<p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-24065762203242720702023-02-13T15:15:00.000-08:002023-02-13T15:15:08.722-08:00A Few February Recommendations<p><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkMfSWKRB_eII8n_coM-RZxTk-jQVRqFHFdJELr5Cv0aX0BtCmIWD76_87EzagXkMs1fzImG0bVkvwUc82OriBCpt9PAEILPWhOBKcQf8vpV_uYboy_Ex89-sahDKZC5v0_lmtE4cmVNdtXeTDdBsAjPyWHnaZ4wotErtJ0ieGV80A_fVksw/s1200/Fake%20Money.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="800" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkMfSWKRB_eII8n_coM-RZxTk-jQVRqFHFdJELr5Cv0aX0BtCmIWD76_87EzagXkMs1fzImG0bVkvwUc82OriBCpt9PAEILPWhOBKcQf8vpV_uYboy_Ex89-sahDKZC5v0_lmtE4cmVNdtXeTDdBsAjPyWHnaZ4wotErtJ0ieGV80A_fVksw/s320/Fake%20Money.jpg" width="213" /></a></i></div><i>Fake Money, Blue Smoke</i>, by Josh Haven (2022). Nothing beats going into a novel cold and having it completely knock you out. A veteran of the war in Iraq is released from prison and finds an ex-girlfriend, one he’s pined for but also written off, waiting for him. Turns out all these years later she’s a damn good counterfeiter, and has a job on which her old beau might be able to provide assistance. Of course, she’s not telling him the whole truth, and he’s got a duffel bag full of secrets himself. Haven writes in a sleek third-person-omniscient style that leaves room for unexpected deadpan asides. He also pits his half-hearted lovers against some truly odious villains. The result is a globetrotting, thoroughly disreputable heist novel that I loved straight through to the slam-bang finish.<br /><br /><i>Reboot</i> (Hulu). The main thing I want from a sitcom? Jokes, and lots of them. They’re served up at a furious clip with deadly accuracy in this behind-the-scenes series from <i>Modern Family</i>’s Steve Levitan. When a schmaltzy family comedy series gets a makeover twenty years later, the cast reunites with their problems intact. There’s Keegan-Michael Key as the stage actor who thinks the material is beneath him; Johnny Knoxville as the stand-up comic terrified that he has lucked into the best gig of his life; and Judy Greer as a woman who viewed acting as a stepping stone to a future that didn’t pan out. Even better are Rachel Bloom (<i>Crazy Ex-Girlfriend</i>) as the young writer/producer forced to fight for her edgy vision of the retooled show against the original’s creator—her own father, played by Paul Reiser. Over the last few years Reiser has been the best part of everything he’s appeared in, from <i>The Kominsky Method</i> to <i>Red Oaks</i>, an Amazon show that somehow survived three seasons despite my being the only person to watch it. The highlight of <i>Reboot</i> is the writers’ room scenes, with two generations of hacks kvetching and eventually figuring each other out. (MVP to Rose Abdoo’s Selma, whose every filthy line kills.) I was about to press play on the season finale when I read that <a href="https://www.hollywoodreporter.com/tv/tv-news/reboot-canceled-hulu-one-season-1235313227/" target="_blank">the show hadn’t been renewed</a>, and <a href="https://deadline.com/2023/02/reboot-dead-new-home-canceled-hulu-1235254083/" target="_blank">attempts to move it elsewhere have sadly failed</a>. Watch it before it <a href="https://www.vulture.com/article/hbo-max-warner-cancelations-disappearing-tv-streaming-future.html" target="_blank">gets disappeared like so many other programs</a> and I’m convinced it was all a beautiful dream I had.<br /><br /><i><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKfT_FKOXGo6zMfEWmkkVJzcNE0UbS-9_U20-MG34VrL5_RengUSn-DixJqProo_Y97baQlYjccjFUczDr723ofK_3KSNezaX7SUJjcwu0fwxekfmJoDM7mXWBoEUMNNtdU4w8zuPyY0uLHCiWBflFhKtcW_G_yl7SjSkESGhApHYswwh6Lg/s2550/Life%20on%20Delay.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2550" data-original-width="1725" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKfT_FKOXGo6zMfEWmkkVJzcNE0UbS-9_U20-MG34VrL5_RengUSn-DixJqProo_Y97baQlYjccjFUczDr723ofK_3KSNezaX7SUJjcwu0fwxekfmJoDM7mXWBoEUMNNtdU4w8zuPyY0uLHCiWBflFhKtcW_G_yl7SjSkESGhApHYswwh6Lg/s320/Life%20on%20Delay.jpg" width="216" /></a></div><br />Life on Delay: Making Peace with a Stutter</i>, by John Hendrickson (2023). I hate when reviewers open by telling you something about themselves, but in this case I feel it’s necessary, so here goes: I have a stutter. It occurs rarely now, usually only in moments of stress, and I have a lifetime of workarounds for when I feel it coming on. Journalist Hendrickson wrote an acclaimed article about President Joe Biden’s history of stuttering, which forced him to reconsider his own. This memoir is the result, a powerful book about dealing with a lifelong condition that whenever it rears its head, in the words of writer and fellow stutterer Nathan Heller, leads to “a kind of tightening of the leash, and you can’t ever escape what you were at five years old.” There’s a lot of fascinating material about the science behind stuttering; different neural pathways are used for spontaneous speech and memorized speech, which is why many prominent actors are able to perform in spite of pronounced stutters—including Samuel L. Jackson, who uses the word “motherfucker” to help overcome blocks. Hendrickson also dives into how his stutter has shaped his life, conducting interviews with friends, family, speech therapists, and others to dig into the awkwardness stutterers frequently encounter. (He participated in <a href="https://www.nytimes.com/2022/08/23/opinion/stutter-speech-listening.html" target="_blank">this terrific short documentary about the subject</a> last year.) It’s given me plenty to think about, including what Joe Biden’s debate coach—and fellow stutterer—described as the condition’s two gifts, one good and one bad: “immense empathy” and “an anger that is very deep … an anger that comes out of frustration.” <br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-57216977658123890052023-01-30T16:58:00.000-08:002023-01-30T16:58:28.866-08:00Noir City Seattle Schedule<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkupTSJHv6v0UBFory5vSY8zbz5TCclJ8XkDdtF1bBJ9tLBYUwcIDj4zVRoGm8gurO-2LpSdZgvQJdGHCFgaoQlHx0KWP3nqYAB-DMLQGdhK9FjMU2Ro30eejgoYcVgTLD_uclLxmsg7qUz2VrxUMOMCSOOuWY_VT0NrcJiwWwVzzeUTGRyg/s844/NC%20Seattle%202023%20poster.PNG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="621" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkupTSJHv6v0UBFory5vSY8zbz5TCclJ8XkDdtF1bBJ9tLBYUwcIDj4zVRoGm8gurO-2LpSdZgvQJdGHCFgaoQlHx0KWP3nqYAB-DMLQGdhK9FjMU2Ro30eejgoYcVgTLD_uclLxmsg7qUz2VrxUMOMCSOOuWY_VT0NrcJiwWwVzzeUTGRyg/s320/NC%20Seattle%202023%20poster.PNG" width="235" /></a></div>It’s hard to believe that the dark carnival that is the <a href="http://www.noircity.com/" target="_blank">Noir City Film Festival</a> first pitched its tents twenty years ago. <a href="http://eddiemuller.com/" target="_blank">Eddie Muller</a> and the <a href="https://www.filmnoirfoundation.org/index.html" target="_blank">Film Noir Foundation</a> just finished feting the fest at its new home at the Grand Lake Theatre in Oakland. Seattle’s turn is next; Eddie has been bringing Noir City to <a href="https://www.siff.net/" target="_blank">SIFF theaters</a> for fifteen years, with your humble correspondent in attendance at all of them.<br /><br />Eddie programmed <a href="https://www.siff.net/programs/noir-city" target="_blank">this year’s lineup</a> with the occasion in mind. Every film hit the screen seventy-five years ago in 1948, so it’s diamond anniversaries up and down the bill.<br /><br />Eddie will be hosting the screenings all opening weekend. After that, <a href="http://reneepatrickbooks.com/" target="_blank">Renee Patrick</a>—aka Rosemarie and me—takes over those duties, with me working solo a few evenings. The fun kicks off next Friday, February 10, with us as your emcees from February 13—16. If you’re anywhere near the Emerald City, come out for one of these can’t-miss shows.<p></p><p><br />Friday, February 10<br />6:30pm - Key Largo*<br />9:00pm - The Lady from Shanghai<br /><br />Saturday, February 11<br />1:00pm - Larceny*<br />3:15pm - The Spiritualist* <br />6:00pm - The Big Clock<br />8:30pm - Unfaithfully Yours<br /><br />Sunday, February 12<br />1:00pm - They Live by Night*<br />3:30pm - Raw Deal<br />6:00pm - Hollow Triumph*<br />8:15pm - Kiss the Blood Off My Hands*<br /><br />Monday, February 13<br />6:00pm - The Hunted*<br />8:30pm - Call Northside 777<br /><br />Tuesday, February 14<br />6:00pm - So Evil My Love*<br />8:45pm - Sleep, My Love*<br /><br />Wednesday, February 15<br />6:00pm - The Naked City<br />8:30pm - Cry of the City*<br /><br />Thursday, February 16<br />6:00pm - Night Has a Thousand Eyes*<br />8:15pm - All My Sons*<br /><br /><i>* screening in 35mm</i></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-58963050335753789112023-01-22T16:14:00.000-08:002023-01-22T16:14:07.073-08:00Mid(ish) January Ramblin’ Recs<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXVkc2Q8XDgzS4YCvWZFwxBfAd3o8qrVZNNOra9m9axQooJJ-PNbeeYxAT53BVr65rld6H78U6SAOCo8qWMmfuiJvYcHqQtrr3F3D7jGJFbo_ztILHq2HLq_VTwiL9ZvslXvgfgObJSwL98rT-sHQGtZ9FcYY02SG3w5qHUGMngiIj9qq-g/s1920/Menu%20Hoult%20Taylor%20Joy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRXVkc2Q8XDgzS4YCvWZFwxBfAd3o8qrVZNNOra9m9axQooJJ-PNbeeYxAT53BVr65rld6H78U6SAOCo8qWMmfuiJvYcHqQtrr3F3D7jGJFbo_ztILHq2HLq_VTwiL9ZvslXvgfgObJSwL98rT-sHQGtZ9FcYY02SG3w5qHUGMngiIj9qq-g/s320/Menu%20Hoult%20Taylor%20Joy.jpg" width="320" /></a></div>I made some noise earlier this month, back in new year’s resolution season, about updating the blog on a more regular basis. Trouble is, you need to have something to talk about. Expect semi-regular posts like these, where I jabber about what I’ve liked recently.<i></i><p></p><p><a href="https://www.youtube.com/watch?v=C_uTkUGcHv4" target="_blank"><i><br />The Menu</i> (2022)</a>. Once you’ve heard the premise of this pitch-black comedy, you’ll have a fairly good idea of where it’s going. But sometimes there’s nothing wrong with heading to a recognizable destination, particularly when you travel there in style. <i>The Menu</i> serves up savage satire courtesy of a script by Seth Reiss and Will Tracy studded with sharp lines, committed performances from the entire cast, and direction from Mark Mylod, who has been behind the camera for many of the best episodes of <i>Succession</i> and knows his way around the foibles of the super-rich. Some critics have carped about the obviousness of the film’s targets, but <a href="https://www.nytimes.com/2023/01/09/dining/noma-closing-rene-redzepi.html" target="_blank">the news about the shuttering of fine-dining landmark Noma</a> has only given <i>The Menu</i> added topicality. (Also, hat tip to that article for teaching me that “luxetarian” is apparently a word.)<br /><br /><i>Complicit</i>, by Winnie M. Li (2022). Jordan Harper, whose new novel <i>Everybody Knows</i> wowed me, <a href="https://crimereads.com/the-new-l-a-crime-canon/" target="_blank">cited this book as part of the new L.A. crime canon</a>. It’s a powerful and powerfully honest look at the pervasiveness of sexual assault and harassment in Hollywood, told from the perspective of a woman compelled by an escalating #MeToo scandal to revisit her derailed career as a producer—and, as the title implies, to confront her own possible culpability in perpetuating the system. Li, who is sadly all too familiar with many aspects of this story, writes about it with clear-eyed force. The perspective makes for a marked contrast with the adaptation of <i>She Said</i> (2022), about the <i>New York Times</i> investigation of Harvey Weinstein, a dutiful film that lacks the crackle of great newspaper dramas and only comes to life when Weinstein’s victims are given voice. (One minor caveat: much of the late action in <i>Complicit</i> revolves around an independent film nominated for a Golden Globe for editing, when the Hollywood Foreign Press Association has never given such an award. But then the HFPA has never cared about the technical aspects of filmmaking; after all, this is the outfit that split the lead acting categories into comedy and drama so they could double the nominees and pack the house with stars, which is the only thing it gives a damn about.)<br /><br /><i>Slow Horses</i> (Apple TV+). I’m a huge fan of Mick Herron’s scabrously funny spy novels; <a href="https://www.newyorker.com/magazine/2022/12/05/is-mick-herron-the-best-spy-novelist-of-his-generation" target="_blank">read this recent <i>New Yorker</i> profile for a taste of his skewed sensibility</a>. The debut season of Apple’s adaptation improved as it went along, and its sophomore outing, based on <i>Dead Lions</i>, builds on that momentum. Christopher Chung seems to have been set loose to make Roddy Ho as obnoxious and oblivious a character as he is in the books; my favorite bit of backstory is that while Ho’s MI5 colleagues have been exiled to Slough House because of mistakes they’ve made in the field, he’s there simply because nobody likes him. Gary Oldman is understandably having the time of his life as shambling wreck Jackson Lamb, and I’m fairly sure that in season’s two first episode he lapses into his George Smiley voice from <i>Tinker, Tailor, Soldier, Spy</i> (2011) as an in-joke.<br /><br /><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRVUUJjqL8epUsK7G1N8CtAf5jd19VIPoLtsV5eNFcY54o2OJNQsb8SNILvlazWz7cNmunjCBLhOAMIgZzcPdDysFKNgJy0A-PB1nBUhtmdPS7PomYNqk5hx9z-eqvm5UnVUBQhVd30XPi5J8l3fj7UHPaUWwMp9F2TZbZU9CK0EYrHiG4lA/s976/Detectorists.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="549" data-original-width="976" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRVUUJjqL8epUsK7G1N8CtAf5jd19VIPoLtsV5eNFcY54o2OJNQsb8SNILvlazWz7cNmunjCBLhOAMIgZzcPdDysFKNgJy0A-PB1nBUhtmdPS7PomYNqk5hx9z-eqvm5UnVUBQhVd30XPi5J8l3fj7UHPaUWwMp9F2TZbZU9CK0EYrHiG4lA/s320/Detectorists.jpg" width="320" /></a></i></div><i><br />Detectorists</i> (Acorn TV). The release of a special Christmas movie (OK, a 75-minute episode) reminded me of how much I love this show. Mackenzie Crook of the original <i>The Office</i> created the series and stars alongside Toby Jones, the duo playing amateur historians and metal-detector enthusiasts. (As the show points out more than once, a detector is a piece of equipment, a detectorist its operator.) Its meditative rhythms and its celebration of hobbies and camaraderie as necessary balms against the grind of daily life give it a healing quality, so much so I looked into buying a metal detector myself. The movie isn’t the place to jump in—better to experience the full series in all its glory—but it was great to revisit these characters and it features one honest, boozy heart-to-heart between Crook’s Andy and his wife Becky (played by the fabulous Rachael Stirling) that prompted Rosemarie to say that if the lead characters on <i>Fleishman Is in Trouble</i> had engaged in one such conversation, neither Fleishman would be in trouble.<br /> <p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-26726647593333703762023-01-07T12:04:00.002-08:002023-01-07T12:04:59.980-08:00Noir City We’ll Meet Again Edition<p>Issue 36 of the <a href="http://filmnoirfoundation.org/" target="_blank">Film Noir Foundation</a>’s magazine <i>Noir City</i> is now out in both digital and print editions, and it marks a bittersweet moment for yours truly. It’s my final issue as editor-in-chief. After fourteen years on the editorial staff, the last three-plus in the top job, I’m hanging up my spurs. </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0E8T5NBwChok6S6-4HWQSvhCJNIPL8tGrJGvJrP16zT-p72JZpsv1OyCeiwJMo051J0T8MIiKKdmSvt5wm66HU63Y2_bGUxh9WkmnAeOQHymm_eX7qTDPKnkfs-83iuZA7DVykUnxp65QGUCnZdQmwNuhWdfPl0oHWQoh5rtHoVPTYB030Q/s453/NC%2036%20cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="453" data-original-width="350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0E8T5NBwChok6S6-4HWQSvhCJNIPL8tGrJGvJrP16zT-p72JZpsv1OyCeiwJMo051J0T8MIiKKdmSvt5wm66HU63Y2_bGUxh9WkmnAeOQHymm_eX7qTDPKnkfs-83iuZA7DVykUnxp65QGUCnZdQmwNuhWdfPl0oHWQoh5rtHoVPTYB030Q/s320/NC%2036%20cover.jpg" width="247" /></a></div><br />But I’m leaving on a high note. Check out that cover image, for starters. We celebrate 100 years of film noir icon Veronica Lake with Lynsey Ford’s story looking at Lake’s career and her private life, “as tragic and convoluted as any film noir plot.” Also in the issue—<br /><br />A brilliant feature by Farran Smith Nehme, aka the <a href="https://selfstyledsiren.substack.com/" target="_blank">Self-Styled Siren</a>, on the neo-noir world of “the French Hitchcock,” Claude Chabrol;<br /><br />Brent Calderwood surveys the slippery history of masseurs and masseuses in film noir;<br /><br />Noir City’s own Steve Kronenberg hears the siren song of Gale Sondergaard;<br /><br />Jim Thomsen profiles “Driver’s Seat” singer and noir-inspired artist Paul Roberts;<br /><br />Bob Sassone unwraps the singular charms of the classic yuletide-set noir <i>Cover Up</i>;<br /><br />Eddie Muller offers a heartfelt memorial to his friend and colleague, novelist Jim Nisbet;<br /><br /><a href="https://twitter.com/NitrateDiva" target="_blank">The Nitrate Diva</a> Nora Fiore compares the book and film versions of <i>Out of the Past</i>.<br /><br />Plus book reviews, film reviews, and more—including the farewell edition of my Cocktails & Crime column, with one last libation for the road.<br /><br />It’s been an honor to work alongside publisher/FNF honcho <a href="http://eddiemuller.com/" target="_blank">Eddie Muller</a> and ace designer Michael Kronenberg on every issue of this magazine, and I’m particularly proud of helping to launch the print edition of <i>Noir City</i>. I’ll still write for the magazine on occasion—look for a story from me later this year—and I’ll remain on the FNF’s advisory board. If you want to know which incredibly capable people will be taking the <i>Noir City</i> reins, <a href="https://www.filmnoirfoundation.org/noircitymagazine.html" target="_blank">why not get yourself a subscription by donating to the FNF</a>, with your contribution going to support the Foundation’s film restoration efforts? If you prefer the hard stuff, you can order <a href="https://www.amazon.com/NOIR-CITY-Magazine-Eddie-Muller/dp/B0BRDCPV77/" target="_blank">a print edition exclusively from Amazon</a>. Either way, you won’t regret it.<br /><br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-76398815243641107762023-01-03T15:35:00.000-08:002023-01-03T15:35:32.989-08:00Adieu, 2022<p>Among the lessons of this odd year was one that shouldn’t have needed reinforcing: corporations are not to be trusted. As social media continues its death spiral—I’m still working out how I feel about that impending collapse—I toyed with other outlets. Medium? Substack? ThoughtHub? OverShare? Maybe even, God help us, a newsletter?<br /><br />Then I remembered how this all started for me: with this blog. In 2023, I plan on making a concerted effort to update this site on a regular basis. Each post, of course, to be touted on every platform that has not yet winked out of existence. May as well start with a rundown of what I liked in the year we just put to bed.<br /><br /><b>Books—Show Business</b><br /><br />I read so many of these as a result of my <a href="http://reneepatrickbooks.com/" target="_blank">Renee Patrick</a> and <a href="https://www.filmnoirfoundation.org/noircitymagazine.html" target="_blank">Noir City</a> duties that they warrant their own section.<br /><br /><i>The Method: How the Twentieth Century Learned to Act</i>, by Isaac Butler<br /><br />“Method acting” has become a catchall term. In this electrifying book, Butler traces the twisted (in every sense) history of this school of performance, from Moscow to New York to Hollywood, bringing each milieu to brilliant life while not being stingy with opinions.<br /><br /><i></i></p><div class="separator" style="clear: both; text-align: center;"><i><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPexI6bR_ctYFW2ZGvLooDAdEWvLRgYx5J5kUiCbyt5XmGuxmBYzL_fFxDqCoXFv5B5CcoWzQuP0NzEU2rcdNlVU9H_8ZVo65h_e1ZKTRicGjIMzzUvRoY27OIZA9F8J-QS4e_K20PcActCNj2hHyojGrCp6p9onfxyEL4y5gINJpYEBftw/s2125/Camera%20Man%20cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="2125" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQPexI6bR_ctYFW2ZGvLooDAdEWvLRgYx5J5kUiCbyt5XmGuxmBYzL_fFxDqCoXFv5B5CcoWzQuP0NzEU2rcdNlVU9H_8ZVo65h_e1ZKTRicGjIMzzUvRoY27OIZA9F8J-QS4e_K20PcActCNj2hHyojGrCp6p9onfxyEL4y5gINJpYEBftw/s320/Camera%20Man%20cover.jpg" width="211" /></a></i></div><i>Camera Man: Buster Keaton, the Dawn of Cinema, and the Invention of the Twentieth Century</i>, by Dana Stevens<br /><br />Not a biography of the Great Stone Face but an atlas of his times, using Keaton as a prism through which to view a host of subjects: child labor laws, early chain restaurants, the evolving understanding of addiction, and the Hollywood disappointments of F. Scott Fitzgerald, with Keaton’s genius as the thread somehow holding it all together. Fascinating, endlessly playful.<br /><br /><i>Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers</i>, by Mary Rodgers and Jesse Green<br /><br />Rodgers was stage royalty—the daughter of composer Richard Rodgers and mother of Tony winner Adam Guettel, she wrote the music for <i>Once Upon a Mattress</i> and the novel <i>Freaky Friday</i>—and seemed to know everyone involved with American musical theater. Her book, cowritten with <i>New York Times</i> critic Green, more than lives up to its title. <p></p><br /><p><b>Books—Fiction</b><br /><br /><i>Tomorrow, and Tomorrow, and Tomorrow</i>, by Gabrielle Zevin<br /><br />Breathlessly inventive, spanning decades in a partnership between two videogame designers that’s deeper than a friendship but never quite a romance, this is my favorite novel of the last few years.<br /><br /><i>Silent Parade</i>, by Keigo Higashino<br /><br />Technically a December 2021 title, but I didn’t get to it until this year. Higashino is perhaps the best current writer of traditional mysteries, and <i>Silent Parade</i> is his latest triumph, riffing on both locked-room stories and Agatha Christie’s <i>Murder on the Orient Express</i> while offering a dense, idiosyncratic portrait of contemporary Tokyo.<br /><br /><i>Everybody Knows</i>, by Jordan Harper<br /><br />Technically a January 2023 title, but I got to it early. The big, bruising LA noir we need right now.<br /><br /><b>Books—Nonfiction</b><br /><br /><i>Unmasking Autism: Discovering the New Faces of Neurodiversity</i>, by Devon Price<br /><br />This look at people on the autism spectrum who “mask” as neurotypical hit hard.<br /><br /><i>The Storm is Here: An American Crucible</i>, by Luke Mogelson<br /><br />A war correspondent returns home to the US in 2020 and covers the country … like a war correspondent. Ends with Mogelson’s harrowing reportage from inside the Capitol on January 6.<br /><br /><i>G-Man: J. Edgar Hoover and the Making of the American Century</i>, by Beverly Gage<br /><br />Drawing on new research, Gage’s biography depicts Hoover as a creature of Washington DC (he was born and raised there, which shaped him more than you’d think), of racist fraternities (the impact they made on him was considerable), and of bureaucracy, all of which molded the FBI and in turn 20th century America.<br /><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjkxHMvXYnxgVSH1Ik59F7rdy4A1Eur4FvS4PSWPU9meR17etRLMjLubHm7GKPkhAh0ZUt-ZqRgyeZS4AUYP5BYDEotY1C_-kKlt0DuXXjr4w5tI0zwEBVt9n53_ZIHNAAMdkHT9iVD5F0VIqcn5lwvaUVc5UFyPAXtiPP_qoeBIBTeEGEbw/s4032/Caro%20Godzilla.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="3024" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjkxHMvXYnxgVSH1Ik59F7rdy4A1Eur4FvS4PSWPU9meR17etRLMjLubHm7GKPkhAh0ZUt-ZqRgyeZS4AUYP5BYDEotY1C_-kKlt0DuXXjr4w5tI0zwEBVt9n53_ZIHNAAMdkHT9iVD5F0VIqcn5lwvaUVc5UFyPAXtiPP_qoeBIBTeEGEbw/s320/Caro%20Godzilla.jpg" width="240" /></a></div><br />I also would like it noted for the record that 2022 was the year that I started <i>and</i> finished Robert A. Caro’s <i>The Power Broker: Robert Moses and the Fall of New York</i>. I even took a photo to commemorate the occasion, with Godzilla added for scale.<br /><p></p><p><b>TV</b><br /><br /><i>The Offer</i> (Paramount+). I went in to this 10-episode limited series about the making of <i>The Godfather</i> with low expectations. It ended up being my favorite program of the year, the one I recommended non-stop. Sure, it’s a love letter to the Paramount lot where Renee Patrick’s Edith Head novels are set, but it’s also a canny piece of mythologizing boasting some terrific turns, chiefly Matthew Goode’s as studio kingpin Robert Evans. If this show had aired on HBO, Goode would be a slam-dunk to win an Emmy. Instead, it’s the performance that got away.<br /><br /><i>Irma Vep</i> (HBO). I didn’t think Olivier Assayas needed to remake his 1996 film, itself about the attempt to remake the 1915-16 silent film serial. I was wrong. With a beguiling Alicia Vikander and Vincent Macaigne in a terrifically funny/sad performance as a director who loses his confidence and his mind.<br /><br /><i>Severance</i> (Apple+). As good as everyone says it is.<br /><br /><i>Reservation Dogs</i> (FX). No sophomore jinx here. Season two was every bit the equal of season one.<br /><br /><i>Ghosts</i> (CBS). A big network hit and a comedy to boot that still doesn’t get enough love for the quality of its writing.<br /><br /><i>Extraordinary Attorney Woo</i> (Netflix). I haven’t finished the show yet, so according to my own rule I should reserve judgment. But the way I’m rationing episodes of this South Korean series about a novice autistic lawyer is the highest compliment I can pay it. Related: it would have been great to get a second season of <i>As We See It</i>, with actors who are on the spectrum playing similar characters seeking their places in the world, but Amazon recently announced it wouldn’t return.</p><p><b>Movies</b><br /><br /><i>Decision to Leave</i>. I could describe Park Chan-wook’s film as a brilliant contemporary noir, or a policier with heart, or <a href="https://crimereads.com/a-survey-of-hitchcock-films-not-directed-by-alfred-hitchcock/" target="_blank">a dazzling reinterpretation of Hitchcock’s <i>Vertigo</i></a>. Instead, I’ll call it the movie that utterly wrecked me.<br /><br /><i>The Banshees of Inisherin</i>. Quotes from this movie are already cropping up in my conversation.<br /><br /><i>Nope</i>. A horror film that is truly horrifying, and that left room for awe.<br /><br /><i>Top Gun: Maverick</i>. Does some of my affection stem from its status as The Blockbuster That Saved Theaters? Sure, probably. (It’s worth noting that I saw the first four movies on this list on the big screen, which only added to their impact.) But seeing a movie star do movie star things on a huge canvas is no minor thing.<br /><br /><i>RRR</i>. The one movie I wished I’d seen on the big screen.<br /><br /><i>Tár</i>. Halfway through, I asked myself if I hated it and considered tapping out. Then it clicked into place for me, and I understood the huge swing writer/director Todd Field was taking.<br /><br />All that said, the 2022 movie I will end up seeing the most times will likely be <i>Confess, Fletch</i>. And after I’d badmouthed the trailer to anyone who would listen. We’d better get another of these movies with Jon Hamm. We deserve it.<br /><br /> <br /></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-57184257519711416432022-12-22T23:02:00.000-08:002022-12-22T23:02:15.761-08:00There’s Only One Hitch—Or Is There?<p><!--[if gte mso 9]><xml>
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Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
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</xml><![endif]--> Just in time to plan your holiday viewing—and for the paperback release of the latest <a href="http://reneepatrickbooks.com/" target="_blank">Renee Patrick</a> novel <i>Idle Gossip</i> next week—comes <a href="https://crimereads.com/a-survey-of-hitchcock-films-not-directed-by-alfred-hitchcock/" target="_blank">my story at CrimeReads</a> considering eighty years of Hitchcock movies <i>not</i> directed by Alfred Hitchcock. The list has fifteen entries, but I namecheck plenty more, and had to refrain from tossing in additional titles. It was plenty of fun to write, so why not check it out? (Photo from <i>Last Embrace</i>, the 1979 Jonathan Demme film featuring a finale at a famous landmark that Hitch himself would have admired.) </p><p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaLAsliEKqOY63MBc7ANM2eLbGxHzCfXsPcfxjKNFcO4SZAqo-FN0p-8ypNQAAR5A3T4OpVdw0ZrxhQcJOMAg9QBZ0Qj4t-_9swGKOV65q0DDPBQSdHF9cidifCHCiBCx_-WKKh4WMuF8TKVctuY6H2WFxa_PNGGIHWHg-x0YHgkYyo-QGQ/s728/Last%20Embrace%20ending.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="409" data-original-width="728" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFaLAsliEKqOY63MBc7ANM2eLbGxHzCfXsPcfxjKNFcO4SZAqo-FN0p-8ypNQAAR5A3T4OpVdw0ZrxhQcJOMAg9QBZ0Qj4t-_9swGKOV65q0DDPBQSdHF9cidifCHCiBCx_-WKKh4WMuF8TKVctuY6H2WFxa_PNGGIHWHg-x0YHgkYyo-QGQ/s320/Last%20Embrace%20ending.jpg" width="320" /></a></div><br /> <br /><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-71631322448694501812022-09-16T16:01:00.001-07:002022-09-16T16:01:02.486-07:00Noir City Two Directors for the Price of One Edition<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEeDPL9gYLUXYD3ctzBiUFhuCIpCPCPus-J2EXcZufhxwKN5X_qZnsWsSYMVHxvSxDNFEFmxU6SJw6TpXcEl4fxZ0Z8hNft7d61hcPpJx_Ur3ZRMV7ukxqNUXUdqVzm2zsixLRoqFKjVXH9fLm0SNNZA9lo3GmKQFqdKQZ1WKFwtvoj2ddA/s1100/NOIR%20CITY%2035_Cover.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="1100" data-original-width="850" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGEeDPL9gYLUXYD3ctzBiUFhuCIpCPCPus-J2EXcZufhxwKN5X_qZnsWsSYMVHxvSxDNFEFmxU6SJw6TpXcEl4fxZ0Z8hNft7d61hcPpJx_Ur3ZRMV7ukxqNUXUdqVzm2zsixLRoqFKjVXH9fLm0SNNZA9lo3GmKQFqdKQZ1WKFwtvoj2ddA/s320/NOIR%20CITY%2035_Cover.jpg" width="247" /></a></div>Is it unseemly for me to say that this is best issue of <i>Noir City</i> yet?<br />Very well then I am unseemly.<br />(I am the editor, I contain multitudes.)<br />(Also, sorry, Uncle Walt.)<br /><br />The latest edition of the magazine published by the <a href="http://filmnoirfoundation.org/" target="_blank">Film Noir Foundation</a> is now available in your choice of digital or print—or what the hell, why not both? I guarantee you’re going to want in on this.<br /><br />Let’s start with the cover story. Back when FNF honcho Eddie Muller and I cooked up the Modern Noir Master award, we drafted a list of dream recipients. One of the first names we both mentioned was John Dahl, who merits a place in the neo-noir pantheon for two movies alone: <i>Red Rock West</i> (1993) and <i>The Last Seduction</i> (1994).<br /><br />(Fun fact: I attended one of the earliest screenings of <i>Seduction</i>, at the Seattle International Film Festival. When the movie ended, I joined the silent, dumbstruck line for the restroom. Finally, the guy in front of me blurted out, “Men are so stupid!” We unanimously agreed with him.)<br /><br />Sam Moore interviews Dahl at length, about those movies, other gems like <i>Rounders</i> (1998) and<i> Joy Ride</i> (2001), and his work on noir-inflected TV shows including <i>Breaking Bad</i>, <i>Justified</i>, and <i>Ray Donovan</i>.<br /><br />But wait, there’s another director! Nick Kolakowski talks to Michael Mann and his <i>Heat 2</i> coauthor Meg Gardiner about moving the world of his 1995 magnum opus to print, and pushing the story into both the past and the future. Also in this issue—<br /><br />Nora Fiore, <a href="https://twitter.com/NitrateDiva" target="_blank">the Nitrate Diva</a>, on the many uses of lipstick in film noir. I have to say this piece is among my favorites to appear in the magazine on my watch: a brilliant concept by Nora, written evocatively, and brought to vivid life on the page by ace designer Michael Kronenberg.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFDciZj3BSg4jTSZKRUCZZ7UaXrTJWLgrOMHZZAFxhQK0FshnYF0i0U0Nb8uiVTAlb2jgWL99YrAhBkfwoN3Sab4bYo_d-DBsJJHI_Iphuw-ul9kE3GwcqwAc3Gjiy1HXAvDTO8TeJTU9_0dota811O9QJVVJJUV4wblHWpHTXcqWDh6NRA/s5100/NOIR%20CITY%2035_Lipstick.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="3300" data-original-width="5100" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkFDciZj3BSg4jTSZKRUCZZ7UaXrTJWLgrOMHZZAFxhQK0FshnYF0i0U0Nb8uiVTAlb2jgWL99YrAhBkfwoN3Sab4bYo_d-DBsJJHI_Iphuw-ul9kE3GwcqwAc3Gjiy1HXAvDTO8TeJTU9_0dota811O9QJVVJJUV4wblHWpHTXcqWDh6NRA/s320/NOIR%20CITY%2035_Lipstick.jpg" width="320" /></a></div><br />A one-of-a-kind memoir by Chris D., front man for the Flesh Eaters turned film scholar, on the surprising overlap between his two passions: punk rock and film noir.<br /><br />A deep dive from John Wranovics on Harry Popkin, the onetime fight promoter who produced a series of noir titles that pulled no punches.<br /><br />Noir City stalwart Jake Hinkson on noir’s dark vision of academia.<br /><br />Joseph Moncure March’s epic poem <i>The Set-Up</i> already spawned <a href="https://www.imdb.com/title/tt0041859/" target="_blank">the 1949 cinematic adaptation</a> regarded as a classic of both noir and boxing films. Now it’s been turned into a graphic novel, and Nathalie Atkinson talks to artist Erik Kriek about it.<br /><br />Plus more goodies, including my usual cocktail recipe.<br /><br /><a href="https://www.filmnoirfoundation.org/noircitymagazine.html" target="_blank">Donate to the Film Noir Foundation</a>, and in addition to supporting our restoration efforts you’ll receive a subscription to Noir City. <a href="https://www.amazon.com/dp/B0BF34MJJ4" target="_blank">You can also purchase the print edition exclusively at Amazon</a>. Then settle in, because you’ll want to read this bad boy cover to cover.<br /><p></p><br /><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-34241784500026432242022-05-23T23:23:00.000-07:002022-05-23T23:23:26.549-07:00Noir City “The Man That Got Away” Edition<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdwpNNywhkcznVzZFyaZb5osn86mu2gVUt4hazCBDnRaW-ne-c1m81x9pALMlQLu2crLTbLSQoEa5yMn_2M_KhwN6WNpvoLFD3Vae-enYUiylp1wEe3l-asuf9PDhCqJTc8rG-l5jiK-CI8IKZ6fq0kRrrhRdkC8W9dhPwzV7xnApoXhMPKg/s3300/NOIR%20CITY%2034%20Cover.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3300" data-original-width="2550" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdwpNNywhkcznVzZFyaZb5osn86mu2gVUt4hazCBDnRaW-ne-c1m81x9pALMlQLu2crLTbLSQoEa5yMn_2M_KhwN6WNpvoLFD3Vae-enYUiylp1wEe3l-asuf9PDhCqJTc8rG-l5jiK-CI8IKZ6fq0kRrrhRdkC8W9dhPwzV7xnApoXhMPKg/s320/NOIR%20CITY%2034%20Cover.jpg" width="247" /></a></div>Who’s the anguished cover boy on the latest edition of <i>Noir City</i> magazine, published by the <a href="http://www.filmnoirfoundation.org/index.html" target="_blank">Film Noir Foundation</a> and edited by yours truly? None other than William Holden. Despite his presence in some landmark noir films, he’s not an actor synonymous with the form. I sometimes think of him as noir’s man that got away; James Ellroy once said that his dream cast for <i>L.A. Confidential</i> would have included “the craven, self-loathing, handsome William Holden of <i>Sunset Boulevard</i>” as Ed Exley, the Guy Pearce role. But as Rachel Walther points out in her terrific story, Holden brought a “brooding restlessness” to every role he played, carrying noir’s shadows forever with him. With a sidebar on Holden’s rivalry, on and offscreen, with Humphrey Bogart. Also in this issue—<br /><br />Imogen Sara Smith surveys the dark world of film noir from Argentina;<br /><br />Ray Banks on the heist films of Stanley Baker;<br /><br />Bob Sassone considers the invaluable contributions the <i>Saturday Evening Post</i> made to noir;<br /><br />Steve Kronenberg makes the case for character actor J.T. Walsh as neo-noir's best bad guy;<br /><br />Sharon Knolle looks at horror films from noir directors;<br /><br />And more.<br /><br />I’ve got my column along with a review of a new book about Holden’s favorite director, Billy Wilder. My favorite contribution is a conversation with Tony Award-nominated actress and singer Melissa Errico about her new album <a href="https://www.thefilmnoirproject.com/index.html" target="_blank"><i>Out of the Dark: The Film Noir Project</i></a>. Melissa knows her noir, the album is a pleasure, and our chat was loads of fun.<br /><br />You’re spoiled for choice when it comes to getting Noir City. You can <a href="https://www.filmnoirfoundation.org/noircitymagazine.html" target="_blank">make a contribution of twenty dollars or more to the FNF</a>, the money going directly to our mission of preserving, restoring, and exhibiting classic noir films. That nets you a digital subscription to the magazine. Or you can <a href="https://www.amazon.com/dp/B0B1FRYZ8N" target="_blank">purchase a print edition of our latest issue</a> exclusively through Amazon, with our cut of the proceeds going to that same mission. Either way, pick up a copy.<br /> <p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-50956885544587476482022-05-11T16:02:00.003-07:002022-05-11T16:02:34.108-07:00Probably Should’ve Mentioned This Earlier ...<p><!--[if gte mso 9]><xml>
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Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
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<![endif]--><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;">... but <i>Idle Gossip</i>, the latest Lillian Frost & Edith Head mystery that
I wrote with Rosemarie under our house pseudonym Renee Patrick, is now out.
People seem to like it. <a href="http://reneepatrickbooks.com/blog/252054" target="_blank">Let Renee tell you all about it</a>.</span></p><p><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 107%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; mso-fareast-theme-font: minor-latin;"> <br /></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglMQo34YRBXvK6CaG8ozlidwxqhXM0uJd4ckkIG7YOiInaSJwWul-iJn1FsntxBdwwzgZRa1PDIZgRhoSsllwlWyHQbO-TzY0kHrnQscc5y1oWgkLYifaQKkejDQfXQeSA1bFRkY4uFBpeLIfNGoGJFw3_G4CyDU2EsVpPzOZINY88RpUZYg/s2621/idle%20gossip%204%20am.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2621" data-original-width="1672" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglMQo34YRBXvK6CaG8ozlidwxqhXM0uJd4ckkIG7YOiInaSJwWul-iJn1FsntxBdwwzgZRa1PDIZgRhoSsllwlWyHQbO-TzY0kHrnQscc5y1oWgkLYifaQKkejDQfXQeSA1bFRkY4uFBpeLIfNGoGJFw3_G4CyDU2EsVpPzOZINY88RpUZYg/s320/idle%20gossip%204%20am.jpg" width="204" /></a></div><p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.comtag:blogger.com,1999:blog-6762449.post-14873488213825802472022-01-17T16:32:00.000-08:002022-01-17T16:32:17.844-08:00Noir City On The Midway Edition<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/a/AVvXsEioknaCJ8yJQx_352c3ZtD3QJFPxEMygcnoIX9ju3avZZYTT3OCPFHnHwTL0ICbVBHVNbSY6yPq5MrCPqQ8NXQUw32ba7EeW9gRwOd8NKjhl47zKuGj6EbOYYh5iJhT11ngryhcJ6Rt2G4JkIjXmdXOW8XHepapENj-_r5LXWSHhOc22pFing=s475" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="475" data-original-width="367" height="320" src="https://blogger.googleusercontent.com/img/a/AVvXsEioknaCJ8yJQx_352c3ZtD3QJFPxEMygcnoIX9ju3avZZYTT3OCPFHnHwTL0ICbVBHVNbSY6yPq5MrCPqQ8NXQUw32ba7EeW9gRwOd8NKjhl47zKuGj6EbOYYh5iJhT11ngryhcJ6Rt2G4JkIjXmdXOW8XHepapENj-_r5LXWSHhOc22pFing=s320" width="247" /></a></div>At the <a href="http://www.filmnoirfoundation.org/index.html" target="_blank">Film Noir Foundation</a>, we couldn’t think of a better way to show 2021 the door—and welcome in 2022—than sending the latest digital issue of <i>Noir City</i> magazine to all FNF donors on New Year’s Eve. The print edition, <a href="https://www.amazon.com/NOIR-CITY-Magazine-Eddie-Muller/dp/B09PMKNG29/" target="_blank">available exclusively at Amazon</a>, followed a week later. I’m only getting around to posting about it now. 2022 is already that kind of year, kids.<br /><br />The centerpiece of the issue is an exclusive interview with Guillermo Del Toro and Kim Morgan about their bold new reimagining of <i>Nightmare Alley</i>, currently in theaters. FNF honcho, TCM host, and man about town Eddie Muller weighs in on the film. And we also have a feature on the long, twisted history of carnivals in film noir.<br /><br />Next up, a dazzler of a conversation between Eddie and his favorite living author, Paul Auster. Pour yourself a drink and pull up a chair to listen in as they go long on noir, art, and life.<br /><br />Also in this issue—<br /><br />Imogen Sara Smith considers the doppelganger in film noir, with a special focus on Joseph Losey’s harrowing masterpiece <i>Mr. Klein</i> (1976).<br /><br />Get behind the wheel with the cabdrivers of noir, courtesy of Jake Hinkson.<br /><br />Danilo Castro sizes up the “frontier trilogy” of Taylor Sheridan—<i>Sicario</i>, <i>Hell or High Water</i>, <i>Wind River</i>—that maps the territory where noir meets the west.<br /><br />Actor Brent Spiner is best known for playing Lt. Commander Data on <i>Star Trek: The Next Generation</i>. His new book <i>Fan Fiction</i> is a wildly inventive “mem-noir” about his time on the show, blending autobiography with a crime plot. He kindly agreed to drop by and name his five favorite classic noir films.<br /><br />I talk to writer/musician Willy Vlautin, whose <i>The Night Always Comes</i> is hands down my favorite novel of 2021. Compassionate and chilling, this noir odyssey is the book for our political moment. Read the interview, but more importantly read Willy’s book.<br /><br />Plus my column, my review of what could easily end up my favorite book of 2022—Isaac Butler’s ambitious and compelling <i>The Method: How the Twentieth Century Learned to Act</i>—and so much more, all of it spectacularly laid out by ace designer Michael Kronenberg. I mean, just look at that cover.<br /><br />You can <a href="https://www.amazon.com/NOIR-CITY-Magazine-Eddie-Muller/dp/B09PMKNG29/" target="_blank">buy the print edition at Amazon</a>, or contribute <a href="https://www.filmnoirfoundation.org/noircitymagazine.html" target="_blank">at least twenty dollars to the FNF’s campaign</a> to preserve and restore classic film noir to receive the bells-and-whistles digital version. You want my advice? Do both. You won’t regret it.<br /> <p></p><div class="blogger-post-footer"><br />This post appeared first on <A HREF="http://blog.vincekeenan.com/">VinceKeenan.com</A></div>Vincehttp://www.blogger.com/profile/11473441336451528462noreply@blogger.com