Signal Watch Reads: Farewell, My Lovely - Raymond Chandler (1940) - audiobook

I haven't read all that much Raymond Chandler.  I read The Big Sleep more than a decade ago (specifically when I was trapped in a hotel in Las Vegas the week of 9/11 and I couldn't fly home).  And if I've read more than that, I don't really recall.  I do remember thinking "I'm more of a Dashiell Hammett guy" after reading The Big Sleep, but sooner or later you want to read some of the other stuff.

Of course you can't be into noir film and not stumble across adaptations of his work and work he adapted into screenplays (see Double Indemnity, where he gets a brief cameo).

But I figured I needed to read some more Philip Marlowe, Chandler's go-to Detective where Hammett had Sam Spade and The Continental Op.

Farewell, My Lovely (1940) is a winding mystery that starts on page 1 as Philip Marlowe fails to mind his own business when he sees a giant of a man, a white guy, walk into an African-American club and start a ruckus.  He literally sticks his nose in and gets grabbed by Moose Malloy, a heist-man just paroled and out looking for his ex-girlfriend, Velma.  Moose is stronger than he knows, stupidly violent, and single minded, and winds up killing the bar's manager.

In the aftermath, Marlowe gets wrapped up in the case, but no sooner does he decide to bail than he gets hired by a suave gentleman looking for protection as he bargains for the safe return of a lady-friend's hi-jacked jewels.  Marlowe doesn't protect him and the gentleman winds up dead, and that, in turn gets Marlowe all the more involved with his failed job.  Soon, beautiful dames, crooked cops, mentalists, shady hospitals and honestly illegitimate off-shore gambling operations all play a part.  And a bright young daughter of a former police commissioner.

McQueen Watch: The Getaway (1972)

Full confession time.

I haven't seen that much in the way of Sam Peckinpah.  It's not usually something I think Jamie will like, and as we watch movies together, I haven't seen The Wild Bunch since college.  And, prior to this evening, I'd never seen this movie, but I didn't know it was Peckinpah until the credits rolled.  I just didn't say anything to Jamie because, well, I really wanted to watch this movie.

I also haven't watched all that many Walter Hill movies, and only saw The Warriors sometime in the last 12-24 months.  And I loved it for what it was.

And, of Jim Thompson's work, I've also only read The Killer Inside Me.  And, at that, a long time ago, and I barely remember it.

Still, I'm familiar with all of their work by reputation.  You can't watch and read what I do and not have that stuff enter your sphere a little.

I wanted to watch this because it's one of the three or four "must watch" Steve McQueen movies, and I'd never gotten around to it, and, I'll be honest, I'm totally kicking myself for not having had watched this 20 years ago so I could have re-watched it a bunch by now.  It's a @#$%ing good movie.

Directed by Sam Peckinpah.  Written for the screen by Walter Hill, based on a novel by Jim Thompson.  Shot in Huntsville, San Marcos, San Antonio and other parts of Texas.  Starring Steve McQueen and with a small role by Slim Pickens.

What's not to like?

TV Comedy Noir Watch: The Spoils Before Dying (2015)

I am absolutely flabbergasted that the 2014 IFC mini-series The Spoils of Babylon is not more widely discussed.  It had an all-star cast, a distinctive narrative and visual style and did something most comedy utterly fails to do - continue to tell a story that's still sort of interesting as the thing goes along.

The 2015 follow up is The Spoils Before Dying.

Now, follow me here.

Both series are framed by introductions of each episode by author, screenwriter, producer, director Eric Jonrosh.  Jonrosh was the sort of high-literary figure of the 20th century that's since been kind of forgotten as Fifty Shades of Grey has come to define the modern American novel.   Jonrosh also embodies the worst excesses of the brightest minds of the 20th Century and their more, uh, colorful golden years.  And is played by Will Ferrell in a beard, old age make-up and about 150 extra pounds.

this is not actually me, your humble blogger, but I understand the confusion

The Spoils Before Dying is less the sprawling 1970's-era TV mini-series than its predecessor and, in a tale unrelated to the prior series, a noir-jazz-Mickey Spillane mash-up pastiche.  Again, the story itself would probably be fine as a drama, played straight.  I'm not kidding.  It's a tight little murder mystery with Chandler-esque turns and a nice upping of the ante in the final act.

But that's not really so much what they're up to.

Wes Craven Merges With The Infinite

The thing about being my age is that so many of the names we grew up with, who were just doing amazing work during my youth, are beginning to pass.

My social media is flooded with the news that writer/ director/ producer Wes Craven has passed at the age of 76.

If you grew up in the era I did, you saw Wes Craven movies one way or another.  Most famous of his movies, likely, is A Nightmare on Elm Street, something I was already planning to re-watch this Halloween and now have a moral obligation to take in.

He also brought us The Hills Have Eyes, Swamp Thing, The People Under the Stairs and Scream.

Here's my film-school story about Scream.

JAL managed a theater when we were in college.  They were showing Scream after they wrapped the rest of the movies in that theater.  It was all the way across town, and I don't really like horror movies, and I was just feeling cranky, and, etc....

JAL:  Do you want to see Scream tonight at the tech screening?
Me:  Man, I don't want to see that movie.  It's just some slasher shit, and it's going to be a total hassle.
JAL:  Wes Craven directed it.
Me:  What time does it start?

We'll miss you, Wes.  You were one of the good ones.

Disney Watch: Brave (2012)

I didn't intentionally miss Brave (2012) when it came out in theaters, and I certainly haven't been avoiding it.  But Disney/ Pixar doesn't just dump their animated films out there in the usual release windows, instead controlling them pretty carefully and maximizing profits, etc... none of which I hold against them.  They know what they're doing.  This I learned in 3 summers working a cash register at The Disney Store.

I was aware of how far Disney and Pixar have taken animation, and while I wish they'd delve into stylized pictures a bit more (Big Hero 6 is probably the closest to what I'm talking about in recent memory),* it is pretty amazing what they can do with blending the natural and real with the imaginary.  You have to be kind of crazy not to appreciate everything about the character animation in Brave, blending Disney cartoonism with the absolutely believable wild strays of Merida's red curls.

Further, a couple of years ago I was at Disneyland with The Dug, my brother-in-law, and we spotted Merida crossing the park, and he said "let me send you a video tonight" and, as it turned out, the actress had perfected Merida's determined walk, something that was very non-Disney Princess-ish in its galumphing purposefulness.  It's that kind of attention to character, rotoscoped or otherwise, that tells who the character is, that even the other big gun American animation studios could stand to pay more attention to.

Pixar has absolutely lit a fire under Disney Animation proper, and the self-awareness and deconstruction of traditional Princess ideals in Brave (Pixar) and Frozen (Disney proper) should hopefully resonate a bit more than Aurora passing out for a good chunk of Sleeping Beauty and Cinderella sitting around thinking positive thoughts and, if not for deus ex machina and a rich guy, she'd be stuck in a life of domestic servitude.  Brave is a really solid first stab at dismissing the Disney Princess demure non-player-in-her-own-story problem Disney has had since Snow White stumbled her way into a house full of short miners, and may be a bit on the nose in making sure we know this is not a cute princess movie.

80's Watch: Blue Thunder (1983)

We'd bid some friends good-evening and I was following my usual post-cocktails routine of drinking a couple of glasses of water and eating something when 1983's helicopter actioner, Blue Thunder, came on our local UHF-channel/ CW affiliate.  Then, somehow, it was suddenly 2:00 AM and I'd watched the entirety of Blue Thunder again.

It happens.

No one is going to confuse Blue Thunder with a good movie, and, cut for TV, it's an even less good movie.  But when it's midnight and you're a few drinks in, Blue Thunder is, apparently, exactly what's needed.

In the cold light of day, I think I remember the plot.  It's been at least fifteen, maybe twenty years since I last watched Blue Thunder, but it goes something like this:

Neo-Noir Action Flick Keanu Watch: John Wick (2014)

So, for reasons I completely understand, for some time, Loyal Leaguer RHPT has been on my butt to watch John Wick (2014).  It's a stylish action thriller with a decidedly noirish bent, complete with a guy with an affection for dogs who also happens to be one of the world's foremost assassins.  I guess.  It sure seems that way, because his bodycount in the 48 hour storyline of this movie has to be cresting triple digits and all anyone else gets in, at best, is a hitcount between 0 and 5 kills, and that includes folks who are supposed to be his peers.

The movie begins with John Wick burying his wife, the lady who, of course, was not absolutely horrified to marry a mass-murderer (hey, rich guys who have homes out of Architectural Digest have their appeal).  She's died of an unnamed disease, which did nothing to ravage her good looks as she lays there dead after losing her battle with the disease.  John is bereft, but his wife somehow orders him a puppy from beyond the grave (but cleverly does not order any pet accouterments, but we'll not pick nits - it's poetic) and John sees maybe a spark of life or hope.

However, a Russian thug decides to steal John Wick's car, and, in the process, breaks into John's house and kills his puppy.  Turns out this kid is the son of John's former employer, the most powerful mobster in New York.  So, John must fight his way boss-level style, through New York.