Brent Joseph Lynch

Brent Lynch 4

Brent Joseph Lynch studied at the Vancouver School Of Art And Design and England’s St. Martin’s School Of Fine Art, eventually working under Nicholas Ray and David Hockney before launching his own successful career as an illustrator and muralist. His fine art work filters sleekly modern and sometimes nearly noir-ish contemporary culture iconography through an ‘Hopper-esque’ style of simplicity, depicting everything from intimate vignettes to blatantly nostalgic scenes.

Spot some influences? We’ll all see some, from Peregrine Heathcote to Jack Vettriano to Edward Hopper to any other of a long list of contemporary painters mining retro-flavored settings and tropes. Myself, I really like the things Lynch is probing in these pieces, and I eagerly look forward to seeing where it all goes.

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Paris, Texas…Revisited.

Paris Tx 2Cult film fave Wim Wenders’ 1984 Paris, Texas wasn’t really a neo-noir film…and yet it is, in its own weird way, isn’t it? Loosely based on co-writer Sam Shepard’s Motel Chronicles, and starring Harry Dean Stanton, Nastassja Kinski and Dean Stockwell, the quirky, unsettling, and bleakly surreal movie says ‘desert noir’ in every shot. Enough so, apparently, to inspire photographer Steven Lippman to swap model Carolyn Murphy for Kinski for his own “Paris, Texas” photo suite, with spot-on recreations of memorable scenes from the film.

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Sunday Night Noir: The Racket (1951)

La gang 3

Director John Cromwell appeared in and directed the hit Bartlett Cormack Broadway play The Racket in 1927 with newcomer Edward G. Robinson, which later made its way to Los Angeles (skipping Chicago, where the story is set, and where it was banned, supposedly on orders from Al Capone himself). There, Hollywood quickly snapped up Cromwell, and over the next two decades he directed a long list of cinema classics and was in the postwar vanguard of directors helming projects in the emerging film noir genre. 1947’s Dead Reckoning with Humphrey Bogart and Lizabeth Scott was among those films (that one a personal fave of mine). Cromwell brought Scott along for his final Hollywood film before he was blacklisted by the House Un-American Activities Committee: A 1951 RKO remake of the 1927 stage play, The Racket. The film may have been co-directed by a team including Nicholas Ray, Mel Ferrer and others, and stars noir icons Robert Mitchum, Robert Ryan and Lizabeth Scott.

The Racket 2

Robert Ryan’s mob boss has an entire un-named midwestern city in his pocket. All except a determined and incorruptible police captain played by Robert Mitchum, that is. Undermined at every turn by corrupt cops and crooked politicians, Mitchum convinces sultry nightclub chanteuse Lizabeth Scott to testify against her boss, even though both of them know that cooperating means she’ll be as good as dead. With a rigged election looming, mob boss Robert Ryan will stop at nothing to take down Mitchum, who neatly turns the tables on the violent gangster, the corrupt cops and the crooked politicians.

the racket 3The Racket is dark, violent and an under-appreciated treat, with three film noir titans working together on screen. And who’d miss a chance to watch the Queen of Film Noir, Lizabeth Scott? Did I say watch her? Heck, just listening to that smoky voice of hers is enough of a treat.

Lobby CardsReviews were mixed and I have no idea if The Racket was a financial success. But I couldn’t care less if this one ranks high with the scholarly film studies crowd or not. For me, the films made in the few years right at the end of the 1940’s through the very early 1950’s best capture the iconic film noir look and feel, whether well-funded and with major stars, or made on shoestring budgets. The Racket is brimming with enormous, bulbous looking cars. The fellows all sport those tent-sized overcoats, voluminous suits, stubby ties and wide-brimmed fedoras. The women are at their most sultry, in long-but-snug skirts, chunky heels, seamed hose, and hats-hats-hats on everyone, men and women alike. To say nothing of one chain-smoked cigarette after another…did they even have to bother with fog machines back then?

Indulge me for including some foreign posters for “La Gang”, which I assume was The Racket in France. Sometimes those European theater posters just look better than the tamer Hollywood versions.

La Gang

I may have lost TCM, and especially Eddie Muller’s Noir Alley, but MOVIES!’ “Noir To Die For!” and “Sunday Night Noir” may just keep this particular noir junkie from getting the shakes or going into total withdrawal, all the more essential during our sheltering-in. A word or two about some other noirs both good and bad to be found on MOVIES! will follow in subsequent posts.

I Really Need TCM…Like Now.

Thursday Noir To Die ForIt’s no Turner Classic Movies. Not even Retroplex. And it’s certainly not Eddie Muller expertly hosting TCM’s Noir Alley (I’m kinda tearing up just thinking about that).

But when my cable provider rudely deleted TCM (and Retroplex and a lot of other channels) I had to learn to embrace MOVIES! for the occasional film noir, good old-fashioned B-movie crime melodramas and some random classics (along with a lot of other stuff I couldn’t care less about). Commercials? Yes, but not enough to drive me batty. And I wouldn’t complain if MOVIES! spent a few dollars to increase their “noir” library to more than the dozen or a dozen-and-a-half films they keep rotating…their tag is “Reel Variety”, after all. But “Noir To Die For!” on Thursday evenings and “Sunday Night Noir” (on…well, Sundays, obviously) is better than 24/7 syndicated reruns, bad 80’s action flicks and the wall-to-wall pandemic programming everywhere else.

Serves me right for being entranced with size and choosing the enormous TV instead of the Smart-TV. But it is a heck of a good picture…

Sunday Night Noir

Name Your Poison.

Robert Stanley

“Name Your Poison,” the intro to the 1955 anthology Dangerous Dames instructs the reader. “Or maybe you don’t care for poison. Maybe you’d rather be shot full of holes, or tossed over a high balcony, or ripped apart by dogs…there are twelve dames in this book, and they supply a lot more in the way of sex, savagery and surprises than a man usually bargains for.”

It’s pretty rare for to find a vintage paperback (or retro pulp magazine or even many Golden Age comics) with a credit for the cover artist inside, but “Cover Painting By Robert Stanley” is right there at the bottom of the copyright page of Dangerous Dames, edited by Brett Halliday (David Dresser), though the cover says “Selected by Mike Shayne”. (Non-nod, wink-wink).

In the anthology’s foreword, Halliday shares a pretend conversation he had with his own fictional hard-boiled hero, private-eye Mike Shayne, about choosing the dozen stories for this book, which date from 1936 through 1955 and include work from Bruno Fischer, Anthony Boucher, Harold Q. Masur and Day Keene (Gunard Hjertstedt 1904 – 1969). Keene’s “A Better Mantrap” from 1947 opens the anthology, and aside from a few period anachronisms, you’d think it was a newly written domestic noir. When a wife’s had it with years of subtle and not so subtle abuse from a boorish husband, there are all kinds of ways to get rid of him. It’s a treat, and if it’s any indication of the quality of the tales in Dangerous Dames, one of the first books to begin replenishing my previously empty to-be-read spot on the writing lair’s endtable, then my shelter-at-home reading drought is over.

Dangerous Dames

Don’t Go Up Those Stairs…

Girl On The Red Steps David Driben

Like watching a scene in countless thrillers and horror films: ‘Don’t go up those stairs’, we’re thinking. ‘Don’t go up in the attic, don’t go down in the basement, don’t open that door.’  But we know the heroine (soon to be a victim) inevitably will, and nothing good can possibly come of it.

Girl On The Red Stairs, by fine arts and commercial photographer David Driben.

Arseniy’s Toying With Me…

Arseniy Semyonov

Consider it a story prompt: This photo by Arseniy Semyonov could spark at least a dozen different tales, each scenario deliciously dark and probably deadly.

A private eye’s just been handed that photo by his secretary? Or a meeting with a classic femme fatale of a client has just wrapped up, the gumshoe assigned to hunt for her (most likely dead) lover? Heck, that fellow could be a pulp scribe holed up in a grungy motel room to complete his hard-boiled masterpiece, the silhouette of a curvy vision in the doorway no more than a figment of his liquor and cigarette fueled imagination.

Damn, I love/hate when pictures set me off like this…

Murder For Profit.

The Writer's DIG

George Dyer, writing for Writer’s Digest magazine, compares crafting a mystery tale to a chess game, with the pieces replaced by human characters, the individual moves being the plot (and presumably, its mysterious twists). The writer? The writer’s both a player and a judge, though still operating within various parameters. Dyer points to things like suddenly revealing ‘deux ex machina’ an all-new character in the closing scene to solve ‘the crime’, or implausibly arming a gangster with poison or a refined society girl with a Tommy gun as plainly breaking the rules..

What makes all of this particularly interesting for me is that George Dyer wrote it back in 1931. But we can read it now at the Writer’s Digest magazine website (link below), with a second installment to follow next week.

Writer's Digest

As the venerable writer’s resource celebrates its 100thanniversary, there’s a vast archive of guidance and info (like Dyer’s essay) to tap into. Consider a 1997 interview with David Baldacci, whose 1994 overnight success Absolute Power sold for a then unheard of $5 million advance…that ‘overnight success’ coming after an estimated 10,000 discarded pages from 11 years of writing. That’s in the April 2020 print magazine, which showed up in my mailbox on Wednesday, and just in time to help restock the to-be-read pile on my writing lair’s endtable. Though still working through “The Small Press Issue”, it’s a good one, and I have to say, I’m liking the modest shift in content seen in Writer’s Digest’s recent issues. And I’ll be looking for Part Two of George Dyer’s take on mystery story techniques next week. Kinda want to see if his words of writerly wisdom from 89 years ago still hold up.

I’m betting they will.

https://www.writersdigest.com/online-editor/vintage-wd-murder-for-profit-mystery-story-techniques-part-1

A Pulp Godfather.

Mort Kunstler Book

Mort Kunstler – The Godfather Of Pulp Fiction Illustrators by Robert Deis & Wyatt Doyle (and Mort Kunstler) was the first book to arrive as I replenish my woefully empty to-be-read spot on the writing lair’s endtable. Mind you, the actual reading went quick, this very handsome 130+ page 2019 hardcover being a little light on text. But the nine-page intro by Mort Kunstler himself (as told to Robert Deis) was an intriguing read nonetheless. As he explains right at the start, “The word Kunstler means artist in German”, his immigrant father (an amateur artist himself) kept the spelling, and the rest was probably destiny.

The book’s heavy on Mort Kunstler’s pulpy ‘men’s sweats’ and adventure magazine illustration work, filled with WWII combat scenes, Cold War era spies and exotic safaris, with only a few examples of the master’s crime pulp work included. But trust me, it’s worth it for that intro alone, even if you’ve already seen many of the illustrations included here at any of your favorite pulp, vintage illustration and retro-kitsch sites and blogs.

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