Anna Parfenova’s Sin City

Sin City Anna Parfenova 1

I posted one example of an Anna Parfenova photo back in mid-December 2018. The talented St. Petersburg, Russia photographer, who also goes by ‘Annie Parfi’, showcases the usual commercial work for fashion, portrait and editorial, all of it colorful, crisp and slick. But her own personal creative work is dominated by elaborately staged and lushly styled romantic fantasy images, with ethereal beauties in sumptuous gowns in opulent salons. Truly, it’s quite lovely.

If that’s your thing, that is.

Sin City Anna Parfenova 2

But there must be a bit of darkness lurking somewhere in Ms. Parfenova’s creative soul, or a flair for the noir-ish in her camera’s eye. See the juxtaposition for yourself in her galleries at DeviantArt, 500px or even Tumblr (well, her traditional photographer’s formal nude figure studies have understandably vanished there, under the new Tumblr content restrictions) or go her own site, annaparfenova.com. There, the lovely princesses, brides and fantasy femmes are suddenly interrupted by a suite of images titled “Sin City” that pull you into a retro-styled private eye’s office, both retro and contemporary at the same time, cluttered, smoky and ominous looking. A crime is about to be committed, or a steamy love affair is about to commence…or both, more likely.

More of Anna Parfenova’s work follows in the next post…

Sin City Anna Parfenova 3Sin City Anna Parfenova 4Sin City Anna Parfenova 5

Eight (Not ‘8’) Million Ways To Die

Eight Million Ways To Die

You’ll hear it said by novelists time and again, whether from relative unknowns or the frequent bestseller list residents: When the rights are sold to Hollywood for a project, just cash the check and forget about it.

Mystery Writers of America Grand Master Lawrence Block knows that all too well, and can point to the 1986 film adaptation of his 1982 hard-boiled Matthew Scudder detective series novel Eight Million Ways To Die as a prime example, right down to the film’s inexplicable title change to “8 Million Ways To Die”, as if audiences needed the numeral instead of the word for some strange reason. There are understandable pragmatic reasons studios modify novels for the big screen, length and location costs the most common. Sometimes it’s merely a screenwriter’s or director’s whim or conceit. And sometimes it’s just who-the-hell-knows-why?

Now, to be clear: Unlike many, I don’t hate the Hal Ashby 1986 film starring Jeff Bridges, Rosanna Arquette and a young Andy Garcia in his first leading role. It garnered some pretty bad reviews and wasn’t a box office success, though not for lack of trying with then-popular stars, a script by no less than Oliver Stone and Robert Towne, some thrilling sequences and no shortage of retro-eighties style sexy violence, sexy voyeurism…and just sex. I’ll admit that I’ve always like Bridges’ many brooding and cynical performances, and happen to consider Arquette one of the 1980’s – 1990’s under-rated talents. But the minute you see palm trees and the sun-drenched Pacific beaches on the screen, you have to wonder what the hell the studio was thinking.

John K Snyder III Matthew Scudder

Lawrence Block’s Eight Million Ways To Die, the 5th Matthew Scudder novel, takes its title from the Oscar winning 1948 film noir The Naked City and the 1958 – 1963 ABC television series of the same name, it’s concluding narration one of the mystery/noir genre’s many memorable lines: “There are eight million stories in the naked city. This has been one of them.”

Eight Million ways To Die MontageNo one would ever accuse prolific writer Lawrence Block of being lazy. Since pounding out paperback originals in the 1950’s under various pen names, he’s earned shelves full of awards and launched multiple series, the Matthew Scudder hard-boiled detective series nearing twenty novels as of 2019. The Scudder books are New York books, and Eight Million Ways To Die is 1980’s New York in every way. Just as we stereotype the 50’s as bobby sox and poodle skirts, the 60’s with either mods or flower children and the 70’s with John Travolta in a white polyester suit on a lighted dance floor, we tend to see the 80’s through a filter of VHS taped clichés from teen sex comedies and neon lit erotic thrillers, all dressed up in fuchsia spandex and over-moussed mall hair. But Block’s novel is the real New York of the 1980’s…Ed Koch’s New York, teeming with Wall Street white-collar embezzlers and pimps and dealers working the streets beneath the elevated tracks. It’s dark, wet, grimy, dirty and dangerous. And it’s a hell of a place for a struggling alcoholic with a gun and no P.I.’s license.

John K Snyder III Eight Million Ways To Die 2

Hollywood took Block’s novel and didn’t even bother keep the name intact, much less the plot or setting. But John K. Snyder III honored this book in one of the most impressive graphic novel’s I’ve ever read, rivaling the very best of Ed Brubaker’s and Sean Phillips’ work, and for me that’s saying a lot.

Eight Million Ways To Die - Noir City Article

The IDW Publishing 140 page+ hardcover is a work of art from front to back, sticking painstakingly close to Block’s novel, lifting text and dialog direct from the book, and rendering it all in an utterly sumptuous painterly style that’s incredibly moody and relentlessly dark, like the source material itself. I’d read about this graphic novel at Crime Reads and the Film Noir Foundation’s Noir City e-magazine (screen grabs from its article shown here), couldn’t wait for its release, and wasn’t disappointed. And, in a weird way, I’m pleased as could be for writer Lawrence Block, not that someone of his stature needs this unknown blogger and writer-wannabe’s well wishes. But his iconic P.I. character and one of the series’ very best books finally got its long-overdue treatment. Not in a movie, but in a graphic novel that could serve as a ready-to-shoot storyboard for a properly done film.

John K Snyder III Eight Million Ways To Die

If you’ve read Block’s book, you’ll still enjoy this graphic novel. If you haven’t read the novel and want an intro to Block’s Matthew Scudder character, this is just as good a place to start before you pick up one of the Scudder series books. So, enjoy Block and Snyder’s graphic novel, but still…go get a Matthew Scudder novel too.

Death On The Cheap

Death On The Cheap - Cover Scan to Use

Death On The Cheap – The Lost B Movies of Film Noir: There’s a quote from Robert Mitchum, surely one of the postwar era film noir icons, that appears in this book’s introduction, and understandably makes it into most online reviews I’ve seen. Mitchum told the author, “Hell, we didn’t know what film noir was in those days. We were just making movies. Cary Grant and all the big stars at RKO got all the lights. We lit our sets with cigarette butts”.

Fans of the genre tend to forget that while a handful of classics were big budget A films, most of what we now lump together as ‘Film Noir” weren’t scripted by James Cain or William Faulkner, directed by Howard Hawks, William Wyler or Fritz Lang, and didn’t star Lauren Bacall, Dana Andrews, Barbara Stanwyck, Humphrey Bogart or Gene Tierney. For every Double Indemnity, The Big Sleep, The Blue Dahlia or Laura, there were a dozen B-movie mysteries and crime melodramas with miniscule budgets, tight shooting schedules and second tier casts comprised of stars who no longer shined so bright and newcomers still learning their craft. Often as not, the dark, gritty locations and sets were service corridors behind the studio sound stages, while left-over interior sets were hastily redressed and left in shadow partly to look ominous, partly to hide the fact that they were so sparsely propped.

Arthur Lyons (1946-2008) was the author of over 20 books, including the L.A. private eye Jacob Asch series, as well as a co-founder of the Palm Springs Festival Of Film Noir, a former Palm Springs city councilman, and considered a film noir expert…in particular, those low-budget and B-movies made between 1939 and 1959. This 250+ page book takes a closer look at some films you’d be familiar with, but also many you never heard of and might have a hard time locating, even now when darn near everything seems to be available on DVD/Blue Ray, cable, YouTube or streaming somewhere. Lyons may be an ardent fan, but he wasn’t looking at these films through rose colored glasses, and is quick to point out that some are real stinkers. But some definitely are not, and their no-name casts, first-take-is-the-only-take filming, murky nighttime back lot exteriors, questionable scripts rewritten on the fly while the cameras rolled all somehow came together serendipitously to create real works of noir art. (Then again, some didn’t.)

The book includes a detailed filmography with titles, alternate titles (and there are many), credits, plot summaries and commentary. Nearly 20 years old, Lyons’ Death On The Cheap is still available new, though I’ve seen really inexpensive copies available online. If you’ve already read everything you care to read about The Postman Always Rings Twice, Dead Reckoning and Out Of The Past, maybe it’s time to brush up on some lesser-known and altogether forgotten films. But good luck tracking a few of them down if you want to watch them for yourself.

Do Not Disturb

do not disturb by devotchka

The sign on the hotel room doorknob may read ‘Do Not Disturb’, but I’m betting she’s going to ignore that. She could be a ‘stiletto gumshoe’, or could just be a jealous spouse or girlfriend in this nifty photo called (not surprisingly) “Do Not Disturb”, by Devotchka.

White Butterfly

White Butterfly 1992

White Butterfly (1992) was the third entry in Walter Mosley’s Easy Rawlins series, though actually the second one that I read. I confess: I’d heard of Mosley but knew little about him or his work, and saw the 1995 film adaptation of Mosley’s first published novel, Devil With A Blue Dress with Denzel Washington and Jennifer Beals on TV or a rental at some point. Before I read the book, that is. I literally raced out to get it then, was completely enthralled when I read it, and hungered for more Mosley once done. I have two independent bookstores nearby, one close to home, one close to work, both charming operations, but both allocating just a little too much floor space to trinkets and knickknacks instead of books. So I walked out of one with White Butterfly, the third in the Easy Rawlins series, but the second I ended up reading, it being the only Walter Mosely novel on shelf at that time. For some reason, I’ve ended up working through more of Walter Mosley’s books in much the same way: totally out of sequence.

No matter. I adored White Butterfly, with Easy Rawlins settled into domestic life but keeping secrets from his spouse. A girl’s murder in the Los Angeles ghetto doesn’t have the cops in arms. Another murder – this time a white girl, so now they’re interested – finds the police blackmailing Easy to assist them, or his old pal Mouse (who turns out to be something less than a pal) who’s in jail may never get out of the clink.

Like much of the very best in noir fiction and film, Rawlins’ novels give us a hero with his share of flaws who is sucked into a maelstrom of darkness and danger where temptation abounds, and is forced to combat powerful forces, be they unscrupulous cops, syndicate gangsters or crooked politicians…everything dialed up a few notches in Easy Rawlins’ world of rampant racism. I’m not going to say that Walter Mosley effectively captures the postwar Los Angeles African American milieu, only because I’m not African American, not from Los Angeles and wasn’t around then. I will say that he conveys the time, place, people and culture, does it with power and with a richness that tumbles off every page without ever feeling like a travelogue or history lesson. Not one Walter Mosley novel has ever disappointed me, and his Easy Rawlins books are among my favorites.

Devils In Blue Dresses

Devil In A Blue Dress 1st

Maybe one way to judge the importance of a book is by the number of editions. A continually popular book, an important book – and Walter Mosley’s first published novel and the first in the Easy Rawlins series, Devil In A Blue Dress from 1990, has never been out of print to my knowledge – is available in multiple countries (rightly so), print and audio, and has been re-issued in various editions. Up top is what I believe is the original first edition (which I don’t have, my copy only a lowly paperback re-issue). Below, a sampling of other editions. Mind you, these aren’t all, by any means, just the first few I screen-grabbed out of curiosity in a quick search. Mighty impressive.

Devil In A Blue Dress - Multiple

The Poets Of Tabloid Murder

golden age

“The Poets of Tabloid Murder”: That’s a chapter title in Peter Haining’s The Golden Age Of Crime Fiction: The Authors, The Artists And Their Creations From 1920 To 1950. I love that line. It ought to be a book title. I just might have to steal it for something.

British author Peter Haining (1940 – 2007) is well known to genre fans, and not just the mystery genre. Horror aficionados surely know him well from numerous anthologies and non-fiction books on ghosts, vampires, the Frankenstein legend and Dracula – Bram Stoker’s Count and the historical figure. He wrote several novels of his own, and worked under a couple of pen names as well. For mystery fans, Haining has authored a number of books on the roots of crime fiction and the art of mystery pulps, comics and books. When it comes to the hard-boiled and noir-ish segment of the genre, Americans tend to think of it as all ‘ours’, the hard-drinking, hard-fighting, hard-loving private eyes being uniquely American creations. It’s good to get another perspective, which if not a truly global overview, still one that forces Yanks to open their eyes to other authors, films, books and illustrators from England, France and elsewhere.

The Golden Age Of Crime Fiction takes a quick look at the roots of the mystery genre, then plunges in to the 1920’s era, which you could argue was dominated by British writers. It covers all the obvious bases in pulp magazines and the postwar paperback revolution through the rise of espionage novels (in the 1950’s, largely a British trend that wouldn’t really explode in the U.S. until the early sixties). My two favorite chapters in this handsome and lushly illustrated book are the already mentioned “The Poets Of Tabloid Murder” and the chapter that follows, “The Mean Streets of Crime Noir”, these two covering the hard-boiled and noir novels of the 1940 – 1950’s era, with special attention paid to the rise of hard-boiled crime fiction in the U.K., which erupted once readers got a glimpse of Raymond Chandler, James Cain, W.R. Burnett and others. While we may be familiar with postwar British crime fiction’s saucy book covers (often as not, done by British artist Reginald Heade) frequently seen on many blogs and sites, it’s good to read up on the novels’ writers, like James Hadley Chase, Michael Storme and Hank Janson (Stephen Francis). Some of these British writers and their publishers had to grapple with obscenity suits and arrests, the British market still a little more conservative than the U.S. scene when it came to murder, violence and most of all, sex.

Published by the UK’s Prion Books, this book was from the local library oddly enough, but I see it’s readily available online. You can bet I’ll be ordering one to keep.

 

 

 

The Last Comics.

dan turner

Dan Turner – Hollywood Detective: The Last Comics: This is a Fiction House Press trade pb collecting fifteen Dan Turner tales from the late 1950 through March 1953 Crime Smashers comics, all written by Robert Leslie Bellem, illustrated by Adolphe Barreaux (of Sally The Sleuth fame), Robert McCarty, Max Plaisted or Tony Tallarico. Bellem was the creator of the Dan Turner character, originally appearing in a 1934 issue of the pulp magazine Spicy Detective and later having his own title that ran from 1942 to 1950. But these aren’t prose pulp tales — they’re short 8-page comics stories and, no surprise, the mysteries are pretty contrived and sometimes more than a little repetitious. The fun, though, is in the period dialog. To a starlet being framed for a murder, whose only alibi is a secret tryst: “You’re in a jackpot, kitten. To nix a murder rap, you’ll have to confess you were indulging in neckery with a boyfriend”. When Dan discovers the gun used in a murder: “And here’s the croakery weapon, begosh!” Interrogating a female suspect: “I’ll have another chin-fest with the Laverne quail”. And so on.

dan turner - girl fight

Actually, many of the individual panels from these very stories have been circulating all over comics and other sites and blogs for ages, particularly the girl-fight scenes, of which there are quite a few, the stories all set among Hollywood studios, and it is Dan Turner – Hollywood Detective after all. The five-panel piece above, for example, depicts Fifi Valcour (I swear, I’m going to steal that name for something!) and Brenda Lee staging a Paris café brawl for a movie scene they’re shooting, which results in the murder of Monarch Pictures director Baldy Boyd. Fun stuff.

Stiletto Gumshoes: Kim Delaney

kim delaney

‘Stiletto Gumshoes’ of a sort on TV: Kim Delaney, first known as Detective Diane Russell on NYPD Blue, then as criminal defense attorney Kathleen Maguire on Philly, which only lasted one season back in 2001 (below), and then on CSI: Miami in 2002, though written off after ten episodes.

philly

 

 

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