Showing posts with label noir. Show all posts
Showing posts with label noir. Show all posts

Wednesday, 20 October 2021

Macho Noir: Paint It Black

Paint It Black by Mark Timlin
Victor Gollancz
Pp. 256

Nick Sharman has been around for a while apparently; this is the eleventh novel in a series of nineteen and counting, starting in 1988 (this one was first published in 1995). He is the narrator of these novels about himself, a South London ex-policeman now private detective, in a world where women exist only to be rescued or revenged, and full of the sort of hard man dialogue and soulless quips that would even embarrass Guy Ritchie. But author, Mark Timlin, is very popular – one doesn’t publish nearly twenty books in a series without being – and reviewers consider him to provide an “answer to the hardboiled noir of 1940’s America, uprooted lock, stock, and barrel to the dingy back streets of 1980’s south London”. I suppose I didn’t realise anyone was asking the question.

Nick Sharman gets a call from his ex-wife Laura in Glasgow to tell him that their daughter, Paula, has gone missing. He and his wife, Dawn, track her down to a field in Banbury where she is with a bunch of travellers, having accompanied her friend, Paula. Paula is a ‘bad influence’ and they have taken drugs, but she has a heart of gold; yes the clichés are that obvious. At this point, he could simply take the girls back home, “The case of the private detective’s daughter webbed up in the rave scene has come to a satisfactory conclusion.” Of course he chooses instead to track down the dealers and blow up a shipment of their drugs. They take their revenge by killing Dawn and their unborn child. He then retaliates in a plan that goes horribly wrong but involves a lot of killing, guns and explosives.

Ah yes, the guns. Timlin loves sex, violence, cars and travel routes. He describes ammunition as though it were a fashion accessory. He does love his detail – desperate to prove his tough-guy credentials like something out of a bad Ross Kemp documentary. He enjoys deadpan wisecracks; when he arrives at a secret location and is told, “We’re here”, he replies, “Everybody’s got be somewhere” as if that means something deep. 

When he gets onto his obsession with cars and directions, however, he sounds more like a boring salesman at an unspeakably tedious conference team-building dinner. “We got back into the Mondeo and took off down the secondary road in what I guessed to be a southerly direction for a few miles until we came to a village called Frating Green, where the A133 bisected the B1029, and we swapped cars again. I found a Volkswagen Golf GTI neatly parked on a grass verge, whose doors opened to my hoister’s key.”

And then there’s the bit where, despite the fact he has a teenage daughter whom he apparently adores, he still has sex with her friend, Paula, after she has specifically told him she is fifteen. “I had my arms full of a tiny, slippery little female who wanted a fuck. So I gave her one. Right or wrong, that’s what I did. And I enjoyed it, and so did she.” That is statutory rape; there is no question about this – it’s wrong.

There is clearly a market for this macho storytelling. It is a market that doesn’t get irony, and probably thinks that giving women their rights is as bad as giving them credible characterisation in a novel. This novel was published 25 years ago; that (fortunately) feels like a lifetime.

Friday, 27 August 2021

Friday Five: Classic Films I 'Should' Have Watched

You know those films that you always feel you should  have watched, but you just haven't got round to it yet? Well, over the last week (we're in lockdown), I've been trying to catch up with some.

5 Classic Films I 'Should' Have Already Seen:

  1. The Exorcist (1973 Horror/ Supernatural) - Lots of male doctors lecturing a woman about how to run her life and deal with her daughter; the keepers of the knowledge deciding females they can't understand must be hysterical... It might be almost 50 years old, but some aspects still resonate. I believe good horror stories are never 'just' about horror; they connect with our deepest fears, ignorance and insecurities to explore something psychological. I feel this films does that, and Ellen Burstyn is spectacular. In conclusion: worth watching as a classic of the genre (I know all the best lines anyway), but probably not scary to a modern audience.
  2. The Godfather (1972 Crime/ Drama) - Men use their violence and strength to secure nepotistic deals and gain yet more wealth and power. How quaint. Again, all the best lines are familiar - offers you can't refuse; sleeping with the fishes etc. - the score is sumptuous, and Marlon Brando, Al Pacino and James Caan give brilliant performances. I understand that this film re-calibrated the notion of seeing gangsters as a response to a corrupt society and made them into good guys, but it really is all about the guys, isn't it - and the toxic masculinity and lack of female representation may have set the women's movement back as far as it advanced the film genre.
  3. Sunset Boulevard (1950 Noir/ Drama) - Mavellous fun; full of dramatic tension, stunning design and black comedy, with a seminal central performance from Gloria Swanson as a previous silent screen star in a world of talking pictures. "There's nothing tragic about being 50. Not unless you're trying to be 25."
  4. Battleship Potemkin (1926 Drama/ Silent) - I love me a good bit of revolutionary propaganda and I have particular views on borscht, so I thought I was ready for this. I wan't - it is outstanding! Those montages sequences and individual close-ups in the middle of mayhem are utterly groundbreaking, and the stirring score is thrilling. I appreciate the excellent moustache detail and I now understand the The Untouchables reference. 
  5. Bonnie & Clyde (1967 Drama/ Crime) - Obviously the inspiration for The Dukes of Hazzard with a comedy-crime-committing duo who claim 'we rob banks' although there is nothing to rob because the people are so poor they've got nothing to save. I understand that life may be dull, but killing people is not the answer (although I agree with Ivan Moss's verdict on tattoos). Faye Dunaway has some fabulous outfits, Gene Wilder's screen debut is a highlight, and whatever charm and charisma Warren Beatty has (and with his reported womanising he must have some) it can only be off-screen rather than on.