Screening Room: ‘Detroit’

A true-crime white-knuckler set in the chaos of the 1967 Detroit riots, Detroit is playing now in limited release and will be opening wider on Friday.

My review is at Film Journal International:

Set in the chaos of the 1967 Detroit riots, Mark Boal’s screenplay dramatizes and expands on a little-remembered episode of police brutality that crystalizes the violence of a country wrenching itself apart. In that crucible, Krauss (Will Poulter), a casually sadistic police officer who earlier in the riot shotgunned a man for running with looted groceries, ringleads a bloody interrogation whose methods fulfill all the worst fears of black Detroit residents…

Here’s the trailer:

Writer’s Desk: Get Fired

Even writers need money. It helps, after all, if one wants to keep the coffee pot full and the Wi-Fi humming along. There are writers who can work full jobs and still create masterpieces (Graham Greene and T.S. Eliot come to mind.) But then there are some who need to get kicked out of the world of the gainfully employed before they can really put their nose down and start knocking out pages.

Take Raymond Chandler (1888–1959), whose birthday was last week. According to The Raymond Chandler Papers, the creator of Philip Marlowe was first a shop clerk, tennis racket-stringer (?) and accountant before going off to fight in France in 1917 (volunteering with a Canadian regiment), returning to America and working his way up in the California oil business before getting sacked in 1932.

Chandler stopped drinking, moved with his wife into a cheap place in Santa Monica (still possible back then) and started submitting stories to crime magazines. His first and possibly best novel, The Big Sleep, was published in 1939. That same year, in a letter to Alfred Knopf, Chandler groused about the reactions by some to the depraved nature of his criminal characters. His explanation?

My fiction was learned in a rough school.

All the better.

Screening Room: ‘Ghost in the Shell’

The Scarlett Johansson live-action remake of the classic 1995 anime Ghost in the Shell hit DVD and Blu-ray this week. My review is at PopMatters:

For a movie ostensibly about uniqueness and what makes us human, Ghost in the Shell doesn’t make a strong argument for either. This is a story in which the technology fascinates and the people bore. Sense memories of other movies proliferate until you forget quite what it was you were watching in the first place. That’s the sort of thing bound to happen when the star (Scarlett Johansson) is playing a role she can sleepwalk through and the story was only groundbreaking when first filmed over 20 years ago…

Here’s the trailer:

Writer’s Desk: Do Your Thing

The great Chester Himes was born in Jefferson City, Missouri in 1909 and died in Spain in 1984. In between he went to prison for armed robbery, worked for the WPA, lived as an expatriate writer in Paris, and published some of the century’s best American crime fiction (Cotton Comes to Harlem, in particular).

Since his metier was hard to classify, ranging from black crime fiction to memoir and beyond, Himes’ work has been subject to less critical scrutiny than other posthumously praised writers. One of the few critics to turn their eye to Himes was Stephen F. Milliken, who noted that Himes didn’t need much help, and didn’t want it:

Chester Himes has always been above all else a man who does not take advice. His work is totally innocent of the smooth, professional polish of the writer who has been told … that you simply cannot do everything at once … His work is ferociously idiosyncratic.

When in doubt, be like Himes. Listen to your voice. Follow advice if it helps you get there. But if not, go your own way.

Screening Room: ‘Landline’

In the scrappy yet endearing new Jenny Slate comedy, she plays a confused twenty-something navigating family dynamics and an ugly love triangle of her own devising in 1990s New York.

Landline opened today in limited release. My review is at Film Journal International.

Here’s the trailer:

Screening Room: ‘Dunkirk’

Opening this week in a big bash of a release (70mm, IMAX, the works) usually reserved for the latest Marvel flick, Christopher Nolan’s masterful war epic Dunkirk is the first sign of big-budget seriousness in the silly season.

My review is at Film Journal International.

Here’s the trailer:

Writer’s Desk: Write Like Westlake

Donald Westlake (1933–2008), whose birthday was last week, was one of America’s most prolific writers, publishing over a hundred novels. Like a more creatively flexible Elmore Leonard, he published mostly in crime. Like any good overproducer, he concocted a number of pseudonyms, most famously Richard Stark, and even got an Oscar nomination for his adaptation of Jim Thompson’s The Grifters for film in 1991.

In 2006, Westlake was interviewed by The A.V. Club, and dispensed some great notes from a productive career:

  • “Years ago, I heard an interview with violinist Yehudi Menuhin. The interviewer said, “Do you still practice?” And he said, “I practice every day.” He said, “If I skip a day, I can hear it. If I skip two days, the conductor can hear it. And if I skip three days, the audience can hear it.” Oh, yes, you have to keep that muscle firm.”
  • “I know people who have suffered writer’s block, and I don’t think I’ve ever had it. A friend of mine, for three years he couldn’t write. And he said that he thought of stories and he knew the stories, could see the stories completely, but he could never find the door. Somehow that first sentence was never there. And without the door, he couldn’t do the story. I’ve never experienced that. But it’s a chilling thought.”
  • On who reads his books: “…back in the ’60s and ’70s, the criminal class was still literate, so I would get letters from people in prison; they thought that I was somebody whom they could shop-talk with, and they would tell me very funny stories. I got a lot of those.”