Tuesday's Overlooked Film: The Reflecting Skin

I remember being very impressed by Philip Ridley's first feature film The Reflecting Skin back in the early nineties. And I wasn't the only one. The film was being shown at cinema clubs all over again and everyone loved it.

But then it vanished. There has been no proper DVD publication, and at least the Finnish VHS publication is pretty scarce. In Finnish television it's been shown twice, last in 1998. So it was no wonder there was quite a lot of people at the Film Archive screening of the film last Monday.

The film is still hauntingly beautiful, terrifyingly funny, tragically sad, absurdly real, full of grief, fear and laughter. It's a morbid film, but it's still full of warmth towards the people in it. Lots of these weird genre hybrids are devoid of feelings, but The Reflecting Skin is about real people and their real feelings, even though they are all pretty sick and weird. There was one young dude in the audience saying the film seems more like a curiosity, something no one's ever heard of, but then again he was two when the film came out. I'd like to ask him what he thought of the film after he'd seen it.

More Overlooked Films at Todd Mason's blog.

Nicolas Winding Refn: Valhalla Rising

I never blogged about Only God Forgives, even though I liked it to a certain extent. It was very exciting and interesting and extremely well done and beautiful in all its gore, though I never knew what Nicolas Winding Refn was talking about in his film.

Same goes for his viking epic Valhalla Rising (if you can call a film that has only some dozen people in it an epic). It's not as well made as Only God Forgives - he was clearly given a bigger budget for his OGF after the popular Drive. Valhalla Rising is just as baffling as OGF. It's something Jim Jarmusch might make out of an unproduced Robert Bresson script collaborating with Antonin Artaud. Very strange and impenetrable, but still somehow fascinating. But not as fascinating as I'd hoped it to be. Three stars out of five - or maybe three and a half.

Akiva Goldsman: Winter's Tale

Akiva Goldsman: The Winter's Tale: uneasy mix of whimsical fantasy, some scary and not-so-scary devil horror and sentimental coffee table book "wisdom". I haven't read Mark Helprin's 1,000-page novel, but seems like lots has been cut down in the film, which makes the bad parts show up.

Stephen Graham Jones: The Last Final Girl

Here's a book I really wanted to like, but didn't for some reason or another get in. I understood Jones's idea of a metafictional book that takes place inside a film or a TV show, but this just didn't grab my interest the way I thought it would. I'll give it another try later, and I'm definitely interested in Jones's output which seems to mix noiry edginess with ultra-violent horror. Sounds definitely my kind of stuff.

Michael Koryta: The Ridge

Recently read: Michael Koryta's horror novel The Ridge. I'd read earlier one of Koryta's PI novels featuring Lincoln Perry and liked it a great deal (read the review here) and I grabbed this from the book store's sale. The Ridge is an entertaining horror novel with an interesting and an original premise - at least I haven't seen it used much. And there are some interesting locations, such as a shelter for big felines and a lighthouse nowhere near the sea. As in Koryta's PI novels, the mystery is rooted in the old times, where things were crueler than they are now. There's some truly fascinating stuff behind the lighthouse an old man has built for himself.

Koryta also writes in a clear and easy prose that's not overtly sentimental. There's an edge of noiriness in his words sentencens. The Ridge comes off as a quiet novel about the futile efforts of man. His people and the ending of the book are sad, as befits the horror genre.  

Tuesday's Overlooked Film: Stanley Kubrick's Fear and Desire (1953) and an assortement of other strange films

Fear and Desire

We had another film festival at the cabin with some friends of mine. (Here and here are posts on the earlier festivals.)

One of the most interesting films we watched was the first feature film by Stanley Kubrick, Fear and Desire (1953) that Kubrick himself had put a ban on, so it hasn't been legally been available for decades. It's recently been released on DVD and is easily available. None of my friends had seen it, so it was all new to all of us.

It's a war film set somewhere in an unknown war, so it's heavily symbolic and abstract to the edge of being almost meaningless. Fear and Desire was written by a playwright, Howard Sackler (who also wrote Kubrick's second film, Killer's Kiss), so it's no wonder it resembles an absurdist play a lot. At times it gets bogged down by hilariously "deep" dialogue and monologue, but the first half-hour is actually quite good. Kubrick - who himself shot and edited the film - edits quirkily, against the rules, using quick flashes of people's faces and pieces of action. Kubrick was at least in the beginning of his career a noir director and there's a strong noir feel also in this little war film. It's an intriguing film, well worth a watch.

Other films with snappy mini-reviews and starrings:

The ass of the Machine Gun Woman

Ernesto Díaz Espinoza: Bring Me the Head of the Machine Gun Woman (Chile 2012): sounded great, but proved amateurish and boring. *½

Lucio Fulci: Beyond (Italy 1981): confusing and dead-serious zombie flick. **

Willard Huyck: Howard the Duck (USA 1986): absolute bore-fest, with people (and the duck) just shouting, running and jumping all the time. *

Kaarlo Kortelainen: Makkarakalakeittoa, sano Tympee Huttunen/Sausage fish soup, said the Grumpy Huttunen (Finland 1988): one of the worst films ever, only video-released calamity shot somewhere at a deserted cabin and in near-by woods. Very hilarious. * or *****

Veikko Itkonen: Mullin mallin/Topsy-turvy (Finland 1961): nonsensical and incoherent musical comedy made near the end of the Finnish studio system. Probably one of these: * or ****

Adam McKay: Anchorman (USA 2004): I'd never seen anything by Will Ferrell, but even though this was mildly funny, I don't feel an urgent need to watch more of his films. **

Robert Culp: Hickey & Boggs (USA 1972): pretty hard to follow without subtitles, but still great early seventies' crime flick, without any of the genre trappings. ****

Lucien Castaing-Taylor, Verena Paravel: Leviathan (USA 2012): experimental documentary of a fishing ship somewhere in the Atlantic, quite hypnotic at times, but don't go looking for a content. ***½

Tobe Hooper: Lifeforce (USA 1985): interesting movie about space vampires, but even though the main monster is one of the most beautiful women in the history of cinema, suffers from too much length and uninteresting lead actors. **½

Andrzej Zulawski: The Third Part of the Night (Poland 1971): very interesting allegory on Communist Poland, with lots of grotesque and surrealistic imagery thrown in. ***½

Fred Cavaye: Point Blank (France 2010): capable and snappy thriller. ***

Kinji Fukasaku: Message from Space (Japan 1978): a hapless Star Wars clone should've been more hilarious than it really was. **

Albert Band: Zoltan, Hound of Dracula (USA 1978): I didn't watch this myself, but from what I gathered is either * or *****

Ismo Sajakorpi: Merkitty/Branded (Finland 1984): early Finnish horror TV movie, not bad, but somewhat dated. ***

Steve Carver: Lone Wolf McQuade (USA 1983): hilariously serious Chuck Norris vehicle, quite entertaining if you're willing to forget it's very stupid and clichéd. **½

More Overlooked Movies coming in at a blog near you!

The 2000th blog post of Pulpetti

I've been thinking a lot lately of what I should be writing here now that I have reached the 2,000th post line. I've been unaware of whether I should just do a regular blog post (I have several things coming up) or whether I should do a long special post – and if that, what should it be? One subject I thought of was the history of this blog – but is anyone interested? My 1000th post was a long article on H. A. DeRosso. (For some reason many people have read this minuscule write-up on my 1900th post.)

There hasn't been much going on here at Pulpetti. I've been lazy for the past two or three years. At first I used to write one or even two posts per day! I can't grasp where I found all that time, still working my ass off writing books and newspaper articles and reviews of books and films and what not. I don't seem to be able to find that time even now when I seem to have less work at my hands than, say, five years ago. And some three years ago I decided I should concentrate more on my Finnish blog (here at Julkaisemattomia, meaning The Unpublished, the name I've been trying to get rid of). Hey, I'm a Finnish writer after all! My readers are Finnish, so why promote in English?

But then again I've made some friends with Pulpetti: Kevin Wignall, Todd Mason (acquaintance also from several Yahoo groups - and yet another thing I don't have time for anymore!), Bruce Grossman, James Reasoner, Bill Crider... Pulpetti was also elemental when I started editing the crime paperback series for the Arktinen Banaani publisher some years ago. The series didn't last long, but the books are still out there, here's hoping someone will find them and become a writer and write the goddamnedest book in the annals of the Finnish literature. And there's also this point: I really want to write about this pulpy and sleazy hardboiled stuff, I'm not sure if there's enough interest with Finnish readers to warrant a whole blog in Finnish. (I sometimes get the feeling that even though there's much love for, say, James Ellroy or Charles Willeford in Finland, there's not much interest for new writers in this genre we so affectedly call noir. Maybe that's the case everywhere.)

I've been working on a book that will be called "Pulpografia Britannica", focusing on the British crime fiction published in Finnish in cheap paperbacks or pamphlets. I haven't written about those books as much as one would hope, and I have a hard time explaining why that is. (One explanation is that I haven't really read all the books I'm covering, some I've just sampled or browsed through.) There are some writers I'd really like to cover (Angus Ross, for example), but at the same time I've been reading lots of other books, for example the new Finnish translation of James Fenimore Cooper's The Deerslayer which I painstakingly tackled through for a review. (I don't think I'll be reading the other books in the Leatherstocking series, though there will be new translations for all of them.) At the time I'm tackling through the collection of Bruno Schulz's weird surrealistic stories, again for a review. I should be writing about them as well in here. Why don't I? It is at times pretty hard to write something substantial about a book or a film in a language that's not your own. Try it someday! I don't know how people like Nabokov or Conrad did it. (Well, they were idiosyncratic and not easy writers, Conrad being even clumsy.)

I didn't mean this to get so wordy and, well, pathetic? Suffice to say that even though I've been thinking about quitting Pulpetti, I'm sure I'll keep on posting stuff about books and films and stuff.

When I posted the above-mentioned 1900th post, Jerry House (whose blog I should be reading more) said I should send a cake to every reader of Pulpetti, when I reach the 2000 limit. So here's cake to everyone out there!

John Grant's massive encyclopedia of film noir

One of my Christmas presents was this huge film noir encyclopedia by film historian John Grant. I asked for it on purpose, because I had a hunch I'd enjoy the book.

And I most certainly did. Grant's book commands respect. He covers 3,500 films, both classic films noirs of the Golden Age of Hollywood and later neo-noirs of the 1970's, 1980's and 1990's. He also includes lots of forgotten gems no one's ever heard of and has a feel for the Asian films as well. Grant knows his stuff and writes well. He has also nice things to say about some underrated films.

There are some problems with the book, though. The main thing for any reader is that it doesn't have a proper index. Some actors and directors are indexed, but it's a frustrating collection of only the most famous names. The point of this kind of book is the info on less-known films and directors, although Grant gives nice mini-essays also on well-known films, such as Citizen Kane. The info on the films is at times a bit thin, sometimes Grant provides only a short synopsis. And I happen to have a habit of skipping synopses and going straight to the review or the analysis part.

Grant also includes films I have a hard time to accept as noirs, mainly from the eighties and nineties, such as Ridley Scott's Black Rain, Gregory Hoblit's Primal Fear and Alan J. Pakula's Presumed Innocent. Are these noirs?

It's of course possible to say that it's better to give too much information than too little of it. Grant also includes films that are only fringe noirs, such as British suspense fillers from the fourties. It's unlikely they are full of sound and fury and despair that describes some of their Hollywood counterparts. But it seems Grant allows for many kind of definitions of film noir, even contradictory. He discusses these definitions in the foreword, giving out examples and thematic similarities, but still seems like his definition is too wide. I'm not really complaining, mind you, it's interesting to read also about those films.

I could find some films that Grant hasn't mentioned. What about Stark Fear from 1963? Radio On from 1979? I also checked - rather painstakingly because of the absent index - all the films based on the books and screenplays by Jean-Patrick Manchette. There's only one mentioned!

There are also some glaring omissions of foreign films noirs. It's understandable of course, when there's only scarce or no information on them easily available. Then again there are lots of non-Hollywood films Grant mentions I've never heard of (and likely will never see) from, say, Spain or Greece. Grant mentions some Finnish films as well, but he has only some three films by Aki Kaurismäki and one (half-Estonian) by Ilkka Järvi-Laturi. All of them are neonoirs from the eighties and nineties, while there were lots of studio-era films noirs made in Finland. Here are some of the classic Finnish films noirs for you:

Teuvo Tulio: Rikollinen nainen (The Criminal Woman); Sellaisena kuin sinä minut halusit (The Way You Wanted Me); Rakkauden risti (The Cross of Love) (all sleazy melodramas)
T. J. Särkkä: Kuu on vaarallinen (The Moon is Dangerous,  pure James M. Cainish stuff about a wild woman charming an older guy)
Roland af Hällström: Pohjoisen pikajuna (The Express Train to North, suspense in a train)
Edvin Laine: Musta rakkaus (Black Love - hey, even the title is purest noir!)
Matti Kassila: Varsovan laulu (The Warszaw Song; about smuggling); Tulipunainen kyyhkynen (The Crimson Dove, psychological suspense)
Veikko Itkonen: Silmät hämärässä (The Eyes in the Mist, one of the purest films noirs in Finnish cinema)
Aarne Tarkas: Olemme kaikki syyllisiä (We're All Guilty, what could be more noir than that?); Hän varasti elämän (He Stole a Life, marvelous Psycho pastiche, made already in the early sixties, absurd and darkly funny)

There are lots of others, but these came off top of my head. There are also many humorous crime films that because of the time they were done and the black-and-white photography are mentioned as films noirs, but I'm not sure whether they qualify. Some of the films mentioned above will be screened at the Festival of Finnish Cinema later in the coming spring, I'll write more about them then (as I did last year about Finnish westerns, see here and here).

As Grant also has lots of neonoirs in the book, here's also a list of Finnish neonoirs:

Pauli Pentti: Pimeys odottaa (The Darkness Waits); Macbeth (b&w rendering of the Shakespeare play)
Pekka Hyytiäinen: MP - minä pelkään (IA – I'm Afraid, uneasy but very hypnotic mixture of experimental dystopian film and some very personal horror; Hyytiäinen's other indie-produced films might also qualify, but they are very hard to come by)
Veikko Aaltonen: Tuhlaajapoika (A Prodigal Son, sleazy scumbag noir with S&M undertones); Rakkaudella, Maire (With Love, Maire, very stylish piece of Hitchcockian noir)
Petri Kotwica: Musta jää (Black Ice, family noir)
Ville Mäkelä: Lain ulkopuolella (Outside the Law, a vigilante film)
Taavi Kassila: Petos (Betrayal, a nice piece of epoque noir)
Mika Kaurismäki: Condition Red (Aki's brother's film filmed somewhere in Texas)
Visa Mäkinen: Yön saalistajat (The Predators of the Night,
sleazy hardboiled crime film from the only proper exploitation director-producer of the Finnish film history)

(Too many links to provide here, sorry - Google them or check them at IMDb!)

All in all, John Grant's book comes highly, highly recommended by me.

What did I say about noir in Hollywood in the 2010s?

Remember what I said about new noir films in Hollywood? See my post on Denis Villeneuve's Prisoners here.

I stumbled on a post at Hardboiled Wonderland listing the best crime films of the last year. Seems there are more noir or at least noirish crime films out there than I first realized. I hated The Counselor, but Jedidiah Ayres writes interestingly on other films he mentions. (Of course not all the films are Hollywood, but nevertheless.)

Tuesday's Overlooked Film: Heathers (1988)

I finally saw this cult classic from the late eighties. Watched it from an old VHS, and over at Facebook a friend said that it's a film that just has to be watched from VHS.

There is indeed certain charm that only low-budget 80's flicks have. But that aside, this is a neat quirky little film that has lots going for it: young Winona Ryder and Christian Slater with their snarling accents, taut script by Daniel Waters (I believe he won the Edgar for the script) and funny late eighties' costumes. The story about two high school lovers who start killing their school mates is twisted and funny. Slater's behaviour is never really explained, which is a good thing, since it might've been awkward. There are also some implausibilities as comes to the behaviour of Winona Ryder's character and her behaviour. The ending with Ryder starting to befriend the high school fatso didn't feel right, even though I can see why they did it that way.

Nevertheless, this is a fun film that hasn't dated badly. (More Overlooked Films here.)

Denis Villeneuve: Prisoners

I just saw this in a movie theater (a press screening) and I was totally overwhelmed! What a movie!

The story about two missing kids and their families going through a heart-breaking and violent tragedy might play out sentimental and simplistic, but Denis Villeneuve, in his first Hollywood outing, keeps things both fragile and rough at the same time. You can feel the tension in the pictures, in the actors' movements, in the saddening Pennsylvania milieu the film takes place in... Although there are some things that were done less or more slackly, I'll give this five stars out of five.

It must've started out with Winter's Bone. There have been lots of recent interesting and touching films that have crimes in them, but are not crime films per se: Place Beyond the Pines, Paperboy, Mud, Take Shelter, End of Watch... There are also Andrew Dominik's admirable Killing Them Softly and William Friedkin's sick but funny Killer Joe, not to mention Nicolas Winding Refn's Drive and Only God Forgives and Harmony Korine's Spring Breakers.

Noir thrives in Hollywood.

Tuesday's Overlooked Movie: Year of the Dragon

I watched Michael Cimino's 1985 film from an old VHS cassette, afterwards I threw the cassette away. Why? Because I want to get rid of my old cassettes - of course only those that can be replaced. But seems like everything is replaceable nowadays. I'm not sure whether that's a good thing or not.

I'd seen Cimino's film earlier - some 20 years ago, or even longer ago - and it hadn't made much of an impact on me. The same thing happened also at this time. One might blame the fact that I watched the movie from a worn cassette with possibly a wrong picture ratio. But still I find I wasn't very intrigued with Cimino's script and his characters. I'm not sure if I ever want to try to see this on big screen.

Even though there might be much to like in the film for someone who likes his crime fiction heroes despicable. Mickey Rourke is not bad in Year of the Dragon, but he's overdone with his fedora and long overcoat. His motivations are not very satisfactorily explained and he almost comes off as the hero, even though he's shown to be a bully and racist. This is a very contradictory film at its heart.

There are many great scenes in the film (such as Chinese drug lord John Lone's visit to Thailand, also the shootout near the end is expertly done), but there's also the stacked-on ending, which is really unfitting. And then there's the scene in which Rourke almost attacks a woman after which the said woman starts kissing Rourke... You'd think they wouldn't have done these things in this way in 1985, but hey, what do you know?

More Overlooked Films here. (Seems like only later on.)

Unused Finnish cover for Jason Starr's Fake ID

Can't believe I haven't posted this earlier.

Remember when I used to edit the noir paperback series for a Finnish publisher, with books by Duane Swierczynski, Christa Faust, Scott Phillips and others? Well, the story didn't end well, since the line was canceled after six books. The format was changed into hardcover, but that didn't help.

I'd already translated Jason Starr's excellent Fake ID over years ago and it was scheduled to come up next in the series, in hardcover. Ossi Hiekkala made this very nice cover illustration to go with it, but the book never came out, due to many reasons. I can't really tell you how sorry I'm for this.

Joe Gores: Interface

After reading for years praises for Joe Gores' 1974 novel Interface I decided finally to read it during the holidays. The book is a private eye classic, but not anything Chandler or Macdonald might've written. It's a tense novel in which the private eye is no hero. He works with the crooks, for the crooks, against the crooks. He's no tarnished knight.

The "he" of the novel is Neil Fargo, but he's not the main protagonist of the book. There's also one Docker, half-crazy and violent Vietnam veteran, who in the beginning kills two guys and steals an attache case full of drug money. This takes place already in the midst of events, as Gores doesn't give anything away for the reader. He also writes in a terse, behaviorist style that stays away from depicting what the characters are thinking at any given moment or what they are driving at with their actions. This made - at least for me - pretty difficult to get into the book. The rhythm started to feel easier in the middle of the book. There's a mesmerizing twist in the end, but even that's not very easily narrated.

I'd really like to read this in a good translation - it's never been translated in Finnish, I don't know why (some other books by Gores have been) -, but somehow I don't think that's gonna happen. Still, a very good book that comes highly recommended.

Friday's (or actually Saturday's) Forgotten Book: Victor Gischler: Go-Go Girls of the Apocalypse

Back in the days when I was planning and editing the short-lived paperback series of the Arktinen Banaani publishers one of the manuscripts I was sent was Victor Gischler's Go-Go Girls of the Apocalypse. I didn't read it at the time, because it seemed obvious from the start that the series wouldn't continue for long. I'd read Gischler's Vampire A-Go-Go and enjoyed it, but thought it wouldn't fit the paperback line easily; here's my blog post on the book. The manuscript of Go-Go Girls of the Apocalypse I'd printed out came up when I was cleaning my desk before the holidays and I decided I'd finally read it, but instead of reading the book from the printed sheets, I ordered a copy from a web store.

I'm glad to tell you that Go-Go Girls of the Apocalypse (GGGOTA) is a very good book. It's funny, exciting and violent, but there's also some warm humanity in the depiction of the protagonists. The set-up is good: one man has lived in a cage for nine years after the apocalypse (which is explained away in a short sentence, which is a good thing) kills three mysterious men he encounters in the woods and starts to think he should try to find out what's happened to the mankind. He also misses his wife he hasn't seen in nine years. Not all about their marriage is explained in the beginning and Gischler keeps important things away from sight till the second half of the book. The collapsed society of the near future is plausibly done, even though it's a mix-up of westerns and Mad Max. Gischler takes things over the top, but does that very well. GGGOTA is a grand adventure in the style of Huckleberry Finn. I would've gladly taken the book in with the Finnish paperback series, but alas the series didn't see the light of day after five books (and four that came out in hardcover - the format change didn't change a thing, even though we added two Finnish books in the bunch).


GGGOTA may not be to everyone's taste, but I liked the heck out of it. One point, though: I didn't like the scene with the crazy man-hating transsexual.

It seems Gischler managed to fund writing the sequel, but the book doesn't seem to be out as yet.

Didn't mean to do this as a part of the Forgotten Books meme, but here's a link to Todd's blog with the other links.

Merry XXXmas!

Happy Yuletide with a Vargas girl! 

Christa Faust: Choke Hold

Some of you may remember that I had a hand in getting Christa Faust's admirable paperback original Money Shot in Finnish in the all-too-short-lived paperback series of the Arktinen Banaani publishers. The book is very good and got some good reviews (some bad as well), but it sold zilch. So the sequel, called Choke Hold, never came out in Finnish.

Which is a pity, since Choke Hold is a very good book as well. Truth be told, I didn't read it until now. I can't explain how this came to be, but now it's finally read - and as I said, it's a great book. It has the same virtues as Money Shot: non-stop action, solid characterizations of fallible human beings, no-nonsense narration and witty banter both in dialogue and the voice of the protagonist, ex-porn actress Angel Dare. She's in witness protection program, but her past - told in Money Shot - gets back to her and she has to flee.

Choke Hold is a short novel, read almost in a jiffy, but in this kind of book that's a virtue of its own. Faust shows respectable professionalism in that she creates memorable characters in just a few lines and scenes of action. You'll remember some of her characters for a long time. The ending tells that Angel Dare's story is not over, which is a good thing, even though I'm not sure if I like the idea of series characters. There's enough grimness in Faust's climax that the next book is bound to start from scratch.

Friday's Forgotten Book: H. L. Lawrence: The Sparta Medallion

H. L. Lawrence wrote only two books. The other one, called both The Children of Light (1960), is the better-known of the two, since Joseph Losey based his Hammer-thriller The Damned on it - and it's a pretty good film, too, almost completely without the usual clumsiness of many Hammer thrillers. Lawrence's other book is called The Sparta Medallion and it was published one year after The Children of Light.

It's a pretty solid thriller, with a decidedly British bent on it. It stars a British geologist on his way to South America. He meets a strange German in the plane. The plane crashes however and only three people are left to survive: the geologist, the German and an air hostess. The German is killed in the jungle in mysterious circumstances, the air hostess is captured by the Indians and the geologist is left to survive in the jungle with the German's stuff, so when he's found he's thought to be the German. The man finds out soon there was something mysterious about the German and his belongings, and as he reaches Lima, several people are trying to kill him and take the suitcase that belonged to the German. The geologist however makes nothing out of the stuff therein.

It all comes down to a large, world-wide conspiracy that harks back to the Nazis, but Lawrence deals with it nicely in just 160 pages (I checked: the British first hardcover edition has 160 pages, the Finnish paperback has 139 pages). Nothing larger than life, just a nice solid thriller. It's a wonder Lawrence wrote nothing more. If someone has an explanation, I'd like to hear. Seems like he worked in advertising, maybe he ran out of time to do extra work.

More Forgotten Books here.

Charlie Williams: Graven Image

Wanted to read something short and catchy and reverted to my Kindle that I've used all too rarely for these past months. Charlie Williams's novella Graven Image had landed free on my Kindle just some time ago and I decided to read it.

And it's very good stuff, smooth but edgy, funny but smart, violent, brutish and noirish. It's the story of a fallen man who tries to make it good, but never succeeds. You want him to, even though he's not a good man, but you know from the start it doesn't end well for him.

I just kind of lost in the end. I really have no idea what went down. Maybe someone could explain it to me? I'm sure the fault is all mine, not Charlie Williams's.

Paul Denver: The Deadly Chance (1973)

Okay, I'm cheating here a bit. This is one of the books I'm including in my forth-coming book on British paperback crime fiction. I only browsed through the book while cycling at the gym. I think that's enough for this book, which isn't exactly quality stuff.

Paul Denver was one of the pseudonyms used by the British writer Douglas Enefer. He has no Wikipedia entry, but there's always Goodreads. I've read some of his books starring private eye Michael Power, they are mildly ok, mediocre but still entertaining enough. (Actually I first thought, over ten years ago when I was writing my first book, Pulpografia, that Denver was American.) Enefer also wrote some Cannon novelizations as by Paul Denver, and the titular The Deadly Chance is one of them. I believe the story went like this: when the bona fide American Cannon novelizations (written by Richard Gallagher) ran out, the British publisher World Distributors asked Denver to write more of them. And that's just what he did. I don't know whether Denver wrote on an outline or a screenplay of an episode or whether he just made it all up. I'll have to check that out.

The first problem is that Denver/Enefer can't write like an American. There's always a feeling someone's cheating. Denver/Enefer is clever enough though to keep descriptions at minimum. The dialogue also gives the Britishness of the author away, but that doesn't happen all that often in the Finnish translation (though it at times adds layers of its own). The story is a bit silly with its depiction of a small town drug scene, but there's a twist that might keep the reader interested. I say "might", because I skipped lots that went on interim. There's something tired about the book.

There are good British paperback crime novels out there, but this doesn't seem to be one of them. Included is the Finnish edition from 1976, published in a series that consisted only of TV novelizations.

Edit: I changed the publisher from Consul to World Distributors. They put out the Cannon novelizations written by Paul Denver. Consul published earlier paperbacks by Denver.