Showing posts with label Ryan Gosling. Show all posts
Showing posts with label Ryan Gosling. Show all posts

26 February 2019

Fracture

by Paul D. Marks


A while back I did a post here about neo-noir films that I liked. One of them was Fracture, with Ryan Gosling and Anthony Hopkins.


Today I’m going to go into more depth about that film, which also stars David Strathairn, Rosamund Pike and Billy Burke:


No, not that Billie Burke, this Billy Burke:


And, you know I did that just to show pix of both and (hopefully get a laugh)…
Written by Daniel Pyne and Glenn Gers and, and directed by Gregory Hoblit, it’s one of those movies that I find myself watching over and over – I’ve seen it a few times now. And want to watch even more, but talk myself out of doing so so I can see something new or that I haven’t seen in a long time.
The movie’s opening credits roll over a sort of super hi-tech Rube Goldberg contraption which sets the tone for the twists and turns that will be delivered later. And the story revolves around Ted Crawford (Hopkins), a hotshot millionaire aerospace guy, and Willy Beachum (Gosling), a hotshot Deputy District Attorney in L.A., who wants to move into the big bucks world of corporate law. Crawford knows – we’re not sure how but he knows from before the movie starts – that his wife is having an affair with a man, who’s also an LAPD detective. He wants revenge. He wants to get away with it. And he has very ingenious plan to try to do so.


It’s hard to talk about a movie like this and not give away plot twists or spoilers, so I feel like I’m being a little vague. But the movie is a clever cat and mouse game between the very shrewd and brilliant Crawford and the equally good DDA. Two matched equals gunning for each other and isn’t that one of the things we’re told do in writing – the villain and the hero must be equal to each other. And, boy, are these two. It’s like Sleuth or Death Trap on a bigger canvas.
One of the underlying themes (and where I believe the title comes from) is finding the flaws or cracks in a person. Crawford tells Beachum the story of how he grew up working on his grandfather’s farm. His job was to candle eggs – check the eggs and look for hairline fractures and flaws and remove any bad eggs. Well Crawford did the job so well that none of the eggs made the cut. It’s a brilliant piece of writing – a clever way to have the audience see what a sharp and ruthless man Crawford is and how he can’t tolerate weakness in his unfaithful wife or the hapless police department or anywhere else. And how Crawford, like the predator he is, is able to find the flaws in the cops, the system and the DA – to find Beachum’s hairline fracture – and take advantage of his/their weaknesses:

Ted Crawford (Hopkins): You know, my grandfather was an egg farmer.

Willy Beachum (Gosling): This isn't going to be about your, uh, "rough childhood," is it?

Ted Crawford : No, I used to candle eggs at his farm. Do you know what that is? You hold an egg up to the light of a candle and you look for imperfections. The first time I did it he told me to put all the eggs that were cracked or flawed into a bucket for the bakery. And he came back an hour later, and there were 300 eggs in the bakery bucket. He asked me what the hell I was doing. I found a flaw in every single one of them - you know, thin places in the shell; fine, hairline cracks. You look closely enough, you'll find that everything has a weak spot where it can break, sooner or later.

Willy Beachum : You looking for mine?

Ted Crawford : I've already found yours.

Willy Beachum : What is it?

Ted Crawford : You're a winner, Willy.

Willy Beachum : Yeah. I guess the joke's on me then, isn't it?

Ted Crawford : [grinning]  You bet your ass, old sport.


Hopkins is of course magnificent in this role. And Gosling is likeable and earnest and believable. The casting of these two is a great move.
As with all movies, there’re some things in the movie that defy belief. But what movie doesn’t if you really look at it. If I was an attorney I could probably tear apart the courtroom scenes, but again, you have to suspend disbelief and go for the ride. So, as with all movies, you have to suspend your disbelief and enjoy the ride. And Fracture, for my money, gives a hell of a fun ride as these two antagonists jockey back and forth with one having the advantage and then the other.
I never get tired of watching them play the game and I always see something new each time I watch it that I didn’t notice before, even though I know the outcome. I rate it five out of five .50 cal BMG rounds straight up.


If you’ve seen the movie, I’d be curious to hear what you think – just don’t give away any spoilers. And if you haven’t and decide to check it out, I hope you’ll enjoy it even half as much as I do.

~.~.~
And now for the usual BSP:

The third story in my Ghosts of Bunker Hill series, Fade Out on Bunker Hill, appears in the March/April 2019 issue of Ellery Queen Mystery Magazine. If you like the movie Sunset Boulevard, I think you'll enjoy this story. In bookstores and on newstands now:



Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

21 August 2018

Casting Call

by Paul D. Marks

When I write a story or novel, I picture it as a movie in my head, as I’m sure many of you do. In fact, I don’t outline per se but I often write the first draft as a screenplay—more on this in a future blog. But today I want to talk about casting my stories. And since Broken Windows, the sequel to my Shamus-winning White Heat is coming out on 9/10, I’ll start with that.

Jack Nicholson
I’m an “old movie” guy, so I often think of classic movie stars for parts. But since Humphrey Bogart is at that great café in the sky I don’t think he’s the ideal actor for the lead right now. But there was a time when I would often either picture Bogart or Jack Nicholson for many of my leading male characters. When I’d write the characters I’d hear their voices in my head. Once, while working on a script with a producer he suggested Harrison Ford and Michelle Pfeiffer for the leads and who was I to argue with that, especially since he’d worked with them and it was a real possibility. Ultimately, that didn’t get made. But it was nice while it lasted.

So in my mind I might visualize Jack Nicholson or Humphrey Bogart delivering a line of dialog but I can't write that in my novel. I have to convey that feeling, the essence of that character without writing "now imagine Jack Nicholson saying this line." But it does help to have that visual image in my mind as I write dialogue  and description and describe the actions.

Now to my perfect casting:

Broken Windows is set mostly in Los Angeles in 1994, during the fight over California’s notorious anti-illegal alien Proposition 187—a precursor to the immigration fights going on in the country today. While the storm rages over Prop 187, a young woman climbs to the top of the famous Hollywood sign—and jumps to her death. An undocumented day laborer is murdered. And a disbarred and desperate lawyer in Venice Beach places an ad in a local paper that says: “Will Do Anything For Money.”—Private Investigator Duke Rogers, and his very unPC partner, Jack, must figure out what ties together these seemingly unrelated incidents.

Ryan Gosling
So, who would I cast in the main parts? Of course this changes as time slips by. My ideal casting for Jack would have been Nick Nolte in his prime. But these days, I’m thinking John Cena or maybe Michael Fassbinder or Christian Bale. And for Duke, Mark Wahlberg or Ryan Gosling. Maybe Jeremy Renner, as Duke’s not a big dude. For Eric, the disbarred lawyer, Amy suggested Robert Downey, Jr., and he would be perfect. Maybe a little older than the character, but those things often change from book to movie. Eric’s girlfriend, Lindsay, AnnaSophia Robb.

AnnaSophia Robb
For the mysterious Miguel, who responds to the lawyer’s ad to do anything for money, maybe Antonio Banderas. Possibly Edward James Olmos or Andy Garcia. And for Marisol, who sets the plot in motion when she asks Duke to investigate the murder of her brother, Catalina Sandino Moreno. For Myra Chandler (guess who that’s an homage to), an LAPD detective that Duke and Jack run into in both Broken Windows and White Heat, and who’s a bit more sympathetic to them than her partner, Haskell, I’m thinking Jennifer Aniston. Why not? It’s my fantasy. And for Susan Karubian, the woman who jumps from the Hollywood sign, I picture Mila Kunis, although I would hate to kill her off so early in the film….

Catalina Sandino Moreno

Jennifer Aniston

Jesse L. Martin
Ghosts of Bunker Hill series: A series of short stories that have appeared in Ellery Queen. Howard Hamm is the lead detective in this series of stories that take place in the Bunker Hill and Angelino Heights areas (as well as other neighborhoods) of L.A. Howard “inherits” a lovingly restored Bunker Hill Victorian that’s been moved to Angelino Heights when its owner and his best friend is murdered. He’s a modern, high tech guy who, initially lives in a high rise condo on Bunker Hill. In fact, maybe where his current house formerly lived before being moved. There’s only one person I ever thought of when writing this part: Jesse L. Martin of Law & Order fame. When I’m writing Howard, I’m thinking Jesse. There’s a female cop that Howard comes across on cases—and off—Detective Erin Bowen. I think Natalie Portman, with darker hair, would be perfect for her.




***

Casting is a strange thing and truly an art. If you’ve ever seen different actors in the same part you know what I mean. One person brings something that the other doesn’t. Sometimes it’s better and sometimes not. And sometimes it’s just that we’re used to someone in a part, so if someone else takes it over it’s not that they’re better or worse, just different. At the same time, a good or bad—or just the right—actor in a part can make all the difference for a character.

Who would you cast for your tales, and why?

~.~.~

And now for the usual BSP:

Broken Windows releases on September 10th and is available for pre-order now at Amazon, Barnes & Noble and Down & Out Books.


Please join me on Facebook: www.facebook.com/paul.d.marks and check out my website www.PaulDMarks.com

19 September 2017

The Terror of Daylight – Neo Noirs for a Rainy Day

by Paul D. Marks

Fall’s coming and winter’s sliding in behind it. So I thought I’d talk about some rainy day movies for crime writers and readers: neo noirs, mysteries and thrillers. All movies I’ve seen more than once, some many times, and never get tired of. All of which I like and would recommend to anyone who’s into these genres. All of which I own in one form or another. And I know I’ll have left out some of your faves and even some of mine, but I have to leave some for another list some time down the road. And I know you won’t agree with some of my choices, but that’s what makes a horse race.

Many of these flicks involve the terror of the everyday, of the mundane. The “terror of daylight” as some have put it.

So here’s the list as they popped into my head, in no particular order:

Pacific Heights, with Michael Keaton, Melanie Griffith, Matthew Modine. I’m not a big fan of horror movies these days. They’re just too predictable for my tastes, plus they’re more shock fests than true horror. But to me, while probably technically a neo-noir, Pacific Heights is a true horror movie. Why? Because it’s the kind of thing that can happen to anyone. We’ve all probably experienced that bad neighbor (or tenant) or the guy who lives in the apartment upstairs and makes noise at all hours of the night. Well if those things bug you, you’ll be creeped out by this movie.


Malice: with Alec Baldwin, Nicole Kidman, Bill Pullman. Written by Aaron Sorkin of West Wing fame. There’s just something about this movie that I really like. I think it’s very clever, good twists. Engaging cast. I don’t want to give away too much but you think this is going to be a straightforward serial killer mystery, but it spins off in a totally unexpected way.


Masquerade, with Rob Lowe and Meg Tilley. Part love story, part crime movie, but very noir in the sense that everyone is doomed, even as they’re redeemed.


Body Heat, with William Hurt and Kathleen Turner, written and directed by Lawrence Kasdan. Double Indemnity for the 80s, and today. I recently posted about this movie on FB and found some people hate it, so I guess to each his own, but for me personally this is the perfect updating of noir to a more recent (if you can consider the 80s recent) era.


The Firm, The Client, The Rainmaker, Pelican Brief: A John Grisham Quartet, starring respectively: Tom Cruise, Susan Sarandon, Matt Damon, Julia Roberts/Denzel Washington. All of them really good movies. And, while not neo-noir really, these also help satisfy that craving for crime, suspense darkness and evil and are entertaining at the same time.


Derailed, with Clive Owen and Jennifer Aniston, based on the novel by James Siegel. I didn’t like the movie when it first came out, but it’s grown on me. For whatever reasons, even though I didn’t like it the first time I saw it, I gave it another shot. And another. And each time grew to like it more. A hapless family man is lured into a trap by lust – a very noir theme. And the bad guy (played to rotten perfection by Vincent Cassel) is so vicious and cruel, it makes my skin crawl every time.


The Lincoln Lawyer, based on the novel by Michael Connelly. Matthew McConaughey playing a sleazy lawyer – what’s not to love? When I first read the Connelly book this is based on, I wasn’t a big fan of the character, but the movie gave me a new appreciation for him. While not classically noir, you could make a case for the Ryan Philippe character as an homme fatale.


Fracture: A clever, intelligent psychological thriller. Great twists in this one. Anthony Hopkins and Ryan Gosling play an intriguing cat and mouse game. I love this one so much I bought the download off Amazon so I could watch it multiple times.


Final Analysis, with Richard Gere, Kim Bassinger and Uma Thurman. Very Hitchcockian with a twist of noir, reminiscent of Vertigo. Another one I could watch over and over.


Drive: Ryan Gosling as a movie stunt driver, who moonlights as a getaway driver for crooks. But that’s just the plot. The “story,” as one development exec used to tell me is something else altogether. The film has an urban fairytale quality that  makes it very memorable.


The Big Easy, with Dennis Quaid and Ellen Barkin. Not noir, but fun to watch. After seeing this movie I went out and bought a bunch of Cajun/Zydeco music CDs.


Devil in a Blue Dress, starring Denzel Washington, as Walter Mosley’s Easy Rawlins. The book is one of my faves and, of course, since it’s the first Easy book the one that turned me onto the character. I didn’t love the movie the first time I saw it, but it’s grown on me over the years in subsequent viewings. And it plays off the noir theme of the soldier returning home after the war to a very changed country.


Double Jeopardy / Kiss the Girls: Ashley Judd double feature. Both are great fun to watch. Ashley Judd at her best in these kind of action flicks. Instead of playing the femme fatale here, she is our every “man” noir hero/heroine, who takes matters into her own hands.


Angel Heart, with Mickey Rourke, Robert De Niro, Charlotte Rampling. I know people who claimed to have figured it out before the leader even finished spooling through the projector. I guess I’m not that bright. But definitely a good twist. Very dark. And a beautifully shot film. This was when Mickey Rourke still had a promising career.


John Dahl triple header: The Last Seduction, Kill Me, Again, Red Rock West, starring respectively: Linda Fiorentino, Val Kilmer, Nicholas Cage. All great neo-noirs based on the classic formula, with modern twists. I wish Dahl would make more.



The Grifters, The Getaway: Noirs based on Jim Thompson novels that start with G. And it must be noir if it’s Jim Thompson, right? Starring John Cusack and Angela Huston in the former, Alec Baldwin and Kim Bassinger in the latter.



And let’s not forget L.A. Confidential, based on James Ellroy’s 3rd novel in the LA Quartet. I loved the book when it first came out. I loved the movie when it came out. I re-read the book – I think I love the movie more! With Kim Bassinger, Russell Crowe, Guy Pearce.

So that’s my starter list. What are some of your fave neo-noirs?

***

And now for the usual BSP.

I’m happy to say that my short story “Bunker Hill Blues” is in the current Sept./Oct. issue of Ellery Queen. It’s the sequel to the 2016 Ellery Queen Readers Poll winner and current Macavity Award nominee “Ghosts of Bunker Hill”. And I’m surprised and thrilled to say that I made the cover of the issue – my first time as a 'cover boy'! Hope you’ll want to check it out. Available at Ellery Queen, newstands and all the usual places.




My story “Blood Moon” appears in “Day of the Dark, Stories of the Eclipse” from Wildside Press, edited by Kaye George. Stories about the eclipse. Twenty-four stories in all. Available on Amazon.



11 October 2016

Killing Me Softly With Your Song…or Anything Else You Have Handy

by Paul D. Marks

As mystery/thriller writers, we know there are certainly a lot of ways to kill someone. As Kid Shelleen (Lee Marvin), says in “Cat Ballou”: “Guns, bottles, fists, knives, clubs - all the same to me. All the same to you?”

But let’s face it – been there, done that – and these are pretty mundane and ordinary ways to off someone. If you want to kill someone in an interesting and unique way, especially if you’re a character in a movie or book, you have to let the creative juices flow, like Herb Hawkins (Hume Cronyn) and Joseph Newton (Henry Travers) do in Hitchcock’s Shadow of a Doubt (even if not in script format or what ended up in the film):   

     
Herb (Cronyn): You folks are getting pretty stylish. Having dinner later every evening.
Joe (Travers): Ha ha!
Herb:  l-l picked some mushrooms.
Joe: You don't say?
Herb: Mushrooms mean anything to you, Joe?
Joe: I eat 'em on my steak when I'm out and the meat's not good enough as it is.
Herb: If I brought you some mushrooms, would you eat 'em?
Joe: Suppose I would. Why?
Herb: Then I've got it. The worst I'd be accused of would be manslaughter. Doubt if I'd get that.   Accidental death, pure and simple. A basket of good mushrooms and...two or three poisonous              ones.
     Joe: No, no. Innocent party might get the poisonous ones. I thought of something better 
     when I was shaving. A bath tub. Pull the legs out from under you, hold you down. 
     Young Charlie (Teresa Wright): Oh, what's the matter with you two? Do you always have to 
     talk about killing people?
     Joe: We're not talking about killing people. Herb's talking about killing me, 
     and I'm talking about killing him.
     Mrs. Newton/Emmy (Patricia Collinge): Charlie, it's your father's way of relaxing.
     Young Charlie: Can't he find some other way to relax? Can't we have a little peace and quiet 
     without dragging in poisons all the time? 
     Mrs. Newton: Charlie! She doesn’t ' t make sense talking like that. I'm worried about her.

***

Of course, there’s always poison. Sure it’s been done before, but what hasn’t. So maybe get creative with it like this bit from The Court Jester:

    Hawkins (Danny Kaye): I've got it! I've got it! The pellet with the poison's in the vessel with the             pestle; the chalice from the palace has the brew that is true! Right?
    Griselda (Mildred Natwick): Right. But there's been a change: they broke the chalice from the                 palace!
    Hawkins: They *broke* the chalice from the palace?
    Griselda: And replaced it with a flagon.
    Hawkins: A flagon...?
    Griselda: With the figure of a dragon.
    Hawkins: Flagon with a dragon.
    Griselda: Right.
    Hawkins: But did you put the pellet with the poison in the vessel with the pestle?
    Griselda: No! The pellet with the poison's in the flagon with the dragon! The vessel with the pestle        has the brew that is true!
    Hawkins: The pellet with the poison's in the flagon with the dragon; the vessel with the pestle has          the brew that is true.
    Griselda: Just remember that.

Uh, okay.

***

So let’s talk about some creative ways to kill someone, though this list will hardly be complete.
And here’s a starter list of many fun, fab and creative ways to die as found in movies:

Poison string – James Bond
Light Saber – Star Wars
Captive Bolt Pistol – No Country for Old Men
Painted to death (gold, of course) – Goldfinger
Odd Job’s Hat – Goldfinger / James Bond
Chain Saw – American Psycho and, of course, The Texas Chainsaw Murders
Infection – Night of the Living Dead, V for Vendetta
Getting stomped to death by Ryan Gosling – Drive
Getting shower rodded to death by Ryan Gosling – Drive
(I could just list all the killings in Drive here and have a pretty good list…)
Getting stabbed to death by an ear of corn – Sleepwalkers
Wood chippered – Fargo
Getting raked to death - Halloween 5: The Revenge of Michael Myers
Getting skulled by a Louisville Slugger – the Untouchables
Getting blasted from a cancer gun – Videodrome
Getting run over by Bozo – Toxic Avenger
Sliced and diced and decapitated by flying glass – The Omen
Getting impaled by a stalactite – Cliffhanger
Luca Brasi getting garroted in The Godfather
Steak-boned to death – Law Abiding Citizen

And let’s not forget the multitude of “fun” deaths in the Saw movie series with its mélange of creative and grisly deaths: http://sawfilms.wikia.com/wiki/List_of_deaths

This list of creative mayhem is by no means exhaustive nor complete. It’s barely the tip of the iceberg – in fact, I’m sure someone was iceberged to death in the movies…like in Titanic.

             
Oscar Wilde puts it pretty well in The Ballad Of Reading Gaol:

Yet each man kills the thing he loves,
By each let this be heard,
Some do it with a bitter look,
Some with a flattering word,
The coward does it with a kiss,
The brave man with a sword.

So what are some your favorite ways to off someone that you’ve read about or seen in a movie? Hmm…

***

Please check out my story Deserted Cities of the Heart in Akashic’s recently released St. Louis Noir.




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