Published for the first time anywhere, in
celebration of the 100th anniversary of Mickey Spillane's birth, come two short
novels in the same book. "The Last Stand" (Spillane's final novel) is
preceded by "A Bullet for Satisfaction," an unfinished manuscript
that was finalized by Spillane's long-time collaborator Max Allan Collins. Both
stories are satisfying reads. The book has been published by the Hard Case Crime imprint from Titan Books.
Mickey Spillane is best known for his
character Mike Hammer, the fictional P.I. that redefined the "action
hero" and spawned countless imitators. Unlike private investigators before
him, Mike Hammer was a merciless executor of villains who slept with countless
beautiful, willing women. Sound like anyone we know? The first Mike Hammer
novel, "I, The Jury," was published in 1947, six years prior to Ian
Fleming's James Bond debut, "Casino Royale." It may be argued that if
Fleming was indeed James Bond's literary father, Spillane and Mike Hammer could
be considered, if not grandfathers, then influences. Fleming admitted to that
but he also had an influence on Spillane. The mid-1960s saw Spillane introduce
a new character, Tiger Mann, an agent for a private organization dedicated to
wiping out Communism. Tiger Mann lasted four novels.
If there is such a thing as a
"Tough-Guy-Renaissance-Man," Mickey Spillane was it. After a brief
stint in college he worked summers as a lifeguard and for a period of time was
a trapeze artist for Ringling Bros. and Barnum & Bailey Circus.Through a friendship with
fellow Gimbels department store employee Joe Gill, he began his career
as a comic book writer in 1940, eventually writing an eight-page story a day on
a diverse number of characters from different publishing companies, including
Captain Marvel, Superman, Batman and Captain America. He enlisted in the United
States Army Air Corps on December 8, 1941, the day after Pearl Harbor and
became a fighter pilot and flight instructor.
"I, The Jury" was written in just
19 days and sent off to publisher E. P. Dutton. Between the hardcover released
in 1947 and the subsequent paperback a year later, the novel sold more than 6
1/2 million copies in the US alone. A new career began, along with a
reinvention of the genre.
Mickey Spillane was also an actor. His first
leading role was given to him by John Wayne, who hired him in 1954 to appear
with Pat O'Brien and lion-tamer Clyde Beatty in the Wayne-produced film
"Ring of Fear," which Spillane, without credit, also co-wrote, although,
he did receive a white Jaguar as a gift from producer Wayne. He also starred as
his most famous creation, Mike Hammer, in the 1963 British produced film
"The Girl Hunters" for which he received favorable notices acting
alongside such veterans as Lloyd Nolan and future “Goldfinger†actress Shirley
Eaton. But perhaps for many of us of a particular age, he was most well known
for his appearances in the Miller Lite commercials as his alter-ego of Hammer
along with "Doll," Lee Meredith of "The Producers" fame.
First up in the book is "A Bullet for
Satisfactionâ€, which presents a very Hammeresque character in a Hammeresque
story. Told in Spillane's traditional first-person style, Detective Capt. Rod
Dexter is both the hero (anti-hero?) and narrator. The book opens with Dexter
investigating the murder of the politically connected Mayes Rogers. But no one
seems to be talking. In an argument with the D.A, he loses his temper; "Then
I'll just continue my investigation of the Rogers’ murder and go anywhere and
everywhere it leads me. And before I'm through with you, you'll be doing plenty
of talking". Not
surprisingly, he loses his job. He takes it on his own to continue the
investigation unofficially. The web spins, the clock turns and he finds himself
getting deeper and deeper into trouble as he comes closer to unraveling a
conspiracy. Of course he finds time for a dalliance, this time with the sister
of Rogers’ widow.
Much like Mike Hammer, Det. Dexter is a man
driven by vengeance. And much like Hammer, Dexter has a lot of luck with dames.
When he, along with one of the women he seduces are kidnapped, Dexter diagnoses
the situation thusly: "The other one grabbed Jean. She tried to break
away and he slapped her until she was still. He was dead - he just didn't know
it yet." A short time later: "Behind the wheel now, Bacon smiled
and let a low, rumbling laugh come deep from his throat. 'What have you got
against a little joy ride, Dexter?' He laughed again. So did the guy in the
back. Killing them would be a pleasure."
Yes, Mickey Spillane's work can be a guilty
pleasure but he never fails to satisfy. I guess that's why sales of his books
have now topped 225 million.
The lead story here, "The Last
Stand", is an entirely different type of book. First of all, it's told in
the third-person, not Spillane's typical style. There are no shoot outs.
There's no sex. There's a hell of a terrific story, though.
Joe Gillian is a pilot who, when his vintage
BT 13A airplane loses power, lands "in the middle of a desert that was
someplace in the United States where nobody would ever look to find him and, so
far, not even a vulture was eyeing him for supper."
Drinking a beer (Miller Lite, natch -
Spillane got a plug in) to pass the time, he meets Sequoia Pete, an Indian from
a local reservation who's "fossil hunting" but who has lost his horse.
They share a "Tastes great, less filling, right?"beer and try to find their way back to
Pete's hogan. The buddy movie begins.
The love interest shows up soon after in the
form of Pete's sister who is as brilliant as she is sexy and Joe finds himself
pulled into a whirlwind of trouble that involves criminals, G-men, the tribe
and a secret that could lead to incredible wealth and power.
Then there's Many Thunders, aka Big Arms. "They
call him Big Arms for a reason," Running Fox said softly. "He picks
up train wheels. He plays with tree trunks. Sometimes he lifts cars right off
the ground." He also considers Running Fox to be his woman and has
hurt many other men who he thought were a threat to his claim. And he's going
to fight Joe on Feast Day.
"The Last Stand" is a terrific romp
through the western desert of the US with colorful, well-fleshed characters and
a fine story. It's written cinematically. You can almost picture the people and
the world they inhabit.
I thoroughly enjoyed both these stories both
times I read them. I can't say this about too many books, but when I turned the
last page of "The Last Stand" I turned the book over, turned to the
first page and started to read it again.
Harold
Pinter was one of the groundbreaking playwrights that emerged out of the 1950s,
along with Samuel Beckett, Eugene Ionesco, and a handful of others. They changed
the landscape of what audiences could expect on the stage. Pinter’s first
decade of remarkable plays (and a few screenplays) fall into a category dubbed
by critics as “comedies of menace.†They feature (usually) working-class
Britons in situations in which an ambiguous threat lies underneath the surface
of an otherwise mundane existence. The subtext
is everything in a Pinter play. Known for the pauses in dialogue
(specifically designated in the scripts), Pinter was able to pack weighty
meaning in what is not said, more so
than perhaps any other modern playwright.
The Birthday Party was his first
full-length play (written in 1957, premiered in 1958) and is one of his
most-produced and well-known works—although probably not so much by anyone who
isn’t an aficionado of the theatre. You’re not going to see a production of The Birthday Party at your local high
school. The Homecoming (1967) won
Pinter the Tony Award, and, for my money, is his greatest work (it was
brilliantly filmed by Peter Hall in 1973 for the American Film Theatre
experiment). As a screenwriter, Pinter’s work on The French Lieutenant’s Woman (1981) and Betrayal (1983) received Oscar nominations, and he received the
Nobel Prize shortly before his death.
Young
filmmaker William Friedkin, who had yet to make The French Connection and The
Exorcist, had seen a production of The
Birthday Party in England in the early 60s and, by his account, was knocked
out by it. He personally met with Pinter to convince the elusive playwright to
allow him to adapt the play into a film. It took some doing, but finally Pinter
relented and wrote the screenplay himself. The picture was produced on a
shoestring budget, but Friedkin managed to employ several outstanding British
actors—many of whom were already a part of Pinter’s unofficial “repertory
company.â€
For
those familiar with Pinter, the results are outstanding. For everyone else—The Birthday Party could very well be a
bewildering experience.
Robert
Shaw stars as Stanley, a nervous boarder in a seaside village rooming house run
by Meg (Dandy Nichols) and Petey (Moultrie Kelsall). It may—or may not
be!—Stanley’s birthday. Enter two mysterious new boarders, Goldberg (Sydney
Tafler) and McCann (Patrick Magee), whom we know have an agenda with Stanley
but we’re never sure what it really is. We just know it’s a threat, and they
make things very uncomfortable for him… and the audience. Shaw and Magee,
especially, deliver riveting performances.
To
say more would be a disservice to the viewer and to Pinter, for much of the
power of The Birthday Party is its
mystery and ambiguity. Just know that by embarking on this journey you will be
entering a heightened realism in which characters never say what they mean and what
they don’t say means more. As an adaptation of Pinter’s play, Friedkin’s The Birthday Party is quite faithful and
potent.
Kino
Lorber’s new Blu-ray presents a 1080p transfer that looks fair enough for its
age and intentionally drab cinematography and setting. The nearly half-hour supplemental
interview with director Friedkin is fascinating—he relates the entire history
of how he got involved with Pinter and the film, and he throws in anecdotes
about the playwright and a few other characters (like Joseph Losey). Theatrical
trailers for this and other Kino Lorber releases—many related to Pinter—are
also included.
The Birthday Party will certainly be
appreciated by those of us who were theatre majors many years ago, and by the
art house cinema crowd. For others, the picture might be an acquired taste.