review), before this one. The Son is big, bold, self-assured and its few flaws are the result of too much ambition. American Rust reads like a novel created by a committee tasked with putting out a literary version of a multi-part New York Times piece on life in the Rust Belt. That Meyer is a good writer isn't in doubt; he writes sharp dialogue, his characters (the male ones, anyway) are rugged, edgy and painfully real, and his descriptions of landscapes, urban and natural, are superb. The problem here is that his novel doesn't have the ambition to be more than just a literary litany of what ails Pennsylvania's coal and steel towns.
The two central characters are Isaac and Billy, best friends, both barely out of their teens, and both unsure what to do with their lives. They live in Buell, PA, and like every other town in the region it's been economically devastated by the death of the US steel industry. Those who aren't unemployed are working for minimum wage or are living a semi-criminal life. Isaac steals some money from his crippled father and decides to hit the road to California by hopping freight trains. Billy, an ex-high school football star, opts to accompany him for no better reason than it seems like a good idea at the time. They are an unlikely pair; Isaac is a weedy brainiac and Billy is a jock with a penchant for violence. They've barely started on their journey when they have an altercation with three homeless men that ends with Isaac accidentally killing one of them by way of defending Billy. A few days later Billy is arrested and charged with the murder, which he doesn't deny in an act of self-sacrifice to give some meaning to his selfish and wasted life. Isaac, meanwhile, goes on the run. Isaac's and Billy's fractured families are drawn into the story, but it's at this point that the story runs aground. The novel is told from the POV of a half dozen or so characters, but what's missing is a compelling narrative. Once Billy's arrested the story drags its feet as we hear from the different characters and their stories of despair and struggle in the heart of the Rust Belt. The only tension or narrative momentum is provided by Billy's stint in jail as he awaits trial and faces the wrath of prison gangs. The writing in this section is excellent, but it could just as well have been dropped in from a standard crime fiction novel.
American Rust is brimming with sympathy for its beaten-down characters and the region that's become an industrial dust bowl. What's missing from this story, what makes the novel so frustrating, is that Meyer shies away from bringing politics into the story. The plight of people in the Rust Belt is entirely the result of a series of ruinous political and economic decisions made by politicians and corporate executives stretching back decades. Meyer barely hints at the factors that impoverished this region. It's akin to writing a novel set in Vichy France and not mentioning the war or the Nazis. The virtually apolitical outlook of the novel isn't unusual in American literature. European writers, especially in the crime fiction field, enthusiastically bring politics and big business into their stories. American writers can't seem to get past their nation's religious belief that the individual and the individualism is everything. They don't seem happy with the idea that a character can be a hopeless victim or puppet of forces beyond his control. Or perhaps they feel that the nuts and bolts of politics and high finance don't have a place in literature. Nineteenth century writers such as Zola, Balzac, and Trollope happily took on these subjects, but the only American of that ilk that comes to mind is Gore Vidal.
Meyer's novel ticks all the boxes when it comes to mentioning issues like drug abuse, unemployment, underemployment, municipal underfunding, poor healthcare, and so on, but without giving these issues any historical or sociological context, Meyer is doing a disservice to the very people he so clearly sympathizes with. The people in the Rust Belt know they've been victimized by politicians and big business, but in American Rust this catastrophe is almost presented as a natural disaster, something that happened for no rhyme or reason.
The committee feel to the novel comes from the inclusion of far too many stock characters and tropes from modern literary fiction. There's the suicide of a mother that damages the children; the Ivy League woman who can't resist the manly charms of Billy the jock; the embittered father, broken in body and mind; and the young, tortured genius who's just too sensitive for this world. And does anyone actually ride the rails these days? Last of all, it has to be said that Meyer is poaching on literary territory created and mastered by K.C. Constantine (my piece on hiin is here), who wrote a series of crime novels set in Pennsylvania's coal and steel country. Constantine, however, was not afraid to bring politics into the mix.
Wednesday, April 22, 2015
Thursday, April 9, 2015
The war begins the ruin, financial and otherwise, of the Hackendahl family. Gustav's horses are requisitioned, his eldest son joins the army, and the other children make life decisions that will take them far away from their father. One daughter, Eve, becomes a prostitute, the middle son a corrupt politician and speculator, the eldest daughter a nurse, and the youngest son drifts from school to long-term unemployment as Germany staggers through the post-war era of economic chaos and political upheaval. Sounds like fun, right? The genius of Fallada is that even though he's describing a cascading series of calamities, defeats and crises afflicting the Hackendahls and Germany, his writing never swerves into mawkishness or sentimentality. The tone throughout the novel is bitter amusement at the ways people can willfully and enthusiastically fuck up their lives and their nation. Fallada points out the political and social reasons that help push the Hackendahls over the edge, but he doesn't let the individual characters off the hook for some terrible personal choices. Fallada also allows for sheer, dumb, bad luck to enter into the story as it does in the real world.
As in his masterpiece, Alone in Berlin (my review), Fallada shows an uncanny gift for describing life on the edge. The physical and psychological pains of being unemployed and/or destitute are something he had first-hand knowledge of, and he writes about the subject with a kind of morbid joy, like someone attentively picking at a large and clingy scab. Fallada is telling the story of an entire epoch in German history and he does it through the prism of Gustav. The qualities that Gustav most prizes--stubbornness, pride, self-sacrifice, patriotism, obedience to authority--are the very ones that send his children off on orbits that mostly end in death and disaster. Gustav's prized qualities are also shared by the pre-war state, which makes his eventual decline all the more inevitable in the context of the post-war Weimar Republic.
Iron Gustav was originally conceived of as a film project, and there is a cinematic quality to certain parts of the novel that helps make it one of the most readable and, dare I say it, enjoyable tales of calamity I've ever read. It's hard to describe this novel without making it sound like a sure cure for happiness, but writing this incisive and energetic, even on a dismal subject, is always a pleasure.
Wednesday, March 11, 2015
The right-wing's vitriol and fear, both strongly flavored with racism, has been epic, and at several points during Obama's tenure I seriously wondered if a significant minority of Americans who have their hands on the levers of power wouldn't be OK with a coup. I also wondered why no one was rushing to remake Seven Days in May, a thriller about a cabal of Pentagon generals and a right-wing TV news host who conspire to overthrow the government before the President can sign a treaty with the USSR banning all nuclear weapons. Burt Lancaster as Gen. Scott is the head conspirator, Frederic March is the Prez, and Kirk Douglas plays an aide to Scott who uncovers the conspiracy. Probably due to its age, or perhaps because it's story was seen as too far-fetched, Seven Days in May never seems to make any lists of the all-time great conspiracy thrillers. It should. John Frankenheimer was the director, and he's a master at eliciting intense performances from alpha male actors. The discovery of the conspiracy and the President's attempts to derail it are effectively handled, the dialogue is intelligent, and its documentary-style look makes the whole story seem that much more probable.
The film isn't, however, entirely without flaws. A sub-plot involving Gen. Scott's ex-lover and some incriminating love letters could have been pruned, and the documentary look of the film sometimes veers into flat, made-for-TV visuals. Produced at the height of the Cold War, Seven Days in May shows the coup plotters enraged by a policy decision. They have no personal beef with the president, just his plan to scrap nuclear weapons. Contrast that with Obama, whose bitterest opponents have a visceral loathing for him that transcends matters of policy. The remake practically writes itself with Obama's fictional equivalent facing a hostile array of billionaires such as Donald Trump, Sheldon Adelson, the Koch brothers; the combined forces of talk radio and Fox News; and Christian fundamentalist elements in the armed forces. Denzil, are you paying attention? This is your next big role.
Thursday, March 5, 2015
The setting is England twenty or so years hence. A nasty fungus that normally infects ants has somehow jumped species and turned almost all of humanity (the English portion of it, anyway) into crazed
Like I said, I don't care for the zombie genre, but Carey is such a good writer he manages to get past my walking dead defenses. The appeal of the novel, aside from its well-crafted moments of violence and peril, lies in the character of Melanie. She's a sweet child with a love for all the new things the world has to show her, but at the same time she has to control the inner demon that wants to turn her into a remorseless killer. This inner conflict gives the novel its backbone and its most touching moments. The remaining characters are good, but they betray the novel's origins (as we learn in an afterword) as a failed screenplay. Caldwell, Justineau, Parks and Gallagher all fit neatly into their respective action movie character slots--cold-hearted scientist, vocal moralist, grizzled grunt, greenhorn grunt. Carey handles these characters very effectively, but at times they feel a bit too celluloid. The ending betrays its film roots with a scene that's very neat, that brings things full circle, but also makes no sense. That aside, M. R. Carey (the unimaginative pseudonym of Mike Carey) may have made me a convert to zombie fiction. but his best work remains the Felix Castor novels. And here's my piece on why I have a beef with the living, shambling dead.
Friday, February 13, 2015
How's the Pain? is about an elderly hitman, Simon, who's dying of cancer and has one last job to finish. He meets a simple-minded young man, Bernard, in a town in southern France andd hires him as a driver. Bernard is a Labrador retriever in human form: loyal, friendly, ready for anything, and eternally optimistic. Simon is a shark. He kills without remorse and for any reason. This sounds like a humorous, odd couple pairing, but it's anything but. Bernard immediately complicates what's left of Simon's life by befriending a slatternly single mother and bringing her along for the ride. The story takes a succession of left turns, usually involving death, and the ending is as bleak and sudden as a car accident. Moon in a Dead Eye strays out of the crime genre into surrealism. The setting is a newly-built trailer park in the south of France that caters to retirees. Two retired couples, a caretaker, and two single women are the only occupants of the park. What happens to them is best described as a series of psychological breakdowns of a surrealist nature that ends with multiple deaths and a forest fire. The novel's title is probably a nod to a famous scene in the film Un Chien Andalou, the surrealist classic by Luis Bunuel.
Both novels take a cold, pitiless look at aging and mortality. The elderly characters in these stories are chased to their graves by dementia, illness, sadness, and regret for things they did or didn't do in their lives. Garnier seems determined to remind his readers that not only is Death waiting for us all, but he's also in a bad mood and wants to take it out on us. As is usual in French crime fiction, the middle classes take a thorough kicking. This is particularly so in Moon in a Dead Eye, which charts the fragile, tenuous nature of bougeois dreams and respectability. In this way it's an interesting companion piece to two other Bunuel films, The Discreet Charm of the Bourgeoisie and The Phantom of Liberty. The inhabitants of the Les Conviviales trailer park descend into different kinds of madness, all laced with the blackest of humor. It's this quality that makes Moon in a Dead Eye more of a surrealist novel than a piece of crime fiction, although major crimes do take place.
Garnier's novels are so short they almost qualify as novellas, but his writing is so psychologically acute, his observations so sharp, he seems to pack more intellectual content into his novels than most "serious" writers manage in novels five times as long. Garnier's far from being your average crime fiction author, but if you like Jean Patrick Manchette, or you're just a fan of scorched-earth prose, then Garnier's your man.
Monday, February 9, 2015
Nicholson is Charlie Smith, an Immigration and Naturalization agent in L.A. who's pushed into joining the Border Patrol by his wife, Marcy, played by Valerie Perrine. Marcy wants the better things in life, especially a house, and argues that a new job in El Paso with the Border Patrol will give that to them. In parallel with the Smiths move to El Paso, we see Maria, a young Mexican woman, heading across Mexico towards the U.S. border with her infant child and teenage brother. They've been uprooted by an earthquake that's destroyed their village. Charlie hasn't been in the job long before he realizes that his job is essentially pointless; he grabs illegal immigrants as they sneak across the border, processes them, sends them back, and then catches them all over again the next day or the next week. He also learns that some of his fellow agents (Harvey Keitel and Warren Oates) are being bribed by the head of a local smuggling ring. Charlie figures he might as well make some extra money out of this pointless process and he agrees to go on the take. That ends almost immediately when he sees that the smugglers expect the agents to kill their competition. Maria is caught crossing the border and the smugglers steal her baby to sell it on the black market. Charlie befriends Maria and the film becomes a thriller as he tries to find her child and not get killed by smugglers and corrupt Border Patrol agents.
One startling aspect to The Border from a 2015 perspective is its sympathy for illegal immigrants. In these days of Mexican drug cartels and hot button topics like amnesty for illegal immigrants, it's hard to remember that Mexican immigrants were once viewed sympathetically. The film wears its heart on it sleeve by portraying all the American characters, excepting Charlie, as complete bastards. The Border Patrol is corrupt and uncaring, and the wives of Charlie and the character played by Harvey Keitel are shrieking, whining monsters of consumerism. With the exception of one oily smuggler, the Mexican are shown in a rather better light. The director, Tony Richardson, even manages to find a visual metaphor for this divide between the nationalities. Scenes on the Mexican side of the border show water being used to baptize babies, for washing up, and for drinking. On the U.S. side it's akin to a toy; something that only has value when it's used in water beds (Marcy's purchase of an expensive one precipitates Charlie's turn to the dark side) or pools. And then, of course, there's the river that divides the two countries and that features in the final shot of the film.
The Border still works well as a thriller, makes good use of its Texas locations, and reminds you that Jack Nicholson could turn in a subtle, restrained performance when he wanted to. What hasn't aged well is the treatment of the female characters. Maria is saintly and mostly silent, and the American wives are just out and out harridans, full stop. The job of proving that American culture is shallow is given to them and it's festival of sexism and misogyny. And any film that has Harvey Keitel and Warren Oates acting together deserves your full attention.
Tuesday, February 3, 2015
Eastwood's direction here ranges from efficient to perfunctory to downright lazy, but I'm calling out Hall and Cooper for a jaw-droppingly bad script that feels as though it was crafted by a committee comprised of PR people for the NRA and the Tea Party. The script does such a thorough job of ducking the hard and nasty truths about Chris Kyle and the war in Iraq that it should qualify as a fantasy film. Kyle's ghostwritten autobiography and subsequent revelations about his post-war life made it clear that he was a racist, a sociopath, and a congenital liar who fantasized about killing civilians. These qualities probably helped make him grade A material for the Navy SEALS, but why would a scriptwriter and producer go so far out of their way to whitewash a character who was, to put it mildly, halfway to being a serial killer? The script also cuts and pastes the historical record in order to suggest that Iraq was behind the 9/11 attacks. I'd say this kind of revisionism, and the film's fawning celebration of good ole boy machismo, is a calculated and cynical strategy to appeal to a specific and considerable American demographic; namely the kind of people who flesh out the ranks of the Tea Party; holiday in Branson, MO; fill the stands at NASCAR races; attend gun shows on Saturdays and pack the pews of megachurches on Sundays. This is the audience this film is tailor-made for. American Sniper glorifies, even beatifies, the values and myths they hold dear and does it with a rigorous disregard for the thorny inconveniences of irony, historical accuracy, psychological insight, and the moral and political consequences of military actions.
American Sniper also continues a tradition of mainstream Hollywood films portraying wars purely in terms of their effect on American soldiers and civilians. Vietnam films, even politically liberal ones such as Coming Home, had nothing to say about the two million Vietnamese killed in the war. The Hurt Locker, another film about the Iraq war, is very similar in tone and subject matter to American Sniper and also shares its lack of interest in the war's impact on Iraqis. If your only knowledge of Iraq came from those two films you'd be left with the idea that Iraq was entirely filled with terrorists and their civilian supporters. The combination of two wars and brutal economic sanctions between those wars have led to the deaths, by some estimates, of a million Iraqis and the displacement of millions more. According to Hollywood's moral accounting, none of that counts for anything compared to the temporary psychological stresses suffered by one soldier, Chris Kyle, and his wife.
Looked at purely from a cinematic perspective, Eastwood's direction is robotic. The plentiful action sequences are visually dull and lack tension, the boot camp section is an afterthought, and the scenes that show Kyle suffering from PTSD make it look like it's a condition akin to having a few too many coffees. I think at some point in pre-production everyone decided this best way to approach this film was to be non-judgmental and let the facts (according to Chris Kyle) speak for themselves. That's translated into a dull, witless, nasty film that might have worked better if it had paraphrased the title of an earlier, better Eastwood film: how does White Sniper, Black Heart sound?