Grimm P.I. Tales: The early work of Dennis Lehane

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A decade ago, “Mystic River” became a best-selling, highly praised novel for its author, Dennis Lehane, and changed the way the public perceived him – and maybe the way he perceived himself.

His previous books, revolving around the Boston private investigator duo of Patrick Kenzie and Angie Gennaro, were met with awards and acclaim. The first, “A Drink Before the War,” won the Shamus Award, one of the highest accolades for published mysteries. But the acclaim that greeted “Mystic River” elevated Lehane out of the ranks of typical crime novel writers.

Too bad.

While I liked “Mystic River” and, to some extent, “Shutter Island,” which came out two years later, in 2003, it is Lehane’s early work, the gritty and often downbeat series of novels about Kenzie and Gennaro, that remain my favorites.

A few weeks ago I mentioned that I was indulging in my irregular habit of re-reading the Patrick and Angie books. Along with other summertime reading, I’ve re-read the first three books in the series and thought I’d give you a quick rundown.

By all means, if you read the books – and they’re very rewarding, if very dark – read them in order.

“A Drink Before the War,” published in 1994, opened the series in fine form with Kenzie and Gennaro running their PI office out of a borrowed bell tower in a Catholic church in the blue-collar Dorchester neighborhood. Yes, I know, it sounds gimmicky, like something out of a TV show, and there’s a bit of a formula feel to the setup.

But “A Drink Before the War” is anything but a predictable, feel-good story, as Kenzie and Gennaro are hired by a group of politicians to find a statehouse cleaning lady who’s disappeared with some important documents.

Before long, the two find that everything isn’t what it seems, of course. Class and race tensions thoroughly permeate the action.

The book introduces not only the PIs but the cops in their neighborhood, the criminals – including Bubba, lifelong friend of Patrick and Angie and one of the most dangerous men to walk the streets of Boston – and Phil, Angie’s husband.

While Patrick is a smart ass not unlike Robert Parker’s Spenser – albeit with a dark, dark background – Angie is a complicated character. Phil is a wife-beater. He was once one of Patrick’s closest friends. Now Patrick has to tread lightly around Angie’s awful marriage out of fear of what might happen. Angie, like many victims, doesn’t know how or even seem to want to break free from her hellish life. Patrick has learned the hard way that he can’t interfere.

Before the book ends, Patrick and Angie will jump into harm’s way to right wrongs and expose the truth.

If “A Drink Before the War” seemed dark, the second Lehane book, 1996’s “Darkness, Take My Hand,” proved to be even more so.

When a sadistic killer begins plying his trade around their neighborhood, Patrick and Angie find themselves drawn into a mystery that dates back decades, to separate but equally unholy alliances among killers and among neighborhood vigilantes.

Unlike many crime thrillers, “Darkness, Take My Hand” emphasizes the toll that fear and violence takes on the lives of people who live with it every day.

The story climaxes in one of the most harrowing showdowns I’ve ever read.

Lehane’s third Kenzie and Gennaro story, “Sacred,” is probably the weakest of the original series of books but still a good read. Published in 1997, “Sacred” finds Patrick and Angie hired to find the missing daughter of one of New England’s richest men. It’s a departure from their typical story of Boston’s meanest streets and, to its debit, really could be about any male-female private eye partnership.

I haven’t yet dipped back into Lehane’s fourth book and the best-known of his non-“Mystic River” books, “Gone, Baby, Gone.” The 1998 book – made into a pretty good movie in 2007 by director Ben Affleck – might be Lehane’s best. I’ve read it several times and I’m looking forward to reading it and its 1999 follow-up, “Prayers for Rain,” in the coming weeks. When I do, I’ll note it here.

I’ll also talk about how Lehane’s writing goals seemed to change after “Mystic River” was a hit in 2001 and why his work has been very different since.

 

 

 

‘Close Encounters’ and Muncie, my hometown

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There’s been a long history between my hometown, Muncie, Indiana, and Hollywood.

Sometime I’ll do a fairly comprehensive look at the many mentions of Muncie in movies and TV shows ranging from the 1960s “Tom Slick” cartoons to “The X Files” and “Angel.”

In the meantime, though, I wanted to note the special relationship between Muncie and Steven Spielberg’s “Close Encounters of the Third Kind,” the 1977 UFO thriller. The movie was airing on SyFy this afternoon and I got sucked into watching some of it.

The movie wasn’t filmed here in Muncie, although there was discussion of that happening. Local officials and Columbia Pictures apparently negotiated for a while and rumors swept through town that the city bought new police cars specifically to seal the deal. It didn’t happen, although the city got some publicity from having the first half of the move set locally.

If you haven’t seen it, Spielberg’s movie is about the the first meaningful contact between humans and aliens. The movie opens with a team of scientists, led by Lacombe (Francois Truffaut), discovering mint-condition World War II-era fighter planes in the Mexican desert.

The scene moves to Indiana as we see air traffic controllers in Indianapolis communicating with the pilots of two airliners that have near-misses with some unexplained object. Then we’re in Muncie – the on-screen title still gets me a little goose-bumpy – at a rural farmhouse where single mom Jillian runs into the woods to find her toddler son, Barry, who has happily followed something out of their house and into the dark.

In the suburban Muncie home of Roy Neary (Richard Dreyfuss), a power company lineman, Neary is trying to persuade his kids to go to see “Pinocchio,” the re-issue of the Disney classic. They’re more interested in playing miniature golf, however.

Before long, Neary is sent to investigate the cause of a power outage and his truck is buzzed by low-flying UFOs. He gives chase along with half the Muncie police department. Thus begins his obsession. It is one he shares with dozens, maybe hundreds of others.

Some random thoughts, from a Muncie-centric perspective:

The Neary house, while looking like a shambles, has some authentic touches, including some Ball State University merchandise.

At one point, radio scanner traffic says Harper Valley. There’s no Harper Valley around Muncie. But if there was, they would have a dandy PTA, I bet.

There is a Cornbread Road – where Neary is sent to work on a power outage – and you can bet it was chosen for inclusion in the movie because of its quaint name.

The McDonald’s and Shell station look just right for the period.

The hillbillies – softly whistling “She’ll be coming around the mountain when she comes” as they wait for the UFOs to appear – are a nice touch but one that caused a lot of consternation at the time among local people who didn’t want to be represented onscreen by hill folk. Especially when one of them, played by character actor Roberts Blossom, says, “I saw Bigfoot once.”

There’s no toll road right outside Muncie, and certainly no nearby toll gate that divides Indiana and Ohio.

The movie got the police emblems on the patrol cars right, though.

There’s not much in the way of hillsides around Muncie, and certainly no mountainous overlook that cops and Neary could watch from, first as the UFOs fly over and then as lights come back on below.

The look of The Muncie Star wasn’t quite right, although its gargantuan size was. Holy crap, newspapers were big back then.

Neary’s “Ball U” T-shirt was a nice touch. I had one right about that time. They were a slightly naughty hit.

On the second night, when a newly fired Neary and a crowd of Muncie residents go back to the hill to wait for the alien ships to reappear, the collective mental seed that compels them to seek out the UFOs is destined to take them out of Muncie.

By the time Neary becomes obsessive about his encounter and begins building replicas of Devil’s Tower, Wyoming – scene of the ultimate Close Encounter – in his mashed potatoes and in a huge mound of dirt in his family room, his family bails on him and so, frankly, did I.

“Close Encounters” is a terrific movie that builds to a touching climax. I can’t help but be more interested, however, in the early scenes and what they indicate about my town.

 

The Great Newspaper Comics Challenge Part 19

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Because we’ve shamefully, woefully neglected our look at what’s funny in the funny pages for too long. So here goes!

“Classic Peanuts” finds Lucy railing at Charlie Brown and telling him to put up his dukes and fight. Chuck raises one hand and hits Lucy in the nose. He feels so guilty he goes to his psychiatrist – Lucy, of course – and when she punches him, he happily announces, “I don’t feel guilty any more. Psychiatry has cured me!” There are so many levels to this comic – criticism of psychiatry, the male/female dynamic, etc – but I think my favorite element is the simple little “BOP!” when Charlie Brown’s fist comes into contact with Lucy’s nose. That and the little stars that shoot out.

“Baby Blues” made me laugh. One of the kids reports to mom that Wren, the baby, is crying. The mom asks if she seems hungry or needs a diaper change or other issues. When those are discounted, mom asks the kid to go to the baby and “give her some encouraging words.” Those words? “Man up, Wren.”

“Garfield” offers proof the strip isn’t reprinting old strips like “Classic Peanuts.” Garfield and Odie are sitting at a table, taking turns buzzing and vibrating. “Stop texting each other,” Jon orders.

Finally, in “The Family Circus,” the kids are watching TV and mom is putting food on the table. “Yeah, okay, Mommy. We’ll be there as soon as we finish watching this commercial.” And the joke is?

 

 

 

The greatest movies ever shown?

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A couple of days ago, Sight and Sound, the prestigious magazine published by the British Film Institute, re-issued its list of the greatest movies of all time and made some headlines with a change at the top.

“Citizen Kane,” Orson Welles’ undeniably great 1941 story of a newspaper tycoon, has long set atop the list, which is made up through a poll of cinema experts. But the new list moved “Kane” down a notch in favor of “Vertigo,” Alfred Hitchcock’s 1958 psychological thriller.

My tastes are more pedestrian than those BFI and Sight and Sound poll, obviously. Of the top 10, I’ve seen “Citizen Kane,” “Vertigo,” “2001” and “The Searchers” – my foreign film experience has been limited, frankly to Kurosawa classics and the more offbeat genre outings – and agree those all belong pretty near the top.

But “Vertigo” the greatest movie of all time?

There are different measures of great, obviously. But I think I’d include other Hitchcock films, notably “Strangers on a Train” or “Rear Window,” as avidly as I’d include “Vertigo.”

Anyway. People love lists and love to debate the greatest movies, music, books and other works of art.

Ultimately, it’s all personal. I’m not going to complain one bit if you want to include “The Empire Strikes Back” at the top of your personal list. It would be pretty high on mine too.

The new top 10, according to Sight and Sound:

1. “Vertigo”
2. “Citizen Kane”
3. “Tokyo Story”
4. “La Regle du jeu” (“The Rules of the Game”)
5. “Sunrise: A Song of Two Humans”
6. “2001: A Space Odyssey”
7. “The Searchers”
8. “Man with a Movie Camera”
9. “The Passion of Joan of Arc”
10. “8 1/2″

Happy birthday ‘The Shadow’

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It’s the birthday of our favorite sinister, scary pulp magazine hero. This week in 1930, the character of “The Shadow” was created to serve as narrator of the “Detective Story Magazine” radio show.

On July 31, 1930, “The Shadow” made his debut on the air. The character caught on and publishing house Street and Smith hired Walter Gibson to write a series of pulp magazine stories that debuted in April 1931. He wrote under the name Maxwell Grant.

The character had a fabulously complicated story and history – even multiple secret identities – and enjoyed decades in the pulps and on the radio.

The character has been brought back periodically for comic books, which is appropriate since much about him – his fearsome reputation among crooks, his long cape-like cloak – influenced other famous characters like Batman, not unlike Doc Savage influenced Superman.

Besides a series of movies in the 40s, the character got a big-screen treatment in 1994 in a movie starring Alec Baldwin. It wasn’t bad but was far from a hit.

I’ve noted before my admiration for “The Shadow.” While the pulp stories are fairly typical of their time – and maybe not as good as the best of “Doc Savage” or “The Avenger” – the images of the character are undoubtedly iconic.

So happy birthday Shadow!

 

Sneak peek: ‘Dallas’ gets twisty with ‘Family Business’

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Always a master of understatement, Bobby Ewing at some point during “Family Business,” Wednesday night’s episode of “Dallas,” says, “This family’s in trouble.”

Yes, Bobby. It’s been that way since the 1970s and frankly we wouldn’t have it any other way.

I was a little skeptical when TNT announced its continuation of “Dallas.” Various prequels and sequels to the great nighttime soap have been attempted before, including an “early years” TV movie featuring the younger days of Jock Ewing, Ellie Farnsworth and Cliff Barnes. None had absolutely clicked and none was very successful.

But TNT’s series, set in modern day a couple of decades after we last saw the Ewings, works and works very well.

I don’t usually get to see TV shows in advance, but I got my hands on the last couple of episodes of the season. I’m here to tell you, darlin’, they’re good. They very well might rank up there, purely in terms of soapy storyline and good scenes for characters, with the best of the old show.

If you’ve been watching, you know that cousins John Ross and Christopher (Jesse Metcalf and Josh Henderson), the sons of J.R. and Bobby, have been struggling through various personal dramas, especially their dealings with the women in their lives, maid’s daughter Elena (Jordana Brewster) and good-girl-with-a-secret Rebecca (Julie Gonzalo). This has played out in front of a backdrop of struggle over control of South Fork Ranch and the possibility of drilling for oil on the land.

In Wednesday’s next-to-last episode of the season, the cousins also turn to family doings and business dealings as a Ewing has a health crisis and the cousins consider the unthinkable (at least for their fathers): Working together.

If it sounds like there’s a lot of emphasis on the younger Ewings, that’s true. But the older generation really gets all the best moments.

One gets the aforementioned health crisis, while another meets a career turning point. There’s blackmail and skullduggery aplenty.

“Dallas” always worked best when it got a lot of the Ewings together under one roof, whether it was Southfork Ranch or the Ewing Oil office. Wednesday’s episode does just that and everything really clicks, whether it’s downright touching scenes between J.R. (Larry Hagman, who’s wonderful) and John Ross or J.R. and Bobby (Patrick Duffy).

There’s also good stuff for Bobby’s wife, Ann (Brenda Strong), and J.R.’s ex, Sue Ellen (Linda Gray).

“He called me wife number three,” an irritated Ann says to Sue Ellen after an encounter with J.R. Sue Ellen allows that she knows: She gave J.R. a good slap in return.

The ratings for the show have been good and it’s already been renewed for a second season. The unlikely success of the series must have been on the minds of the writers when they had J.R. – who else – say, “I’m back, honey, and I’m gonna be bigger than ever.”

No big spoilers for this or the season finale, but there are some fun twists and turns in the stories and big changes for the characters.

And somebody ends up on the unlucky end of a gun.

Check out “Dallas” and its next-to-last episode of the season at 9 p.m. Wednesday.

‘Birds of Prey’ a model for an ‘Avengers’ TV show?

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While the geek universe is speculating about just what a TV series set in the “Avengers” movie universe might look like, I realized that we’ve already seen an example in the “Birds of Prey” series.

Airing on the WB network in 2002, the series was a small-screen take on DC’s “Birds of Prey” comic book series. The show featured Barbara Gordon in her Oracle incarnation (in other words, after the Joker’s brutal attack on Batgirl in “The Killing Joke” that left her paralyzed) leading a small group of crimefighters including Huntress (daughter of Batman and Catwoman in this scenario) and Dinah, the daughter of the original Black Canary.

“Birds of Prey,” which lasted only a handful of episodes, was a fairly standard police procedural dressed up with rooftop chase scenes and “Buffy” style fighting. Ten years on, some elements of the series look cheesy (the dialogue is particularly rough). But the series was overseen by Laeta Kalogridis, who went on to write and produce “Avatar” and “Shutter Island” and had a properly comic-booky feel.

Although only a few episodes aired, all 13 are available on disc.

How can the producers of an “Avengers” TV spin-off learn from “Birds of Prey?”

The “stars” of the story were off-screen. Nobody expects Iron Man or Thor to show up on a weekly TV series. Not while there are big-ticket movies to be made. “Birds of Prey” dealt with the absence of Batman and Catwoman by deciding the former had stopped patrolling the alleys of Gotham (sound familiar, “Dark Knight Rises” fans?) after the death of his beloved (in this case, Catwoman). Bruce Wayne was never more than a silent presence on the other end of a telephone line during conversations with Alfred.

The show was made on a TV budget, not a movie budget. It helped, probably, that no one flew in “Birds of Prey,” although Huntress did a lot of diving off rooftops. Dark Gotham City streets, a couple of oddball metahuman characters and some futuristic weaponry helped achieve a comic-book feel on a budget.

The show didn’t make major changes in its universe. A TV series set in the “Avengers” movie universe isn’t going to make major changes to storylines or characters, that’s for sure. We won’t see Loki killed off or Iron Man retire. “Birds of Prey” had the same restrictions, of course, beyond the initial killing of Catwoman. With Batman out of town, the most dramatic event the series could give viewers was a climactic battle, in the final episode, between Huntress and Harley Quinn, the Joker’s looney moll. But it made for a nice little payoff for the series. What about how they killed off the original Black Canary in the “Birds of Prey?” Well, did you see a body?

The show didn’t betray familiar characters. It’s safe to say that SHIELD isn’t suddenly going to become a terrorist organization, nor will we hear that Black Widow or Hawkeye have gone back to their previous careers. “Birds of Prey” had to dance around major changes to the core Gotham City characters. One episode featured the return of a Batman protege and apparently the character was originally going to have been Robin/Nightwing. But because the guy goes astray, so a change of secret identities was called for.

Although it didn’t make much of an impression on TV audiences or the DC comics universe in general, “Birds of Prey” did show it was possible to mount a weekly TV series in a thickly populated comics universe without interfering with a big-screen movie franchise.

 

An ‘Avengers’ TV series? It could work

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News rolled out this weekend that Marvel and parent company Disney are exploring the possibility of a TV series set in the Marvel movie universe that “The Avengers,” “Iron Man” and all the rest live in.

This is something of a change considering that Disney and Marvel have mulled a couple of TV series since their big-screen ventures began in 2008.

Apparently a “Hulk” series is still being developed, but it seems like maybe the people in charge aren’t quite sure of what to do with it. They’ve said it would not take place in the Marvel movie universe, thus eliminating the possibility of a Tony Stark cameo.

Marvel was considering a series featuring second-tier heroes like Jessica Jones and Luke Cage (Hero for Hire, Power Man, of course). But they back-burnered it, maybe so they could concentrate on this series.

So where should Marvel go on the TV screen?

Consider an animated series. Seriously. Everybody wants to see live-action, of course, and there’s already an “Avengers” animated series being developed for Disney XD. But you know what? “Jonny Quest” was a primetime series. Who wouldn’t watch a weekly primetime version of “The Incredibles?” If you decide to do the ultimate (no pun intended) “Avengers” TV series and it just happens to be animated, emulate “Justice League Unlimited” and the fans will watch.

Forget the stars. Really. Fans won’t tune in every week hoping to seem Samuel Jackson as Nick Fury. They’ll turn in to see concepts from their favorite comics explored on the small screen. Don’t worry about getting Jackson or Chris Evans or Mark Ruffalo. Work around the established characters or even re-cast them. Think about it: In the past 50 years, a lot of different artists have drawn Spider-Man, Captain America and the rest. They’ve looked pretty familiar but not exactly the same. Fans can accept variations.

Figure out how to budget it. The average episode of a TV series costs a couple million bucks. That’s about a tenth of what a big-screen movie can cost. If the producers try to be realistic in how they budget and make the show, fans will understand. Doing a cheap version that feels like a cheap version won’t satisfy anybody.

Some possible series:

“SHIELD” is a natural. It’s a spy organization. TV can do spies. Feature the Maria Hill character with a couple of cameos from Sam Jackson. Maybe Iron Man would fly over in the season finale.

“Damage Control” is little known among the public at large but often suggested by fans. Created in 1989, the Damage Control comic is about a New York-based company that comes in in the aftermath of a knock-down-drag-out between the Fantastic Four and Dr. Doom, for example. Damage Control would clean up the mess, stabilize buildings and deal with any otherworldly toxic waste. The show would be a natural to have heroes show up occasionally, make a mess and leave. Humor would be an important element here.

With its DVD short films featuring SHIELD agents and the upcoming “Item 47” – a 12-minute movie on the Avengers DVDs this September featuring a story about two grifters, including Lizzy Caplan, who find one of the Chitauri blasters and decide to put it to bad use – Marvel is showing an inclination to try comic book stories on a smaller scale. It’s no surprise they would eventually focus that effort on a TV series.

 

‘Gone Girl’ a twisted tale of marriage

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I almost stopped reading “Gone Girl” less than halfway through the book.

It’s not that Gillian Flynn’s thriller, about a married woman who disappears and the growing shadow of suspicion that falls on her husband, isn’t well-written or absorbing.

It’s that Flynn, a former Entertainment Weekly writer, painted dual portraits of the husband and wife that were so sharp, so true-to-life, that they were pretty damn uncomfortable.

We’ve all seen this story played out too many times on tabloid TV: Pretty young woman goes missing. Husband seems oddly unmoved. As the police narrow their focus on him as a “person of interest,” he gets a high-profile lawyer. A loud-mouthed TV show host begins what amounts to a public crusade to convict the husband in the court of public opinion.

I almost didn’t have the heart to finish “Gone Girl.” But I kept going and was rewarded with a neat thriller that pulled me in and held me captive until the twisted ending.

Flynn tells the story of Nick and Amy Dunne, young marrieds who lost their jobs in the New York City media (thanks, Internet!) and moved back to his hometown in Missouri.

Nick seems to be a typical boy-man. He’s charming and good-looking but has never grown up. In NYC he ignores his wife and hangs out with buddies, drinking and flirting with women in bars. Back home in Missouri he takes care of his dementia-addled father and runs a bar with his twin sister, Margo (Go for short).

At the beginning of the book, Amy goes missing. At first it looks like she’s been kidnapped, maybe by one of the desperate men put out of work at the town’s only big industry.

But then the police turn their attention and their investigation toward Nick, who begins behaving oddly and outright lying to police.

Interspersed with chapters in the wake of Amy’s disappearance are her diary entries, over a period of several years, that seem to paint a picture of a troubled young woman. Among her troubles: The growing distance between her and her husband and Nick’s increasingly hostile behavior.

I was getting a little tired of Nick’s duplicity and Amy’s insipid second-guessing, but a little less than halfway through the book, Flynn throws readers a nice curve that very nearly turns the second half of the book into a completely new story. No spoilers here. Suffice it to say that, despite – or because of – a conclusion that is quite troubling, Flynn has written a terrific thriller.

Actress Reese Witherspoon is, according to news reports, going to produce a movie version with a screenplay written by Flynn. No word on whether Witherspoon will play Amy but I guess she’d be right for the part.

I’ve already cast Lizzy Caplan as Go. In my head at least.

“Gone Girl” hits so many notes perfectly. The tension between Nick and Amy’s parents after she disappears. The tactics of police investigators (“We want to help you, Nick”) and flashy, high-profile defense attorneys. Best of all is Flynn’s portrait of the Nancy Grace-style TV host, although after creating the character Flynn doesn’t do that much with it.

Flynn has scored a publishing sensation with “Gone Girl” and, if handled the right way, the movie could be a thriller to appeal to grownups.

One caveat: If you’re about to get married or are already married, “Gone Girl” will have you wondering about not only the little quirks of your relationship but the intent of the person on the other side of the bed from you. Flynn’s book is that good and that unsettling.

A third ‘Hobbit’ movie? The curse of the threequel

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Blame it on George Lucas.

In 1983, Hollywood and the moviegoing public came to accept the trilogy – a set of three movies – as the standard, the perfect number of movies in a series.

It was the year of “Return of the Jedi,” not a bad movie in its own right and an appropriate finale to the original films. Of course, it pales in comparison to “The Empire Strikes Back.”

And yes, some movie series (notably “Star Trek”) continued past their third entry.

But thanks to Lucas’ original trilogy and prequel trilogy (sigh), three movies became the norm.

Which meant we’ve seem a lot of good third films (“Return of the King,” “Toy Story 3”) and a lot of bad third films.

Now rumors are sweeping the Internet that director Peter Jackson is considering – perhaps being encouraged – to turn his adaptation of “The Hobbit” from two movies to three movies.

Tolkien’s story is one dear to generations of readers and serves as a great introduction to “The Lord of the Rings.” But it’s hard to imagine how the rather simple story could sustain three movies.

So hear’s hoping Jackson resists the temptation.

But just in case, let’s recall some really awful third movies:

“Superman III,” in which Richard Pryor becomes the Man of Steel’s archnemesis. Interesting how much Christopher Reeve’s costume in that movie foreshadows the muted blue and red colors used in “Superman Returns” and next year’s “Man of Steel.” “Superman III” was topped in its badness only by “Superman IV: The Quest for Peace.”

“Spider-Man 3,” the reason why Sam Raimi is no longer making “Spider-Man” movies starring Tobey McGuire. Does anyone ever want to see Peter Parker dance again?

“X-Men: The Last Stand.” Here’s a great example of how to kill a series. You’d think Sam Raimi and Tobey McGuire were special guests on the set.

“Terminator III.” After the highpoint of “Terminator 2,” a letdown of epic proportions.

And possibly least, “Alien 3.” James Cameron made “Aliens” a thrilling bug hunt. “Alien 3” made us wish Sigourney Weaver had just said no.