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Unknown Man No. 89
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Out of Sight
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The Complete Western Stories of Elmore Leonard
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Law of the Hunted One
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Only Good Ones
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Hanging Out at the Buena Vista
Fire in the Hole
Chickasaw Charlie Hoke
When the Women Come Out to Dance
Tenkiller
Showdown at Checotah
Louly and Pretty Boy
Chick Killer (2011)
Ice Man

Film and TV

Moment of Vengeance
3:10 to Yuma
The Tall T
Hombre
The Big Bounce (I)
The Moonshine War
Valdez is Coming
Joe Kidd
Mr. Majestyk
High Noon, Part II
Stick
52 Pickup
Desperado
The Rosary Murders
Glitz (TV)
Cat Chaser
Border Shootout
Split Images
Get Shorty
Last Stand at Saber River
Pronto
Touch
Elmore Leonard’s Gold Coast (TV)
Jackie Brown
Maximum Bob
Out of Sight
Karen Sisco
The Big Bounce (II)
Be Cool (2005)
The Ambassador
3:10 to Yuma (2007)
Killshot (2009)
Freaky Deaky
The Tonto Woman
Sparks
Justified
Life of Crime

Thursday, September 06, 2012

Cops and Novelists: Elmore Leonard, Donald Westlake, and other moonlighting screenwriters

Village Voice
By Nick Pinkerton


This “From the Pen of . . .” installment is built around American novelists moonlighting in movies—but there’s no Fitzgerald or Faulkner, no acerbic Nathanael West, none of the grudging prostitutes of talent during Hollywood’s studio Golden Age.

The venerable Elmore Leonard is the other Mystery Writers of America Grand Master honored. Among the Dickens of Detroit’s earliest screen credits is the classic 1957 western 3:10 to Yuma; more recently, he provided the kernel of the FX series Justified; in between, he has seldom been out of work. Leonard is represented by a Clint Eastwood western (1972’s Joe Kidd) and a contemporary-set Charles Bronson actioner (1974’s Mr. Majestyk), a pendanted pair that share a concern with the marginalized Mexican-American’s historical plight, a veneration of stubborn, stoic individualism, and the presence of unsavory character actor Don Stroud. It’s easy to take for granted such unostentatious, well-told genre works—Mr. Majestyk, fluidly directed by Richard Fleischer, is a perfect model of such, “extraordinarily beautiful in [its] instinct for the real look of the American West,” to borrow from Didion—but this classical middle-range moviemaking is the very foundation of a healthy film culture, the solid baseboard that must be in place in order to spring into the unknown.

 

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