Intl. Notebook Apr 24 2023
THE PRICE OF A TICKET
Good for one ride on Sharky's Machine.


Above is something a little different for you, a ticket made for the Japanese premiere of the 1981 neo-noir thriller Sharky's Machine, which starred Burt Reynolds, Rachel Ward, and uber-cool Bernie Casey. It's a special advance ticket that cost ¥1,500 on the day of the premiere—which was today in 1982, several months after its December U.S. premiere—but ¥1,200 if bought in advance. Those were pretty high prices—about $11.00 and $9.00, if our handy historical yen converter is correct. The movie played as half of an unlikely double bill with the Dudley Moore comedy Arthur. Interestingly, most sources say Sharky's Machine premiered in Japan on April 17, but at this cinema, at least, it showed up a week later. It's a pretty cool little memento.

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Modern Pulp May 21 2022
PLAIDING HIS CASE
Something old, something new.


This is something a bit unusual. It's a life-sized promotional cardboard cut-out for 1982's film noir-sourced comedy Dead Men Don't Wear Plaid, which starred Steve Martin and Rachel Ward. We thought of this film recently due to Martin's new Agatha Christie-influenced television mystery series Only Murders in the Building, which we watched and enjoyed. We first saw Dead Men Don't Wear Plaid years ago, long before Pulp Intl. and all the knowledge we've gained about film noir. We liked it much better during our recent viewing.

If you haven't seen it, Martin uses scores of film noir clips to weave a mystery in which he stars as private detective Rigby Reardon. Aside from Ward, and director Rob Reiner, his co-stars are Ava Gardner, Humphrey Bogart, Burt Lancaster, Barbara Stanwyck, Ingrid Bergman, Lana Turner, Cary Grant, and many others, all arranged into a narrative that turns out to be about cheese, a Peruvian island, and a plot to bomb the United States.

The film's flow only barely holds together, which you'd have to expect when relying upon clips from nineteen old noirs to cobble together a plot, but as a noir tribute—as well as a satirical swipe at a couple of sexist cinematic tropes from the mid-century period—it's a masterpiece. If you love film noir, you pretty much have to watch it. Dead Men Don't Wear Plaid had its premiere at the USA Film Festival in early May, but was released nationally today in 1982.

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Modern Pulp Jul 16 2016
MACHINE POWERED
Sharky's Machine hums along nicely, but only up to a point.

This poster was painted by the Thai illustrator Kwow for the 1981 thriller Sharky's Machine. Every blue moon or so Hollywood decides to update a ’40s film noir. Sometimes these are excellent movies—Body Heat as a rework of Double Indemnity comes to mind. Sharky's Machine is based on William Diehl's novel of the same name, which is a restyling of 1944's Laura. If you haven't seen Laura, a detective falls in love with a murdered woman, focusing these feelings upon her portrait, which is hanging over the mantle in her apartment. In Sharky's Machine the hero, Atlanta vice detective Burt Reynolds, falls in love with Rachel Ward via his surveillance of her during a prostitution investigation, and is left to deal with his lingering feelings when she's killed.

Ward observed years back that she had been too prudish in how she approached her roles, and we imagine this was one movie she had in mind. We agree with her. Reynolds' 24/7 surveillance of a high-priced hooker is not near frank enough. This is where vice, voyeurism, and sleaze as subtext should have come together overtly, as it does in Diehl's unflinchingly detailed novel, rather than as stylized montages, which is what Reynolds opts for.
 
Sex and nudity aren't always gratuitous. The plot driver in old film noirs is often sex, but it couldn't be shown. Remaking a noir affords the opportunity to explore the sexual aspect further, as in Body Heat, where it's literally the lure of sex with no boundaries—exemplified by that famous (but implied) anal scene—that snares the hero in an insane murder plot. In Sharky's Machine it's sexual objectification that is the initial driver. Reynolds loves Ward's body first and her personality later, but the surveillance that is the key to this is barely explored.

It's a missed opportunity to not only make a better thriller, but to examine this lust-to-love transition as an aspect of all romantic relationships. Reynolds doubled as both star and director of the film, and while his relative newbie status in the latter realm may be a reason he didn't push the envelope, he still manages in his third outing helming a motion picture to put together a final product that is stylish, dark, and neon-streaked—everything a neo-noir should be. Upon release many critics had problems with tone—violence and humor seemed to clash. Reynolds' was a semi-comedic cinematic figure and his previous two directorial efforts had been comedies, which may have led to jokes leaking into unusual moments of the film. But these days the mix of violence and comedy is common, so we doubt you'll be terribly annoyed by these few incongruities.

The main flaw with the movie, besides its chasteness, is not its tone, but that it feels compressed in the latter third, especially as relates to the love subplot. True, the film is already a shade over two hours long, but it's time that flies by, populated as it is by so many interesting roles and great actors (Bernie Casey, Brian Keith, Vittorio Gassman, Charles Durning). Another seven minutes would not have hurt. Still, we recommend this one. It should have been as bold a noir rework as Body Heat, but there's plenty to entertain in other areas, and Hollywood may make this film perfect yet—a new version of Sharky's Machine is in development with Mark Wahlberg in the lead. Hah hah—who are we kidding? They'll screw it up completely. You already know that.

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Modern Pulp May 13 2010
LEARNING TO DIE
Les yeux de la terreur had little going for it except Rachel Ward.

Les yeux de la terreur, aka, Terror Eyes is an unremarkable little thriller about a serial decapitator on a college campus. It isn’t very scary, and it isn’t very entertaining, despite its deliberate resemblance to classic Italian giallo. But opinions vary, and as you can see by looking at the above poster, it won the Jury Prize at the 1981 Avoriaz Film Festival, which goes to show that horror fans are so desperate for anything that resembles art they’ll hear Edith Piaf in a victim’s screams and see Jackson Pollack in his blood splatters.

But one thing you don’t have to look very hard for here is British bombshell Rachel Ward in her first film appearance. She would later star in the quirky but satisfying neo noir Sharky’s Machine, the somewhat less satisfying noir rehash Against All Odds, the noir send-up Dead Men Don’t Wear Plaid, and the excellent modern Aussie noir After Dark My Sweet.

That’s a lot of noir, which is why she’s a favorite actress around here. As a side note, she gave an interview a while back in which she confessed that as a result of aging a bit and losing some of her extraordinary physical beauty, she wished she’d done more nude scenes. Funny, we were thinking the same thing. Les yeux de la terreur—which would later become known in the U.S. not as Terror Eyes, but as Night School—premiered at Avoriaz in January, and in Paris today in 1981.

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History Rewind
The headlines that mattered yesteryear.
April 12
1945—Franklin Roosevelt Dies
U.S. President Franklin D. Roosevelt dies of a cerebral hemorrhage while sitting for a portrait in the White House. After a White House funeral on April 14, Roosevelt's body is transported by train to his hometown of Hyde Park, New York, and on April 15 he is buried in the rose garden of the Roosevelt family home.
April 11
1916—Richard Harding Davis Dies
American journalist, playwright, and author Richard Harding Davis dies of a heart attack at home in Philadelphia. Not widely known now, Davis was one of the most important and influential war correspondents ever, establishing his reputation by reporting on the Spanish-American War, the Second Boer War, and World War I, as well as his general travels to exotic lands.
April 10
1919—Zapata Is Killed
In Mexico, revolutionary leader Emiliano Zapata is shot dead by government forces in the state of Morelos, after a carefully planned ambush. Following the killing, Zapata's revolutionary movement and his Liberation Army of the South slowly fall apart, but his political influence lasts in Mexico to the present day.
1925—Great Gatsby Is Published
F. Scott Fitzgerald's novel The Great Gatsby is published in New York City by Charles Scribner's Sons. Though Gatsby is Fitzgerald's best known book today, it was not a success upon publication, and at the time of his death in 1940, Fitzgerald was mostly forgotten as a writer and considered himself to be a failure.
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