Posts Tagged ‘Blue Christmas’

Encore Nominated, A Documentary on…Me?!?

Tuesday, April 11th, 2023

The documentary about me that was shown at the Muscatine Community College “Legends” dinner last week can be seen here. I think MCC’s video guru Chad Bishop (who also edited Mickey Spillane’s Encore for Murder) and college president Naomi DeWinter did an excellent job putting the half-hour program together. You can see it right here.

Meanwhile, Mickey Spillane’s Encore for Murder has been nominated for three Iowa Motion Picture Awards in the following categories: Best Feature, Best Director, Best Director of Photography. We are honored and Barb and I plan to attend the festivities in Forest City, Iowa, in May. Details are here.

I am not being falsely modest when I say I do not expect us to win in any of these categories, and that I’m quite pleased just to have been nominated. (This echoes my certainty that Quarry’s Blood is a shoo-out and that I was incredibly lucky just to be nominated.) We are up against some “real” movies, as opposed to our feature, which is a recorded play edited together from a live performance and two dress rehearsals, with our actors (in costume) holding scripts from which they read. The ubiquitous Chad Bishop is the (quite funny) on-stage foley artist. Encore is an odd duck, if entertaining, largely due to our guest lead actor, Gary Sandy.

Another indicator of the unlikelihood of any win is that we entered four categories, and the one we did not get nominated in is the one that to me is the most impressive: editing. I was with Chad in his editing suite throughout the process, and editing our little feature was a big job. We had four cameras going on three nights, and that means a lot of selecting of shots as well as looping in audio from one night into footage of another when a line was flubbed or inaudible.

I have found, over the years, that editing a feature seems to bewilder judges in film festivals, largely because these judges can’t appreciate invisible editing – so necessary in putting a narrative feature together – and go for flashy stuff right out of TV commercials. I recall Don Westlake saying, “Good writing is invisible,” though it’s the overwriting in our genre that gets the most attention, and that seems to parallel this situation.

Nonetheless, it’s an honor and even a relief to have Encore singled out in this way. As I’ve mentioned here before, it will be included as a bonus feature (a 90-minute bonus feature!) on the VCI release of Mike Hammer’s Mickey Spillane – the 75th Anniversary Edition.

We have a few more pictures to share from the Legends evening.

Here, once again, is where you can participate in bringing Blue Christmas to the screen. Kick in enough and you’re thanked on screen or become a credited producer or even executive producer on the film. Just what your CV lacks! We don’t have any perks listed (physical stuff) but that will likely come; if you have ideas about what kind of perks would spur you to participating, write me at macphilms@hotmail.com with suggestions.

We have had a few hearty (generous) souls donate to this project so far. Again, this is about raising enough money to provide some of the matching funds needed for the grant we’re going after. If we don’t get the grant, we will use the funds to do an even lower-budget production. I don’t relish that, but we did put both Real Time: Siege at Lucas Street Market and Eliot Ness: An Untouchable Life together for about fifteen grand each. That wouldn’t cover the craft service for one day on a Hollywood production, but with an indie film you have to will it into existence.

The plan A and plan B both involve shooting largely in studio conditions, mostly on one set (a private eye’s office in the wartime 1940s). This would likely have us bringing Gary Sandy back in a major role (Jake Marley). Plan B would be producing Blue Christmas as a play and shooting it much as we did Encore for Murder, but with much more meticulous pre-production planning.

(Encore was rather put together on the fly – when Gary came in three days before the performance and I saw that we “had something” I enlisted Phil Dingeldein with shooting the play. I saw an opportunity and took it. Recording it as a “film” was something we put together in under a week…not counting rigorous post-production editing, of course.)

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Not sure how long the 99-cent e-book price on the collected John Sand novels (by Matt Clemens and me) will run, but check this out if you’re interested.

I do know that the “featured author” sale at VJ books is still under way.

This is a podcast about Road to Perdition, supposedly about the novelization; but I admit I couldn’t get through it. I’m nonetheless happy for the attention.

For those of you who have been putting off buying I, the Jury on Blu-ray because the package (which includes 4K and 3-D discs in addition to Blu-ray) seems overly expensive…it’s on sale right now at Classic Flix, at a much lower price ($24.98, virtually half price). Even if you don’t have either 4K or 3D capacity, the Blu-ray alone is worth that. This is a much underrated Mike Hammer film, a beautiful transfer of the great cinematographer John Alton’s moody noir. I do the commentary. They also have a DVD at $13.98.

I’m signing off early this week, to encourage those of you who like to spend time here to take that time to look at the nice documentary above.

M.A.C.

A Legendary Evening

Tuesday, April 4th, 2023

[Nate here with a quick plug before this week’s update: VJ Books, home to the world’s largest selection of signed books, is featuring M.A.C. for the month of April with a 50% off sale. Check it out below!]

VJ Books M.A.C. sale banner
* * *

Most of the honorees to date among Muscatine Community College’s Legends have been pillars of the community, including a former dean and major industrialists, and certainly no other writers of sex-and-violence thrillers. How is this to be explained?

Here are the words writer Robert Towne put into the mouth of John Huston as Noah Cross in Chinatown: “Politicians, ugly buildings, and whores all get respectable if they last long enough.”

That may explain it.

I attended Muscatine Community College from 1966 through 1968. My father taught choral music there in the 1950s. I took classes at MCC throughout my senior year of high school and racked up a good number of credits, and had the pleasure (and honor) of being taught and mentored by Keith Larsen, poet and gentleman farmer, who has a building named after him at MCC. So I had affection for the community college before I made the decision to turn down a bunch of writing and even football (I’d have been killed) scholarships, influenced by my desire to keep my band the Daybreakers together. I’d formed the combo my senior year of high school and wanted to stick with it for a while. No idea the Daybreakers would morph into Crusin’ and I’d still be at in 2023.

I taught Freshman English and classes in both literature and creative writing at MCC during the first five years of my so-called adult life. My last semester at the Writers Workshop at the University of Iowa in Iowa City coincided with me teaching half-time at MCC, which over those five years would expand to full time and then (as my fiction writing career got off the ground) recede back into half-time.

But my roots with MCC are deep, and in that fashion at least my becoming “Legendary” there makes at least a little sense. I should mention that Barb not only attended MCC – where the two of us got together, after knowing each other since childhood – and got her four year-degree there from an extension program offered by Iowa Wesleyan College (now, unfortunately, facing a shut-down). She was also on the scholarship board for MCC and as far as I am concerned is every bit as legendary as yours truly.

The evening celebrating my new legendary status – last Thursday, March 30, at the Merrill Hotel – was pleasant and fun, and never embarrassing. Friends like Matt and Pam Clemens were there, as were bandmates Bill Anson (guitarist) and Steve Kundel (drummer). I’d gone anticipating seeing a lot of my parents’ friends, but few were in attendance, having (like my folks) long since passed away. So a lot of the faces were as unfamiliar as they were friendly.

Our number one fan – Stephen Borer, who is blushing even as he reads this – made an unannounced trip from St. Paul, Minnesota (!), to attend the event. He sat with us at the Collins family table, where son Nate, his bride Abby, and our two incredibly smart grandchildren – Sam, 7, and Lucy, 4 – were also seated. Those two kids sat through a long evening, surprisingly interested in the proceedings and even (mostly) paying attention to the documentary about their grandfather. (Sam noticeably gasped when some violent pages from Lone Wolf and Cub were displayed in the doc as having influenced Road to Perdition.) My wife’s wonderful aunt Helen, herself an MCC legend in tandem with her husband, the late Stan Howe (a great friend of my father’s), sat with son Jim with Barb splitting time between the two tables.


M.A.C. and Stephen Borer

We gave away 130 copies of various M.A.C. and Barbara Allan books, and I signed quite a few after the dinner, which was provided by more than half a dozen local restaurants. The main event was an excellent half-hour documentary about my life and work. Before you dismiss my positive reaction as having mostly to do with my approving of the subject matter, I have to say Naomi DeWinter (president of MCC) and the college’s media guru Chad Bishop did an incredible job pulling the disparate elements of my creative life together into a cohesive whole.

I hope to have a link, before long, to this documentary, as some of you may wish to give it a look.

We also, rather casually, let it be known that the aforementioned Chad Bishop – who was the on-stage foley artist, among much else, on Mickey Spillane’s Encore for Murder – has enlisted me to do a project at MCC…specifically a production of Blue Christmas, long a favorite unrealized project of mine.

You may have read a little about that here already, but I’ll recap. Blue Christmas is a proposed film version of my novella, “A Wreath for Marley,” which might be described as a mash-up of The Maltese Falcon and A Christmas Carol. I thought I’d hung up my indie filmmaking spurs (or maybe megaphone and jodphurs) after a long effort to get Road to Purgatory made followed by my descent into health problems, most dramatically open-heart surgery. But then the Encore for Murder experience – staging it as a play and then shooting it as a film (or video production or however it might best be described) – got my juices flowing again.

(NOTE: The screening of Encore for Murder at the MCC Black Box Theater has been moved to May 5. Inclement weather caused the postponement, although the success of the Hawkeye girls in the Final Four was also a factor.)

We are already in serious pre-production with Blue Christmas, and have applied for several grants – one particularly key – that require us to come up with matching funds. Some of that can be “in kind” (i.e., I don’t get paid) but some has to be actual, you know, money. So we have launched an Indiegogo campaign to raise those funds. See my video pitch below.

I’ll be talking about this more over the coming weeks and months. But if you can kick in a few bucks – maybe enough to make it into the credits with a producing credit – that would be much, much appreciated.

By the way, if you’re never read “A Wreath for Marley,” it’s in a book entitled (not surprisingly) Blue Christmas from Wolfpack. And it’s available right here.

Speaking of Wolfpack, they have Barb’s (and my) great collection of short stories, Too Many Tomcats, on sale for 99-cents right now. Don’t dismiss this as a “cat” book – Barb (and I) mostly write about cats who are either killed or are themselves killers.

Amazon has a deal worth noting, too. Starting April 1 and running through April 30 Fate of the Union by Matt Clemens and me is $2.99 on e-book.

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Sadly, we have come to the end of the Max Allan Collins Film Festival, held annually during March, my birthday month. Here are last week’s selections:

12. Super Troopers. Okay, they can’t all be Vertigo or Chinatown. Sometimes they just have to be dumb fun, and this movie is the most dumb fun to be had in one place, and it is a refreshing look at Brian Cox before Succession, which I like…just not as much as Super Troopers. A few years ago the Broken Lizard comedy team (who put this film together) appeared in Iowa City at the Englert Theater. Barb and I got to meet them after the performance and they were unfailingly nice and fun.

13. The Magnificent Seven. Barb requested a western and I quickly served this one up. Never get tired of it. Never get tired of seeing all these stars either at their peak or on the cusp of greater things. Never get tired of watching Steve McQueen upstage Yul Brynner, and Yul Brynner entertainingly retaliating. Then there’s Eli Wallach, whose performance here – really, the whole movie – paves the way for The Good, The Bad and The Ugly.

14. Les Vacances de Monsieur Hulot. Another Barb request – I wanted to wait till June 1 for this one, when summer was getting started, but when a lovely blonde requests a screening of one of the greatest comedies ever made, who am I to argue? Not a knee slapper (like The Producers for example), Hulot is all gentle comedy, observational humor, and pleasing sight gags. It always feels like you’ve been on vacation after viewing it.

15. Start the Revolution Without Me. This is one of the three truly outstanding funny performances from Gene Wilder (the others being the aforementioned Producers and Young Frankenstein). The first half of this film is hilarious – a take on The Corsican Brothers specifically and swashbuckling films in general – but the second half devolves into farcical blackouts, which are also hilarious but intermittently. Look, the movie is a mess. But what a wonderful, sublime mess, from the greatest comedy team who ever made only one movie together: Gene Wilder and Donald Sutherland. “As we say in Corsica — goodbye!”

16. Hour of the Gun. Another western – James Garner as Wyatt Earp and Jason Robards as Doc Holliday in what was then the most accurate retelling of the O.K. Corral shoot-out (and the subsequent “vendetta ride”) to date. It’s still the best, and a grim shock to the system for Garner fans raised on the wry Maverick. The second western from director John Sturges this week (Magnificent Seven being the other).

17. The Time Machine. George Pal’s charmingly dated yet timeless special effects and a narrative that rests comfortably on the broad shoulders of Rod Taylor are enough. But the surprisingly moving story of a man unstuck in time, who falls in love with Yvette Mimieux without quite knowing it, retains its emotional impact with an action-packed climax that holds up (Taylor doing almost all of his stunts). This sports a terrific supporting performance from Alan Young, who deserved better than Mr. Ed, and a mesmerizing score with a haunting theme by Russell Garcia.

Thus ends this year’s Max Allan Collins Film Festival. What, no Gun Crazy? No Kiss Me Deadly? What about The Great Race? No Anatomy of a Murder? There’s always next year….

* * *

Peter Davis at The Washington Times has been very kind to Spillane – King of Pulp Fiction. Here is his interview with my co-author, James L. Traylor.

The Big Bundle is briefly but intelligently discussed on this podcast.

Finally, fifteen comic-book murder mysteries are recommended here, and Road to Perdition is one of them.

M.A.C.

Girl for Sale, A Legend in His Own Mind & Two Sad Passings

Tuesday, March 7th, 2023

Girl Can’t Help It will be promoted via Mystery, Thriller & Suspense Kindle book deals in the US marketplace, now through 3/31/2023. It’s $2.49 during the promotion period. Executive Order will be available during the same promotional period for $2.99.

If you haven’t read Girl Can’t Help It yet, please consider taking advantage of this offer. It’s the only novel of mine at Amazon’s Thomas & Mercer that hasn’t “earned out,” which stalled any further entries in the series (and they haven’t wanted anything from me since, despite my selling something like a million books!).

Executive Order is the third novel in the Reeder and Rogers Trilogy by Matt Clemens and me, and like the other books in the series it was spookily prescient. You don’t have to have read the first two to jump onboard.


E-Book: Amazon

* * *

I have been chosen as a Muscatine Community College “Legend,” which involves an event that includes a dinner and various things and stuff, coming up on March 30 (a Thursday evening).

Legends of MCC Promo

Legends of MCC Promo

This information rather pointedly doesn’t mention the price – a hefty $75 – but that’s because it’s a fundraiser for the college. It’s another of these really nice honors – like the MWA Grandmaster – that has a bittersweet tinge, because it implies to the recipient that maybe you’ve been at this long enough and should look for a porch with a rocking chair.

More info on the event is here.

And on the following evening, March 31, we will be presenting the “movie” version of Mickey Spillane’s Encore for Murder at Muscatine Community College’s black box theater (this will definitely not cost seventy-five bucks). “Movie” is in quotes because it was edited together from multiple camera footage of last September’s live presentation of the Golden Age Radio-style play starring Gary Sandy. More on this on next week’s update!

Muscatine Community College played a big role in my life. My father taught music there (and at the high school) and one of my key mentors, Keith Larson, taught at MCC for many years. Keith was a farmer and a poet and a dryly funny man with a gift for language – I’ve written about him here and elsewhere before.

In attending Muscatine Community College, I made the decision to turn down a couple of football scholarships (I’ve have been killed) and a Creative Writing scholarship at Iowa Wesleyan (where I’d won several high-school writing awards), and also not to follow many of my fellow high school classmates to the University of Iowa. I had my band the Daybreakers going and wanted to stick with that, so I chose MCC instead. Also, I wasn’t really ready to leave home yet. As an only child, I had a good gig going with my parents. I just wasn’t ready for a future away from what I knew, having no idea that I would in two years be getting married to the lovely Barbara Mull.

Muscatine Community College turned out to be both an excellent school – another mentor came into my life, Jack Lockridge, a tough ex-Marine with a warm heart – and the place where Barb and I sickened our fellow classmates with our obvious hallway affection for each other. Barb and I had been friends for years, but it blossomed into something that has lasted since the Fall of 1966. Seems to have taken.

I taught Freshman English and Literature at MCC for the first five years after graduating from the University of Iowa (and the Writers Workshop). Actually, there was overlap – my last semester at the Workshop coincided with my first semester of teaching at MCC.

So this honor is particularly sweet, and apt.

Speaking of Barb, she and I celebrated my 75th birthday (March 3rd) with an overnight stay in Galena, Illinois, a favorite getaway spot of ours, and the site of my novels Girl Most Likely and Girl Can’t Help It.

Max and Barbara at Otto's Place

We ate at several of our favorite restaurants, including Vinnie Vanucchi’s on my birthday and, the next morning, the best breakfast restaurant in the Midwest, Otto’s Place. That’s the pic I’ve included here.

The trip was about 75% great, and Barb was 100% wonderful throughout. But 25% of it reminded me why nowadays we seldom go anywhere that requires an overnight stay. For one thing, I have endeavored to make our house a great place not to have to leave – for example, the entertainment options – including my ridiculously huge library of laserdiscs, DVDs and Blu-rays, not to mention the CDs and books – are considerable. My late pal, actor Michael Cornelison, used to say he wanted to take all of his vacations at our house (he did once, too!).

Among the frustrations of our overnight stay at the Irish Cottage Inn (where we have visited many times – not really a cottage but a three-story resort-type hotel) was the TV choices – movies available were all twenty-bucks-a-pop On Demand stuff, much of which we had free at home (or “free,” i.e., were already paying for it). Previously the hotel had included HBO and other such movie channels.

We splurged on a room with a Jacuzzi and a separate bedroom (I believe you rich folks call that a “suite”) and discovered, much too late, that the Irish Cottage no longer supplied amenities like shampoo, conditioner, and a soap dispenser in the shower, instead providing one small bar of soap. Two tubs, two sinks, and one sliver of soap.

I discussed this, in a non-hysterical way, on check-out with a bearded youth who politely reminded me that “one bar of bathroom soap” was provided and I could have come down to the desk for more soap if need be. I wish I had, naked and wringing wet.

The getaway managed to be pleasant and well worth taking, but it was something of a reminder that the post-Covid world is one where restaurants and hotels have seized upon the excuse to dispense with many of the extras their patrons had come to expect.

My apologies for this update dissolving like a sliver of soap into a YELP! Review. Some of this is old age, and the indignities thereof. That I am expected to have a host of Apps (a term I despise almost as much as “dropped”) and endure being paged at restaurants via text (I do not text, not being a 16-year-old high school girl). Was it just last week that my wife warned me not to become Harlan Ellison? In other words, a curmudgeon?

What I am wrestling with, more than anything, is how to pace myself at this age. I wanted to complete the new Mike Hammer, Dig Two Graves, before we went on this getaway. Going on a trip with a chapter or two waiting to be written would make me nuts (nuttier). Also, the book needs to get into the hands of my editor at Titan, the great Andrew Sumner, who has been incredibly patient with me. When I see the cover on line and realize people are already ordering a book I have not yet finished writing, I get nervous.

I set myself a goal commensurate with the young me’s abilities, and wrote the novel in a blistering three weeks. That, I figured, would allow me to enjoy myself unburdened on our getaway. But I did not factor in small things like mental and physical exhaustion. In Galena, where a lot of walking is required, I ran out of steam fairly quickly, which was followed by the fun and games at the hotel, described above. (I spared you the hotel-room saga of my laptop insisting I run updates and then requiring me to enter a password I did not have.)

I share this with you, in part, because some of you have in the past gone to book signings in Chicago and other distant locales, and seen Barb and me at Bouchercons and San Diego Comic Cons, fairly regularly. These trips are either over or are going to be incredibly infrequent. We are pulling in and slowing down. (Me slowing down is still faster than most.)

Please know that I hate this. Getting away is good for the soul. I enjoy spending time with readers and my fellow creative types, authors, cartoonists, and filmmakers. I am exploring ways to do more right here in this smaller world, including some fairly ambitious things, like a return to filmmaking – we are seriously considering finally shooting Blue Christmas. But doing it right here in smalltown Muscatine, where I can go home at the end of the day to my bed and my happy little domicile and my preternaturally beautiful wife.

And when I say I wrote Dig Two Graves in three weeks, I must admit I’m not really finished – ahead is re-reading the book by way of a hard-copy manuscript, seeking typos, inconsistencies and sections that need tweaking. So how long did it take me start to finish? Call it a month.

I have no opinion about how long writing a novel should take. Dig Two Graves is relatively short – 50,000 words or so. Barb takes much longer on her drafts – six months at least. There is no rule. For me, I like to stay burrowed in, living in the novel, to give it consistency of tone and vision (so does Barb, it’s just a longer process for her). I like each book to have its own feel. To be a different place I visit.

So that much visiting, that much travel, I intend to keep taking.

* * *
Tom Sizemore as Quarry in the Last Lullaby

The first-rate, troubled actor Tom Sizemore has passed away. He played Quarry (re-named “Price”) in The Last Lullaby, and made a terrific older version of the character. Amid the sadness, I was delighted to hear that Sizemore had considered The Last Lullaby one of his favorite projects, and Price/Quarry one of his favorite roles.

This Quarry/Price name change business had to do with my displeasure with the director, Jeffrey Goodman, having brought in a second writer on the script. I wanted to make sure no sequel could follow. My script, right when I was momentarily hot as the creator of Road to Perdition, was what was used to raise the money. My novel, The Last Quarry, was a novelization of that script and will show you what I had in mind.

The changes weren’t radical and The Last Lullaby is a movie I am happy with (if disappointed it wasn’t my version, of course). I could have pulled the plug on the production when my script was rewritten without my knowledge, but we negotiated and I got a better pay day out of it, plus was able to give copious notes on the rewrite (which the director mostly followed). So I feel grateful that the movie exists and that Sizemore made such a great Quarry. He really is closer to my concept than the Cinemax version, where the actor (otherwise fine) ignored the wry humor that is such a part of my Quarry.

I never met Sizemore, and was not on set for the shooting of a script co-written by me and someone else I never met. But I am saddened by his passing, and only hope his fine work on screen in The Last Lullaby and in a lot of other films overshadows in years to come his tabloid misadventures.

Here is info on where to stream The Last Lullaby.

It’s available here on DVD for a mere $7.99.

* * *

I want also to note, sorrowfully, the passing of my friend Bill Mumy’s musical partner, Robert Haimer, the other half of the brilliant Barnes & Barnes.

Here’s what Bill had to say on Facebook:

I’m so sad to share the news that Robert Haimer, my friend since childhood and musical partner in Barnes & Barnes passed away this morning after a long illness. Robert was a one of a kind artist and person. Our relationship was based on harmony as was our music. Sometimes there was dissonance and silence and sometimes we made a mighty raucous roar together. I will miss making that unique “Barnes” music very much. Robert made many people happy with his talent and his humor. “Fish Heads,” our biggest hit, came from the mind of Robert Haimer. As with a lot of our catalogue, I just helped him fill in the blanks. I’m feeling stunned and somewhat shattered right now. My love to his wife Faithe, his sons Wynn and Ian, his brother Brian and all who knew and loved him. Robert’s music lives on. Enjoy it. yeah

M.A.C.

Chain Book Stores, Indie Movies and Avoiding Real Work

Tuesday, February 14th, 2023
Big Bundle Cover
Hardcover:
E-Book: Kobo Google Play
Digital Audiobook:
Spillane: King of Pulp Fiction Cover
Hardcover:
E-Book: Kobo
Digital Audiobook: Kobo Libro.fm

Both The Big Bundle and Spillane – King of Pulp Fiction are now out and available, but I don’t seem to be getting much shelf space for either from the likes of Barnes & Noble and BAM! This despite starred reviews from Publisher’s Weekly and Booklist, and a very, very widely distributed positive review circulated by the AP. You don’t get much better press than this.

But our surviving book chains determine what they’re going to order by past sales of the author. Which does me no favors. I remain a cult author (yes, I’ll remind you that Don Westlake told me, “A cult author is seven readers short of making a living”) and these stellar reviews have arrived long after B & N and others have put in their orders.

So what is my point? If you see Bundle and/or Spillane at one of the chains, and buy it, tell the register jockey (and perhaps the help desk) that you are purchasing the last copy in the store of this very well-reviewed book. It may inspire them to order more.

What else can I do for Max Allan Collins today (a question I’m sure you ask yourself upon early rising, right after your exercise regimen)? If you won a book giveaway for either title, be sure to read the book soon and get a review in. If you are an unlucky soul who merely ponied up the dough for one of these titles at Amazon (or anywhere, really), post a review at Amazon and elsewhere if you’re truly dedicated to the cause of keeping me in business.

It is extremely undignified for me to beg, but I have never been particularly dignified. I wrote the song “Psychedlic Siren,” for Pete’s sake. But don’t think I’m complaining (though of course I am) because I am well aware of how blessed I am to have been able to avoid real work for over fifty years by telling elaborate lies known as novels and comics and film scripts. To play working man I have to reach back into bussing tables in high school and sacking groceries in college.

I don’t consider teaching “real work.” There’s not much heavy lifting in teaching, beyond lifting the aspirations of, in my case, high school graduates who hadn’t quite learned to read yet and were now in community college wondering why it’s a struggle.

I don’t mean to dis community colleges, because I believe in them wholeheartedly and think going to the first two years of a four-year college is akin to setting your future earnings on fire, till that pesky student loan is paid off, anyway (which should only take a few decades). I am back at Muscatine Community College right now, working on a project (the Blue Christmas one) and am about to be feted as an MCC Legend (“feted” not “fetid”). I may have already mentioned this here, but I’m going to get a dinner and everything. My band was asked to play for it, but I stop short of honoring myself. That much dignity, shabby as it may be, I do have.

I want to thank all of you out there in Mystery-Fiction-Land who have responded so beautifully to these two new books – The Big Bundle and Spillane – King of Pulp Fiction, that is. Also to Kill Me If You Can, the 75th anniversary Mike Hammer novel (post reviews please!).

My partner in cinematic crime, Phil Dingeldein, and I are putting the finishing touches on the 75th anniversary expanded edition of Mike Hammer’s Mickey Spillane, my 1999 documentary. It’s jumping from 47 minutes to 61 minutes. We are in serious talks with Robert Blair at VCI Home Entertainment to bring it out on Blu-ray and DVD, and to include the film Chad Bishop and I put together of the Encore for Murder play we mounted last September. Gary Sandy has okayed its release, and it’s possible it will go out to the streaming services for their consideration. We’ve also entered the Iowa Motion Pictures Awards and the Cedar Rapids Film Festival, though we don’t know if we’re nominated for anything yet.

There’s a strong possibility we’ll be presenting Encore for Murder (the “movie”) on Friday, March 31, at Muscatine Community College. That would be the day after the Legends dinner. More later on that subject, but for those of you close enough to get to Muscatine, pencil in that date. It’ll be shown on a big screen in MCC’s “black box” theater.

Putting together Encore for Murder as a video presentation got my filmic juices flowing again (which I admit sounds kind of disgusting). Several of my fiction markets have fallen by the wayside – neither Thomas & Mercer nor Kensington seem even vaguely interested in me at this point, for example – so I find myself drawn back into indie film. I like the idea of low-budget (even micro-budget) filmmaking. Real Time: Siege at Lucas Street Market and Eliot Ness: An Untouchable Life had cash budgets under $15,000 each (though if I’d paid myself and Phil had taken any pay, and any number of other volunteers hadn’t gone along on the rides, we’d have skyrocketed to maybe $30,000 each).

Even the Mommy movies were under half a million – Mommy’s Day was under $200,000. Again, several of the key participants did not draw upon that budget.

What happened was the ten years I worked on indie films had me alternately learning the craft (on the job training) and then – after my producer stole all our Mommy 1 & 2 money – figuring how to operate on a micro-budget. This was followed by a lengthy attempt to get the sequel to Road to Perdition made. I wanted to direct my script of Road to Purgatory and we came very close a number of times. But it always fell through.

Now, at my advancing age, I know doing a big project is probably too challenging – too hard on me physically, post-heart surgery and stroke, and Barb had forbidden me going down that road, preferring me alive to dead (no accounting for taste). But working on a low-budget feature – despite the stresses even that level of filmmaking can bring – is more a doable proposition. The support I’m getting from Muscatine Community College had made all of that more manageable. Or it looks that way at this stage.

If indeed we get to make Blue Christmas – which we intend to – I will report the journey here.

And don’t you hate when people talk about their “journeys”?

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We’re starting to put material together for seeking grant money and investors for Blue Christmas. Here’s the Demo Real put together by Chad Bishop.

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I did a fun interview with the very smart Terrance Gelenter, who is based in Paris. And this is about as close to visiting the City of Lights as I’m likely to get in the near future….

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Here is a Ted Hertel (wonderful guy) on The Big Bundle in the February 2023 print issue of Deadly Pleasures:

“One of the finest historical crime novel series being published today” Deadly Pleasures (Rating: A)
The Big Bundle by Max Allan Collins (Hard Case Crime, $22.99, December 2022) Rating: A

In 1953 six-year-old Bobby Greenlease is kidnapped. His wealthy parents call on the services of private investigator Nathan Heller, who had represented them in another matter some years earlier. Robert Greenlease insists on having the kidnapping of his son handled on his terms with as little interference from the FBI and police as possible. The kidnappers pick up the ransom, as scheduled, but Bobby is not returned. The kidnappers, however, assure the family that he’ll be back, safe and sound, within twenty-four additional hours. But then half of the $600,000 ransom disappears and things take a turn for the worse. Five years later Heller is called back to try to find the missing money. But Washington politics, Bobby Kennedy, and Jimmy Hoffa all manage to get tangled up with Heller’s efforts to help Greenlease once again.

All of the Heller novels are based in solid fact, thoroughly researched, with details of the characters and their eventual fates detailed at the conclusion of the story. Of course the real-life kidnapping of Bobby Greenlease is nowhere near as well-known as the 1932 abduction and murder of the Lindbergh baby. Heller had investigated that crime, as well, in Max Allan Collins’ Stolen Away (1992). In spite of the outcome of that case, he is once again entrusted with finding and returning a missing child to his parents.

Collins is a master (actually an MWA Grand Master!) at finding a plausible method of inserting his long-running fictional detective into the events of the day. He does this by using actual places, events and real people such as Kennedy, Hoffa, Chuck Berry, and Drew Pearson to add authenticity to the narrative. In doing so Collins immerses the reader in the 1950s’ era lifestyle. What’s even more remarkable is that he’s been doing this for forty years, since his 1983 debut Heller novel, True Detective.

If you’ve never read a Heller novel, don’t be discouraged by the fact that this is the eighteenth book (plus a number of short stories) in the series. The chronicles are not published in any specific order, moving around in time from the days of Capone and Nitti to Monroe and the Kennedys. But this one, the first from Hard Case Crime, is as good a place to jump in as any other. Then you’ll want to go back to the 1920s and start with that first one in what is one of the finest historical crime novel series being published today.

Ted makes an excellent point. I find that many mystery fans, who – like me – have a certain amount of OCD in their souls, are prone to wanting to read a series in chronological order.

I’ve touched on this here in the past, and I’m about to touch on it again. First of all, only the first four Hellers are in chronological order (and have done Hellers set within the parameters of certain books…Damned in Paradise, for example, takes place within the structure of Stolen Away). Second, if you only read my back list, then you risk putting me out of business.

If you have never read a Nathan Heller, start right now with The Big Bundle. You are big boys and big girls – you can handle coming in late. I keep things very clear for newcomers. No whipsaw effect in your brain is imminent. Imagine you are getting this advice from the guy in those Progressive commercials who is counseling new home owners who are in danger of becoming their parents….

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Here is a dual interview with my co-author Jim Traylor and me about Spillane – King of Pulp Fiction. A shorter, somewhat different version appeared in Publisher’s Weekly.

The same web site, Bookreporter.com, also gives Spillane – King of Pulp Fiction a lovely review, right here.

M.A.C.