Today is Mickey Spillane’s birthday, and after a few announcements, I’m featuring a short piece I did about the first film of I, THE JURY by way of tribute. It appeared in Classic Images last year – Classic Images is a great magazine in newspaper tabloid format that is extremely well-edited by Bob King out of the back of my hometown paper, the Muscatine Journal, where I had my first professional writing job.

Barb’s father, William Mull, passed away yesterday. Bill had been suffering from pancreatic cancer (the killer that took Mickey Spillane out, too, coincidentally). But Bill survived over a year with the disease, which enabled his family to spend time with him in person and on the phone, and say goodbyes properly. He was a fine man with a sly sense of humor, a WW 2 combat vet, a great trumpet player, a successful businessman and the father of seven kids, all of whom grew up just fine. To me, his greatest achievement was helping bring Barbara Mull to the planet.

I am working on ANTIQUES KNOCK-OFF, which already had been dedicated to Bill by his daughter. Barb did an exceptional job on the rough draft. I think this will be the best Brandy and Mother mystery yet, but don’t let that stop you from picking up the current ANTIQUES BIZARRE.

Also, I have already done a series of revisions on QUARRY’S EX – Charles Ardai is the most lightning fast editor on the planet – and that book has been put to bed and is off to the typesetter.

We got a great review from Bill Crider for YOU CAN’T STOP ME. If you don’t follow Bill’s great blog, start doing so now. He obviously has incredible taste.

Craig Clarke, another great blogger, had wonderful things to say about ANTIQUES BIZARRE.

The Court Reporter website recently posted a very controversial list of the top 100 crime novels of all time. I mention this because (oddly, it seems to me) I am represented on that list for…ready for this?…my novelization of AMERICAN GANGSTER. Now I’m proud of that book, and it made the NY Times bestseller list, and won the Scribe from the International Association of Media Tie-in Writers. But of everything I’ve ever written (say, TRUE DETECTIVE or ROAD TO PERDITION or THE FIRST QUARRY)…why that? But I’ll take it, since my policy is that any such list is utter bullshit…unless I’m on it.

And now, in honor of Mickey’s birthday….

I, THE JURY – NOIR IN 3-D
by Max Allan Collins

Mickey Spillane was not a fan of the films British producer Victor Saville fashioned in the 1950s from the mystery writer’s bestsellers, I, the Jury, The Long Wait, Kiss Me Deadly and My Gun Is Quick. So incensed by what he considered a mishandling of his famous private eye, Mike Hammer, Spillane wrote and co-produced THE GIRL HUNTERS (1963) in which he starred as Hammer himself.

Time has been kind to several of the Saville films, notably KISS ME DEADLY (1955), starring Ralph Meeker, directed by Robert Aldrich and written by A.I. Bezzerides. The film had a strong anti-Spillane subtext but was nonetheless a brilliant evocation of Mike Hammer’s violent, sexually charged world. Late in life, Spillane came to appreciate KISS ME DEADLY, which is now considered a noir classic; but he never warmed to the others. With MY GUN IS QUICK (1957), wherein Robert Bray portrayed Hammer, Spillane had a point: it was a slipshod quickie. THE LONG WAIT (1954) (with Anthony Quinn as a non-Hammer protagonist and an array of beauties including Peggie Castle) does have its admirers, with a particularly strong climax involving starkly expressionistic lighting.

Though he counted Biff Elliot a friend, Spillane disliked I, THE JURY (1953). He thought Elliot was too small, though his chief complaints were with the script and such details as Mike Hammer’s trademark .45 automatic being traded in for a revolver, and he howled about Hammer getting knocked out with a coathanger. He found director/screenwriter Harry Essex obnoxious and disrespectful, and was irritated that his handpicked Mike Hammer – close friend, ex-cop Jack Stang (for whom the hero of the posthumous novel Dead Street is named, and who appears briefly in I, THE JURY in a poolroom scene) – was turned down for the part.

In 1999, Mickey and I were invited to London where the National Film Theater was showing my documentary, “Mike Hammer’s Mickey Spillane,” as part of a retrospective of Spillane films. Mickey did not bother to attend any of the screenings except my documentary. But I was eager to attend a rare 3-D screening of I, THE JURY.

I’d always liked the film, and had argued its merits (and those of KISS ME DEADLY) to Mickey over the years. Of all the Saville films, I, THE JURY seemed to catch best the look and flavor of the novels; it was fun and tough and sexy, and the dialogue had crackle. What had disappointed moviegoers at the time remains disappointing: the most overtly sexual aspects of the plot (a dance studio may or may not be a brothel, several characters may or may not be homosexual) became incoherent due to censorship issues, and the famous striptease finale reduced lovely Peggie Castle’s disrobing to taking off her shoes!

But Elliot himself was a terrific Mike Hammer – an emotional hothead who could be as tough as he was tender. That he was a little smaller than readers might have imagined Hammer only makes him seem less a bully. He fights hard and loves hard, and may not be as smart as most movie private eyes, which gives him a nice everyman quality. It’s a shame Elliot, with a screen presence similar to James Caan’s, was not better launched by the film.

The revelation of the screening, however, was the 3-D cinematography – seen “flat” on TV, the film doesn’t seem to be much of a 3-D movie, with only a few instances of objects and people coming out of the screen. But the 3-D screening revealed the brilliant John Alton’s mastery at creating depth, bringing the viewer inside the images. As one of a small handful of 3-D crime films, I, THE JURY is an unacknowledged 3-D gem.