Posts Tagged ‘Reviews’

The Maltin Falcon

Tuesday, February 16th, 2010

I’ve posted a number of links lately to reviews of THE BIG BANG, YOU CAN’T STOP ME and ANTIQUES BIZARRE, as well as older books of mine. But this week I’m happy to report that some nice write-ups appear in current issues of bigtime national newstand magazines. You know – the kind you can hold in your hand and turn the pages.

Antiques BizarreANTIQUES BIZARRE – due out next week – received a splendid four-star review in the March 2010 RT BOOK REVIEWS (RT standing for ROMANTIC TIMES). The magazine always leads off with a review followed by a spoiler-free plot summary. Among other things, RT describes the novel as “a cozy with a twist” and “hysterically funny as well as a solid mystery.” An insightful comment notes that our protagonist Brandy “has an unusually realistic life in all its messiness.”

Jon Breen leads off his Jury Box column in the March/April ELLERY QUEEN MYSTERY MAGAZINE with high praise for Hard Case Crime, singling out three books for excellent three-star reviews (Jon does not bestow 1/2 stars, a three-star review is second only to a four-star one in the Jury Box). He describes yours truly as “one of the best and most prolific and versatile crime writers currently practicing,” and QUARRY IN THE MIDDLE as a “most welcome 1980’s flashback,” and wraps up saying, “Neat plot, fine style, fast reading.” Jon – just about the best scholar in best mystery fiction, and a fine mystery novelist in his own right/write – has been a supporter of my work for decades, and to whatever degree I have a respectable reputation, he has played a major role. The first review I ever received in a national magazine was from Jon in EQMM…for one of the early Quarry novels.

And I know you will want to read the March PLAYBOY for its articles – particularly one small, snazzy one. PLAYBOY gives the forthcoming THE BIG BANG a solid write-up under the heading KILLER FICTION – HAMMER LIVES, including a full-color shot of the ‘60s pop-art front cover of the novel. Among other nice things, the review/mini-article says, “Max Allan Collins, Spillane’s collaborator and author of Road to Perdition, has expertly completed a second Spillane novel, The Big Bang, out this spring. The book will transport you back to gritty 1960s Manhattan, where Spillane’s antihero Mike Hammer drops acid and takes on the mob.” What a thrill to get such great coverage from the very magazine I used to steal out of the mailbox before my father knew it had arrived.

There are few movie reviewers that I admire or trust, but Leonard Maltin is one of them. Time for one of those “full disclosure” things: we are friends. We became friends after I did a DICK TRACY movie interview for him and ENTERTAINMENT TONIGHT back in 1990 – he called me up and dubbed me, “Mr. Sound Bite.” Our mutual obsessive love for movies, particularly of the ‘30s, ‘40s and ‘50s, fed a wonderful friendship. Yes, he has given me occasional good reviews, but he doesn’t always like what I do (he was a fan of MOMMY, for example, but didn’t think much of MOMMY’S DAY). I find myself agreeing with him more often than not, and you can follow his reviews and pop culture commentary at Leonard Maltin’s Movie Crazy.

He is also, of course, the author of the annual, indispensable LEONARD MALTIN’S MOVIE GUIDE. Five years ago, he was forced to publish a second book to include the older movies that time and space had shoved out of his regular guide – LEONARD MALTIN’S CLASSIC MOVIE GUIDE. For those of us who live by Turner Classic Movies and who spend way too much money at Warner’s Archive (at www.WBshop.com), this book is similarly indispensable. The second edition of this has just come out. If you love movies, you need both of these books stacked in a handy place in your home theater (in my case, next to my recliner in the living room).

151 Best Movies You've Never SeenAt the same time, a book that I would rank with Leonard’s best has also been published: 151 BEST MOVIES YOU’VE NEVER SEEN. I am a movie buff, pretty hardcore, but I had heard of only about half of these, and had seen only around 25. These are short – page and a half – chatty reviews in Leonard’s deceptively easygoing style, personal without being obnoxious, informative without being pedantic, one of those books that go down in wonderful handfuls, like popcorn. Most of the films are of fairly recent vintage – last ten years or so – and perhaps a third are foreign; one of the surprises is how few Golden Age era films Leonard discusses.

But one of the vintage movies he praises really made me smile – the much-maligned 1931 version of THE MALTESE FALCON. He does not make a case for it being superior to the 1941 John Huston/Bogart classic – even I wouldn’t do that – but he does sing its praises in a manner that makes you want to drop everything and watch it right now. That’s true of every essay in the book, and you – like me – will likely make a list of movies you want to find on DVD or on cable, as soon as you have finished this great book.

Musical note: Crusin’ had a capacity crowd for the Valentine’s Day dinner dance at Piazza Bella. Lovely evening. For those concerned, please know that we did not play “Pussy Whipped.”

M.A.C.

Mickey Spillane & How Sausage Is Made

Tuesday, February 9th, 2010

The Big BangBill Crider, who has one of the best mystery-related sites on the web, has done the first on-line review of THE BIG BANG, and he likes it. Check out why.

Bill does wonder if the increased size of my byline reflects more involvement than in DEAD STREET (where I was left off the byline but for a title page “prepared for publication by” credit) and THE GOLIATH BONE (where a magnifying glass was required to see my minuscule “with” credit). Each of these endeavors is different – GOLIATH BONE had three or four variant first chapters for me to deal with, and a substantial false start, and next year’s KISS HER GOODBYE again had a substantial false start in addition to a 100-page chunk plus notes.

But the bylines were simply what the publishers wanted – Charles Ardai at Hard Case did not want two books with my byline appearing close together on his rather small list; Otto Penzler and Harcourt wanted Spillane emphasized and me downplayed, for the first of these books, which I condoned (but only for the first book).

The truth is, these are genuine collaborations, all of them. I would put them at 50%/50%. I usually take Mickey’s work, expand upon it, and extend it so that it takes up at least half of the finished product. Probably about 60% of the wordsmithing in these novels is mine. But the plot idea, and various notes, and sometimes rough drafts of endings, plus the other 40% of the writing, are all Mickey’s. That’s how it’s done. I don’t believe anything like it has ever occurred in mystery fiction, a writer of Mickey’s magnitude leaving half a dozen substantial manuscripts behind, having designated a trusted collaborator (me) to complete them.

I should say I also draw upon published Spillane work. In THE BIG BANG, there is a chapter written by me in which Hammer meets with Junior Evello (nephew of KISS ME, DEADLY villain Carl Evello) at a Little Italy restaurant. When the subject comes up, Hammer says he didn’t kill Junior Evello’s uncle; in a typically Spillane italicized style, I flash back to the death of Carl Evello – mostly in Mickey’s words – from KISS ME, DEADLY.

Any time I do New York stuff, I draw upon Mickey, having re-read and annotated and marked-up his Hammer novels. I try to concentrate on novels written around the same time as the manuscript I’m completing. For THE GOLIATH BONE, I concentrated on the last two Hammers, THE KILLING MAN (1989) and BLACK ALLEY (1996). For THE BIG BANG, set in 1964, I concentrated on THE SNAKE (1964) and THE BODY LOVERS (1967). For the forthcoming KISS HER GOODBYE (set in 1975, more or less), I concentrated on SURVIVAL…ZERO! (1970).

Each of the Spillane projects is different. DEAD STREET had a fairly polished manuscript that ended with two or three chapters to go, plus a lot of notes. Of the unpublished works, this one needed the least help from me. The completed chapters I lightly polished, and fixed continuity problems, doing little bits of connective-tissue type writing. The final three chapters were entirely my work. That one’s probably 75% Mickey. The six Hammer novel manuscripts were discovered in various stages of completion, never less than 100 pages, sometimes with false starts that yield benefits, usually with plot notes.

I have also turned shorter Hammer fragments of Mickey’s into short stories – one appeared last year in THE STRAND, and another will appear in that magazine later this year. I have the makings for perhaps another five such short stories. I also used a Spillane novel outline (sans any actual manuscript) to plot the next NEW ADVENTURES OF MIKE HAMMER audio novel for Blackthorne.

There are also four shorter incomplete novel manuscripts that could lead to another group of Hammer novels, if publishers and readers are interested. Right now we are at the end of the three-book contract with Harcourt, so the three other substantial Hammer manuscripts are in a holding pattern, waiting to see how THE BIG BANG and KISS HER GOODBYE do. If you have any interest in seeing the rest of Mickey’s Mike Hammer canon completed and published, you need to support those two novels (and, if you haven’t already, pick up THE GOLIATH BONE in one of its several editions…a mass-market paperback is coming).

I’ve had many questions about the Mickey Spillane posthumous projects, with people often assuming my role is larger (or sometimes smaller) than it is. It’s a collaboration. Very similar to how I work with Barb on the Barbara Allan bylined “Antiques” novels, and with Matthew Clemens on such tie-ins as CSI and our new serial killer thriller, YOU CAN’T STOP ME, which comes out in a couple of weeks. Collaborations vary from team to team, though. I would say Barb does up to 70% of the “Antiques” books; but my 30% and overall polish earns me my collaborative stripes.

You Can't Stop MeOn tie-in stuff (never with shared byline), Matthew’s role began primarily as a researcher and co-plotter submitting a story treatment (based on a brainstorming session with the two of us, with me in the lead), to finally doing full rough drafts from our co-plotting efforts, although usually on the short side.

That’s true for both Barb and Matt – they know that I am going to not just polish but expand the work, and in particular add dialogue, so they will give me a rough draft half to three-quarters the length the book needs to be.

Occasionally I will throw out entire chapters written by one of them, and start over (but only very occasionally – this happened for the conclusion of one of the CSI: MIAMI novels Matt and I did, and for the wrap-up chapter of the forthcoming Barbara Allan ANTIQUES BIZARRE).

Why collaborate? Well, with Mickey, it’s obvious – only 13 Mike Hammer novels were published in Mickey’s lifetime, 13 of the bestselling mysteries of all time, including such classics as I, THE JURY, ONE LONELY NIGHT, KISS ME, DEADLY and THE GIRL HUNTERS. Ours is an opportunity to add six more titles to the canon, not only with Mickey’s content but with his blessing.

As for Barb and me, we enjoy collaborating (that’s how Nate got on the planet). We enjoy plotting the stories together, and as the books are on one level comedies, we enjoy having the humorous input of two people with sharp senses of humor. Simply put, she puts in every joke she can think of, and I put in every joke I can think of. Result: lots of jokes.

Matt came aboard primarily as a researcher, and then – because I knew of his writing abilities – I thought having him write rough drafts would be an effective time-saver. It wasn’t, really, because I always did a complete draft (once he said to me, “I thought I recognized one of my sentences in the last one!”), but what I came away liking was the third voice we created. A good collaboration is synergistic – two plus two equals fourteen. While there are plenty of Matt’s sentences in YOU CAN’T STOP ME, it is about as fifty/fifty a project as you can imagine…and neither of us could have done it alone.

Bill’s comment that my bigger byline on THE BIG BANG may indicate a bigger contribution by me is at odds with the truth of publishing. Often times, the bigger name of a dual byline did the least amount of work. YOU CAN’T STOP ME is very much a fifty-fifty novel by Matt and me, but my name is much larger, because I am the bigger name (at the moment). But usually with such a situation, you could safely guess that the smaller name did more or even most of the writing.

So, anyway, here at the Collins plant, that’s how the sausage is made. Bring your own buns – stone-ground mustard optional.

Dr. Hermes’ Retro Reviews has done a really nice, and in my opinion very smart, in-depth review of my novel THE HINDENBURG MURDERS (out of print but easily found at ABE or Amazon’s used book service). That’s the novel that features Saint creator, Leslie Charteris.

A while back I started a Facebook Friends page, and it was a disaster because I didn’t know how to deal with it. Nate has helped me set up a Facebook Fan page (the Friends one is an abandoned amusement park, now). But I encourage you to become a fan at that new page, even those of you who are just friends and to whom the idea of being my fan is quite ridiculous. You know who you are.

M.A.C.

Collins Hits The Third Rail

Tuesday, February 2nd, 2010

Ron Fortier has posted a wonderful write-up on YOU CAN’T STOP ME.

Craig Clarke has posted a terrific review of THE LITTLE DEATH at his Somebody Dies review site.

And a great, dare I say insightful review of THE LAST LULLABY just popped up.

Plus, there’s a very nice review of QUARRY IN THE MIDDLE.

My pal Ed Gorman limits himself on talking politics on his blog because, well, politics causes problems. It can alienate people, and that includes readers/fans, so it’s dangerous ground. Ed sends out political stuff to an e-mailing list, material that is always interesting and illuminating.

I am going to dip a toe into this subject, lightly. Some of you know that I’m a Democrat or a liberal or a progressive or something. I think of myself as slightly left of center, but my father thought of himself as slightly right of center, when he was slightly right of Genghis Khan. So who knows? I do know that I veer left when the right is getting out of hand, which they frequently do. I despise Fox News, because it isn’t news, it’s opinion labeled news, and you can always tell when you’re “talking” (i.e, arguing) politics with somebody whose news and info comes from Fox, because it’s always the same bite-size talking points.

But I come to praise Republicans, not to bury them. Republicans stand by their man. They wouldn’t have cared if George Bush bombed Cleveland – he’d have had a damned good reason. Democrats, however, eat their young. They could hardly wait for Obama to get sworn in before ragging on him. The far left is pitiful in the way they assume the President can wave a wand and make all their dreams come true. Full disclosure: I worked for Obama, Nate was a staffer on the Iowa campaign, and Barb, Nate and I all worked hard for him. None of us is thrilled with the past year, but I think it’s clear Obama has accomplished quite a bit, considering the Washington cess pool he has to swim in. I back the guy. I don’t always agree with him, but I keep it to myself, mostly. Possibly I’m keeping my head in the sand. Maybe, after two years of MSNBC and Keith Olbermann “Special Comments,” I just can’t take the stress anymore (I stopped watching that stuff regularly in January).

But if Democrats don’t show a little support for their guy – if they insist on forming a circular firing squad around their leader – we can look forward to President Palin or Brown or God knows what. The only faint hope for the Democrats right now is the Tea Bag bunch (can’t hear that designation without thinking of John Waters), who are forcing the Republicans so far right that even Fox should be getting nervous. Kind of sad when our best hope is a bunch of buffoons who want to prove Obama wasn’t born in America. But keep plugging, kids.

This update appears on Feb. 2 – Groundhog Day. May I suggest to one and all spending the evening with Harold Ramis’ great film, GROUNDHOG DAY – probably my favorite film of the ‘90s, Bill Murray’s finest achievement, and a genuine masterpiece.

M.A.C.

Smothers Brothers Comedy Column

Tuesday, January 26th, 2010

Last week was spent recovering from writing KISS HER GOODBYE. I really should allow myself a week off between projects, but I am stacked up right now and just can’t take the luxury. But it was slow-going, getting anything done. By late in the week I was finally able to finish a 14-page synopsis for the next Mike Hammer radio novel, which is entitled ENCORE FOR MURDER. The basis is a brief novel outline I found in Mickey Spillane’s files, so THE NEW ADVENTURES OF MIKE HAMMER VOL. 3 (starring Stacy Keach) will again have a basis in Mickey’s work.

I also wrote the introduction for volume ten of IDW’s reprint series of the DICK TRACY strip, edited by my old pal Dean Mulaney, the man who brought MS. TREE to the world of comics. The book winds up 1945, includes the entire run of 1946, going several months into ‘47. This is prime Gould material — great villains, lots of wonderful comic-relief characters, with everything from the intro of the Two Way Wrist Radio to the marriage of B.O. Plenty and Gravel Gertie. Watch for that — it’s one of Gould’s strongest periods.

You Can't Stop MeThe first review of YOU CAN’T STOP ME has appeared, from internet reviewer Harriet Klauser, and it’s a nice one.

I have been in a somewhat nostalgic mood lately, primed by reading a good book, DANGEROUSLY FUNNY: THE UNCENSORED STORY OF “THE SMOTHERS BROTHERS COMEDY HOUR,” by David Bianculli. It’s as entertaining as it is informative, though the author has a bad habit of repeating himself (how many times do I have to be told that Jennifer Warren became Jennifer Warnes?) and sometimes including personal asides (don’t you hate writers who do that? I do!).

Anyway, it prompted me to look at the two seasons of THE SMOTHERS COMEDY HOUR available — actually these are BEST OF’s, selected and edited by Tommy Smothers himself. Season Three, the final season, was released first, followed by Second Two (no sign of Season One yet). This is not Tommy Smothers being quirky, rather realistic. The show began as a fairly traditional comedy/variety hour in 1967, and as the times changed, and the under-thirty crowd got radicalized, the show shifted naturally. By the third season, it was featuring counter-culture musical artists (The Doors, The Who) and hip comedy (George Carlin, Jackie Mason, the Second City-style Committee) with a number of episodes performed in the round. The third season set includes an excellent documentary, SMOTHERED, which chronicles the war between the show (in particular the volatile Tom Smothers) and CBS.

I started with Season Two, and admit to being shocked by how standard a variety show it mostly was — later I learned that Tom Smothers had edited both seasons ruthlessly (sometimes too ruthlessly) because he too realized the memory of the ground-breaking show of over 40 years ago was better than the reality. That, of course, is why he insisted the final season be released first. This is not to say there isn’t a lot of funny material in the second season boxed set — the Pat Paulson run for the president is there, and Paulson was an excellent deadpan comedian. But I fast-forwarded through about a third of the stuff. Leigh French as Goldie O’Keefe, spaced-out hippie chick, remains a lovely young woman, frozen in video amber, with a nice delivery, but the “jokes” run mostly to slipping drug references past un-hip censors. If hearing the word “roach” or “high” tickles your funny bone, you’re in the right place.

TV variety shows of the fifties, sixties and even seventies were pretty dismal. I watched a lot of them as a kid, but they are a tough go to sit through now. Even shows that were hip for their era, like SMOTHERS BROTHERS, FLIP WILSON, and LAUGH-IN, seem about as dated as kinescopes of early TV.

Smothers Brothers Season 3
The Smothers Brothers Comedy Hour:
Best of Season 3

The third season of SMOTHERS was a revelation, though — while some traditional variety show stuff survives (and Tom S. edited a lot of that out), there is plenty of social commentary and musical acts that could have appeared no where else on primetime TV of the late ‘60s. I find myself not liking the stuff I didn’t like at the time — Mason Williams’ classical gas remains gaseous to me, as does his anti-censorship poem, and self-righteous hippie show biz types like the aforementioned Warnes, the Los Angeles cast of HAIR, Joan Baez and the oh so precious Donovan still give me a pain. If you lived through those years, and were a sort of hippie yourself (and that’s how I’d describe myself then — a sort of hippie, married and going to school but long-haired, in a rock band, and desperately trying not to get drafted), you found a lot of the hippie musical stuff of the era pretty forced and artificial and terribly self-satisfied.

Nonetheless, the bravery of the Smothers Brothers to air this stuff — and to employ as writer/performers young punks like Bob Einstein (aka Super Dave Osborne), Steve Martin, and Rob Reiner — is impressive. The difference in approach and attitude between season two and three is shocking — it’s like one week the show is CAROL BURNETT, and the next week it’s SATURDAY NIGHT LIVE. Historic performances from Pete Seeger (“Big Muddy” is amazing) and Harry Belafonte (“Don’t Stop the Carnival” to footage of the ‘68 Demo Convention) are alone worth the investment, and not much fast-forwarding elsewhere is required.

At the center of it all are those underrated performers, the Smothers Brothers, hip subversives posing as white-bread American boys. I loved them from the first time I saw them on (wait for it) Jack Parr’s TONIGHT SHOW. In the midst of a lot of smug and self-important folk musicians, the Smothers Brothers came on with their lampoon version of folk that had, in its day, the impact of Andy Kaufman. Initially, Tommy just seemed to be an idiot screwing up the act. We did not know we were witnessing one of the last great traditional comedy teams in the Laurel and Hardy/Abbott and Costello/Martin and Lewis mode. And Dick Smothers was and is a genius straight man.

I had all their albums. Grew up listening to them. Saw them perform at Hot Springs, Arkansas, at a nightclub/casino (a mob operation my middle-American parents took me to), and got to speak to them both and get my first celebrity autographs. They were extremely kind to me. (I would have been, perhaps, 16.) From junior high on, my friend Jim Hoffmann and I did Smothers Brothers impressions at parties and shows — we got great laughs in the time-honored tradition of kids stealing the acts of professionals, butchering those acts, and getting undeserved giddy praise from their classmates.

During the late ‘60s, Barb and I never missed THE SMOTHERS BROTHERS on Sunday night (MISSION: IMPOSSIBLE came right after, with Leonard Nimoy in for Martin Landau at this point, Trekkies). We were married in June ‘68, Barb 19 and me 20, and the assassination of Robert Kennedy took place while we were honeymooning in Chicago. Right around this time, I took a draft physical at Des Moines, Iowa, that scared me silly, classifying me 1-A — fortunately, I eventually was re-classified 4-F. Would Barb and I have gone to Canada? Probably. So we were absolutely the target audience of THE SMOTHERS BROTHERS SHOW, but I admit that I never saw anything controversial about what I saw there, and was shocked that censorship was an issue in an era of MIDNIGHT COWBOY and ZAP COMIX.

(Yes, friends, an almost draft dodger with leftist leanings somehow became the caretaker of right-wing icons Dick Tracy and Mike Hammer.)

So watching these DVDs, I find myself experiencing various shivers of memory — delight, sorrow, embarrassment, even pride — as I watch Tom and Dick Smothers on their very important TV show take on the establishment. The stories of Tom’s battles with CBS are so much like mine with the Chicago Tribune Syndicate over DICK TRACY that it made me uncomfortable — we were both punks, and both right. We took a stand, and got fired. I said pride was one of the shivers.

I recommend the book and both DVD sets, which are loaded with special features, each episode bookended with on-air comments by a very uncensored Tom and Dick (prepared for E Entertainment reruns a while back). Anyone my age will find this compelling viewing.

M.A.C.