It’s fun to both know what you’re getting and to get some surprises, too. That’s the case with Hard Case Crime’s latest novel, Jason Starr’s The Next Time I Die. It’s billed as a paranoid thriller, a mix of Philip K. Dick and The Twilight Zone. But the publisher is the home of classic crime novels, right? It so happens that not only is The Next Time I Die a retelling of sorts of a few PKD short stories, it’s a mix of a number of sci-fi tropes while pulling in a protagonist you might find in old crime stories like Rudolph Maté’s D.O.A., James M. Cain’s Double Indemnity, and Vera Caspary’s Laura. All in, it’s a lot of fun.
Some writers are great at writing crime novels from the perspective of the detective, some are great at writing as the criminal, and then there are writers like Donald E. Westlake who had it all figured out. The latest publication of a classic Westlake novel from Titan Books’ Hard Case Crime imprint is from the vantage of a murderer who keeps getting wrapped deeper and deeper into his web of lies. The novel is A Travesty, a 1977 pile-on of crime references and tropes about a film critic trying to prove wrong the maxim “crime does not pay”–featured in a new 2-for-1 trade edition with the short story Ordo titledDouble Feature, and originally released together under the title Enough.
Acclaimed horror filmmaker Alfred Hitchcock′s first attempt at developing a film from the professional partnership of French writers Pierre Boileau and Thomas Narcejac was for their 1952 novel She Was No More. He got passed up, but he wouldn’t miss acquiring the rights to their next novel published in 1954–another murder mystery–called D’Entre Les Morts, translated as From Among the Dead, or The Living and the Dead. H.G. Clouzot would direct She Was No More and release it as the filmDiabolique, but Hitchcock would go on to be known best for his adaptation of their work–the film classic Vertigo, labeled for decades by critics as his masterpiece, and even the best movie ever made by anyone. As readers will learn upon returning to the original Boileau and Marcejac novel, later renamed Sueurs froides or Cold Sweat (the French title of Hitchcock’s film), and finally Vertigo in light of the film’s success, screenplay writers Samuel A. Taylor and Alec Coppel significantly modified the novel for the screen.
The novel is a masterful, gritty look at five years in the life of a Frenchman in 1940 Paris, a lawyer traumatized by acrophobia and vertigo after watching a man die falling from a building, later suffering from depression and psychosis after a bundle of life experiences results in a sort of post traumatic stress disorder. As the war comes closer, Flavières is asked by an old college friend to keep tabs on his wife, Madeleine, who he claims has developed a strange fixation on her dead great-grandmother who killed herself at Madeleine’s current age. Flavières does as asked, but soon falls in love with Madeleine. His love turns to obsession, which only gets worse as the story goes on, and he becomes a voyeur, and eventually controlling, possessive, and manipulative. It would be nearly impossible for anyone to imagine actor James “Jimmy” Stewart playing the role of the novel’s protagonist Roger Flavières, so different from Stewart’s character in the film, Scottie Ferguson, a likeable San Francisco lawyer-turned cop.
Flavières follows Madeleine everywhere she goes. As she sits and stares blankly at the gravestone of her great-grandmother, as she visits the dead woman’s apartment, as she drifts about the city in a trance state. Is she possessed by her ancestor’s ghost? This is the lingering question of the husband, of Flavières, and the mystery for the reader until the very end of the story. While observing Madeleine from afar, Flavières watches her dive into the river Seine, and he rescues her, revealing himself, but not disclosing his work for her husband. Her mysterious nature continues until he accompanies her to a church with a bell tower. She runs up the steps, but his vertigo keeps him from following. She screams, and falls to her death. To this point–the midpoint of the novel–the movie is a close adaptation of the novel, except for the setting. But the second half of the novel becomes a different journey for the protagonist than what the movie audience has seen.
It’s one of Alfred Hitchcock’s finest and most celebrated films. Pairing Jimmy Stewart and Kim Novak, Hitchcock explored the ultimate con, the perfect murder, and a hopeless love story. In Hitchcock’s stylish 1958 film Vertigo, the director also paints one of the most beautiful travelogues for the San Francisco Bay area. The American Film Institute has declared it the all-time best mystery, the #12 best film score, the #18 best romance, the #18 best thriller, and the ninth best movie of all American films. Over the years international critics’ polls have seen Vertigo move back and forth with Citizen Kane for the designation of best film of all time. Celebrated directors François Truffaut and Martin Scorsese have heralded the film. Vertigo is also the only film that featured Hitchcock himself as a trumpet player–you’ll just need to keep a watchful eye for his cameo. And you can do that this weekend, as Vertigo is returning to theaters nationwide for two days to celebrate its 60th anniversary beginning this Sunday, March 18, 2018, as part of Turner Classic Movies, Universal Pictures and Fathom Events’ retrospective screenings of film classics.
Even more so than Otto Preminger’s haunting 1944 film Laura, Vertigo delves into obsession like no other film. Stewart’s take on an ex-cop observing the beautiful wife of an old friend at that friend’s request is a character far removed from any other role Stewart had ever taken on. And Novak really plays two women as the film is cracked into two halves–one a dangerous and enigmatic stranger, the other a young romantic from Salina, Kansas, trying to escape the decisions of her past. You, too, will find it hard pressed to avoid becoming obsessed with the film (I’ve seen it at least twice in theaters and dozens of times on home video over the decades).
Behind the scenes film aficionados will appreciate that Vertigo was the first film to use the dolly zoom, the camera taking the dolly out while zooming in, thereby creating the dizzying vertigo effect throughout the movie. John Whitney used an M5 gun director–an actual World War II anti-tank firing predictor, along with famed graphic designer Saul Bass’s spiral motifs, to create the film’s unusual opening title sequence. Edith Head’s spectacular designs were behind Novak and Stewart’s memorable wardrobes. The film was nominated for two Oscars, George Dutton for sound, and Hal Pereira, Henry Bumstead, Sam Comer, and Frank R. McKelvy for Art Decoration/Set Decoration.
But probably most significantly for the ambience of the film, Bernard Hermann’s score is one of Hollywood’s finest, and Martin Scorsese summed up the music his way: “Hitchcock’s film is about obsession, which means that it’s about circling back to the same moment, again and again… And the music is also built around spirals and circles, fulfilment and despair. Herrmann really understood what Hitchcock was going for — he wanted to penetrate to the heart of obsession.” Years later the 2011 Oscar winner for best picture The Artist would use the spiraling love theme from Vertigo to achieve the emotion needed for its key scene.
We’re back today with the second part of my interview with Nicholas Meyer, director, screenwriter, and storyteller, as we celebrate the 35th anniversary of Star Trek II: The Wrath of Khan, and its return to theaters next month as part of the Fathom Events series. Meyer directed Star Trek II and Star Trek VI: The Undiscovered Country, and he was a screenwriter on both movies as well as Star Trek IV: The Voyage Home. He chatted with me about his films and more this past week. If you missed part one of the interview, check it out here.
CB: You’ve written words spoken on-screen by Lawrence Olivier (The Seven-Per-Cent Solution), David Warner (Time After Time, Star Trek VI), and Christopher Plummer (Star Trek VI). Are there any other great actors you maybe fantasize, or would like to write, dialogue for?
NM: I’ve also worked with Jason Robards and John Lithgow (both in The Day After). I’ve worked with some really wonderful actors. Fantasizing about working with actors is interesting. When I listened to the Chandos recording of the music from Henry V–the Olivier film with Christopher Plummer reciting or acting out the various Shakespeare vocal parts–I thought, “Wow, I’d really love to work with this man.” And I wrote the part of Chang in Star Trek VI specifically for him. That’s the first time I’ve ever written for an actor other than the Star Trek cast. I said to my casting director Mary Jo Slater, “Whatever you do, don’t come back without him. Because there’s no movie unless it’s him.” It would take me longer than this conversation to rustle around in my brain other actors I’d love to work with–Benedict Cumberbatch–sure, of course.
Nicholas Meyer directing the production crew, with Christopher Plummer as General Chang, on the Klingon courtroom set of Star Trek VI: The Undiscovered Country.
CB: Your Time After Time co-star Malcolm McDowell joined Star Trek in the seventh movie in the series, Star Trek Generations, after you were no longer with the franchise, and it always seemed to me to be an obvious choice to get him into the Star Trek universe. Did he ever contact you about taking on a Star Trek role?
NM: No… we never discussed it. David Warner, who actually has been in two Star Trek movies (as Chancellor Gorkon in The Undiscovered Country and St. John Talbot in Star Trek V: The Final Fronter), was the great post-war Hamlet with the RSC (Royal Shakespeare Company), and I think Malcolm at one point was a spear carrier in that company at the time when David was this huge star. In Time After Time they used to kid each other about those times. Something about carrying a pack of cigarettes under your costume.
CB: You have said you see yourself first as a writer and have been writing and telling stories since you were five years old. Are you as excited today to sit down and craft a story as you were in 1982?
NM: I think when I get going the answer is yes, and if it’s going well the answer is yes, and the hours can go by and I look up and it’s a week later. But as I’ve gotten older, the process of actually starting, of facing what used to be a blank page, which is now a blank screen, having done it again and again and again… Most of the stuff I’ve written has never been produced. Most of the stuff I’ve written for books I’m happy to say has been published, but I haven’t written that many books. But most of my screenplays–including probably my best screenplays–have never been done. So as you get older and you embark on this again and again and again there is a kind of a weariness of picking up the yoke and putting it on your shoulders. That said, getting paid for telling stories beats work any day.
On the Star Trek II: The Wrath of Khan Engineering set, that’s Catherine E. Coulson (later Twin Peaks’ Log Lady) with the camera, director Nicholas Meyer (in Starfleet captain’s jacket) and James Doohan as Scotty, filming the emotional finale.
CB: In your memoir The View From the Bridge, you mentioned some of your best ideas or solutions when writing come while doing laundry, while in the tub, or even building a model boat. What was your biggest revelation and strangest place you found it?
Tomorrow Stephen King’s newest novel, Joyland, hits the shelves already a pre-release #1 Bestseller. Come back to borg.com Friday, June 7, 2013, for information on how to win copies of an exclusive edition of Joyland or canvas cover prints of the novel’s artwork from Titan Books, publisher of the Hard Case Crime imprint, as part of the Stephen King-Joyland online book tour.
As a fan of many Stephen King movies and TV series based on his books, strangely enough I never made it through a Stephen King novel before now. Because King’s adapted visual works have been so consistent, I found the easy-going storytelling in Joyland to be very familiar. Joyland contains themes found in the innocence of Stand By Me (based on King’s novella The Body) and Silver Bullet (based on King’s novella Cycle of the Werewolf), the supernatural of The Green Mile (based on King’s serial novel of the same name), and the Northeast U.S. town-life found in the TV series Haven (based on King’s The Colorado Kid) and The Dead Zone (based on King’s novel). King’s storytelling is very recognizable–you’d know his style anywhere. And Joyland is not horror, but a blend of true crime-type drama mixed with King’s signature violent/explicit/graphic accounts of not just the crime that is the focus of the story but the life of the protagonist. Yet it is also a coming of age story for the 20s set–written in a manner similar to classic middle grade and young adult works, like S.E. Hinton’s The Outsiders and Tex, and even some of Judy Blume’s works.
Old Joyland Amusement Park (King’s is a fictional park)
, hits the shelves already a pre-release #1 Bestseller. Come back to borg.com Friday, June 7, 2013, for information on how to win copies of an exclusive edition of 
