Eight Million Ways To Die

Nobody knows better than Matthew Scudder how far down a person can sink in this city. A young prostitute named Kim knew it also—and she wanted out. Maybe Kim didn't deserve the life fate had dealt her. She surely didn't deserve her death. The alcoholic ex-cop turned p.i. was supposed to protect her, but someone slashed her to ribbons on a crumbling New York City waterfront pier. Now finding Kim's killer will be Scudder's penance. But there are lethal secrets hiding in the slain hooker's past that are far dirtier than her trade. And there are many ways of dying in this cruel and dangerous town—some quick and brutal ... and some agonizingly slow.

In the dark days, in a sad and lonely place, ex-cop Matt Scudder is drinking his life away -- and doing "favors" for pay for his ginmill cronies. But when three such assignments flow together in dangerous and disturbing ways, he'll need to change his priorities from boozing to surviving.

Beginning with a general overview of film noir and covering its most important themes chapter by chapter (lovers plan murder, corrupt police, doomed love, psychological noir, etc.), this copiously illustrated handbook provides instant and in-depth access to the film noir genre for amateurs and aficionados alike. Among the films covered are these "Top Ten": "Double Indemnity", "Kiss Me Deadly", "Gun Crazy", "Criss Cross", "Detour", "In A Lonely Place", "T-Men", "Out of the Past", "The Reckless Moment", and "Touch of Evil".

An in-depth critical re-appraisal and inside account of director Hal Ashby's final feature film 8 Million Ways to Die starring Jeff Bridges, Rosanna Arquette and Andy Garcia. Hal Ashby was one of the most renowned directors of the 1970s, helming such classics as Harold & Maude, The Last Detail, Bound for Glory, Shampoo, Coming Home and Being There. In the 1980s, however, his reputation suffered amongst studios who considered him “difficult” and who removed him from projects before he could assert his right of “final cut”. Ashby's final film was, uncharacteristically, a thriller. Based on the novel by Lawrence Block and starring Jeff Bridges, Rosanna Arquette and Andy Garcia, from a script originally by Oliver Stone, 8 Million Ways to Die was a troubled production. The script was re-written several times and much of the film improvised between the director and his leading actors, much to the dismay of the studios who sacked Ashby before he could edit the film. Ashby sued the production company and declined to take possessory credit of the final release. So too, stars Bridge and Arquette vociferously denounced the movie in the popular press, lamenting the editing choices made without Ashby (an Academy Award winning editor). When eventually released, the critics lambasted the movie and it found itself quickly on VHS release. It grew a small fan appreciation - in part now due to the nude appearance of later Baywatch babe Alexandra Paul - but languished thereafter gathering dust on store shelves.Until now!

Hal Ashby (1929–1988) was always an outsider, and as a director he brought an outsider's perspective to Hollywood cinema. After moving to California from a Mormon household in Utah, he created eccentric films that reflected the uncertain social climate of the 1970s. Whether it is his enduring cult classic Harold and Maude (1971) or the iconic Being There (1979), Ashby's artistry is unmistakable. His skill for blending intense drama with off-kilter comedy attracted A-list actors and elicited powerful performances from Jack Nicholson in The Last Detail (1973), Warren Beatty and Julie Christie in Shampoo (1975), and Jon Voight and Jane Fonda in Coming Home (1979). Yet the man behind these films is still something of a mystery. In Being Hal Ashby: Life of a Hollywood Rebel, author Nick Dawson for the first time tells the story of a man whose thoughtful and challenging body of work continues to influence modern filmmakers and whose life was as dramatic and unconventional as his films. Ashby began his career as an editor, and it did not take long for his talents to be recognized. He won an Academy Award in 1967 for editing In the Heat of the Night and leveraged his success as an editor to pursue his true passion: directing. Crafting seminal films that steered clear of mainstream conventions yet attracted both popular and critical praise, Ashby became one of the quintessential directors of the 1970s New Hollywood movement. No matter how much success Ashby achieved, he was never able to escape the ghosts of his troubled childhood. The divorce of his parents, his father's suicide, and his own marriage and divorce—all before the age of nineteen—led to a lifelong struggle with drugs for which he became infamous in Hollywood. And yet, contrary to mythology, it was not Ashby's drug abuse that destroyed his career but a fundamental mismatch between the director and the stifling climate of 1980s studio filmmaking. Although his name may not be recognized by many of today's filmgoers, Hal Ashby is certainly familiar to filmmakers. Despite his untimely death in 1988, his legacy of innovation and individuality continues to influence a generation of independent directors, including Wes Anderson, Sean Penn, and the Coen brothers, who place substance and style above the pursuit of box-office success. In this groundbreaking and exhaustively researched biography, Nick Dawson draws on firsthand interviews and personal papers from Ashby's estate to offer an intimate look at the tumultuous life of an artist unwilling to conform or compromise.

This reference volume provides an evaluation of Oliver Stone's work as a screenwriter, producer, and director.

The hard-bitten PI with a bottle of bourbon in his desk drawer--it's an image as old as the genre of hard-boiled detective fiction itself. Alcohol has long been an important element of detective fiction, but it is no mere prop. Rather, the treatment of alcohol within the works informs and illustrates the detective's moral code, and casts light upon the society's attitudes towards drink. This examination of the role of alcohol in hard-boiled detective fiction begins with the genre's birth, in an era strongly influenced and affected by prohibition, and follows both the genre's development and its relation to our changing understanding of and attitudes towards alcohol and alcoholism. It discusses the works of Dashiell Hammett, Raymond Chandler, Mickey Spillane, Robert B. Parker, Lawrence Block, Marcia Muller, Karen Kijewski and Sue Grafton. There are bibliographies of both the primary and critical texts, and an index of authors and works.

To what extent have Hollywood feature films shaped the meanings that Americans attach to alcoholics, their families, and the alcoholic condition? To what extent has the mass culture of the movie industry itself been conceptually shaped by a broad, external societal discourse? Norman Denzin brings to his life-long study of alcoholism a searching interest in how cultural texts signify and lend themselves to interpretation within a social nexus. Both historical and diachronic in his approach, Denzin identifies five periods in the alcoholism films made between 1932 and the end of the 1980s, and offers a detailed critical reading of thirty-seven films produced during these six decades.