If you’re in Singapore, be sure to save the date!
1 Nov, Sunday, 5.30-6.30
British Council Gallery at The Arts House
Here’s my latest Opium Traces feature article on popmatters.com. A review and interview with author and scholar of South Asian religions, David Gordon White…
HFS! OMG! WTF! GCIYE!
There will be a launch event for my novel Singapore Yellow as part of the Singapore Writer’s Festival.
1 Nov, Sunday, 5.30-6.30PM, The British Council Room at The Arts House.
Please stop by and buy copies of the book and I’ll sign them and do all sorts of amazing things, too.
Link with map below. And don’t forget that our Singapore Yellow Selfie competition is still on!
Be there…or be square!!!
Wow! I’m pleased that my interview with the The Star Online, the premier English language digital news outlet in Malaysia, is now online! I discuss my hard-boiled Malaya trilogy, Third World Skull Candy, and other projects…
To Live and Die in L.A., William Friedkin. Recently “re-discovered” and a major influence on 2011’s outstanding action film Drive, TLADILA was a late-night cable staple when I was in my late teens…minus the nudity and vulgarity. Some think it’s cheesy. What it really offers is the last gasp of a 1970s mainstream action style that combined grit with art-house level editing and cinematography, here in full-force with Robby Muller’s exhilarating camera work and M. Scott Smith’s seat-of-the-pants cutting. The same script in the hands of other action directors of the era, like Richard Donner, would simply have been a Lethal Weapon (1987) manqué. Friedkin shows his chops by combining 1980s slickness (such as the electro-pop soundtrack by Wang Chung) with 1970s gravitas. It gives the film an edge that still makes it compelling viewing. Pop-culture bonus: The British nanny from Fraser plays a lesbian slut.
Check out the 1980s cocaine and bourbon editing of the trailer: https://www.youtube.com/watch?v=I5JI_RclmIg
And the awesome soundtrack: https://www.youtube.com/watch?v=tItxr8cY8Gc
Atlantic City. Louis Malle’s best English-language picture and Burt Lancaster’s most masterful performance; toss in a young Susan Sarandon and you’ve got a trifecta of powerful personalities who can drive the picture, but the real star is in the title. Pre-Trump and post-Boardwalk Empire-era, the Atlantic City of the 1980s was a run-down dump in the process of being demolished: a condition that DP Richard Ciupka lovingly captures as an objective correlative to the dead-beat, has-been, two-bit characters that populate the story. The cinematography is poetic, the action blasé: the real plot takes place inside the main characters whom we never for a moment stop feeling empathy and compassion. Given the despair, decay, and demolition surrounding them, this is a major achievement.