A Law Unto Themselves

With two feet firmly planted in the historic noir genre of the 1940s and 50s, Joel and Ethan Coen went about making their first feature film, Blood Simple.. Though it was not, by any means, that ‘simple’. Creating a trailer long before production (it has Bruce Campbell in it – who never appears in the final motion picture), strangely enough, it does not feel entirely compatible with their final product, but somewhat like a distant relation to the iconic cult horror classic Evil Dead. On the advice of Sam Raimi (director of the above mentioned movie – who helped advise the brothers), the Coen’s went door to door with a projector and their trailer, seeking out investors. Think of it as the original GoFundMe. In just over a year, they raised the needed capital and got to work on their film – which, in case you thought that I made a mistake up above, contains a period after ‘Simple.’. A striking neo-noir, the title comes from an old Dashiell Hammett novel, "Red Harvest", a term that highlights the muddled, jittery and anxious mindset of people who have had a protracted immersion in violent affairs.

Narrated by the Grim Reaper (Gabriel Byrne), 2009's Perrier’s Bounty is an intriguing Irish film that mixes action and comedy within a crime story (all centred around a complex father/son relationship). Written by Mark O’Rowe (who also scribed the entertaining 2003 flick Intermission) and directed by Ian Fitzgibbon, they thrust us into the life of protagonist Michael McCrea (Cilian Murphy), a flawed, complicated figure who just happens to be sleeping in the afternoon while two thugs, Ivan (Michael McElhatton – Roose Bolton in Game of Thrones) and Orlando (Don Wycherley), sit on his couch eating his pistachios. Henchmen to a dangerous gangster, Darren Perrier (Brendan Gleeson), the duo remind the recently woken man that he owes the crime boss a hefty sum that must be paid in four short hours. Surrounded by an ever-complicated life, his female best friend Brenda (Jodie Whittaker), who lives one floor down, is struggling with her longtime boyfriend Shamie (Pádraic Delaney), while his father Jim (Jim Broadbent) arrives out of the blue and states that he is dying of cancer – the two have not spoken in some four years. Pushing them to the periphery while he deals with the more pressing problem of Perrier, he reaches out to a local drug dealer, Clifford (Domhnall Gleeson), as the man knows every low life in the city of Dublin. Getting directions to The Mull (Liam Cunningham – Davos Seaworth in Game of Thrones), a loan shark, he petitions him for some cash. Having none of it, instead, The Mull invites him to partake in a criminal venture with his buddy Dinny (Breffni McKenna), and Michael, desperate for any solution, agrees.

Taking the rare angle of having the femme fatale be the voice-over narrator, the 1946 film noir Decoy, directed by Jack Bernhard, does a lot with the little budget it had. Perhaps the most brutal dame of them all, Margot Shelby (Jean Gillie) is shot at the very beginning of the story, wounded by a then unknown assailant. It is at this point that she recounts her sordid tale. Honey to a rough and tumble aging gangster, Frankie Olins (Robert Armstrong), the man has been placed behind bars following a robbery – which left a guard dead and the thief four hundred thousand dollars richer (which he hid before he got caught). Soon to be sent to the gas chamber, he still has hope that his girl, along with a gangster associate, Jim Vincent (Edward Norris), will find a way to help him escape his doomed fate. Vincent, already short tens of thousands in aiding his fellow hoodlum, is not eager to throw more dough his way.