Etienne Borgers (freeweb@rocketmail.com)
Wed, 1 Sep 1999 03:16:14 -0700 (PDT)
I do not know the writer nor his novel Angry Moon- so this is
not a statement about the quality of this book- but something
is troubling in its plot.
Of course, in crime lit and movies, the hit-man on last
assignment(for retirement or change of carreer) is something
rather common. What strikes me here is the hit man trying to
get his mentor. This resembles very closely to part of the
basic plot of a French film with Philippe Noiret and
Christopher Lambert, I occasionally saw last year. I think
the title is Max et Jeremie (Max and Jeremy)-1992 but I could
not find any relevant details in my documents about it. The
French film is only half-satisfactory, but the plot is very
tricky as well.
On Internet Movie Data Base, one of the script writers is
Teri White, based on his novel 'Max Trueblood and the Jersey
Desperado'.
(I did not read White's novel- published in 1987- neither,
but I found a summary of its plot and it is really the base
for the French film).
Is all of this only coincidental or are there some links with
Lankill's 'Angry Moon'? Any suggestion?
E.Borgers Hard-Boiled Mysteries http://www.geocities.com/Athens/6384
---Mark Sullivan <AnonymeInc@webtv.net>
wrote:
>
> Some time ago, I wrote in praise of
Terrill
Lankford's Shooters.
>
> Angry Moon starts off as a very
satisfying
"assassin thinking better of
> his career choice" story. Needless to say, he
has
to make one last hit.
> Like Grosse Pointe Blank, it starts with the
iffy
premise that someone
> sociopathic enough to become a highly
successful
hit man would have
> enough of a conscience to have this kind of
crisis
of faith, but that's
> one of those disbeliefs fans willingly suspend
when
reading this genre.
> Like John Woo/Chow Yun Fat's The Killer the
hit
man's employers do not
> intend to let their contractor quit the
business.
And, of course, the
> last hit is on the man who taught our
anti-hero
everything he knows. So
> far, we have the making's of a very good hit
man
thriller.
>
> As in Shooters, Terrill focuses on a suspect
hero,
but makes him
> sympathetic by pitting him against worse
creatures,
without his code of
> honor. And the first half is a very good
thriller,
full of very
> specific detail to led verisimilitude, kind of
like
Stark's Parker
> novels. That believability built on
concrete
detail becomes crucial
> when things begin to get a bit surreal.
Our
anti-hero begins to suspect
> his own sanity when he finds it very hard to
kill
his mentor, who is
> turning the whole thing into a game of cat
and
mouse. I don't want to
> give any more away, but suffice it to say
Terrill
has constructed the
> book beautifully to get readers to stretch
the
bounds of their
> disbelief.
>
> Highly recommended.
>
> Mark
>
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