From: Daniel Sevitt ( DANIELSE@Amdocs.com)
Date: 13 Feb 2000

<One thing about *Heat* that struck me (and I'm surprised no one else noticed this) is how similar DeNiro's character is to Richard Stark's Parker. Same ultra-professional attitude. Same phillosophy. Same loyalty to colleagues. Same ruthlessness. Same sort of relationships with women. Kilmer's character, handsomer, younger, looser in the application of professional standards struck me as very similar to Grofield. Even the set-up of DeNiro's world, parallel to but outside of regular society, with a network of communication lines, etc. (Voight's character struck me as similar to Handy McKay), and the grandiose nature of the scores seemed right out of Richard Stark.>

I'm only two books in to Stark's Parkers, but I found your comments illuminating. I remember walking out of Heat and feeling that the movie was just as much about loneliness in LA (q.v. Altman's Long Goodbye) as it was about cops and robbers. The Amy Brennerman character is horrified when she discovers what DeNiro really does but even more frightened of being alone again to leave him. I just finished The Man with the Getaway Face and found it flawed but riveting. After the score Parker is left alone with his money, but he remains unfulfilled. He goes out trawling for hookers but, I felt he was really seeking companionship rather than sex. He actually seems to miss his double-crossing backstabbing junkie wife. On the job he cannot trust anyone, an old partner is knifed and Parker guns down the moll without pause. After the split he is alone again, but without someone to share or understand, it all seems kind of pointless. That's why I like Parker so far. He's a noir nihilist, he understands the pointlessness of it all.

Daniel Sevitt danielse@amdocs.com 00 972 9 776 3745

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