Showing posts with label Eliot Ness. Show all posts
Showing posts with label Eliot Ness. Show all posts

Saturday, October 1, 2011

Re-Kindling Interest: True Detective, True Crime, and The Million-Dollar Wound by Max Allan Collins (Nathan Heller series of historical private eye novels)

This is one of a series of reviews focusing on out-of-print novels that have become available again via a variety of e-book formats.

Though they've been out of print for most of the last decade, I was happy to learn that Amazon's new mystery imprint, Thomas & Mercer (named for the cross streets where the offices are located) would be reprinting all of author Max Allan Collins's Nathan Heller novels. Now they're available in trade paperback and e-book formats.

Recently, the first book in the series, the Shamus Award–winning True Detective, was promotionally priced at $0.99 and shot to #1 on the Kindle charts. As of this writing, it's still at the reasonable $1.99: an easy impulse buy.

True Detective is a stunning mix of fact and fiction. The setting is 1930s Chicago, and Collins paints the city of that time with a bold brush. Nathan Heller is a city cop who gets roped into a messy situation by his fellow officers. When he ends up killing a man with the same gun Heller's father used to commit suicide, Nathan's own, that's the last straw that leads to Heller's quitting the force, despite the efforts of the higher-ups to get him to reconsider.

But working as the president of your own detective agency (called "A-1" so it will appear first in the telephone directory) is by no means boring — not when your best friend is Eliot Ness and you have connections to Frank Nitti, Al Capone, mayor Anton Cermak, Walter Winchell, George Raft, and a young future actor who goes by the name "Dutch" Reagan. (Gangster John Looney, whom Collins would feature in Road to Perdition fifteen years later, even shows up.)

Collins took five years to research the place and time, and this, combined with his immense storytelling skill, make True Detective an immersive experience. The World's Fair comes alive in his hands, as do the characters, who have never seemed so real (even in The Untouchables) as when they are dealing with the fictional Nathan Heller.

The Nate Heller series continues with True Crime, also the second book in the "Frank Nitti Trilogy." Taking place just months after the events in its predecessor, True Crime centers around the famous killing of gangster John Dillinger in front of Chicago's Biograph Theater. (Manhattan Melodrama was the picture that he, a girlfriend, and the famous "Lady in Red" had just seen.)

Nate has just begun a relationship with renowned feather/bubble dancer, Sally Rand, when a man comes into his office asking Heller to find his wife. How this connects with Dillinger, and how Heller then gets mixed up with Pretty Boy Floyd, Baby Face Nelson, Ma Barker and her boys, and J. Edgar Hoover is a narrative of historic proportions.

True Crime was originally meant to be part of True Detective, but Collins realized that what was supposed to be a novel was slowly turning into an epic, and that cutting the entire Dillinger plot was what was needed. So, when the editor who bought the first asked if Collins had ideas for a sequel, he had an instant answer.

The accuracy of Collins' details and the amount of research done to get the facts right (sources are named in the back) are an example of the dedication Collins has to his craft. That he is able to whip up a plot that uses these facts, but does not rely on them for a crutch, while inserting a fictional character into the midst of the fracas, is nothing short of remarkable.

Collins sends Heller off to war in The Million-Dollar Wound, the third in the series to be nominated for a Shamus Award. (Note: The title refers to a war wound that gets a soldier sent home, but doesn't kill him.)

A little male pride, some misplaced patriotism, and a few drinks too many land Heller, too old for the draft, in the Marine enlistment office in 1942, right alongside best friend and ex-boxer Barney Ross. Far too soon after, they find themselves smack dab in the middle of Guadalcanal Island, surrounded by "Japs" and fighting death in both its projectile and contagious forms.

An especially bad case of malaria finds an amnesiac Heller back in the States with a fuzzy memory but a thriving investigation practice, and a request to testify against Frank Nitti, now in control of the territory left vacant by Al Capone's prison sentence. The story quickly flashes back to 1939. Those used to the linear narratives of the first two novels in the series, and their relative chronological proximity to each other, may be thrown by The Million-Dollar Wound, which takes place nine, then six, then ten years after the events in True Crime.

The Million-Dollar Wound was Max Allan Collins's most complex novel, both emotionally and narratively, up to that point. The weight of the combat experience weighs heavily on Heller's mind throughout the remainder of the novel, especially the bad dreams he has involving a fellow Marine's death by "friendly fire." Did Heller fire the fatal shot? He can't remember. This lends a gravity to this third entry that only enhances the reading, offering a deeper sense of character through Heller's reaction to the truth.

This Frank Nitti trilogy is only the first three novels of this long-running series of "memoirs," which includes the most recent novel, Bye Bye, Baby, wherein Nate Heller investigates the death of Marilyn Monroe. Also upcoming are two collections. Chicago Lightning contains all the Heller short stories produced throughout the last 30 years, previously collected and uncollected. Triple Play contains three Heller novellas written to date: “Dying in the Postwar World,” “Kisses of Death,” and “Strike Zone.”

Tuesday, June 17, 2008

Eliot Ness: An Untouchable Life directed by Max Allan Collins (starring Michael Cornelison)

Eliot Ness: An Untouchable Life (2007). Screenplay by Max Allan Collins from his Edgar Allan Poe Award–nominated play of the same name.

On May 16, 1957, the last night of his life, Eliot Ness receives a call from Oscar Fraley (his co-author or ghostwriter on The Untouchables, depending on whom you believe) about the galleys of the "upcoming" book. When the phone call is over, he begins telling his life story.

If there's a single author I would call the expert on Eliot Ness, it would be Max Allan Collins. Collins has been researching and writing fiction featuring Ness since the 1980s (longer if you consider that Dick Tracy, the daily comic strip Collins wrote from 1977 to 1992, was inspired by Ness): he has appeared in four novels as the main characters (The Dark City, etc., chronicling his time as Cleveland Safety Director), at least three novels in Collins's Nathan Heller series, Road to Perdition and its sequel Road to Purgatory, and probably a few others I have yet to encounter (I've only been a fan since 2004).

My point is, Collins has been putting historically accurate (and character-appropriate) words in Ness's mouth for 25 years, so who better to write Eliot Ness: An Untouchable Life, a one-man show starring the man most famous for sending Al "Snorky" Capone to Alcatraz?

In fact, when I read that Collins was going to write a career retrospective of Ness, the only surprise was that it was going to be on the stage, an area I believe was new to the novelist and independent-film director. (But since a short film was produced to raise money for the project, it was only a matter of time before it would return to the screen.) Mounted in the Des Moines Playhouse in August 2005, Eliot Ness: An Untouchable Life was reportedly shot during the week, using the theater set, while the play itself was performed for audiences on weekends.

Relative unknown Michael Cornelison, an experienced stage and film actor who has appeared in several Collins-directed features and short films (see The Black Box Collection) inhabits Ness fully, never allowing a single doubt to creep in the viewer's mind that this is in fact the man telling his own story. Collins's conversational script also helps with the illusion. And, also acting as director, Collins keeps this potentially "stagy" venture visually interesting.

Two quibbles: the electric piano and theremin in the score by Mark A. Johnson are sometimes distracting, as is Ness's continual removing and replacing of his coat and hat, especially early on. Cornelison moves from set to set depending on the story he's telling, and — while this keeps the atmosphere of each portion authentic — I sometimes wanted him to just sit still and talk for a change. An individual with a good story to tell is endlessly fascinating, and after a while, I got so involved in the story that I didn't notice the motion anymore.

The combination of historical accuracy, Collins's roll-off-the-tongue prose, and Cornelison's engaging personality and character immersion make Eliot Ness: An Untouchable Life a story that begs to be told again and again. I can even imagine listening to it while doing something else, just to be able to listen to the sheer wealth of information again. (Someone should consider releasing the audio track by itself; it would be great for commuters.)

Collins always packs his DVDs with extras, and Eliot Ness: An Untouchable Life continues the tradition. Included is a feature-length commentary with Collins, Cornelison, and Dingeldein where they display just how much in love with this project they were. Also here are a deleted scene, a behind-the-scenes photo slideshow, and — most interesting of all — a new short film noir called "An Inconsequential Matter" (also with commentary) that is currently making the festival rounds. The story starts out similar to Sleuth but turns into something else entirely and is a good opportunity for viewers new to Cornelison to see him in a different role.
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