This week we kick off an occasional new series of reviews of the Parker crime novels by Richard Stark.
If you know Parker, you understand. If you aren’t familiar with him, trust me: You are in for a treat.
In installment two, I’ll explain why he’s worthy of being discussed in this august forum.
But first, let’s chat a bit about the character, his creator, and why he matters.
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Jack of Shadows (Signet, August 1972). Cover by Bob Pepper
A decade ago this summer, Jack of Shadows by Roger Zelazny was reissued in print, after many years languishing in obscurity even among the author’s most devoted fans. The novel is vintage Zelazny. For many who just read those words, that will be enough. They can stop reading now and go and buy a copy and enjoy — even if, like me, they read it before, quite a while ago, in an earlier release from a different publisher. You guys, go have fun. We’ll chat later. The rest of you, continue on with me to the next paragraph, if you would.
If you’re still with me here, then two things must be true: One, you are intrigued enough to want to know more — and I applaud you for it! — but two, simply saying “a classic Zelazny book is back in print” is not enough to send you racing to the bookstore. You demand more. Very well.
Created by Steve Gerber (Howard the Duck; The Defenders).
The look of the main characters was designed by Alex Toth. After he was unavailable to continue working on the series, Jack “King” Kirby was brought in, at the recommendation of Gerber and Mark Evanier (who would later write a biography of Kirby). Kirby designed the look of most of the villains and supporting characters.
What is it?? Lords of Light, it’s awesome, is what it is!
Written by Brian Helgeland. Directed by Ridley Scott.
What it is, is a criminally underrated film.
Maybe it would’ve been more successful if they had titled it Robin Hood Begins.
Another option, though it probably wouldn’t have helped at the box office, is Kingdom of Heaven II.
Because it is both of those things, and more.
Written by Rospo Pallenberg and John Boorman. Directed by John Boorman.
Loosely based on Le Morte d’Arthur by Thomas Malory.
A classic telling of the story of King Arthur, the Knights of the Round Table, the quest for the Holy Grail, and the magical sword Excalibur.
Many filmed adaptations of that story have followed. This one, however, with its heightened sense of wonder and layers of magic woven throughout, probably remains the best-loved, most visually stunning, and most talked-about of them all.
Written by John Milius and Oliver Stone. Directed by John Milius.
Based on the Conan stories by Robert E. Howard.
The first film adaptation of Robert E Howard’s greatest creation: the Cimmerian warrior who was a thief, soldier, pirate, mercenary and king. We get at least a glimpse of most of those here, even if in a somewhat distorted form.
Written by William Monahan. Directed by Ridley Scott.
(There is a shorter theatrical cut, which should be avoided at all costs, like the plague it is.)
Ridley Scott’s epic saga of the Crusades, as seen through the eyes of a simple French blacksmith who travels to Jerusalem in an attempt to save the soul of his late wife, and ends up as the defender of the city against the massive army of Saladin.
Written by William Wisher and Warren Lewis. Directed by John McTiernan
Based on the novel, Eaters of the Dead, by Michael Crichton, who also served as a producer and uncredited director.
A version of the Beowulf story, as witnessed by an aristocratic Arab who accompanies a dozen Viking warriors into battle against a mysterious army of cannibalistic cavemen.
Written by Hal Barwood and Matthew Robbins. Directed by Matthew Robbins.
A sorcerer’s apprentice travels across sixth-century England to battle a dragon terrorizing a small kingdom. The jerk of a king and the local populace eventually prove more trouble to deal with than the dragon. Unfortunately, the dragon loses.
A joint production between Paramount and Walt Disney, Dragonslayer was only the third PG-rated film associated with Disney. Indeed it feels like a Disney movie that has taken a dark turn along the way. Although not a profitable one.
Written by Albert Pyun, Tom Karnowski and John V. Stuckmeyer. Directed by Albert Pyun
Released less than a month before Arnold Schwarzenegger’s more stately and much better known Conan the Barbarian, The Sword and the Sorcerer is a somewhat over-the-top and low-budget Eighties Fantasy film – and not a particularly well-remembered one.
That, I would argue, is a tragedy. Because this movie is fantastic, if you go into it with the right mindset. Because it is without question an absolutely pure Sword and Sorcery extravaganza.