Nolans inspiration for the film was the Jokers comic book debut inthe graphic novel The Killing Joke, and the series The Long Halloween, the nickname the Dark Knight was first applied to Batman in Batman 1, in a story written by Bill Finger. The film received eight Academy Award nominations, it won the award for Best Sound Editing, the Dark Knight Rises, the final film in the trilogy, was released on July 20,
The theme is the allegiances and betrayal in a blue collar criminal family, set against the relationships between the corruption with the police and societies upper echelons.
Matriarch and firm Irish Catholic, Sarah Ryan tries to get the church involved in trying to put Michael and the brothers back into the law-abiding side of the street, only to find the local priest is a conduit for the IRA [and with an agenda that Michael Ryan can help with].
As wonderful as the cast are, some playing multiple roles, the real star of the show is the stage and production. The two-tier, moving-tracked stage is marvelous to watch as it allows the play to flow through the audience like deadly vignettes, that cut through the density of the narrative, distilling it to the core, without losing the richness and depth of the novel.
One can never state that it is a gratuitous scene, nor one that is titillating, far from it. The second act relays the journey that Maura and her family traverse as she takes on the mantle of the family crime business, standing side by side with her older brother Michael Ryan. Naturally the shadow this casts over younger brothers Geoffrey and Anthony will have deadly consequences for Maura as well as her beloved Michael, as well as her relationship with her mother, the increasingly unhinged Sarah Ryan.
Loud staccato gunfire, light flashes and sirens tore through the theatre as the bullion raid was recreated to nerve-shredding effect.
I found myself ducking for cover several times to ensure I was not hit by stray gun-fire that seemed to strafe the audience. Then as the play reaches its climax, we see the consequences that Maura and the Ryan family face from the law, as well as the IRA, all due to the choices they have made, many of which they had little control over.
There is a dark morality woven into the play, the self-same theme that the novel of Dangerous Lady carries as a striated motif — violence and evil often create their own violence and evil, cancelling out the original deeds in a form of equalization.
It is the suffusion of gallows humour, mainly via extraordinary dialogue that balances out, and makes the scary and visceral aspects bearable. The whole play zips by as fast as the gunfire that echoes in the auditorium. One aspect that is rarely mentioned about Martina Cole and her work, is how much compassion there is in her stories, something that is not lost in this theatrical adaptation; like her refusal to be judgmental about the myriad aspects that make up human nature.
Though she rarely talks about it, I would like to point out that Cole supports many charities as well being a patron of the arts. Whenever I ask her about this, she always changes the subject and blushes.
Perhaps there is some snobbery at play here, so to see her work set against a theatrical back-drop is a form of vindication.
When it comes to assessing the literary talent in the work of Martina Cole, her popularity is built upon by her own hard blue-collar work ethic, her skill as a storyteller and her generosity to those less privileged — with her ability to remain as grounded as she was when I first met her.
She tells it like it is, a phrase that seems made for this gritty novelist who reveals the inner workings of the dark-side of the blue-collar world, a world that she understands and relays with an unflinching eye. We raised our glasses and passed a toast to the versatile and prolific actor Herbert Lom who passed away recently, and reminisced at how a decade ago we managed to talk to himand get a photo taken with him at one of the Crimescene London Film and Literature Festivals managed by Maxim Jakubowski and Adrian Wooten at The National Film Theatre.
One thing I admire about Martina Cole is her unpretentious approach to crime writingand how despite the fame and profile she has attained; she remains the same woman I met so many years ago. She also epitomizes an observation I have found in my many years of interviewing and reviewing the writers that make up the darkest edges of the genre.
The darker the imagination, the more generous and amusing, as well as modest [and grounded] is the writer, in my experience. Cole writes about the world that many of us pretend does not exist, but one that lurks a few microns below our own reality.Peter May (writer) From Wikipedia, the free encyclopedia.
Jump to: navigation, He is the recipient of writing awards in Europe and America. Book Club Best Read of the Year Entry Island won the Crime Thriller Book Club Best Read of the Year Award at the Specsavers Crime Thriller Awards ceremony in London, October British actress Kara Tointon joined some of the UK's most prolific crime writers at an awards ceremony for the entertainment genre on Thursday.
The Specsavers National Book Awards showcases the best of British writing & publishing, whilst celebrating books with wide popular appeal, critical acclaim and commercial success.
This is the The entire wikipedia with video and photo galleries for each article.
Find something interesting to watch in seconds. His most recent bestselling thriller, The Fear Index, was shortlisted for the Ian Fleming Steel Dagger, for best thriller of the year, at the Specsavers Crime Thriller Awards. Robert Harris has worked with international film director Roman Polanski to create the Golden Globe winning film The Ghost Writer, starring Pierce Brosnan and Ewan Reviews: K.
Criminal Critiques The CWA offers a Manuscript Assessment Service for aspiring crime fiction writers, to help you polish your writing, and prepare your manuscript for submission to agents and publishers.