In a message dated 7/12/02 2:38:15 AM,
rribic@optusnet.com.au writes:
<< Of course, the flipside is just about every boring
Hollywood flick to
come out in the last 20+ years has featured a soundtrack of
50's/60's
pop hits. When it ain't done right it's very forgettable.
>>
this isn't true at all. now they have obnoxious hip hop
soundtracks. and in the 80's, there was that generic
sounding, over-produced, rock bombast
I'll take a 50's/60's pop hit soundtrack any day of the week.
even on a Merchant/Ivory flick. now THAT would be
interesting.
and just to keep the missive on-topic, I've finally pulled
Marcel Montecino's 3rd and final novel SACRED HEART off my
TBR shelf. Montecino's debut back in
'88 was a pretty good cop story called THE CROSSKILLER that
showed flashes of brilliance, but nothing that would prepare
one for his stunning follow up BIG TIME. Big Time concerned a
New Orleans piano player with a gambling problem, who blows
town in thrilling fashion to escape the local mob. he
re-invents h imself, but falls for a beautiful singer in Rio
who jumpstarts his songwriting career. of course, his new
found fame leads his enemies to his door.
SACRED HEART is period, set in New York during prohibition,
and the protagonist is the trigger happy son of an Irish
mobster. at least, so far it is. the blurb leads one to
believe that after everything goes to shit, he hooks up with
his older brother, a priest down in Mexico.
Montecino's work is typified by searing dramatic scenes, as
well as borderline gratuitous sex and violence. he made a big
Hollywood score in the early 90's and went on a huge
substance abuse binge. he finally got his shit back together
and wrote Sacred heart, which as I recollect from the book
signing I attended, is ultimately about redemption. then he
died. he was not an old man, but the years had taken their
toll.
John Lau
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