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And despite Ford's obvious dark passenger -- his "sickness" -- you still find yourself rooting for the guy (that is when you're not screaming at characters to run for their fucking lives far, far away from the crazy man). The tax collectors collect for themselves. You killing me inside. Do or Die, Rock Roc & Snypaz 20. It diminishes the nature of violence, it does desensitise, it does make it normal, even as we complain about it. Niggas hangin deep on the cut gettin fired up. Look Into My Eyes 72. Casey Affleck as Lou Ford in the 2010 film directed by Michael Winterbottom.
Stain ya wit one up in the chamber. Catch another victim, capture bodies. I got this killer up inside of me i can't talk to my mother. This was my first Thompson novel and made me dig out his other works I found them all to just as hard boiled and compelling. Insanely good, but to be very honest, I liked his Pop. For instance, he seems to care very much for a young man, Johnnie; Lou listens to him, he counsels him, but is finally willing to throw him under the bus (Okay, not literally but you get the point).
This book just has a bit, but as I've said, it's just… intense, it's not slashery at all. However real Thompson's descriptions are, they still have not been robbed of the reader's imagination in the way film steals. Stephen King in his foreword calls it a great American novel because it helps us understand leaders like Nixon or mad men like Lee Harvey Oswald. The Killer Inside Me by Jim Thompson. Is it the fact that his mother died when he was young? But then nobody knows about what Lou calls his 'sickness'. On the surface he appears to be a dull, by-the-book law enforcer, but Lou Ford is harboring a dark side that has been with him since childhood. Casey Affleck (Ben Affleck's younger brother) delivers a stunning performance as a psychopathic deputy sheriff; when his charming and well mannered guy appearance disappears the audience's shown violence both "ordinary" and of sexual kind. They were horrified that the film depicts "violence against women. " Violence against women is Thompson's text and theme and central metaphor -- and in case I haven't made this clear, anyone who might find the violence in this movie gratifying or arousing is already virtually beyond the bounds of professional help.
It almost seems like he tried to strip a film noir of most everything that made it a film noir in the first place. But, the serial killers whose cases I outline were often sexually molested, so how do you not have compassion for that? Michael Winterbottom's adaptation of Jim Thompson's "The Killer Inside Me" is one of the deepest, darkest films noir ever made -- an unflinchingly nasty, nihilistic piece of work that pulls no punches, literally or figuratively. I got this killer up inside of medicine. Anyway, all wrath and chagrin aside, Uncle Stevie gives great introduction (heh) and this essay is particularly inspired dealing as it does with Jim Thompson, his mark on dark literature, and the enduring legacy of his psychopathic, unassuming small town Deputy Sheriff, Lou Ford. Because the face and body may be perfect.
Is it bleak and disturbing? The idea of one who is supposed to protect probably being the most dangerous and violent person in town is quite intriguing to me. Maybe there are other ways of doing it that would have worked. The Killer Inside Me by Stephen King. Its writers like Thompson who broke with established zeitgeist in the 50s and kickstarted the momentum culminating in the total anti-thesis of the status quo in the 60s. It's his "moral" compass that's broken. He hides in plain sight.
You see despite Lou's slow-witted façade, he's quite the clever murderer. I mean, who's got anything personal against him? A couple days ago, I was in-between books and looking over my shelves for something I could read before going to bed. Now the funeral is over, and all the tears are dried up. They might have a history of abuse or a recent crisis. Why read The Killer Inside Me. All the characters appear to have a "proximity" to the audience.
Twenty inch wheels candy paint so we drug dealers. He moves among his friends, his neighbors and no one knows what he really is. Too Short, Devin the Dude & Tela) 74. Some niggas make it out the neighborhood and won't surface. Last Of A Dying Breed 6. The deftness and nuance of the writing was amazing. 1280, it is "reader, you are loving this novel so you are as bad as me! I do know the movie was roundly criticized for violence against women. That does not ever fit Lou Ford. Southern Hospitality 47. The piece of music that Lou (Casey Affleck) plays on his piano is the 25th variation of J. S. Bach's Goldberg Variations. Thompson believed that male-female sexual relations, even in their so-called normal guise, contained hints of violence, and that it didn't take much to tip them over into terrible brutality. Thompson tries to show us that the cliched perspective of 1950s America as a land of communal benevolence and white picket fences requires attention. And god help you if you're not.
You used to see C in a suit and tie. But again, I'd like to stress that there isn't a lot of it in here. For there are monsters that walk among us and sometimes they look just perfect out of their eyes. Niggas coming out from california to represent them niggas from. The face and body may be perfect, but if a twisted gene or malformed egg can produce physical monsters, may not the same process produce a malformed soul? Well don't get too comfortable because there has never been a better example of the old adage, "looks can be deceiving. " My reasoning for calling it a great novel is a bit different. Can you give a snapshot of a female serial killer? Not that we totally identify with our deadpan sociopathic narrator and main character, but that's precisely what happens to Lou Ford, the clean-cut young deputy sheriff of Central City, Texas, (Casey Affleck, in another masterful performance to rank with his work in "Gone Baby Gone" and "The Assassination of Jesse James By the Coward Robert Ford"), a small-town psycho with a taste for compulsive, 1950s pulp sadism (really dirty, dangerous stuff -- let's say S&M without the safe word). He explains as he is doing it that he has to do it, it cannot be helped and, of course, he has said it, therefore in his view of the world, it is true. Ford has an awful secret that he's been carrying for years, along with impulses--a "sickness" as he describes it-- that he's been struggling to control for at least that long. Strangely, I think the way to transfer to the screen what I expect to have been the explicit nature of Thompson's description of these scenes would have been to draw back from the explicit. Women commit murder, and they get away with it. And if you outside the clique then you die, bitch.
Look deep into the eyes of your motherf**king killa. This is one of my favorite books by Thompson. Having taken these off this review, the discussion... with Paul prompts me to repost. Surprisingly, Sheriff Ford doesn't appear too distressed about these amazing coincidences. You can run, you can hide, but there's no escape.
Kicks and punches to death a woman. Niggas don't wanna see me world wide mob figure. Anyway those two movies were instrumental in announcing Kubrick to the world, he became one of the best directors the world has ever seen and no one remembered Thompson. Monsters are variations from the accepted normal to a greater or a less degree. While this isn't as good as the other two films I've seen from Winterbottom, I still really liked it and think it's highly underrated. Conspiracy Theory 7. I wasn't ever going to have anything but some safe, small job, and I'd have to act accordingly. That calm deputy that draws no attention to himself, but deep inside his monster's lurk. Really amazingly good book.
No Limit soldiers to the fullest. Lou on the other hand has known all along about the monster that's imprisoned inside him, he's struggled to keep it there. Imagine if Mayberry's Sheriff Andy Taylor was secretly a serial killer and you will have a good idea of what you are getting into with this novel. I'd say this book should be an absolute read for you. It was terrifyingly funny.
In a small Texas town, you know, the kind that reminds you of Mayberry, Lou Ford is the nicest Sherrif around. Prone to platitudes and rhetoric, at first he seems nothing more than a stereotypical American lawman, but his true character is soon revealed by the masterful depiction of his psychological interior. Ravings of a mad man or a visionary? And the people at that publishing company got it right. By a total stranger).