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Joaquim da Silva Fontes, Significação e Estabilidade do Género no ...

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Home (1937) – were two living proofs of that sour feeling he had towards Hollywood. In<br />

fact, they were both autobiographical and recount his sharp experiences in the cinematic<br />

industry. Even a <strong>no</strong>vel such as They Shoot Horses, Don’t They? received scant attention<br />

and only got a<strong>da</strong>pted to the cinema some three decades later. The <strong>no</strong>vel failed to win<br />

widespread acclaim in the U.S (only three thousand copies were sold) but achieved<br />

considerable success abroad, especially in France, as the French public was already<br />

absorbing American crime and mystery stories quite extensively. The strong existentialist<br />

message that his book conveyed made many people compare him with Jean-Paul Sartre or<br />

rank him beside William Faulkner and Ernest Hemingway and he was therefore named<br />

“the American existentialist”.<br />

In all, McCoy wrote six <strong>no</strong>vels and almost thirty screenplays but his reputation in<br />

the United States had always been lesser than in Europe. His contribution as a screenwriter<br />

to film <strong>no</strong>ir may be minimal, but McCoy’s Kiss Tomorrow Goodbye is a fine example of<br />

<strong>no</strong>ir fiction because of the structure he developed for exploring the <strong>da</strong>rk underworld of a<br />

corrupt city. The <strong>no</strong>vel was written partially thanks to praise coming from abroad, and<br />

Warner Brothers - which has been frequently described as the most progressive American<br />

motion picture studio of the early thirties, the one which made films that habitually<br />

accepted the topics of Depression and the disruptions that accompanied it – aware of this<br />

and the contents of McCoy’s previous <strong>no</strong>vels, decided to acquire the rights to Kiss<br />

Tomorrow Goodbye which ended up being a success and inspired James Cagney (who<br />

wanted a<strong>no</strong>ther “really nasty role” following his success in White Heat) in the role of<br />

career criminal Ralph Cotter. “At last I was safe and secure in the blackness of the womb<br />

from which I have never emerged” (Hilfer 1990:19), McCoy concludes his story. As a<br />

writer, McCoy may <strong>no</strong>t have been prolific when compared with the other Black Mask hardboiled<br />

writers, but he was ingeniously able to create, as seen above, one of its strongest<br />

serial heroes.<br />

59

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