Trouble In Mind

The books of others rarely inspire my own writing.

Most often, I’m more moved by music.

Very rarely, a film gets me there. When that happens, it’s usually tied to a director and a body of work.

There’s this particular director, and a film he made deep in the heart of Morning in America, that’s been on my mind lately. That film (and its successor, The Moderns, about 1920s Paris), left fingerprints all over my own crime fiction.

The mid-to-late 1980s: A time of skinny ties and suits without socks; a burgeoning sense of deconstruction and post-modernism; meta-fiction looms in the wings. The work is the thing and thing knows exactly what it is. Knowing winks and self-referentialism are fast becoming hip.

Back then, most crime fiction wasn’t hip. You had your Ellroy; you had your James Crumley…and no deep bench behind those two scribes.

In 1985, director Alan Rudolph released, Trouble in Mind. I saw it the way most others probably did at the time — a blink-and-you-missed-it three-day run in some campus art house theatre. But I was captivated; made do in the years after with a discarded rental of Trouble on full-screen VHS.

Kris Kristofferson anchors the film as “Hawk,” an ex-cop just sprung from prison for the fatal shooting of a “Rain City” crime boss years back.

“Rain City” stands in as a vaguely fascist, pre-Starbucks Seattle, every bit as drenched in neon-kissed rain as you would hope. A place where WASPs threaten and scream at one another in disarming volleys of Korean from time to time; where policeman and soldiers roam the streets and parade around with weapons.

Hawk, whose hobby is building highly-detailed scale models of Rain City landmarks, quickly settles into former habits and old haunts, chiefly a café run by his old friend Wanda (played by Geneviève Bujold, a Rudolph stalwart).

Wanda’s Café is Rain City’s version of Rick’s Place. Wanda was once under the thumb of a local crime boss — the man Kris/Hawk ventilated with a single shot between the eyes in a room filled with witnesses.

Soon enough, Hawk is courting a luminously innocent Lori Singer, a new mother badly married to a scrambling, scuffling Keith Carradine.

Casting a shadow over the city is an über fey reinvention of The Maltese Falcon’s Caspar Gutman — the kind of part Sydney Greenstreet might have played in post-Code Hollywood. Rain City’s new crime lord is Hilly Blue, portrayed by the late-Divine in a rare turn in pants.

A new, 25th anniversary edition of Trouble In Mind has recently been released on DVD, and just in time according to its director, who rues the last print of the film was in a pretty sorry state. For the first time in a quarter century, initiates can explore a film that despite its rarity has achieved a brand of stubborn cult status.

It had been a few years since I’d revisited my grainy, cropped VHS version of Trouble. The DVD extends the frame and draws out details that videotape obscured. Things, overall, are brighter than I remember, and maybe not for the better, but there it is.

Nevertheless, Trouble in Mind, set to a moody Mark Isham score, still walks a tricky line between pastiche, noir and the loopy logic of dreams. The film’s misty, dark world anticipates the same flavor of twisty terrain David Lynch would explore a few years later, a kind of (kissing) city cousin to Lynch’s Twin Peaks.

Rain City deftly and swiftly asserts its own reality and cultural mash-up: one where 1960s-era American cars proliferate; where skinny ties, fedoras, trench coats and sharkskin sport jackets are concomitantly in fashion.

Rudolph says in supplemental materials that Rain City was conceptualized “as a place where past and future meet, but not in the present.”

It is classic film noir’s stylistic flourishes, Rudolph has argued repeatedly, that gave vintage crime films a patina of hyper-reality. By the terms of that proposition, Trouble In Mind’s nth-degree attention to detail qualifies the film as a significant, if under-known, neo-noir.

I’m the first to admit Rudolph’s films can be an acquired taste that eludes many samplers — too stylized and self-aware to suit every palate.

Yet I think Trouble has reached beyond its initial art-house run to assert enduring influences on the works of others. Like Hawk, briefly depicted working out with a heavy bag, Trouble in Mind punches above its weight.

Twin Peaks Alert!

I am obsessed with the new(ish) Twin-Peaks-themed Psych! As many of you know, Twin Peaks is basically the most important thing in my life. Pretty much every book, photo, or work of art I’ve created since 1989 is entirely derivative of (from?) Twin Peaks. I know an embarrassing amount about the show*–I was watching the Psych episode with my boyfriend and just about every minute I was all, “Oh, that’s a reference to when Mr. Palmer’s hair went wait overnight!” or “That’s like Nadine’s silent drape runners!” So it was a joy to see that this was done with a lot of love and respect, with tons of tiny little nods to the original, lots of original cast members (Bobby looks so good with his gray hair!) and even a theme song by Julie Cruise.

 

* This reminds me of another thing I know way too much about–I finally saw the dreadful, incest-free, Flowers in The Attic made-for-TV-movie with my friend M. a few weeks ago.  And like every two minutes I was nudging him saying, “See that guy? In the second or third book Cathy has an affair with him and he becomes the father of her second child, Bart. In book four little Bart kidnaps and almost murders Cathy.” “In the very last book, which is really a prequel, we find out that Cathy’s parents weren’t just half-uncle and half-niece–they were much more closely related! That’s why the grandmother is so upset!” “In the real story, what happens is it turns out Corrine was bringing them the doughnuts and it’s never revealed if the grandmother knew or not. Later, Carrie kills herself by giving herself the same arsenic-sprinkled doughnuts after Cathy’s husband molests her.” This may not impress people the way you would hope.