Two
debut novels with an identical theme—terrorism at the Super
Bowl—came out in 1975 bringing singular success to their authors:
they sold to the movies. Both films—Two
Minute Warning
and Black
Sunday--starred
big-name actors. One flopped, the other hit. The author of the flop
published 14 more novels, yet today is essentially forgotten despite
winning a PEN award for one and success on the screen with another.
The hit's author is known as the creator of arguably the greatest
modern fictional bad guy: Hannibal Lecter.
It
might be no accident that Thomas Harris's blast-off success, Black
Sunday,
also features a weighty villain—a ruthless operative in the
Palestinian
terrorist organization Black September. By contrast, the villain in
George La Fountaine's Two
Minute Warning
is a young man of little substance with no interesting motive, the
stereotypical lone gunman soured on life, as much a victim as those
who fall within his rifle sights.
The
famous Goodyear blimp hovers as a symbolic paradox in the fate of
these two stories. In Two
Minute Warning
a TV camera in the gondola provides the first glimpse of the sniper
hidden behind the scoreboard. Terrorists hijack the blimp in Black
Sunday
to deliver a bomb whose shrapnel can prove lethal to all 80,000
people inside the stadium, including the U.S. President.
Blimp
as good guy, blimp as bad guy. Which one looms on book cover and
movie poster? Bad blimp, of course. Why we are fascinated more by
villains is above my pay grade, but we are. A primal thing maybe. The
thing that could end up giving Donald Trump control over our hair
styles like that other child monster has over his subjects, in North
Korea.
From
what we have, it seems plausible to blame the blimp for La
Fountaine's literary flame-out. Although Black
Sunday comes
out ahead in a comparison of the writing--Harris was a newspaper
wordsmith when he wrote it; cinematography was La Fountaine's
trade--we know fine writing alone does not a blazing commercial
success necessarily make. Robert Stone and Ron Faust come to mind. At
the spectrum's opposite end we find E. L. “Shades of Grey” James.
Whatever
it might be, the formula for success, La Fountaine learned quickly.
He proved this with his second novel, Flashpoint,
published
the
following year. A New York Times review pronounced it "much
better--more original, written with more security, and with a
chilling impact in its last pages." It took a little longer for
Flashpoint
to make it to the movies—eight years--but its success towered over
Two
Minute Warning's.
It remains one of my all-time favorites, and it introduced me to La
Fountaine's novels.
And
to his mystery.
La
Fountaine published three more novels before he vanished. The last
one, The
Long Walk,
came out in 1986. Kirkus Reviews called it “an above-average
melodrama about an American POW who returns from Vietnam unable to
believe the war is over.” It won a PEN award for best regional
fiction. I recently bought the ebook reprint, and it's near the top
of my reading list. I'm currently reading The
Doctor and The Dragon Lady.
The copyright for this exceptionally well-written crime story is
1980, but it wasn't published until 2011. The last ten of La
Fountaine's fifteen-novel oeuvre popped up in Amazon's Kindle Store
several months apart starting in December 2010. According to a report
by Gale's Contemporary Authors, this sudden appearance of new novels
suggests La Fountaine “had run into difficulty finding traditional
publishing outlets, and, as so many are doing these days, took to the
self-publishing route for a backlog of novels he'd been writing over
the previous two decades.”
Curious
for information about La Fountaine after rereading Flashpoint
two years ago I paid ten bucks for the single-page Gale's report.
That was more than it costs to download three of La Fountaine's
ebooks. It was the only biographical information I could find on the
guy. In addition to what I've already cited here, the report says he
was born Nov. 10, 1934 in Attleboro, MA. He attended high school in
Seattle, WA, and took classes at Pasadena Playhouse. He served as a
Marine in the Korean War.
Gale's
says La Fountaine worked in Hollywood as a lighting director and
consultant, but I found an interview
with his cinematographer son Chris, who said cinematography was his
dad's vocation as well. There was no mention of the novels. I found
no photos of the author.
An
obituary
for George La Fountaine's wife, Rita, might contain a clue to
explaining his long absence from the literary scene. Maybe more are
hidden in the recently published novels. The
Doctor and The Dragon Lady
features a homicide detective who is nearing the end of a long and
brilliant career. He is terribly lonely and he is burning out. He
misses his dead wife so badly he talks to her voice on his answering
machine. She'd died after a long fight with cancer. La Fountaine
dedicated The
Long Walk
“for my wife, Rita, who made it all perfect,” and Flashpoint
“to
my wife, Rita, who managed to make it all work.”
Rita
La Fountaine died Oct. 19, 2010. The first of her husband's
unpublished novels began appearing in the Kindle Store less than two
months later.
And, of course, the films of Harris's novels have tended to dumb his work down, not least in the casting (Robert Shaw as an Israeli, a German non-actress subbing in for a character in the novel who is Palestinian in BLACK SUNDAY...hambone as the already too-cartoonish Lecter in those films...when Michael Mann has made the most subtle adaptation of one's work, one knows something is awry). Thanks for the spadework on La Fountaine.
ReplyDeleteI'm near the end now of The Long Walk. It's a terrific read. Whoever at PEN backhanded the work as "better than average melodrama," did La Fountaine a disservice. Then again I suppose he was fortunate to be noticed at all by those for whom "story" is a sniffable offense. Thanks for the comment.
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DeleteSounds a bit like the PEN copy-writer was on the losing end of an argument there, and took petty revenge. Speaking of petty (or at least incorrect), my characterization of Marthe Keller above is unfair...the character in the screenplay of BLACK SUNDAY is foolishly dumbed down and/or ineffectualized, and her performance as a field-hardened terrorist mastermind who apparently can't deal at all with having a gun pointed at her is probably about as good as circumstances would allow.
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