Created by Chester Himes (1908-1984)
"We just get pissed-off with all the red tape...We just want to get down to the nitty-gritty."
- Grave Digger in Blind Man With a Pistol
One of the true masters of the genre, Chester Himes "could write like a dream," according to Art Bourgeau in The Mystery Lovers' Companion, "and his prose was like music." Himes, a black American, served six years of a twenty year sentence in an Ohio penitentiary for armed robbery, where he discovered the work of Dashiell Hammett, John Carroll Daly, Ernest Hemingway and their hard-boiled ilk, and vowed to write books that would, in his words, "tell it like it is."
Upon his release in the mid-thirties he married and struggled to find his way, working a variety of jobs, many involving writing. He published several well-received but not necessarily lucrative semi-autobiographical novels, and hung around the edges of the Harlem literary movement, making the acquaintance of Ralph Ellison and Richard Wright, but mostlysurviving on assorted odd jobs, grants, and loans from friends.
Growing increasingly disillusioned and frustrated, he left his wife behind and moved to Paris in the early fifties, and at the urging of Serie Noir publisher Marcel Duhamel began writing a string of what he called his "Harlem domestic detective stories." All but the final novel in this series, Blind man with a Pistol, were originally published in French, although Himes wrote them in English.
All but one of the series featured black Harlem cops "COFFIN" ED JOHNSON and "GRAVE DIGGER" JONES. They might have been members of New York's Finest, but they sure acted like a couple of private eyes. And a couple of noticably corrupt, vicious private eyes at that -- their M.O. included shooting people, busting heads and extracting confessions through intimidation. They appeared in a string of comical, tragical, preposterously violent novels, starting with 1959's A Rage in Harlem (first published in French as La Reine des Pomme) which won the Grand Prix de la Litterature Policière.
A couple of attempts to capture Himes' unique vision on film were made, with arguable results, right at the beginning (and possibly influencing) the seventies' blaxploitation boom. Raymond St. Jacques played Ed and Godfrey Cambridge played Gravedigger in Cotton Comes To Harlem (1970) and Come Back, Charleston (1972), prefiguring the blaxploitation genre by a year or so. Fun, but played mostly for shuck and jive for laughs.
1991's A Rage in Harlem fared much better, really capturing the essence of Himes' work and his world, despite George Wallace as Gravedigger and Wendell Pierce as Ed having relatively small parts.
"The movie has a nice period atmosphere, which is remarkable, since it was shot with Cincinnati doubling for Harlem," Chicago Sun-Times film critic Roger Ebert, "and it captures some of the texture of Himes' novel, his love of characters who use their wits to outsmart each other. What's best in the movie is the chemistry between Whitaker and (Robin) Givens, who is surprisingly effective in her first feature role."
-- The Real Cool Killers
-- The New York Times
-- Walter Mosley
THE HARLEM NOVELS
(aka "For Love of Imabelle" & "A Rage in Harlem")
(aka "The Crazy Kill)
(aka "The Real Cool Killers")
(aka "Run Man Run;" Grave Digger and Coffin Ed don't appear in this one)
(aka "All Shot Up")
(aka "The Heat's On" and "Come Back, Charleston Blue")
(aka "Hot Day, Hot Night")
It's tempting to tag this as an early example of the blaxploitation sub-genre, but with its broad comedy, it recalls Car 54, Where Are You as much as it prefigures Super Fly or Shaft. It hasn't aged well.
Equally dated, but this one has Donny Hathaway on the soundtrack.
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