Bill Pullman, who worked with Dahl on “The Last Seduction,” beautifully plays the calm exte-rior and stormy motives of Rich Thurber, a lost soul whose past is a mystery.
Thrown into a volatile situation, Thurber can choose the high or low road — sleep with lip-gnawing, small-town dreamer Carol (Heather Graham) and take the recently heisted cash or save the girl and knock off the bandits.
His choices are hinted at throughout as the piece sails along; the result is bleak and satisfying. Kim Coates’ well-performed turn as bad guy Trigger, a guy not long on brains who bemoans his birthname Francis, is quite funny.
“Red Wind,” Raymond Chandler’s raw look at dirty cops, racist times and fast lonely women, takes detective Philip Marlowe through a head-spinning case.
Chandler’s writing always had the ability to confuse — who did what to whom is forever in question — and director Agnieszka Holland manages the piece handily.
With restraint and a husky voice, Danny Glover as Marlowe is a reach that pays off; the charming actor shows many sides to the rounded character. Kelly Lynch misses the out-of-control, irrational chick that Chandler wrote so well, but Dan Hedaya and Miguel Sandoval are perfect as bickering cops who are after the killer and a little piece ofglory. It’s an hourlong intricate piece that has some very funny moments, particularly when Lola pulls a gun on Marlowe.
Both films are rich in color, costume and aching saxophone. Producers Stuart Cornfeld and Lindsay Doran translate these stories into marvelous entertainment.
Pullman and Glover speak as much in voiceover as in dialogue, helping viewers get to the genius of the work.
In “Tomorrow,” Thurber tells the viewers, “Death had passed the old man by too many times by the time we kicked his door down for him to be afraid of it.
His time had come. And he knew it.” The writing rings through clearly and keeps the series from being simply a re-creation of a genre.