Slash and Burn

Author: Matt Hilton
Publisher: Hodder and Stoughton
Release Year: 2010

Slash and Burn is the third novel in Matt Hilton’s Joe Hunter series following on from Dead Men’s Dust and Judgement and Wrath. Is Joe Hunter a spy? No, but that brings up an interesting question. What constitutes a spy story. If you’ll forgive me as I talk about spy films for a moment – here’s a little guide that I am sure I have posted before which relates to the different styles of spy films and the characters that populate them. The same is true for spy novels. I have edited it slightly to make it more relevant. In my view, the seven main spy story styles are:

the globe trotter

Funeral in Berlin
Funeral in Berlin

This is the most easily detected espionage story style. It features international globe trotting secret agents fighting crime and evil masterminds all around the globe. In some case the stories are barely more than glorified travelogues, but it makes for some fantastic backdrops to the action. This style of story proliferated in the sixties, when the jet-set age really took hold. Beautiful people in beautiful locations doing particularly nasty things seemed to be the maxim here. Perfect examples of these are the James Bond or Matt Helm stories, but even many of the lesser known tales of espionage liked to work in foreign locations. In fact, the locations used were often a selling points for these films or novels. If a spy story utilised an exotic location then it wasn’t unusual for that location to be mentioned in the title. The role call of destinations included, Our Man In Havana, Funeral In Berlin, That Man In Istanbul, Espionage In Tangiers, The Girl From Rio, Assassination In Rome, Our Man In Marrakech, Fury In The Orient, Hong Kong Hot Harbour, From Beijing With Love, Our Man In Jamaica and many, many others.

the innocent bystander

The Thirty-Nine Steps
The Thirty-Nine Steps.

This is the classic wrong place at the wrong time scenario. The innocent bystander is the sneakiest, but probably the most common of the espionage story conventions. It is harder to detect because the hero is not a highly trained secret agent but anybody or everyman/woman. It is the innocent person who stumbles in on an incident or who gets caught up in the web of intrigue by accident. The classic example would have to be, The 39 Steps where Richard Hannay by shear happenstance gets caught up with foreign spies. Or The Russia House, where Boozey Barley Blair, a book publisher, is contacted by a Russian defector whilst at a book fair in Moscow. Also, the Innocent Bystander is the least male biased of the espionage conventions. Often it is woman who gets caught up in the conflict.

the sleeper

The Manchurian Candidate
The Manchurian Candidate

The sleeper is an enemy agent that is hiding in plain sight. They live amongst us, appearing to live a normal life. In reality they are lying dormant, just waiting for a trigger to send them off on their mission of destruction. The triggers that send the agents off can be phrases, such as poetry, or images, such as playing cards. The best example of films in this style is The Manchurian Candidate (1962), based on the best selling book by Richard Condon. It’s an absolutely amazing film starring Frank Sinatra and Lawrence Harvey. In the film, Harvey plays Raymond Shaw, the all American son of a prominent politician. During the Korean War, Shaw is brainwashed in Manchuria, and set to become a killer. His trigger is a playing card. Practically any story which features brainwashing is a sleeper story. In reality, by brainwashing somebody, you are trying to get the subject to complete a task that is against their will and not in character. This, I guess, makes them a sleeper agent. The final scenes of The IPCRESS File (the film ,that is) feature a mind altered Harry Palmer battling the instructions that he has been programmed with. Quite different, but with the same intent, the lovely ladies at Blofeld’s allergy clinic in On Her Majesty’s Secret Service have all been brainwashed and given instructions to unleash a deadly toxin at various locations around the world. The Sleeper is one of the most dangerous of enemy agents because they seem the most unlikely.

the soldier

All Quiet on the Western Front

Wartime spy dramas usually feature ‘The Soldier’. It’s always a thin line to tread, between some War stories and Spy stories, but generally the nature of the mission, helps separate them into their appropriate categories. For example there is no mistaking that films Saving Private Ryan, The Longest Day and Platoon – or the novel All Quiet on the Western Front are solely a war stories. Whereas stories such as Eye Of The Needle, Where Eagles Dare, The Eagle Has Landed, The Counterfeit Traitor, belong to the Spy genre.

the assassin

The Assassin is an interesting sub-genre of the usual secret agent movie, where the glossy veneer has been removed, and all that’s left is the ruthless bastard. Let’s face it though, most secret agents are paid killers, even the James Bond’s of the world are sugar coated assassins. The world of the assassin is an interesting one, and a topic that has been visited again and again. But there’s quite a bit of confusion over which films are in fact spy stories, and which are crime stories. I suggest it is the employer of the assassin that defines whether the character is a spy or crime story. But this category isn’t for the well manicured, well dressed gentleman spy. It is reserved for the men who specialise in ‘wet work’ – the HARD men of the genre.

the idiot

Our Girl From Mephisto
Our Girl From Mephisto

From the travesty that was Casino Royale in 1967 to more recent fare like the recent updates of I, Spy and Get Smart, there have been plenty of comedic attempts at capitalising on the success of spy films (spy novels too – look at the Clyde Allison 0008 stories or Alligator by I*n Fl*m*ng). Unfortunately few of them are very good. Most, to be honest are quite painful. Johnny English, Austin Powers and Le Magnifique are among the more successful attempts of the genre, but even they have their detractors. Many of the children’s spy films are clearly intended to be comedy films as well. Condorman and The Double ‘O’ Kid are prime examples. Both of them are bad films, but they were never intended to be taken seriously.

the retiree

Icon
Icon

There are two variations on the retiree spy film. The first and most obvious variation is where the old retired masterspy is called back into action for one final mission because he has a skill set that is essential to the successful completion of the mission. There are a whole swag of films like this, such as Firefox with Clint Eastwood, or even the Matt Helm films with Dean Martin. In the Helm films, Dino has retired and wants to be left alone with his camera and coterie of dolly birds, but somehow gets dragged back into the action time and time again. The mini-series, Icon based on Frederick Forsyth’s book, with Patrick Swayze also trots out the formula once again. Swayze’s character is called out of retirement because of his knowledge of antiquated biological agents.

The second variation, which could almost be called the ‘messed with the wrong guy’ spy film, usually features a band of villains picking on a person or group of civilians (often a family). It just so happens that these people have been befriended by or related to a retired bad-ass spy. To the villains, the spy just seems like an old codger (or a nobody), but we know, despite the wrinkles, this guy is a lethal weapon. If the plot device sounds familiar, it is. The 1987 film, Malone, starring Burt Reynolds is essentially an updated version of the classic western, Shane. Television shows in particular have latched onto this style of story, with Man In A Suitcase, The Equalizer, and even Burn Notice featuring agents who have been ‘retired’ from active duty, and now spend their time helping out average Joes with their problems. On a more personal level, both Belly Of The Beast with Steven Seagal and Taken with Liam Neeson feature stories where they play retired spies, but their daughters have been foolishly kidnapped by evil doers. Once this happens the gloves are off, and the old retired spy is once again up to his usual tricks doing everything possible to get their loved one back. As you’d expect with this kind of storyline, generally these films tends to play more like a revenge flick and have a tendency to be rather violent.

slash and burn

And that now bring us back to Slash and Burn and Joe Hunter. Is Joe Hunter a spy? No. But he does have a lot of the same characteristics as ‘The Retiree’ as listed above. Let me tell you a bit about Joe. Hunter’s employment history reads as follows (pg. 360 Slash and Burn):

Joined British Army at age 16. Transferred to the Parachute Regiment at age 19 and was drafted into an experimental coalition counterterrorism team code named ‘ARROWSAKE’ at age 20. As a sergeant, Joe headed his own unit comprising members from various Special Forces teams. Joe retired from ‘ARROWSAKE’ in 2004 when the unit was disbanded and has since supported himself by working as a free-lance security consultant.

So that’s Joe Hunter. A retiree who now works freelance. He could be compared to Robert McCall in The Equallizer or if you prefer a more cartoonish comparison, maybe Hunter could be described as the one-man equivalent of The A-Team. But by now, you’re probably wondering about the book. Well Slash and Burn delivers everything that at book called ‘Slash and Burn’ should deliver and more. In fact I thought it was better than Dead Men’s Dust which I thought was fantastic – but Slash and Burn surpasses it. It is simply breathless reading.

Dead Men's Dust
Dead Men's Dust

When I read Dead Men’s Dust a year ago, I thoroughly enjoyed it. It was a fast paced thrill-ride. But it did have its flaws. In particular, during the middle chapters, the story crawled away from Joe Hunter – and for a while he struggled to keep up. Let me explain: Hilton constructs his stories in a fashion where (almost) every chapter alternates in viewpoint. For example, the first chapter may be from Joe Hunter’s point of view and is written in first person. The second chapter is from the villain’s point of view and is written in third person. Now this works pretty well, as it gives Hunter a unique voice, but also keeps the story rocketing along, keeping the reader in the loop – so to speak. But in Dead Men’s Dust, for a short while, Joe Hunter was left to play catch-up to information that readers already knew. The good news is, in Slash and Burn, Hilton has really mastered that writing technique now, and rather than waiting for Hunter to catch up, the reader has to breathlessly keep up with Hunter who rockets through the story.

The story opens with Imogen Ballard running for her life in the rugged countryside near the town of Little Fork in Kentucky. She is being chased by a cadre of killers who are determined to track her down.

Meanwhile in Pensacola in Florida, Joe Hunter is catching some sun of the deck of his beach house, when he is approached by a woman named Kate Piers. She needs his special type of help with a little problem. Hunter is wary at first, until she explains that she is the sister of Jake Piers, who Hunter knew from his days in the Special Forces.

Hunter agrees to help, and Kate outlines her problem. It appears that her sister Imogen, has gone missing. Furthermore, she may have become involved with some mobsters and corrupt officials. Consequently she may be in hiding.

Together Kate and Hunter make the journey to Little Fork and into the mountains to Imogen’s home. Within moments of their arrival, the couple are ambushed to two gunmen who believe in shooting first and asking questions later. Of course, Hunter is no stranger to gunfire, and can hold is own in a gun battle, but the real surprise package is Kate, who proves to be particularly adept with a pistol.

The hostile reception committee indicates that Imogen’s predicament is a little more serious than first perceived. And now Hunter and Kate have stepped into the fray, they are also targets for the killers who are seeking Imogen.

Along the journey, in their quest to find and protect Imogen, Hunter and Kate have to contend with plenty of life-threatening situations and aggressive characters, not the least being the seven-foot tall Bolan twins, Trent and Larry. These boys are just mountains on meanness, and once they have a target in sight, they don’t give up.

The situation gets so hot, Hunter has to call in his friends Jared ‘Rink’ Rington and Harvey Lucas to even the odds a little. But only just a little. You see, the man behind all the mayhem is a business man who goes by the moniker of ‘Quicksilver’. This is not because he is mercurial, but because he is a skilled technician with a cut-throat razor. Quicksilver also doesn’t believe in fair fights. He wants the odds stacked heavily in his favour, and calls in five of the most ruthless assassins that the syndicate has on its payroll.

The sound of gunfire is so loud in this book, that you almost need earplugs when you read it. Slash and Burn is relentless in its escalation of the action sequences – each passage building and improving on the previous passage.

From the blurb:

Joe Hunter is always ready to help a lady in distress. Particularly when Kate, the lady in question, is the sister of a dead Special Forces mate.

Robert Huffman pretends to be a respectable businessman. But the psychopathic twins he uses as his enforcers give the lie to that. Huffman is a player in the murky world of organised crime and needs Kate as bait for one of his schemes.

Joe is way outnumbered by the bad guys, but since when did that stop him? He’ll rescue Kate if he has to slash and burn to get her…

Obviously a book called ‘Slash and Burn’ is never intended to be high art. It’s popular fiction, and on that level, the book delivers, and I for one, am looking forward to Joe Hunter’s next adventure (which if memory serves me, will be called ‘Cut and Run’).

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Slash and Burn

Frederick Forsyth Presents: A Casualty of War (1989)

Country: United Kingdom
Director:
Tom Clegg
Starring:
David Threlfell, Alan Howard, Shelley Hack, Amanda Burton, Richard Hope, Nadim Sawalha,
Music:
Paul Chihara

A big plus for the Frederick Forsyth Presents series is that each episode starts with Frederick Forsyth retelling events pulled from news headlines, often juxtaposed with newsreel footage, so it is easier to believe the events presented in these episodes as being factual. This is further enhanced by what is generally a no-name cast – Brian Dennehy and Beau Bridges being the highest profile actors to appear in the series (Liz Hurley doesn’t count – because she was just a young actress starting out when this series was made – many years before Austin Powers and Bedazzled).

A Casualty of War starts with news footage of American President Ronald Reagan addressing the nation about the United States bombing of Libya. Then Frederick Forsyth steps into the picture, strolling down beside the Thames in a pastel blue suit, that I suspect was not even fashionable back in 1989. Forsyth tells us that in the United States attack on Libya, they bombed leader Moammar Ghadafi’s home. Consequently, Ghadafi had a nervous breakdown. Once he recovered, he vowed vengeance not only against the United States, but Britain too, because they had allowed the Americans to use their Naval bases for support.
Ghadafi chose the IRA as the instrument of his vengeance and was to supply them with a large shipment of weapons. British Intelligence finds out and spymaster Sam Macready (Alan Howard) decides to send a man to the Middle East to find out when and where the shipment is to take place. The man Macready chooses is Tom Rowse (David Threlfall). Rowse is an ex-SAS operative who now spends his time writing spy thrillers.

Rowse’s new career hasn’t slowed him down however, and soon he is on the case following the links in the chain. His first port of call is a nightclub in Hamburg – which plays some truly horrible music. Here he meets up with some exiled lads from the IRA. They steer him to Vienna where he meets a Russian. He’s another go-between, and he directs Rowse to Libya and General Saleed Jaloud (Nadim Sawalha). Rowse hits a major stumbling block when he gets off the plane in Libya. Jaloud is at the airport waiting for him, but not with open arms. The General orders that Rowse gets straight back onto the plane and leaves the country.

It seems like Rowse’s mission is a failure, but as he is being deported, Jaloud suggests that rather than going straight home, he should stopover in Cyprus. Of course, Rowse does just this and awaits instructions. Now what is a secret agent – even if he is a part time one – to do, when he is a strange land with a few hours to kill? While dining he meets Monica Browne (Shelley Hack) who is a horse breeder who has been attending an auction, and then – well, I’m sure you get the idea!

A Casualty of War is a pretty bare-bones production but it is never dull. This is primarily due to David Threlfell who is a pretty charismatic lead and his biplay with Alan Howard as Macready is a highlight of the show. Now while I enjoyed this show, unless you are a pretty hard-core spy enthusiast, I wouldn’t go hunting it down. If it happens to be on television, and you have nothing better planned, by all means, sit down, watch and enjoy – otherwise I’d save my viewing time for a show with a little more polish and bang for your buck.

Frederick Forsyth Presents: A Casualty of War (1989)

Icon (2005)

AKA: Frederick Forsyth’s Icon
Directed by Charles Martin Smith
Patrick Swayze, Annika Peterson, Michael York, Ben Cross, Patrick Bergin, Jeff Fahey, Joss Ackland, Barry Morse
Music by Mark Kilian and Daniel Light
Based on the novel by Frederick Forsyth

Patrick Swayze has been in the news a bit lately, and while I do not consider my self a fan, I wish him all the best.

A quick viewing of the cover from this DVD conjures up two thoughts. The first concerns Patrick Swayze. I have never seen Ghost or Dirty Dancing and my first instinct is that I do not want to watch a spy mini-series that features him in it. But that would be a mistake, because Swayze is quite good as the lead, and has aged enough that the pretty-boy image from the 1980’s is never really an issue. Second, is that this mini-series is based on a book by Frederick Forsythe. That should be enough to convince most spy fans that Icon is worth a look. After all, many of Forsythe’s stories have been converted into memorable films, such as: The Day Of The Jackal, The Odessa File and The Fourth Protocol. With that in mind I ventured into this 2 part Hallmark mini-series.

The film opens in an un-named city in the Soviet Union. The year is 1985 and Sergei Akopov is trying to defect to the United States. Things have gone wrong and he is running through the cobbled streets of the city with a squad of Russian soldiers on his tail. A team of Americans are waiting with a car for him, but as Akropov enters the city square, surrounded by soldiers, the Americans want to abandon him, and abort the mission. Another American agent, Jason Monk (Patrick Swayze) is also on the streets. He clobbers one of slower Russian soldiers and takes his gun and uniform.

The soldiers have caught Akopov and have thrown him to the ground. Each of them is giving him a good ‘kicking’ when a car pulls up beside. Colonel Igor Kamorov (Patrick Begin) alights the vehicle and begins to interrogate Akopov. Interrupting , Kamorov’s rough-housing, Monk walks into the middle of the fray and announces that he has orders to collect the prisoner. Kamorov isn’t happy but acquiesces. It appears that Monk’s deception has worked.

But not to be. The American agents with the car panic. They drive into the middle of the city square with their guns a-blazin’ in an unnecessary attempt to rescue Monk. A fire fight breaks out and Kamorov kills Akopov. Monk is bundles off to safety, but is angered by his fellow agents incompetence, and equally upset at the senseless waste of life – namely Akopov’s. Consequentially, Monk retires.

It’s now twenty years later, and Russia is in the midst of an election campaign. The two Presidential hopefuls are General Nikolai Nikolaev (Joss Ackland), and Igor Komarov, who has now retired from the KGB. As the campaign builds momentum, an incident changes the course of the election. A blue utility van is parked outside a Komarov Industries building. Inside the van, there is a vast quantity of explosive. Sitting in a car, a distance away, a guy pulls out his cell phone and punches in a number. The van explodes, killing seven people and injuring forty others. Utilising the distraction that a bomb explosion cause, the guy gets out of his car and calmly walks to the Komarov Industries building and breaks in. He knows exactly where he is going and what he is after. The particular building houses many deadly biological weapons, many of them left over from the Cold War. The guy collects a phial of a biological agent known as Restin 81 and leaves. Restin 81 is a ebola variant that kills about ninety-five percent of people who come in contact with the virus. It is particularly nasty stuff.

Sir Nigel Irving (Michael York) is British Intelligence’s top man in Moscow. He finds out about the theft of the bio-agent, and consults with the CIA about launching a mission to retrieve the weapon. All of this is un-official of course, because they have no right to interfere with Russia’s Police and Intelligence operations. The man chosen to ‘go in’, is Jason Monk. Although he has long since retired, he knows Russia well, is off the books – so Sir Nigel can deny it all if something happens, and Monk is/was a specialist in bio-weapons of the era. Monk now lives the quiet life in Andalusia in Spain. Sir Nigel approaches him with a proposition and $500,000. Monk reluctantly agrees.

As this is a two-part mini-series running just under 170 minutes, their are numerous subplots and a multitude of characters to follow throughout the story – all I have outlined here is a very simple overview. Icon tries to deceive you into thinking that it is a new kind of spy story – that is high-tech and up to the minute. But in reality, despite any glossy veneer, it is an old fashioned spy drama (and that’s good thing!)

Just by using Monk, an ‘old school’ operative who has been out of the game for twenty years to track down the old Soviet era weapon, tells you that Icon’s heart lies in the past. This is re-enforced by the casting of Michael York as Monk’s controller.

As I said at the top, when I picked up a copy of this DVD, I had my reservations about it, but Icon is actually pretty good.

Icon (2005)