Reviews


IT IS PURELY MY OPINION
Reviews by L. J. Roberts


SHIRLEY TALLMAN – Scandal on Rincon Hill. St. Martin’s Press, hardcover, March 2010.

Genre:   Historical mystery. Leading character:  Sarah Woolson; 4th in series. Setting:   San Francisco, 1881.

SHIRLEY TALLMAN

First Sentence:   The nightmare began early on the morning of Sunday, December 4.

   Sarah Woolson is only the third female attorney to be licensed in California and is struggling to get her private practice off the ground.

   A brutal murder occurs on Rincon Hill, near her home, followed shortly by a second murder. Neither victim had been robbed. Both had attended the same party. Two young, very recently immigrated Chinese men are arrested, Sarah’s former client, powerful tong leader Li Ying, hires her to prove their innocence.

   At the same time, Sarah is hired by beautiful young woman. She had a written contract with a morality-touting publisher to be his private mistress. When she became pregnant, within that time, he cut off all support. Now, she wants Sarah to sue him.

   Ms. Tallman skillfully takes the reader back to 1881, pre-earthquake San Francisco. She creates a solid sense of the places, styles and attitudes of the time. She particularly illustrates the bigotry against the Chinese.

   Living in the Bay Area, it is particularly fun for me to read about locations I know and her descriptions of food are delectable. I do wonder, however, whether those who don’t know San Francisco might feel a bit lost and wished a map or photos had been included.

   The dialogue, which reflects the syntax of the period, adds to the sense of time and provides an indication of each characters social status. For those who’ve not read prior books, enough background is given so that one understands the characters and their relationships.

   Sarah Woolson is a wonderful character. She is independent and has a good logical mind, as well as a sense of humor. I particularly like the relationships with men that Tallman has created as they are natural and realistic.

   The story is well thought out and well plotted. Because it is built layer upon layer, it did seem to slow down a bit in the middle, but that doesn’t last long. Some may feel the resolution seems convenient, but to me it seemed logical and appropriate.

   While I don’t feel this is the strongest book in the series, I did enjoy it and am looking forward to the next book.

Rating:   Good Plus.

       The Sarah Woolson mystery series —

1. Murder on Nob Hill (2004)

SHIRLEY TALLMAN

2. The Russian Hill Murders (2005)
3. The Cliff House Strangler (2007)
4. Scandal on Rincon Hill (2010)

A TV Review by MIKE TOONEY:


“Homicide: DR-22.” An episode of Dragnet 1969. First air date: 9 January 1969. (Season 3, Episode 14 of the color era Dragnet series.) Jack Webb (Sergeant Joe Friday), Harry Morgan (Officer Bill Gannon), Burt Mustin (Calvin Lampe), Art Balinger (Captain Hugh Brown), Len Wayland (Officer Dave Dorman), Jill Banner (Eve Wesson), Alfred Shelly (Jack Swan). Writer: James Doherty. Creator, producer, director: Jack Webb.

DRAGNET 1969

    Joe Friday and Bill Gannon are working Homicide when they’re called in to investigate the murder of a young woman, found hog-tied on her belly in her apartment. Almost immediately, the building manager, Calvin Lampe, appears at the door and starts to point out things about the crime scene that are so obscure Friday and Gannon’s suspicions are aroused.

   Later, while being informally questioned, Lampe indicates so many more unusual things about the crime — not to mention the discovery of his incriminating handprint on the wall of the victim’s apartment — that Friday decides to take him down to the station; for the moment, Lampe isn’t just the prime suspect — he’s the only suspect. But Friday and Gannon are in for a surprise when they find out who their suspect really is.

   Burt Mustin (1884-1977) was all over television in the ’50s, ’60s, and ’70s, nearly always in comic roles. In this Dragnet episode, however, he impresses in a semi-serious part. Mustin’s first film was Detective Story (1951), when he was 67 years old.

   Many viewers remember him from his 14 appearances on The Andy Griffith Show (1960-66). He also showed up in “Nothing Ever Happens in Linvale,” reviewed here.

   You can watch “Homicide: DR-22” on Hulu.

THE GREAT JESSE JAMES RAID. Lippert Pictures, 1953. Willard Parker, Barbara Payton, Tom Neal, Wallace Ford, Jim Bannon, James Anderson, Richard Cutting, Barbara Woodell. Director: Reginald Le Borg.

THE GREAT JESSE JAMES RAID

   This movie comes as the first of six in a DVD boxed set titled “Legendary Outlaws,” so it will be easy to find, if you don’t have it and you decide to go looking. Others in the set are: Renegade Girl, Return of Jesse James, Gunfire, Dalton Gang, and I Shot Billy the Kid.

   I figure that Jesse James and Billy the Kid were the two men who appeared the most often in B-western motion pictures. I don’t know which one’s the more popular, if that’s the right word, but my money’s on Billy the Kid. (I suspect that maybe you could find out on IMDB, if you wanted to, but I … What the heck. There are 80 movies with Jesse James in them, and 86 with Billy the Kid. So I win!)

THE GREAT JESSE JAMES RAID

   Getting back to film at hand, though, Willard Parker does not make a particularly convincing Jesse James. He’s too tall, too handsome, and too blond too, for that matter.

THE GREAT JESSE JAMES RAID

   There’s no way around it. For someone who had the starring role in Tales of the Texas Rangers on TV for three years (1955-1958), he’s too stalwart, too strong, and simply too honest to play the role of a villain as if he meant it.

   Strike one.

   Another flaw in this film is that the ending is given away right at the beginning, when “cowardly” Bob Ford, played by Jim Bannon, comes calling one night at Mr. Howard’s house, where Jesse, his wife and son are living under assumed names. (See above.) One last job, is the deal, and Jesse falls for it. When he leaves, his wife begs him not to go, but of course he does.

   Strike two.

THE GREAT JESSE JAMES RAID

   Even though Willard Parker was decent enough as an actor, he never got the roles that would have made him a star. Not enough flair, not enough stage presence. When the real star of your western movie is Wallace Ford, playing a grizzled old-timer brought along for his skills with dynamite, sort of an Edgar Buchanan type but without the evil glint that sometimes appeared in the latter’s eye, why then, you know your budget for the film was far too low.

   Well, I’ll go ahead and say it. Strike three.

   Some pluses, though. Tom Neal (of Detour fame) is a nasty piece of work, and Barbara Payton (maybe the Lindsay Lohan of her day, if not even worse) is quite a dish. (She and Tom Neal may have been living together at the time.)

   But why Kate is brought along to the gold mine Jesse’s crew is working their way into, is a good question. There is no raid, per se, by the way, but things do get complicated. Not in any way that makes a lot of sense, but then again, the film is in color, and the dancing girls are nice.

THE GREAT JESSE JAMES RAID

A 1001 MIDNIGHTS Review
by Marcia Muller:


HILDA LAWRENCE Blood Upon the Snow

HILDA LAWRENCE – Blood Upon the Snow. Simon & Schuster, hardcover, 1944. Hardcover reprint: Detective Book Club, 3-in-1 edition: February 1945. Reprint paperbacks: Pocket 336, February 1946; Avon Classic Crime PN320, 1970.

   Hilda Lawrence wrote three novels featuring the odd investigative trio of private eye Mark East and spinster sleuths Bessie Petty and Beulah Pond. In addition, she published a melodramatic suspense novel, The Pavilion (1949), and two novellas, “Death Has Four Hands” and “This Bleeding House” (both 1950).

   She is best known for the East/Petty/Pond books, and for good reason: They present an interesting juxtaposition of the hard-boiled school versus the little-old-lady sleuth, between the customs and mores of Manhattan and those of a small New England village.

HILDA LAWRENCE Blood Upon the Snow

   The characters are well drawn, the setting evocative, and the interplay between Mark East and his elderly “Watsons” is entertaining.

   As this first entry in the series opens, the snow is falling and Mark is arriving at the village of Crestwood. His introduction to Beulah Pond occurs when he stops to ask directions to the house where a prospective client expects him.

   When he eventually arrives, he is told he must wait until morning for his interview; and when he meets with Mr. Stoneman, the old man seems to think he is hiring a private secretary rather than a private detective. Mark, however, senses something is very wrong in the house; the old man seems frightened and has a hurt wrist and bruises on his face.

HILDA LAWRENCE Blood Upon the Snow

   He agrees to stay on for a few days, assuming secretarial duties, and makes it his first order of business to revisit Miss Pond, whom he perceives — rightly so — as a woman who knows a great deal about what goes on in the village.

   When he arrives at her home, he is introduced to Bessie Petty, and the unlikely partnership in detection is launched.

   The story that follows is one of slowly rising terror. The people with whom Stoneman is staying, Laura and Jim Morey and their two children, also seem disturbed; Stoneman is reported to have been sleepwalking; the housekeeper, Mrs. Lacey, has handed in her notice and seems upset about this; strange mischief has occurred in the wine cellar; and as the black winter night closes in, Mark remembers something Mrs. Lacey said about this being “good soil for evil.”

   A slow-paced but absorbing chiller, as are the other two in the series — A Time to Die (1945) and Death of a Doll (1947).

         ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

THE BACKWARD REVIEWER
William F. Deeck


HILDA LAWRENCE Death of a Doll

  HILDA LAWRENCE – Death of a Doll. Simon & Schuster, hardcover, 1947. Hardcover reprint: Detective Book Club, 3-in-1 edition, April 1947. Paperback reprints include: Pocket #540, August 1948; Avon Classic Crime PN239, November 1969.

   Only temporarily is Ruth Miller, department-store clerk, happy with her move from a furnished room to Hope House, a Home for Girls. Upon entering the lobby of her new domicile, she is frightened by a face from the past. Miller makes plans to get away, but her assisted plunge from a seventh-floor window renders her schemes nugatory.

   A wealthy customer of the department store who liked Miller hires Marc East to investigate because the death is being treated as a suicide. Reluctantly, for he also thinks the death was self-inflicted, East begins checking out Hope House and its denizens.

HILDA LAWRENCE Death of a Doll

   More and more evidence, including the bludgeoning of a young lady in one of the bathrooms, accumulates to persuade East that Miller was murdered.

   More or less aiding East are Beulah Pond and Bessy Petty, who are visiting the wealthy customer and who are acquainted with East through some of his earlier investigations. They are a delightful pair, despite Bessy’s slight problem with alcohol. On one occasion, just in case someone might be listening, Bessy spells out a word.

   Often I have problems with people who are in danger, real or fancied, and who dimwittedly attempt to avoid any risk by keeping quiet. Hilda Lawrence convinces here. Miller, the residents, and the help of Hope House conceal information, but persuasive reasons are presented. This novel should not be missed.

— From The MYSTERY FANcier, Vol. 11, No. 2, Spring 1989.


Bibliographic Data: Hilda Lawrence was the pen name of Hildgarde Kronmuller, 1906-1976. There are five novels or story collections by her in the Revised Crime Fiction IV, by Allen J. Hubin. Her series character Mark East is in three of them (so indicated by ME). Note that her books often underwent title changes when republished, and that the two long novelettes in Duel for Death have been reprinted individually.

    * Blood Upon the Snow (n.) Simon 1944 [ME]

HILDA LAWRENCE Blood Upon the Snow

    * A Time to Die (n.) Simon 1945 [ME]
    * The Pavilion (n.) Simon 1946
    * Death of a Doll (n.) Simon 1947 [ME]
    * Duet of Death (co) Simon 1949

A REVIEW BY CURT J. EVANS:         


CARTER DICKSON – The Reader Is Warned. William Morrow & Co., US, hardcover, 1939. Wm.Heinemann, UK, hc, 1939. Reprinted many times in both hardcover and paperback, including: Pocket #303, 1945; Berkley F972, 1964; International Polygonics, 1989.

CARTER DICKSON The Reader Is Warned

   A decade or so ago I offhandedly pronounced The Reader Is Warned the best John Dickson Carr novel in the Sir Henry Merrivale series (written under Carr’s pseudonym Carter Dickson). After rereading it I would say I prefer the plainer and comparatively more sober courtroom classic, The Judas Window, but I still rate The Reader is Warned quite highly.

   What people rightly love about The Reader is Warned is its exceptional impossibility and the sinister idea of “teleforce.” A mysterious psychic, Herman Pennik, pronounces that one of the people at a country house gathering will die at a certain time; and, sure enough, that person does die.

   No indication of how the man came to die can be found. Pennik helpfully declares he killed the man psychically, through the operation of teleforce.

CARTER DICKSON The Reader Is Warned

   The next day, the man’s widow challenges Pennik as a fraud and he, nettled by the challenge, tells her that she too will die by the means of his teleforce. And she does indeed die. But how she came to die is yet another mystery. Could it really have been due to teleforce?!

   One can think of thrillers with outlandish premises like this one that ultimately disappoint, but, amazingly, Carr comes up with a plausible (well, by Golden Age standards, anyway) and fairly-clued solution.

   The resolution, which involves a rather melodramatic and implausible trap and a quite incredibly garrulous murderer, is the main weakness of the tale, I think. But the “teleforce” idea that the tale is built around is a brilliant, bravura device and the last lines of the book are unusually thoughtful for Carr (if perhaps a bit optimistic — one thinks of the advent of atomic weaponry).

CARTER DICKSON The Reader Is Warned

   Despite my praise of this book a decade ago, in the intervening years I actually had forgotten the culprit and the method. (I find I often forget those details in Carr, but never in Christie.) On the rereading, I saw indications of who the murderer might be be, but I had trouble with the motive question, because I missed another point completely. But it is all is fairly clued, I maintain!

   As for the method, I was pleased to find it rather John Street-ish. In fact, is some ways the novel is similar to one by Major Street from the same year. Since the two men were working on Drop to His Death/Fatal Descent at this time, I suspect they may have discussed the particular murder method in Reader as well.

   Whatever input Street may or may not have on the murder method, the exuberant narrative is all John Dickson Carr. The Reader Is Warned is one of Carr’s most brilliantly constructed and engagingly told detective novels.

Editorial Comment:   Curt has recently been re-reading a number of books by John Dickson Carr. This is the sixth, and currently the last in a series of reviews he wrote as a result. He Wouldn’t Kill Patience, also as by Carter Dickson, was the fifth, and you can read it here.

REVIEWED BY WALTER ALBERT:         


THE LAST OUTLAW. RKO, 1936. Harry Carey, Hoot Gibson, Tom Tyler, Henry B. Walthall, Margaret Callahan. Director: Christy Cabanne. Shown at Cinecon 27, Hollywood CA, September 1993.

THE LAST OUTLAW Harry Carey

   One of the sleeper hits of the convention. Harry Carey (Sr.) is released from prison after serving a thirty-five year sentence for bank robbery.

   Carey is initially bewildered by the world he finds outside but soon discovers that crime hasn’t changed all that much. In an unlikely alliance with the lawman who had sent him to prison and with a new, younger friend (Hoot Gibson), Carey dons his pistols, saddles up and goes after the varmints who’ve done him wrong.

   A great shoot-out at a canyon cabin is the perfect conclusion to this delightful, touching portrait of men living by an older code that shows up the inadequacy of the new order.

   This was a remake of a 1919 silent that starred Carey, and was written and directed by John Ford. Harry Carey, Jr. had planned to attend the showing, but illness forced him to cancel his appearance.

Editorial Comment:   This movie was released on video cassette, but it has not appeared as a commercial DVD, to my knowledge.

A 1001 MIDNIGHTS Review
by Max Allan Collins:


HARRY GREY – The Hoods. Crown, hardcover, 1952. Paperback reprint: Signet Giant S999, 1953; several later printings. Film: 1984, as Once Upon a Time in America. Director: Sergio Leone.

HARRY GREY The Hoods

   This sprawling novel chronicles the career of a mob of Jewish gangsters from New York’s Lower East Side, from their beginnings as a kid gang to their rise in the world of big-time organized crime.

   The narrator is Noodles the Shiv, whose intelligence and sensitivity outdistance his compatriots Maxie, Patsy, Dominick, and Cockeye, but whose deeds are every bit as cold-blooded.

   Grey’s novel is exciting, with various heists and gang-war incidents vividly portrayed, and his portraits of mobsters are believable, backing up the author’s claim to be “an ex-hood himself,” as Mickey Spillane’s cover blurb on the 1953 Signet paperback edition puts it. But the episodic nature of the book makes The Hoods a fast-moving novel that lacks narrative drive.

   The Hoods was a paperback best seller, going through several editions and many printings, but its latter-day claim to fame is as the source for Italian director Sergio Leone’s controversial film Once Upon A Time in America, the screenplay of which was largely written by American mystery writer Stuart Kaminsky.

   Leone’s magnificent gangster epic (starring Robert DeNiro as Noodles — released in a restructured, truncated version as well as in its full 277 minutes of running time) seems destined to be the subject of discussion among film buffs for decades to come.

   Inexplicably, the “movie tie-in” edition published by New American Library was a novelization of the film, rather than a reissue of Grey’s original novel.

   Grey’s other two novels, Call Me Duke (1955) and Portrait of a Mobster (1958), are also gangster tales, the latter novel a fictionalized autobiography of Dutch Schultz.

         ———
   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

HARRY GREY The Hoods

REVIEWED BY TINA KARELSON:         


JULIE KRAMER – Stalking Susan. Doubleday, hardcover, July 2008. Reprint paperback: Anchor, June 2009.

JULIE KRAMER Stalking Susan

   First in the series following the adventures of investigative reporter Riley Spartz, Stalking Susan is set in the Twin Cities.

   Returning to work at the TV station after being widowed and going through a rough mourning period, she hopes to revive her flagging career by finding a serial-killer link between murder victims connected only by their first name, Susan, and the month and day on which they were killed, November 19.

   The plot is clever, and Riley untangles the mystery cleverly and tenaciously. The Minneapolis/St. Paul setting is accurately portrayed, and the characters are reasonably engaging, though Riley is a rather conventional mystery heroine: independent, 30-something, saddled with a tragic romantic past — and of course her late husband and her current would-be suitor had or have careers in law enforcement.

   The author, an investigative producer, visited the March meeting of Saints & Sinners, my local book club, to discuss both this and the second in the series, Missing Mark. The third, Silencing Sam, will be released in hardcover this summer.

Reviewed by DAVID L. VINEYARD:         


ERIK LARSON – Thunderstruck. Crown, October 2006. Trade paperback: Three Rivers Press, September 2007.

    Within twenty-four hours Captain Kendall would discover that his ship had become the most famous vessel afloat and that he had become the subject of breakfast conversation from Broadway in New York to Piccadilly in London. He had stepped into the intersection of two wildly disparate stories, whose collision on his ship in this time, the end of the Victorian era, would exert influence on the world for the century to come.

ERIK LARSON

    Alfred Hitchcock was so fascinated by it that he included elements in two of his films, Rear Window and Rope. As it was happening, then Home Secretary Winston Churchill had his home wired with the new Wireless technology so he could follow the case even when he as away from the Home Office.

    It was the basis for novels by Ernest Raymond and Francis Isles among others, and even Raymond Chandler refers to it in one of his novels. Head of Scotland Yard’s Murder Squad, Frank Froest, later a mystery writer, was involved. It made the career of the young forensic genius Bernard Spilsbury who would later help catch George Joseph Smith, the Bath Murderer, and help convict Christie, the Rillington Place murderer.

    It was the case of the young century, and perhaps the first worldwide news event followed by millions as it unfolded virtually live before them. It was highlighted by one of the most brutal and bloody murders in history and a spectacular race across the Atlantic monitored by fascinated readers across the world.

    Today the name Dr. Crippen still brings up images of a mild mannered little man, his beautiful lover, and a dogged Scotland Yard Inspector in the chase of his life.

    Erik Larson, whose earlier book The Devil in the White City, was the story of serial killer H. H. Holmes and the 1893 Chicago World’s Fair, combines in Thunderstruck the story of Gugliemo Marconi, the creator of the wireless, and Hawley Crippen, one of the most notorious murderers of the Twentieth Century, and how their two stories came together to foil a nearly perfect murder and give birth to modern communications, and in one sense the modern world.

    Hawley Crippen was an American eye doctor living in London and in a bad marriage. When his wife Cora disappeared, the facts did not add up and the police began to suspect something was wrong.

    Gugliemo Marconi was a brilliant but troubled inventor obsessed with the idea that radio waves could be transmitted through the airwaves without traveling through wires — from a transmitter to a receiver. His invention would transform the world, but it would take the spectacular Crippen case to demonstrate its potential to the world at large.

ERIK LARSON

    The two stories came together on a British ship, The Montrose, commanded by Captain George Kendall. Hawley Crippen and his mistress Ethel La Neve had disappeared, sought by the police, when Captain Kendall noticed something odd about two of his passengers, Mr. Robinson and son.

    Armed with his suspicions Kendall used the Marconi as the wireless was known to contact the authorities, and set off one of the most famous pursuits in criminal history — one that would not have been possible without Marconi’s invention.

    Imagine if you can the pursuit of O.J. Simpson’s white Bronco going on for days across the breadth of the Atlantic.

    Even the cleverest mystery writer would have trouble coming up with a scenario as improbable as what followed. Inspector Walter Dew, in charge of the case, boarded the Laurentic, a sister ship of the Montrose, in a race to reach Canada before Crippen, so the doctor and Ethel LaNeve could be arrested on the Montrose — which was British territory as long as it was at sea.

    (There was some concern that had they reached Canada, there may not have been sufficient evidence for their extradition.)

    What made this case unique was that the world press traveled in his wake, and every aspect of this chase was wired hourly to the breathless world, while in London the noose that would hang Crippen drew taut as the new science of forensics pieced together the story of the brutal death and bizarre fate of Cora Crippen’s corpse.

    Meanwhile on board the Montrose, Kendall and his officers worked to keep Crippen and La Neve and the other passengers ignorant of the whirlwind of events surrounding them, while Dew raced to pass them and arrive in Canada first.

    Larson is a master at orchestrating the events so they read as compellingly as any novel, and it comes down to perhaps the most famous example of British phlegm since African explorer Henry Morton Stanley’s “Dr. Livingstone, I presume?”

    Dew had come aboard the Montrose with the ships pilot in disguise wearing the pilot’s cap:

    Kendall watched Dew. The captain looked for some sign that Dew recognized the passenger below. The inspector said nothing. Kendall led the party to his cabin and sent for Mr. Robinson. A few moments later the man appeared, looking unconcerned and cheerful.

    Kendall stood. Discreetly he put his hand in his pocket and gripped the revolver. He said, “Let me introduce you.”

    Dew stepped up, still in his cap. The passenger smiled and held out his hand. Dew took it and with his free hand took off his cap. He said quietly, “Good morning, Dr. Crippen.”

    The expression on the passenger’s face changed rapidly, Dew wrote. First came surprise, then puzzlement, then recognition. Finally, in a voice Dew described as being ‘calm and quiet,’ Crippen now said, “Good morning, Mr. Dew.”

    Agatha Christie could not have written it better.

    Larson follows up on the fates of those involved. The spectacular trial that became an international sensation, Dew’s retirement after his most famous case, Captain Kendall’s adventurous career that reads like a Conrad novel, Mussolini praying at the beside of the dead Marconi, the still unanswered questions regarding the murder, and a final touching interview with Ethel La Neve shortly before her death.

    Thunderstruck reads like the best of novels, but has the weight of truth behind it. Carefully crafted and brilliantly written, it is a true crime story that compares with the best fiction for twists, turns, and moments of crime-solving worthy of Dr. Thorndyke or Sherlock Holmes.

    A fascinating look at one of the key events in the birth of the Twentieth Century and modern communications, and in the wake of cell phones, ipods, instant video, and world wide satellite communications — a reminder that the world was once much larger.

    Though Jung might have been right when he said that it was made of glass for a murderer, the birth of the modern world made that metaphor reality for Hawley Crippen.

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