DICK FRANCIS – Odds Against. Michael Joseph, UK, hardcover, 1965. Harper & Row, US, hardcover, 1965. Berkley X-1370, US, paperback, 1967. Reprinted many times since.

   In most of his books, Dick Francis uses an ordinary man (usually connected with the racing world) as his protagonist, caught up in events that are so overwhelming and out of control that he must make heroic efforts to sort them out. But in Odds Against, Sid Halley has a job as a detective — the obvious choice for a tough man to right the world’s wrongs.

   He’s been doing the work for two years, and when he’s shot (on page one of the story), he realizes that a bullet in the guts is his first step to liberation from being of “no use to anyone, least of all himself.” He was a champion steeplechase jockey, that’s what makes him tough. A racing accident lost him the use of his hand and self-respect simultaneously.

   The action breaks from the starting gate and blasts over the hurdles of intrigue, menace, and crime. Halley is cadged by his shrewd and loving father-in-law into confronting Howard Kraye, “a full-blown, powerful, dangerous, big time crook.”

   On the track he encounters murder, mayhem, plastic bombs, and torture. But he endures, in some part to regain his self respect, and in some part because he believes in racing, the sport, and in putting it right. A fascinating chase through an empty racecourse defies the villain. In the end, despite his tragedy, Sid Halley sees himself as a detective and as a man.

   Dick Francis was so taken with the characters in this book that he went on to use them in a television series, The Racing Game (shown on Public Broadcasting). A second Sid Halley novel, Whip Hand, won the British Gold Dagger A ward in 1979 and another Edgar from the Mystery Writers of America.

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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 Sid Halley series —

   by Dick Francis …

Odds Against (1965)
Whip Hand (1979)
Come to Grief (1995)
Under Orders (2006)

   by Felix Francis …

Refusal (2013)
Hands Down (2022)

FINGER MAN. Allied Artists, 1955. Frank Lovejoy, Forrest Tucker, Peggie Castle, Timothy Carey. Director: Harold D. Schuster.

   Frank Lovejoy stars in Finger Man, a decidedly average 1950s crime film, about a career criminal who gets a chance to go straight – with a catch. After getting nabbed by law enforcement, Casey Martin (Lovejoy) is given a choice: either serve life in prison or collaborate with the Treasury Department to nail bootlegger and syndicate leader Dutch Becker (Forrest Tucker). After seeing what Becker’s goods — presumably heroin — have done to his very own sister, Casey decides that he’ll take the deal and work to bring down Dutch.

   Unfortunately, the movie is slow to get going. It takes a while for the premise of the film to come clearly into focus. Fortunately, however, things do get moving with the introduction of Peggy Castle as Gladys Baker, a former “employee” of Dutch’s who is now Casey’s love interest and Timothy Carey as Lou Terpe, Dutch’s sadistic enforcer. Both characters play a pivotal role in the plot. After the sociopathic Terpe (Carey) kills Gladys (Castle) at the behest of Dutch, all bets are off. Casey no longer wants to bring down Dutch for the cops. He is out for blood.

   As far as the cinematography, there’s nothing especially noir about it. In fact, this black and white movie often feels visually flat. Surely some more style could have been injected into the film to give it more of a shadowy look?

   All told, Finger Man is a gritty little crime film that tells a fairly basic story about a man at the crossroads of his life. It’s got some good parts and solid acting, but it’s not a “must see” by any means. There’s nothing particularly new under the sun here.
   

WORLDS OF FANTASY #1, 1968. Editor: Lester del Rey, Cover art by Jack Gaughan. Overall rating: ***½.

JOHN JAKES “Mirror of Wizardry.” Brak the Barbarian. Novelette. Brak the Barbarian is of course based on Conan, but that doesn’t make his adventures any less enjoyable. This time Brak’s escape through the mountains is hindered by a wizard hunting the girl he has befriended. (4)

BILL WARREN “Death in a Lonely Place.” A vampire who preys on prostitutes shows that he has a heart. (4)

ROBERT SILVERBERG “As Is.” Novelette. A computer salesman buys a car with a mysteriously sealed trunk. Easy to read, but not believable, with a miserable ending. (3)

MACK REYNOLDS “What the Vintners Buy.” Trust Reynolds to put a lecture on hallucinations into a fantasy. (2)

LIN CARTER & L. SPRAGUE de CAMP “Conan and the Cenotaph.” Novelette. According to [Webster], a cenotaph is a monument for someone whose body is buried elsewhere. The one Conan is lured to is magnetic, and the home of a slime-monster. (4)

PARIS FLAMMONDE “After Armageddon.” Suppose the last man in the world had happened to have found the Fountain of Youth. (3)

ROBERT HOSKINS “The Man Who Liked.” Before the bombs fell, Death was a happy person. (1)

ROBERT E. HOWARD “Delenda Est…” Hannibal’s ghost comes to life to help a barbarian’s attack on Rome. Obsessed with historical background. (2)

ROBERT LORY “However.” Novelette. Hamper the However’s trip from Balik to Overnon by way of [grath (?)] is hampered by his lack of magical powers, However, if people believe that one has these powers, what difference can it make? (3)

DICK FRANCIS – Blood Sport. Michael Joseph, UK, hardcover, 1967. Harper & Row, US, hardcover. 1968. Berkley, US, paperback, 1969. Reprinted many times since.

   From the winning world of British steeplechasing (where he was Champion Jockey in 1954), Dick Francis moved effortlessly into crime fiction with his first novel, Dead Cert, in 1962, and continues to be a front-runner. He has written twenty-some excellent thrillers full of old-fashioned moral polarity with strains of humor. These “adventure stories” (as Francis calls them) have amazing plots of clever evilness and feature nonrecurring heroes familiar with the racing game.

   Flawed, uninvolved, and soulless, each central character finds the value of vulnerability and returns to the land of the living through courage and love. As a central theme, it can be compared to that of the works of Ross Macdonald. As critic John Leonard said, “Not to read Dick Francis because you don’t like horses is like not reading Dostoevsky because you don’t like God.”

   In Blood Sport, death lurks on a simple Sunday sail on the Thames. An American visitor is almost drowned, and his rescuer is convinced that it wasn’t simply an accident. Gene Hawkins, the rescuer and hero, is an English civil servant, a “screener” who checks employees in secret-sensitive government jobs, His training permits him to spot details that make “accidents” phony, and his knowledge of guns and listening devices comes in handy.

   The rescued man asks for help in locating a stolen horse that has just been bought for a huge price. Hawkins is relieved to use his vacation time to hunt for missing horses, because he is despondent, filled with a “fat black slug of depression.” This is the only part of his character that doesn’t ring true-after all, it’s only a failed love affair.

   The pace picks up, and the scene changes to the U.S.A. From the farms of Kentucky, the trail is followed to Jackson, Wyoming. Along the way. Hawkins gets people together for some psychological reconditioning and exposes a bloodline scam as the scene shifts to Santa Barbara, Las Vegas, and Kingman, Arizona. The U.S. tour is fast moving, and Francis docs not dwell on local-color background, especially not to make any points. He just gives the graphic, journalistic details of a place that push the story along.

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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.

JUROR #2. Nicholas Hoult, Zoey Deutch, Megan Mieduch, Toni Collette, J. K. Simmons, Kiefer Sutherland. Director: Clint Eastwood.

   Juror #2 starts with a premise and then runs with it to the very end. Magazine writer and recovering alcoholic Justin Kemp (Nicholas Hoult) is called for jury duty in Savannah, Georgia. It doesn’t take him long, however, to realize that the defendant, former drug dealer James Michael Sythe (Gabriel Basso), is most certainly innocent, and that he himself was the accidental perpetrator of the crime in question.

   The state’s official version of events is that Sythe, after a public fight with his girlfriend (Francesca Eastwood), followed her down a dark, rainy two lane highway, bashed her head in, and dumped her in a ditch. What the state doesn’t know is that Kemp, juror number two, accidentally killed the victim that same night, thinking that he had hit a deer with his vehicle.

   That’s the set-up. What follows for the next ninety minutes or so is a taut courtroom drama and thriller that doesn’t waste a minute of your time. The viewer gets to witness not only the jury deliberations, with Kemp trying to bend the jury to his will, but also the contest between an ambitious prosecutor (Toni Collette) and the overworked public defender (Chris Messina), tasked with a thankless job.

   Filling out the cast are J.K. Simmons as a juror who turns out to be a retired police detective from the Midwest who has doubts about the case, Kiefer Sutherland as a lawyer who is also Kemp’s Alcoholics Anonymous sponsor, and Zoey Deutch as Kemp’s pregnant wife who wants to believe that her husband is a good man. All three are excellent in their roles. One only wishes Simmons had a more prominent role. His character simply disappears after a while.

   Overall, a solid, comparatively apolitical work by director Clint Eastwood that doesn’t remotely dumb things down for a mass audience. It’s a mature, sophisticated film that is able to both appeal to both one’s emotions and intellect without being pretentious or preachy. It’s not flashy and there’s not a lot of action, but it’s worth your time.

R.I.P.MARIANNE FAITHFULL    (29 December 1946 – 30 January 2025)

    “As Tears Go By” is a song written by Mick Jagger, Keith Richards and Rolling Stones’ manager Andrew Loog Oldham. Marianne Faithfull recorded and released it as a single in the United Kingdom in 1964. Her song peaked at number nine on both the UK and Irish singles charts. [From Wikipedia.]

SIX BLACK HORSES. Universal, 1962. Audie Murphy, Dan Duryea, Joan O’Brien, George Wallace, Roy Barcroft, and Bob Steele. Produced by Gordon Kay. Written by Burt Kennedy, Directed by Harry Keller.

   Sometime in the late 1950s, a producer at Universal figured out how to make a good Audie Murphy Western: Hire a capable character actor to steal the show.

   This resulted in some enjoyable outings, as Audie tangled with Walter Matthau, Barry Sullivan, Stephen McNally, and here Dan Duryea, as a somewhat weathered rogue who saves him from being wrongly hanged, then partners with him escorting an enigmatic woman on a journey across Indian Country (popular terrain in this genre) to join her husband.

   Director Harry Keller was trained up in his craft at Republic, the cradle of the B Western. So was producer Kay for that matter, so the locations are scenic, the action fast, and Duryea’s character is a bit more complex than usual—he sees this job as a welcome respite from his usual vocation as a killer-for-hire, and maybe even a path to redemption—until his past comes crashing down around his ears.

   With so much fine work from producer, director and stars, it’s just a shame that writer Burt Kennedy let us down. Kennedy was doing some promising work about that time, with scripts for Seven Men from Now and Ride Lonesome to his credit, but in this case he simply loots and pillages his best stuff, “borrowing” big chunks of dialogue, characters from his own work, and even a bit of Borden Chase’s script from Bend of the River.

   The result is not so stale as it is unsettling. They say those who do not remember the past are condemned to repeat it, but we remember films like The Tall T and Gun the Man Down with genuine affection for their depth of feeling and taut drama. To see their best parts here sliced-and-diced for a quick buck, somehow cheapens our regard for them.

ANALOG SF – October 1967. Edited by John W. Campbell. Covert art by John Schoenherr. Overall rating: **½

ANNE McCAFFREY “Weyr Search,” [Dragonriders of Pern] Short novel. Reviewed separately here.

TOM PURDOM “Toys.” A good idea, the effects of advanced toys on children, is completely wasted. Two policemen save hostages from kids holding them prisoner. Action, action, unreadable action. (0)

CARROLL M. CAPPS “The Judas Bug.” Novelette. A sense of paranoia pays off, as a member of Phase Two of the Expedition begins to suspect that the leaders of the original party are plotting against him. Is the author C. C. MacApp? (3)     [Answer: Yes.]

W. MACFARLANE “Free Vacation.” In a society run by consensus, dissenters are given the choice of rehabilitation or space exploration. The author has little sense of either description or dialogue. (1)

J. T. McINTOSH “Pontius Pirates.” Novelette. Pontius Pirates are cautious, looking both ways trying to be in the clear whatever happens. But IP agent Jack Sheridan’s suspicions of the girl who picks him up in a bar on the planet Molle tell him someone there has something to hide,. Amazing by-play that does not develop into anything serious. (3)

GEORGE FOY – Asia Rip. Viking, hardcover, 1964. Pocket, paperback, 1985.

   The highly evocative title of this novel comes from one of the shoal areas off the coast of Cape Cod, an area worked by the rugged men of the North Atlantic fishing industry. George Foy sets his impressive debut mystery among these men and the corrupt individuals on land who control the industry.

   Lars Larsen joins the search for his friend Joe Sciacca when the latter fails to return from a fishing run. Later he is asked to continue to investigate by Sciacca’s widow, Marie. When the pregnant Marie is also murdered, Larsen finds himself with a murder rap on his head, and a need for vengeance in his heart.

   Foy’s well-wrought plot features a lot of bloody action as Larsen traces the link between organized crime and the fishing industry. Much of the action includes feats of unbelievable derring-do by Foy’s hero. Not your average fisherman, he is a former Harvard man and drug-runner. He is also the kind of central character who keeps the reader involved and believing even as he scales the beams and girders of a massive railroad bridge with an injured and infected shoulder.

   George Foy has worked as a journalist covering the fishing industry. This background lends great authenticity to his first mystery/adventure novel. He is also a-fine storyteller.

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   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.

DENVER & RIO GRANDE. Paramount Pictures, 1952. Edmond O’Brien, Sterling Hayden, Dean Jagger, Kasey Rogers (as Laura Elliott), Lyle Bettger, J. Carrol Naish, Zasu Pitts. Screenwriter: Frank Gruber. Director: Byron Haskin.

   Although admittedly a minor film within the grand scheme of things, Denver & Rio Grande nevertheless punches well above its weight and remains a solidly entertaining thrill ride. Filmed on location in Colorado with some spectacular natural scenery, the movie stars prolific actor Edmond O’Brien as Jim Vesser, a construction foreman on the Denver & Rio Grande railroad.

   Vesser is tasked not only with building a brand new railroad in the wilderness, but also with protecting the enterprise from its primary rival, Cañon City & San Juan Railroad. Leading that unscrupulous outfit is the criminally-inclined McCabe (Sterling Hayden) and his henchman Johnny Buff (a wide grinning Lyle Bettger). Complicating matters is a love-hate relationship that O’Brien develops with his railroad’s secretary, Linda Prescott (Laura Elliott).

   Written by pulp writer Frank Gruber and directed by Byron Haskin, Denver & Rio Grande carefully balances grit with some romance and (in my estimation, unnecessary) light comedy. At its core, it’s a fast-paced action movie set against a perilous part of the American landscape. While one might not necessarily think of O’Brien as a leading man for westerns, he in fact did appear in numerous movies in that genre. That includes Warpath (1951) and Silver City (1951), both also directed by Haskin. I haven’t seen either of those two, but would be curious to see if they exist on physical media.

   Rounding out the cast are two supporting actors I always appreciate: Dean Jagger, who portrays the bearded railroad boss and J. Carrol Naish, who portrays the project’s seemingly ethnic lead engineer. Overall, a decidedly fun, if occasionally uneven, movie that doesn’t require too much mental effort.

   Final note: there’s a breathtaking train crash toward the end of the movie that you won’t want to miss! Good stuff.