MATT HELM. ABC-TV. Made-for-TV Movie: 7 May 1975. TV series: 20 September 1975 to 3 January 1976. Meadway Production in association with Columbia Pictures Television. Cast: Tony Franciosa as Matt Helm, Laraine Stephens as Claire Kronski, and Gene Evans as Sergeant Hanrahan. Based on characters created by Donald Hamilton. Developed for television by Sam Rolfe. Produced by Charles B. Fitzsimons and Ken Pettus. Executive Story Consultant: James Schmerer. Executive Consultant: Irving Allen.
As with many fictional characters, Matt Helm has an identity crisis when it comes to his life in books, films and television. Matt Helm has always adapted to what was popular at the time. The character created by Donald Hamilton for a series of books, starting with Death of a Citizen in 1960, was a government assassin fighting the Cold War during a time when such a paperback series character was popular.
The movie Helm was one of the endless numbers of James Bond parodies popular in films during the 60s and 70s. And the TV version joined the large group of ex-something (be it ex-con, ex-cop, or in Helm’s case ex-spy) turned 70’s PI with a fast car. Matt Helm liked to join the crowd.
The TV movie version of Helm developed by Sam Rolfe was an ex-spy turned PI with a beautiful lover, a liberated lawyer who didn’t mind supplying the cheesecake. This Helm had a dark side, while he still was able to contact The Director and his old agency The Machine, Helm had quit the spy business after tiring of all the lies and bad things he had to do. While reformed and sanitized for 70s TV, this Helm was closer to Hamilton’s version than the movie version ever got.
Sadly the TV version had something in common with the film version: both were made by Columbia Pictures and producer Irving Allen. What saved the TV Movie was the talent of writer Sam Rolfe who had created or developed such TV series as Have Gun, Will Travel, Man from U.N.C.L.E., and Delphi Bureau. His screenplay (with Harold Jack Bloom) for The Naked Spur (1953) received an Oscar nomination.
Yes, it is a 1970s TV Movie, so there were cheesy moments and it was not quality drama, but it was and still remains a mindlessly fun entertaining TV mystery thriller. Rolfe’s script featured a strong plot and enough twists to keep the viewer involved. Rolfe, one of the best TV Movie pilot writers of the time, was also able to make Helm interesting, and the film had enough possible story directions to inspire several seasons of story lines. It would be something the weekly series would not take advantage of.
The rest of the production was above average for the standard 70s TV Movie, thanks in large part to the work of Producer-Director Buzz Kulik. Tony Franciosa played his usual character, the same guy he played in Name of the Game, Search, and every other character he played on television. Laraine Stephens (Mrs. David Gerber. Gerber was an award winning producer (Police Story) and at the time head of Columbia Pictures Television) was fine as liberated and sexually active Claire Kronski. The only other character from the pilot to make it to the series was Helm’s police contact and friend Sergeant Hanrahan played by the capable Gene Evans.
MATT HELM. 7 May 1975. Written by Sam Rolfe. Executive Producer: Irving Allen. Produced and Directed by Buzz Kulik. Guest Cast: John Vernon, Ann Turkel, Patrick Macnee, Michael C. Gwynne. *** When a PI she hired is killed Maggie turns to Matt for help to find her father’s killer.
https://www.youtube.com/watch?v=eN91OAvpuXY
Maggie’s father had been killed when she was very young. Now a successful actress Maggie can afford to hire someone to find her father’s killer. She and Matt meet through Kronski who is the actress’ lawyer. When Matt learns a casual friend and fellow PI had been killed he takes the case.
Maggie’s father had been a Captain in the Army who was murdered by his Sergeant when he uncovered the Sergeant’s smuggling ring. The killer vanished. The murdered PI thought he had found the killer, now known as Harry Paine. Matt remembers Harry from his days with The Machine. It is not a happy memory. As Matt searches for Maggie’s father killer, everyone including an old friend from The Machine warn Matt to drop the case.
As with most TV shows there were changes made from the TV Movie pilot to the weekly series. Jerry Fielding’s theme from the TV Movie was replaced by a theme written by Morton Stevens. The series added a new character to the supporting cast, Ethel (Jeff Donnell), an annoying woman who took Matt’s messages. On the plus side the one bad subplot from the TV Movie featuring the angry PI hating Police Sergeant (Val Bisoglio) was dropped.
Irving Allen remained, now credited as executive consultant (there was no on air credit for executive producer). Buzz Kulik and Sam Rolfe were gone. Charles B. Fitzsimons and Ken Pettus became the producers. James Schmerer, who had been the associate producer for the film The Silencers (1966), was the series executive story consultant.
The dark ex-spy side of Helm was basically gone. The character now was just another TV PI, closer to being Tony Franciosa than any version of Helm. The stories were inferior PI procedurals with enough plot holes to turn the cheese to Swiss, bad acting doomed by cardboard characters, directors missing shots, and enough padding to fill a mattress warehouse.
“Now I Lay Me Down To Die.” 27 September 1975. Written by Gerry Day and Bethel Leslie. Directed by Earl Bellamy. Guest Cast: Shelley Fabares, Burr DeBenning, Ian McShane. *** Rich woman known for her charity work hires Matt to find a serial killer whose last victim was her surrogate father.
It featured a serial killer. The Killer was female. She was nuts. She had duel personalities. Chris the good girl was rich and spent her time working for charities. Tina the bad girl was a hooker. She killed her johns after sex. She loved her work.
The audience knows who the killer is before any of the characters including Chris. There is a gratuitous subplot about Chris’s evil husband. He is in debt. He is going to steal her fortune. She won’t get the money from dead Daddy’s will until next week. This subplot will be ignored at the end.
There is more? Yep, Matt had barely started when someone (we never are really sure who or why) tries to kill him. Car Chase!! Matt tracks down Tina and gets knocked out from behind. Talking head scene where an expert refuses to answer questions while answering questions to explain killer’s actions.
Female expert flirts with Matt. Police know where possible clue is but can’t get search warrant. Licensed PI ignoring rule of law plans illegal search believing a court of law would not toss out such evidence. Chris confesses before talking to her lawyer a few feet away. Ending ties things up in neat little bow as if victims were mere plot devices. BINGO! Extra point – famous ex-teen queen plays World’s most overdressed psycho killer hooker!
The series faced even more challenges than bad writing and acting. ABC put it in a suicidal time slot, Saturday at 10pm-11pm, opposite of two popular series, CBS’s Carol Burnett Show and NBC’sSaturday Night at the Movies. And there may have been behind the scenes problems with Tony Franciosa’s temper.
According to gossip columnist Maggie Daly (Chicago Tribune, 30 October 1975), while on location at the Burbank Water and Power plant Franciosa and director Richard Benedict (an ex-fighter) got into a physical fight that didn’t stop until the two fighters and the entire cast and crew were tossed off the location.
Not surprisingly, Matt Helm lasted only thirteen episodes. The final episode to air “Die Once, Die Twice†(January 3, 1976) began with Matt happily leaving on a spy adventure for The Machine. Sadly, the mission was kept secret from us, and instead we got a 70s cheesy lawyer show featuring Kronski.
I certainly recommend the TV Movie. But while I am curious what TV series Matt Helm might have inflicted on the spy genre, after watching four episodes of this series and its attempts at the PI and lawyer genre I rejoice ABC put TV series Matt Helm out of my misery.
SOURCE:
And thanks to the always informative Thrilling Detective website for filling in my gaps of knowledge about the book series by Donald Hamilton.
CRIME FICTION AND THE MYSTIQUE OF TRAINS
by David Vineyard
A train is the ideal environment for a mystery or thriller. There is a closed society that is relatively isolated for long periods (certainly in earlier times) and short of leaping to their possible death there is no where for the suspects to go between stations.
There are a variety of venues from private and semi-private compartments, sleeping cars, baggage cars, dining area, public cars and lounges to stage action in, and enough places to hide to make it both a challenge to find someone and difficult not to be seen. There are borders to be crossed, exotic cities to reach, dangerous and elegant trestles to cross …
Then there is the romance of the machine. No other mode of transportation ever caught the publics imagination quite like a train. Add to that the original great train robbery by Charles Peace, Jesse and Frank James, the Orient Express, the Trans Siberian, the famous hijacked Confederate train in the Civil War, and other famous trains and it was a natural.
Doyle used them frequently, Canon Whitechurch did a whole series with Thorpe Hazel, and so on. Half of Frank Packard’s output seemed to be set on or about trains. Graham Greene used them for The Orient Express, Ministry of Fearand Travels with My Aunt, and one figures in Ambler’s Background to Danger. Agatha Christie and Ian Fleming both used them more than once. There was the Rome, Paris-Lyon, Shanghai, Irish, and other Express trains and bestsellers like Dekobra’s The Madonna of the Sleeping Cars.
I’m not sure there was ever another form of transportation as well suited to suspense, drama, melodrama, romance, mystery and adventure.
Ships are too big, planes too small, the train though is the ideal size with limitless possibilities for mischief. Some like the Orient Express even lived up to the hype. It still had that exotic feel when I rode what was left of it in the seventies — it has been restored and runs its classic route since — but the cigar smoking gilded cherubs were still on the ceiling of the dining car.
Then too, trains were an adventure you could actually experience. Few people could afford a passenger liner, few needed to fly, but anyone might make a journey on a train. We forget just how common train travel was, easily up into my early twenties even in this country.
Few things are familiar and exotic, common and romantic, or mythic and down to earth, but trains are. If nothing else how many little boys, and some little girls, dreamed of adventure on those Lionel trains of our childhood?
HELEN McCLOY – The Singing Diamonds and Other Stories. Dodd Mead, hardcover, 1965. No paperback edition.
Helen McCloy wrote relatively few mystery short stories, and only four of the eight stories in this collection fall into the mystery category. All of them, however, are superior examples of the form. They all appeared in Ellery Queen’s Mystery Magazine, and each of them was a prizewinner in the magazine’s annual contests.
The book opens with what is probably the author’s most famous short work, “Chinoiserie,” written in Paris in 1935 but not published until 1946. It makes use of the author’s art background in a tale of obsession and revenge set in nineteenth-century Peking.
The title story, “The Singing Diamonds,” features Basil Willing. The “diamonds” of the title are a species of flying saucer: “nine flat, elongated squares, like the pips on a nine of diamonds, flying in V-formation at 1,500 miles per hour,” seen by a navy pilot and by six other eyewitnesses scattered around the country and overseas.
Shortly after the sighting, the witnesses, one by one, die in unexplained ways. One of the survivors comes to Basil Willing for help. Are the deaths just an amazing coincidence, or are they murder? And how could such murders have been carried out? Willing’s acute mind is equal to the task of ferreting out the truth. The story may be too fantastic for some tastes, but it is an astonishing tour de force of mystery and detection.
Another Basil Willing story, “Through a Glass, Darkly,” was expanded to a full-length novel under the same title. The remaining mystery, “The Other Side of the Curtain,” is a gem of psychological suspense: A young wife, troubled by a threatening dream, visits a psychiatrist for help, but finds herself sinking deeper and deeper into the nightmare….
It is difficult to believe that the other four stories in the book were written by the same author. “Number Ten Q Street,” “Silence Burning,” “Surprise, Surprise!” and “Windless” are science fiction of a ponderous and heavily didactic variety, minor exercises at best. But the four mystery stories make the volume worth tracking down.
HELEN McCLOY – Cue for Murder. William Morrow, hardcover, 1942. Reprint editions include: Dell #212, paperback, [1948], mapback edition; Bantam, paperback, 1965.
In his introduction to a reprint edition of Cue for Murder, Anthony Boucher recalled the reception of Helen McCloy’s first novel, Dance of Death (1938): “Few first mysteries have received such generous critical praise, as the reviewers stumbled over each other to proclaim [the author] a genuine find … combining a civilized comedy of manners with the strictest of logical deduction.”
In addition to an urbane and literate style, McCloy’s work is characterized by psychological insight, meticulous plotting, and the sheer ingenuity with which she handles seemingly impossible situations.
McCloy was one of the founding members of the Mystery Writers of America, and was that organization’s first woman president in 1950. She was married for fifteen years to mystery writer Davis Dresser, who, as Brett Halliday, created the popular private detective Michael Shayne. In addition to writing fiction, McCloy has been a publisher, editor, and literary agent. In 1953 she received an MWA Edgar for Mystery Criticism.
McCloy’s series detective, Dr. Basil Willing, was introduced in her first book; Cue for Murder is his fifth appearance. Willing is a psychiatrist, once a consultant to the Manhattan district attorney’s office and now, in the early months of World War II, working with the New York office of the FBI.
He is in the audience at the Royalty Theater on opening night of a modern-dress revival of Sardou`s Victorian melodrama Fedora. At the end of the first act, it is discovered that a murder has been committed on stage during the performance, but no one can identify the victim.
Willing is drawn into the investigation both throughm his police connections and through a family friendship with the production’s costume designer. The clues include a knife sharpener’s canary released from its cage, the odd behavior of a housefly, a mysterious figure on a fire escape, and a script containing an underlined cue for murder.
Cue for Murder is almost a textbook example of the classic fair-play detective novel, an intricate framework in which the clues fit together like the interlocking pieces of an elaborate jigsaw puzzle. The framework is fleshed out with diverting characters, acute psychological observation, a satiric and knowledgeable rendering of the theatrical background, and a vivid portrait of wartime Manhattan, complete with blackouts and air-raid wardens.
The book’s strength as a novel is measured by the fact that it can be read with pleasure even after its secrets are known.
CANTERBURY’S LAW. Pilot episode. Fox, 10 March 2008. (Season 1, Episode 1.) Julianna Margulies, Ben Shenkman, Keith Robinson, Trieste Kelly Dunn, Terry Kinney, Ardan Quinn, James McCaffrey. Guest Cast: Charlie Hofheimer, Boris McGiver, Alison Bartlett. Creator/screenwriter: Dave Erickson. Director: Mike Figgis.
This is a series that came and went very quickly. In fact, you might even say that it sunk without a trace. With only six episodes aired before it was axed, I’m surprised that it came out on DVD, but it did.
Julianna Margolies (best know, perhaps, as the good wife on The Good Wife), here plays Elizabeth Canterbury, a fiery, tough-minded and determined defense attorney who (and here’s the gimmick) is willing to break all of the rules to get her clients off.
And in this pilot episode, she pulls off all the stops (telling her client to lie on the witness stand) in order to get the real killer on the stand, where she knows she can break him down. What makes this subterfuge necessary is that her client’s initial confession was coerced by the police by denying him the meds he needed.
There is all kinds of back story that is brought out along the way, including her affair with a private eye, one which she has broken off (she also happens to be married), but his assistance on the case she does not mind in the least asking for.
As gimmicks go, I didn’t mind this one, and as a matter of fact, I liked it. Elizabeth Canterbury certainly is skirting the edges of legality, and in fact (as you can tell) she verges into illegality far more than Perry Mason ever did. And playing her to perfection, Julianna Margulies is an actress that makes me sit up and like it.
She was on The Sopranos before this one, then a nurse on ER for a season or so before starring in The Good Wife, a series I’ve never seen a single episode of, and now I’m convinced I should.
UP IN THE AIR. Monogram, 1940. Frankie Darro, Mantan Moreland, Tristram Coffin, Marjorie Reynolds, Lorna Gray. Written by Edmond Kelso. Directed by Howard Bretherton.
A painless if uninspiring hour-killer from Monogram, with the pleasure of watching Marjorie Reynolds and especially Lorna (“Vulturaâ€) Gray, plus the always-entertaining Mantan Moreland.
The story revolves around murder(s) at a radio station, and when I say “revolves†you should appreciate that the narrative spins its wheels quite a lot but never actually seems to get too far. Alluring Lorna Gray plays a bitchy singer who is, alas, the first to go. A couple of loud and none-too-bright cops show up to investigate, but the real sleuthing is done by the team of Frankie Darro and Mantan Moreland.
The word “team†is key to the interest and charm of this movie and the others in this low-budget series, where Frankie and Mantan took turns playing unskilled workers in crappy jobs that invariably got them mixed up in murder. Mantan was always the reluctant throttle to Frankie’s racing engine, but it was he who provided the laughs and charm with his snappy patter, comic timing and — in this film anyway — snappy one-man dance numbers.
The concept of interracial-but-equal crime-solvers may have broken some cultural ground back then, but it didn’t catch on; Monogram was a never a trend-setting studio after all, generally content to pick up on well-worn themes and discarded series from the major studios, like Cisco Kid and Charlie Chan, where Moreland again showed up to good advantage.
But it’s interesting to note that they trotted it out decades before Culp & Cosby in I Spy when nobody was looking. I’m not saying they did particularly well with it, but the film passes painlessly as I say, and the interplay between Moreland and Darro is often fun to watch, especially when they trot out one of Mantan’s “infinite talk†routines.
To anyone interested in learning more about this ought-to-be-legendary black comedian, I recommend Michael H. Price’s Mantan the Funny Man (Midnight Marquee Press, 2007). It’s written by an old white guy, but offers some worthwhile insights into race relations in the middle of the last century, and it takes a close and appreciative look at movies most critics wouldn’t give the time of day to.
CLARENCE E. MULFORD – The Coming of Cassidy. A. C. McClurg & Co., hardcover, 1913. Reprinted several times, including Tor, paperback, 1993. Also included in Wild Western Days: The Coming of Cassidy, Bar-20, Hopalong Cassidy, Forge hardcover, 2010. Also available online.
When asked what he thought of the huge Hopalong Cassidy revival of the late forties and early fifties that made Bill Boyd a superstar and millionaire, Clarence E. Mulford, who created the character and made no little money from Boyd’s popularity was purported to say: “He has his Hopalong, and I have mine.â€
It’s an accurate statement because Bill Cassidy the top hand of the Bar 20 has little in common with Bill Boyd’s avuncular paragon of virtues. Mulford’s Cassidy can drink any man under the table, has — to say the least — a colorful vocabulary, is deadly fast and doesn’t bother to shoot guns out of anyone’s hand, smokes, gambles, brawls, and has an eye for the ladies. He’s a tall lanky cowboy that looks more like John Dierkes Rafe in Shane than Bill Boyd’s immaculate man on the white horse.
He was more than twenty-five hundred feet above the ocean, on a great plateau broken by mesas that stretched away for miles in a vast sea of grass. There was just enough tang in the dry April air to make riding a pleasure and he did not mind the dryness of the season. Twice that day he detoured to ride around prairie-dog towns and the sight of buffalo skeletons lying in groups was not rare. Alert and contemptuous gray wolves gave him a passing glance, but the coyotes, slinking a little farther off, watched him with more interest. Occasionally he had a shot at antelope and once was successful.
This is from The Coming of Cassidy, a collection of integrated short stories, some merely vignettes. telling how young Bill Cassidy came to Buck Peters’ Bar 20 and became the leader of the Bar-20 Three, with Red Connors and young Johnny Nelson.
Bill Cassidy is a lanky young man who started riding north and arrives at Buck Peters’ ranch just as the ranchman is having trouble with a group of buffalo hunters. It’s not long before Cassidy is butting heads with one of them.
Without a word they leaped together, fighting silently, both trying to gain the gun in the hunter’s holster and trying to keep the other from it. Bill, forcing the fighting in hopes that his youth would stand a hot pace better than the other’s years…
Mulford’s stories may be dated by today’s standards, but in many ways his easy style and classic approach to the Western makes him a more modern read than Max Brand or Zane Gray. It’s not that you will find anything unsavory about Hoppy and his crew, but you get the impression they have skirted close to unsavory in their past. Mulford never says it, but he knows those knights of the saddle were actually homeless virtual bums who often owned nothing of their own but their boots and spurs — certainly not a horse, gun, and saddle.
Many a real cowboy worked for a horse and a saddle and little pay.
This collection includes the story “How Hopalong Got His Hop†that explains how he got his famous name and the limp that dogs him throughout the books. Ironically Bill Boyd and the production company of the first Hopalong Cassidy film had no intention to utilize Hoppy’s limp, but Bill Boyd broke his leg early in the production.
“Th’ bone is plumb smashed. I reckon I’ll hop along through life. It’ll be hop along, for me, all right. That’s my name, all right. Huh! Hopalong Cassidy! But I didn’t hop into hell, did I, Harris?” he grinned bravely.
And thus was born a nickname that found honor and fame in the cow-country a name that stood for loyalty, courage and most amazing gun-play. I have Red’s word for this, and the endorsement of those who knew him at the time. And from this on, up to the time he died, and after, we will forsake “Bill” and speak of him as Hopalong Cassidy, a cowpuncher who lived and worked in the days when the West was wild and rough and lawless; and who, like others, through the medium of the only court at hand, Judge Colt, enforced justice as he believed it should be enforced.
Reading these stories and the other books in the series it’s easy to see why the first choice to play Hoppy on screen was grizzled character actor James Gleason and not handsome Bill Boyd. Over the course of the films Hoppy changes partners a few times but remains the same kindly tough respectable man about the ranch, but Mulford’s Hoppy ages, drinks too much, gambles, and even gets married. At times he almost becomes respectable, much to his chagrin.
In one story he even gets shanghaied, and he and the boys have to start a mutiny.
Mulford stayed true to his creation even when his readers wanted the Bill Boyd version. It may have been Boyd on the book covers later, but the man inside was Bill Cassidy. Louis L’Amour, who wrote the Hopalong Cassidy short lived pulp magazine as Tex Burns, was caught between the two, but reading his books you can see it was Mulford’s Hoppy he preferred. His Hoppy looked more like Bill Boyd but it only went skin deep. (*)
Hearing the beating of hoofs he glanced around and saw a trim, pretty young lady astride a trim, high-spirited pony; and both were thoroughbreds if he was any judge. They bore down upon him at a smart lope and stopped at the edge of the walk. The rider leaped from the saddle and ran toward him with her hand outstretched and her face aglow with a delighted surprise. Her eyes fairly danced with welcome and relief and her cheeks, reddened by the thrust of the wind for more than twenty miles, flamed a deeper red, through which streaks of creamy white played fascinatingly. “Dick Ellsworth!” she cried. “When did you get here?” Mr. Cassidy stumbled to his feet, one hand instinctively going out to the one held out to him, the other fiercely gripping his sombrero.
Somehow I can’t see Bill Boyd’s Hoppy leading the pretty girl on without telling her she has the wrong man, but Mulford’s Hoppy does without turning a hair.
The books move quickly. Hoppy and his pals can’t stay out of trouble for more than a few paragraphs, if that. Gunsmoke curls in the air; keen eyed men stare across tables at each other and glance anxiously at five cards in their hand that could mean fortune, or death; cowboy’s slump in the saddle eyes staring into the darkness as they listen to the lowering cattle; horses throw them; rough humor dogs them; hand-mades hang from lean dry lips lighted by a lucifer; chaws of tobacco are spit with terrifying accuracy; men die; women weep; outlaws, Indians, gun men, crooked towns people, lynch mobs, buffalo hunters, skinners, stage coach drivers, whisky drummers, renegades, school marms, saloon girls, diamond-backs, mustangs, and longhorns, all the pantheon of the old west cross their path.
This is Ur-text, cowboy style. The age of Remington is not that far in the past. Charles Russell is still writing and painting. It has not been that long since Owen Wister’s The Virginian or Emerson Hough’s The Covered Wagon. Names like Jesse James, Billy the Kid, Buffalo Bill, Wild Bill, Butch Cassidy, are not that distant a memories. Zane Gray, Eugene Manlove Rhodes, and Max Brand are his contemporaries. Tom Mix, William S. Hart, Harry Carey, Bronco Billy Anderson, Buck Jones, Colonel Tim McCoy, and a young unknown named Gary Cooper ride across the for now silent screen waiting for him to join him even he is unrecognizable when he does.
It is to his credit that Mulford’s Hoppy has survived and not just Bill Boyd’s. His books can still be found on paperback racks and not so many years back a film, The Gunfighter, featured Martin Sheen as the older Hoppy, and one much closer to Mulford than Boyd.
Bill Boyd’s Hoppy will always have a hold on my heart, but in a real way Mulford’s creation is timeless as the film Hoppy is not. Boyd’s Hoppy seems a bit quaint now, not quite real, a little too perfect, he rides and lives in a West that never was, but Mulford’s Hoppy, swearing, spitting, guns blazing, cards held close to the vest, eyes squinted beneath his sombrero, a top his horse Ring-Eye, has a feel of authenticity. We know the West wasn’t like Boyd’s, but if it wasn’t like Mulford’s (and it wasn’t really) it should have been.
(*) It was the revival of L’Amour’s Hoppy novels, especially The Rustlers of West Fork, that inspired Tor Forge to revive Mulford’s Hoppy in modern paperback form. As for the true face of Hoppy, you’ll find it among the illustrations the giant of modern American illustration N.C. Wyeth did for Hoppy’s magazine appearances, but I warn you, Bill Boyd it is not.
On a similar note, while Bill Boyd is known for dressing in black that is an illusion of black and white film. Boyd is actually wearing a red shirt, yellow kerchief, and blue jeans in the early films. Only the hat and the boots were black. You just can’t tell on film. Later on the outfit conformed to the image and the comic book version, but early on he’s dressed almost as colorfully as Mulford’s Hoppy.
SPENCER DEAN -Price Tag for Murder. Doubleday, hardcover, 1959. Pocket #6048, paperback, 1961.
This is one more in the series of interminable — if this novel is any guide — adventures of Don Cadee, Chief of Store Protection at Ambletts Fifth Avenue. As information comes to Cadee’s attention that an entire warehouse of merchandise, a warehouse that should have had no existence, has disappeared, he is simultaneously faced with the suicide or murder of a key employee in the store’s purchasing department.
Some minor problems for Cadee are the installation of a closed-circuit television to scan areas in the store and the perhaps imminent departure of a company executive to Mexico, possibly accompanied by some of the store’s funds and one of the store’s best buyers.
For those who like action, or what seems like it, and dialogue, with very little description or writing style and not a whole lot of plot.
— Reprinted from The MYSTERY FANcier, Vol. 9, No. 6, November-December 1987.
Bio-Bibliographic Notes: Spencer Dean was the pen name of (Nathaniel) Prentice Winchell (Jr.) (1895-1976). Other pen names he used were Jay De Bekker, Spencer Dean, Dexter St. Clair, Dexter St. Clare & Stewart Sterling. The latter is perhaps the most well-known. According to Al Hubin Crime Fiction IV, he was “born in Evanston, Illinois; died in Tallahassee, Florida; worked for an advertising agency, then newspaper man; editor of trade publications, journalism lecturer; wrote and produced over 500 radio mystery shows, wrote for films and TV; published some 400 magazine detective stories.”
A long article by Richard Moore about Stewart Sterling and his various “specialty detectives” can be found here on the primary Mystery*File website.
The Don Cadee mystery series —
The Frightened Fingers, Washburn, 1954.
The Scent of Fear. Washburn, 1954.
Marked Down for Murder. Doubleday, 1956.
Murder on Delivery. Doubleday, 1957.
Dishonor Among Thieves. Doubleday, 1958.
The Merchant of Murder. Doubleday, 1959.
Price Tag for Murder. Doubleday, 1959.
Murder After a Fashion. Doubleday, 1960.
Credit for a Murder. Doubleday, 1961.
TANGLED. Ben’s Sister Productions, 2001. Rachael Leigh Cook, Shawn Hatosy, Jonathan Rhys-Meyers, Estella Warren, Lorraine Bracco. Director: Jay Lowi.
There are a lot of gaps in my movie-watching career, and the period from the mid 1980s on to, well, practically now, is the largest one. I’m trying to fill in the gaps in that period, but the doing is going a lot slower than I’d like. There are just too movies from the 30s and 40s that are on my Want to See Next list, that films like this one just have to work their way in somehow.
Which is a roundabout way of saying I picked this one at random out a box in the basement that’s been there for at least four or five years, maybe even longer. I’m not sure why I bought it in the first place, but after watching it last night, I’m glad I did.
It wasn’t because of the actors in it, as I couldn’t have placed names with faces with any of them, except one, that one being Lorraine Bracco (of The Sopranos fame, but I saw her first in Medicine Man with Sean Connery). In any case, of the players in the three leading roles, I can tell you now that I was impressed.
Taking Rachael Leigh Cook first, she plays Jenny, the center of this romantic drama, a diminutive young girl with plenty of spirit and two suitors, sort of, but that’s the story. One of them is David (Shawn Hatosy), an almost baby-faced lad who’s known Cook longer, but theirs is a friendship only, platonic you might say, although you know from watching him that he’d like it to be more. The other is David’s former roommate, Alan (Jonathan Rhys-Meyers), who’s another free spirit, dashing, adventuresome, with dangerous-looking eyes, and everything David is not.
But even though sparks between Jenny and Alan are obviously immediately, the latter takes the time to ask the David if the way is clear, and David reluctantly says yes, although you know he’d like to say no. He even warns Jenny about Alan, telling her that falling for him would be a bad idea.
The story of this doomed three-way relationship is told in flashback by David to female detective Andersle (Lorraine Bracco), having been picked up by the police who have found the bodies of the other two in a secluded wooded area.
It’s been a while since my college days, both undergraduate and graduate, but I recognize pieces of each of the three major players in the students I knew back then, and the love affairs they had, the rivalries, the break-ups, and the getting back together again. Not a whole lot has changed, except nobody I knew back then ended up in a situation anything like this one. Not that I knew about, anyway.
In any case, it’s the skill of the actors that reminded me of my younger academic days more than any movie or book I’ve seen or read in quite a while. All three leads were convincing, and the next time I see a film that they’re in, I’ll be sure to take more than a quick glance at it.
One other thing. I’m sometimes annoyed when a film exists in the form of extended and sometimes overlapping flashbacks, but in this case, it was the only way it could have been done. I enjoyed this one.
JO BANNISTER – Striving with Gods. Doubleday Crime Club, hardcover, 1984. First published in the UK by Robert Hale Ltd., hardcover, 1984. Reprinted as An Uncertain Death, Severn House, UK, hardcover, 1997. No paperback edition.
New to the mystery-reading public, Jo Bannister has produced an excellent medical thriller in Striving with Gods. Her heroine, Clio Rees, is a physician turned mystery writer who makes a further transformation to amateur detective when her dearest friend dies. Clio’s friend, a gay man named Luke, was found dead with a young boy in an apparent suicide pact. Clio doesn’t buy the police scenario, and uncovers evidence of a double murder and cover-up. Dr. Rees further finds a medical conspiracy behind the murder.
Bannister’s novel is more thriller than mystery. And Clio is more avenging fury than detective. Early on it becomes clear to Rees and the reader who the prime villain is. The greatest mystery is whether Clio will be able to bring the malefactors to justice and avenge her friend before she, too, falls victim. Despite our faith in a happy ending, Bannister does a good job of sustaining the suspense. The murderous confrontations are dramatic, though an extended chase scene goes on a bit long.
But it is the character of Clio Rees and her first-person narration that are the making of Striving with Gods. There is a wry quality to her voice that nicely balances the more melodramatic aspects of the plot. She is by no means the omnipotent and omniscient detective. She is a caring, fallible woman. She is also strong and resolute and totally devoid of the feminine failings of the mystery-Gothic heroine. She has, in fact, all the makings of a series sleuth. If only Jo Bannister will oblige.
Bibliographic Notes: Kathi Maio’s wishes were to be fulfilled. Among Jo Bannister’s 30 or more mystery novels are three additional ones in the Clio Rees series. Many of her other books are thrillers and/or police procedurals in several other series. Her next one will be Buying Freedom, scheduled for publication later this year.
The Dr. Clio Rees Marsh series —
Striving with Gods. Hale, 1984.
Gilgamesh. Piatkus, 1989.
The Going Down of the Sun. Piatkus, 1990.
The Fifth Cataract. Severn House, 2005.
