MR. & MRS. NORTH “Weekend Murder.†CBS, 03 October, 1952 (Season 1, Episode 1.) Barbara Britton (Pamela North), Richard Denning (Jerry North), Francis De Sales (Lt. Bill Weigand). Guest Cast: Margo Wood, Rita Johnson, Paul Cavanagh, James Kirkwood. Writer: DeWitt Bodeen, based on the characters created by Frances & Richard Lockridge. Director: Ralph Murphy.
The TV version of Mr. & Mrs. North lasted for two seasons, the first on CBS from 1952-53, and the second, only 18 episodes long, on NBC in 1954. They were also on the radio from 1942 to 1954. Alice Frost and Joseph Curtin had the title roles for most of the run. And of course before that, there were the books, 26 of them, before Frances Lockridge’s death in 1963. After her passing, her husband Richard continued writing, but he never produced a Norths novel on his own.
It surely must have helped that so many people knew who the Norths were, because this, the first TV episode jumps right into the story without so much of an introduction. (I think this was common, however, back in the early days of television.) In any case, it is Jerry, a book publisher who has to be persuaded by his wife Pam to take a weekend off and spend it at a famous actress’s country home, somewhere outside Manhattan and their usual city environs.
But as chance would have it, when they all arrive, the housekeeper is missing and there is a dead man in the kitchen closet. As in all the books and their other adventures, it is Pam who decides that she needs to solve the case. Jerry would just as soon let the police handle it. I don’t know whether (or how many) other married sleuths tackled their cases in this same particular way, but this was the usual Norths’ modus operandi, with Pam always sticking her neck out a little too far along the way. And so it is here.
I don’t think that most readers of the books had too much to complain about in terms of the casting. Richard Denning does ham up the comedy a little too much for my tastes, but that’s just me. As for the case itself, the clue to the killer is way too obvious, although the writer does try to gloss it over as it happens. Not enough so for a long-time TV crimesolver such as myself, though.
RAYMOND J. HEALY & J. FRANCIS McCOMAS, Editors – Famous Science-Fiction Stories: Adventures in Time And Space. The Modern Library G-31; hardcover, 1957, xvi + 997 pages. First published as Adventures in Time in Space, Random House, hardcover, 1946. Bantam F3102, paperback, 1966, as Adventures in Time and Space (contains only 8 stories). Ballantine, paperback, 1975, also as Adventures in Time and Space.
LEWIS PADGETT “Time Locker.†Galloway/Gallagher #1. Novelette. This time Galloway (the prototype of Gallagher) invents a locker which leads into another space-time continuum and the usual type of plot-juggling. (4)
Update: First published in Astounding SF, January 1943. First reprinted in this anthology. Also reprinted in The Best Time Travel Stories of the 20th Century, edited by Martin H. Greenberg & Harry Turtledove (Del Rey / Ballantine, trade paperback, 2005). First collected in Robots Have No Tails (Gnome Press, hardcover, 1952). Henry Kuttner’s wife C. L. Moore may have collaborated with him on this story. This is the second story by “Lewis Padgett†in this anthology. (Follow the link above.) I haven’t been reading as much SF lately as I should have, so I don’t know if anyone in the field today is writing anything as funny as a good deal of what Kuttner wrote back in the 1940s.
CLEVE CARTMILL “The Link.†Short story. The first step of man above the ape level on the evolutionary ladder may have happened this way, but it’s not likely. (1)
Update: First published in Astounding SF, August 1942. First reprinted in this anthology, then later in Political Science Fiction: An Introductory Reader, edited by Martin Harry Greenberg & Patricia S. Warrick (Prentice-Hall, trade paperback, 1974). From Wikipedia: “He [Cartmill] is best remembered for what is sometimes referred to as ‘the Cleve Cartmill affair,’ when his 1944 story ‘Deadline’ attracted the attention of the FBI by reason of its detailed description of a nuclear weapon similar to that being developed by the highly classified Manhattan Project.â€
MAURICE A. HUGI “Mechanical Mice.†Short story.†A time machine leads to the construction of a world-destroyer. Too old. (0)
Update: First published in Astounding SF, January 1941. First reprinted in this anthology and (among others) Classic Science Fiction: The First Golden Age, edited Terry Carr (Harper & Row, hardcover, 1978) and The Great Science Fiction Stories Volume 3, 1941, edited by Isaac Asimov, Martin H. Greenberg (DAW Books, paperback, 1980). Hugi perhaps comes closest to being a Little Known Writer as anyone in this anthology, with only a handful of stories to his credit. SF writer Eric Frank Russell is said to have worked extensively with Hugi on this story before it could be accepted for publication.
BILL PRONZINI – A Killing in Xanadu. “Nameless†PI. Waves Press, hardcover [?]; softcover, 1980. Frontispiece by John Exley. 21 pages; limited to 150 copies signed by the author.
The recent publishing silence from Ross Macdonald may indicate that he has laid down the Hammett-Chandler crown of private eyedom. There is no shortage of claimants to the succession. One the one hand there are the Chandler Lookalikes who adopt Chandler’s view of the world and, less happily, his loose approach to plot construction; in short, many detectives walk down pale imitations of Chandler’s Mean Streets. On the other hand are the Violent Voyeurs who confuse sex with social comment and violence with action.
It seems to me, however, that there is one obvious candidate. In powers of characterization, sense of pace, compassion and stylistic excellence, the crown ought to belong to Bill Pronzini and his “Nameless” detective.
Pronzini’s Nameless series may be most noteworthy in its relative lack of violence and explicit sex. Unlike other authors who try to hide a lack of invention by tossing in gratuitous killings and irrelevant beddings, Pronzini lets his plot and characters create the interest. Part of Pronzini’s ability is, of course, that he is inventive His plots move well, and they contain good detection. He gives the reader the same clues that Nameless has, and he revels in twists and turns leading to a final unexpected conclusion. In some ways, the Nameless series connects the private-eye tale with its emphasis on realistic description, and the classical detective tale with its emphasis on plot. (Most other claimants to the crown provide plenty of realistic detail but a rather predictable story,)
Above all Nameless is vividly depicted; in his mid-50s, the moody, self-consciously sloppy, slightly paunchy private detective is a most sympathetic character. Unlike more pretentious authors, however, Pronzini does not have Nameless represent Everyman or summarize the human condition. But in many ways, Nameless’s weaknesses are ours as well, and we identify with him – as obviously Pronzini identifies with him. (We now know that Nameless’s first name is “Bill” and that his last name has a “z” in. the middle.)
It is a sign of Pronzini’s stature that he is one of the few mystery writers to have a privately printed, limited edition to his credit. A Killing in Xanadu is a miniature summation of the strengths of the Nameless series. It begins with a deftly drawn portrait of a posh resort called Xanadu, made up of “a whole series of pleasure domes.” Nameless is there to deliver a subpoena: “No rich client, no smoky-hot liaison with a beautiful woman, no fat fee.”
This is followed by a quick but precise characterization of a black attendant: “His eyes said that I would never make it up that hill over yonder … but then neither would he and the hell with it.” Nameless tracks down the cottage of the alcoholic recipient of the subpoena, but as he heads towards it he hears a single shot. After breaking down the door he sees a woman bending over a body. With the door locked and under observation, and all the windows locked, it seems obvious that he has located both the victim and the murderer.
But based on the clue of a photographic negative (the subject of the negative makes no difference), Nameless discovers a particularly clever plot and quickly resolves the locked-room crime. Indeed, the plot is strong enough for a full-length novel (since Pronzini sometimes bases his novels on earlier short stories, it may eventually become a novel). The Solution to the locked room is as far as I know, new in fiction. Some may object to the fact that Nameless’s reconstruction of the murder takes 5½ pages, but – if it makes any difference – I approve. Pronzini’s narrative skill stops the explanation from dragging.
This limited edition is. of high quality. It is typeset, rather than photo offset, and it is printed on slightly offwhite paper. The version in paper wrappers (which is the only one I’ve seen) comes with a dust jacket printed on much too white paper which will quickly show any signs of reading. Whether the pamphlet will eventually command a premium on the rare-book market, I don’t know, But how much would a limited edition of Hammett or Chandler or Macdonald from early in their careers go for now?
– Reprinted from The Poison Pen, Volume 4, Number 2 (April, 1981). Permission granted by Doug Greene.
After reading Steve’s recent review of “No Rest for Soldiers,” the first story in the October 1936 issue of Black Mask, I pulled out my copy and just finished reading it cover to cover. Not a stinker in this issue. Giving a rating of four stars for the highest, I rate them as follows:
“No Rest For Soldiers†– John K. Butler – 4.
“Jail Bait†– Roger Torrey – 3. Although a complete rip-off of the The Maltese Falcon without the “Falcon†to look for (main tec’s partner is killed and he’s going to find the killer, though they didn’t like each other), this is still a pretty good story. I’m not a great Torrey fan but this story works for me.
“Heat Target†— Russell Bender — 4. Really well written! I don’t think I’ve ever read a story by Bender. I’ll now go see what else I can find that he wrote for Mask.
“Sail†— Lester Dent — 4. I can’t count the times I’ve read this story over the years. I still wish that he had written more than two stories for Mask before Shaw got the boot. As good as it gets!!
“A Ride In The Rain†— W.T.Ballard — 4. One of my favorite Mask writers. If anyone out there has not read Ballard, do yourself a favor and try him. Holds up continuously, time after time!
I really think this is a top issue of Mask from beginning to end. Steve, let us know how you feel after you finish your copy.
Added later: Just checked on Russell Bender. He only wrote two others for Mask, though lots more for other titles: October 1938 and July 1940. I have both and will be checking them out soon.
COLONEL MARCH INVESTIGATES. Criterion Films, UK, 1953. Starring Boris Karloff as Colonel March. Screenplay by Leo Davis, based on three stories written by John Dickson Carr. Director: Cyril Enfield.
The master of the locked room mystery was, inarguably, John Dickson Carr, one of the most popular crime writers of the Golden Age. His masterpiece, The Hollow Man (1935), retains an almost legendary status among crime fiction fans, but he is now sadly forgotten by the wider public. The books have long been out of print in the UK, and I’m always hoping that some publisher will bring them back.
Perhaps they are so obscure because Carr’s most famous sleuths, Dr Gideon Fell and Sir Henry Merrivale, never made it to the screen. One of his lesser characters managed it, however, in the early 1950s, with the television series Colonel March of Scotland Yard.
Carr had used the character only in his 1940 short story collection The Department of Queer Complaints, in which there is a subdivision of Scotland Yard that specialises in crimes of a curious or apparently impossible nature. The series was financed by the Americans and starred international film star Boris Karloff – famous for playing the Chinese-American detective Mr Wong and, of course, even more so, Frankenstein’s Monster.
At this point in his long career, Karloff was a frequent guest on American radio series and even had his own show for children in which he read stories and told riddles. In 1952, he returned to England and made three episodes for ITV which acted as pilots for a longer series. Eventually, twenty six were produced, all of which were a brisk 25 minutes long.
The first three made were stitched together for release to cinemas in 1953. This was not uncommon for a TV show at the time and the practice would continue into the next decade, particularly with The Saint.
Colonel March Investigates is a taut 70 minute anthology of three slight, though entertaining, mysteries with the twinkly-eyed Karloff. He gives the character an eye-patch, which he didn’t have in the stories, but it adds something to the character, as we can imagine he may have lost it in the First World War. This, perhaps, is someone who has witnessed untold horrors and has come to terms with the world by engaging with its more whimsical wonders.
Unsurprisingly, there is a framing device which helps tie the three tales together, in which March stands in his office and inspects a cupboard stocked with souvenirs of his cases before leading the audience into the corresponding story.
The first of these, aired as “Hot Money,” revolves around a bank robbery in which a clerk is incriminated. He follows the criminal to an office, where the money is seemingly stored. However, when the place is searched, the money has apparently disappeared. Despite the clerk being framed in the silliest of ways, the resolution is pretty decent, but nothing too special. Joan Sims appears here in an early role, and March reveals a John Steed-like umbrella sword!
The second story was aired as “Death in the Dressing Room,” which is probably the weakest of the three. Set in a nightclub, it features an exotic dance routine which acts as a clue, while the always reliable Richard Wattis plays the manager. The running time to these is so short that there is virtually no time to set up a number of suspects, so the culprit tends to be the person who has been in it the most.
No matter, as it’s all about how March gets his man, which he does here in a tense confrontation. As usual, March’s sparring partner is the Scottish Inspector Ames (Ewan Roberts), though you wonder why he’s there as March seems to be a famous genius.
The third story, intriguingly titled “The New Invisible Man,” features a peeping tom who has apparently witnessed a pair of animated gloves committing murder, and a scene of a crime with no evidence of a crime. It’s the best one, I think, though there are a couple of problems. We get the opportunity to see the gloves in action ourselves, but it doesn’t look much like the way it’s shown to us in the reveal.
The trick is good, nonetheless, and it certainly had me baffled. The reason behind it all is pretty shaky, however, and involves stolen paintings and, eventually, a kidnapped March. It’s all good fun, though, which is what I’d call the film as a whole. And an interesting peek, as ever, into bygone England. Eight episodes of the series itself are available on DVD. It’s just a pity the complete series isn’t available.
ARTHUR J. BURKS “Death of the Flute.†Dorus Noel #1. Short story. First published in All Detective Magazine, April 1933. Collected in Grottos of Chinatown (Off Trail Publications, softcover, 2009).
This is the first story that prolific pulp writer wrote about super sleuth Doris Noel. In a way it’s too bad that he didn’t write any of Noel’s earlier adventures that took place in China fighting the evil ways of Chu Chul, obviously a Fu Manchu wanna-be also known as The Cricket, because they do sound interesting. What we have here in “Death of the Flute†is a continuation of their mutual struggle against each other, ending, perhaps, in the death of one of the combatants, and it isn’t Dorus Noel.
It may or may not be Chu Chul’s either, because the latter shows up in “The White Wasp,†Noel’s next adventure. I’ve not read that next tale yet, though, so it may only be an imposter that Noel has to face down.
But not wishing to get ahead of ourselves, “Death of the Flute†begins with Noel under the firm belief that he saw Chu Chul die. He’s back in New York City now, and in Chinatown in particular, working for a unidentified benefactor with the charge to wipe out crime and corruption in that section of the big city.
But of course Chu Chul is not dead, and before Noel can get to work on his real mission, he must deal with that particular evil genius and end his dream of world domination once and for all.
This is no easy task, of course, but after some setbacks, including the agonizing death of his faithful servant at the hands of Noel’s archenemy, the latter does indeed prevail, in good pulpy fashion.
The Dorus Noel series —
Death of the Flute (ss) All Detective Magazine Apr 1933
The White Wasp (ss) All Detective Magazine May 1933
Bells of Pell Street (ss) All Detective Magazine Jun 1933
Red Tassels (ss) All Detective Magazine Sep 1933
The Golden Cocoon (ss) All Detective Magazine Oct 1933
Cloisonne (ss) All Detective Magazine Dec 1933
Spheres of Cathay (ss) All Detective Magazine Jan 1934
Design for Murder (ss) All Detective Magazine Mar 1934
Tinkling Bells (ss) All Detective Magazine Jun 1934
Black Snow (ss) All Detective Magazine Sep 1934
The Blood Screen (ss) All Detective Magazine Dec 1934
They are the condução do povo, these Pau de Arara — the transport of the people — and they carry thousands daily in their endless search for the promise of tomorrow that, for the man swaying precariously along in the sweltering heat of the truck body, has to be better than the reality of today.
It was never merely that Robert L. Fish was an accomplished writer of suspense, a gifted purveyor of mystery plots, and had a wry sense of humor that ran through his work. He was always something more: a damn good writer who chose to work in the mystery genre.
Nothing directly ties the case to Interpol and da Silva, but he is intrigued, as Wilson notes,“Speak of having imagination! You could start with a damp bar rag and build up a distillery!†He’s soon proved right though when it becomes clear someone is willing to kill for that deadly little stuffed snake and his beloved red Jaguar is blown up in the garage when the attendant starts it.
“I know, I know! You do not like air conditioning! You also do not like airplanes, fat women in slacks, bad brandy, and morgues.â€
“In case you’re keeping a record,†Da Silva said with a grin, “I also don’t like snakes.†He drank his brandy and lit a cigarette. “Not to mention civilians.â€
They are one of the best Holmes/Watson teams in the genre, only below Nero Wolfe and Archie Goodwin, their wry humor and fast paced action still a model of the perfect way to write a modern thriller.
If you like your mystery novels clever, funny, fast moving, and delightful Fish is the right mix for you, and he goes perfectly with red or white wine.
__
(*) Interpol in these books is an entirely fictitious version of the real private police organization whose troubled past as a Nazi front organization who then helped Nazi War Criminals escape after the War and has since had a checkered history with many of its top officials charged and convicted of various crimes has never had active agents and was mostly useful for issuing information on Persons of Interest (Yellow Sheets) and wanted criminals (Red Sheets) to member organizations. Contrary to television and movies many Federal police agencies have never subscribed to Interpol here because of their history.
DAVID BALDACCI – One Good Deed. Aloysius Archer #1. Grand Central, hardcover, July 2019; paperback, September 2020.
Best-selling author David Baldacci has written over 40 novels in nine different series, including this one, and several standalones. This is the first one of them I’ve tackled, using the verb advisedly, as it clocks in at 450 pages in the paperback edition.
What attracted to me to this one was the setting: 1949 in a small town in the American west, Oklahoma perhaps; not Texas, but somewhere nearby. It opens with its leading character, Aloysius Archer having just been released from prison and heading on a bus to the small town of Poca City, where his parole officer is waiting for him to check in.
To his surprise, the latter is female, a lady by the name of Ernestine Crabtree, and in spite of her sex, and the fact that she is, well, a looker, she knows how to lay down the law to Archer. One of the conditions of his parole is that Archer must have a job, and this he does, hiring himself out as a debt collector for a man who, as it turns out, owns a good chunk of the town and the business that’s done therein. Complicating matters is that the man’s choice of lady friends, other than his wife, is Jackie Tuttle, the daughter of the man whose loan has come due.
Things being what they are, Archer soon finds himself in bed with Jackie and the man he is working for is found dead in the hotel room just down the hall from Archer’s. And as things continue being what they are, Archer finds himself the obvious suspect. And who best to clear his name? Himself, and finding that he kind of likes being a detective. A shamus, if you will.
For about 90 percent of its length, this is a rootin’ tootin’ detective novel, and Balducci’s smooth quiet prose allows for the pages to, to coin a phrase, fly by, well into the small hours of the morning.
What goes wrong, and very very wrong, as far as I was concerned, is that as the conclusion is seen coming in the horizon is that when Archer finds several letters and other documents, he reads them, smiles, shoves them into his pocket. Are we the reader allowed to know what’s in the several letters and other documents? In a word, no. Foul play, I say.
Almost as bad is the trial that to all intents and purposes closes up the case, and any resemblance to a real trial is slim and none. Pure hearsay and other made up allowances for witnesses to say anything they wish. (I grew up reading Erle Stanley Gardner’s Perry Mason stories, and I know how real trials are conducted.)
This, and an ending that in perspective is way far ahead of its time in terms of the culture of the time, and that’s all I’ll say about that. Overall then, a waste of a good story most of the way through, and several hours of reading time.
PAUL ADAM – Sleeper. Gianni Castiglione #1. Time Warner, UK, paperback, 2005. Published in the US as The Rainaldi Quartet (St. Martin’s, hardcover, 2006; Felony & Mayhem, paperback, 2007).
Giovanni “Gianni†Castiglioni is a luthier – a violin maker – at whose home his friends – a policeman, Guastafeste, a priest, Father Arrigh, and a fellow luthier, Rainaldi – gather each month as an informal string quartet. After one of their sessions, Guastafeste and Gianni find Rainaldi murdered in his studio nearby. His widow tells them he was searching for “The Messiah’s Sister,†the twin to a perfect, unplayed, priceless violin made by Stradivari. Gianni is asked by Guastafeste to help in the investigation.
This book is being released in hardcover by St. Martin’s as The Rainaldi Quartet in February 2006. No matter the title, I thoroughly enjoyed this book. The character of Gianni, the supporting characters and the settings in Italy were well done. The killer, and the motive, weren’t ones I anticipated. But it was the history of violins and violin making I found fascinating. The information enhanced, rather than detracted, from the story. If this is an example of Mr. Adam’s writing, I should definitely read another book by him.
Rating: Good Plus
— Reprinted from the primary Mystery*File website, January 2006.
The Gianni Castiglione series —
1. Sleeper (2004) aka The Rainaldi Quartet
2. Paganini’s Ghost (2010)
3. The Hardanger Riddle (2019)The Gianni Castiglione series —
THE TOWN. Warner Bros., 2010. Ben Affleck, Rebecca Hall, Jon Hamm, Jeremy Renner, Blake Lively, Pete Postlethwaite. Adapted from Chuck Hogan’s 2004 novel Prince of Thieves. Director: Ben Affleck. Currently streaming on Amazon Prime.
It begins with a bank heist in Boston. Well-choreographed, with director Ben Affleck in full control of a fluid situation, The Town starts off with unbridled action. It sparks and sizzles with furious electricity, reminiscent of other bank robbery/heist films, most notably Michael Mann’s Heat (1995). And with a few exchanged glances between robber and captive, the plot becomes clear. This is primarily to be a movie about the relationship between a bank robber and the female assistant bank manager whom he forced into opening the vault at gunpoint. That will form the core of the tale yet to unfold.
Ben Affleck, who stars as well directs, portrays “Doug” MacRay, a long-term resident of the Charlestown section of north Boston, with the city almost becoming a fundamental character in the list of players. He, along with his friend Jem Coughlin (Jeremy Renner), were raised in near poverty in the townie Irish neighborhood and now lead a crew of thieves. Reporting to local kingpin Fergie Colm (Pete Postlethwaite), they are skilled professionals who are willing to use threats of violence to achieve their objectives.
All this begins to change when Doug begins to fall for his former hostage Claire Keesey (Rebecca Hall). Although he initially follows her around to see what she knows about the bank robbery he took part in, Doug slowly begins to imagine getting out of his life of crime and creating a new one with her. Complicating matters is Doug’s former flame, oxycontin addict Kris Coughlin (an underutilized Blake Lively), who also happens to be Jem’s sister. Not to mention the two persistent local FBI agents on his trail.
Overall, this is a solid crime drama – with the emphasis on drama. Although there are action sequences, including a suspenseful third act robbery sequence filmed on location near Fenway Park, the film’s primary focus is on the relationships between the characters. While the complicated relationship between Doug and Claire is the central focus of the story, Doug’s decidedly mixed feelings toward his father also plays a prominent role in the narrative.
Unfortunately, what prevents this heist film from being anything overly exceptional is the film’s reliance on too many outworn tropes. The forced sentimentalism designed to make the viewer feel sympathy for Doug occasionally feels cheap.
Without giving anything away, let’s just say that the final ten minutes or so of the movie in particular feels artificial. It’s not that what you see couldn’t have happened; rather, it’s the way that it’s visually presented that could feel grating, especially to crime film aficionados. The ending feels at once tragically inevitable and completely out of left field. Similarly, it’s somehow off-putting to have such an ambiguously tidy ending to an emotionally messy and nuanced film.
Affleck is a skillful director who gets the most out of his exceptionally talented cast, including Victor Garber (Alias), who has a brief cameo as a hostage, and veteran character actor Chris Cooper who portrays his incarcerated father. There are some flourishes that I found distracting, such as his tendency to repeatedly use drone footage of Boston to remind the viewer where the film was set (as if anyone would forget?) and his decision to employ grimy black and white cinematography for flashbacks.
But don’t let that stop you from watching this one. Affleck’s immersion in his character, Boston accent and all, is near complete. Directing oneself is not always the humblest of tasks. He pulls it off with sincerity.
