BOMBAY MAIL. Universal Pictures, 1934. Edmund Lowe (Inspector Dyke), Ralph Forbes, Shirley Grey, Hedda Hopper, Onslow Stevens. Based on the novel by Lawrence G. Blochman. Director: Edwin L. Marin.

   In the novel, the leading detective is Inspector Leonidas Prike, who made repeat appearances in two later Blochman novels, Bengal Fire (1937) and Red Snow at Darjeeling (1938). All three books, rather obviously, take place in India.

   But Bombay Mail also has the advantage, as far as I’m concerned, of taking place on a train, which in case of the motion picture is a huge plus, with the clickety-clack of the wheels on the track being heard at least 98% of the time. (I say this even though it was filmed, I’m sure, on a stage set).

   What Inspector Dyke must learn, as the trains cuts across the Indian sub-continent from Calcutta to Bombay, is first who poisoned the British governor of Bengal (lots of suspects on the train, with lots of reasons – one per suspect, at least), then who shoots the Maharajah of Zungore before he can tell Dyke what he knows and who he saw doing what.

   There is, as there has to be, one femme fatale among the suspects, and in Bombay Mail she is played by Shirley Grey, known in some circles as Russian opera singer Sonia Smeganoff, and by others as plain Beatrice Jones (on her passport).

   Questions: Who supplied her with the ticket she needed to be on the train before she was deported? Who had access to the cyanide used? (Quite a few, as the Inspector Dyke soon learns.) Who is the mysterious Mr. Xavier, and who is the dangerous-looking man he hires to keep an eye on John Hawley? Why does the scientist Dr. Lenoir carry a deadly king cobra snake around in his handbag? And what are those valuable rubies doing in Hawley’s tobacco pouch?

   This is definitely my kind of movie, and maybe yours as well, but overall I was disappointed. There is too much plot for too little playing time (70 minutes or so), and it takes a long time for the viewer (me) to sort out who all the players are and what the connections are between them. Perhaps I was slow on the uptake, but I believe another 20 or 30 minutes of movie time would have been useful.

   I’m still going to recommend this movie to you. One should never complain too loudly about too much plot in a detective movie, especially one that takes place on a train. When I watch this one again, and I will, I’m going to enjoy it immensely.

   The following are just some of this summer’s new shows for the TV mystery fan:

ABC:   Rookie Blue returns June 23rd for its second summer as the story of five rookie cops continues.

CBS:   Flashpoint, the story of a special unit of cops, will continue to air new episodes into August. Spy drama Chaos has ten episodes left that are being run on Saturday where it can cause the least suffering.

NBC:   Rebooted Law & Order L.A. has enough original episodes to last through June. For those without cable or the willingness to watch the USA network, NBC is showing the possible final season of Law & Order: Criminal Intent as reruns.

   Summer means the cable stations are seeking attention with new programs:

TNT:   Franklin & Bash is a new light-hearted legal drama. Memphis Beat returns (June 14) as cops solve crimes with music in their souls and a great soundtrack. June 26th marks the start of the fourth season of Leverage, where the con is a source of good. Two favorites return on July 11th. In this season of The Closer, Brenda and her fellow cops face many new and old challenges. Rizzoli & Isles offer more stories of the team of gorgeous cop and her friend, the M.E., based on Tess Gerritsen’s books.

USA:   Goren and Eames are back, as it should be, solving crimes on Law & Order C.I. Stories of U.S. Marshals working for the Federal Witness Protection program make In Plain Sight fun to watch, if only her family would disappear into the federal program. White Collar returns (June 7) to continue the story of a FBI agent and his thief. It will be followed by CIA’s prettiest spies in the light thriller Covert Affairs. Burn Notice is back (June 23) with further adventures of burned spy Michael, Fiona, Sam, Mom, and a growing cast of thousands. New series Suits begins (June 23) when a top corporate attorney hires a legal genius and college dropout to be his associate.

A&E:   The Glades (June 5) is set in a sleepy town near the Florida Everglades where crime continues to interrupt Detective Longworth’s golf game.

ABC Family:   June 14th Pretty Little Liars returns and the people of Rosewood wonder what the girls know about missing Ian. New series Nine Lives of Chloe King features a teenage girl who discovers she is part of an ancient race being hunted by assassins. Should make her Sweet 16 party exciting. On August 15th, Lying Game debuts. Two long separated twins reunite and exchange places, but then one disappears. Based on a Sara Sherard book.

BBC America:   August 17th begins The Hour, a six part spy thriller set in mid-1950s BBC’s newsroom.

Cartoon Network: There is always Scooby Doo. But starting July 21st Adult Swim adds live action 15 minute spoof on TV detectives called NTSF: SD: SUV.

Direct-TV:   Too many “fun” lawyers on TV this summer? Damages with Glenn Close returns with ten new uncut episodes starting July 13th.

Lifetime:   Starting June 12th, The Protector begins. A police procedural features a Mom who is a cop and has to balance both sides of her life.

Syfy:   Haven returns June 15th as FBI agent Parker finds out more about her lost past and her connection to the city of Haven. New in July will be Alphas, a group of people with strange powers who fight crime, and Legend Quest, archaeologist has adventures inspired by Indiana Jones and the Da Vinci Code.

   For those who like some reality with their mystery…

A&E:   First 48 — Missing Persons.

ID:   Behind Mansion Walls (June 6), The Devil You Know (June 15), I Married a Mobster (July 13), True Grime: Crime Scene Cleanup (July 19), and Big Law — Deputy Butterbean (August 9).

National Geographic:   Locked Up — Abroad (June 8th).

   TV Movies are trying to come back:

Lifetime:   Last Man Standing (June 6) Ex-special op now Mom has to rescue hubby. Carnal Innocence (June 13) is based on a Nora Roberts novel. Gone (June 27) Nurse must choose between kidnapped daughter and life of a patient.

MTV:   The Truth Below (June 16) is a thriller that takes place during a spring break mountain vacation.

      SOURCE:

TheFutonCritic.com where networks press releases are posted.

JIM THOMPSON – Savage Night. Lion #155, paperback original, 1953. Reprinted several times, including Black Lizard Books, softcover, 1985, 1991.

   Although Savage Night has never attained the cult status of Jim Thompson’s The Killer Inside Me, it is an equally unnerving book, one that still has the power to shock despite the more than thirty years that have elapsed since its original publication.

   Carl (“Little”) Bigger (a.k.a. Carl Bigelow), a tubercular professional killer who is all of five feet tall, is sent to murder a key witness in an upcoming trial.

   His plan is to do so by enlisting the help of his victim’s wife, but he hasn’t counted on the complications that arise, including the distrust of the local sheriff and his own feelings for Ruth, the deformed girl who works for his victim.

   Like Lou Ford in The Killer Inside Me, Bigger is oddly sympathetic. He is a cold-blooded killer, but he is at the same time a human being. He coldly seduces the wife, but his affair with Ruth is quite different. He has decent impulses, and even acts on them. The book has a number of unexpected twists in the plot, but what really interests the reader are Bigger and his inner conflicts.

   The climax comes in a crescendo of violence and madness unsurpassed in the work of any other writer of paperback fiction, and perhaps even in Thompson’s other work.

   The chapters become shorter as the madness and violence grow, with the last six chapters occupying only three pages of text. The final chapter is one sentence long, but it is as devastating as any conclusion you are ever likely to read.

   Thompson wrote several other powerfully unique novels that should not be missed, including A Hell of a Woman (1954), Wild Town (1957; in which Lou Ford has a cameo appearance), The Getaway (1959), Pop. 1280 (1964), and Texas by the Tail (1965).

         ———
   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.

JIM THOMPSON – Pop. 1280. Gold Medal k1438, paperback original, 1964. Reprinted several times since, including Black Lizard, softcover, 1984, 1990. Filmed as Coup de Torchon (France, 1981).

   The psychopaths of Jim Thompson’s novels — and his best novels invariably feature psychopathic protagonists — have much in common, but each is distinct. The closest Thompson comes to repeating himself is in Pop. 1280, where protagonist Nick Corey bears a great resemblance to Lou Ford of the better-known Killer Inside Me.

   Like Ford, Corey is a law officer (a sheriff), and like Ford, he feigns folksy stupidity while committing cunning, vile, and often pointless murders — using his position as sheriff to cover them up.

   The setting is a small southern river town before the turn of the century, and the flavor is at once reminiscent of Erskine Caldwell and Mark Twain; the latter influence is such that Corey at times seems a psychopathic Huck Finn.

   Thompson is at his best here — on familiar ground, he seems almost to be having fun, not trying as hard to be an artist as he did in the sometimes uneven telling of Lou Ford’s story. Pop. 1280, a reworking of his most famous book, may well be his best. This is partially because Pop. 1280 is a black comedy; The Killer Inside Me is far too bleak for Lou Ford’s absurd behavior to approach the black humor that pervades the later novel.

   Corey seems so picked on and put upon (by his shrewish wife Myra, among others) that the reader begins to root for this combination Li’l Abner/William Heirens. Also, Corey’s shrewdness — and sickness — dawns so gradually that the reader initially underestimates Corey — just as other characters in the novel have done.

   By the end, Corey has come to the conclusion that he is Jesus Christ, but concludes also that being Christ doesn’t seem to be of any particular advantage.

   Behind Thompson’s black humor is the notion that the human condition is so unpleasant as to drive each of us mad, at least a little. And perhaps, after identifying with or at least allowing ourselves to be confined within the point of view of a madman, we will understand the madness of, say, a Richard Speck — and the madness in ourselves — a little better.

   An award-winning French film, Coup de Torchon (1981), directed by Bertran Tavernier, transplants Thompson’s tale to Equatorial Africa, 1936, but captures the spirit of the work to perfection.

   Tavernier’s film has helped draw attention to Thompson and Pop. 1280, and Black Lizard Books brought this minor masterpiece back into print in 1984, as one of a trio of Thompsons published in self-consciously old-fashioned “paperback” format, with covers evoking old pinball-machine art.

         ———
   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.

JIM THOMPSON – Savage Night. Lion #155, paperback original, 1953. Reprinted several times, including Black Lizard Books, softcover, 1985, 1991.

   When a good friend described Jim Thompson as “over-rated” to me not too long ago, it occurred to me that I hadn’t actually read anything by Thompson in a quarter century. So I picked up his most nightmarish novel, Savage Night to have another look at it.

   Damn, it’s good.

   Night is the chilling story of a freakishly petite and young-looking hitman pressured into that preordained failure, the One Last Job. Charlie “Little” Bigger lands in a small town for a tough job that turns into a paranoid hell, then into a surreal spin where neither he nor the reader quite knows what’s going on we just realize something pretty awful is happening here, and when I applied the adjective nightmarish, it was with a full appreciation that Savage Night could stand right up there with the scariest of traditional “horror stories.”

   It also benefits from the kind of writing we look for most in two-bit novels: efficient prose that goes beyond prosaic efficiency to achieve a quality completely unlooked-for in pulp fiction:

   Bigger sees a puritanical old woman and “I couldn’t figure why some dairy hadn’t hired her to sour their cream for them. ” A self important character gets a compliment and “swelled up like a poisoned pup.” And then there’s the short sequence where Thompson’s narrator enters a house:

   Now that passage should be taught in every Creative Writing course in the Free World: a quickly-carried couple of sentences that (a) move the story along, (b) describe the setting, (c) tell us something about the guy who lives there, and (d) tell us something about the narrator at the same time.

   Amazing. This is the sort of writing that gave Thompson his belated reputation, and it serves very well for a tough, fast story that still scares me.

THE EAGLE AND THE HAWK. Paramount, 1933. Fredric March, Cary Grant, Jack Oakie, Carole Lombard, Guy Standing, Forrester Harvey, Kenneth Howell, Leyland Hodgson, Virginia Hammond, Yorke Sherwood, Adrienne D’Ambricourt, Lane Chandler, Dennis O’Keefe. Screenplay by Bogart Rogers and Seton I. Miller, from the story “Death in the Morning” by John Monk Saunders. Photography by Harry Fischbeck, with photographic effects by Farciot Edouart, assisted by Loyal Griggs. Director: Stuart Walker (also Mitchell Leisen, credited as associate director). Shown at Cinecon 44, Hollywood CA, Aug-Sept 2008.

   No film at the convention made a more powerful impression on me than this WWI drama of pilots manning two-man planes making reconnaissance flights over enemy territory in France, with a tailgunner photographing target installations.

   The flights are euphemistically called “observation flights,” but the incidence of downed planes or planes returning with the tailgunner killed by enemy fire is high. Jerry Young (Fredric March), an American whose unit has been transferred to France to serve with a British company, keeps returning successfully but is increasingly depressed by the significant numbers of tailgunner losses.

   The unit is joined by Henry Crocker (Cary Grant), a pilot from Young’s American unit who had been left behind at Young’s recommendation. The antagonism between the two charges the close quarters with a palpable electricity, but it is Crocker who is most aware of Young’s instability, leading to a stunning conclusion.

   This is a powerful portrait of the human costs of war, with brilliant performances by March and Grant. Grant, who, with no trace of his man-about-town persona, has the kind of role he wanted to play when he tired of his type-casting. I think he gives one of the great performances of his career in the film.

    I’ve had less time than usual to spend here at the computer the past couple of weeks, so it’s taken me longer than normal to get Part 41 of the online Addenda to the Revised Crime Fiction IV posted. Al Hubin sent it to me late last week, and it’s ready for viewing at last — corrected, amended and updated as of yesterday evening. (Follow the links.)

   As it happens now every three months or so, like clockwork, there are the usual additions: newly discovered series characters and settings for the novels, a few new authors and novels, dates of birth and death added or corrected. Loads and loads of facts and additional information about our favorite hobby: reading and collecting detective and mystery fiction, with a small portion of it, I’m happy to say, generated by the reviews and other discussions that take place on this blog.

VIOLA BROTHERS SHORE – The Beauty-Mask Murder. Richard R. Smith, US, hardcover, 1930, 384 pages. UK: John Hamilton, hc, 1932, as The Beauty-Mask Mystery.

   Luckily for the innocent suspects in this case, Gwynn Leith is in Hanaford visiting her brother, His Honor the Mayor. If it had been left to the mayor and the police, a whole series of suspicious characters would have been arrested for the multiple murder — by an overdose of morphine; poison, and throat slitting — of an extremely unpleasant woman who was also most unattractive at the time of her death.

   A widow of uncertain age, Leith is a most intelligent woman with a low opinion of the male mentality. She is, as it were, an early feminist. Her involvement in the case keeps the innocent from being prosecuted by official stupidity. As she says:

   Where Hanaford is located, I don’t know. A little research should find it, for it’s in a state in which the Grand Jury determines guilt or innocence. There can’t be many of those.

Bio-Bibliographic Notes:   Included in the Revised Crime Fiction IV, by Allen J. Hubin, is one other book by Viola Brothers Shore: Murder on the Glass Floor (Long & Smith, 1932). The most interesting Gwynn Leith is a character in it also, but so is someone called Colin Keats, a fellow whose appearance in The Beauty-Mask Murder Bill Deeck did not happen to mention.

   An online website devoted to Jewish authors has a page with a long biography of the author, Viola Brothers Shore (1890-1970), from which I excerpt the following:

A LADY WITHOUT PASSPORT. MGM, 1950. Hedy Lamarr, John Hodiak, James Craig, George Macready, Steven Geray, Bruce Cowling, Nedrick Young, Steven Hill, Richard Crane. Director: Joseph H. Lewis.

   This is one of those black and white semi-documentary movies about one of the various US law enforcement services that were common in the late 1940s and early 50s, in this case the Immigration Service.

   While the story value is rather low, if you were to ask me, that the director was Joseph H. Lewis means that there’s lots of entertainment value to be found in the staging, the lighting, the settings, the camera angles – everything that a director can do to make a dull thud of a movie interesting, Joseph Lewis (no relation) does.

   John Hodiak is sent to Havana to get the goods on a sophisticated operation of smuggling illegal immigrants into the US through that port of entry, and in particular mastermind George Macready, who plays his part to the hilt. No one can act in as slick, sinister and evil a fashion as he!

   The would-be immigrants are mostly refugees from war-torn Europe or criminals of various persuasions, and among them is Hedy Lamarr, as radiantly beautiful as she always was as a former prisoner of Nazi concentration camp.

   John Hodiak falls in love with her, of course, as who wouldn’t, and is even willing to give up his job for her, in light of the obviously untenable situation they find themselves in.

   The problem is, from the viewer’s point of view, is that Miss Lamarr is far too beautiful, with far too many fashionable clothes, to ever be accepted as a refugee from the Nazis with no legal place to escape to. Accept her at face value, for the sake of the story, or not at all. While I don’t know about you, I went with the first choice, but full honesty in reviewing, according to my Guild notes, requires me to point this particular dilemma out to you.

   Havana makes a nice place to film a movie – many shots are on location – but speaking of unusual camera angles, as I was earlier, two scenes are most worthy of note:

   First, an confrontation on a busy Manhattan street at the beginning of the film, one that ends in the death of one of the participants, is filmed from inside an automobile, looking outward through the windows as the camera tracks the action; a second one, looking straight down from above as the passengers like ants make their way out of a downed plane in the Everglades and form themselves into groups, is a scene I’ve never seen from this particular perspective before.

MIDSOMER MURDERS. BBC-TV; two from Season 11. John Nettles (DCI Tom Barnaby, Jason Hughes (DS Ben Jones), Jane Wymark (Joyce Barnaby), Barry Jackson (Dr Bullard). Based on the characters created by Caroline Graham.

   In “Left for Dead” (24 May 2008), Detective Chief Inspector Barnaby investigates the death of a couple in an isolated house.

   They had totally cut themselves off from the surrounding community — no one had been invited into the house in years, and there was no electricity or running water. The woman appears to have died of natural causes, but the man seems to have been pushed down the stairs.

   Barnaby’s investigation becomes intertwined with a protest movement against highway construction, and the disappearance of a child 19 years before. This is the best one of these I have seen in awhile — harking back to the earlier movies in this series (these are too complex and well produced to be called episodes). It also reminded me a little of Jack Vance’s Bad Ronald.

   In the earlier “Shot at Dawn” (1 January 2008), a feud between two families going back to WWI results in the murder of the elder statesman of one of the families. But when Barnaby investigates he finds that the feud may not have been the cause of the murder — instead it may be the result of a disputed piece of land that can be developed into homes for a fortune.

   One of the better of the more recent ones, but the murderer is obvious. Still there are a lot of twists and turns getting to the end. If you don’t mind that the characters are more than a bit eccentric, I suspect you will like both of these.

Rating: B minus (both).