#17. OLD CALAMITY, by Joseph Fulling Fishman.

   Joseph Fulling Fishman created the prison series (ran 1928-1939) for Detective Fiction Weekly about the jailer Old Calamity, making use of his knowledge of crime and prisons. In fact, Fishman wrote more nonfiction articles on these subjects from 1925-1942 for Detective Fiction Weekly than stories in the fiction series.

   He also wrote articles for other magazines such as Reader’s Digest and The Saturday Evening Post, and books about crime and prisons. Fishman was a 1931 choice for a Guggenheim Fellowship. He was awarded a grant for being chosen. According to Wikipedia, the Fellowships “have been awarded annually since 1925 by the John Simon Guggenheim Memorial Foundation to those ‘who have demonstrated exceptional capacity for productive scholarship or exceptional creative ability in the arts.’ ”

   The name Old Calamity is what the three thousand inmates of the state prison at Cosmopolis call him. The guards and other personnel call him Ole Dep Fletch out of his hearing. His real name is Deputy Warden Fletcher, and even though there is a warden who is a political appointee, Fletcher is really the one running the prison.

   The wardens of the prison were all political appointees, but Fletcher was a professional jailer. The wardens were appointed by the state governor, but the governor on one occasion said: “You know, Fletcher. You’re really the one I should appoint warden, but of course there’s politics . . .” (Old Calamity’s Stick-up)

   â€œThirty years of combating the plots and counterplots and the intrigues and chicanery of thousands of inmates of every degree of criminality and cunning and viciousness . . . had sharpened the perceptions of the Deputy Warden.” (Old Calamity Starts a Fight)

   This long experience gave Old Calamity an advantage when dealing with the many problems that he came across in his job. He knew just about every trick the convicts tried, and how to deal with them. He enjoys his work, and at one point turns down a job offer from a rich businessman with the comment “I’m afraid not, thank you,” Old Calamity replied. “I’m doing the kind of work I like and that’s worth more than money.” (Old Calamity Sniffs a Clue)

   He usually went to work in the prison at seven in the morning, and had a regular routine except when emergencies or problems interrupted. His usual morning routine was “supervising the count, reading his mail, making assignments of new prisoners, and so on, . . .” (By a Nose)

   He doesn’t let the routine of everyday work get himself in a rut where he overlooks things; he notices the smallest detail of what may turn out to be very important to him and the prison. Probably why he has lasted so long in his job.

   The stories are basically all about Old Calamity, with very few appearances by a regular cast of characters. One regular is Croaker Engle, the “brusque old prison doctor.” His appearances in the stories are usually very short. Before him, a Doctor Cosgrove made a single appearance in the story “Fine Feathers.”

   The prison warden is mentioned in the stories, but plays very little part in the stories. An exception to this are the stories “Old Calamity Starts a Fight,” and “Between the Lines,” where part of the story takes place around the warden. The warden of the prison is replaced at one point in the series. The warden and Old Calamity both have homes right next to the prison grounds.

   The stories usually involve murder in the prison by inmates murdering other inmates, for various motives. Prison breaks and conspiracies aimed at escaping prison are also elements in the stories. Fletcher has to break up the escapes, which sometimes are very cleverly planned.

   In the story “Old Calamity Scores Twice,” he not only has to foil a planned escape, but solve a clever locked cell murder made to look like suicide. In “Between the Lines,” he literally has to read between the lines of a prisoner’s book reading material to discover a plot to escape using explosives.

   The earliest story in the series, “By a Nose,” involves uncovering a murder by bomb and finding the culprit. His investigations of various kinds involve him acting more as a detail-oriented detective than as a deputy warden.

   Another concern of prison authorities is the use of illegal drugs by the inmates. The story “Fine Feathers” relates the attempt of Old Calamity to stop the flow of drugs into the prison, and in a later story, “Old Calamity Starts a Fight,” the problem of drug usage is also the main theme. This is certainly based on situations in real prisons at the time. Morphine is the drug mentioned in these stories.

   â€œFine Feathers” relates some of the problems that drug usage by inmates causes – aggressiveness and fighting by prisoners, and other irrational behavior. One prisoner high on drugs even set his cell on fire.

   One story showed Old Calamity on vacation, enjoying relaxing fishing. However, the local law enforcement find out he is there and enlist his aid in solving a series of inexplicable burglaries. (Old Calamity Sniffs a Clue)

   This use of Old Calamity’s talents outside his own prison was not the only time this occurred. It appears that he was available for aid at other prisons having problems. In the story “The Suicides in Cell 32,” he travels to Milford State Prison to help investigate a series of murders made to look like suicides.

   Warden Olmstead of the prison knew of his reputation and had requested his help. In less than twelve hours Old Calamity has solved the mystery and was on his way back to his own prison. He noted: “I guess that some of the birds up at my place will be sorry it didn’t take me several weeks. I’m afraid they won’t be any too glad to see me back in the morning.”

   In “Old Calamity Lays the Ghost,” he travels to another prison in Springdale in response to another request for help. Warden Armitage of the prison has a mystery for him to solve: twice men in their cells have been stabbed and nearly killed. In both instances knives were found in the cells, but no evidence was found as to how the men could have been stabbed inside of locked cells.

   Old Calamity finds an ingenious method has been employed in the stabbings. It took him a few days to resolve this one, but he had developed the patience to wait for the right time. “He had often waited weeks and sometimes months for the development of a prison plot. He knew it was something that could not be hurried, . . .”

   The series is very good in its story telling and relation of the various mysteries Old Calamity is involved in. Altogether, Fishman’s descriptions of prison life and the psychological aspects of the stories seem to be very convincing, and made the stories more than mere sensationalistic prison stories such as other pulp writers wrote.

       The “Old Calamity” series by Joseph Fulling Fishman:

By a Nose October 27, 1928
Fine Feathers February 2, 1929
The Yawn March 2, 1929
Old Calamity Stages an Act April 6, 1929
Old Calamity Lays the Ghost April 9, 1932
Old Calamity Holds the Wire July 23, 1932
Old Calamity Starts a Fight September 17, 1932
Old Calamity Scores Twice February 11, 1933
The Suicides in Cell Thirty-Two June 17, 1933
Between the Lines September 9, 1933
Old Calamity Sniffs a Clue April 7, 1934
Old Calamity Cleans Up May 19, 1934
Old Calamity’s Stick-up June 23, 1934
Old Calamity Stops a Leak June 5, 1937
Honor of Thieves March 18, 1939

    Previously in this series:

1. SHAMUS MAGUIRE, by Stanley Day.
2. HAPPY McGONIGLE, by Paul Allenby.
3. ARTY BEELE, by Ruth & Alexander Wilson.
4. COLIN HAIG, by H. Bedford-Jones.
5. SECRET AGENT GEORGE DEVRITE, by Tom Curry.
6. BATTLE McKIM, by Edward Parrish Ware.
7. TUG NORTON by Edward Parrish Ware.
8. CANDID JONES by Richard Sale.
9. THE PATENT LEATHER KID, by Erle Stanley Gardner.
10. OSCAR VAN DUYVEN & PIERRE LEMASSE, by Robert Brennan.
11. INSPECTOR FRAYNE, by Harold de Polo.
12. INDIAN JOHN SEATTLE, by Charles Alexander.
13. HUGO OAKES, LAWYER-DETECTIVE, by J. Lane Linklater.
14. HANIGAN & IRVING, by Roger Torrey.
15. SENOR ARNAZ DE LOBO, by Erle Stanley Gardner.
16. DETECTIVE X. CROOK, by J. Jefferson Farjeon.

EUNICE MAYS BOYD – Murder Wears Mukluks. Farrar & Rinehart, hardcover, 1945. Dell #259, paperback, mapback edition, no date [1948].

   Last summer, when I purged my collection preparing to remodel my room, I thought long and hard about one book, the Dell mapback edition of Murder Wears Mukluks, by Eunice Mays Boyd, author of Murder Breaks Trail, Doom in the Midnight Sun, etc. Should I pitch it or keep it?

   It didn’t seem likely I’d ever read this thing, but in some way my library seemed richer, warmer, more diverse and enjoyable just because there was a book there somewhere called Murder Wears Mukluks. Does anyone know what I mean?

   Anyway, I compromised by putting Mukluks on my to-be-read shelf and a few weeks ago I actually started on it, only to give up fifty-some pages inwards. There was plenty going on: jealousy, murder, bitter feuds and even a ghostly apparition, but the characters never seemed to be anything more than figures in a puzzle, their whole existence in these pages defined by their relationship to the murder.

   As such, it got rather hard to take much interest in them, and I gave it up as a bad job with two hundred unread pages to go.

   Which leaves me once again with the same problem I had last summer: keep it or pitch it? I’d sold off much much better books than this, but there’s just something about going through my shelves and discovering Murder Wears Mukluks that appeals mightily to my heart.

   Any thoughts?

Editorial Comment:   My own review of this book was posted on this blog a couple of years ago. Check it out here.

ROSS MACDONALD – The Instant Enemy. Alfred A. Knopf, hardcover, 1968. Reprinted many times.

   In many ways The Instant Enemy is typical of Macdonald’s entire output, in that the emphasis is on story and plot, and the personality of the detective, one Lew Archer, hardly ever enters into it.

   Archer, in other words, is an observer, and we never get much of an insight into what makes him tick. One exception I noted was on page 112 (in the Warner paperback edition I read), where the possibility of getting paid $100,000 jars Archer into the unexpected realization that maybe he might even retire.

   That’s probably a million dollars in today’s money, and he feels pretty good about the idea. The moments lasts for only a page, though, and then it’s back to the case on hand. It starts out simply enough — he’s hired to bring back a runaway daughter who’s gone off with a psycho boy friend with a sawed-off shotgun.

   Things are never that simple in a Ross Macdonald book, however, and soon all sorts of entanglements with the past begin to emerge, like pulling a root out of a sewer pipe and finding you’re dragging the whole tree out with it. If trees had Oedipus fixations, I think the analogy would be complete. (See page 146.)

   Although Instant Enemy is much like all of Macdonald’s other books, and the ending is absolutely terrific, I don’t think this is one of his better ones. (Those of you you’ve read them all recently, please feel free to contradict me on this.) I think it may be the pacing. It’s relentless; it doesn’t give up for a minute; and if you’re so minded, it could become downright monotonous.

   Archer is on the go from the beginning of the book to the end. When he’s tired for a moment, he pulls over to a motel and sleeps for a couple of hours, and then he’s on the road again. I think a good many readers are going to feel the need to pull over themselves, right about the three-quarters mark.

   If I’m right about this, and maybe I’m not, second-rate Macdonald is still number-one goods, but in this particular case, the really prime stiff is all at the end. People who prefer the light frothy sort of mystery simply aren’t going to get there.

NORTH WEST FRONTIER. The Rank Organisation, UK, 1959. US title: Flame Over India. Kenneth More, Lauren Bacall, Herbert Lom, Wilfrid Hyde-White, I. S. Johar, Ian Hunter. Directed by J. Lee Thompson.

   Set your movie on a train and you already have my attention. Make one of the classic action films of all time with a first rate cast and superb tension from an expert at directing action and suspense (Cape Fear, The Guns of Navarone) *, and you have a first rate film shot in gorgeous color and on location.

   Kenneth More is a British officer in command of a small troop of Sikhs in an isolated kingdom on India’s rugged outlaw ridden northwest frontier. A rebellion has broken out against the local Maharajah, and the British consul (Ian Hunter) wants More to get a group of Europeans trapped in the palace out safely — and along with them, the Maharajah’s young son and his American tutor (Lauren Bacall).

   Among the European’s are a Dutch journalist with Indian blood (Lom), a garrulous older man (Hyde-White), a gun runner, and a redoubtable older Englishwoman. Their only means of escape an aging train engine, her Indian driver (I. S. Johar), one coal car, a flat car, and a passenger car.

   Film goers used to today’s frenetically paced films will find the fact this one bothers to stop to develop character, build an intriguing relationship between professional soldier More and doubting American Bacall, and establish the other characters as well, a bit slow, but even they will be impressed by the action sequences beginning with the breakout from the surrounded palace in the train and including running gun fights, a perilously damaged bridge across a precipitous gorge, and a final full out assault by hordes of tribesmen on horseback while a traitor in their midst pins the passengers and soldiers down with a .50 caliber machine gun he has taken over.

   More and Bacall have real spark together, Lom provides both menace and depth, and Hyde White is his usual charming self, but the real surprise of the film is Johar, who takes what could be a stereotyped local and gives him both real courage, strength, determination, and character. Both he, and through him the aging train engine he loves, become compelling characters in the film.

   He takes what could be an embarrassing and potentially racist stereotype and gives him dignity and humanity.

   The film isn’t an old fashioned paean to the Raj though, in the Gunga Din or Lives of the Bengal Lancers tradition. It asks questions, and while it is unstinting in its admiration for More’s professional soldier, it, and Bacall’s character, bring up the question of what right he or the British Empire has there. And More is no superman, but a tough wry professional, limited perhaps in his devotion to his duty, but also human, canny, good humored, and courageous.

   This is a stunningly photographed film with an intelligent script and a real sense of the time and the place.

   One scene in particular in a crowded engine room while a rickety and dangerously open donkey engine runs the pumps to water the train’s engine while Lom is left alone with the prince is splendidly shot and guaranteed to get you on the edge of your seat.

   Within the confines of an action packed thriller it takes on questions of race, fanaticism, duty, freedom, and individual courage without ever faltering in the line of suspense and action or brushing the questions it asks off with simple answers.

   In relation to what has been happening in the Middle East in recent years it may be as pertinent as ever.

   Granted, despite the best efforts of all concerned there isn’t a lot of doubt who the villain proves to be, but that said, he is given both dignity and depth. You may be pulling for him to fail and cheering for the heroes to escape, but you can’t ignore his points or his own plight. All the major characters are presented as real humans rising or failing to rise in a crisis, not as mere plot points.

   And the film manages to end on a nice note of irony — a recognition that an era was coming to an end and a new world being born. It’s the perfect coda to a first class adventure film and a fine study of people caught in desperate circumstances and showing grace under pressure.

    * Sadly Thompson did not live up to his early films and ended up hacking out some tired and unimpressive Charles Bronson films late in his career.

A. FIELDING – The Cautley Conundrum. Collins Crime Club, UK, hardcover, January 1934. Published in the US as The Cautley Mystery: Kinsey, hardcover, 1934.

   A later appearance of Chief Inspector Pointer, and in comparison to the breakneck pace of the previous book [The Net Around Joan Ingilby], just reviewed, this one, some readers may feel, is downright soporific. Well, not I, even though most of the 250 plus pages take place within walking distance of Bunch Cottage, where Jack Cautley, one of the four Cautley cousins makes his home, even though it is Major Howard Cautley to whom it actually belongs.

   And among the four, it is the Major who has the money, and it is he who on page 40 is found dead, lying across a stile after having gone shooting, his gun lying beside his body. It is at first assumed to have been a dreadful accident, but at the same time, a valuable necklace, a family heirloom, is discovered to have gone missing. The local police in the guise of Superintendent Wanklyn, at the Woodhaven police station, do not believe strongly in coincidence (nor does the faithful reader) and eventually Pointer is called in from Scotland Yard.

   Accordingly, in mind-expanding fashion, there follows a story full of questions, evasive answers, long-shot inquiries, other deaths, puzzling tales, and a plethora of clever observations. The characters are extremely well-defined as well – there is no mistaking one for another, even though there many, many of them, and all of them have their own desires and motivations. It’s not a book for most modern readers, though. It’s too stationary. It moves, and yet on the surface, it doesn’t. There’s no flair there, you might say.

   Or you might not. I enjoyed it, but largely as an intellectual endeavor only. I truthfully have to admit that I enjoyed the earlier adventure more, as rough and unruly as it was. If I’d read this one first, I confess, I probably wouldn’t have read the one I did read first.

 MICHAEL O’HALLORAN. Republic Pictures, 1937. Wynne Gibson, Warren Hull, Jackie Moran, Charlene Wyatt, Sidney Blackmer, Hope Manning, G. P. Huntley Jr. Based on a novel by Gene Stratton Porter. Director: Karl Brown. Shown at Cinefest 26, Syracuse NY, March 2006.

   One of the great film reference books is Jack Mathis’s Valley of the Cliffhangers, a fascinating detailed history of the Republic serials, and during his research for additional volumes on the studio,he was allowed to have prints made from studio negatives of some rare titles. Three of these ware shown during the weekend.

   Unfortunately, this film, in which Wynne Gibson, an irresponsible party girl, attempts to present herself as a fit parent in a custody struggle with Sidney Blackmer, her dull respectable husband, continues the Cinefest tradition of scheduling a dog to initiate the screenings.

   The plot is mainly an excuse to showcase what my fellow attendee Jim Goodrich referred to as the “unquestionable” talents of a popular young child actor, Jackie Moran, whose invalid sister becomes the do-good project that Gibson takes on to improve her image.

   About twenty minutes of the film don’t survive (except for the soundtrack) and that was something of a blessing. It didn’t, however, deprive us of an especially saccharine (and inept) imitation of Shirley Temple by a child actress who does a walk-on.

SHADOW OF THE LAW. Paramount Pictures, 1930. William Powell, Marion Shilling, Natalie Moorhead, Regis Toomey, Paul Hurst, George Irving, Frederick Burt. Screenwriter John Farrow, based on the novel The Quarry by John A. Moroso (Little, Brown, 1913). Director: Louis Gasnier.

   Back in 1922 a man named Robert Elliott Burns was sentenced to hard labor on a Georgia chain gang for his part in an armed robbery that netted him and two other men less than six dollars. Probably only Steve and Walter are old enough to remember, but Burns escaped from the chain gang and made a new life for himself under another name, eventually becoming a prominent businessman in Chicago and something of a celebrity when his wife (who had been blackmailing him) betrayed him to the law after getting a cash settlement from him in exchange for a divorce.

   Burns could have fought extradition but agreed to return to Georgia when corrections officials there promised him quick release after some nominal service. Instead, they reneged on their promise and he was returned to the chain gang for “extra attention” from the guards, with no release in sight. Eventually Burns escaped again and wrote I Am a Fugitive from a Georgia Chain Gang (Vanguard, 1932), which finally secured his freedom.

   Burns is best remembered for the movie made from his book, but his personal story seems to have been much on the mind of John Farrow, screenwriter of the film Shadow of the Law, which appeared a full two years before I Am a Fugitive hit the bookstands and movie screens.

   The story in Shadow of the Law is slightly changed, but the essential elements are there: William Powell stars as a decent if amorous gentleman who gets in a scrape over a lady (perennial vamp Natalie Moorhead) and ends up accidentally killing a man—whereupon Ms. Moorhead, fearing scandal or worse, promptly decamps, leaving Powell with no witness to clear him of a murder charge that sends him to prison.

   A few years later, Powell is a hardened-enough convict to pal up with a thief (well played by Paul Hurst) and exploit the warden’s trust in him to break out of jail. When we next see him, he has become a highly-placed executive, respected by the workers in his factory and engaged to the owner’s daughter — but determined to find Moorhead and clear his name.

   He does eventually find her, or rather Hurst does, but she proves smarter than Hurst thought and more avaricious than Powell suspected, leading to some plot twists both melodramatic and highly entertaining.

   In fact, the writing and direction (by Louis Gasnier) in Shadow keeps the story right on its edge, offering some juicy plot twists and a couple of suspenseful moments, one of which – as I realized what Powell was going to do to himself and watched him calmly set about it — I swear made my skin crawl. Director Gasnier is not well known as an auteur (unless you count Reefer Madness) but his work here shows a stylishness and pace perfectly suited to the subject.

A. FIELDING – The Net Around Joan Ingilby. Collins Crime Club, UK, hardcover, 1928. Alfred A. Knopf, US, hardcover, 1928.

   According to a huge amount of research done by John Herrington, [FOOTNOTE] A. Fielding was in reality Dorothy Feilding, who between 1924 and 1938 was the author of 24 detective novels, an absolute terrific pace, with one last book appearing in 1944.

   Her primary character is Chief Inspector Pointer, who did not appear in all of them, and who, on the basis of the two books read so far, does not always appear in the ones he does until a certain distance into the story. He’s from Scotland Yard, and the local police do not always see fit to call in them in right away. (I am hedging here, trying not to tell you more than you should know, and as soon as I tell you that, I know that that’s telling you too much in and of itself.)

   But all digressions aside, let me tell you about this one, which is a doozie and a half, as my mother (or was it my grandmother) used to say. In Chapter One, there’s no detective story or mystery thriller in sight. On board ship, where such chance meetings often take place, just before landing, journalist Martin Blair meets the fairy princess of his dreams, briefly but most magically, yet with no likelihood of ever seeing her again.

   Chapter Two. After fashioning a successful career for himself, Blair comes across a strange but apparently accidental death, that of a woman who took refuge in a shed near a outdoor charcoal burning facility and was later found asphyxiated by the fumes. Investigating further on his own, Blair comes to the conclusion that foul play was involved, and he writes the story up for his newspaper, complete with an all-but-accusation of the guilty party, Miss Joan Ingilby, the missing governess of the dead woman’s child.

   Well, I suppose you know what comes next. Joan Ingilby and his fairy princess are one and the same, and while Blair desperately tries to take back his accusation, his recital of the facts is all too convincing, and Joan must go into hiding while Blair tries to make amends and catch the real killer.

   There may be a “first” involved here. Can you think of any other story in which an accused murderer comes back into the story disguised as her older sister in order to help in the investigation?

   Here’s a description of Joan’s first encounter with Chief Inspector Pointer, taken from page 137:

   Pointer will need all the strength that is suggested in this passage. The trail leads to France, and to Marseilles in particular, to a den of iniquity there never seen in the likes of Innes, Christie or Carr. Kidnappings, last minute escapes, recaptures, underground passages and more – unlike anything I have read in more normal fiction in many a day. (Maybe I’ve been reading the wrong stuff. This was great.)

   Not so great, though, were the many lapses in story-telling continuity. In the early going, characters appear only as they are needed, even though they had to have been on the scene all along. One truly remarkable feat of physical genius occurs around page 42. Joan is in Blair’s apartment, coming to plead her case to him after the story he wrote. When a policeman comes to the door, Joan ducks into Blair’s bedroom, unready to give herself up. Fearful of the maid’s impending arrival, Blair tries to distract Police-Inspector Armstrong, to no avail. Two pages later, there is a knock on his outer door. It is Joan, disguised as her sister, ready to confront the law, heavy on her trail. But how? It is never explained.

   There are parts of this tale, however, which concern matters mysterical and are equally amazing, and once explained, may very well take your breath away. It did mine, and for more reasons than one – one being pure audacity, and another – well, you’ll have to read this one for yourself.

   Do I have room for another quote? I think so. From pages 84 and 85, where Pointer is telling Blair something about his philosophy of solving criminal cases:

FOOTNOTE:   Most of this research was done after this review was written, and this current first paragraph replaces several earlier ones dealing with what was known about A. Fielding in 2004. Check out this earlier post on this blog, and this review on Curt Evans’ blog, in the course of which he discusses the life of the author in much detail.

LOVE CRIME. French; original title: Crime d’amour, 2010. Ludvine Siegneur, Kristin Scott Thomas, Patrick Mille, Guillame Marquet. Directed by Alain Corneau, also co-screenwriter with Natalie Carter.

   Love Crime may seem like a leisurely suspense film at the beginning, and granted it takes its time to establish the two main characters, but once it kicks into gear it is a fascinating character study with enough twists and turns to keep any fan of suspense films happy.

   Kristin Scott Thomas has a showy role as Christine, a ruthless bisexual female executive who becomes mentor to the rather mousy Isabelle (Ludvine Siegneur). The sexual tension between them is obvious, and Siegneur, while shy, is not all that reluctant to be seduced. It becomes obvious this won’t end well early on.

   Siegneur seems to slowly blossom under Thomas’s guidance, until things go south when Thomas sends Siegneur to Cairo on an important business trip. Siegneur seduces Thomas’s lover (Phillipe Mille), and pulls off a triumphant business coup that is certain to insure her quick movement up the corporate ladder.

   Then Thomas takes all the credit for Siegneur’s coup.

   A relentless no holds barred competition begins between the two women, played out in the boardroom and the bedroom. Blackmail, humiliation, and extortion all play a role in the game between them until Siegneur finds herself publicly humiliated by Thomas and firmly under her thumb again.

   Aided unwittingly by her Iago, her assistant Daniel (Marquet in a perfectly under played performance), Siegneur begins a ruthless plan of revenge, but it seems more mad than anything else. Humiliated, she spins out of control into uppers and downers and what becomes increasingly obviously a plan to murder Thomas and doing her best to frame herself.

   When she does murder Thomas, she even draws the first three letters of her name in Thomas’s blood. She is arrested and the police all too easily follow her self-incriminating trail. Still heavily drugged, Siegneur confesses. The film seems to be over, having driven itself into a wall.

   I can’t say much more about the plot without giving too much away, but all is carefully unraveled as Siegneur’s true/false trail by turns leads the police in unsuspected directions. One by one as each pawn falls and each part of Siegneur’s plan is revealed, this worm-turns tale slowly reveals just how much the viewer as well as everyone else has been played by Siegneur from the beginning. She gives new definition to the term passive-aggressive.

   Love Crime is handsomely shot in beautiful color and on sleek modern sets, and moves at such a deliberate pace you may not recognize this is the model of classic film noir, with two femme fatale’s in a cat and mouse game that mid-film turns into a Simenon psychological suspense story with enough twists for Agatha Christie.

   It won’t be until the very last scene and the very last moment you realize how well you have been played, and how important that deliberation was to the final outcome of this clever film. Despite the two female leads don’t mistake this for a “woman’s” picture on Joan Crawford lines. This film is as hard and unsentimental a film as you will ever see.

   The cast is uniformly good, but it is Siegneur and Thomas who carry the film and without either character ever becoming a really sympathetic character. Both have obvious personality problems and possibly borderline personality disorders. At one point in the film you will be convinced Siegneur is mentally unbalanced, a sociopath with an unhealthy obsession with Thomas. It’s not until the end you even begin to suspect the truth.

   If you stay with this film you will find at the end you enjoyed it much more than you thought, and may even want to watch it again, to see if you can catch the places you were played, mislead, and bamboozled by the intelligent script. This film has the courage to ask you to stick with it, and rewards that effort with a final moment that will leave you frostbitten.

   Love Crime was remade by Brian de Palma as Passion in 2012 with Rachel McAdams and Noomi Rapace. Despite that cast and a co-script by the screenwriter Natalie Carter, skip it and see the original, Corneau’s last film and a worthy one.

SHERWOOD KING – If I Die Before I Wake. Simon & Schuster, hardcover, 1938. Mystery Novel of the Month #16, digest-sized paperback, [1940]. Ace Double D9, paperback, 1953 (published back-to-back with Decoy, by Michael Morgan). Curtis 7154, paperback, 1965.

THE LADY FROM SHANGHAI. Columbia Pictures, 1947. Rita Hayworth, Orson Welles, Everett Sloane, Glenn Anders. Based on the novel If I Die Before I Wake, by Sherwood KIng. Director: Orson Welles.

   Sherwood King’s If I Die Before I Wake offers an intriguing premise: Laurence Planter is something of a footloose jack-of-some-trades marking time, as the story starts, as a chauffeur to criminal attorney Mark Bannister and his trophy wife Elsa. He also spends a lot of time running Bannister’s partner Grisby back and forth from the Bannister house to the office.

   It’s on one of those runs that Grisby offers Laurence five thousand dollars to commit murder — the murder of Grisby himself.

   It’s a neat book, with an even neater twist to it: Grisby wants to fake his death by having witnesses see Laurence walk to the end of a dark pier with him, hear a shot and see Laurence come back alone. But no corpse will be found — Laurence can’t (he thinks) be charged with murder, but Grisby will (he thinks) be legally dead.

   And the scheme seems to work quite nicely until Laurence goes through with it and signs a confession,only to have Grisby’s body turn up after all — very very murdered.

   As I say, it’s a clever hook for a story, and Cornell Woolrich could have made a nightmarish classic of it, but Sherwood King just lets it lie there with the sharp end sticking up. There’s not much action in the story and very little movement at all, as if King were too lazy to describe new locations for us. Instead,he opens the tale with awkward dialogue, then gets bogged down in a lengthy trial scene capped off with a resolution that’s all talk. And so another good idea misfires.

   But wait….

   The story goes that in 1946 Orson Welles was trying to raise money from Harry Cohn, the head of Columbia Pictures, and during a desperate conversation in a drugstore phone booth his eye fell upon a paperback book he’d never read and he suddenly convinced Cohn it would make a great movie, which he could direct and star in with his then-wife, Columbia’s leading lady Rita Hayworth.

   Well, it’s a nice story and it may even be true, despite reports that Columbia already owned If I Die Before I Wake and was planning to have contract director William Castle make it as a B movie. (It would have made a good entry in the Whistler series.)

   Whatever the case, Welles took the basic plot and most of the details and turned The Lady from Shanghai (its new title) into his most enjoyable film, a tricky, fast-moving, witty, careening ride form Central Park, through Acapulco (some of this was filmed on board Errol Flynn’s yacht) to San Francisco’s Chinatown, culminating in a visual tour-de-force: the shoot-out in a hall of mirrors where, as one critic noted, the characters have to come face-to-face with themselves before meeting their end.

   Welles plays the hero like a young Falstaff, lustful, charming, and all too aware of his own fecklessness. He’s abetted by Rita Hayworth as the duplicitous wife — though he doesn’t give his then-wife much to do. I’ve seen her more effective in the hands of lesser directors — but the films is helped along splendidly by Everett Sloane and Glenn Anders as lawyers Bannister and Grisby.

   Except for a part in Tarzan’s Peril, I never heard of Glenn Anders before and after this film, and he reportedly had an awful time making it, but his performance as Grisby is one of high points of the American Cinema: sweaty, smiling, whiny and worming, he seems so devoid of humanity — of perhaps so excessively human — that you can’t figure out why no one ever killed him before the picture started.

   His performance complements Welles’ visual excesses perfectly, and I’ve always thought it an overlooked gem in a treasure-trove of a film.