IRON MAN. Universal International, 1951. Jeff Chandler, Evelyn Keyes, Stephen McNally, Rock Hudson, Joyce Holden, Jim Backus, Jim Arness. Based on the novel by W. R. Burnett (1930). Director: Joseph Pevney.

   During his film career, Jeff Chandler portrayed a wide array of diverse and exotic characters. These include a Jewish resistance leader in Palestine, Cochise, a Bedouin horseman, and U.S. Army general.

   Add boxer to that list.

   In Iron Man, a 1951 remake of a Tod Browning film of the same name, Chandler portrays Coke Mason, a coal miner who takes up professional boxing. But he’s not just any run of the mill pugilist. No. Coke Mason is an emotionally immature, mad dog consumed with unbridled rage. He’s type of boxer who fights dirty, one whom the gawking crowds just love to hate. He’s the eponymous “Iron Man.”

   Coke’s not a particularly easy character to like, but then again he’s not designed to be. That is, until we realize what’s motivating him and who’s taking financial advantage of his clumsy, but deadly, boxing abilities. To that extent, Iron Man is as much a criticism of professional boxing as it is a character study of a flawed, albeit all too human, man who finds himself betrayed and manipulated by those he most trusted.

   Directed by Joseph Pevney, Iron Man at times feels a little too much like a soap opera. The film hints at the dark side of human nature, but never satisfactorily explores it. Forget the black and white cinematography and the doomed protagonist; this is not a crime film or a film noir. It’s merely an average, although perfectly entertaining, 1950s sports film.

   While Chandler is less convincing as a boxer when in the ring, he’s quite good at portraying the emotional tumult of an intellectually ambitious, but professionally limited man still scarred from a tough childhood in a bleak coal mining town. Look for a youthful Rock Hudson as Speed O’Keefe, Coke’s sparring partner turned rival, who becomes an agent of change for the title character.

   As to whether the Chandler-Hudson boxing match is believable or not, I will defer judgment to those more familiar with boxing and with boxing films.

WIRT VAN ARSDALE – The Professor Knits a Shroud. Doubleday Crime Club, hardcover, 1951.

   Pedro Jose Maria Guadaloupe O’Reilly y Apodaca, B.S., M.A., Ph.D., more familiarly and shortly known as Peter or Uncle Pete, is a professor of anthropology, not, as Doubleoday’s dust jacket would have it, archaeology. The young lady to whom he is a former guardian invites him, somewhat to the displeasure of her husband even though he usually enjoys Uncle Pete’s company, to their farm, presently occupied by Henri Von Fliegel, a best-selling author.

   Apodaca describes Von Fliegel’s books this way: …Oh, he had good story ideas. That I will grant you. But then he’d take those good ideas and embellish them with all sorts of impossible characters and impossible situations and throw in a lot of cheap sentimentality and as much fornication as he thought he could get by with and call the whole nauseating mess a novel…

   Ah, how the literary world has progressed since the 1950s.

   But I digress.

   As is usual with successful authors — though only in fiction, one hopes — Von Fliegel is loathed by almost everyone, and apparently with good reason. As is to be expected, he comes to no good end, shot in the head while working on his current novel.

   Luckily, Professor Apodaca’s experience in anthropological fie!d work leads him to make some sterling deductions, and these convince the police that he should be part of the investigation. He solves the case, to the appreciation of almost all concerned. As an aid to his cerebration, the professor knits socks. At last count, he had completed 2,736 individual ones, I believe, not pairs.

   The only unbelievable item in the novel, if one accepts the sock count, is Apodaca’s inability to recall for a lengthy period where he had read about the word rache written in blood. There are well-read people who wouldn’t immediate|y know that, but what are they doing detecting in mystery novels?

   Wirt Van Arsdale, a pseudonym of Martha Wirt Davis, wrote only one mystery. A pity, for Van Arsdale showed lots of promise in this book. Of course, you have to accept the usual caveat that people act unreasonably for purposes of the plot in this bib!io mystery.

Bio-Bibliographic Notes: As Bill points out, this was Martha Wirt Davis’s only work of detective fiction. She may have written others if not for her untimely death in 1952, at the age of 46. She was married to author and occasional pulp fiction writer Clyde Brion Davis, who died in 1962. According to Wikipedia, their son, David Brion Davis, is an “American intellectual and cultural historian, and a leading authority on slavery and abolition in the Western world.”

ROGER ZELAZNY – A Night in the Lonesome October. William Morrow, hardcover, 1993; paperback, 1994. Chicago Review Press,softcover, 2014. Illustrated by Gahan Wilson.

   If I were to play the “one author for a desert island” game with science fiction, Roger Zelazny would certainly be one of the finalists, and several of his books would find their way onto any 100 best list I made.

   Most critical opinion would have it that his work has been essentially trivial for the last decade, or longer. I wouldn’t argue the point, but would argue that even trivial Zelazny is of a quality of readability matched by relatively few writing in the field today.

   This is about a diverse group of characters who gather in England for a recurring contest between two factions: one who wants to open a gate so that the Elder Gods can return, one who wants to bar it. The tale is told from the viewpoint of the familiar of one of the “closers,” a dog (of a sort) named Snuff. Without giving away too much of the plot, I’ll simply say that many of the players will be familiar.

   This is very much a Zelazny book in terms of style and obscurity, and by obscurity I mean that he never tells you as much about the characters and setting as you’d like to Know. Wilson’s many illustrations are as appealingly macabre as you’d expect, and add greatly to the book.

   This isn’t a work of substance. However, it’s pleasant if ephemeral, and it’s Zelazny, and that’ll do in a pinch.

From researcher John Herrington:

    “I have some questions to ask about an author who is proving hard to reliably track down. Alice Hosken who wrote as Coralie Stanton, author of many “sensational novels,”, several of which are in Al Hubin’s Crime Fiction IV. [See below.]

    “The trouble is I can only find two records for her. In 1901 she married Ernest Hosken as Mary Alice Cecil Seymour Keay — I have a copy of her marriage certificate which says she was 24 and the daughter of John Seymour Keay, banker (and MP in the early 1890s). But no such birth found c1877 (which is given in her entry on the 1911 census which says born London).

    “I have looked at John Seymour Keay and found a few facts. He was Scottish born in 1839 and spent many years working in India, returning permanently here in 1880. He married, in October 1878 in London, Christina (known as Nina) Jameson Vivian, daughter of an Englishman who was then living in Australia where he died in 1880.

    “Nina died in in 1885 and is known to have been the mother of his two daughters – Nina born India in 1880 and Gladys born England in 1881. – with no mention of Alice. In fact when he died in 1909, a newspaper article on his will says he left everything to his two daughters, Nina and Gladys.

    “So no mention of a third daughter (a son was born and died in 1885). So if the Keay connection is correct, was she born out of wedlock? Keay is on the 1881 census with his wife and daughter Nina, and I have found no mention of a Mary or Alice Keay on that census who fits. As I said, the only two definite records for her are the 1901 marriage and the 1911 census.

    “I have no idea how long Keay was in England before his marriage, though he returns to England afterwards. I suppose it’s possible there was another marriage in India, that when that marriage ended his wife kept the child and either remarried or retained her maiden name?

    “So her origins are at present a complete mystery. As too is her death, though she could be the Alice S Hosken who died in 1951.

    “Sorry to go into so much detail, but Keay’s story is necessary to illustrate the mystery surrounding Alice.”

BIBLIOGRAPHY:        [taken from Hubin’s Crime Fiction IV]

The Adventuress (McBride, 1907, hc) See: Miriam Lemaire, Money Lender (Cassell 1906) as by Coralie Stanton & Heath Hosken.
The Amateur Adventuress (Thomson, 1930, hc) [England]
Called to Judgment (with Heath Hosken) (Paul, 1913, hc) [England]
-Chance the Juggler (with Heath Hosken) (Hutchinson, 1904, hc) [England]
The Dog Star (with Heath Hosken) (Cassell, 1913, hc)
-Her Fugitive (Thomson, 1929, pb) [England]
Ironmouth (Paul, 1916, hc) [England]
The Love That Kills (with Heath Hosken) (Milne, 1909, hc) [England]
The Man Made Law (with Heath Hosken) (Everett, 1908, hc) [England]
Miriam Lemaire, Money Lender (with Heath Hosken) (Cassell, 1906, hc) [Miriam Lemaire; England] U.S. title: The Adventuress. McBride, 1907, as by Coralie Stanton.
The Muzzled Ox (with Heath Hosken) (Paul, 1911, hc)
-The Revelations of a Rich Wife (with Heath Hosken) (Nash, 1921, hc) [England]
The Second Best (with Heath Hosken) (Long, 1907, hc) [England]
The Sinners’ Syndicate (with Heath Hosken) (Hurst, 1907, hc) [England]
-The Way of Escape (Leng, 1932, hc)
The White Horsemen (with Heath Hosken) (Nash, 1924, hc)
-Zoe: A Woman’s Last Card (with Heath Hosken) (Everett, 1913, hc) [England]

   I own very few European crime novels in both their original language and in English, but one of those is Der Richter und Sein Henker or, as it’s known over here, The Judge and His Hangman (1952; U.S. edition 1955), the first novel of Swiss playwright Friedrich Duerrenmatt (1921-1990).

   I read it in both languages many years ago and again last month. It’s about Hans Bärlach (whose last name in English is missing the umlaut), Kommissär of the Swiss police, a man clearly near death, and his 40-year-long struggle against a sort of existential criminal who committed a motiveless murder in front of the Kommissär’s eyes and dared Bärlach to pin it on him.

   More than sixty years after its first publication the book is still a compelling read, and the German edition (designed for students who are learning the language) adds several dimensions to what readers of the translation are offered, including two maps that make clear the relationship to each other of the various small towns near Bern where much of the story takes place.

   Reading the German side by side with Therese Pol’s English version also reveals where Pol now and then goes her own way. At the end of Chapter 11 (Chapter 8 in the translation), the diabolical Gastmann breaks into Bärlach’s house beside the Aare River and steals the Kommissär’s file on him. “I’m sure you have no copies or photostats. I know you too well, you don’t operate that way.”

   A procedural this novel ain’t. He throws a knife at Bärlach, just missing him, and goes his way. “The old man crept about the room like a wounded animal, floundering across the rug on his hands and knees…, his body covered with a cold sweat.” He moans softly in German: “Was ist der Mensch? Was ist der Mensch?” This simply means “What is man? What is man?” but Therese Pol expands it to: “What sort of animal is man? What sort of animal?”

   That’s not too much of a stretch compared with the last chapter where Bärlach learns that his young assistant Tschanz “sei zwischen Ligerz und Twann unter seinem von Zug erfassten Wagen tot aufgefunden worden,” meaning that between two of the villages shown on the first map he was found dead under his car, which had been struck by a train.

   In English the report is simply “that Tschanz had been found dead under his wrecked car….” The train has vanished, but at least Ms. Pol doesn’t make up Duerrenmatt’s mind for him on whether Tschanz’s death was an accident or suicide. Such are the joys of reading a book in two languages at once. If only my French were good enough to allow me to read Simenon in his own tongue!

   You don’t need to be a linguist to catch some amazing blunders in the versions of Simenon that we get to see. In L’Affaire Saint-Fiacre, first published in French in 1931 and first translated by Margaret Ludwig as The Saint-Fiacre Affair in the double volume Maigret Keeps a Rendezvous (1941), a threat on the life of a countess brings Maigret back to the village where he was born and raised.

   Very early in the morning he wakes up in the village inn and, purely for professional reasons, gets ready to attend Mass in the church where he’d been an altar boy. He goes downstairs and, in one of the later translations, the innkeeper asks him: “Are you going to communicate?” Even one who knows no French and nothing of Catholicism should be able to render the question in English better than that.

   I don’t remember the title of the novel or who translated it but I vividly recall another Simenon where Maigret wakes up in yet another country inn and phones down for, as he puts it in English, “my little lunch.” Again, you don’t need to know more than a soupçon of French to figure out what the translation of petit déjeuner should be.

   As this column is being cobbled together I’m in the middle of going over The John Dickson Carr Companion. And learning some odd trivia about Carr’s novels and stories that had never struck me before. How many of you remember that in the Carter Dickson novel She Died a Lady a gardener claims that on the previous night he went to see the movie Quo Vadis? The book was published in 1943 but, according to the Companion, its events take place in 1940.

   Either way, Carr certainly couldn’t have been referring to the Quo Vadis? that we remember today if we remember the title at all, the 1951 Biblical spectacular that starred Robert Taylor and Deborah Kerr. There was a German silent version of the same story, released in 1924 and starring Emil Jannings, but what would a German silent be doing playing in England long after silents had been displaced by talkies and at a time when England and Germany were at war? More important question: What was Carr thinking?

   The adaptations of Carr’s work dating back to the golden age of live TV drama back in the Fifties are not covered in the Companion, at least not in any detail. I happen to have some information on that subject, and chance has now given me an excuse to share it. Anyone remember Danger?

   It was a 30-minute anthology of live teledramas, broadcast on CBS for five seasons (1950-55). My parents hadn’t yet bought their first set when the series began, and when it went off the air I was a child of 12 who hadn’t yet even discovered Sherlock Holmes and Charlie Chan at my local library.

   I don’t think I ever watched the program, certainly not with any regularity, but I vaguely remember that one of its shticks was a background score of solo guitar music played by a guy named Tony Mottola (1918-2004). Obviously the producers of the show were hoping to duplicate the success of the CBS radio and TV classic Suspense, and the two Carr tales that were broadcast on Danger happened to be radio plays that he had written for Suspense back in the Forties. “Charles Markham, Antique Dealer” (January 2, 1951), was based on the radio play “Mr. Markham, Antique Dealer” (Suspense, May 1, 1943) and starred Jerome Thor, Marianne Stewart and Richard Fraser.

   The director was Ted Post (1918-2013), who later moved into filmed TV series like Gunsmoke, Have Gun Will Travel and Rawhide and, thanks to impressing Clint Eastwood with his Rawhide work, got hired to direct big-budget Eastwood features like Hang ’em High (1968) and Magnum Force (1973).

   We don’t know who directed “Will You Walk Into My Parlor?” (February 27, 1951) but it came from Carr’s radio drama of the same name (Suspense, February 23, 1943). The script was first published in Ellery Queen’s Mystery Magazine, September 1945, and collected in Dr. Fell, Detective and Other Stories (1947) and, after Carr’s death, in The Dead Sleep Lightly (1983).

   The cast was headed by Geraldine Brooks, Joseph Anthony and Laurence Hugo. Among the other top-rank mystery writers whose stories were adapted for Danger were Philip MacDonald, Wilbur Daniel Steele, A.H.Z. Carr, Anthony Boucher, MacKinlay Kantor, Steve Fisher, Q. Patrick, James M. Cain, Raymond Chandler and Roald Dahl.

   The roster of authors who scripted original teleplays for the series included Paddy Chayefsky, Reginald Rose and Rod Serling, and among the directors who rose from this and other live teledramas to Hollywood household-name status were John Frankenheimer and Sidney Lumet.

   The final episode of Danger was a live version of Daphne DuMaurier’s 1952 short story “The Birds,” which Alfred Hitchcock later adapted into one of his best-known films. I can’t imagine anything like Hitchcock’s bird effects being possible on live TV, but either I was watching something else on the night of May 31, 1955 or I went to bed early. If anything from this series is available on DVD, I haven’t heard of it.

   Considering the dozens of scripts Carr wrote for Suspense as a radio series, one might have expected a pile of his radio scripts and short stories to have been used when the program became a staple item on prime-time TV.

   In fact only one of his radio dramas and one of his short tales were adapted for the small screen. Among the earliest of the TV show’s episodes was “Cabin B-13″ (March 16, 1949), which starred Charles Korvin and Eleanor Lynn and was based on perhaps the best known and most successful Carr radio drama, first heard on Suspense on May 25, 1943 and collected in The Door to Doom and Other Detections (1980).

   The second and final Carr contribution to Suspense was “The Adventure of the Black Baronet” (May 26, 1953), an adaptation of the Sherlock Holmes story written by Carr in collaboration with Sir Arthur Conan Doyle’s son Adrian (who according to Douglas G. Greene’s Carr biography did most of the writing) and first published in Collier’s for May 23, 1953, just a few days before the televersion.

   As might have been expected, Basil Rathbone reprised his movie and radio role as Holmes. It might also have been expected that Nigel Bruce would have played Dr. Watson as he had so many times in the movies and on radio. I don’t know why he didn’t, but since he died only a few months later (October 8, 1953), the reason might have had to do with his health. In any event the Watson of this Suspense episode was played by Martyn Green of Gilbert & Sullivan fame.

   As far as I’ve been able to find, Carr’s contributions to 30-minute live TV drama are limited to these four episodes. If any of his short stories or radio plays became the bases of filmed 30-minute dramas, I haven’t found them. There are two fairly well-known teledramas at greater than 30-minute length that owe their origins to Carr, but this column is long enough already so I’ll save them for next time.

RACE WITH THE DEVIL. 20th Century Fox, 1975. Peter Fonda, Warren Oates, Loretta Swit, Lara Parker, R. G. Armstrong, Clay Tanner. Director: Jack Starrett.

   Imagine it’s the mid-1970s. You’re not a hippie or a rebel, though you like your motorcycles and a drink or two. You’re planning the most kick ass vacation possible. You’ve got your wife, your best friend, his wife, her cute little dog all comfortably ensconced in a souped–up RV and you’re ready to hit the wide open American road. Freedom is in the air.

   What could possibly go wrong?

   In Race With The Devil, the answer is everything. But not in a comedic National Lampoon’s Vacation manner. There’s no John Hughes comedic sensibility in this suspenseful, disturbing, but compulsively watchable, thriller about two couples on the run from a horde of bloodthirsty Satanists.

   A nightmarish journey into fear and paranoia, Race With The Devil stars Warren Oates and Peter Fonda as two buddies who, along with their wives, run afoul of a mysterious cult. Both men, actors whose work I greatly admire, are naturals here. Their distinct personalities shine through, giving life to their upper middle class characters. They are men caught between their bourgeois, consumerist lifestyle and their visceral desire to protect their women and to fight back.

   Directed by Jack Starrett, the movie has two strong leads, some bang up car chases, and a cynical eye toward both authority figures and the counterculture. The plot strains credulity, but it’s easily forgivable. After all, this isn’t high art. It’s an exploitation film about normally dressed Satanists chasing two middle class American couples through West Texas, shattering their planned ski vacation in Aspen. It’s a hell of a ride, spiraling ever downward into a neo-noir landscape where you have no idea whom you can trust.

JEFFERY DEAVER – The October List. Grand Central Publishing, hardcover, 2013; trade paperback, October 2014; mass market paperback, February 2015.

   I don’t like to review books I don’t read all the way through, and I almost never do, but there wouldn’t be any use for the word “exception” if exceptions didn’t exist. I read the first 65 pages of this one, stopped, read the last chapter, and that was all.

   The concept is true tour de force quality. Can a thriller novel be written in exact reverse chronological order and still make sense? The answer, in my opinion, is yes, but for me it worked only by reading the first 65 pages and then the last, which is really the first.

   And I guarantee you, if you stick it out and read the book as written, back to front, the ending beginning will knock your socks off. Figuratively speaking, of course.

   But I found myself, after reading a chapter, going back (or forward) to find out what I’d missed in the previous later one, and after I got as far as I did, and seeing that there were still nearly 300 pages to go, I quit. I bailed out, I cheated, and I probably shouldn’t even be reviewing this book. But over a third of the people leaving comments on Amazon gave it one star. That should also tell you something.

   It was an experiment worth doing, and only someone with a devious mind such as Jeffrey Deaver’s could have hoped to have pulled it off. In my opinion, he didn’t, but I’m not you, and you may be up to challenge, the one posed to the reader as well as the author, whereas I wasn’t.

ANN AGUIRRE – Wanderlust. Ace, paperback original; 1st printing, September 2008.

   I have no idea why I started this, the second in a six book series, before reading the first one, Grimspace, but somehow that is exactly what I managed to do. It didn’t seem to matter, though. Whatever I didn’t understand in terms of what happened in the first one, I ignored and plunged blithely on, and enjoyed myself immensely, surprisingly so.

   The leading protagonist throughout the series is a “jumper” named Sirantha Jax, but she’s not alone in her adventures. She has a entire crew of fellow shipmates, each of whom has their own identity and individual contributions to the cause. Allow me to be sketchy on the details, but March, her lover, is a telepath who is always politely in her head, but is left behind partway through this adventure. Others include an genetically enhanced fighter; an alien who wears the skin of a human; an mechanic who may also be an heiress; and another pilot, female, who joins them midway through this one, about the same time March is left behind.

   It seems as though Sirantha is the focal point of trouble wherever she goes — and that’s Trouble with a capital T. In Book One, she was responsible for bringing down the Farwan Corporation, which had ruled known space for quite some time, and thus putting the Conglomerate in control. At the beginning of Book Two (this one), they appoint her as ambassador to a planet that is making hints of leaving the Conglomerate.

   I have the feeling that the six books are all one long novel, and this is Chapter Two. It begins at Point A, as just described, and continues to Point B, the planet to which Sirantha is sent on her way.

   And in between? All kinds of captures and narrow escapes: landing on a emergency space station controlled by vicious man-eating aliens; being trapped in the middle of a civil war on their next port of call, initiated by their own arrival; and being held prisoner by the Syndicate, a science-fictional version of the Mob which thrives on chaos in the galaxy, not peaceful co-existence between worlds.

   Sirantha Jax tells her own story in a delightfully sassy and punkish sort of way. Again the details don’t matter all that much. What’s fun is the reading of what’s otherwise a good old-fashioned space opera/romance, gritty but without all of the military trappings so many authors think I’m interested in. I’m not.

   PS. A jumper is a space pilot who plugs her mind into the ship’s controls to help guide it through grimspace, an ability that also seems to be killing her in this adventure.

       The Sirantha Jax series —

1. Grimspace (2008)
2. Wanderlust (2008)
3. Doubleblind (2009)

4. Killbox (2010)
5. Aftermath (2011)
6. Endgame (2012)

SAHARA. Columbia Tristar / Showtime, Australia-US, 1995. James Belushi, Alan David Lee, Simon Westaway, Mark Lee, Michael Massee, Robert Wisdom, Jerome Ehlers, Angelo D’Angelo, Paul Empson. Written by David Phillips, based on the earlier 1943 screenplay by Philip MacDonald. Director: Brian Trenchard-Smith.

   Sahara, an Australian-American made for TV movie starring James Belushi, may very well be the best war film from the 1990s you haven’t seen. Or maybe you’ve seen it? Then you’ll know that I’m exaggerating, although not by a whole lot.

   Directed by Brian Trenchard-Smith, Sahara is a gritty, taut remake of the classic 1943 film starring Humphrey Bogart. Set in Libya during the North African campaign, the movie has elements that create an eminently watchable and engaging war film: heroism, sacrifice, male camaraderie, and a ragtag group of men forced to undertake a seemingly impossible mission behind enemy lines.

   Although it took me a few minutes to get comfortable with Belushi as the lead in a North African war film, I now have to admit that his portrayal of Sergeant Joe Gunn, an American tank commander, was truly outstanding. Gunn is a sweaty tough guy, but with a soft spot for his men. He’s a complex character, capable of ordering his to mow down advancing German soldiers, but also responsible for saving an Italian POW from near certain death in the inhospitable desert. The look on his face upon seeing his friend shot and killed by a German infantryman is more reminiscent of war movies from the 1940s and 1950s than from the 1990s or after. That’s drama, folks. No overwrought dialogue or musical fanfare is needed.

   In many ways, that’s what makes Sahara such a compelling, if little known, war film. Yes, it has the requisite action sequences and solid, coherent plot. But Sahara has something too many war films made in the past twenty years don’t have: heart.

   With Trenchard-Smith’s skillful direction, which heightens the suspense, and with believable dialogue that draws you into the story, the viewer really does end up caring about what happens to the main characters. They’re all individuals, each with distinct personalities. The beaten down, but still plugging along, M3 Lee tank, Lulu Belle, has a personality all her own.

   A scene from the film, in which Gunn encounters a ragtag group of stranded Australian, British, and French soldiers, can be watched here:

ADAM ADAMANT LIVES! BBC TV, 1966-67. Cast: Gerald Harper as Adam Adamant, Juliet Harmer as Miss Georgina Jones and Jack May as William E. Simms. Script Consultant: Tony Williamson. Producer: Verity Lambert. Theme written by Hal Sharper and David Lee, sung by Kathy Kirby.

   The story of Adam Adamant Lives! began with Sydney Newman. Newman remains one of the most successful and influential TV Network executives in the history of television. While Head of Drama for ABC Television (Associated British Corporation) he helped develop The Avengers, both series: one, a standard spy drama with Patrick Macnee and Ian Hendry and the second version, a fashion conscious surreal spy adventure with Macnee and Honor Blackman.

   Newman would leave ABC for the BBC where he became its Head of Drama. There he helped create Doctor Who and Adam Adamant Lives! Newman was influenced by a variety of elements in his creation of Adam Adamant. Aware of the success of James Bond, he wanted the theme music to sound like Goldfinger and even tried to hire Shirley Bassey to sing it.

   Sydney Newman had brought serious quality programming for adults to British television. This lead to the rise of his nemesis Mary Whitehouse and her fight to protect the morals of the British viewer. Reportedly, Newman was wondering about Whitehouse’s Victorian values and thought about a character from the 1890s reacting to modern (1960s) society.

   The BFI bio of Sydney Newman explains the development of Adam Adamant Lives!: “According to BBC documentation, Newman’s idea originally was to produce a series about the British detective character of Sexton Blake, a sort of two-fisted imitation of Sherlock Holmes first published in 1893. At the last minute, however, the Blake project was dropped (do to a failure of agreement with the publishers) and the would-be series’ basic format was developed into Adam Adamant Lives!”

   The creation did not go smoothly, with several writers unable to create a satisfactory story or even find the right name for the character. Sydney Newman would finally name him Adam Adamant, the word adamant meaning extremely hard substance. The pilot was not received well. It would never air, and only the part of it that was used in episode one survives. Ann Holloway, who had played the role of Georgina Jones in the pilot, was replaced by Julie Harmer, who fit the 60s style-look better. Tony Williamson finally was able to come up with the right script and the result was “A Vintage Year For Scoundrels.”

“A Vintage Year For Scoundrels.” Written by Tony Williamson with material by Donald Cotton and Richard Harris. Directed by William Slater and David Proudfoot. Guest Cast: Peter Ducrow, Freda Jackson, and Frank Jarvis. *** Adam Adamant, English gentleman adventurer, is defeated by his archenemy, master criminal The Face, in the year 1902 when Louise the woman he loves betrays him. The villain uses a secret formula to give Adam a “living death.” Buried frozen but alive Adam would be uncovered in 1966 London. He has problems adjusting to modern times, especially with an unwanted sidekick, the young headstrong Miss Jones who refuses to leave him alone. However when young Miss Jones is threaten by a lady mobster Adam runs to her rescue.

https://www.youtube.com/watch?v=a_OubShiU8I

   This was a time when the quality production values we expect from the BBC today did not exist. Shows such as Adam Adamant Lives! suffered from its low budget and limited shooting schedule. But such limitations did not stop the series from becoming a popular cult favorite then and now.

   The creative world of British TV at the time was small and a look at the series’ credits reveal many familiar names, including Brian Clemens. (Yes, he was writing for The Avengers at the same time.) It is no surprise that the writing was one of the highlights of the series, featuring perfect Penny Dreadful plots with delightful dialog and action for the over the top characters. Producer Verity Lambert, who all ready had Doctor Who on her resume, knew talent and was one of the first to give a TV set designer named Ridley Scott a chance to direct.

   In Season One Adam would face a different villain each week. The action would begin with the villain or crime. Learning of it Adam would begin to investigate. He would order Miss Jones to go home. When he arrives to question those involved he would discover Miss Jones working undercover at the villain’s location. There was always at least one young beautiful woman who would betray Adam, who would remain convinced she was a victim and mislead.

   Gerald Harper played the Edwardian hero with Victorian tastes well, especially in the way he moved. Adam was disgusted with the modern world and convinced he was needed more than ever to fight evil. Adam never understood the sexual revolution. He revered women, certain each was a helpless delicate creature he must save. His determination to protect women’s innocence would often frustrate the weekly femme fatales. Adam rejected the modern karate style of fighting for old-fashion fisticuffs and his sword/cane. The London of 1902 was gone so Adam adapted by building his mansion on top of a car park. One modern convenience he accepted was the automobile and would drive around in a Mini, a car popular during the 60s in London.

   Juliet Harmer’s performance gave the series much of its youthful energy and look at life as an adventure to enjoy. Miss Jones was the typical modern young woman in London’s 1960s. Her fashion sense was often a source of criticism from her elders, be it too revealing or too male. Georgina grew up with her beloved Grandfather telling her the exciting adventures of Adam Adamant, and now her hero had come to life she was not going to let him go. Always upbeat, Miss Jones was difficult to discourage no matter how many times the villains tortured her, Simms insulted her and Adam ordered her to go home.

   Jack Dawson originally played Adam’s manservant Simms. But after he injured his back during rehearsals Dawson was replaced by Jack May. William E. Simms met Adam and Miss Jones during “Death Has a Thousand Faces” when the three were able to stop an evil plan to blow up the Golden Mile in Blackpool. Despite his mean spirited limericks and his constant insults to Miss Jones, James May was able to make the dour Simms likeable. Simms was happy to serve Adam but was most happy when he was not involved in a dangerous adventure. Dependable, capable if reluctant Simms often found himself teamed up with Miss Jones as they rushed to help Adam.

“Sweet Smell of Disaster.” Written by Robert Banks Stewart. Directed by Philip Dudley. Guest Cast: Charles Tingwell, Adrienne Corri and Pauline Munro. *** Adam discovers modern advances in laundry, advertising and a plot to take over the World.

   In the second season it was decided to give Adam an arch nemesis to fight every week. The only woman Adam had ever loved, Louise returned to Adam’s life. After over sixty years Louise was now an old woman. Sadly, she would betray him again as she helped revive The Face, the evil Mastermind and only man to have ever defeated Adam Adamant. The Face had used the same formula he had used on Adam and now was ready to return to his life of evil. The series had never resorted to subtlety and now with The Face and Adam set to do battle the series grew weirder with a growing feel of early hero pulps.

“A Sinister Sort of Service.” Written by Tony Williamson. Directed by Laurence Bourne. Guest Cast: T.P. McKenna, Frances Cuka, and David Garth *** A series of robberies lead Adam to a Nazi-like security company that uses a new computer to figure out crimes. Series final episode.

https://www.youtube.com/watch?v=mg1fUaooo_8

   The popular series lasted just two seasons and the cause of its cancellation remains a source of rumors and questions. Today only seventeen episodes of the twenty-nine survive. Hiding behind the absurdity of the series adventure premise was an attempt to look at how society was changing at the time. 1960s London was one of the most important centers for the growing youth culture and the “generation gap” that resulted.

   Adam’s rejection of the modern society, and Simms insulting Miss Jones like a disapproving Father while Miss Jones ignoring him like an independent daughter was something viewers could identify with. Adam Adamant Lives! remains a fun entertaining escapist adventure, but it also reminds us that during this time James Bond was replacing Sexton Blake, and young damsels were no longer willing to do as they were told.

   An out of print official (Pal format) DVD of the series can be found in the collector’s market. Most of my information came from the episodes and two documentaries on the series. Cult of… was a series on BBC Four that examined behind the scenes of old favorite TV series such as Adam Adamant Lives! The other was a TV special called This Man Is the One.

https://www.youtube.com/watch?v=hkZg-jpPg6I