THE WANDERER. Fingertip Film Production for Yorkshire Television, ZDF, and Antena 3, UK, 1994. Thirteen 60m episodes. Cast: Bryan Brown as Adam/Zachary, Tony Haygarth as Godbold, Kim Thomson as Princess Beatrice, Otto Tausig as Mathias and Deborah Moore as Clare. Created by Roy Clarke from an idea by Tom Gabbay. Executive Producers: Keith Richardson and Tom Gabby.

   This obscure fantasy with supernatural elements clothed in a road drama format lasted thirteen episodes. It was a European production (Yorkshire TV – British, ZDF – German, and Antena 3 – French) that was offered in U.S. syndication at least twice (according to Broadcasting & Cable) in 1995, but it may never have sold.

   The series starred Bryan Brown as twin brothers – good Adam and evil Zachary. The two brothers lived in the 10th Century during the first Millennium where they were locked in a battle between good and evil. Adam won the battle and killed Zachary.

   As the second millennium approaches, the brothers are back for a rematch. Adam’s memory of his past life is incomplete while Zachary remembers everything and demands Adam takes him to his grave. Adam can’t remember where the grave is so he wanders around searching for it, stopping to help others and frustrating the impatient Zachary.

   Each brother has allies. Adam’s most important ally is former 10th century Monk turn modern-day plumber Godbold. Mathis is rich Adam’s personal assistant who has no connection to Adam’s past. Along the way Adam saves Claire who is really his true love from the 10th century. Fearing for her life Adam continues to push her away, ordering her to leave him and live her new life without him. A modern day woman, she refuses to listen.

   Zachary also has an ally the magically gifted Princess Beatrice who a thousand years later remains upset that Adam had rejected her. The cliché over-the-top medieval Princess/witch spends much of her time keeping Zachary focused on the plan to kill Adam and take over the World.

   The Wanderer is flawed but watchable in a fun stupid TV sort of way. The acting is not a plus. Brown plays Adam as dull and clueless and Zachary as if he was comedy relief. The writing was at times lazy (sudden visions often guided our travelers). Nor did anyone seem to take the story seriously (Zachary is distracted from taking over the World by his desire to write and star in a musical for the stage). Writer Roy Clarke is best know for his comedy writing in such British series as Open All Hours and Keeping Up Appearance.

   YouTube currently has all thirteen episodes except for episode 1 and 6. Below are two examples: Episode 2 “Mind Games” and the series last episode “Knight Time.”

“Mind Games.” Witten by Roy Clarke. Directed by Terry Marcel. GUEST CAST: Alexander Strobele, Ann Kathrin Kramer, and August Schmolzer. *** As Adam wanders searching for where he buried Zachary, he helps a young woman accused of murder.

https://www.youtube.com/watch?v=GDFW7GofScw

“Knight Time.” Written by Roy Clarke. Directed by Alan Grint. GUEST CAST: Big Mick, Kenny Baker, and David J. Nicholls. *** The brothers fight at the site of Zachary’s grave. An incredibly annoying stupid ending that disappoints even those with the lowest expectations.

https://www.youtube.com/watch?v=t6lAEG5z_Xs

   The series has never been and unlikely ever to be released on DVD.

Guided by Voices was an American indie rock band based in Dayton, Ohio. “The Official Ironmen Rally Song” appeared on the album Under the Bushes Under the Stars (1996), their ninth overall. It featured what is considered their “classic” lineup, including Tobin Sprout, Mitch Mitchell, and Kevin Fennell in addition to principal songwriter and leader Robert Pollard. The group officially disbanded last year.

   I was informed by his son that Victor Berch died on Friday, October 30, 2015. He was 91. Victor is well known to many people in the collecting community and he will be sorely missed.

   Victor had a massive collection that filled his house from top to bottom.

   He collected dime novels and was well known among those collectors, being close personal friends with Edward Le Blanc and Ed Levy, of Charlton Publications.

   He collected paperbacks of every kind, including much early porn, having amassed large quantities of Greenleaf, Brandon House and Olympia Press pbs, as well as many obscure soft-core pbs from the early 60s. One of his specialties was Lancer Books and he had a massive collection of Lancer and all its companion imprints.

   He collected pulps. I first met him through pulp fan Will Murray. Victor had initiated a correspondence with Will and eventually, realizing that they both lived in eastern Massachusetts, they decided to meet for lunch. Will called me afterwards and told me what a fascinating person Victor was, so I expressed an interest in meeting him, too. When Will mentioned my name to him, Victor said “Is that the Ken Johnson who did the SF Pornography index?” and expressed a desire to meet me. Will brought him to my place and after admiring my somewhat modest collection and chatting about obscure bibliographic matters, Victor sat back and asked “So, what can I do to help you with your research?”

   This, I learned, was typical of Victor. He loved helping other people with their research and was always generous with his time and expertise. A few years back, some people researching Louisa May Alcott made a breakthrough in identifying the potboiler stories she had written at the beginning of her career. Eventually several books were compiled from these stories; it is my understanding that the final volume consisted entirely of stories located by Victor Berch.

   Victor was born in 1924. He served in the Merchant Marine in World War II. He graduated from Brandeis University with a Master’s Degree in Mediterranean Studies. In his course of study he learned to read and/or speak Spanish, French, Latin, Greek (ancient and modern), Russian, Arabic and Hebrew. I believe he could also read Egyptian Hieroglyphics. None of this prepared him for his professional career, however. In his wayward youth, Victor had been a book scout for George Gloss of the Brattle Book Store. It was that expertise that got him the job of Rare Book Librarian at Brandeis in 1966.

   Victor was married and had two sons. His wife Sarah died several years ago, of Huntington’s Disease.

   Victor had a health scare in 2007 and decided to begin disposing of his collection. A collector from New York bought all his dime novels and pulp magazines and wrote him a five-figure check. I got first crack at his paperbacks. He sold me his sleazy digest PBs at far below what he could have gotten for them on eBay, but he knew that I would put them to good use in my research. Bruce Black flew out from Illinois and bought 8 or 10 boxes of paperbacks, mostly porn. Even after that there was still a ton of stuff there and it took several more visits before I finally reached bottom. There was still so much stuff left that it hardly looked like anything was gone.

   Unfortunately, Victor fell down the stairs in 2008 and broke his hip. He was in rehab for a couple of months, then moved into an assisted living facility in Brookline. He never fully recovered and became less mobile over time. He never lost his enthusiasm for research, however, and continued feeding information to Al Hubin for his Crime Fiction updates.

   About 20 years ago Victor discovered that the Library of Congress had microfilmed a large amount of old magazines, including many early pulps. Through inter-library loan he had Brandeis borrow a huge amount of them and printed out the contents pages. He compiled a few indexes of short-run titles and published them in the Pulp APA but the bulk of them remained untapped. He passed them on to me when he started dumping his collection. For the last 6 years I’ve been slowly borrowing the same microfilms, annotating those contents pages, and sending the info to FictionMags. So in many ways Victor’s research efforts will continue to bear fruit for years to come.

   This hastily written tribute can barely express how much his friendship meant to me. I have gratefully acknowledged his help in all of my paperback indexes. I have become a better bibliographer from his example but my expertise still pales in comparison. He has inspired many of us to do better work, dig deeper, and leave no stone unturned in the pursuit of knowledge. He will be missed.

Editorial Comment:   I learned the sad news from Al Hubin in an email from him waiting for me when I got up this morning. I knew Victor was slowing down, but I heard from him several times over the summer, always cheerful and asking how I was doing. While his death wasn’t surprising news, it was still a shock, as it always is when someone you have called a friend for over 20 years passes away.

   Here’s a list of the projects and articles Victor did for Mystery*File over the years, some his own projects, some in collaboration with others, including myself. Some have needed some updating for a while now. The fault is mine, not Victor’s.

Pulp Author CHARLES W. TYLER, by Victor A. Berch.

MASTERPIECES OF MYSTERY: A Bibliographical Account, Presented by Victor A. Berch.

THE STORY OF ALLEN HYMSON, by Victor A. Berch & Allen J. Hubin.

INTERNATIONAL POLYGONICS, LIMITED (IPL): A Checklist of Publications
compiled by Victor A. Berch.

Victor Berch on ROBERT EDMOND ALTER.

More on Phyllis Gordon Demarest, from Victor Berch.

A NOTE ON THE WORD “DETECTIVE” by Victor A. Berch.

WHO WAS ARTHUR MALLORY? – A 76-Year Old Pseudonym Revealed, by Victor A. Berch.

MURDER CLINIC: Radio’s Golden Age of Detection, by Victor A. Berch, Karl Schadow & Steve Lewis.

A COMPLETE SET OF FINGERPRINTS: An Annotated Checklist of the Fingerprint Mystery Series published by Ziff-Davis, by Bill Pronzini, Victor Berch & Steve Lewis.

A Checklist of HARPER’S SEALED MYSTERY SERIES – Compiled by Victor A. Berch.

A Checklist of Aldine’s Tip Top Detective Tales, by Victor A. Berch.

JAMES DARK – Hong Kong Incident. Signet D2935, paperback original; 1st US printing, August 1966. First published in Australia as Assignment: Hong Kong by Horwitz Publications Inc., Australia, paperback, 1966.

   There were in all 16 recorded adventures of undercover spy Mark Hood, of which this is one of the earliest. The author of all but one of the Hood books, ostensibly James Dark, was J. E. Macdonell, who according to his Wikipedia page, “wrote over 200 novels, in at least 7 different series under several versions of his own name and several pseudonyms.” In Australia, where Horwitz was based, the Mark Hood books were published under Macdonnell’s own name.

   The gimmick for Mark Hood was that he worked undercover as an international playboy, as as such, according to the Spy Guys and Gals website, he was an expert in “Auto racing at Le Mans, karate competitions in Tokyo, sail fishing in the Bahamas, and, most famously of all, one of the greatest living cricket players in England.”

   This was the first one I’ve read, and in Hong Kong Incident, of the skills above, he shows off only auto racing (in Chapter One), plus karate or some other Asiatic fighting ability. I’ll have to take the other website’s word for it about any of the other talents.

   The reason he’s in Hong Kong is to be there where a Chinese dissident crosses the border and get him safely to Geneva. The first he does; the mission goes wrong when it comes to the second. Otherwise, of course, there wouldn’t be a story, which when it finally gets around to it, is about keeping a Chinese submarine from blowing up part of the American fleet. Before that the story takes place in a rice paddy, an ancient Chinese cemetery and a couple of exotic bars, with ladies in them to match.

   Dark is OK with short action scenes and quick descriptions of local countrysides. He’s not so good in placing the action in a grander scale: Dark seems to know Macao, Hong Kong, and Kowloon in particular, with China looming somewhere across the border, but to me, the setting was all one big jumble. His characters? One-dimensional at best.

   On the other hand, Dark’s other books, many written under Macdonnell’s real name, are naval adventures, and here he really seems to know what he’s talking about. The last third of this book would be grand stuff, I think, for fans of naval fiction, naval personnel, naval armament and the like. I don’t happen to be one, but I got by. Overall, I’m glad this one was only 128 pages long. I don’t imagine I’ll read another.

      The Mark Hood series —

Spy from the Grave, 1964. [No US edition; written by R. Wilkes-Hunter]
The Bamboo Bomb, 1965.

Come Die with Me. 1965.
Hong Kong Incident. 1966.
Assignment Tokyo. 1966.
Spy from the Deep. 1966, No US edition.

The Throne of Satan. 1967.
Operation Scuba. 1967.
Operation Jackal. 1967. No US edition.
Spying Blind. 1968.
The Sword of Genghis Khan. 1967.

The Invisibles. 1969.

Operation Ice Cap. 1969.
Operation Octopus. 1968
The Reluctant Assassin. 1970. No US edition.
Sea Scrape. 1971.

   Except where there was no US edition, all were published by Signet as paperback originals in this country. Dates are those of the US editions. (In some cases the US edition came before the Australian one.) Books published the same year are listed alphabetically, so this list may not be completely correct chronologically.

THE SPIDER WOMAN STRIKES BACK Universal, 1946. Gale Sondergaard, Benda Joyce, Kirby Grant, Rondo Hatton. Written by Eric Taylor. Directed by Arthur Lubin.

   A relic from the declining days of Universal’s Horror cycle, when they seemed to be making monster movies more from force of habit than anything else, this combines elements from their Sherlock Holmes series to little effect.

   The Spider Woman first appeared, fittingly enough, in The Spider Woman (Universal, 1944), pitted against Basil Rathbone’s Sherlock Holmes in a rather convoluted scheme whereby she gets men to sign over insurance policies to her cohorts, then drives them to suicide by having a pygmy (Angelo Rossito in blackface!) plant a poisonous spider in their bedrooms, and if that sounds a bit byzantine to you, just wait and see what she hatched for Strikes Back.

   Her minion here is played by Rondo Hatton, the legendary non-actor who first came to prominence in another Holmes film from ’44, The Pearl of Death, and in those days when Universal was crowding its monsters into things like House of Frankenstein/Dracula, it probably seemed like a sure bet to team him up with Sondergaard; too bad they couldn’t come up with some suitable deviltry for them to get into.

   Okay, so the story here is that Sondergaard lives in a creepy old house outside a farming community and she pretends to be blind so she can hire young girls as nurse/companions (the latest being Brenda Joyce, as the film opens) and slowly drain the blood out of them to feed to a poisonous plant, then have Rondo sneak out at night and feed some of the deadly vegetable to the livestock on nearby farms — you with me so far? Well the idea is that when the cattle die, the farmers will abandon their farms and then she can buy up the land at bargain prices.

   Oh, how the mighty are fallen. I mean back in the old days, Im-Ho-Tep was trying to revive his centuries-old beloved; Victor Frankenstein strove to create life, and the Invisible Man dreamed of World Domination. But all the Spider Woman can come up with is a Real Estate deal. The discerning critic can only say “Big Whoop,” and weep by the waters of Babylon.

   It doesn’t help either that this picayune plot unfolds at a near-imperceptible pace in a film remarkable only for the fact that no one really dies in it except (SPOILER ALERT!) the bad guys. The only casualties are cattle, leading me to wonder if this was in fact intended as a scary movie for cows.

   It certainly won’t do much for humans.

CREATURE WITH THE ATOM BRAIN. Columbia, 1955. Richard Denning, Angela Stevens, S. John Launer, Michael Granger, Gregory Gay, Linda Bennett, Tristram Coffin. Story & screenplay: Curt Siodmak. Director: Edward L. Cahn.

   This one starts right out in third gear as soon as the credits have been shown, with an obvious gangster being killed in his office — shown in silhouette his spine is being snapped by what’s apparently a dead man who has climbed through his window — and the story and the action never let up for the full run of the movie, some 70 minutes long.

   The next to die at the hands of one of these radio-controlled atomic-powered zombies (for that is what they are) is the District Attorney. What do the two victims, most definitely on opposite sides of the law, have in common? Will there be more? That’s the question that the head of the police laboratory, Dr. Chet Walker (Richard Denning), must answer, with the use of good logic and handy Geiger counters.

   One can easily forget that Denning did make a few movies of this type after being Mr. North for a while then becoming Mike Shayne for a while after that, finally ending up in the governor’s office on Hawaii Five-O. His youthful earnestness stood him in good stead in these 50s monster thrillers, I think, for those very reasons.

   This one was a lot of fun to watch, crisply filmed with solid plotting and lots of snappy action. A week later now, most of what I saw has started to disappear, noticeably so. Chinese food for the mind, I think.

EDWARD RONNS – State Department Murders. Gold Medal #117, paperback original, 1950. Reprinted several times including as by Edward S. Aarons, Gold Medal, paperback, 1970. Film: National Film Studios/United Artists, 1961, as Dead to the World.

   The year 1950 was a turning point in Ronns-Aarons’ career. In the 40s he wrote mysteries in hardcover for second- and third-rate publishing houses (McKay and Phoenix, respectively) but in 1950 he wrote five paperback originals, three for Gold Medal and two for Handi-Books, giving him a new start in life as far as his writing was concerned.

   This one is the second of three he did for Gold Medal that year. First was Million Dollar Murder (Gold Medal #110), which from the numbering must have come out only months before. Either he wrote very fast, or one or both (or all three) must have been finished or in the works when he found out about Gold Medal’s new line of paperback originals.

   This one is about Barney Cornell, a security officer assigned to the State Department who’s just faced a tough day of grilling before a congressional hearing and who’s about to be accused of being a traitor for selling secrets to the Russians.

   He’s innocent, of course, and as a last resort, he decides to confront the man who’s behind it all, one of those people in Washington who knows things about everyone who’d rather keep it hushed up. He’s ruined many lives in his career, and it’s no surprise that when Cornell reaches his mansion on the Maryland shore, he finds him dead.

   There’s no shortage of suspects, including Cornell, of course. As it happens, he’s been having an affair with the dead man’s wife. The affair is pretty much over, and to his surprise, it’s another young woman who comes to his assistance when he needs to make his escape from the house where the dead man lived.

   The end result is a fast-paced and well-described action thriller, but what it is, is a detective story, too — not one that will ever be remembered as one, though, since if you think about it all, I doubt that you’ll be surprised at all when the killer is revealed.

   And all the way through, I kept thinking that what I was reading might make for a pretty good movie as well. Come to find out, a movie was made of the book: one called Dead to the World. Copies of the film probably don’t exist any more, but I did find a photo of the poster. This was the only film made by National Film Studios, and with the totally unknown Reedy Talton playing Barney Cornell, I can imagine not a lot of money was spent in making it.

   Since the names of the characters were changed very little, though, it leads me to wonder if perhaps the story might not have been changed all that much from the book. It is hard to tell from the synopsis on the AFI page. They mistake the two women in Cornell’s life with the other, and they give away the name of killer, so viewer beware.

I WAS A TEENAGE WEREWOLF. American International Pictures, 1957. Michael Landon, Yvonne Lime, Whit Bissell, Barney Phillips, Guy Williams. Director: Gene Fowler Jr.

   I watched this movie last week — available only on collector-to-collector DVD — and I deliberately put off writing this review until now. I might have seen this movie back when I was in high school, but if I did, I found only the first five or ten minutes to be even remotely familiar. After that I remembered only nothing.

   And I was disappointed. The movie made its makers millions of dollar on only pocket change, and it’s a cult classic right up there with the best of them. And I was disappointed. What’s all the fuss about, I wondered. The acting is straight out of high school drama productions, and the story is stalled in first gear for most of the first half.

   The special effects are OK — i.e., the werewolf costume — but no better than that, and the story simply that of high school rebellion, if not incipient juvenile delinquency, both themes that were very common in second-rung movie theaters and drive-in’s of the day.

   Maybe you had to have seen it back then, I thought, and there’s probably some truth to that.

   But here it is a week later, and many of the scenes are still with me, vividly so — flashes of the movie here and there, even the parts that I thought were slow and unwieldy. The sudden outbursts of anger on the part Michael Landon as Tony Rivers, the teenager of the title. The smugness of Whit Bissell, as the town psychiatrist who thinks that Tony will make a good subject for his experiments in regressing patients to the past by means of a serum he has developed. The innocence and unwavering crush on Tony by Yvonne Lime as his high school sweetheart. The matter of factness of Barney Phillips as the police detective who handles the case in solid nuts-and-bolts Dragnet-style.

   Filmed for peanuts and against all of the odds, the men and women who made this movie somehow managed to trap lightning in a jar. It took me a while, but now I’m convinced. This one’s a classic.

Bipolar is a small jazz ensemble consisting of Jed Feuer on trumpet and flugelhorn, Craig Swanson on piano, Stephanie Long on saxophones, flute and piccolo, David Ostrem on bass, and James Windsor-Wells on drums. “Euphrates, Me Jane” is the title track of what I believe is their only CD (2009). To me the group seems to have the knack of sounding as though twice as many people are playing at any one time than there really are.