WHODUNIT MYSTERY MAGAZINE – September-October 1967. Editor: Douglas Stapleton. [This was the only issue to be published.] Overall rating: **

BURT MacDOUGALL “The Hostage.” A bank robber uses a fake little old lady as a hostage. Good ending; indifferent writing. (3)

MARY LYNN ROBY “The Practical Way.” A woman is pressured by he daughter-in-law to go modern. Done better by others. (2)

PHELPS GOODHUE “Assassin!” Plot to assassinate Lincoln fails, as does this story. (1)

DOUGLAS & DOROTHY STAPLETON “Ransom for a Rogue.” Novella. Three crises occur for protagonist Douglas Stapleton, each one of which is crucial to the life of a kidnapped boy. The reader shares these crises and has the chance to make his own decisions. Alternate story passages follow, scattered throughout the magazine. I got all three correctly, but they were not difficult, and the story is rather contrived to fit them in, Clever, but otherwise not much. **½

CAROL ARCHER STURMOND “Cheat the Devil.” Willie thinks he has the devil trapped within his pentagram but makes a bad bargain anyway. Usual bit. (2)

EMMANUEL BROZ “It’s the Details That Count,” Bank robber poses as policeman sent to stop robbery. Ending from thin air. (1)

K. S. L. STEELE “The Final War!” Sneaky story about the beginning of World War I. (3)

MICHAEL BRETT “The Seeds of Destruction.” After getting beaten up three times by bully, kid gets revenge. (2)

MARY LYNN ROBY “Pest Control.” Scientist must decide between wife or pet cat. Poor guy. (1)

THOMAS BRADLEY “Love Me, Mama!” Kid falls from tree but doesn’t know he’s dead. (2)

CATHERINE AIRD – Passing Strange. Sloan & Crosby #9 [of 28]. Collins, UK, hardcover, 1980. Doubleday/Crime Club, US, hardcover, 1981. Bantam, US, paperback, 1982.

   In the same category as Mary Fitt of a generation earlier, Catherine Aird is another writer whose works others have been praising highly to me. If this latest book of hers is typical, however, once again I am dense, and I fail to see what the shouting’s all about.

   The detective in most of her books is Inspector Sloan, of the Criminal Investigation Department of the Berebury Division of the Calleshire Force. Here he investigates the death of the village nurse, by strangulation, at the annual Almstone Flower and Horticultural Show, a gala event in this section of Britain. At stake is the proper identification of a would-be heiress to a large estate, but what it is that provides Sloan with the key to the killer is a tray laden with food and the matter of the labels that were switched on the show’s prize-winning tomatoes.

   In terms of loving portrayals of rural English eccentricities, I was reminded at first of Edmund Crispin’s tales of the redoubtable and resourceful Gervase Fen, but Aird’s brand of wackiness soon turned significantly more cynical, and its charms were eventually lost in the clutter of tediously interchangeable village people.

   While the story is competently told, it simply lacks the appearance of striving for any particular heights. There are a few sparks of wit that are struck, but they never seem to catch fire. The whole affair is already fading badly from memory, and by the time another month rolls around, I suspect it will have been all but forgotten.

Rating: C plus.

THE TRIAL. Astor Pictures Corporation, France, 1962, as Le procès. Astor Pictures Corporation, US, 1963. Anthony Perkins, Jeanne Moreau, Romy Schneider, Akim Tamiroff, Orson Welles. Based on the novel by Franz Kafka. Written and directed by Orson Welles.

   Anthony Perkins (in a post-Psycho role) portrays Josef K. or just K. in Orson Welles’s cinematic adaptation of Frank Kafka’s novel, Der Prozess. K. is a mild mannered clerk. He is somewhat neurotic, but not overtly so. One day, out of the clear blue sky, two government agents – police – arrive in his apartment at dawn and notify him that he’s been arrested.

   His crime? They won’t say. In fact, throughout the running time of the entire film, neither K., nor the viewer, will learn what it is that K. has been accused of. As such, the movie becomes a parable about a singular man – an “everyman” – facing impossible odds in a cold, bureaucratic state that deems him as an enemy for reasons never revealed.

   Filmed in a stunning black & white that relies heavily on elements of both German Expressionism and film noir, this paranoid, nightmarish thriller is a Welles creation through and through. Not only did Welles write and direct the work, he also starred in it as Albert Hastler or The Advocate. An obese man with health issues, The Advocate is a womanizer and a scoundrel. He is supposed to be taking K.’s side in the proceedings, but seems little interested in justice and far more in power for power’s sake.

   During his nightmarish journey, K. encounters an array of oddball characters, including his nightclub-dancing neighbor (Jeanne Moreau) and The Advocate’s assistant/sometime lover, Leni (Romy Schneider).

   In many ways, however, the people he meets seem less important than the places where he meets them. The set design and on location settings are spectacularly haunting; there is simply no way to adequately verbally describe what must be seen. What must be felt. The German Expressionist influence here can’t be overstated.

   Despite its downbeat mood, I enjoyed watching The Trial immensely. Sometimes scenes don’t work at all. But that’s okay. It’s a bold work of film-making and deserves your attention. Perkins was perfectly cast here.

ROSS MACDONALD – Blue City. Alfred A. Knopf, hardcover, 1947, published under the author’s real name, Kenneth Millar. A shortened version was serialized in the August and September 1950 issues of Esquire. Dell #363, paperback, 1949? Reprint paperback editions are plentiful, most often published by Bantam under the pen name Ross Macdonald. Film: Paramount Pictures, 1986, with Judd Nelson, Ally Sheedy. (See comment #4.)

   Another tale of a son seeking revenge for his father’s death. Johnny Weather returns to an unnamed Midwestern city after the war to discover that his father, one of the town’s crooked bosses, had been shot and killed two years earlier.

   It is the idealism of war versus the realities of city life, with its political corruption sanctioned by anti-union big business, that drives Johnny against the powers that have covered up the murder. His activities soon stir up a great deal of reaction, including a couple of particularly bloody murders, before he finds how far ambition can drive a man to guilt.

   A mayor running on a campaign of reform has found that ends often are confused with means, and convinces himself that murder, or rather assassination, can be justified.

   Weather comes on strong, though he did not really acre for his father, and it is this over-aggressiveness that is a bit too much to absorb. In the background, life is described as it went on after the war, in one of MacDonald’s earlier stories.

Rating: ****½

CELIA FREMLIN – The Hours Before Dawn. Lippincott, hardcover, 1958. Dell D-422, paperback, 1966. Academy Chicago Publishers, softcover, 2005. Dover Publications, paperback, 2017.

   Celia Fremlin has the unusual ability to take a perfectly normal, if not mundane, situation and create an atmosphere of sheer terror. The Hours Before Dawn, which won an Edgar for Best Novel of its year, introduces us to Louise Henderson, a sleep-starved young housewife with a fretful new infant that is causing complaints from both her family and neighbors.

   The only person who doesn’t complain is Miss Vera Brandon, the boarder the Hendersons have recently taken in. In fact, Miss Brandon is so self-effacing and quiet that at times the Hendersons don’t even know she is in the house.

   Soon the boarder’s actions begin to arouse Louise’s suspicions, and she finds herself doing all sorts of things she has never done before — attempting to search the woman’s room, contacting total strangers for information about her, and finally taking the baby for a nocturnal stroll in his pram, only to fall asleep and lose him in a park.

   The author skillfully weaves truly frightening events into Louise’s daily routine of meals, housecleaning, and childcare, and her superb characterization has the reader thoroughly on Louise’s side — and just as terrified as she is — by the time the story reaches its surprising conclusion.

   Other Fremlin titles of note: Uncle Paul (1960), Prisoner’s Base (1967), The Spider-Orchid (1978), With No Crying (1981).

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   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

NATIONAL TREASURE. Walt Disney Pictures, 2004. Nicolas Cage, Diane Kruger, Justin Bartha, Sean Bean, Jon Voight, Harvey Keitel, Christopher Plummer. Director: Jon Turteltaub.

   National Treasure was released about twenty years ago. I’d heard of it, of course. But never took the time to watch it as I always thought it was going to be merely a shallow imitation of the Indiana Jones franchise. I was wrong. Although the film has its myriad flaws and lacks grit, this Nicholas Cage vehicle is definitely its own thing.

   For those unfamiliar with the basic premise, Cage stars as Benjamin Franklin Gates, an early American historian and adventurer who decides to steal the Declaration of Independence from the National Archives. Why? Because he’s convinced it’s got an invisible treasure map on the back, one that would lead to the Templar Knights’s war spoils.

   Along for the ride are Gates’s sidekick, computer expert Riley Poole (Justin Bartha), and Dr. Abigail Chase (Diane Kruger), an archivist and Gates’s nascent love interest. Opposing the intrepid trio are Ian Howe (Sean Bean), a criminal who wants the treasure for himself and FBI Agent Sadusky (a somewhat miscast Harvey Keitel). Then there’s Gates’s father, Patrick Henry Gates (Jon Voight), a disillusioned old man who no longer believes there’s a national treasure to find. He’ll eventually change his mind.

   There’s something very childlike and innocent about National Treasure, which makes sense given that the movie was released by Walt Disney Pictures. But there’s plenty to admire about a film that tells a story, sticks to it, and never cheats the audience. Just because the critics didn’t particularly like this one doesn’t mean you can’t. Overall assessment: goofy, watchable fun with a cast committed to the bit. You don’t have to feel guilty if you like it.

PIERS ANTHONY & ROBERT E. MARGROFF – The Ring. Ace A-19, paperback original; 1st printing, 1968. Published as part of the Ace SF Special series. Cover art by Diane Dillon and Leo Dillon. Tor, paperback, 1986.

   A flawed Utopia, with a machine acting as conscience and punishment for wrong-doers; crime is rampant on Earth, although need is theoretically abolished – indeed crime is licensed through Vicinc, and inflation takes its usual toll from the average man. High-minded theory vs. ugly reality.

   This is the world Jeff returns to from the stars, with dreams of revenge against his father’s former business partner who was the cause if his father’s exile from Earth. But Jeff is caught before he can carry out his plans, tried, convicted, and sentenced to be ringed.

   The ring is an instrument of the Ultra Conscience, painfully enforcing firm ethical standards, But there are degrees if honesty, and the ring can be bio substitute fir human judgment: the concept of self-defense is not recognized, making the ringer the target for universal criminal attack. How can a truly ethical system be formalized as law? Is the ring the only answer? The ring can be effective with the proper programming. But who does the programming?

   Meanwhile, Jeff struggles within the restrictions of the ring to avenge his father, but he discovers he does not know the whole truth. Exciting, suspenseful writing. With imagination providing for a future society which is easily extrapolated from our own. Since the characters are easily translated to those of Tennyson, it is no wonder they interest the reader so deeply.

Rating: *****

R. AUSTIN FREEMAN – The Singing Bone. Hodder & Stoughton, UK, hardcover, 1912. Dodd Mead, US, hardcover, 1923. Popular Library, US, paperback, as The Adventures of Dr. Thorndyke. Reprinted many other times.

   The Singing Bone consists of five novelettes, averaging a bit over fifty pages each: “The Case of Oscar Brodski,” “A Case of Premeditation,” “The Echo of a Mutiny,” “A Wastrel’s Romance,” and “The Old Lag.” Though the final story is fairly routine, Freeman broke new ground with the first four and invented the “inverted” detective story.

   Each of the tales is told in two parts of about equal length. In part one, “The Mechanism of Crime,” as it is subtitled in the first story, we actually see the crime committed and are furnished with all the facts that could be used in solving it. In part two, “The Mechanism of Detection,” we follow Dr. Thorndyke as he investigates the crime, finds the clues, and finally solves it.

   Although the classic question ‘Whodunit?” is necessarily absent for the reader, there is a challenge of a sort to match wits with the detective and spot the clues in advance.

   The inverted form has never been popular in fiction, although Freeman used it in three more stories and two novels, and the popular television series “Columbo” did very well by it for several seasons. Perhaps the secret was that Peter Falk’s Sergeant Columbo was a far more interesting character than Dr. John Thorndyke. whose microscopic examinations lack the flair and showmanship of Sherlock Holmes. Still, the stories in The Singing Bone deserve rediscovery, especially “The Echo of a Mutiny,” which is probably the best of them, with its atmospheric setting in a lighthouse.

   Dr. Thorndyke was first introduced in the novel The Red Thumb Mark (1907), notable for its first use of fingerprint forgery in detective fiction. The collection John Thorndyke’s Cases (1909) features eight conventional detective stories and is especially noteworthy for “The Blue Sequin” and “The Aluminum Dagger.”

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   Reprinted with permission from 1001 Midnights, edited by Bill Pronzini & Marcia Muller and published by The Battered Silicon Dispatch Box, 2007.   Copyright © 1986, 2007 by the Pronzini-Muller Family Trust.

THE HUNTER. Paramount Pictures, 1980. Steve McQueen (Papa Thorson), Eli Wallach, Kathryn Harrold, LeVar Burton, Ben Johnson. Director: Buzz Kulik.

   Steve McQueen, in his final movie role, portrays bounty hunter Ralph “Papa” Thorson, a towering real life figure whose unorthodox career choice was the source material for The Hunter. The movie is very much a mix of action, drama, and romance, with plenty of time devoted to Thorson’s relationship with his pregnant girlfriend, Dotty (Kathryn Harrold).

   As far as the aforementioned action sequences, they are probably the best part of the film. We get to see McQueen drive a combine harvester while chasing outlaws; fight bare-fisted with a sheriff’s nephew who skipped bail; and chase a vicious killer through Chicago, with a particularly breathtaking scene taking place on a train. Literally.

   The glaring problem that The Hunter has is similar to the flaw found in many biopics. The writers simply don’t choose a good entry point into the story. Here, it takes nearly thirty minutes for the movie to find its legs. There’s a lot of effort devoted to showcasing Thorson’s eccentricities, such as his love of classical music and old vintage toys.

   Which is fine. But not as the expense of introducing a primary antagonist early on in the running. (Eventually, there is a primary villain: an ex-con who blames Thorson for being sent away to prison.)

   Overall assessment: in many ways, the movie feels more like a TV pilot tasked with introducing a character than a comprehensive feature film with a solid plot. But there’s plenty of good stuff in here too. Eli Wallach being one of them.