THE BIG KNIFE. United Artists, 1955. Jack Palance, Ida Lupino, Wendell Corey, Jean Hagen, Rod Steiger, Ilka Chase, Everett Sloane, Miss Shelley Winters. Based on a play by Clifford Odets. Director: Robert Aldrich.

   [This review follows that of director Robert Aldrich’s The Last Sunset, which you may find here.]   Too bad Aldrich couldn’t have worked similar magic with The Big Knife because he had all the elements: a corrosive play by Clifford Odets, edgy camerawork, and an off-beat cast: Rod Steiger; Ida Lupino, Wendell Core, Shelley Winters, Everett Sloane and Jean Hagen, all headed up by Jack Palance as Charley Castle, a talented actor (something of a stretch) who wants out of his contract and on to better roles.

   To be fair, The Big Knife has some nice stuff in it. There’s a neat dichotomy in Castle’s character: pampered and polished on the outside but inwardly rotting away.

   Rod Steiger is engagingly hammy, played off against the effortless ease of Sloane and Corey, but someone let the women go w-a-y over the top, and three really talented actresses come off as little more than caricatures.

   And then there’s the pace — or rather there isn’t. Knife is the kind of classic tragedy that needs fatalistic momentum; we should see Charley Castle’s destiny come careening at him in the course of a single day, like Oedipus.

   Instead, director Aldrich and adapter James Poe open Odets’ play out and let it meander around, a fatal mistake with material like this. It weakens the concentration a drama needs with characters like these, and we come away wondering who to really care about.

   Oddly, the one memorable characterization in the whole thing is Wendell Corey — never the most electrifying of actors — as lethal press agent “Smiley” Coy. When Smiley pours himself a drink and talks casually of killing off Shelley Winters you get a real chill. Which may be part of the problem: any movie where Wendell Corey is scarier than Jack Palance has its priorities twisted.

STIEG LARSSON – The Girl Who Kicked the Hornet’s Nest. Alfred A. Knopf, hardcover, May 2010. Vintage, trade paperback/mass market paperback, February 2012.

   It was a long wait, nearly eighteen months since I read The Girl Who Played with Fire, the second book in the Lisbeth Salander series, and I wasn’t sure how quickly I’d get up to speed on this one – which finally came out in paperback only late last month – beginning as it does exactly where the previous one left off, with Salander being flown into a hospital after being shot in the head and buried alive at the end of the other one.

   Or was it the other way around? Not that it makes a bit of difference as far as the situation she’s in.

   It should come as no surprise that she survives, but she does spend most of Hornet’s Nest recovering – and preparing herself for the criminal trial she faces as soon as she’s released, along with the threat of being returned to a mental institution and the “care” of psychologist Dr. Peter Teleborian, whom she well knows as being responsible for her previous confinement.

   She didn’t give in then, and she doesn’t give in now. She also has the unwanted (but not unneeded) help of journalist Mikael Blomkvist and his sister, attorney Annika Giannini. There is, in fact, an entire cadre of friends she has, some she knows about, others whom she doesn’t. But without a will of iron, she’d have been crushed long ago.

   The hornet’s nest that’s referred to in the title is the huge scandal that will erupt when her side of the story is told, one that goes to the highest echelon of the Swedish government and the biggest scandal in the country’s history. Worse than Watergate in the US? Perhaps.

   I don’t suppose that anything I may say will persuade you to read this book or not. If you read and enjoyed the first two books in the series, you will do as I did and start reading this one as soon as you come home from the store with it.

   If you found the first two books lacking and didn’t finish them, there’s no sense your reading this one. If you haven’t even started the first one, what are you waiting for?

   It may not to be your taste, and yes, there are flaws aplenty in Larsson’s writing, but on the other hand, there must be a reason for the success of this series, and I wish I could put my finger on it any more successfully than I have so far. All I can say to the naysayers, is that Larsson had the knack of telling a stories that will knock the socks right off your feet, if you allow it.

   Book three in the series is well over 800 pages long in paperback, and it took me two weeks of reading 30 to 50 pages a night – until I came to the last 250 pages, which I read in a very short two hour period without even getting up to stretch. This book is wicked good, the most entertaining book I’ve read in two or three years, and even more, (almost) all of the various threads of the plot are tied up very nicely at the end. Bravo!

W. GLENN DUNCAN – Rafferty: Poor Dead Cricket. Gold Medal, paperback original, 1988.

   Poor Dead Cricket is the third in a series about Rafferty, a Dallas private eye. Having propounded many of Lachman’s Laws myself, including the first, “Never read a book with a Swastika on the cover,” which Jon Breen once quoted in EQMM, I was glad to see that Duncan thinks similarly, and he gives many of Rafferty’s Rules, such as (#39) “Smiting the wicked sounds biblical, but mostly it’s just good clean fun.”

   So is this book, about a decent, albeit wise-cracking detective who gets involved in an environmental case similar to the one involving Karen Silkwood. Rafferty does an excellent job in reconstructing the character of Cricket Dawes, who is killed before the book begins, and he sorts out the good and bad people while nicely imparting the flavor of Texas and its speech.

       The Rafferty series —

Rafferty’s Rules (1987)    Film: Cinepix, 1992, as Snake Eater III: His Law.
Last Seen Alive (1987)
Poor Dead Cricket (1988)
Wrong Place, Wrong Time (1989)
Cannon’s Mouth (1990)

Fatal Sisters (1990)    [Winner, Shamus award, Best Paperback Original, 1991]

   Some of Rafferty’s Rules are listed here on the Thrilling Detective website. Here are a couple of good ones:

11. To feel really dumb, be a smart ass once too often.

16. When you can’t tell the bad guys from the good guys, it’s time to get the hell out.

AGATHA CHRISTIE – The Mysterious Mr. Quin. Collins, UK, hardcover, 1930. Dodd Mead, US, hardcover, 1930. Reprinted many times in paperback. Note that the Bestseller paperback, 1940, omits three stories. Film (from the short story “The Coming of Mr. Quin”): Strand, 1928, as The Passing of Mr. Quin.

   Mr. Satterthwaite, although 62 years old, is described as a dried-up man. (Views on age have changed over time.) He is wealthy, loves the good things in life, definitively British and is a keen observer of people. The last attribute increases with each encounter with Mr. Harley Quin.

   Mr. Quin is a gentleman of mystery: Is he real with supernatural powers, or Ms. Christie’s very own, and very different version of Holmes? Quinn was, in fact, Ms. Christie’s favorite character. In her autobiography, she describes him as “a friend of lovers and connected with death.”

   She does allude to the classic Harlequin in “The Soul of the Croupier” when Satterthwaite expresses surprise seeing Quin. Quin responds “It should not surprise you,” he said. “It is Carnival time. I am often here in Carnival time.”

   In general, I’m not a fan of short stories, but I find myself frequently re-reading these. I do love Satterthwaite’s line of “I can put up with vulgarity, but I can’t stand meanness.” The stories have a slight supernatural quality to them, but always with a logical explanation possible, and certainly to the solutions of the crimes.

   I enjoyed Christie’s perception of 1930s England as being multi-cultural and non-denominational, but wonder who true that was. What I most enjoy, however, is that each story stands alone and is intriguing and compelling on its own merit.

Rating:   Excellent.

   This is a list of the female licensed PI’s featured in American TV series only. We will save the amateurs such as Murder She Wrote ’s Jessica Fletcher, female spies such as Mrs. Smith in Mr. & Mrs. Smith, and female cops such as Samantha Spade in Without a Trace for other lists.

       THE LIST:

HONEY WEST (ABC 1965-1966). Based on a series of books by G.G. Fickling (Gloria and Forrest Fickling), the series starred Anne Francis as licensed PI Honey West. Honey West’s first television appearance was in Burke’s Law episode “Who Killed the Jackpot” (April 21, 1965).

MOST DEADLY GAME (ABC, 1970-1971) Yvette Mimieux played Vanessa Smith, one of three criminologists who worked together solving unusual murders.

CHARLIE’S ANGELS (ABC, 1976-1981) Charlie’s “angels” were female PIs Sabrina Duncan (Kate Jackson), Jill Munroe (Farah Fawcett), Kelly Garrett (Jaclyn Smith), Kris Munroe (Cheryl Ladd), Tiffany Welles (Shelley Hack), and Julie Rogers (Tanya Roberts).

REMINGTON STEELE (NBC, 1982-1987) PI Laura Holt (Stephanie Zimbalist) created a fictional male boss for her agency to attract clients who thought the idea of a female PI was too feminine. Then one day he walked in…

TUCKER’S WITCH (CBS, 1982-1983) Catherine Hicks as Mrs. Amanda Turker. PI and witch. See: https://mysteryfile.com/blog/?p=6805

PARTNERS IN CRIME (NBC, 1984) PI Raymond Caulfield left his agency to his ex-wives, proper brunette Carole Stanwyck (Lynda Carter) and fun loving blonde Sydney Kovak (Loni Anderson).

ME AND MOM (ABC, 1985) PI Kate Morgan (Lisa Eilbacher) solved crimes with her mom’s (Holland Taylor) help.

LEG WORK (CBS, 1987) Margaret Colin as former assistant district attorney turned PI Claire McCarron, who liked to live beyond her means in New York.

DIAMONDS (CBS Lste Night, 1987-1988) Married couple Christina Towne (Peggy Smithhart) and Mike Devitt (Nicholas Campbell) played PIs on a TV series. The series got cancelled and they got divorced. Later they decided to start their own PI agency.

SYDNEY (CBS, 1990) Sitcom starring Valerie Bertinelli as PI Sydney Kells.

BAYWATCH NIGHTS (Syndicated, 1995-1997) Ryan McBride (Angie Harmon) and Mitch Buchannon (David Hasselhoff) leave the beach to become PIs.

SNOOPS (ABC, 1999) PI agency owned by PI Glenn Hall (Gina Gershon). The staff featured Dana Plant (Paula Marshall), Roberta Young (Paula Jai Parker) and token guy Manny (Danny Nucci).

WILD CARD (Lifetime, 2003-2005) Zoe Busiek (Joey Fisher) teamed up with Dan Lennox (Chris Potter) as PIs for an insurance company. Rae Dawn Chong played PI Sophia Mason in the first season.

VERONICA MARS (UPN 2004-2006) (CW, 2006-2007) Veronica (Kristen Bell) was a student and part time PI in her father’s PI agency.

SEX DECOY (Fox Reality, 2009) Reality series with PI Sandra Hope. She and her operatives entrap cheating husbands for our viewing pleasure.

THE GOOD WIFE (CBS, 2009–present). Law drama. PI Kalinda Sharma (Archie Panjab) works for the law firm Lockhart Gardner.

CHARLIE’S ANGELS (ABC, 2011) Remake with new “angels,” Kate Prince (Annie Ilonzeh), Eve French (Minka Kelly), and Abby Sampson (Rachael Taylor).

       PI or Not PI:

KHAN (CBS, 1975) PI Khan (Khigh Dhiegh) was helped by his two college aged children, a son, and his criminologist student daughter Anna (Irene Yah-Ling Sun).

MOONLIGHTING (ABC, 1985-1989) Model Maddie Hayes (Cybill Shepherd) was horrified to discover she owned the Blue Moon detective agency. The agency employed one PI, David Addison (Bruce Willis). David and Maddie solved crimes and found ways to drive up each other’s blood pressure.

EYE TO EYE (ABC, 1985) PI Oscar Poole (Charles Durning) teams up with ex-partner’s young sexy daughter, Tracy Doyle (Stephanie Faracy).

TOTAL SECURITY (ABC, 1997) High-tech security firm with large staff including Jody Kiplinger (Debrah Farentino) and Ellie Jones (Tracey Needham).

V.I.P. (Syndicated, 1998-2002) Pamela Anderson plays Vallery Irons, the “Remington Steele” of bodyguards. While the public believes Vallery is the world’s greatest bodyguard, it is her staff that does all the work. The staff included ex-spy Tasha Dexter (Molly Culver), Nikki (Natalie Raitano) weapons expert, Kay (Leah Lail) computer expert, and Quick (Shaun Baker) marksman and ex-boxer.

THE HUNTRESS (USA, 2000-2001) Dorothy “Dottie” Thorson (Annette O’Toole) and her daughter, Brandi (Jordana Spiro) ran a bounty hunting business.

EYES (ABC, 2005) Harlan Judd (Tim Daly) ran a high-tech investigation firm. The female members of the staff included Nora Gage (Garcelle Beauvais), Meg Bardo (A.J. Langer), Leslie Town (Laura Leighton), and Trish Agermeyer (Natalie Zea).

   Did I miss anyone?

   I recommend the Thrilling Detective website as a good place to look, especially this page: https://www.thrillingdetective.com/tveyes.html

   Other sources include the usual “suspects”: IMDB.com, TV.com, and Complete Directory to Prime Time Network and Cable TV Shows, 1946-Present, by Tim Brooks and Earle Marsh (Ballantine, Ninth edition).

MARCIA BIEDERMAN – Post No Bonds. Scribner’s, hardcover, 1988. Penguin, paperback, 1989.

   Marcia Biederman makes her second excursion into our precincts with Post No Bonds. Phil Stark is a bail bondsman in Massachusetts. His wife Grace wants to redo the house, but Phil’s business is not flourishing. Grace’s attempts to improve Phil’s competitive position bring the law down around his neck, so he transfers the business and assets to Grace and tries selling insurance.

   Grace is a no-nonsense, middle-aged type, fully capable of larceny and pulling triggers in a good cause. The good cause shortly presents itself: she bails a drug dealer, who skips, leaving Grace holding a $30,000 bag. Attaching herself to Darcy, the dealer’s market analyst cum bedmate, Grace sets out to get her investment back. An amusing and inventive tale.

Bibliographic Data:   For some reason I thought Grace Stark was a recurring character, but not so.   [Footnote.]   Marcia Biederman wrote only three novels before leaving the field of crime fiction:

       The Makeover. Academy Chicago, 1984.
       Post No Bonds. Scribner, 1988.
       Sismo. Walker, 1993.

   One other online review of Post No Bonds is very positive, saying in part: “Pledging her condominium as collateral for Heywood’s bond is his girlfriend Darcy, who also teams with Grace to bring in Heywood. They make an effective, unorthodox pair of amateur sleuths. […] The incongruity of finding a housewife such as Grace Stark in such places gives the book much of its humor. Armed with a pistol and a bulletproof raincoat, Grace proves to be surprisingly resourceful and tough enough to hold her own. Added fun comes from the interplay between the incompatible Grace and Darcy.”

   Makes one wish that there was another book telling of their adventures.

[Footnote.]   Now I remember. The cover of the hardcover edition states:   “A Mystery Introducing Grace Stark.”

THE BLACKBIRD. MGM, 1926. Lon Chaney, Renée Adorée, Owen Moore, Doris Lloyd. Director: Tod Browning. Shown at Cinevent 35, Columbus OH, May 2003.

   I had seen this film a few years ago, but the Chaney-Browning combination is always a pleasure to revisit. Chaney plays two brothers, one a crippled preacher (The Bishop) who succors the wayward inhabitants of Limehouse, the other a criminal mastermind (the Blackbird), who is the antithesis of the saintly Bishop.

   Chaney’s masterful dual portrayals are well supported by Moore, Adorée and Lloyd, in a complex of relationships that complement Chaney’s Jekyll/Hyde roles. The beginning is particularly striking as it displays a series of close-ups of Limehouse characters, immediately establishing the grotesque strain that is developed in Chaney’s characterizations.

Editorial Comment:   Shown in the photo image above are the three stars of the film, Lon Chaney, Renée Adorée, and Owen Moore. The movie has been shown on TCM; whether recently, I do not know.

MARCH EVERMAY – They Talked of Poison. Macmillan, US, hardcover, June 1938.

   On Wednesday nights during the academic season, Harry Curry, professor of sociology at Penfield University, delivers his criminology lectures at his home. Afterwards, Curry’s wife serves refreshments, of which the family dog usually partakes. After one session the dog dies suddenly, possibly the victim of poison. Later that night one of the attendees, the Rev. Dr. Perley, is found dead in his car in Curry’s garage; his death, however, is deemed natural.

   Perley’s daughter has made a bad marriage to a writer of awful — in the literary sense — semipornography, in unthinking reaction after Perley had told her she could not marry a divorced doctor. Shortly after her father’s death, she commits suicide. Or so it seems until Curry’s niece, who is the narrator here but appears to have no personality, spots an anomaly.

   This is a very complex and leisurely case, with interesting characters, especially the clergyman’s wife, who fears what the congregation will think and may have murdered both her husband and her daughter for that reason. For nearly fifty pages the police detective explains who didn’t do it before he reveals who did do it, but the time is well spent by the reader who wants his or her money’s worth.

      BIO-BIBLIOGRAPHIC DATA —

   According to Hubin, March Evermay was the pen name of Mathilde Eiker, 1893-1982. She wrote one other work of detection fiction, This Death Was Murder (Macmillan, 1940), also with Inspector Glover, whom Bill seems not to have mentioned by name.

   A one-line summary of the Kirkus review of this book: “Baltimore is the setting for the detailed unravelling of crimes solved more satisfactorily for the group than for the reader.” The one in Saturday Review is more favorable: “Almost unguessable riddle…”

   The bad news is that here is, when last I looked, about five minutes ago, only one copy of this book offered for sale online. You can find it on Amazon from a third party seller for a mere $325.

   [When you think of Old-Time Radio, what program is the first that comes to mind? I’ll bet most people, at least those over a certain age, will say one of the following: The Lone Ranger, The Shadow, or even The Jack Benny Program.] To some minds old radio has become nearly synonymous with top-notch horror shows, and Lights Out has a reputation in this regard second to none.

   I happen to think that the series as a whole is largely overrated, but then again there were a few prime examples of creepy crawly midnight chills on that series, real chillers that stay longer in the memory than those of other similar shows, and somehow they seem to make up for all the dull rather uninspired episodes that everyone manages to forget.

   The theme of “Superfeature” the show broadcast on April 6, 1943, is a good one. According to Arch Oboler’s introduction, the most frightening thing in the world is the everyday object suddenly no longer seen or heard in its commonplace form. The familiar unfamiliar. The shutter banging in the wind. The cat at night staring at you with suddenly gleaming eyes.

   Even motion picture projectors. You don’t get to see the show that the two backwoods entrepreneurs put on to bring the spice of life to audiences of country bumpkins, with ulterior motives, but you can certainly imagine it from the reactions of the crowd. The finale of their repertoire is a monster flick, that mysteriously comes to life, later, after the projector has been turned off. And what we learn then is how this pair of crooks finally get what’s coming to them.

   It ends with a scary manhunt through a swamp — scary, that is, if your imagination is capable of believing the huge dose of hokum that’s the whole basis of author Arch Oboler’s story.

   So … why did I leave the lights on? I’d have to admit that listening to a man drown before my ears is something that could keep a more sensitive person awake for a good long while afterward. You could build quite a reputation for a show based on the sound effects alone.

   And only incidentally, I’m also glad to say that I’ve finally discovered what Ironized Yeast was used for.

Editorial Comment:   Follow the link above to listen to this particular episode yourself. A complete log for Lights Out can be found here.

NORBERT DAVIS – The Mouse in the Mountain. William Morrow, hardcover, 1943. Handi-Books #40, paperback, 1945, as Dead Little Rich Girl. Rue Morgue Press, trade paperback, 2001.

    Norbert Davis was a mystery writer who entered the scene in the early 30s with a story in Black Mask magazine entitled “Reform Racket” (June 1932). He managed to switch to the slicks such as Collier’s and The Saturday Evening Post, had a couple of detective novels published in hardcover, then one in paperback, and suddenly the bottom seemed to have fell out of the market for him. He committed suicide in 1949 when he was only 40 years old.

    This is the first of the three novels, all featuring the detective “team” of Doan and Carstairs. Doan is a little mild fat man who is also a private eye. According to his description on page 3:   “He looked like a very nice, pleasant sort of person, and on rare occasions he was.” Carstairs, his friend and constant companion, is an enormous Great Dane.

    Doan and Carstairs are in Mexico in this one, on a mission consisting (according to common knowledge) of finding and convincing a fugitive from the United States to stay in Mexico and not come home to bother a certain group of politicians who would rather certain activities remain unknown.

    “Common knowledge” may or may not be correct, as I’m sure you realize, and therein likes the story. What is most remarkable about Norbert Davis and his style of writing is how funny the story is, and how quickly the comedy can change into sudden violence.

    To reach the village of Los Altos, for example, Doan must take a sightseeing bus loaded with other typical American tourists, including the rich heiress to a flypaper company and a family with one of the brattiest kids this side of the comic strips. The laughter stops, however, at least momentarily, when they arrive and within minutes Doan must shoot an escaped fugitive in the mouth. Within days many more funny incidents have occurred, and so have several more deaths (not including the earthquake).

    It’s a top notch job of writing. Even though the plot itself is a little thin, it’s hard to complain about that. Davis makes writing seem so easy that anyone could do it, but if that were so, why can’t everybody write a novel that goes down as smoothly as this?

       The Doan & Carstairs series —

The Mouse in the Mountain. Morrow, hc, 1943.
Sally’s in the Alley. Morrow, hc, 1943.

Oh, Murderer Mine. Handi-Books, pb, 1946.

    A long article about Norbert Davis and one of his enthusiastic readers, philosopher Ludwig Wittgenstein, appears here on the main Mystery*File website. Following the article are several home photos of Davis and a complete bibliography, including his short fiction.