THE CRIMSON CANARY. Universal Pictures, 1945. Noah Beery Jr., Lois Collier, John Litel, Steven Geray, Claudia Drake, Danny Morton, Jimmie Dodd, Steve Brodie, John Kellogg, Arthur Space. Josh White, the Esquire All-American Band Winners with Coleman Hawkins, Oscar Pettiford. Director: John Hoffman.

   Even though I love old B-movies, especially old B-for-budget detective films, I have to admit that most of the time I’m disappointed. Noir films made for the same amount of money got by on atmosphere. Detective films of the 1930s and 40s of the punch-them-out variety may have had atmosphere, but most of them don’t hold up as detective fiction.

   The Crimson Canary is one that does, more or less, making it one of the “good” ones. Not one up to the standards of a Agatha Christie or a John Dickson Carr, but in comparison to its competitors, Canary stands out like an upraised thumb.

   But atmosphere? That it’s got, and more. Noah Berry Jr. heads up a group of wartime buddies in a jazz band, and boy do they swing. Strictly small time stuff, stuck in a small town nightspot, but good enough to have hopes – and to have a good looking vocalist flirt with all the guys, and with Danny Brooks (Beery) with a steady girl friend yet.

   When the girl’s found dead in a back room, the guys take it on the lam – joining up when the coast is clear, they think – but it’s not, not with a jazz-loving police detective (John Litel) breathing down their necks and watching every move they make.

   The music is great, and the detective end of things (as I said up front) good. The only flaw is that there’s only a very limited number of suspects. In 64 minutes, with 20 of them taken up by musical numbers (my very rough estimate) there simply isn’t time enough to introduce anyone else who could have done it.

   Highly recommended for fans of jumping and jiving 1940s pre-bop jazz.

Note: From the AFI page: “…the musicians who dubbed the quintette were Nick Cochrane and Eddie Parkers, trumpet; Stan Wrightsman, piano; Barney Bigard, clarinet; King Guion, tenor sax, and Mel Tormé, drums. Coleman Hawkins was supported by Howard McGhee, trumpet; Sir Charles Thompson, piano; Denzil Best, drums; and Oscar Pettiford, bass.” Check out this two minute clip from YouTube.

R. A. J. WALLING – Marooned with Murder. Morrow, hardcover, 1937. UK edition published as Bury Him Deeper, Hodder & Stoughton, hc, 1937.

   R. A. J. Walling, a British journalist and newspaper editor who began writing mysteries as a hobby in his late fifties, received a good deal of acclaim during his time. (His first book was published in 1927, his last posthumously in 1949.)

   The New York Times stated in 1936 that Walling had considerable skill in weaving mystery plots; the Saturday Review of Literature decided that he wrote suavely baffling stories; the eminent critic Will Cuppy said of one of his early novels that it was “absolutely required reading.”

   This reviewer couldn’t agree less.

   In the first place, Walling wrote some of the dullest mysteries ever committed to paper; it may even be said that he elevated dullness to a fine art. And in the second place, his series sleuth, private inquiry agent Philip Tolefree, is a twit.

   He says things like, “You’re a vandal, Pierce. You’ve feloniously broken into my ivory tower. Never mind. I’d have been bored in another half hour. How’d you find me out? Sit down, my dear fellow. Cigarette? Pipe? Well, carry on. What’s the trouble now? Or did you come for the sake of my beautiful eyes?”

   He is also fond of quoting obscure Latin phrases, treating his sometime Watson, Farrar, as if he were an idiot, and withholding information from everyone including the reader.

   Although Tolefree operates out of a London apartment, most of his cases seem to take him into the countryside. He solves them in the accepted Sherlockian manner of detection and deduction, using an inexhaustible fund of knowledge both esoteric and ephemeral.

   Another reason he is so successful at unmasking murderers is his familiarity with such matters and motives as skeletons in closets, hidden relationships, peculiar wills, strange disappearances, and Nazi infiltrators, since nearly all his investigations seem to uncover one or any combination of these.

   Marooned with Murder is no exception; its central plot points are hidden relationships and a strange disappearance. It begins well enough, with a dandy premise: Tolefree and Farrar, on a holiday in the Scottish Highlands, decide to rent a boat and sail her out of one of the fjordlike lochs into the Atlantic.

   A sudden storm shipwrecks them on the tiny island of Eilean Rona, where they are rescued by the lord of the isle, Martin Gregg; artist Bill Parracombe; and two odd and fiercely loyal Scotsmen, Fergus and Jamie. Also staying at the island’s ancient castle for the summer are Gregg’s wife and small son, and the boy’s governess.

   The storm continues to batter Rona, preventing any of them from leaving. A chance remark by Farrar, about a retired sea captain he knows named Strachan who lives over on the mainland, for some reason seems to frighten everyone; so does the remark that Tolefree is a detective.

   It soon becomes clear that Strachan had been hunting lost treasure on the island and disappeared one foggy Sunday three months before, along with his boat and a mysterious companion; and that the inhabitants of Rona know something about that disappearance and are desperate to protect their guilty knowledge.

   So far, so good. But Walling spoils the stew by interminable passages of cat-and-mouse dialogue, annoying cryptic remarks from Tolefree, and a lot of rather silly running around. He also lets the reader know early on that Tolefree and Farrar do not fear for their lives; they think their hosts are all swell people, even though one of them may be a murderer.

   The result is plenty of mystery but no menace and therefore no tension. And the mystery isn’t satisfying, either, when its rather predictable solution is revealed.

   Walling has been called (by his publishers) “the foremost exponent of the seemingly ‘quiet’ mystery, the civilized story with … excitement and drama seething below the surface.”

   Readers who don’t find that a euphemism for dull, and would like to examine Walling’s work for themselves, should try The Corpse in the Coppice (1935), The Corpse with the Floating Foot (1936), The Corpse with the Eerie Eye (1942), and A Corpse by Any Other Name (1943). The last-named title has some effective descriptions of Londoners coping with the wartime blackout and blitz.

         ———
   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.

R. A. J. WALLING – The Corpse with the Dirty Face. Morrow, hardcover, 1936. UK edition; Hodder & Stoughton, hc, 1936.

   Upon first inspection the black markings smeared across the victim’s face appear to be huge inkstains sustained during the act of murder. Later it’s learned that they were permanently disfiguring powder burns the dead man received during the war — World War I, that would have been.

   They’re still important enough as a factor in solving the murder to give the case its title, and a good deal of diligent detective work is needed to unravel the maze of conflicting alibis that bars the way. Also needed is an explanation for the several uncharacteristic changes of plan the victim made for the evening during the crucial time just before his death.

   On the scene from very nearly the beginning is Mr. Tolefree, a private detective of the “softboiled” English butler variety. The only character to display real signs of life is the dead man’s daughter, determined not to let her loved one be accused of the crime.

   It takes a strenuous grip on a great number of assorted facts to solve the puzzle before Mr. Tolefree does, and even so I question the fairness of one of the essential clues. Making up for it is a solidly constructed piece of misdirection at one point, and equally pleasing was a bit of unexpected subtlety in the prologue. Even with the portentous warning Walling gives the reader in the very first paragraph, it goes unnoticed very easily. On the whole, nicely done.

   A good movie it wouldn’t make, however. Too many shots of heads, doing nothing but talking.

[UPDATE] 03-20-11.   This, of course, is the review I promised as a follow-up to Geoff Bradley’s review of an earlier Walling mystery, which produced a lot of comments, mostly neutral (ho-hum) to negative. This one I liked, though, in spite of all the flaws I found and pointed out. Whether I’d feel the same way, today, I cannot tell you, nor have I read another by Walling since.

   Coming up next: Bill Pronzini’s 1001 Midnights review of the same author’s Marooned with Murder. Be warned. He did not like it, and he is willing to tell you why.

   Herewith the detective fiction books of the previous month, as selected by Time Magazine, October 24, 1932. They are listed in order of merit, as stated in the article, along with brief descriptions of the plots of each. How many have you read?

THE STUDENT FRATERNITY MURDER—Milton Prosper —Bobbs-Merrill ($2). Skilled Detective Rankin points the crime through yellow hoods and yellow hair.

THE END OF MR. GARMENT—Vincent Starrett—Crime Club ($2). Stabbing of a famed writer whom many disliked and had opportunity to kill.

THE CORPSE ON THE WHITE HOUSE LAWN—“Diplomat”—Covici, Friede ($2). A smart, lucky young diplomat solves the code, retrieves the papers, catches the murderer.

THE RESURRECTION MURDER CASE— Stanley Hart Page—Knopf ($2). Christopher Hand forces self-identification of the murderer by trickery with a skull.

POISON IN JEST—John Dickinson Carr — Harper ($2). Introducing mirth-provoking Detective Rossiter in poison cut. hatchet murder and necrophilia. [sic]

MURDER IN MARYLAND—Leslie Ford—Farrar & Rinehart ($2 ). The murder of a small town’s most hated woman solved by the town’s woman doctor.

DOUBLE DEATH—Freeman Wills Croft —Harper ($2). Sly tricks in murder on a background of railroad construction.

INSPECTOR HIGGINS HURRIES— Cecil Freeman Gregg—Dial ($2). Twenty-four hours of hurly-burly mystery-solving.

CUT THROAT — Christopher Bush — Morrow ($2). Much ado about clocks.

MURDERER’S LUCK — Henry Holt — Crime Club ($2). Multiple killings in rural England.

THE SECRET OF THE MORGUE—Frederick G. Eberhard — Macaulay ($2). Autopsy technique in a story of bootlegging and body-swapping.

THE OSTREKOFF JEWEL— E. Phillips Oppenheim—Little, Brown ($2). A young diplomat gets a princess and her jewels out of revolutionary Russia, with, of course, difficulties.

MURDER ON THE GLASS FLOOR—Viola Brothers Shore— Long & Smith ($2). A liner’s new dance floor christened by a murdered woman.

Technically spring isn’t here yet, but I’m going to take the weekend off anyway.

It’s time to recharge some batteries, get some chores done after putting them off all winter, and most of all, try to forget the snow, the ice, the freezing rain — and look forward to more days like today, sunny and 70 degrees. It was nice — quite wonderful, in fact.

This blog will be back in business around this same time Sunday. Ciao for now!

… this made me very sad.

http://thegoglog.blogspot.com/2011/03/remains.html

R. A. J. WALLING – The Dinner-Party at Bardolph’s. Jarrolds, UK, hardcover, 1927. Hardcover reprint; Hodder & Stoughton, 1937. US title: That Dinner at Bardolph’s. Morrow, hc, 1928. Series character: Inspector Pierce.

   A few years ago (certainly more than five, probably less than ten) I was walking past my local library and saw outside a trolley of books for sale. They consisted of tatty, much read recent books but amongst them was this title in a 1937 Hodder & Stoughton edition. It clearly wasn’t from the library itself — it’s far too old and had no library stamps — so I guess it must have been some sort of donation though I haven’t really heard of that happening over here (though I think it is common in the US).

   Anyway for the sake of 30p I couldn’t really leave it there so, against my better judgement, I forked over the cash and brought it home to join the thousand or so other books awaiting my attention.

   It might have stayed in the loft forever, or until my executor starts disposing of the contents, but Barry Pike had an article on another Walling book in the current issue of CADS (that well known literary magazine) and I was inspired to fish it out and give it a try.

   And I’m glad I did. In many ways it was dated and slow-moving, the whodunit element was not particularly cunning, and the actions of the narrator a gentleman of the old school – were hard to credit, yet it was fascinating and held my attention well.

   The story involved the death by shooting — at first assumed to be suicide — of the titular character and the subsequent disappearance of all the dinner guests. The narrator and his hardworking factotum-cum-chauffeur are involved in the clandestine movements of two of them but when murder is uncovered they become caught up in a chase to clear the names of the innocent and find out what is behind the crime.

   And, as I said, it all worked — for me anyway. I probably won’t go actively searching out more Walling’s to read — I have so many other books piled up and clamouring for my attention, but if I come across one in a second hand book shop I will probably pick it up.

Editorial Comment:   Geoff mentions in passing the existence of a mystery fanzine called CADS, but he failed to point out two things. First of all, that he is the editor and publisher, and then secondly, that the magazine is still going strong.

   If you’re interested in articles about authors and reviews of mystery fiction that are both solidly and substantially done, you should most definitely be reading CADS. The most recent issue was #59, and copies should still be available at a cost of $14 by air or $12 by surface mail. #60 will be ready in a few weeks, says Geoff, but since postage fees will be going up in early April, the price hasn’t been determined yet.

   Geoff’s mailing address can be found here, but the ad’s way out of date. Email Geoff to double check on the availability of #59 or to reserve a copy of #60. (Tell him I sent you.)

   In the world of fiction, there is a black door. The door stands alone. To its left is a beautiful garden lit in soft focus sunshine. To its right, ugly weeds force themselves up through broken concrete in the blackest of night. Open the door and you will find yourself in the Home of Mystery.

   Designed from plans stolen from the Doctor in the Home of Science Fiction, it is larger inside than outside. The Home of Mystery is endless and defies all laws of science. Sub-genres merge and separate. Writers, characters, and books can exist in more than one place at the same time.

   I head for the comedy mystery wing, a multi-floor structure. The classic era is on the bottom floor, but I take the stairs to the modern era one floor above.

   I am in a hallway, cozies to my left, hardboiled to my right. I look to my left and pass doors for other sub-genres, “little old ladies,” “pets,”, and “special interests.” Finally, I see a lavender door covered by a cartoonist drawing of a thin perky young female in a short dress. I have found what I was looking for, the Modern Romance Comedy Mystery. I knock.

   A pretty Heroine greets me. She stares at me suspiciously and tells me that Men’s Adventure Pulp is across the hall. I explain how much I enjoyed Hailey Lind’s (Julie Goodson-Lawes and Carolyn Lawes) “Art Lovers” series featuring former art forger Annie Kincaid, and I wanted to learn more about MRCM. Reluctantly, she let me in.

   The room is full of more light and color than I am used to in the mysteries I normally read. The place is comedically disorganized and messy, yet clean.

   My guide talks about her idol, Stephanie Plum. It is hard not to notice the influence Janet Evanovich’s series has had on MRCM. Plum is a feisty, funny, horny woman with a slow sex life and active sexual fantasy world. As many MRCM books that followed, the books feature a supporting cast of comic relief characters, and a popular romance subplot: the triangle. Stephanie loves good cop Joe Morelli but lusts for bad boy Ranger.

   The Heroine mentions New York Times bestselling “Bibliophile” series by Kate Carlisle, but suddenly stops talking, distracted by some bad boy beefcake in skintight leather. After a few uncomfortable moments I walk on. She does not move, unaware I have left.

   A man and a woman’s screams make me think about Maddie and Jack from the “High Heels” series by Gemma Halliday. The man is a cop and the woman is an amateur detective. Both scream at each other at the same moment, “Mind your own business!”

   They are the screwball couple of MRCM, two strong willed people who “hate” each other to the point of falling in love. Predictably, the screaming couple are now in each other’s arms as they fade out of the room. In MRCM, most sex and violence happens off page.

   My former guide has not moved. Bad boy beefcake notices her and smiles. Embarrassed, she runs off, bumping into another popular romantic subplot.

   Happy Couple is trying to hide in the shadows, content just to be alone together. They remind me of award-winning Donna Andrews’ Meg Langslow and Michael. Happy Couple tell me they had met in her first book and their relationship has grown more serious as the series continued. Spotted, their supporting cast attacks them, odd parents, strange siblings, attention demanding pets, wacky friends, all separating the comically frustrated lovers.

   There are endless variations of the romance subplot, from unlucky in love (Jaine Austen by Count Chocula’s creator Laura Levine) to the strange (Kasey Michaels’ Maggie Kelly, mystery writer, who finds the man of her dreams when her fictional hero Saint Just comes to life).

   I spot the MRCM femme fatale, the gorgeous blonde bitch who usually annoys the Heroine, but sometimes is the murder victim. Typical of MRCM, she just flirts, teases and then is gone.

   I understand why the Heroine thinks more about sex than the mystery. Who cares who the killer is after all this “talk”? Even fictional characters can take only so much. To drive such thoughts from my mind, I think about what makes a Modern Romance Comedy Mystery.

   The books are short quick reads, told in first person, the fourth wall is often ignored, the heroine’s life is threatened, and the victim often deserves to die. The characters’ lives are more important to the story than the mystery. The characters change and grow as the series progresses. It is wise to read an MRCM series in order.

   The female amateur detective gets involved because of one of the following: she is the main suspect, she knows the main suspect, she feels responsible for the accused problems, the cops are idiots and/or order her to go away, the killer is after her, or she keeps falling over dead bodies.

   Sales have moved many MRCM series from original paperbacks to hardcover releases, such as Nancy Martin‘s “Blackbird Sisters.”

   Of course there is my reason for reading them: they are funny. From pun titles, such as Slay It with Flowers by Kate Collins, to some of the funniest comedy in fiction today, the MRCM are fun to read.

   Still suffering from my encounter with the MRCM femme fatale, I think I’ll pick up one of the bimbos across the hall in Men’s Adventure Pulps.

THE LADY. Norma Talmadge Film Corp., 1925. Norma Talmadge, Wallace MacDonald, Brandon Hurst, Alf Goulding, Doris Lloyd, Marc McDermott, Paulette Duval. Screenplay by Frances Marion. Director: Frank Borzage, director. Shown at Cinefest 28, Syracuse NY, March 2008.

   Polly Pearl (Norma Talmadge) marries the dissolute son (Wallace MacDonald) of a British aristocrat. The father disinherits his son who gambles away what remains of his money in Monte Carlo and dies, leaving Polly with an infant son.

   She is singing in a Marseilles dive when her father-in-law turns up with his lawyer and attempts to take custody of the child. Polly entrusts the child to a British couple (a curate and his wife) and then spends years looking for him. Their reunion leads to momentary tragedy but the possibility of an eventual happier resolution.

   Norma Talmadge shines as the unfortunate Polly and the gifted director handles the unpromising materials with consummate skill, spinning cinematic gold out of straw.

ELIZABETH LEMARCHAND – Suddenly While Gardening. Walker & Co., hardcover, 1978; paperback, 1983. UK edition: Hart-Davis, hc, 1978.

   Lemarchand writes the classic (some would say old-fashioned) style of detective story, and this one, about the skeleton of a recently murdered youth found in an ancient gravesite on an English moor, fully demonstrates the blunt, efficient approach she takes to her craft.

   Detective-Chief Superintendent Pollard is her detective, and part of what he discovers the title gives away for free. In any case, after all these years, there ought to be a law against accepting broken watches as evidence, of anything, at any time.

   That’s what I think.

[UPDATE] 03-16-11.   I didn’t happen to mention it in this review, but there were two detectives from Scotland Yard who worked as a team in each of Elizabeth Lemarchand’s mysteries, Tom Pollard and Gregory Toye. When they began Pollard was an inspector and Toye his sergeant, but when the former was eventually promoted, perhaps Toye was also.

   There were 17 entries in the series, beginning with Death of an Old Girl in 1967 (when the author was 61) and concluding with The Glade Manor Murder in 1988. All of them were reprinted in the US, but only a few had paperback editions.

   A quick search on the Internet has come up with very little critical commentary on her work. One site devoted to cozy mysteries says of hers: “Very traditional British mysteries, often set in girls’ schools; makes use of English history and archaeology.”

    I don’t know for sure — this is the only book of hers that I’ve read — but I think my review may have encapsulated Lemarchand’s approach to detective fiction rather well. While she was obviously not another Agatha Christie, and in spite of the somewhat negative tone to my comments, I wouldn’t mind reading another.