JONATHAN STAGGE – Death, My Darling Daughters. Doubleday Crime Club, US, hardcover, 1945. Michael Joseph, UK, hardcover, as Death and the Dear Girls. No paperback edition. Bestseller Mystery B164, digest-sized paperback, 1953. (Thanks to Bill Kelly for the latter information.)

   In cool, analytical fashion Stagge methodically bares the dabbling fraudulency underlying the cultural legend pretended to by an ultra respectable New England family. The august Benjamine Hilton was once Vice President of the United States, and two generations later his family still finds delight in dropping names from the political and literary past. Their influence is used in hushing up the mysterious death of the family nanny during a secret scientific conference they are conducting, but their assumption that murder is beneath them is a disastrous one.

   The unlikely investigator on the scene is Dr. Westlake, only physician for the small town of Kenmore, but this is not, however, the first case of murder he’s had to deal with. Occasionally great Freudian profundities rear their ugly heads, but as a detective puzzle it’s more than fair. Overall, though, an oversimplified view of life from another age.

Rating: C plus

Bibliographic Notes: “Jonathan Stagge” was one the many tangled pen name/collaborations between Richard Wilson Webb & Hugh Callingham Wheeler (also variously Q. Patrick and Patric Quentin). This is the seventh of nine Dr. Westlake novels published between 1937 and 1949.

   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.

JONATHAN STAGGE – The Yellow Taxi. Popular Library 63, no date (ca. 1945). Originally published by Doubleday Crime Club, hardcover, 1942.

   I have commented previously in these pages about the works of the authors [Richard Webb and Hugh Wheeler] who used the pseudonyms Q. Patrick, Patrick Quentin and Jonathan Stagge. The Yellow Taxi, I believe, is their best book. For one thing, rather than picking a rather obvious least-likely suspect (as Webb and Wheeler often did, especially in the Patrick Quentin books), in The Yellow Taxi they distribute suspicion evenly among a number of possible miscreants. For another, the plot is bizarre, elaborate and yet beautifully dovetailed.

   A terrified young woman approaches Dr. Westlake, the narrator and detective of the Stagge books, with a story about being hounded in a small New England community by a yellow New York taxicab. Westlake is inclined to pooh-pooh the story until he himself sees the taxi. (Webb and Wheeler are much more successful than certain creators of horror films in making an automobile an object of terror.) When the woman is killed falling off a horse, Westlake’s daughter, Dawn, finds evidence of murder. The eventual discovery of the role of the taxi only deepens the mystery.

   Moreover, Stagge may be playing with jaded experts in detective fiction, for he introduces identical twins and we assume (or at least I did) that confusion of identity is involved. It’s not, and the final solution is convincing and well-clued.

   Steve suggested the title of this one and the theme, so praise — and/or blame — should go to him.

   The chief rule for this is the book in question had to make me laugh: a hearty guffaw, a dry chuckle, a knowing smile — that and that indefinable thing called charm are the chief attributes of the books on this list; and of them, charm is the one that weighed the heaviest.

   Of course being funny is serious business as any comic will tell you, and nothing is harder than being consistently funny at novel length while still producing a discernible plot, actual characters, and a genuine mystery and suspense. All these succeed on that level — or they did for me.

   Taste is always subjective and humor the most subjective of all. For that reason I expect this to promote some argument. That said, some short story and novella collections made the list, and in a few places more than one book by some writers.

   You’ll find some of the usual suspects here, but where I could I went for a less well known title by a less well known writer if it was one I particularly liked. These are favorites and not bests, and I’ve tried for a variety.

    If I have overused the words ‘droll’ and ‘wit’ it is because for me those are far more common qualities in the comic mystery or thriller than belly laughs.

   As always, just because a book is not on the list doesn’t mean I didn’t find it funny or deserving. I’ve avoided books like The Smiling Corpse or The John Riddell Murder Case because they were chiefly satires before they were mysteries.

    Also not on the list many of the soft core series and books like Ted Marks’ “Man From Orgy” or Clyde Allison’s “0008” novels — although many of them were very funny.

   Film novelizations were left off too, though some, like the ones for Gambit, How To Steal a Million, The Notorious Landlady, and On the Double were very well done and funny in their own right. The same for TV-tie-ins. I realize that is arbitrary, but without some arbitrary rules these lists would be so all inclusive as to be meaningless.

   I ended up without a Donald Lam mystery by A. A. Fair, but let it be said the entire series is bright and sprightly, and for my money’s Gardner’s best. Somehow Cleve Adams, Robert Leslie Bellem, Robert Reeves, Kurt Steel, Kelly Roos, Jimmy Starr, Martin Wodehouse, Alice Tilton (though she made it as Phoebe Atwood Taylor), and some other obvious choices didn’t make the list, but that doesn’t mean they did not deserve to. On a different day in a different mood some choices would be different.

   In a few cases time has passed a book by, and what was very funny then is at best mildly humorous now. This included books like The Disentanglers by Andrew Lang.

   Mostly I limited myself to one book by author, but in the case of Stuart Palmer and Craig Rice allowed for a collaborative effort to stand on its own. Many writers such as Palmer, Rice, Fish, Block, and Westlake could easily make up a list of their own.

   I did not forget Thorne Smith’s Did She Fall? I just thought it was poor Smith and a mediocre mystery.

   At the end I have added fifty more without comment.

   As usual an * indicates a film or television adaptation.

   The Light of Day (aka Topkapi) * by Eric Ambler — Any one who knew Ambler’s screen work should have known he had a dry wit, but this took everyone by surprise, although Arthur Abdel Simpson, Ambler’s illegitimate stateless half British half Egyptian pimp and pornographer ‘hero,’ is well within the Ambler tradition. Not as playful as the Jules Dassin film, but in many ways funnier and more suspenseful. Other Ambler’s in a playful mode; Send No More Roses, Dirty Story, A Kind of Anger, and Dr. Frigo. Peter Ustinov, Melina Mercouri (Mrs. Dassin), Maximilian Schell, Robert Morley, and Akim Tamiroff starred.

   Chip Harrison and the Topless Tulip Caper by Lawrence Block — There are too many to choose from by Block, from the exploits of burglar/bookseller Bernie Rhodenbarr to sleepless Evan Tanner, to hit man Keller, but I choose this paperback original because it is as good a portrait of an adolescent in the throws of sexual awakening as anything by Roth or Salinger, and because it is a dead on satire/tribute to Rex Stout and Nero Wolfe and Archie Goodwin. It is also cheerfully dirty minded without a smirk or a snicker — a rarity in any American fiction.

   Rocket to the Morgue by Anthony Boucher — A nun, Sister Ursula, and a harried cop, Terry Marshall, must team up to solve a murder at a convention of science fiction writers. As if that wasn’t enough, the book features savage but affectionate portraits of some of the titans of the science fiction field and a barbed look at early fandom as well as a satisfying mystery plot. Boucher’s Fergus O’Breen mysteries are similar blends of laughs and detection, by a man whose bona fides in the mystery and science fiction field are unquestionable.

   A Case for Three Detectives by Leo Bruce — Discussed here recently. Sgt. Beef, a solid and seemingly plodding policeman shows up three spoofs of famous Golden Age sleuths (Lord Peter, Poirot, and Father Brown) and solves a fine fair play murder along the way by an under acknowledged master of the form. A surprisingly fresh read.

   Huntingtower * by John Buchan — Dickson McCunn is a canny Glasgow grocer who has just retired and wants a little adventure, so he sets out on a walking holiday in Scotland and gets a bit more than he bargained for including a Bolshie poet, a Russian princess, royal jewels, dastardly villains, and a ragtag Boy Scout troop known as the Gorbals Diehards who could give the Dead End Kids and Bowery Boys a run for their money. First of three delightful books about McCunn and the Diehards, If possible catch the BBC radio adaptation (it was also a silent film and adapted at least twice for television). It may remind you a bit of the great Brit comedy Hue and Cry.

   Surprise Package * by Art Buchwald — A less than honest Union Boss gets deported to the tiny island where he was born, and along with his ‘moll’, who proves to be more than he — or anyone — can handle, finds himself scheming to get home, steal the crown from an exiled playboy king, and outwit corrupt police and ruthless thugs trying to take the crown back to his highness now Communist homeland. There’s also a band of patriotic monks in the mix who want the crown for religious reasons. Broad satire, but very funny, and I admit I liked the film much more than most do. Yul Brynner, Mitzi Gaynor, and Noel Coward starred with a script by Harry (Marco Page) Kurnitz.

   The Great Affair by Victor Canning — The title is from a quote by Robert Louis Stevenson ( “The great affair is to travel.”) and Canning, in a rare funny mood, provides an entertaining romp for a somewhat straight laced missionary in Africa who discovers his real talent lies in decidedly less legal and moral pursuits.

   The Arabian Nights Murder by John Dickson Carr — Dr. Fell takes on a case that owes as much to the Marx Brothers as Edgar Allan Poe, and Carr proceeds on a romp of epic proportions that is both very funny and still a fine example of the form. Carr indulges his penchant for the bizarre, the gargantuan Fell’s eccentricities, and Eighteenth Century drolleries, wit, and rambunctiousness so effortlessly you likely won’t care how contrived and unreal it all is. In fact, that is half the fun. We even get Carr’s idea of a sexpot.

   The Man Who Was Thursday by G. K. Chesterton — Nothing dates faster than yesterday’s whimsey, but this bright and allegorical phantasmagorical tale still shines. Poet Gabriel Syme (The Poet and the Lunatics) stumbles on a secret society of anarchists, is recruited by Scotland Yard to infiltrate them, and moves up the organizations ladder through members named for the days of the week until he encounters the leader of the group — Sunday. Just read it, no explanation or description could do it justice. The reading of this on BBC 7 by Geoffrey Palmer (As Time Goes By) was particularly good.

   Arigato by Richard Condon — Captain Huntington is a former RAF hero married to a beautiful American heiress. He also has a few gambling debts his wife is refusing to pay for, so Captain Huntington needs to raise a little money — quick — and has few scruples about doing it. Condon was one of the masters of the sharp observation and the pen as scalpel, and this little book and its companion simply ooze charm and invention. If your prefer him a bit more savage try Whisper of the Axe or closer to home, Prizzi’s Honor — or any of the Prizzi books. Also check out his caper novel The Oldest Confession and his savage Hollywood satire, The Ecstasy Business, about a madman trying to kill a Liz Taylor/Richard Burton pair of movie idols. If you only know him from The Manchurian Candidate, Prizzi’s Honor, or Winter Kills, you have some wonderful reading ahead of you.

   Love Lies Bleeding by Edmund Crispin — Oxford don Gervase Fen gets involved with a missing Shakespearian play, murder, the kidnapping of a little girl, an aged an demented bloodhound, and the usual patented Crispin chasing around in a fine example of what Crispin did best. Crispin, who was composer Robert Bruce Montgomery, wrote the scores for the “Carry On” films among others, and knew his way around comedy and the detective novel. This one wins out over the others for me only for that magnificent senile bloodhound. Almost any of the Crispin books would have made a perfect Ealing comedy.

   Sally in the Alley by Norbert Davis — Carstairs and Doan are a mismatched team of private eyes. Carstairs is a highly bred aristocrat and Doan is a bit of a mutt. Carstairs is also a prize winning Great Dane, who thinks his private eye owner Doan is a bit beneath him. Together they featured in three books and a long short story that show Davis skills at plotting, orchestrating, and amusing. It I choose this one over the others it is mostly because I was married to a Sally.

   The Incredible Schlock Homes by Robert L. Fish — Finding a new Schlock Homes story in Ellery Queen’s Mystery Magazine was always a delight. Overrun with puns, absurdity, and sheer manic energy they are to Holmesian satire what the original was to detective stories. Read them and weep with laughter.

   The Liquidator * by John Gardner — Boysie Oakes is a genial but attractive idiot recruited as chief executioner for the British Secret Service by the loathsome Colonel Mostyn, and forced to hire a Cockney hit man, Charlie Griffin to do his job for him. Boysie’s adventures manage to both thrill, amuse, and postillion the whole James Bond thing — ironic when you recall Gardner ended up replacing Ian Fleming writing the Bond saga. The film starred Rod Taylor, Jill St. John, and Trevor Howard as Mostyn, with Eric Sykes as Griffin.

   The Megstone Plot * by Andrew Garve — A decorated submariner stuck in a desk job at the Admiralty would like to marry a beautiful but mercenary lady, but lacks the money so he sets out to frame himself for treason and then collect big by suing the tabloid press for libel when he is cleared. What could possibly go wrong … A droll book that was an even droller film with James Mason, Vera Miles, and George Sanders as A Touch of Larceny.

   The Devil in Amber by Mark Gatiss — The second outing for bisexual Edwardian artist and spy Lucifer Box, who works for the real British Secret Service, the Royal Academy. Here he is sent to America in the twenties to look into a proto-Fascist group known as the Amber Shirts founded by one Olympus Mons, runs into his hated sister, Pandora, is framed for a shocking murder, and must save a young woman (Agnes Daye) and the world from a plot to literally raise the devil. Gattis is an actor (the BBC sitcom The League of Gentleman) and writer (Doctor Who) who can keep the pages turning and you chuckling, with the most likeable scoundrel since Harry Flashman. Gattiss own five part reading and adaptation of this was recently featured on BBC7.

   The Unexpected Mrs. Pollifax * by Dorothy Gilman — Mrs. Pollifax is a well to do widow with grown children who just wants to serve her country — so she volunteers for the CIA. Of course the CIA isn’t interested, but then they have this little problem in Yugoslavia, and Mrs. P. might just prove useful — nothing too dangerous of course — like breaking out of a Yugoslav prison with a wounded American spy and being pursued by the entire army and secret police … First of a long and delightful series of well plotted and ably told adventures all preceding from the simple premise of the entire world underestimating Emily Pollifax. You shouldn’t. Rosalind Russell and Angela Lansbury both essayed the role of Mrs. Pollifax in the film and television versions of this.

   A Thrill A Minute With Jack Albany * by John Godey — Jack Albany is a character actor with the kind of face that keeps him on screen — as a long procession of cheap hoods, tough gangsters, and assorted thugs. So when a criminal mastermind mistakes him for a deadly hitman… Entertaining tale from a writer better known for the suspense novel The Taking of Pelham, One Two Three. This was a Disney film, Never a Dull Moment, with Dick Van Dyke, Dorothy Provine, Edward G. Robinson, Henry Silva, and Joanna Moore.

   No Way to Treat A Lady * by William Goldman — A charming New York homicide cop with a Jewish mother and a shiksa girlfriend, a serial killer with mother issues and a penchant for theatrical disguises — these are the elements of a fine mix of laughs and thrills that was also a memorable film with George Segal, Lee Remick, and Rod Steiger.

   Our Man in Havana * by Graham Greene — Mr. Wormwold is a widower with a teenage daughter, and sells vacuum cleaners in Havana on the eve of the Castro Revolution. What he mostly wants is to make a little money and go home because his teen daughter is a ripe young thing and in Havana her age is even less protection than in the rest of the world, so when a persistent British spy recruits him Mr. Wormwold doesn’t see what harm it could do to have a little extra income — and he doesn’t have to actually spy on anyone — he can just make if all up while padding his expenses. Which is how he becomes the most important agent in the western hemisphere and up to his neck in spies, killers, secret police, and betrayal. Also a notable Carol Reed film with Alec Guiness, Ernie Kovacs, Maureen O’Hara, Noel Coward, and Burl Ives. Sharp satire on politics, spies, sex, and life in general by one of the masters of the form, and you will never look a vacuum cleaner or play chess quite the same again.. For Greene in a humorous vein also try Travels With My Aunt, Lovers Take All, Monsignor Quixote, and Dr Fischer of Geneva or The Bomb Party.

   It Happened In Boston by Russell Greenhan — For more detail see my review. A forger who complains because the old masters keep copying his work gets involved in a deadly plot and goes happily off the cliff taking us with him. To say the least, this book is unique.

   The Thin Man * by Dashiell Hammett — Nick and Nora Charles are the templates for all the bright brittle husband and wife sleuths to come, bantering, detecting, and destroying their livers, all with equal glee. Hammett succeeded at making marriage sexy, and then William Powell and Myrna Loy succeeded at making it effortless. While it is the least of Hammett’s novels it is still a damn good detective story and a refreshingly good read today with the sharp dialogue and Nick’s dry wit both intact. Though in all fairness Hammett himself hit on one of the minor problems when he lamented no one ever invented a more smug pair.

   Just Desserts by Tim Heald — Simon Bognor, that overweight and less than brilliant agent of the Inland Revenue, customs and taxes, has a love of good food, so he doesn’t mind too much when he is asked to look into the murder of a famous chef he knew, even if he is still not sure how he ended up working for the Inland Revenue in the first place. Pretty soon he is overseas on the expense account, attracted to a young lady his fiancee would not approve of, and up to his neck in murder and fraudulent champagne. Yet another fast moving, clever, and funny entry in the entertaining series which began back in Unbecoming Habits with Simon looking into a little truth in labeling problem involving a mysterious group of monks. If you don’t know these discover them.

   Why Shoot a Butler? by Georgette Heyer — A bit of entertaining froth from the mistress of the Regency romance and the creator of sleuths Hannayside and Hemingway, this sprightly comedy mystery reads the way a good British comedy mystery of the era plays on screen. There is a handsome likable hero, an attractive heroine in trouble, a mystery to be solved, a satisfying amount of shooting around in the dark on narrow foggy country roads in low slung roadsters, and a better crime, plot, and solution than is really needed to make it fun. Why shoot a butler? Why not, if the result is this much fun?

   A Fairly Dangerous Thing by Reginald Hill —Joe Askern, who teaches English in a small English village, has a passion for the local stately hall, Averingrett, and comely ladies with well developed bosoms. When he is recruited by a ring of professional thieves, who plan to systematically loot the stately hall, thanks to a call girl named Cynthia who is more than amply endowed in his other area of interest there are bound to be complications. Just how it all ends for the best is a delightful trip that reads like a slightly risque Ealing comedy.

   Fellow Passenger by Geoffrey Household — Household indulges both his skill at chase and pursuit and his penchant for the picaresque in this tale narrated from the Tower of London, by one Claudio Howard-Wolverston, who finds himself trying to extricate himself from a series of increasingly dangerous coincidences that leave him at sea in a dangerous storm and working as an elephant trainer in a circus while trying to maintain his freedom and clear his name. Household’s best mix of the classic elements of his Rogue Male type novel in a lighter vein. Also check out Olura and The Life and Times of Bernardo Brown for more in this mood.

   One Man Show by Michael Innes — Sir John Appleby takes on art crime in this high handed caper that proceeds like The Lavender Hill Mob or The Ladykillers with chuckles, smiles of recognition, and some expertly orchestrated belly laughs. For my money, this may well be Innes’s masterpiece in terms of all the elements of mystery, movement, and humor. The heist and chase is beautifully choreographed. Almost all the Innes novels are droll; try also his non-series novel Candleshoe.

   Lady in the Morgue * by Jonathan Latimer — Bill Crane takes a nap in the morgue (and if you drank like he did you could sleep anywhere too) and wakes up to murder. Meanwhile he’s hunting a missing heiress and two gangsters are fighting over one’s missing wife. Crane, who is the top detective for Colonel Black’s agency teams with his pal Doc Williams and manages to stay one step ahead of the cops while drinking like a fish and indulging in some still fairly racy patter and situations. On top of all the other virtues of this unvirtuous book it is wonderfully written and a damn good detective story with actual clues and deductions. Preston Foster was good as Crane in three cheap but effective Crime Club films with Frank Jenks as Doc. Latimer was likely the raciest writer of the screwball school, with Crane having a penchant for naked ladies unsurpassed until Mike Hammer. If anything The Dead Don’t Care and Red Gardenias are even more screwball and racier, as is his ultra-tough Solomon’s Vineyard.

   The Gun Seller by Hugh Laurie — Television’s House, and Bertie Wooster, not to mention Blackadder’s benighted buddy, penned this top notch and laugh out loud funny thriller, about an ex-Special Forces type who tries to do a good turn and ends up battling terrorists and a plot to sell tactical missiles by staging a terrorist atrocity. If that doesn’t sound funny, imagine it narrated in Laurie’s dry acerbic style with just enough sense of the ridiculous to leaven the very real suspense and violent action. I have seldom been as thrilled by a book I laughed out loud out at.

   Out of Sight * by Elmore Leonard — He’s a charming crook escaped from prison and she’s a U.S. Marshall assigned to catch him, of course falling for each other while he tries to elude capture and she tries to bring him in is out of the question. Made into an entertaining film with George Clooney and Jennifer Lopez by Stephen Soderbergh. And yes, I Iike this much better than Get Shorty or Maximum Bob, but both are also very funny.

   The Norths Meet Murder * by Richard and Frances Lockridge — After Nick and Nora Charles Jerry and Pam North are the epitome of the married with murder set. Originating in a series of sketches in The New Yorker, Lockridge combined the Norths with murder and his career was set (by all accounts Frances only contributed her name and Pam’s character). This first one is as good a place as any to dip in. Despite being played by Gracie Allen in their only film, Pam, in the Nora Charles tradition, is one of the sexiest wives in fiction. The cats never bothered me, but you may not be so tolerant. This one as recently commented is also a fine snapshot of the period it was written in. Barbara Britton, from the television series with Richard Denning, was much closer to my idea of Pam North.

   Venus With Pistol by Gavin Lyall — Humor isn’t the first thing you think of in relation to Lyall’s brilliant thrillers, but this one about a dealer in rare and sometimes spurious antique guns who finds himself drawn into a scam of international proportions with a mercenary and amorous princess and some very bad men is both very funny and very exciting. The book was delayed for several months while Lyall experimented to see the trick with the antique gun could actually work.

   Who Is Killing the Great Chef’s of Europe? * by Nan and Ivan Lyons — a beautiful chef and her ex-husband, a gauche American fast food entrepreneur, find themselves as suspects, targets, and sleuths in this sophisticated romp through the best kitchens in Europe as someone is targeting and murdering Europe’s finest chef’s with their own specialties. Could it be the food critic and gourmand who is dying because of all their rich foods he can’t resist? This was made into a charming film with Jacqueline Bissett, George Segal, Robert Morley as the food critic, and various guest stars as the chef’s and a script by Peter Stone (1776, Charade). Re-read and re-viewed recently both are as good as remembered.

   Please Write For Details by John D. MacDonald — Yes, I know most of you would have chosen The Girl, the Gold Watch, and Everything, but this clever con artist scheme has always seemed to me under appreciated as an art colony fraud involves the usual collection of MacDonald characters and who is double crossing whom gets lost in the complications.

   Whiskey Galore * by Compton Mackenzie — A crisis strikes a small Scottish island when the war interferes with their ration of whiskey. Things are getting pretty desperate until a ship laden with the precious stuff is run aground on the nearby rocks. A desperate plan is then unfolded to salvage the cargo, but that is only the start of their problems as the Royal Navy and the excise man both want to know where the whiskey went precipitating a heroic effort by the entire island population to hide the precious cargo. Charming comic novel by a leading literary light who dabbled in spy novels too. Made into one of the funniest British films ever as Whiskey Galore, aka Tight Little Island by the legendary Ealing Studios. No, it isn’t in Hubin, but technically I consider smuggling and evading the police at the least a crime novel. Mackenzie himself has a small role in the film.

   Let’s Kill Uncle * by Rohan O’Grady — a pair of orphans stand to inherit their parents fortune, if they can survive being sent to live with their ex commando uncle in Canada, who in turn stands to inherit if something should happen to them. What are the poor dears to do? Murder comes to mind — more-or-less in self defense. Black comedy made into a decent William Castle film with Nigel Green the homicidal uncle.

   The Penguin Pool Murders * by Stuart Palmer — Spinster schoolteacher Hildegarde Withers is one of the great contributions from the American school of the detective novel, a woman with steel in her backbone as well as her whalebone in her stays, and a fine appreciation for spotting skullduggery after years of teaching children. That her foil Oscar Piper is one of the most likable policemen in the genre just makes it all the better. Then take all those ingredients and add perfection in the horsey face of Dame Edna May Oliver and the Irish weariness of James Gleason, throw in a small penguin named Oscar, who himself became a star, and the result was magic in print and on screen. Some solid detective work too.

   Hugger Mugger in the Louvre by Elliot Paul — Best remembered today for his non-fiction The Last Time I Saw Paris and Life and Death in a Small Spanish Town, Paul was an original humorist whose books about expatriate professor Homer Evans and his gun-toting Montana born girlfriend in a surreal Paris out of a Marx Brothers’ film have to be experienced to be believed. This is the second, after The Murder of Mickey Finn, and finds Paul in even deeper waters. The books started out to be a satire of S. S. Van Dine and Philo Vance, but that went by the wayside before chapter one was over and they took off on their own madcap way. Just fasten your seatbelt and bind up your ribs.

   The People vs. Withers and Malone * by Craig Rice and Stuart Palmer — It’s still not clear who had the idea to team bibulous Chicago lawyer John J. Malone with spinster teacher Hildegarde Withers, but the result was six of the most entertaining novellas in the genre as the two unlikely partners team and make life miserable for murderers and the police, mostly Malone’s foil Captain von Flannagan. One of the novellas came to the screen with decidedly mixed results as Mrs. O’Malley and Mr. Malone. Marjorie Main was miscast and painful as the substitute for Withers, but James Whitmore was Malone in the flesh. The writing is mostly by Palmer, but the two worked so often together as screenwriters it is almost impossible to tell.

   Trial By Fury by Craig Rice — Jake and Helene Justus got out of Chicago during the hot summer for a little trip and of course first thing off the bat they witness a murder and Jake is arrested as a material witness. Enter the cavalry in the person of John J. Malone, who finds himself not only defending Jake, but the local prosecutor. There is a serial killer who never kills the same way twice, bodies buried in cellars, dollar gin, a lynch mob, an exploding bank, a burning madhouse, and Hercules, a dog whose love for Malone and dollar gin are equally pure, and I’m not sure what more you would want in a mystery. The detective work is solid, the characters are American Gothic eccentric, but not too broadly drawn, the motive and murderer are believable, and the final clinch will leave you with a tear in your eye. Hercules gets my vote for the best dog in the genre — sorry, Asta.

   Lazarus #7 by Richard Sale — One critic labeled it a ‘gay Hollywoodian gambol,’ but as James Sandoe pointed out, you should read it anyway. The screwball school as done by a master, as a doctor who specializes in tropical diseases has to figure out why someone is trying to kill him when he arrives in Hollywood. The answer is a stunner saved practically for the last page.

   Red Diamond by Mark Schorr — Red Diamond is a rough tough private eye out of the pulps by way of Mickey Spillane — at least in his day dreams. The rest of the time he is a henpecked cab driver. At least until his wife throws out his precious pulp collection and he suffers a schizophrenic break and thinks he is Red Diamond, private eye. Havoc and hilarity follow as the police, underworld, and medical establishment all try to survive Red’s war on crime. First of a handful of fast paced funny reads.

   The Game of X * by Robert Sheckley — William Martin is an American graduate student in Europe, asked by a friend in intelligence to pose as Agent X. X is a legendary secret agent created by the CIA to act as a general bogeyman to the Russians and since he doesn’t exist he can be anywhere, do anything, and take credit for every coup. Alas for William his one meeting as X goes awry and he finds himself in the middle of the most dangerous mission of X’s career — and sadly William is a complete goof ball. Or is he? Maybe he was really X all along … The Disney film Condorman turns X into a comic book hero and is best forgotten, save that it reunites Michael Crawford and Oliver Reed from Michael Winner’s The Jokers.

   The Trouble With Harry * by Jack Trevor Story — The trouble with Harry is that he is dead and his body keeps turning up. This novel by Story, who also wrote for the Sexton Blake Library among other things, is a bit racier, and a shade darker than Alfred Hitchock’s black comedy, which moves the whole affair to New England, but the essentials are there and on the whole, a delight.

   Some Buried Caesar by Rex Stout — a prize bull is murdered. Nero Wolfe must leave the brownstone for the country, and ends up stranded in an open field on a rock with a very angry bull. Do I really have to say anymore? Damn fine bit of detective work too.

   Chinaman’s Chance by Ross Thomas — Artie Wu is the heir to the throne of Imperial China and the partner of Quincy Durant, and they, along with the divinely named Otherguy Overby get drawn into a caper of complexities so intricate only Ross Thomas could have brought it off. If The Maltese Falcon had been a comedy it would have been this book. And it almost brought Thomas the fame and fortune he deserved.

   Texas by the Tail by Jim Thompson — A strain of black humor runs in many of Thompson’s darkest novels, but here he takes on some charming con artists and shows a skill for a light touch that belies his reputation. Perhaps not his best book, but certainly his most surprising, and evidence there was more than met the eye or our expectations if fate had been a bit kinder.

   The Gracie Allen Murder Case (aka Scent of Murder) * by S. S. Van Dine — A stunt, pure and simple, and one that should not have worked, but somehow the comedienne seemed to revitalize Van Dine and Philo Vance, and the result, if not a great mystery, is charming and funny, and Van Dine, who hadn’t shown a great deal in the way of humor before, nails Gracie Allen’s voice and manner of thinking with perfect pitch. Everyone in the movie, including Warren William’s Vance, seemed to enjoy themselves too.

   Winter’s Madness by David Walker — Scottish lord Duncatto had planned a quiet little Christmas holiday with friends and family — complicated by a possible Nazi war criminal, a nymphomaniac with a child prodigy, the mafia, Duncatto’s ripe daughter and even riper wife, some eccentric scientists, a charming android, attempted murder, a shoot out on a private ski run, and James Bond’s idiot fellow agent Tiger Clyde. Snappy satirical farce by the author of the whimsical Wee Geordie and Harry Black and the Tiger. One of my favorite books of all time.

   The Busy Body * by Donald Westlake — – My favorite Westlake comic novel isn’t a Dortmunder caper, but a gangster comedy about a nebbish mobster who dreams of being an accountant, a body that won’t stay buried, and the most incompetent assortment of gangsters in history. The William Castle film with Sid Caesar, Richard Pryor, and Robert Ryan was funny too. I am willing to grant though this my be my favorite because it was my first Westlake.

       — Fifty Without Comment (mostly)

Sweet Danger by Margery Allingham
She Shall Have Murder* by Delano Ames
Tales of the Black Widowers by Isaac Asimov
High Noon at Midnight by Michael Avallone
Homicide For Hannah by Dwight Babcock
The Dorothy Parker Murder Case by George Baxt
The Revenge of Kali Ra by K. K. Beck
Sail a Crooked Ship* by Nathaniel Benchley
A Bullet in the Ballet by Caryl Brahms and S. J. Simon
Green For Danger* by Christianna Brand
Tomorrow is Murder by Carter Brown
Madball by Fredric Brown
Partners in Crime* by Agatha Christie
Penelope* by E.V. Cunningham (Howard Fast)
In the Fog by Richard Harding Davis
The Hog Murders by William De Andrea
Dr. Sam Johnson, Detector by Lillian de la Torre
Dolly and the Bird of Paradise by Dorothy Dunnett
The Man With Bogart’s Face* by Andrew J. Fenady
Blood and Honey by G. G. Fickling
A Graveyard of My Own by Ron Goulart
The Judas Pair by Jonathan Gash
The Limping Goose by Frank Gruber
Cotton Comes to Harlem* by Chester Himes
The Man Who Murdered Goliath by Geoffrey Homes
Siskiyou by Richard Hoyt
Every Little Crook and Nanny* by Evan Hunter
Johnny Havoc Meets Zelda by John Jakes
The Lady in The Car With Glasses and a Gun* by Sebastian Japrisot
Murder on the Yellowbrick Road by Stuart Kaminsky
The Murder of the Marahrajah by H. R. F. Keating
Murder by Latitude by Rufus King
Keystone by Peter Lovesey
Sci Fi by William Marshall
Fletch* by Gregory McDonald
Rest Ye Merry Gentlemen by Charlotte McLeod
The Red House Mystery by A. A. Milne
The Mummy Murder Case by Dermot Morrah
Hard Knocker’s Luck by William Murray
Murder at Horsethief by James O’Hanlon
Puzzle for Wantons by Q. Patrick
The Curse of the Pharaohs by Elizabeth Peters
Dover Two by Joyce Porter
The Kubla Khan Caper by Richard Prather
Silky by Leo Rosten
Something’s Down There by Mickey Spillane (Spillane still Spillane, but in a much lighter hearted mood than normal)
Caroline Miniscule by Andrew Taylor
The Corpse Came C.O.D. by Phoebe Atwood Taylor
Bony and the Kelly Gang by Arthur W. Upfield
The Choirboys* by Joseph Waumbaugh

   If at least one of these doesn’t get a chuckle out of you, you may want to consider a funnybone transplant.

   Steve suggested we might try our hands at a 100 best list, so here with some reservations is mine. Reservation number 1:   I have limited myself to mystery and suspense novels, so no thrillers, adventure, or spy novels.

   Number 2:   I have no short story collections on the list — I couldn’t top the Queen’s Quorum anyway.

   Number 3:   I am skipping the early classics from The Moonstone to The Hound of the Baskervilles. For all practical purposes this list begins with the birth of the Golden Age which most would place with E. C. Bentley’s Trent’s Last Case. The books before that are deserving of a list of their own.

   Also, I have limited myself to one title per writer though obviously some writers should have multiple entries.

   The final reservation is that this is no “best” list. More a favorites list, and of course at different times there would be some variation. Some favorite writers don’t make the list because another, sometimes lesser, writer wrote one very good book. And though they wrote well after the cut off date I’m leaving R. Austin Freeman to the earlier period along with Conan Doyle and Chesterton.

   And warning, this list is extremely eclectic.

   It struck me too how many of these had been filmed so a * marks a film version.

   With those caveats, herewith:

About the Murder of The Circus Queen by A. Abbott *
The Death of Achilles by Boris Akunin
Tiger in the Smoke by Margery Allingham *
Terror on Broadway by David Alexander
Perish By the Sword by Poul Anderson
Hell Is a City by William Ard
The Unsuspected by Charlotte Armstrong *
Murder in Las Vegas by W. T. Ballard
Death Walks in Eastrepps by Francis Beeding
Charlie Chan Carries On by Earl Derr Biggers *
The Beast Must Die by Nicholas Blake *
Bombay Mail by Lawrence G. Blochman *
No Good From a Corpse by Leigh Brackett
Green For Danger by Christianna Brand *
The Clock Strikes Thirteen by Herbert Brean
A Case for Three Detectives by Leo Bruce
The Screaming Mimi by Fredric Brown *
Asphalt Jungle by W. R. Burnett *
The Secret of High Eldersham by Miles Burton
Fast One by Paul Cain *
Circus Couronne by R. Wright Campbell
The Man Who Could Not Shudder by John Dickson Carr
Farewell My Lovely by Raymond Chandler *
Elsinore by Jerome Charyn
And Then There Were None by Agatha Christie *
First Prize by Edward Cline
Stolen Away by Max Allan Collins
Brass Rainbow by Michael Collins
The Moving Toyshop by Edmund Crispin
The Wrong Case by James Crumley
Snarl of the Beast by Carroll John Daly
Sally in the Alley by Norbert Davis
The Poisoned Oracle by Peter Dickinson
To Catch A Thief by David Dodge *
My Cousin Rachel by Daphne Du Maurier *
End of the Game (aka The Judge and His Hangman) by Friedrich Duerrenmatt *
The Name of the Rose by Umberto Eco *
The Naked Spur by Charles Einstein *
The Eighth Circle by Stanley Ellin
L.A. Confidential by James Ellroy *
Mirage by Walter Ericson (Howard Fast) *
Double Or Quits by A. A. Fair
The Big Clock by Kenneth Fearing *
Death Comes to Perigord by John Ferguson
Isle of Snakes by Robert L. Fish
High Art by Rubem Fonseca *
King of the Rainy Country by Nicholas Freeling
Operation Terror by the Gordons *
Take My Life by Winston Graham *
Brighton Rock by Graham Greene *
It Happened In Boston by Russell Greenhan
The Maltese Falcon by Dashiell Hammett *
Violent Saturday by W. L. Heath *
Why Shoot a Butler by Georgette Heyer
The Talented Mr. Ripley by Patricia Highsmith *
Night Has 1000 Eyes by George Hopley (Cornell Woolrich) *
Flush as May by P. M. Hubbard
Ride the Pink Horse by Dorothy B. Hughes *
One Man Show by Michael Innes
An Unsuitable Job For a Woman by P. D. James *
The 10:30 From Marseilles by Sebastian Japrisot *
The Last Express by Baynard Kendrick
Night and the City by Gerald Kersh *
Fata Morgana by William Kotzwinkle
Murder of a Wife by Henry Kuttner
Headed for a Hearse by Jonathan Latimer *
Curtain for a Jester by Richard and Francis Lockridge
Let’s Hear it For the Deaf Man by Ed McBain *
Through a Glass Darkly by Helen McCloy
The Green Ripper by John D. MacDonald
The List of Adrian Messenger by Philip MacDonald *
Black Money by Ross Macdonald
Gideon’s Day by J. J. Marric (John Creasey) *
Died in the Wool by Ngaio Marsh
Guilty Bystander by Wade Miller *
A Neat Little Corpse by Max Murray *
Sleeper’s East by Frederic Nebel *
Let’s Kill Uncle by Rohan O’Grady *
Puzzle for Fools by Q. Patrick
Fracas in the Foothills by Eliot Paul
To Live and Die in L.A. by Gerald Petivich *
Shackles by Bill Pronzini
Cat of Many Tails by Ellery Queen *
Footprints on the Ceiling by Clayton Rawson
Trial by Fury by Craig Rice
The Erasers by Alain Robbe-Grillett *
The Nine Tailors by Dorothy L. Sayers *
So Evil My Love by Joseph Shearing *
Stain on the Snow (aka The Snow is Black) by Georges Simenon *
The Laughing Policeman by Maj Sjowall & Per Waloo *
Death Under Sail by C. P. Snow
Blues for the Prince by Bart Spicer
One Lonely Night by Mickey Spillane
Judas Inc. by Kurt Steel
Some Buried Caesar by Rex Stout
Rim of the Pit by Hake Talbot
The Bishop Murder Case by S. S. Van Dine *
Above the Dark Circus by Hugh Walpole
Death Takes the Bus by Lionel White
Death in a Bowl by Raoul Whitfield

Editorial Comment:   Previously on this blog have been top 100 lists from Barry Gardner and Jeff Meyerson. Coming tomorrow is another such list from Geoff Bradley, editor and publisher of CADS (Crime and Detective Stories) . Thanks to all!

Steve and David —

   Hi, it’s me again. I’m the one who suggested the recent “Man on the Run” lists which appeared on your blog, for which I am eternally grateful. They have been of enormous assistance.

   Here’s another question, based on a thought that came to me, one somewhere between screwball and noir. It is about a retired single man who places a Personal ad in a sailing magazine (this is very common) seeking a woman to sail around the world with him “as long as it’s fun.” He finds the right woman and they set off, he falls in love and they get married. But of course she has another husband who wants her to kill the new husband to collect the insurance.

    So it’s a noir on a boat.

    Double Indemnity and The Postman Always Rings Twice certainly come to mind but I’m sure I’m missing some good ones. Murder on the High Seas (1932, aka Love Bound) is very dated. Body Heat meets Dead Calm meets A Fish Called Wanda is probably what I’m going for.

   If there are any films you could recommend I would be even more eternally grateful. Thank you.

         Josh

       — —

   Steve here first. I believe the most recent variation of the “Man on the Run” movie lists was actually a “Couples on the Run” list, which you can find here. (There are links in that post that you can use to find most if not all of the earlier ones.)

   David Vineyard is much better at this than I am. Here’s his reply, which I received soon after I sent Josh’s new inquiry on to him:

DEAD CALM was the first to come to mind, but I can’t think of a lot of films with a similar premise. Most of the films with a sailing theme tend to be adventure films involving treasure or pearls, deep sea diving, and some tough skipper like John Payne (CROSSWINDS), Errol Flynn (MARA MARU), or John Wayne (WAKE OF THE RED WITCH).

John Sturges’s UNDERWATER with Jane Russell, Richard Egan, and Gilbert Roland is typical, but again it’s a treasure hunt movie, and existed mostly to exploit the then new technology allowing for extensive technicolor photography underwater.

There is a true story with a similar theme — minus the murder — Nicholas Roeg’s CASTAWAY from 1987 where Oliver Reed advertises for a woman to be marooned on a desert island with him and Amanda Donohoe answers the ad; based on Lucy Irvine’s book about her experiences. Oddly enough Irvine is every bit the knockout Donohoe is and the odder bits of the film are true.

As I said, there is no murder or crime — other than criminal stupidity on the part of Reed’s character — but you might pick up some ideas and Donohoe is nice to look at nude, semi nude, and in a bikini while the book is fully illustrated with color photos of Irvine in the same state.

You might also check out the miniseries AND THE SEA WILL TELL with Richard Crenna, based on Vincent Bugliosi’s book of the trial and investigation of a couple accused of murdering another couple on a yacht who were sharing a deserted island with them. Rachel Ward played Bugliosi’s client, on trial for murder. It used to show up regularly on cable and there may be a VHS or DVD.

Again, no murder, but THE LITTLE HUT with Ava Gardner, Stewart Granger, and David Niven has the wife, husband, and boyfriend all stranded on a desert island together after a shipwreck. Diverting little sex comedy handsomely shot in technicolor. At least you get to see what sort of a Tarzan Granger might have made.

Most of these are going to be set on islands rather than the boat.

A TOUCH OF LARCENY is a wry tale based on Andrew Garve’s THE MEGSTONE PLOT where Naval officer James Mason contrives to shipwreck himself on his holiday and be accused of treason while missing in hopes of making a fortune suing the British tabloids when he is rescued — everything goes wrong of course. You can check out my review here on the blog

A RAW WIND IN EDEN has wealthy Esther Williams plane crash and she is rescued on a remote island by Jeff Chandler where jealousy, murder, and every other complication ensues.

L’AVVENTURA by Michelangelo Antonioni is of course the classic film (skip the remake with Madonna) of a spoiled rich woman (Monica Vitti) ship wrecked with a crude sailor (Gabriele Ferzetti) .

At least a small section of ARRIVEDERCI BABY! features lonely hearts killer Tony Curtis and Black Widow Rossano Shiaffano trying to kill each other while sailing in a black comedy.

And you might check out CAPTAIN RON a particularly unfunny comedy in which Martin Short and family inherit a sail boat and take on captain Kurt Russell an eye patched drunken lecher for a vacation from Hell — if you are masochistic enough to sit through it.

Almost as bad is THE ISLAND based on Peter Benchley’s book about a modern man (Michael Caine) and his son whose yachting holiday is disturbed when they are taken hostage by latter day pirates. This is the one where Leonard Maltin’s terrible review noted “You know you are in trouble when David Warner is the most normal guy on the island.” He’s absolutely right, if anything he is too kind, though in fairness he has no lower rating than BOMB.

Again most are going to be the shipwreck theme more than the boat itself, everything from THE ADMIRABLE CRICHTON (Kenneth More, Diane Cliento) — which was also a Bing Crosby musical PARADISE LAGOON — to SWISS FAMILY ROBINSON.

You might check out EBB TIDE, a tough little adventure film based on Robert Louis Stevenson’s story with Ray Milland, Oscar Homloka, and Lloyd Nolan and remade as ADVENTURE ISLAND with Rory Calhoun. Nolan is quite good as the monomaniacal madman in the original, shot in early color.

There is a little British film from the post war period where a honeymooning couple sailing to Calais pick up a ship wreck survivor and find themselves involved in a smuggling plot, but the name escapes me — it’s a slight and very short comedy.

And there is another with John Cassavettes (of all people) where a honeymooning couple try living on a small island in the Caribbean, but again the name eludes me — should be easy enough to find though as Cassavettes didn’t do a lot of comedy. Laurel and Hardy’s last feature involved them on a small boat, shipwrecked, and with a nuclear bomb if my memory is right.

Ship board crime and murder is a little better represented, with THE PRINCESS COMES ACROSS (Carol Lombard and Fred MacMurray, reviewed here, DANGEROUS CROSSING (based on John Dickson Carr’s “Cabin B-13” with Jeanne Crain and Michael Rennie remade for television as TREACHEROUS CROSSING), THE GREAT LOVER ( Bob Hope and Rhonda Fleming), JUGGERNAUT (Richard Harris, Anthony Hopkins, Omar Sharif battle an extortionist), DARKER THAN AMBER (Rod Taylor as Travis McGee), and THE LAST OF SHEILA (James Mason, James Coburn, Anthony Perkins …).

That last one is an outstanding mystery/suspense film with an all star cast including Dyan Cannon, Joan Hackett, and Raquel Welch and written by mystery fans Perkins and composer Stephen Sondheim (who collaborated on Broadway with Hugh Wheeler, one half of Q. Patrick).

And of course disaster at sea is well represented in all three films entitled TITANIC (1943, 1953, 1997), A NIGHT TO REMEMBER, THE LAST VOYAGE, SHIP OF FOOLS, VOYAGE OF THE DAMNED (the last two more drama than disaster— save the emotional kind), ABANDON SHIP, ARISE MY LOVE, THE POSEIDON ADVENTURE, TWILIGHT OF THE GODS, GOLDEN RENDEZVOUS, CAPTAIN CHINA, KRAKATOA EAST OF JAVA (and it’s not East of Java, in fact it is West of Java), and Hitchcock’s LIFEBOAT.

Hammond Innes THE WRECK OF THE MARY DEARE was filmed by Michael Anderson with Charlton Heston and Gary Cooper and involved the skipper of small salvage ship uncovering skullduggery at sea. BREAK IN THE CIRCLE (based on the novel by Philip Loraine), THE HOUSE OF SEVEN HAWKS (based on Victor Canning’s HOUSE OF TURKISH FLIES), NEVER LET ME GO (based on Andrew Garve’s TWO IF BY SEA), ACTION OF THE TIGER (based on John Welland’s novel), and A TWIST OF SAND (based on Geoffrey Jenkins novel) all deal with international intrigue and small boats,

S.O.S. PACIFIC is a solid little suspense film about a plane load of Grand Hotel types who crash on an island that is about to be used for nuclear test — Eddie Constantine (for once in his own voice), Pier Angelli, Richard Attenborogh (outstanding), and John Gregson star and Guy Green directed. Really nerve wracking suspense — sort of a South Pacific version of Dick Powell’s SPLIT SECOND.

Hopefully this will be some help. Nothing really fits quiet as well as DEAD CALM, but some of these are in the same general area. There are a handful of horror and sf films that come close — everything from THE CREATURE OF THE BLACK LAGOON to some of the made for television Bermuda Triangle movies, but that list could go on forever, and I really don’t think you are interested in mutant sharks, zombies, aliens, and man eating fish.

But that’s all I can come up with off hand. Book wise you might try the novels of J.R.L. Anderson and Bernard Cornwell’s thrillers, they are to small boats what Dick Francis is to racing, and of course Charles Williams who wrote the novel DEAD CALM.

Dorothy Dunnett’s Johnson Johnson books usually involve sailing too, and so do many of the thrillers in the Buchan mold by Hammond Innes, Geoffrey Jenkins, Wilbur Smith, Desmond Bagley, Eric Ambler (as Eliot Reed with Charles Rodda), Andrew Garve, and such.

    This particular list of motion pictures was prompted by Walter Albert’s recent review of De Luxe Annie (1915), in which all of the heroine’s difficulties stem from being knocked unconscious early on and suffering from amnesia for the rest of the movie, or almost.

    In a comment that he left soon after the review appeared, David Vineyard wondered “where would suspense fiction and movies be without it?”

    “It” referring to the concept of amnesia, as practiced in the movies and crime fiction. Which of course triggered the obvious question from me to David. The rest of this post is his reply. Thanks, David!

             >>>

   Movies with an amnesia theme. This one could get pretty long fast, but I’ll try to restrain myself:

Street of Chance — Burgess Meredith. Based on Cornell Woolrich’s Black Curtain about a man with short term amnesia who thinks he may have committed a murder.

Female Fiends — Lex Barker. A writer and producer who wakes up with no memory and in the middle of a murderous plot; based on Q. Patrick’s Puzzle for Fiends.

Stage Fright — With Jane Wyman. Richard Todd’s character suffers partial amnesia involving the murder the police want him for.

No Man of Her Own — Barbara Stanwyck claims partial amnesia to cover lapses in her memory in pretending to be another woman; based on Woolrich’s I Married a Dead Man.

Mister Buddwing — James Garner. Based on the novel Buddwing by Even Hunter a man with amnesia stumbles from one woman in his life to the next trying to put together who he is.

36 Hours —James Garner again. German doctor Rod Taylor uses drugs to induce amnesia in order to get Garner to reveal the true site of the D-Day landings.

The Third Day — George Peppard. An obnoxious millionaire struggles to remember who is trying to kill him; based on Joseph Hayes’ novel.

Power of the Whistler — Richard Dix. An amnesiac tries to clear himself by regaining his memory.

The Manchurian Candidate — Frank Sinatra. An Army officer tries to combat drug induced memories implanted as part of a Chinese plot from Richard Condon’s novel.

Fear in the Night — Deforest Kelly. Jazz musician gets help from his cop brother-in-law Paul Kelly to recover marijuana induced memory loss and clear his name; based on Cornell Woolrich short ‘Marijuana’ and remade with Kevin McClory and Edward G. Robinson as Nightmare.

Phantom Lady — Alan Curtis man’s drink induced memory loss means his friends have to follow abstract clues from his flawed memory to save him from execution based on Cornell Woolrich novel.

Memento — Man who loses his memory every time he goes to sleep tries to solve the murder of his wife by leaving clues behind to follow each day.

Dark City — Rufus Sewell. A man with amnesia struggles to recall reality in clever noirish sf film based on a graphic novel.

The Matrix — Keanu Reeves. Man begins to see through the illusion he lives in.

Two in the Dark — Walter Abel . Female cabbie helps a man recall his memory as they race to solve a murder, remade with Tom Conway and Ann Rutherford and directed by Anthony Mann as Two O’Clock Courage.

Mirage — Gregory Peck. A city-wide blackout triggers a crisis for a businessman whose life begins to unravel when nothing he remembers is real.

Blindfolded — Rock Hudson. A psychiatrist tries to help agent suffering from trauma induced memory loss but finds himself in a spy plot.

Who? — Elliot Gould. Investigators try to understand what happened to man with robot head; based on Algis Budrys’s novel.

Random Harvest — Ronald Colman. The granddaddy of them all, based on James Hilton’s novel.

Somewhere in the Night — John Hodiak. A private eye returns from the war with memory loss.

The Long Wait — Anthony Quinn. A man returns home with memory loss; based on Mickey Spillane novel.

Singapore — Fred MacMurray. A woman loses her memory and can’t remember the man who loved her. Remade as Istanbul with Errol Flynn.

As You Desire Me — Greta Garbo. A woman with amnesia returns to husband she doesn’t remember, from the Pirandello play.

Spellbound — Gregory Peck. Am amnesiac poses as a psychiatrist but becomes the patient; based on Francis Beeding’s The House of Dr. Edwards.

The Woman With No Name — Phyllis Calvert. A woman sufferis from amnesia.

The Private Life of Sherlock Holmes — Robert Stephens. A woman claims to have lost her memory and seeks help from Sherlock Holmes.

The Seven Percent Solution — Nicol Williamson. Sigmund Freud helps Sherlock Holmes recover repressed childhood memories so he can solve a case and cure himself of cocaine addiction.

Love Letters — Joseph Cotton. GI Cotton comes to England to meet Jennifer Jones whom he corresponded with who has lost her memory and may be in danger, with a screenplay by Ayn Rand.

I Love You Again — William Powell. Con man regains his memory and tries to save his new respectable life with wife Myrna Loy from his old pals in this screwball comedy.

Crossroads — William Powell. French diplomat must regain his memory to save himself.

Where Were You When the Lights Went Out? — Doris Day tries to remember what happened the night of the blackout when she had too much to drink.

The Witches — Joan Fontaine. A woman’s loss of memory puts her in danger from a coven of witches.

Carnival of Souls — Candace Hilligloss. A woman wanders around in weird haze.

Portrait of Jennie — Jennifer Jones. A young woman doesn’t know she is a ghost.

The Mummy’s Curse — Lon Chaney Jr. Young woman doesn’t recall she is 3000 years old; basically the plot of Blood on the Mummy’s Tomb and The Awakening; based on Bram Stoker’s Jewel of the Seven Stars.

The Black Angel — Dan Duryea. A man plays detective to help a woman clear her husband with surprising results; based on the Cornell Woolrich novel.

The Haunted Strangler — Boris Karloff. In retrospect mystery writer Boris should never have opened up the twenty year old murder case …

Hangover Square — Laird Cregar. A pianist and composer doesn’t quite remember what he gets up to when the music compels him; based on Patrick Hamilton’s play.

Suddenly Last Summer — Elizabeth Taylor. A psychiatrist tries to help young woman recall traumatic event while battling her over protective mother-in-law.

Landslide — Anthony Edwards. A man suffers selective memory loss after an accident.

The Bourne Identity — Matt Damon. A spy is hunted on all sides and doesn’t recall why.

The October Man — John Mills. A man with mental problems has to clear himself of murder and prove to himself he didn’t do it. Eric Ambler wrote the screenplay.

Knock on Wood — Danny Kaye. A ventriloquist who believes is dummy is talking to him suffers memory loss and personality changes as a result of plot by his analyst to use him in spy plot.

Highly Dangerous — Margaret Lockwood. A scientist on mission for the Secret Service is tortured and afterward thinks she is a famous radio secret agent from a popular children’s show. Screenplay by Eric Ambler.

Bewitched — Phyllis Thaxter. An early variation on multiple personalities as woman committed murder in her other persona.

Three Faces of Eve — Joanne Woodward. A woman doesn’t recall what she does in alternate personalities.

   Others?

Dear Steve,

Greetings from a total stranger. I wonder if you can spare me a few minutes of your time and some of your expertise.

I am a keen reader of the “man on the run” type of thriller novel. As you know, this is a sub genre where a person, usually male, finds himself pursued by a deadly enemy for most of the book. He has to elude his opponent in clever and creative ways before finally confronting him/ it/ them. I particularly like wilderness or countryside settings for these pursuits rather than urban ones.

I have read the few classic examples that I know of: Household’s Rogue Male, Watcher in the Shadows and Dance of the Dwarfs, and Buchan’s The Thirty-Nine Steps come to mind.

Now comes the inevitable question: do you know of any bibliographies or reading lists for this kind of thriller, or can you suggest some more authors and titles I should seek out?

Thank you in anticipation,     — D.

I passed the question on to David Vineyard, who quickly responded with the list that follows.     — Steve

   As a lover of the man on the run thriller myself, I’m glad to say there is quite a bit on it to be found at various sources.

   To begin with, look up a book called The World of the Thriller, by Ralph Harper. Harper was a British minister (religious kind, not political) and his book is mostly dedicated to the man on the run style thriller. There is also a good article on the subject in Dilys Winn’s Mystery Ink. The subject comes up in some of the books on the spy novel, too, since it is closely related. .

   Below I’ve done a sort of annotated list that deal with the subject in general. Generally it’s a British thing, but a few Americans, South Africans, and Canadians have contributed too.

   The first use of the man on the run theme was William Godwin’s (Mary Shelly’s father) Caleb Williams, the story of a man framed by his employer who ends up befriended by outlaws before clearing his name, though you could easily say the genre began with Homer and The Odyssey. Odysseus the man pursued by fate and the gods.

   Before Buchan came along, the model was established by Robert Louis Stevenson with Kidnapped, Catriona (sequel to Kidnapped), St. Ives (the story of an escaped Napoleonic soldier in England), and the novella “Pavillion on the Links.”

   Conrad also touches on it in his novel, The Rover, about a Frenchman who has to sink a British blockade ship during the Napoleonic wars. Elements of it figure in books like The Prisoner of Zenda, A.E.W. Mason’s The Four Feathers, and of course Victor Hugo’s Les Miserables.

   The Power House by John Buchan (1910) generally considered the first of the form and called by Graham Greene the first modern spy novel. Most of the pursuit is in London, but historically important.

   Prester John — a young man in Africa falls in with a hypnotic African leader who plots a bloody uprising.

   Mr. Standfast/Greenmantle/The Three Hostages/Island of Sheep — the adventures of Richard Hannay — all featuring the man on the run theme to one extent or the other.

   A Prince of the Captivity — stand alone novel by Buchan about a British agent who sets out to find a man he believes can save society from the dangers of fascism. Good details of his actions in WWI as an undercover agent, a rescue in the arctic, and a chase across the Alps pursued by Storm Troopers.

   Also by Buchan and touching the theme, The Dancing Floor, John McNab, Huntingtower, Castle Gay, House of the Four Winds and the historical novels Salute to Adventurers, Blanket of the Dark, and The Free Fishers.

    Also:

Riddle of the Sands by Erskine Childers — prophetic novel of two men who uncover a German plot to invade England prior to WWI.

Brown on Resolution by C.S. Forester — a British sailor with a rifle holds a German raider at bay on a desert island while the crew hunts him. Also a film as Sailor of the King.

The Great Impersonation by E. Phillips Oppenheim — a British nobleman in Africa is replaced by a German agent on the eve of WWI — or is he?

Francis Beeding — best known today for the book that became Hitchcock’s Spellbound, his series about Col. Alistair Granby are often of the man on the run variety. The Five Flamboys.

Valentine Williams — his novels featuring the German spy Clubfoot are often as not chase and pursuit novels with the British hero a hunted spy in Germany.

Household — virtually all of his books are on this theme — other than the ones you mention try The High Place, The Fifth Passenger (a humorous take), A Time to Die, A Rough Shoot, The Courtesy of Death, The Sending, and Red Anger.

Hammond Innes — the king of the British adventure story in the fifties — all of his novels are outdoor adventure with one man against the odds. The Wreck of the Mary Deare, Atlantic Fury, Blue Ice, White South, Campbell’s Kingdom, The Strode Venturer, Levkas Man.

Gavin Lyall — his early novels are much in the Innes mode with a touch of Eric Ambler — The Most Dangerous Game, Shooting Script, Venus With Pistol, Midnight Plus One. His later books are more often spy novels.

Desmond Bagley — South African writer in the Innes/Alistair MacLean mode — The Vivero Letter, High Citadel (a group of people stranded by a plane crash hunted by a South American army), Freedom Trap (filmed as MacIntosh Man), Running Blind, many more.

Wilbur Smith — several of his novels deal with the theme including A Time to Kill, Shout at the Devil, and The Diamond Hunters.

    Others:

Alistair MacLean — particularly the books Guns of Navarone, Night Without End, Fear is the Key, The Secret Ways, The Satan Bug, South By Java Head, When Eight Bells Toll, The Black Shrike

Duncan Kyle — Black Camelot, others

Anthony Trew — South African writer — variations on the theme

Mary Stewart — My Brother Michael, The Gabriel Hounds, Moonspinners, Wildfire at Midnight — romantic suspense, but with a strong Buchan/Hitchcock theme

Geoffrey Jenkins —South African writer — River of Diamonds, A Twist of Sand, A Grue of Ice, Hunter Killer

Douglas Orgill

Steve Frazee (Sky Block and Run Target)

Charles Williams (Man on the Run)

Q. Patrick (Man in the Net)

James Goldman (The Man From Greek and Roman)

Graham Greene (The Man Inside)

David Garth (most titles)

Edward Abbey (The Brave Cowboy — a modern cowboy in New Mexico flees across the Sangre de Cristos — filmed with Kirk Douglas and Walter Matthau as Lonely Are the Brave)

Gavin Black (the Paul Harris series)

Alan Furst (most of his novels feature protagonists who find themselves hunted by the Nazi’s)

Ethel Vance — Escape (an American has to save his German mother from the Nazi’s)

Helen MacInnes — the best woman writer of the genre — Above Suspicion, Assignment in Brittainy, Horizon, Pray for a Brave Heart, more

Martha Albrand — another woman with a taste for the man on the run theme

Dornford Yates — Storm Music, Cost Paid, She Fell Among Thieves — his heroes are usually on the run from the villains while hunting a treasure in some remote European location

Allan Caillou — actor and writer — many of his books are on the theme — Journey to Orassia, Rampage (a film with Robert Mitchum)

Ted Willis — Man Eater about a man hunting a man eating Tiger on the loose in rural England, Buckingham Palace Connection — a Brit in revolutionary Russia tries to save the Royal family

Victor Canning — one of the greats. Any of his books.

David Dodge — Plunder of the Sun, The Red Tassel, The Long Escape, To Catch a Thief, Angel Ransom

David Walker — Harry Black and the Tiger

John Masters — The Breaking Strain, Himalayan Concerto, Far Far the Mountain Peak, Lotus in the Wind — many of his novels feature the hero in classic chase and pursuit while others are more historical or adventure writers.

Berkely Mathers — The Achilles Affair, Without Prejudice (Mather co-wrote the screenplay of Dr.No) others.

Elleston Trevor — variations on the theme — also Adam Hall, many of the Quiller books have him on the run and alone — in fact most of them.

Nevil Shute — some of his novels follow the theme — So Disdained, Most Secret, Trustee in the Toolroom

Ernest Gann — variations on the theme particularly in Soldier of Fortune, Band of Brothers, The Aviator

Lawrence Durrell — White Eagles of Serbia a juvenile novel

Geoffrey Rose — A Clear Road to Archangel, No Road Home — outstanding and too little known in the US

Alan Williams — False Beards, Snake River, Holy of Holies.

Francis Clifford — Act of Mercy, The Naked Runner, more

Eric Ambler — Background to Danger, Epitaph for a Spy, Journey Into Fear, Cause for Alarm, The Schirmer Inheritance, A Kind of Anger, The Light of Day, Dr. Frigo

Jack Higgins — most of his books before The Eagle Has Landed fit the bill.

John Willard — The Action of the Tiger

Allan Dipper

Rupert Hart-Davis — The Heights of Rim Ring, Level 7

John Welcome — Run For Cover, Before Midnight good thrillers in the adventure vein

Archie Roy — Brit scientist whose books are often in the chase and pursuit vein of Buchan.

P.M. Hubbard — Kill Claudio — most of his books. Well worth finding. Similar to Household but not imitative.

Fred Hoyle — Buchanesque sf novel Ossian’s Ride.

L.P. Davies — some sf some thriller some mix the two. His heroes are frequently trying to find their identity while pursued by some threat

John Christopher— same mix

Desmond Cory — his hero Johnny Fedora often on the run from spies and the law

Michael Gilbert — some of his books fall into the genre such as The Etruscan Tomb, The Long Journey Home, The 92nd Tiger, Danger Route (based on his escape from an Italian POW camp in WW II).

Andrew Garve — some of his many novels fall into the category — Two if by Sea, Ascent of D-13, The Megstone Plot

Philip Loraine — Brit thriller writer and screenwriter — Dead Men on Sestos, Nightmare in Dublin, Break in the Circle.

Alan MacKinnon — hard to find but well worth it.

Donald Mackenzie — before his John Raven series his novels often featured small time crooks on the run from police and other crooks or spies.

Donald Hamilton — his non series novels, and even many of the Matt Helms fall into the general category.

Edward S. Aarons — Girl on the Run, chase for lost treasure in post war France

Frank Gruber — Bridge of Sand, Brothers of the Sword excellent Ambleresque adventures

Lionel Davidson — one of the best ever — Rose of Tibet, Night of Wenecslas, The Menorah Men, The Sun Chemist, Kolmsky Heights (read this one), Smith’s Gazelle

James Aldridge — The Statesmen’s Game, A Captive in the Land

George Macdonald Fraser — most of the Flashman novels feature Flashy hunted and pursued on all sides — very funny, and also the adventure novel done right.

Bernard Cornwell — several good modern thrillers and the Richard Sharpe series which often finds Sharpe and his friend Sgt. Harper hunted and on the run from Napoleon’s army and other enemies.

Mark Derby — hard to find, but good adventure thriller writer from the fifties and early sixties usually in the chase and pursuit vein.

Anthony Horowitz — his juvenile Alex Rider series often finds his young hero alone and on the run from his enemies — well written and not just for young readers.

Barry England — Figures in a Landscape — forget the awful movie — two men escape a brutal prison and flee across desert and mountains. A bit too literary, but well done.

Jon Manchip White — Nightclimber, Game of Troy — fine examples of the theme with almost Poe like touches.

Peter O’Donnell — you’d be surprised how often Modesty Blaise and Willie Garvin end up alone and hunted on all sides. Notably in Sabre-Tooth, A Taste for Death, The Impossible Virgin, The Last Day in Limbo, Night of Morning Star.

Norman Lewis — travel writer and adventure novelist. In real life escaped from an Italian POW camp in WW II with Michael Gilbert so he knows whereof he writes.

   Anyway, these will lead you to many others. Considering how simple the theme is, the variations are endless.

          David Vineyard

JONATHAN STAGGE – Death, My Darling Daughters.

Unicorn Book Club; hardcover reprint, June 1946. Hardcover first edition: Doubleday Crime Club, 1945. UK hardcover: Michael Joseph, as Death and the Dear Girls, 1946. Digest paperback reprint: Bestseller Mystery #B164; no date stated but circa 1953.

   Most of my time this week has been spent on doing my taxes, which are now done, at last. In the meantime, I’ve posted some old reviews to keep you from stopping by and seeing nothing new. I haven’t chosen the last two at random, though. I had a small design in mind, with no further explanation. I’ll let you put two and two together on your own.

   Jonathan Stagge was the author of nine mysteries published under Doubleday’s Crime Club imprint between 1937 and 1949. Each of these book featuring a country doctor by the name of Dr. Hugh Westlake as their leading sleuth. A widower, he lived with his daughter Dawn, who had only incidental roles in the cases he solved — I think. Maybe I’m wrong on that, as I’ve only read two or three of them, and none toward the end of the series, where she may have not appeared at all. And in some of the earlier ones, read a long time ago, she may have had more a part to play than she does in Death, My Darling Daughters.

   If you’ve been following me as I’ve gone along, however, you won’t be surprised to learn that Jonathan Stagge was a pen name and not a real person. He was instead the writing combo of Richard Wilson Webb and Hugh Callingham Wheeler, who also wrote at various times as Patrick Quentin and Q. Patrick. (Later on in his career, Wheeler co-wrote a play with Stephen Sondheim called Sweeney Todd, the Demon Barber of Fleet Street. I didn’t know that, until just now.)

   It’s not clear how old Dawn is when the book at hand begins. Westlake calls her “my young daughter,” and mentions that he had moved with her to the small Massachusetts town of Kenmore after his wife’s death ten years earlier. Dawn is therefore old enough to be left alone in their home for long periods of time, but young enough to naively point out (and strongly suggest) women who might make good wives for him.

   New in town, or rather newly back in town, is the family descended of one of Kenmore’s more famous citizens, Benjamin Hilton, who at one time was the Vice President of United States. (One of the more obscure ones, you may be sure.) Dawn is the reason that Dr. Westlake gets to meet the family, a mother and two daughters, all rather standoffish from the rest of the town’s inhabitants, but it’s the death of their aged nanny that gets him involved with their problems in his other capacity of town coroner.

   And when the other branches of the family come to visit, both headed by famous research doctors, it is Inspector Cobb, whom Westlake has assisted before, who asks him to stay underfoot and see what he can learn. They suspect murder, but the local D.A. is wisely afraid of annoying such important people.

   And when a second death occurs, they know they’re right, and the D.A. wrong. There is a sense of slyly malicious humor involved in Stagge’s telling of the tale, but even though this is nearly the equivalent of English manor house mystery, with only a very few suspects living together under one roof, the fact is that the people are all very unlikeable. (Some more than others.)

   It slows the reading down, this small fact does, but it is important. The daughters, both in their late teens or early 20s, have been sexually repressed by their mother, in the good old Puritan tradition. Nor are their aunts of much assistance, both rather weak and futile creatures. The two men in the family are greedy and overbearing, along with any other faults that you think might apply to the stuffy male aristocracy of New England.

   Dr. Westlake has the very desirable trait of allowing nearly perfect strangers tell him their life histories, which certainly eases the way when his sleuthing hat is on. Nonetheless, as the book begins to close, and you (the reader) are starting to wonder if there is any real puzzle to be solved, the answer I’m going to be ambiguous and say only that persevering to the end usually pays off.

   Overall? There are some dull spots in the reading — and looking back, I can’t see any way the author could have avoided them, or not easily — but there’s enough solid substance here to give the book a thumbs up. But two of them? I’ve thought it over, and the answer is no, as much I’d like to, I just can’t do it.

[ADDED LATER.] Using Al Hubin’s Crime Fiction IV as a guide, here’s a list of all the Jonathan Stagge books, in chronological order:

      The Dogs Do Bark. Doubleday 1937 [Dr. Hugh Westlake; Pennsylvania]
      Murder by Prescription. Doubleday 1938 [Dr. Hugh Westlake; Pennsylvania]
      The Stars Spell Death. Doubleday 1939 [Dr. Hugh Westlake; Pennsylvania]
      Turn of the Table. Doubleday 1940 [Dr. Hugh Westlake; Pennsylvania]

      The Yellow Taxi. Doubleday 1942 [Dr. Hugh Westlake; Pennsylvania]
      The Scarlet Circle. Doubleday 1943 [Dr. Hugh Westlake; New England]

      Death, My Darling Daughters. Doubleday 1945 [Dr. Hugh Westlake; Massachusetts]
      Death’s Old Sweet Song. Doubleday 1946 [Dr. Hugh Westlake; Massachusetts]
      The Three Fears. Doubleday 1949 [Dr. Hugh Westlake; Massachusetts]

LARAMIE. NBC-TV, 4 seasons (1959-63), 124 episodes. Regular cast: Seasons 1 through 4: John Smith (Slim Sherman) and Robert Fuller (Jess Harper); Seasons 1 and 2 only: Hoagy Carmichael (Jonesy) and Robert Crawford, Jr. (Andy Sherman); Seasons 3 and 4 only: Spring Byington (Daisy Cooper) and Dennis Holmes (Mike Williams).

   Laramie is a relatively undistinguished but nevertheless very enjoyable series. Most of the plots are predictable, nothing any regular Western movie and TV fan hasn’t already seen a hundred times before.

   Despite that, one of the things that makes Laramie so watchable is the characterizations supplied by the two leads, straight arrow Slim (Smith) and edgy Jess (Fuller, a man with a checkered past) as they improbably try to run a ranch and a stagecoach station while gallivanting all over the West tracking down bad guys and gals (which could well explain why they’re always strapped for cash to keep the ranch going).

   As for the stories, most of them are standard fare (somebody killed somebody’s brother, etc.), with only a few really pushing the envelope of credibility. It must have been in the leads’ contracts that they would either get badly beaten or shot at least once every episode. Jess in particular usually takes a bullet through the left shoulder but hardly slows down — a real wildcat, that Harper, even with a hole the size of the Channel Tunnel in his torso. And on top of that, no one suffers any infections from their wounds — these guys are TOUGH.

   Best of all, Laramie features some of the all-time great Western villain actors: Lyle Bettger, Rod Cameron, Jan Merlin, Gregory Walcott, James Anderson, Harry Lauter, Roy Barcroft, Dennis Patrick, L. Q. Jones, and Robert J. Wilke being just a few. Even the future Mr. Spock (Leonard Nimoy) and “Bones” McCoy (DeForest Kelley) each takes a turn as a bad guy.

   And then there’s Charles Drake, not your usual idea of a villain. In a Laramie episode titled “The Accusers” (episode 72) he plays a smooth murderer who, like Uncle Charlie in Shadow of a Doubt, almost gets away with it; if only the finale hadn’t been so badly done.

   It must be an axiom in Hollywood: If you can’t come up with something original, steal. Two outright “lifts” from classic non-Western sources for Laramie plots would have to be:

    ~ “Strange Company” (episode 63) — While some of the locals are desperately trying to rebuild a stage line road, somebody in the crew is systematically killing the workers and Slim doesn’t have a clue as to who or why. If Agatha Christie’s And Then There Were None (or whatever title you might know it by) comes to mind, you’re not alone.

    ~ “The Lost Dutchman” (episode 49) — Slim gets into a scrape when he’s accused of murder and Jess, turning detective, gets involved in the search for a black bird … no, not really, it’s actually a spur which is believed to have an authentic map (aren’t they all?) to the Lost Dutchman’s mine stuffed in the shank. In this variant of Hammett’s The Maltese Falcon, Robert Emhardt assumes the Kasper Gutman part, Karen Steele takes the Brigid O’Shaughnessy role, and Robert Fuller comes across as a creditable Sam Spade.

   So, is Laramie worth your time? It’s a Western, isn’t it? “People love Westerns worldwide. There’s something fantasy-like about an individual fighting the elements. Or even bad guys and the elements. It’s a simpler time.” — Clint Eastwood