FIRST YOU READ, THEN YOU WRITE
by Francis M. Nevins


   Ever heard of Stanislas-André Steeman? Thought not. In Anglo-American crime fiction his name is all but unknown, but in Europe and especially France he’s considered one of the most important exponents of the roman policier. Like his far better known older contemporary Georges Simenon, he was Belgian by birth, born in Liège in 1908, five years after the creator of Maigret.

   Simenon launched the Maigret series early in life, but Steeman’s first books, written in collaboration with Hermann Sartini (whose nom de plume was Sintair) were published in 1928, a year before the first Maigrets and when Steeman was 20 years old at most, maybe even 19. After five novels the partnership broke up, and from then on Steeman was on his own, turning out more than 30 policiers before his death in 1970 at age 62.

   Only two of his novels made it across the Atlantic, with the 1931 SIX HOMMES MORTS translated (by the wife of poet Stephen Vincent Benét) as SIX DEAD MEN (Farrar & Rinehart, 1932) and 1932’s LA NUIT DU 12 AU 13 appearing in English as THE NIGHT OF THE 12th-13th (Lippincott, 1933). After that he became a nonentity in English but he was already a celebrity in France, having won the Grand Prix du Roman d’Aventures for SIX HOMMES MORTS.

   Steeman’s principal detective character was Inspector Wenceslas Vorobeitchik (the Russian word for sparrow), usually called Monsieur Wens, but on the basis of what I’ve found on the Web, it’s impossible to determine how many of Steeman’s novels he appeared in. Most of what we in the U.S. know about his work we owe to Xavier Lechard’s superlative “At the Villa Rose” website, which I highly recommend. Lechard calls Steeman “one of the greatest authors of the French Golden Age, and arguably one of the greatest mystery writers of all times….”

   Unlike Simenon, whose goal was to go beyond the conventions of classical detective fiction, Steeman loved them and loved even more to play with them. SIX DEAD MEN for example is a Tontine story of the sort we tend to associate with Ellery Queen. The fatal six agree that whoever outlives the others will inherit most of the men’s money, then the group starts dying off.

   A few years after its appearance in English translation, this novel was the basis of a low-budget “quota quickie” movie, THE RIVERSIDE MURDER (Fox British, 1935), directed by Albert Parker, with Basil Sydney starring as Inspector Philip Winton (obviously the Brit counterpart of Monsieur Wens) and, in one of his earliest film roles, Alastair Sim playing his sergeant. Featured in the cast are Ian Fleming (no, not that Ian Fleming) and Tom Helmore, who more than twenty years later played the Iago figure in Hitchcock’s VERTIGO.

   Thanks to my friend Tony Williams and his forthcoming essay on French film noir during the years of Nazi occupation, I know more about Steeman’s involvement with the movie industry of his adopted country than can be learned on the Web.

   The French version of the same Steeman novel, LE DERNIER DES SIX (1941) was directed by Georges Lacombe from a screenplay by Henri-Georges Clouzot (1907-1977), who went on to become a director himself and indeed to become celebrated as the Hitchcock of France. I don’t know whether the Monsieur Wens of Steeman’s novel or the Inspector Winton of the 1935 British film had a sex partner, but in this version as played by Pierre Fresnay he has a mistress, portrayed by Suzy Delair, who was Clouzot’s mistress at the time, and according to Tony Williams, the pair operate as a sort of Nick-and-Nora couple.

   The movie must have been a hit with French audiences of the Occupation era, for it was soon followed up by Clouzot’s first film as a director, L’ASSASSIN HABITE AU 21 (1942), again starring Fresnay and Delair and with a screenplay by Clouzot and Steeman, whose 1939 novel of the same name was never translated into English, but it takes place in London and involves a serial killer who murders his victims in the fog, leaving behind a calling card in the name of “Mr. Smith.”

   Since England in 1942 was at war with the Nazis, Clouzot inserted Fresnay and Delair from LE DERNIER DES SIX as Wens and his mistress Mila Malou and shifted the locale to France and the killer’s nom de guerre to Monsieur Durand. According to Tony Williams, the serial killer in the film turns out to be three men, former schoolmates each of whom believes himself to be a sort of Raskolnikov.

   At the end of the film, says Williams, “all three master criminals have their hands in the air when they are surrounded by the police.” Wens stands opposite the ringleader of the three and, in order to strike a match on his neck, has him lower his right hand, while his left remains in the air as if he’s giving the traditional Nazi salute. How could Hitler’s censors have missed this zinger? If L’ASSASSIN sounds like a serious film noir, Williams insists that this time Fresnay and Delair form “an even more excessive screwball comedic partnership” than in LE DERNIER DES SIX.

   The end of World War II did not end the connection between Steeman and Clouzot. The only new Steeman novel published during the war had been LEGITIME DEFENSE (1942). A few years after the liberation of France, Clouzot took this novel as the basis for his film QUAI DES ORFEVRES (1947), which Xavier Lechard describes as “arguably the best adaptation of Steeman’s work and one of the summits of French cinema.”

   Steeman wasn’t pleased with the result, principally because Clouzot “changed the guilty party….” Having worked on the screenplay, perhaps he was better satisfied with MYSTERE A SHANGHAI (1950), directed by Roger Blanc and based on the second and last Steeman novel to be translated into English, LA NUIT DE 12 AU 13.

   Steeman continued to write crime novels until his death but apparently they were far removed from his earlier books. Monsieur Wens returned in POKER D’ENFER (HELL’S POKER, 1955) and SIX HOMMES À TUER (SIX MEN TO KILL, 1956) but as a sort of shape-shifter, with the principal puzzle being which character in the story is he. Steeman’s final novel, AUTOPSIE D’UN VIOL (AUTOPSY OF A RAPE, 1971), is described by Lechard as “a courtroom mystery set in the United States” and displaying “a grim worldview with none of the author’s previous flippantness.”

   Although I’ve read a lot of Simenon and most of the Swedish team of Maj Sjöwall and Per Wahlöö and some of Friedrich Duerrenmatt and a few others, most of the mysteries I’ve consumed in the 60-odd years since I discovered Sherlock Holmes and Charlie Chan have been written in English. I’ve never read Steeman but what I’ve learned about him while researching this column leads me to think I might have missed a bet. Perhaps we all have.