Friday, June 23, 2017
I am a fan of science fiction super-wonder Connie Willis and I loved SLEEPING GIANTS (though not the second book in the trilogy which I found unreadable) by Sylvain Neuvel and THE FOLD by Peter Clines and THE LAST POLICEMAN trilogy which despite its starkly dystopian outlook is still mesmerizing and last but not least, I also enjoyed Stephen King's 11/22/63. I also like China Mieville's work though I think he is more a magical realism guy than a science fiction guy.
Despite this, I'm not much of a regular science fiction reader and know little about the stars of the genre and their bibliographies. I am not especially taken with plots filled with aliens and the inherent bizarre drama of other worlds except, actually, in movie form. But having said that, I'm not immune to a good book with an intriguing storyline either.
So when WAY STATION was recently made available on Kindle, I decided why not? I liked the overall plot idea and decided this would be my first Clifford D. Simak experience.
The book is an abundance of riches almost too much to take in at one reading. While the story is not difficult or full of exotic alien science too convoluted to follow or even imagine, there is still much to consider. The ambience of WAY STATION - despite some violence - has a certain gentleness while at the same time the plot dazzles with ideas.
Enoch Wallace is a modern day recluse. He is an American Civil War veteran who lives in a cabin in the woods which, unbeknownst to his mid-western neighbors, harbors alien teleportation machinery. He is immortal so long as he stays put in the impregnable cabin (and only goes outside for short periods of time) and continues his work which is that of earth's only caretaker of an intergalactic way station. As they planet hop from one deep space locality to another, alien travelers use earth as a sort of pit stop.
'Traveling' is a bit of a misnomer, since the creatures doing said 'traveling' don't actually make the journey - his or her outer shell dies at the point of origin and it is the 'travelers' data which is collected and teleported to the next destination then reassembled in original form.This isn't gone into in much detail, but it would seem a good way to disregard the actual logistics of light years long space travel. If you don't mind being dead and 'reborn' and being dead and 'reborn' as you move around space. Obviously one questions the very idea of the soul's purpose in these re-configured life forms - does it survive the teleportation or did it not exist in the first place?
It is a lonely existence as aliens move on from the way station never really staying long - occasionally one makes a connection with Enoch, but most don't. To them, he is just a caretaker, a necessary fixture. Once in a while, his old friend Ulysses drops by to chat and/or check on things and make sure everything is running smoothly. This is the alien who back in the 19th century chose Enoch to be the keeper of the way station. (Ulysses is the name Enoch gave him.)
Sometimes the alien travelers leave artifacts from their home worlds for the caretaker (with or without explanation as to what the artifact does). Though Enoch has made it his business to learn a few of the interstellar dialects, he can't be expected to know them all. Grateful for these 'souvenirs,' Enoch keeps his singular collection about him - items of wonder and intellectual surmise.
Earthlings are unaware of the way station and of Enoch's immortality, though his neighbors do notice that he never seems to age. Only the postman, Winslow, has an inkling. He's one of the very few humans Enoch interacts with.
Okay, so that's the basic set-up - I would have been happy just to read more and more about Enoch's duties and the aliens which he meets. But this book was first published in two parts in Galaxy Magazine in 1963 and maybe that's the reason for all the plot twists and turns - enough to fill up five volumes let alone two. It's almost as if the author couldn't decide what to leave out so he didn't.
A random sample of what goes on:
There are two invisible-to-everyone-but-himself 'friends' - a man and woman - who show up now and then when Enoch is especially worried or lonely - 'fairies or wraiths' he has conjured up with the help of an artifact. But to his chagrin, the lonely Enoch has fallen in love with the image of the woman and she with him, though their 'romance' is not to be - he cannot touch her and she cannot touch him. This plot line could have been left out of the book and none the wiser - it really doesn't add much to the story.
In addition there's a deaf young sprite of a girl who lives on the farm down the road with an abusive father and ignorant relations. She is known to keep to herself and Enoch has often seen her work small wonders - watched her heal a butterfly whose wing was crushed. For her 'other-wordliness' she is misunderstood and abused by her family. Enoch seems to be the only person she trusts instinctively.
Then there's the 'shooting rage' which Enoch goes to when he needs target practice - a hologram world which has been set up for him by the aliens who run the way station so that Enoch can practice his rifle skills by killing alien monsters on alien worlds.
Also there's a government agent who is lurking about in town at the moment, incognito. He is investigating Enoch and reporting back to Washington.
Then there's....see what I mean?
There is so much packed into this book that you can't figure out what's what until nearly the end when a large rat from outer space shows up at the way station and runs off into the night. Enoch has to go in pursuit since the rat has, in his hairy clutches, a mystical object which prevents war and benefits all lifeforms who are attuned to it. It is an object of reverence which has been lost for generations and for which Ulysses and his federation cohorts have been searching all over the galaxy for years.
And oh by the way, a few days before, Ulysses had dropped by to inform Enoch that he was in some danger of having the way station shut down because of an ancient alien custom which Enoch has unwittingly ignored and which he must now set to rights.
Not to mention, that the townspeople are being whipped into a frenzy by the deaf girl's father and plan to attack the cabin.
LOTS to think about in this story, lots to absorb, lots for the imagination to take in. As I said, more than enough for many books - possibly a trilogy. Well, still, WAY STATION won the Hugo Award in 1964. So I must be in the minority.
But in truth, I enjoyed the book for its old fashioned sense of right and wrong and the whole idea of morality and honor under pressure. I liked how several plot lines do resolve themselves in the end and most of all, I liked Enoch Wallace. Ulysses made a wise choice when he picked this earthling to man the way station.
Since this is Friday, don't forget to check in at author Patricia Abbott's blog, Pattinase, to see what other forgotten or overlooked books other bloggers are talking about today.
Tuesday, June 20, 2017
THE SEVENTH VEIL is one of those films from my movie-crazed youth that, for whatever reason, has fascinated me over the years. The last time I can remember watching it on television I was likely an impressionable teen hooked on local TV. Channel 11's Million Dollar Movie was a favorite (they repeated the movie during the week so if you missed it the first time...) or maybe it was Channel 9 or CBS's evenings of movie magic back when N,Y. TV stations had hours of airtime to fill and did so as cheaply as possible with movies, movies, movies. (CBS even had a daily afternoon movie at 4:30!) All for just the price of a clunky black and white television set made in America and meant to last for years and years (no upgrade needed) and did.
Out of the blue, I was recently able to watch THE SEVENTH VEIL on youtube where it is currently (but who knows for how long) available. I wish I could say that I was instantly transported back in time, but I wasn't. Admittedly, this was a very influential film for an imaginative girl growing up on the lower east side of Manhattan in the 1950's, but the thrill is gone. I'm too old and cynical now to fall under the spell of thwarted love. Sad.
The film stars James Mason, Ann Todd, Hugh McDermott and Herbert Lom, and is based on a screenplay by Muriel and Sydney Box (Oscar winners for Original Screenplay) and directed in histrionic 'woman's film' style by Compton Bennett,
In a nutshell: THE SEVENTH VEIL is a dark and laborious tale of destructive love and pathology, but with a happy ending. I kid you not.
Even if the tale does begin with a suicide attempt.
The poster's dramatic tag line: 'It dares to strip bare a woman's mind,' refers, I suppose, to the fact that most of the film is told in flashback as the beleaguered heroine is treated by a sympathetic psychiatrist (Herbert Lom). He believes strongly in hypnotism and the idea that once you remember everything bad you will come out the other end, cured and ready to tackle a new day.
It's obvious they made that chair too big to try and make Ann Todd look smaller/younger and vulnerable.
Okay so here we have Ann Todd who must play a fifteen year old near the beginning of the film (you sort of have to squint not to see she's too old) and then watch as she ages into an attractive woman in her twenties under the dark brow of her cousin, a controlling, chillingly censorious and very much given to brooding, guardian played by James Mason. Of course he's rich and lives in a large and charmless mansion. Typically: he has a cane and limps which romantically hints at some long ago secret hardship AND he always wears a suit and tie even when just sitting around petting his cat.
Come on in and let me take a look at you. (I'm too lazy to stand up.)
Piano prodigy Francesca Cunningham (Ann Todd) arrives on her guardian's doorstep while still a schoolgirl. James Mason can be menacing without hardly batting an eye when he wants to be which is usually all the time. Once he realizes how musically talented Francesca is, he becomes hell-bent on fashioning the introverted girl into a world-renown pianist and to that end forbids her to have any fun. Everyday it's practice, practice, practice amid lots of scowling intimidation.
Hugh McDermott, an actor with a light-hearted personal charm and the sort of look men in the 1950s had in real life.
When Francesca does get a few moments on her own she naturally enough seeks out smiling young people. One night she meets a likable night club musician, Peter Gay, played by the usually-looks-older- than-he's-supposed-to-be-actor, Hugh McDermott. (He was unconvincing as a college 'boy' in PIMPERNEL SMITH mainly because he looked about the same age as his professor, Leslie Howard. But that's a story for another day.) Peter is smitten with Francesca and she with him and soon they plan to marry though she is still underage. Uh-oh.
Nicolas will not take this well.
Practice makes perfect.
I suppose we have Jane Eyre (and/or Harlequin Romances) to thank for our affection for these sorts of heroes and stories. Because of course we know all along that Nicholas, the dark and brooding villain of the piece is crushingly possessive of Francesca for one reason and one reason only - he is in love with her and has no other way to show it except to try and control her every breathing moment. I know, I know, how 19th century-ish, but this is the sort of thing that made me swoon back in the day.
As a teenager I saw James Mason as the poor misunderstood long-suffering hero. It hardly occurred to me that perhaps he could have behaved a little nicer. But aren't dark, soulful, brooding men supposed to behave this way? Hey, that's what I learned from books.
What do those darkly intense stares really mean?
But the truth is, Francesca is such a wimp that you almost don't feel sorry for her as the story progresses because she seems the sort to warrant intimidation. Do I still feel that way today? Well, to be honest, yeah. On re-watching this film it is perfectly obvious that Francesca should have stood up for herself more and not allowed herself to be so easily manipulated. Though naturally, Nicolas being her guardian, he had the law all on his side. Back then it was much easier to lord it over women.
Forget Peter, he's nothing but a two-bit musician - you are an artiste.
So as I mentioned, Francesca and Peter begin making marriage plans. But first she has to tell Nicholas. It doesn't go well. her guardian won't hear of it. He swoops up his ward and bundles her off on a Mediterranean sea voyage to soak up culture and atmosphere in between more bouts of practice, practice, practice. She doesn't even get a chance to say goodbye to Peter. (Though you'd think she could write a letter.)
Go out there and knock 'em dead - or words to that effect.
When as long last she makes her concert debut, Francesca performs brilliantly. But thanks to a long ago and rather vulgar schoolmate in the audience who reawakens memories of a violent school episode, Francesca faints after the concert right there in full view of the cheering audience. It's not easy being a sensitive soulful female. Genius, as we know, is often an unfair burden.
Once back at the house in London, Francesca goes to look up the man she abandoned, Peter Gay. But she finds to her dismay that he's since married. (A very moving scene - once they meet again for the first time - well handled with no dialogue.) Francesca flees in the night.
Couldn't they have fashioned a better portrait of their leading lady?
Later Nicholas hires artist Maxwell Leyden (Albert Lieven) to paint Francesca's portrait and of course the artist falls in love with his subject. Never mind that the eventual portrait looks nothing like Francesca. Once again, Francesca and Nicholas have it out over another man. This time the man in question wants Francesca to come and live with him in typical bohemian artist fashion. Though Francesca assumes they'll be married at some point. Nicholas is so outraged that he slams his cane down on the piano keys just missing Francesca's hands by a millimeter.
The way to a woman's heart back in the day.
Traumatized, Francesca runs away into the night. I think this is when she jumps off a bridge into the Thames river and is saved by a London bobby - or actually, I think that happens a little later after the automobile crash. There's so much turmoil, it's hard to remember the schedule of events, but I do know that the crash happens when she and the artist run away (poor Francesca can't even run away successfully).
The crash injures her hands and she wakes up convinced she will never play the piano again. At any rate, she winds up in a hospital or 'nursing home' as they used to call it in the care of a psychiatrist who is intrigued by her case. You see, she is sure she can no longer play and doesn't want to live and he is sure it is hysteria of a particular sort since her hands have completely healed.
Herbert Lom as the all-knowing psychiatrist, Dr. Larsen.
One thing leads to another and in the end, said psychiatrist conducts a very unorthodox experiment to determine which of three men (oh, alongside Max the smitten portrait painter, band-leader Peter Gay, newly divorced, turns up at the house at the bidding of Dr. Larsen) Francesca really and truly wants to be with. As if the solution to her woes must be in the hands of a male third party.
Well, in this instance, it is. Hokey, but that's the way they figured things back in the day.
At any rate, I promised you a happy ending and (depending on how you look at it), that's what we get. And oh by the way, Francesca is cured.
Movies like this had such a seductive impact on me back when I was googly-eyed and thoroughly susceptible to stories of storm-tossed romance. I truly believe that certain books and films imprint indelibly on the imagination if watched or read at certain ultra-spongy times in our development. I have always liked tall dark men and it is true that my favorite romantic hero in fiction is Mr. Rochester. And what's more, the guardian/ward romance has always been a favorite of mine though as everyone knows, Rochester is Jane Eyre's employer, not her guardian. But the dynamic is the same. And believe me, I know that in real life, men like these would be extraordinarily difficult to live with, but tell that to my then impassioned teenage heart.
THE SEVENTH VEIL is a rather intriguing period piece and viewed from the perch of today, it is a silly sort of thing. (Though I note that online it is labeled a classic of suspense.) But it stayed with me over the years and I was pleased to have a chance to see it once again. And I still like the chilling way James Mason broods.
Tuesday is usually Forgotten (or Overlooked) Films and other Audio Visuals Day over at Todd Mason's blog, Sweet Freedom, Todd will have the list of participating bloggers. If the links aren't there in the morning, they'll probably show up in the afternoon. Life can often gets in the way of blogging as we all know.
Friday, June 16, 2017
Georgette Heyer, as most of you know, is the anointed queen of Regency Romance (though several of her books take place a bit earlier towards the end of the Georgian period). I've talked about her often enough since I am a slavish fan-girl. Heyer's brilliance, elegance, wit and charm and her often laugh out loud humor just cannot be duplicated. She combines all that and more in her best Regency books which I am given to re-reading when I'm down in the dumps.
But Heyer also wrote a bunch of mysteries which rival the Golden Age distinction of Agatha Christie and the rest of the talented dames who glorified the country house murder genre I love so much.
While not as lavishly enhanced with wit, charm and humor as her Regencies, Heyer's mysteries are, nevertheless, worth finding and reading because at heart, they are excellent whodunits in the British Golden Age style. And if you love that very particular sort of writing and tomfoolery, you will love these.
A BLUNT INSTRUMENT begins typically: a bludgeoned body slumped over a desk in a study. The local bobby, a bible quoting misery named Glass, is on the scene from the first page on (in fact he provides part of the timeline), and soon it's up to Superintendent Hannasyde and his henchman, Sgt. Hemingway. (Heyer, I note, has a thing for the letter H - see further evidence in her other whodunits.)
The dead man, of course, is more than at first appears and several convenient suspects are immediately in the running for head murderer. One is a devilishly waggish nephew, Neville Fletcher - the heir apparent - and the other is Helen North, the loathe-to-tell-the-truth wife of a man who handily enough is away from home at the time of the murder. Or is he?
It seems that the aforementioned wife was terrified of having her hubby (they are currently estranged) finding out that the dead man, Ernest Fletcher, had in his wall safe, a clutch of I.O.U. gambling vouchers belonging to Mrs. North. Mr. North frowns on that sort of thing.
Then there is Mrs. North's pragmatically inclined sister Sally Drew, (she wears a monocle and chain smokes - well, I tell you, it's 1938 after all). Sally is a mystery writer and is naturally enough intrigued when a real murder lands, as it were, on her doorstep.
There are also a couple of men (obviously fond of calling on potential murder victims late at night) of the lower sort who were apparently up to something or other with the dead man.
There are motives galore, much mis-direction (the whereabouts of the weapon for one) and a long ago suicide to be factored in, but I suspect that experienced readers of mysteries will figure out whodunit before the last page, but still continue reading just to see how Hannasyde and Hemingway finally get to the truth of the matter.
I've been re-reading Heyer's mysteries lately and enjoying them again and again. (Thanks to old lady memory, my re-readings are often almost the same as if I were reading the book for the first time.) I also have several in audio versions which are very well done and fun to listen to. (Most especially THE UNFINISHED CLUE read by Clifford Norgate, a narrator I wish had done more of Heyer's books. Though he did narrate Heyer's Regency tale, FREDERICA, quite fabulously.)
During these days of wretched political strife and horrendous doings around the world, I am so very grateful for my favorite books - how they help soothe my often frazzled nerves. There is just nothing like re-visiting the wonderful worlds created by certain authors. Thank goodness.
Link: a full list of Georgette Heyer books.
Since it's Friday, we once again turn to author Patricia Abbott's blog, Pattinase, to see what other forgotten or overlooked books other bloggers are talking about today.
Friday, June 9, 2017
Megan Wilson Design
It occurs to me that there have been lots and lots of JANE EYRE book covers over the years (the book was published in 1847) and why don't I post a few. True, this is not exactly a forgotten or overlooked book, but in the past I've posted about favorite not-overlooked and/or not-forgotten books and the world didn't come to an end.
JANE EYRE is one of my favorite books - let's get that over with up front - and if you need to know what the book is about, take a look at these covers - they will give you some idea. Hard to believe that Jane was the first feminist heroine (or so I viewed her then and now) from these romantically brooding covers, but the truth is there in the pages of this memorable novel. JANE EYRE is very definitely worth a read if you, by some wild chance, haven't read it already either in school or on your own. It is not, in any way shape or form, a 'difficult' book, though written in the style of the mid 19th century. It is a brilliant, brooding, deeply affecting classic for many reasons. One of which is the heroine's willingness to do what is right no matter the risk to herself.
Even with the first feminist heroine, Jane's creator had to first publish the manuscript under a male author's name. Better that than not published at all - Charlotte Bronte was no fool.
Her hero, Mr. Rochester was the first tall, dark and dangerous anti-hero, a protagonist so familiar today - he is to my mind, the perfect anti-hero, even better than Heathcliff, in the book written by Charlotte's sister.
At any rate, no more need be said about the book. It is available everywhere in every form imaginable.
Here's the artwork: (Where I can find the info, I'll name the publisher, the artist and/or designer.)
The New American Library - James Hill illustration - 1962 (This is one of the copies I had years ago.)
Anna and Elana Balbusso illustration
Murray's Abbey Classics - 1955
Julien Lacroix, Le Rameau D'Olivier - Grau Sala illustration - 1950
A.L. Burt Co. 1934
Thames Publishing - Regent Classics - 1952
Chatto and Windus Limited - The Zodiac Press - John Sergeant illustration
Scholastic Library Edition - illustrations by W.T. Maks - 1965
Blackie & Son Limited - The Kennett Library
Everyman's Library - detail from a painting byAugustus Egg 1862
Random House - The Modern Libary - Fritz Eichenberg illustration 1950
Claire Louise Milne illustration - 2011
Penguin Classics - Detail from a painting by John Everett Millais
Since it's Friday once again, don't forget to check in at Todd Mason's blog, Sweet Freedom, to see what forgotten or overlooked books other bloggers are talking about today. Author Patti Abbott, our regular long-time host, is still on hiatus.
Since it's Friday once again, don't forget to check in at Todd Mason's blog, Sweet Freedom, to see what forgotten or overlooked books other bloggers are talking about today. Author Patti Abbott, our regular long-time host, is still on hiatus.
Friday, June 2, 2017
THE BURNING OF BILLY TOOBER is a decidedly noir entry in a series that seems to have been overlooked or forgotten by nearly everyone. It is one of the grittier and grungier of Ross's engrossing police procedurals set in London (of the 1960's - 1990's) and its environs. The nattily dressed and perpetually randy Detective Superintendent George Rogers and his crew are back once again to solve the murder by incineration of Billy Toober, a police informant and small time crook.
The book has a terrific opening hook: His mother loved him. So did his brother. It was impossible to believe anybody else could.
Billy Toober had been hoping to evade the retribution of Roy Grattan, the crime boss he helped send to prison. But when Grattan's brother - a violent tough known as Dummy - a large, afflicted sort who can only communicate by grunting or garbling his words - is sent to teach Billy a lesson, Billy turns to Detective Superintendent George Rogers for help. Rogers, not the comforting type, tells him he can do nothing.
The next day a body is found in the park, burnt to a crisp.
This particularly grisly murder sets off several other killings which will keep Rogers and his minions busy as they try to untangle the plots and ploys of London's sleazier denizens. A job made all the more onerous by the actions of a mother bent on grim revenge.
In between, Rogers must contend with the sordid mess he's made of his own personal life. He is not, by his own words, "...a very practised adulterer." But that won't stop him trying. He is currently involved with Dr. Bridget Hunter, the Medical Examiner. Rogers' wife - no fool she - suspects the worst.
While reading several of the books in this series, I've often wondered what it is that women see in Detective Superintendent Rogers. He's a good cop, but he is relentlessly unsparing, "...bloody-minded and destructive..." and inclined to occasional bouts of self-pity. But there has to be something about Rogers that women like; he does get an awful lot of them to fall for his hidden charms.
"Bigger men that you, George, have told women they love them"
He tried to recollect some who had and couldn't. "I don't believe it," he said cynically...."I'm sorry...if it's any consolation, I've never thought of any woman in terms of being in love."
Although his infatuation for her was no perfunctory passion, neither was it deep-rooted. His stubborn honesty refused the easy solution of telling her he loved her; women did it as a matter of course, to whitewash promiscuity. And there was still the ridiculous stumbling block of picturing himself as a lover and an adulterer. Astronauts, rent collectors, gynaecologists, insurance salesmen and company directors; he could imagine them all in situ without loss of dignity. But not, somehow, his own grey-suited persona as a Detective Superintendent.
In a strange way, this is part of the draw of these books - to see who Rogers will chase after next - once his eventual divorce becomes final. Also, I suppose, to wonder if and when Rogers' will allow himself to feel anything but the bare basics for any woman. I mean, he can be such a slug. But still a hell of a cop and the mysteries are good ones and over the course of the books I grew fond of his second in command, Detective Chief Inspector Lingard who actually reminds me a bit of the second in command in Cynthia Harrod-Eagles' Bill Slider police procedurals. (Another often overlooked series worth searching for as well - but the Slider books must be read from the beginning which is just as well, because the early books in that long-running series are really the best.)
Of course, a man of George Rogers' blunt caliber will make enemies, and he has a couple down at the cop shop. Rogers must daily grit his teeth and hold his bile while waiting for his immediate boss to retire - one year to go! - not an easy thing when your inclination is not to suffer fools lightly.
Still and all, there's just something about Rogers that eventually gets under your skin. There's much to be said for the attractions of a competent cop. But I still shake my head at all the women.
THE BURNING OF BILLY TOOBER, the sixth entry in what was a long-running series, has an unexpected ending which is really a cynical fillip to motherly love.
This is another compelling police procedural in a long string of terrific books by Jonathan Ross and certainly worth looking for.
To see all the titles in Ross's series, please go here to his fantastic fiction page.
It's Friday and this week, Todd Mason is doing hosting duties at his blog, Sweet Freedom. Don't forget to check in to see what other forgotten or overlooked books other bloggers are talking about today.
In the interest of fair disclosure, this post is a re-working of a review written several years ago. I thought it was about time to bring up Jonathan Ross again. I ran across his name recently and reminded myself that I still needed to read a couple more.
Thursday, May 25, 2017
I'm kind of venting today, so please bear with me.
Author Ethel Lina White has a major failing - she's not very good at creating the nuts and bolts of an actual setting. That gene is missing from her make-up. So when I'm reading her stories, I'm kind of floundering around trying to find my footing.
I've read several of her books perhaps trying to find one that I'll love. I liked FEAR STALKS THE VILLAGE though it was not as solidly grounded as I would have liked. It was set in an English village which failed to coalesce in my imagination. A generic setting which certainly does not come anywhere near the visually well conceived English villages created by Agatha Christie.
(Read, though didn't love, THE SPIRAL STAIRCASE. Extremely disappointed in THE WHEEL SPINS which is the basis for THE LADY VANISHES, one of my very favorite Hitchcock movies.)
It is my belief that in these sorts of books, the setting is almost as important as the characters. To my way of thinking, if you can't stabilize the surroundings for a mystery novel, it's half over right there. Some writers can pick you up and drop you down in any setting almost immediately, even within the first opening paragraph. They have the knack. Christie had it. She could transport me immediately to wherever and whenever with just a few sentences.
But Ethel Lina White just can't quite do it. She creates a place for her story but doesn't give it any foundation - no toe hold for the reader. I'm usually left trying to visualize and failing. Occasionally that doesn't matter in a book, but most of the time it does.
Some of you may know that I don't write negative reviews if I can help it and this is not really one. I read PUT OUT THE LIGHT all the way through which I would definitely not have done if I'd hated it. It's just that this is one of the stranger mysteries I've read lately and I guess I need to share its strangeness.
Cause here's what I'm thinking - maybe it's just me.
PUT OUT THE LIGHT concerns the murder of a woman named Anthea Vine, wealthy owner of Jamaica Court, an estate perched on a hill above an English town. In that same town live a bumbling Inspector of police and his concerned and keen-eyed sister.
Now, one would think that a policeman with the last name of Pye would be kind of a humorous character, but in this book he is, maybe, just mildly amusing. Pye desperately wants to solve the only murder he's ever been faced with, hoping against hope that Scotland Yard won't be called in by his superiors. But all this is lacking any real connecting charm which is key for this sort of character. The sister, Florence, is supposed to be the one with the brains, but she too is charmless. She helps her brother (whose old fashioned notion that women should be seen and not really heard rankles a bit) by sort of 'directing' him without his being aware he's being directed. He's not a boob exactly, he just needs a bit of guidance.
Florence Pye also likes to tell fortunes. This time out the cards presciently read: 'Death to an old woman.'
Anthea Vine (our pre-arranged victim) is such a strange character that I kept thinking, wait - what? She is apparently a grotesque old woman who wears tons of make-up and likes having young men about her. She preens, she parades around like some young femme fatale, pretending that the men indulge her because she is still beautiful and alluring. Vine is ridiculous in her conceit but enjoys the sense of power and manipulation. And because she is extremely wealthy nobody likes to call attention to the absurdity of it all.
She is a woman who has convinced herself that she is still wickedly sexy and attractive and here's the main problem: it's difficult to take her seriously. (And oh my God, her laborious nightly beauty ritual is outlined in detail.) In some scenes, Anthea comes across as younger than she's supposed to be so that when she's referred to as 'old' the reader is taken aback. She is written in an oddly inconsistent way which is off-putting and VERY theatrical. But then I realize that back in the day, a 40 year old woman was considered 'old' and forget about someone already in her 50's - she would be at death's door. Unfortunately, in some scenes Anthea seems like someone who might be geriatric then in others, she suddenly seems younger. It's almost like the author loses track.
And another thing: here's this woman ripe for murdering and she doesn't get bumped off until well into the book. She's just not THAT interesting a character that we need to be in her company for so long before she gets her just deserts. The other characters, some young people who live in the house with Anthea Vine are not any more interesting in my view. They are her three wards, dependent and hoping to profit upon their malevolent benefactor's death. All have been under Anthea's thumb, including her plucky secretary and the local young doctor.
Anthea pretends (or is she pretending?) that she has ulterior designs on the doctor and even one of her wards - an idea that only revolts them. (Maybe we're supposed to sympathize with Anthea's fading attractions and frenzied need for attention but I didn't.) It's all about control and money.
Though why these youngsters can't tell Anthea to go to hell then go out and get jobs, is beyond me. But in those days that may have been harder than it is today. Also with big money at stake, it's not always easy to walk away even at the sake of your self-respect.
Anyway, a couple of small odd burglaries occur locally and Inspector Pye is called in to try and find the culprit. In the meantime, up at the big house on the hill, Anthea Vine continues to bully those around her, relishing her power and behaving like someone just begging to be murdered.
She does have moments of gothic discontent though - late at night, she imagines shadows lurking about and closing in on her. Very unsettling in that dark and moody old mausoleum of a house for sure. But even that goes on too long.
Eventually, of course, she is murdered and we get down to sleuthing.
In the end, Inspector Pye (with the behind the scenes nudging of his sister) solves the case, putting together a quirky set of curious clues.
Not one of Ethel Lina White's best, but maybe not her worst. I'll probably read one or two more of her books because she did write quite a few and I remain hopeful.
Edgar and Anthony award nominated author Patricia Abbott is taking a blog hiatus until June 12th so Todd Mason at his blog, Sweet Freedom is doing hosting duties. Don't forget to check in and see what other forgotten or overlooked books other bloggers are talking about today.
Friday, May 19, 2017
We all know that John Dickson Carr had several pseudonyms and to my mind the books he wrote as Carter Dickson are some of his best. Of Carr's two rotund and decidedly eccentric detectives, Sir Henry Merrivale always pleased me more than Gideon Fell.
'I do not like thee, Doctor Fell
The reason why, I cannot tell.
But this I know and know full well,
I do not like thee, Doctor Fell.'
This nursery rhyme is the sort of inconsequential that goes through mind now and then and I've always wondered who Dr. Fell was and why anyone should dislike him enough to write a little ditty about it. I always wondered too if John Dickson Carr picked up the name from the rhyme. When I was reading all of John Dickson Carr in the long ago and far away, I remember having a preference for Sir Henry Merrivale though, unlike the writer of the ditty, I didn't actively dislike Gideon Fell.
And now thanks to Sergio over at Tipping My Fedora, I've renewed interest in one of Dickson's best books. I owe you one, Sergio.
Oh gosh how I loved this book.
It is an almost visceral pleasure when you realize you are in the presence of a true master of mystery and detection so pardon me while I gush. SHE DIED A LADY is nothing less than a masterpiece. I can't imagine any of Dickson's other books will measure up to this one, but that won't stop me from looking to reread the whole batch during the next few months.
Though I never did read John Dickson Carr over and over as I read Agatha Christie or even Josephine Tey or Rex Stout, I always thought I'd go back to his books at some point. This seems like a good a time as any, since SHE DIED A LADY has reminded me just how wonderful Carr can be.
The story features an impossible sounding crime (a John Dickson Carr specialty) - two people who are having a clandestine affair go out to the edge of a precipice overlooking a rocky coastline and do not return. Have they jumped? Is it suicide? No - that much is obvious early on since once their mangled bodies are fished out of the sea, both show evidence of having been shot. So what actually happened?
The story unfolds in the first person from the 'pen' of elderly Dr. Luke Croxley, a retired G.P. who still has a few patients though most of his practice has been turned over to his son, Dr. Tom. Dr. Luke is a likable sort even when he is haplessly clueless and though he is an honorable man, he is not an especially reliable narrator.
It is through his eyes that we view characters and events in the seaside village of Lyncomb during the early days of WWII. Coincidentally, Sir Henry Merrivale has come to town to have his portrait painted by a local artist. But Sir Henry has severely stubbed a big toe which, necessarily, has him tooling around in a motor driven wheel chair. Yes, you can imagine the chaos.
Our narrator, Dr. Luke, has been drawn into the emotional maelstrom of a woman he admires, the lovely and charismatic Rita Wainwright who is unhappily married to an older man. She has blindly fallen in love with a younger guy named Barry Sullivan, an erstwhile actor (no, not THE Barry Sullivan known to a few of us vintage movie aficionados) who happens to be indecently handsome and on the make.
It is interesting to note that this is one of very few mysteries written in the early forties (at least that I can remember) which doesn't mince words and actually mentions sex between unmarried adults.
As the story progresses, there are several active red herrings thrown at us, one of which I fell for. Very annoying to find out, in the end, that my guy was not the killer. And when the final, final ending is revealed, it is all very satisfying and gives credence to the idea that despite being a brilliant detective and dealer in facts, Sir Henry Merrivale is first and foremost a good man.
SHE DIED A LADY is easily available from Abe Books for very little cash. I was lucky enough to get a copy with the cover shown above. But whatever cover, don't miss the opportunity to read one of the best from John Dickson Carr/Carter Dickson. A brilliantly plotted, well thought out mystery full of clues passed in front of you so fairly that when Sir Henry explains everything in the end, you say: Oh, of course, why didn't I see that??
Since this is Friday, don't forget to check in at Edgar and Anthony Award nominated author, Patricia Abbott's blog, Pattinase, to see what other forgotten or overlooked books other bloggers are talking about today.
Friday, May 12, 2017
'The story of a man who was murdered twice!' Kind of. Sort of. I'm a fan late to the work of Rufus King (1893 - 1966) which I seem to only have discovered thanks to John at Pretty Sinister Books, a guy who knows everything and anything about long lost authors and their works.
At any rate, MURDER BY THE CLOCK is apparently King's most well-known book - the first featuring Lieutenant Valcour, NYPD, in a series featuring eleven books.
(An aside: One of the little known and more interesting facts about King is that he also wrote the only satirical Nero Wolfe mystery I've ever read, HOLIDAY HOMICIDE. All about bout an eccentric genius who solves mysteries, but instead of collecting orchids, he collects rare (edible) nuts.)
MURDER BY THE CLOCK features all sorts of improbabilities and indignities for Valcour to wade through, plus lots of psychology to be explored and considered. Valcour is beckoned to the case by the intriguing and opaque femme fatale, Mrs. Herbert Endicott - she is worried about her philandering husband and thinks 'something' might have happened to him. He has gone out to meet his mistress but she - the missus - is convinced that all is not as it should be. Beguiled by Mrs. Endicott's oddly calm self-assurance, Valcour searches hubby's room to see if anything is missing or amiss.
The lieutenant soon discovers that something HAS indeed happened to Herbert Endicott - he is found, for all intents and purposes, dead. In fact he never left the house at all. Then follows one of the more unique features of this story - something I've never come across in another mystery in all my many years of reading them - the doctor called to the 'murder' scene devises a plan to bring Endicott back to life once he realizes that Endicott is not ACTUALLY really and truly dead, just comatose. Turns out that the man had a bad heart and it looks as if something occurred to shock him into insensibility.
Assuming that once the would-be murderer realizes that his victim isn't dead he might come back and finish the job, it's Valcour's duty to make sure that Endicott doesn't get 'murdered' again.
The entire plot develops over one long night, hence the title and the late night aspects add a nice surreal element to the story. We get a few changes in point of view, but not enough to annoy and at the end, we get a strange unsettling do-over. I can say no more.
To my way of thinking, the men in this book are not as well formed as the women characters - there is the husband's unexplained strangeness and peculiar way of talking which seems to be at odds with the callous treatment of his wife. One wonders what on earth the wife ever saw in him and really, hard to take a grown man named Herbert seriously, especially one who is not especially handsome or charming and allegedly uses baby-talk to weasel himself out of the house. Also, it's hard to take the wife seriously, until you realize what is actually going on. As I mentioned, this story is bristling with psychology.
And speaking of psychology, besides the victim and his wife, there are two peculiar servants who positively seethe with hatred of Mrs. Endicott. There is a supposed family friend who carries a concealed stiletto-like paper knife and there is the 'dead' man's mistress who is being blackmailed by her own evidently crazed mother. Lots of bizarre doings.
It is a very difficult thing to make an intriguing mystery with so few suspects, such a short span of time and such limited settings - three apartments - but Rufus King pulls it off.
As John mentions in his review of the book, there is a keen sense of gloom and doom - okay, gothic moodiness - indulged in by the author and his detective, which I liked. This is not your average Golden Age murder mystery as soon becomes evident. It is odd but clever in its oddness which includes a unique double-take ending.
I've read two Valcour mysteries and enjoyed them both though they couldn't be more different: MURDER BY THE CLOCK and the excellent MURDER BY LATITUDE which takes place aboard a cruise. King is a very underrated and under appreciated author. One of those Golden Agers who should be much better known.
Since this is Friday, don't forget once again to check in at author and Edgar Award nominee Patricia Abbott's blog, Pattinase, to see what other forgotten or overlooked books other bloggers are talking about this week.
Friday, May 5, 2017
(But first an apology: apparently I've gotten another Buchan book, THE THREE HOSTAGES, mixed in with my short-term memory of THE POWER HOUSE. Once realizing it I had to go back today and heavily re-edit my post. All I can say is that 'old lady' memory played tricks on me and I will try, in future, to pay closer attention to what I'm doing. Maybe I'll stop doing a post a week and just do one every two weeks. Obviously, I'm having problems sorting things out right now - possibly because I'm so stressed at what is happening in our country that I can hardly think straight anymore. As I said: apologies.)
Everyone knows that I'm a John Buchan fan-girl, so no big surprise that here I am once again, writing about one of his books. I owe a great deal of thanks to blogger and literati extraordinaire Kate MacDonald for without her guidance (and love of John Buchan) I might have overlooked this smashing novella published in 1913.
THE POWER HOUSE is not really long enough or taxing enough for a novel so it can easily be read in one afternoon or evening. The story was first serialized for Blackwood's Magazine, then published in book form in 1916. It is told in a fast and colorful first person style with lots of theatricality and the sort of behind the scene machinations of the nefarious kind that I, for one, enjoy reading about - especially when it involves pre-WWI British society at a time when anarchists apparently lurked under every rock. A whiskey and soda or for those of us less hearty, a bracing cup of tea, makes a nice accompaniment.
Besides Richard Hannay, Scottish born author John Buchan created several other worthy heroes, Sir Edward Leithen being one of them. I had never read any Leithen books before, so again I thank Kate MacDonald for the nudge.
Sir Edward is a barrister, minor member of Parliament and man about London but he views himself as a stick-in-the-mud sort. He likes the law and dusty old books, yet still enjoys his clubs and the friendship of many. He is intelligent, supremely ethical, knows everyone who's anyone, but most importantly, he is a gentleman - back when that word meant something important and instantly identifiable.
Though in understandable hindsight, many readers tax John Buchan, 1st Baron Tweedmuir, with the prejudices of his day, let's not forget that he was a Tory and as such his prejudices were bone bred and not very surprising. Yet with the dismal reality of our modern day world, I'd have trusted Buchan to do the right thing more than I trust the creatures in government today. (Buchan, besides being a best-selling author, also rose to become Governor-General of Canada.)
But back to the story: Sir Edward Leithen will become involved in a dark conspiracy of the sort only workable once upon a time when it seemed as if power could be grasped by a handful of men bent on re-negotiating the status quo for no other reason than because they could. At any rate, one night at their club, Leither learns from his friend Tommy Deloraine, that another mutual friend by the name of Charles Pitt-Heron, is apparently headed for deep trouble having just recently bolted for parts unknown leaving a very worried wife - someone whom, by the way, Leithen had once fancied. Deloraine explains that he's going after Pitt Heron to try and bring him to his senses or at least, save him from himself or whatever is wrong with him. Leithen scoffs a bit, but wishes Deloraine well in his quest and no, he will no be going with him, he has too much going on at the moment and it's probably all just a mare's nest.
A little later we meet the lynchpin of the plot, a certain Mr. Albert Lumley:
"It's old Lumley. Have you ever met him? He doesn't go out much, but he gives a man's dinner now and then, which are the best in London. No. He's not a politician, though he favors our side, and I expect has given a lot to our funds. I can't think why they don't make him a Peer. He's enormously rich and very generous, and the most learned old fellow in Britain."
In the meantime, we learn that Leithen's friend Tommy Deloraine has left for Russia on the trail of their mutual friend Pitt-Heron who may or may not be in deep trouble. Leithen, as mentioned, remains behind and it is from him that we get the full story as it happens. Rather than decamping for an adventure in the wild, Leithen takes his own tack. Though we do get regular updates as to what the two travelers (Deloraine and Pitt-Heron eventually meet up) are up to though not in Russia as it turns out but elsewhere equally fascinating and off the beaten track with desert wastes and camels and bad guys hot in pursuit.
Seems an odd way to structure a tale like this, but John Buchan makes it work. (I suspect if he'd wanted to enlarge the story and take us out of London he could have easily done so, the novella would have become a full fledged novel - there is certainly enough story for it). But our main character stays behind in London while others go off to have adventures that we may or may not hear about. Yet in a series of improbably interconnected coincidences held together by intelligent deduction, he soon has his own dilemmas and mysteries enough to deal with. What is 'The Power House' and where does Andrew Lumley, wealthy recluse revered by many, fit in?
"...supposing anarchy learned from civilization and became international...Suppose that the links in the cordon of civilization were neutralized by other links in a far more potent chain."
"Ir's a horrible idea, I said, 'and thank God I don't believe it's possible. Mere destruction is too barren a creed to inspire a new Napoleon and you can do with nothing short of one."
"...All that is needed is direction, which could be given by men of far fewer gifts than a Bonaparte. In a word you want a Power House and then the age of miracles will begin."
A splendid tale of chicanery, skulduggery and bizarre doings which stops just inches short of the absurd. The kind of thing they don't tell today probably because readers have gotten too sophisticated for such goings on. But back in the day, this was the sort of story that thrilled. Come to think of it, it still reads pretty thrillingly today.
Since it's Friday once again, don't forget to check in at author and Edgar Award nominee Patricia Abbott's blog, Pattinase, to see what other forgotten or overlooked books other bloggers are talking about today.
Tuesday, April 25, 2017
Malevolence is the key word whenever I conjure up the main villain in John Frankenheimer's masterpiece of political suspense, THE MANCHURIAN CANDIDATE (1962) starring Laurence Harvey, Frank Sinatra, Janet Leigh and Angela Lansbury. The film has a screenplay by George Axelrod based on the book by Richard Condon published in 1959. The subject matter was actually quite contemporary since the film was made only three years later.
Oh by the way, though I normally do not like to give things away, there will be
SPOILERS AHEAD, because I want to talk about the entire film.
For me there can be no movie villain more malevolent than Angela Lansbury as the iron willed, cold as an iceberg mother willing to sacrifice a son's sanity for a political end. There is malevolence in the very 'normality' of her sophisticated appearance - Eleanor Shaw Iselin is the ultimate Washington D.C. political wife, help-mate and devoted mother of a Medal of Honor winner just back from Korea. At her doting husband's side, she is only too willing and able to lend a guiding hand.
Her husband, Senator John Yerkes Iselin (the always effective James Gregory) is a McCarthy-like functionary whose strident claims that communists are lurking in government have given him mileage and made him a likely Vice-Presidential candidate. That he is a fumbling half-wit with little political acuity goes by the wayside when the possibility of communists hiding under every rock is accepted as fact. (Let's not forget that in reality we were at the height of the Cold War.)
Senator Iselin has risen through the ranks guided by a brilliant wife who understands how to manage fools and does so with cold-hearted determination. This is an old story in Washington politics. Never more blatant than in this duplicitous marriage with only one end in sight: the presidency of the United States.
I've often thought how frustrating Mrs. Iselin's job must have been when it was SHE who really wanted the presidency for herself, she who wanted to wield ultimate power at a time when the presidency was exclusively a man's club. (Then and now, apparently.) How this barrier must have thwarted her at every turn while at the same time adding fuel to the fire of her ambitions.
Brilliant, ambitious women (especially those without an ounce of empathy or sentiment) have never had an easy road. Most of the time they have had to sublimate their dreams in favor of whatever man was at hand as cover - especially in politics. Angela Lansbury plays Mrs. Iselin very much as a dedicated woman without remorse, one who is so twisted that she is devoid of any semblance of humanity. It is a chillingly brilliant performance. Especially for such a well-liked and likable actress.
A patrol of soldiers is captured in Korea. They are brainwashed with new techniques (the 'garden party' scene alone is worth the price of admission) which work indecently well. Then, memories of the entire episode buried in their sub-conscious, the men are sent back to America with an amazing story of combat and the heroic exploits of Staff Sgt. Raymond Shaw (Laurence Harvey) who will go on to be awarded the Medal of Honor for a non-existent event.
(The guys have been brain-washed into thinking they are at a Garden Club event in New Jersey.)
Back home, when questioned, the men seem devoted to their leader, "Raymond Shaw is the kindest, bravest, warmest, most wonderful human being I have ever known in my life," they respond. In truth, because of his aloofness, he was the least liked man in the entire platoon.
But Raymond Shaw is the son of Eleanor Shaw Iselin and the Senator's step-son and he has reasons for his perceived aloofness. He is an unwitting pawn in the all-encompassing political aspirations of a mother who has sold her soul to a political cause. Plus it doesn't help that Raymond hates her and his step-father.
As played by Laurence Harvey, a normally cool and uninvolved sort of actor, Raymond comes across as stiff, awkward, lonely and isolated. It is Harvey's best performance - his normally stand-offish persona working very well here. In reality Angela Lansbury was only three years older than Harvey, which makes her Oscar nominated performance even more impressive.
Shaw and his fool of a step-father are merely stepping stones for Eleanor Iselin who is a deeply embedded Communist agent now well on her way to achieving the goal of getting her husband into the Oval Office by hook or by crook. To that end she plans to have him swept up by manufactured nationalistic frenzy (remind you of anything?) when later, by her command, the actual presidential candidate is scheduled to be assassinated at the convention and her 'grief-stricken' hubby will then give an emotional 'America first' speech while holding the dead body of his 'friend.' The speech is meant to catapult Iselin to the top of the ticket. It is a powerful speech worked on as she says, "here and in Russia on and off for eight years."
To that ignoble end, Mrs. Iselin is willing to compromise and destroy her own son. A son, whom, by the way, she has ensnared in an incestuous relationship. He is the assassin set up by the communists - having been brain washed in Korea (unemotionally killing two of his fellow soldiers in the process) to carry out the death of the presidential candidate. Raymond's state-side handler is none other than his own mother. His 'trigger' is the Queen of Diamonds in a deck of playing cards. Once he is shown the card, Raymond will blankly carry out any order he is given.
Frank Sinatra's troubled character in the film is another mind-altered member of the original platoon. Major Bennett Marco, re-assigned to Army Intelligence state-side, has been having vivid nightmares about his experience in Korea. When he learns that a fellow veteran, Corporal Allen Melvin (James Edwards) has also been having similar dreams, they begin to put two and two together. Marco comes in contact with Raymond Shaw and little by little he begins to realize that the story they 'remember' about Korea may not have actually happened.
In the end, it will be up to Marco to try and stop Raymond Shaw from carrying out his imbedded instructions.
In the meantime, Eleanor Iselin learns that Raymond has taken up with an old girlfriend, Jocelyn Jordan (Leslie Parrish), daughter of Senator Thomas Jordan played wonderfully by John McGiver. The warmth of that father daughter relationship comes as a temporary balm to Raymond's inchoate coldness. He, at last, might have found a bit of happiness.
At first, Mrs. Iselin approves of the relationship since she wants the influential Senator Jordan's public approval of her hubby's Vice Presidential bid. But when the Liberal Senator makes it very plain that he will, under no circumstances, approve Senator Shaw, Mrs. Iselin instigates one of the cruelest and more heart-rending events in the film. And the way that director John Frankenheimer develops the infamous 'carton of milk' scene makes for one of the most devastating moments in film history.
Mrs. Shaw shows Raymond the Queen of Diamonds card and orders him to kill Senator Jordan. When Raymond, an automaton without any will, goes to the Senator's townhouse and confronts him in his cozy kitchen, he not only shoots down the Senator in cold blood but as Jocelyn Jordan accidentally enters the scene, Raymond kills her as well. Later he is utterly heartbroken to learn the news of his friends' deaths since he has no clue it was he that caused it.
When the evil Mrs. Shaw realizes that maybe she might have gone a little bit too far with her son's mental health, she tries to explain to him that she had no clue that the commies would choose him as the assassin and that once in the White House she would crush the commies responsible. (Yeah, right. I believe her. Don't blame a confused Raymond if he has doubts.)
Near the end Marco finally breaks the hold the communists have on Raymond's mind and believes he's stopped whatever it is that Shaw is supposed to do.
But later, in one of the most creepily powerful scenes in the film, Mrs. Iselin, unaware of Marco's interference, goes ahead with her instructions to Raymond, topped off with a very un-motherly kiss.
Later, Raymond shows up at the political convention in disguise and calmly goes up to a room from where he can survey the entire stage. A desperate Marco races to find and stop him. As Raymond sets up his rifle, he is cool, collected, and completely in charge.
Has Marco failed? Will Raymond's brain washing re-assert itself? Will he kill the presidential candidate and catapult his odious mother and step-father into the White House?
In one of the best endings to any film I've ever seen, Senator Shaw and Raymond's mother sit side by side near the podium, awaiting what must happen - the next step towards the fruition of their dreams. Suddenly a shot rings out and Shaw rears back, shot in the head. As he slides to the floor, his frightened wife looks up towards the room where she knows Raymond is hiding and she too is shot.
As the cops and Marco break in the door upstairs, Raymond Shaw kills himself. Marco finds the medal of honor affixed to Raymond's jacket.
What a film. John Frankenheimer's gritty direction is excellent as is the editing which adds another element to the tautness of Axelrod's script. The acting, needless to say is superb. THE MANCHURIAN CANDIDATE remains an especially relevant story, especially now, considering today's political climate.
"According to rumor, Sinatra removed the film from distribution after the John F. Kennedy assassination on November 22, 1963. Michael Schlesinger, who was responsible for the film's 1988 reissue by MGM/UA denies the rumor. According to him, the film's apparent withdrawal was not due to the assassination, but by 1963 the movie had simply played out (in those days it could take a film months to play across the country). The film became the premiere offering of The CBS Thursday Night Movie on the evening of September 16th, 1965, and was rerun in April 1974 on NBC Saturday Night at the Movies. Sinatra's representatives reacquired the rights in 1971 after the initial ten-year contract with United Artists expired. After two successful showings at the New York Film Festival in 1987 renewed public interest in the film, the studio reacquired the rights and it became again available for theater and video releases." Wikipedia.
My post today is part of the THE GREAT VILLAIN BLOGATHON 2017. Lots and lots of fabulous bloggers will be writing about their own favorite Movie Villains, so don't forget to check out their posts.
Your Hosts for THE GREAT VILLAIN BLOGATHON 2017: Ruth of Silver Screenings, Karen of Shadows & Satin and Kristina of Speakeasy. Link here for complete list of contributors over the next three days.