ELIZABETH HELY – A Mark of Displeasure. Scribner, hardcover, 1960. Heinemann, UK, hardcover, 1961.
Visiting Edinburgh, Scotland, for the first time, Commissaire Antoine Cirret of the Paris Sûreté is somewhat bemused. The references to the weather by everyone he meets lead him, temporarily, to believe that many of the inhabitants of that city are weather fetishists.
In Edinburgh at the request of a friend to support him while he’s giving a concert, Cirret goes to sleep during the “Emperor Concerto.” This does not, Cirret would assure you, mean he does not think much of his friend’s technique; it’s just that he does not care that much about music.
Alec Trevor, the friend and pianist, also has friends in the city, one of whom dies while leaving the concert. Except for Cirret’s curiosity, the murder of a not-much-loved widow by nicotine poisoning would not have been detected.
The poisoner is known to the reader and maybe to Cirret. Since she is also a friend of Trevor’s, Cirret disturbs the musician by wanting to investigate the case. Actually, Cirret doesn’t care who did it; he, as a humanitarian, merely wants no repetition of the crime.
Hely presents a wicked but well-liked murderess whose motives are, she assures herself, of the highest, and a delightful detective in Cirret, who looks much like a monkey and may have that creature’s sense of humor. There aren’t that many French detectives that I have enjoyed reading about, but Cirret is an exception.
— Reprinted from The MYSTERY FANcier, Vol. 11, No. 3, Summer 1989.
Bio-Bibliographic Notes: Elizabeth Hely was the pen name of Nancy Elizabeth Brassey Leslie Younger, (1913-1981). Her criminous output as a writer consisted of three books in the Cirret series (see below), plus one standalone, The Long Shot (Heinemann, 1963).
The Commissaire Antoine Cirret series —
Dominant Third. Heinemann, UK, 1959. US title: I’ll Be Judge, I’ll Be Jury. Scribner, 1959.
A Mark of Displeasure. Heinemann, UK, 1961. Scribner, US, 1960.
Package Deal. Hale 1965. No US edition. TV movie: Universal, 1968, as The Smugglers (with Shirley Booth and Emilio Fernández as Inspector Cesare Brunelli).
WILLIAM ARDEN – A Dark Power. Dodd Mead, hardcover, 1968. Berkley, paperback, 1970.
During the same years he was writing the Dan Fortune private-eye novels under his Michael Collins by-line, Dennis Lynds took on the pseudonym William Arden and launched another series, this one dealing with industrial spy and PI-in-spite-of-himself Kane Jackson.
The five Jackson novels are written in a spare, unadorned third-person style reminiscent of Dashiell Hammett’s, and their protagonist is very much the hard-bitten operative, without the leavening of compassion one finds in other Lynds detectives, like Dan Fortune or Paul Shaw.
Most of the Jackson exploits are distinguished by their setting in the jungle of high-level capitalism, principally in the chemical, metallurgical, and pharmaceutical industries where Lynds worked as a trade-publications editor before turning to fiction.
In A Dark Power, first and freshest of the series, Jackson is hired by a New Jersey pharmaceutical combine to recover a missing sample of a drug potentially worth millions. The trail leads through the mazes of interoffice love affairs and power struggles, and several corpses are strewn along the path.
Although Lynds tends to get lost in his own plot labyrinths, this time he keeps the story line under firm control, meshing counterplots with fine precision, skillfully portraying people trapped by their own drives, and capping the action with a double surprise climax. Jackson reaches the truth by clever guesswork rather than reasoning, but this is the only weakness in one of the best PI novels of the Sixties.
Of the four later Jackson exploits, the most interesting is Die to a Distant Drum (1972), which, like Lynds’s novels as by Mark Sadler, takes as background the turmoil of the Vietnam era. Jackson poses as a revolutionary bomb-maker and joins a Weatherman faction in order to infiltrate a chemical plant and bring out certain evidence of industrial piracy. The result, as usual with Lynds under whatever by-line, is a fine and thoughtful thriller.
MARGOT NEVILLE – Murder of a Nymph. Doubleday Crime Club, US, hardcover 1950. Detective Book Club, hardcover reprint [3-in-1 volume]. Pocket #829, paperback, 1951. First published in the UK by Geoffrey Bles, hardcover, 1949.
Another young woman, no better than she should be, bites the dust. And here it’s Australian dust, in, of all places, Come-Hither Bend. Apparently the young woman’s, for want of a better word, friends and relatives at that oddly named place, including her betrothed, were not too fond of her. When she gets off the bus to spend the weekend there, someone beats her about the head and pushes her off a cliff.
Since everyone had problems with Enone — thus one reason for the nymph — coverup is the name of the game. Detective Inspector Grogan knows this but has difficulty penetrating what each person is trying to conceal. When another murder occurs through the stupidity of one of the characters, all begins to come clear.
It took me five attempts to finish this book. Grogan appealed, but the rest of the characters left me cold or slightly nauseated. While she writes well, Neville doesn’t provide the wit or lightness that I particularly enjoy. Maybe if I’d read it in sunlight and warmth –
— Reprinted from The MYSTERY FANcier, Vol. 11, No. 3, Summer 1989.
Bio-Bibliographic Data: Margot Nevile was the joint pen name of Margot Goyder (1896-1975) and Anne Neville Goyder Joske (1887-1966). Most but not all of their criminous output consists of the Inspector Grogan series. All were published by Geoffrey Bles in the UK; those marked with an asterisk (*) were never published in the US:
The Inspector Grogan series —
Murder in Rockwater. 1944. US title: Lena Hates Men.
Murder and Gardenias. 1946. (*)
Murder in a Blue Moon. 1948.
Murder of a Nymph. 1949.
Murder Before Marriage. 1951.
The Seagull Said Murder. 1952. (*)
Murder of the Well-Beloved. 1953.
Murder and Poor Jenny. 1954. (*)
Murder of Olympia. 1956. (*)
Murder to Welcome Her. 1957. (*)
The Flame of Murder. 1958. (*)
Sweet Night for Murder. 1959. (*)
Confession of Murder. 1960. (*)
Murder Beyond the Pale. 1961. (*)
Drop Dead. 1962. (*)
Come See Me Die. 1963. (*)
My Bad Boy. 1964. (*)
Ladies in the Dark. 1965. (*)
Head on the Sill. 1966. (*)
WILLIAM O. TURNER – Mayberly’s Kill. Doubleday “Double D Western,” 1969. Berkley X2017, paperback, 1971; later printings, 1977, 1982.
Turner wasn’t a prolific writer, so I took a short amount of time to come up with complete bibliography, more or less. The major secondary source used was 20th Century Western Writers, 2nd edition. [I've moved the list of books and stories to the end of this review, rather than here at the beginning, where it first appeared.]
Turner was born in 1914 and died in 1980. [If you go through the list of books he wrote], you can see that his career had the usual ups and downs and various digressions that a good many of his fellow writers did. He started in hardcover in the mid-1950s with what looks like solid western historicals.
When he was dropped by Houghton Mifflin, he was picked up by Doubleday – but for not all of his books. Then comes the usual mixture of hardcovers and paperback originals, along with some books that came out first (or only) in England, with some hardcovers eventually never having softcover editions.
Catch Party was a posthumous book, and why it came out from Zebra, who never did any of his other books, so far as I’ve been able to learn, is a minor puzzle. (Not one that’s keeping me up at nights, you may reassured to know.)
Moving on to the book at hand, what the first few paragraphs reminded me of was nothing more (or less) than a good old-fashioned private eye novel:
Zach Mayberly sat with the scrubbed surface of the kitchen table between him and the girl. She was small and slender with a delicate face and black eyes. She was young. Nineteen, she said. She sat straight and looked him in the eye and answered his questions readily. A little too readily, he thought.
“How long did you live up there on Grizzly Creek?”
“Since I married Eduardo. That was in February, two years ago.”
“And Eduardo was killed Wednesday, the fourth of April? Three weeks ago tomorrow?”
The room was dark, low-ceilinged, a typical Mexican kitchen. Susanna Velasquez was not Mexican. This was the house of her sister-in-law, Eduardo’s sister.
The killer of Susanna Velasquez’s husband Eduardo is not Mayberly’s primary interest, but the two men who had been staying with the couple may be the Ambrose brothers, the men whose trail he’s been following. That they may have had something to do her Eduardo’s death is largely incidental, but Susanna’s subsequent and hasty later departure seems to confirm that something shady had occurred, up there on Grizzly Creek.
Mayberly soon discovers an even better lead to follow, however, when he learns that the sister of the woman whom one of the men married is also looking for the them. Her sister’s son was living with her after she died, having left her husband, Sip Ambrose, but when the man stole his son back from the sister, she is doggedly tracking them down, hoping to get the boy back.
Another bounty hunter, a fellow named Yadkin, is also the picture, as well as a Pinkerton man named Deeds. The latter also makes himself a good friend and traveling companion of Melanie Coates (that’s the sister), which somehow displeases Mayberly, and for more reasons than one.
This is a slim novel, taking up only 188 pages of normal-sized type, and believe it or not, what I’ve told you so is only the beginning. Eventually all of the characters in this novel – the two outlaws and the boy; Susanna Velasquez; Mayberly and the girl; Yadkin and Deeds – find their way to a free-thinkers’ settlement called New Sanity, which the Ambrose brothers (Tucker disguised as a woman) have hopes of taking over, with the aid and abetting of one of the more nefarious members of the group already there, not to mention a stockpile of dynamite.
If you’re thinking that this sounds rather ludicrous, I guess it does, but it all makes sense as you’re reading it, in a smile-to-yourself kind of way. When all of the plot threads come together, it is truly a delicious sight to behold, and since the copy I read was a third printing, as you will recall, I imagine that I’m not the only one to have thought so.
Turner was very much a writer in the traditional mode, as off-beat as the setting his characters find themselves in may have turned out to be. The level of language he uses, it occurred to me once while I was reading, seldom exceeds a young adult level – even though more than a few events may be sometimes a little darker than that – but if clarity in story-telling is a virtue, then Turner was a fellow who had it.
The Long Rope. Doubleday, hardcover, 1959. Paperback: Hillman #183, 1961.
Throttle the Hawk. Ward Lock, British hardcover, 1960. Paperback: Berkley, 1966. (*)
The Treasure of Fan Tan Flat. Doubleday, hardcover, 1961. Paperback: Berkley, 1975.
The High-Hander. Ace Double F-186, paperback original, 1963. (Bound back to back with Wild Horse Range, by Louis Trimble.)
Gunpoint. Berkley, paperback original, 1964.
Destination Doubtful. Ward Lock, British hardcover, 1964. US paperback original: Ballantine U1050, 1965.
Five Days to Salt Lake. Ballantine U2252, paperback original, 1966.
Ride the Vengeance Trail. (*) Berkley F1264, paperback original, 1966.
Blood Dance. Berkley F1439, paperback original, 1967.
Mayberly’s Kill. Doubleday, hardcover, 1969. Paperback: Berkley X2017, 1971.
A Man Called Jeff. Berkley X1650, paperback original, 1969.
Crucifixion Butte. Mayflower, British paperback, 1969. No US edition.
Place of the Trap. Doubleday, hardcover, 1970. No paperback edition.
Call the Beast Thy Brother. Doubleday, hardcover, 1973. Paperback: Berkley N2739, 1975.
Thief Hunt. Doubleday, hardcover, 1973. Paperback: Manor Books, 1974.
Medicine Creek. Doubleday, hardcover, 1974. No paperback edition.
Shortcut to Devil’s Claw. Berkley, paperback original, 1977.
Catch Party. Zebra, paperback original, 1988.
(*) If Throttle the Hawk appeared as a Berkley paperback, it was under a different title, with a high likelihood that it was Ride the Vengeance Trail, which is not included in the 20th Century bibliography.
NOTE:20th Century also lists a non-western by Turner, The Man in the Yellow Mercedes, Berkley, 1979, but no book of this title, by Turner or anyone else, could be found in the online WorldCat.
Short stories, with no information that any of these stories had earlier appearances:
“The Proud Diggers.” Contained in Wild Streets: Tales of the Frontier Towns, Don Ward, ed., Doubleday, 1958. WWA anthology.
“Blackie Gordon’s Corset.” Contained in Frontiers West, S. Omar Barker, ed., Doubleday, 1959. WWA anthology.
“The Tomato Can Kid.” Contained in Western Roundup, Nelson Nye, ed., Macmillan, 1961. WWA anthology.
“The Lobo Parker Legend.” Contained in WWA Presents: Great Western Stories, no editor stated, Berkley Highland F1055, paperback original, 1965.
— Reprinted from Durn Tootin’ #7 , July
2005 (slightly revised).
C. DALY KING – Obelists at Sea. Knopf, US, hardcover, 1933. Heritage, UK, hardcover, 1932; Penguin Books, UK, paperback, 1938.
During the bidding for a number in the ship’s pool on distance traveled by day, the lights go out and Victor Smith, either a copper king or a Western railroad magnate, is shot twice in the heart. Only one gun is found to have been fired, and that is proved not to have committed the murder. Smith’s daughter also dies, although of what cause is not known. To add to the complexity, Smith had taken or been given poison almost immediately before he was shot.
The case is too much for the ship’s detectives, so four gentleman aboard assist in the investigation. Dr. Hayvier, a well-known behaviorist, Dr. Pechs, an equally well-known psychoanalyst, and Dr. Pons, inventor of Integrative Psychology, and Professor Miltie, who had carefully avoided being identified with any of the schools of his “science” — all have their theories, all different, with different suspects.
Put aside the fact that the Meganaut has ten decks above the water line and a crew of at least a thousand and that Captain Mansfield invariably refers to it as a “boat.” This is still a fascinating, albeit a bit slow, novel.
— Reprinted from The MYSTERY FANcier, Vol. 11, No. 3, Summer 1989.
Editorial Comments: While I do not know if all four of the detective characters in this novel appear in all of the books below, Professor Pons is stated in Hubin to be in each of them.
The Dr. L. Rees Pons series –
Obelists at Sea. Knopf, 1933.
Obelists en Route. Collins, UK, 1934.
Obelists Fly High . H. Smith 1935.
Careless Corpse. Collins, UK, 1937.
Arrogant Alibi. Appleton, 1939.
Also of interest, I believe, is the following quote taken from author Martin Edwards in his review on his blog of C Daly King’s mystery output in general:
“‘Obelist’ was a word that King made up. He defined it in Obelists at Sea as ‘a person of little or no value’ and then re-defined it in Obelists en Route as ‘one who harbours suspicion’. Why on earth you would invent a word, use it in your book titles, and then change your mind about what it means?”
For more on C. Daly King, the mystery writer, may I also direct you to Mike Grost’s comments about his work on his website.
THE WHISTLER. Syndicated, 1954-55. – CBS Television Film Sales Inc – Lindsley Parsons Production (first 13 episodes) Joel Malone Associates (final 26 episodes). Cast: William Forman as The Whistler. Music by Wilbur Hatch. Produced by Joel Malone.
THE WHISTLER began as a radio anthology suspense drama featuring unexpected twists. It aired on the West Coast CBS radio network. While attempts to succeed on the East Coast were failures, the radio show proved very popular on the West Coast to Chicago and lasted between 1942 and 1955. You can listen to over 400 radio episodes at Archives.org.
The radio program would lead to eight films from Columbia Studios: THE WHISTLER (1944), THE MARK OF THE WHISTLER (1944), THE POWER OF THE WHISTLER (1945), THE VOICE OF THE WHISTLER (1945), MYSTERIOUS INTRUDER (1945), THE SECRET OF THE WHISTLER (1946), THE THIRTEENTH HOUR (1947), and THE RETURN OF THE WHISTLER (1948).
Here on YouTube is MYSTERIOUS INTRUDER, starring Richard Dix and directed by William Castle, for as long as the link lasts.
In February 1954 CBS TV Film Sales had three programs in early development to become a possible TV series. The three were ESCAPE, ROMANCE, and THE WHISTLER. (1)
In April CBS TV Film sannounced plans to bring the radio series THE WHISTLER to television through syndication. (2)
September 1954 Lindsley Parsons Production (FILES OF JEFFREY JONES) was signed to produce twenty-six episodes of THE WHISTLER. (3) (4)
“Billboard” reported (5) there were production problems on THE WHISTLER over cost and length of shooting. Joel Malone, who was the show’s producer and who “Billboard” called the “originator” of THE WHISTLER TV series, formed his own production company Joel Malone Associates to take over production from Lindsley Parsons Production.
“Broadcasting” (6) interviewed Joel Malone (CRIME BY NIGHT, APPOINTMENT WITH DEATH). Malone had edited and written THE WHISTER radio series since 1946. He had written or helped write around two hundred THE WHISTLER radio scripts.
Malone made changes in production methods. Shooting took place six days a week, taking off only Sunday and a major holiday such as Thanksgiving. Starting in November, Malone and company filmed thirteen episodes in little over a month. An article (7) about the cost of filming syndicated TV series included a photo of the cast and crew of THE WHISTLER shooting on the streets of Los Angeles at 3am.
The article (6) noted the shooting day of November 24, 1954, when filming of the episode “Kind Thought” ended, by 1pm the same day the next episode’s cast was ready at the studio to begin work on “Roark Island.”
The stories were the main attraction for THE WHISTLER in all its forms. Joel Malone wisely used his co-writers from the radio series, Harold Swanton (ALFRED HITCHCOCK PRESENT, WAGON TRAIN and PERRY MASON) and Adrian Gendot (DANGEROUS ASSIGNMENT, SKY KING and PERRY MASON).
No doubt helpful in maintaining the speed of production was the reuse of the radio scripts to make the TV episodes. Sadly, the budget and the restrictions of 50’s television against violence and true visual horror prevented the TV episodes from reaching the suspense of the radio versions.
Most of the TV episodes were directed either by Malone, Will Jason (SHOTGUN SLADE), or William F. Claxton (TWILIGHT ZONE and LITTLE HOUSE ON THE PRARIE). I found the Claxton episodes the most creative visually.
The music and famous opening stayed much the same through all the formats. The iconic theme song written by Wilbur Hatch and performed by Dorothy Roberts remains recognizable today. The Whistler himself remained a character of mystery, a shadow drifting through the world observing and commenting on the story and characters. While others including William Forman played the character in other formats, Forman was the only one to play it on the TV series.
The acting was an important selling point for the TV series as it was for the radio version. The TV series attracted such talent as Howard Duff, Marie Windsor, and Linda Stirling. It often reused actors in more than one episode, actors such as Martha Vickers, Craig Stevens, John Ireland, Nancy Gates, John Howard, Robert Hutton, Marshall Thompson and many more.
Most likely shooting began with the hiring of Lindsley Parsons Production in September 1954.
We do know it was on the air in October 1954 when the series major sponsor Signal Oil had it in 28 markets (8). Signal Oil was the West Coast part of Standard Oil. This limited the area Signal Oil would sponsor THE WHISTLER. The series other major sponsor, Lipton also did so in only some markets. Both sponsors limited their support to alternated weeks. (4)
The series lasted one season of thirty-nine episodes, thus leaving enough episodes for THE WHISTLER to be sold over and over for many years. The extra cost of producing an anthology series, plus the lack of a national weekly sponsor probably played important roles in the decision to stop shooting new episodes.
Considering the shooting schedule of thirteen episodes a month, shooting for the series most likely ended in January 1955. By February 1955 (9) Joel Malone was busy with NAVY LOG for CBS-TV network where it would appear in primetime in 1955-56 for CBS before moving to ABC where it remained on air until 1958.
THE WHISTLER TV SERIES EPISODE INDEX
Twenty-six of the thirty-nine episodes can be viewed at Archive.org. (Scroll down to zip files and the TV episodes begin at 18 and ends with 30.) The episodes are also available on YouTube. Below I have linked to two of my favorite episodes.
EPISODES BY LINDSLEY PARSONS PRODUCTIONS
“Search For An Unknown.” Written by Joel Malone and Adrian Gendot. Directed by Will Jason. Cast: Barton MacLane, King Donovan and Jean Howell. *** Businessman hires a PI to find who is threatening to kill him and three other people – four people without any connection.
“Backfire.” Written by Joel Malone. Directed by Frank MacDonald. Cast: Lon Chaney and Dorothy Green. *** Ex-con chauffer falls for the wife of his rich employer. When she dumps him he thinks of revenge.
“Cup O’Gold.” Written by Joel Malone and Adrian Gendot. Directed by Will Jason. Cast: Tom Brown and Barbara Wooddell (sic). *** A corrupt member of the D.A.’s office turns to murder. A woman sees him run from the scene, but fails to identify him as the killer to the police.
“Letters From Aaron Burr.” Written by Joel Malone and Adrian Gendot. Directed by William H. Claxton. Cast: Howard Duff and Martha Vickers. *** When he leaves prison Ernie finds a persistent beautiful young woman representing a rich old lady who wants to help him.
NOTE TO PROOFREADERS: William Claxton on-air credit in Lindsley Parsons Production episodes used the middle initial H but it would change to F for the Joel Malone Associates episodes.
“Fatal Fraud.” Written by Joel Malone and Adrian Gendot. Directed by William H. Claxton. Cast: Patric Knowles and Marie Windsor. *** Marie Windsor plays a femme fatale who uses two men to help her steal a quarter of a million dollars.
“Grave Secre.” Written by Joel Malone and Adrian Gendot. Directed by Will Jason. Cast: Miriam Hopkins and Murvyn Vye. *** Harriett has kept her secret about her killing her employer, but it is another secret she will regret.
“Lady In Waiting.” Written by Joel Malone and Adrian Gendot. Directed by William H. Claxton. Cast: Nancy Gates and Craig Stevens. *** A mobster’s love for a nice girl causes her a great deal of trouble.
“The Big Jump.”. Written by Joel Malone. Directed by Will Jason. Cast: John Ireland and Tina Craver. *** A crook in New York fakes his death and escapes to San Francisco where he goes straight. He has a new life as a happily married man until one of his fellow thieves from New York spots him.
EPISODES BY JOEL MALONE ASSOCIATES
“Cancelled Flight.” Written by Joel Malone and Adrian Gendot. Directed by Will Jason. Cast: Richard Arlen and Barbara Woodell. *** Two partners fall out when the police get too close to their smuggling operation.
“The Blank Wall.” Written by Joel Malone. Directed by Will Jason. Cast: Wallace Ford, and Philip Van Zandt. *** A respected bank employee is proud when his daughter agreed to marry the Bank’s owner son. But her happiness is threaten when a man from his hidden past as an ex-con tries to blackmail him.
“Sleep My Pretty One.” Screenplay by Joel Malone. Based on a Radio Play by Ruth Bourne. Directed by William F. Claxton. Cast: Martha Vickers, Paul Langton and Linda Stirling. ***A doctor may have the cure for a sick patient but the drug must be tested first. He turns to his fiancee for help.
“The Pattern.” . Written by Joel Malone and Adrian Gendot. Directed by Will Jason. Cast: Robert Ellenstein, Ellen Corby and Ken Tobey. *** A bookstore owner tells his detective friend that he had found a pattern of suspicious deaths and that the next death would happen on his street.
“The Jubilee Earring.” Written by Harold Swanton. Directed by William F. Claxton. Cast: Marguerite Chapman, Douglas Kennedy and Art Gilmore. *** A successful female executive is heading to a 10 year reunion with her two closest College friends, one a professional football player who has always wanted to marry her.
“The Glass Dime.” .Teleplay by Ellis Marcus and Harold Swanton. Based on a Radio Play by Adrian Gendot. Directed by William F. Claxton. Cast: Robert Hutton and Eve Miller. ***On the run from the cops a desperate con man steals from his rich uncle.
“Lovely Look.” . Screenplay by Joel Malone. Based on a Radio Play by Mary Ruth Funk. Directed by Will Jason. Cast: Murvyn Vye and Pamela Duncan. *** An unhappy husband falls for the new housekeeper.
“The Other Hand.”. Screenplay by Joel Malone. Story by Joel Malone and Harold Swanton. Directed by William F. Claxton. Cast: John Howard, Dorothy Green and Angela Greene. *** A businessman checks himself into a sanitarium for rest when the stress of work and his relationships with two women get too much for him.
“A Case For Mr. Carrington.” . Screenplay by Harold Swanton. Story by Joel Malone and Harold Swanton. Directed by William F. Claxton. Cast: Patric Knowles, Paul Dubov and Reginald Denny. *** Gordon prepares a plan to murder with the help of a book written by the local Police Inspector.
“Man Who Ran.” Screenplay by Joel Malone. Story by Tommy Tomlinson and Harold Swanton. Directed by Charles F. Haas. Cast: Les Tremayne and Dorothy Patrick. *** A bored accountant seeks to escape his routine existence.
“Death Sentence.” . Written by Fred Hegelund and Harold Swanton. Directed by Joel Malone. Cast: Marshall Thompson, Dani Sue Nolan and John Doucette. *** Told he has three months to live Martin confesses, for money to take care of his family, to a murder he didn’t commit.
“Dark Hour.” Written by Joel Malone. Directed by Charles F. Hass. Cast: Robert Hutton and Nancy Gates *** Young lawyer believes in the innocence of his client despite the arguments of the DA, the Uncle of his girlfriend.
“The First Year.” Screenplay by Joel Malone. Story by Joel Malone and Harold Swanton. Directed by Joel Malone. Cast: Virginia Field, Craig Stevens and John Hoyt. *** A disapproving Uncle sets up his will to punish his niece for marrying a playboy. To receive his fortune they need to stay married and together for ten years.
“Meeting On Tenth Street.” Screenplay by Joel Malone. Story by Joel Malone and Harold Swanton. Directed by Joel Malone. Cast: Robert Ellenstein, Peggy Webber and Willis B. Bouchey. *** A rejected suitor hires a hitman to kill his romantic rival.
“Silent Partner.” Screenplay by Joel Malone. Story by Joel Malone and Harold Swanton. Directed by Joel Malone. Cast: Charles McGraw and Hugh Sanders. *** Matt, the original owner of a large ranch finds himself being pushed out by his partner.
“An Actor’s Life.” Screenplay by Joel Malone. Based on a Radio Play by Gene Fromherz. Directed by William F. Claxton. Cast: Arthur Franz and Margaret Field. *** Julie is a successful singer in Hollywood with problems. She fears her boss who is forcing her to marry him, and now an ex-boyfriend arrives needing her help to get an acting job in Hollywood.
“Trigger Man.” Screenplay by Adrian Gendot. and Harold Swanton. Story by Robert and Beatrice Gruskin. Directed by Joel Malone. Cast: Marshall Thompson, and Dani Sue Nolan. *** Dave, a promising young lawyer, is warned by those around him that there will be a price to pay if he continues to work for a mobster.
“Marriage Contract.” Screenplay by Joel Malone. Story by George & Gertrude Fass and Harold Swanton. Directed by Joel Malone. Cast: Charles Winninger and Tom Brown. *** Eddie becomes a rich man’s lawyer and friend to get into the old man’s will. He succeeds until a twenty-four year old woman with no interest in the money agrees to marry the old man.
TV EPISODES NOT VIEWED
“A Friendly Case of Blackmail”
“Incident at Scully’s Key.’ 16 mm film print: Lindsley Parsons Production, directed by Will Jason, written by Joel Malone and Adrian Gendot, cast: Audrey Totter and Carleton Young (10)
JOHN LESLIE – Night and Day. Simon & Schuster, hardcover, 1995. Pocket Books, paperback, 1996.
This is the second of four mysteries featuring Gideon Lowry, a jazz pianist and private investigator based in Key West. His brother committed suicide at the end of the first book and Gideon’s girl friend (Casey) has moved to Miami.
A visiting singer named Asia (with lips the color of plum) hires Gideon to locate her estranged husband, a writer obsessed with Hemingway. This is a not inappropriate obsession in Key West with the annual Hemingway Days celebration and the Hemingway house, which is open to the public as a museum. Gideon finds the missing husband, but he’s soon killed and Asia looks like a prime suspect.
The novel (like the other three) is heavy with sultry heat and the perfume of whatever produces heavy scents In Key West. A nice series of grace notes on the 1990s private eye scene.
The Gideon Lowry series —
Killing Me Softly (1995)
Night And Day (1995)
Love For Sale (1996)
Blue Moon (1998)
EDITH HOWIE – Murder for Tea. Contained in the 3-in-1 omnibus volume Three Prize Winners. Farrar & Rinehart, hardcover, 1941. No editor stated. Foreword by Mary Roberts Rinehart. Also published by T. V. Boardman, UK, paperback, 1942.
The other two books in this scarce volume are Old-Fashioned Murder by Marguerite McIntire, and Westbound Murder by C. S. Wallace. The only copy offered for sale on abebooks.com right now, for example, is being offered at a rather steep $75 price tag. When I spotted one on Amazon last month for $20, I snapped it right up.
What the three books have in common, you might ask, is that they were all “losers” in the second year of the Mary Roberts Rinehart Mystery Contest. Well, it says “Honorable Mention” in the lower right corner of the book’s front cover, so it’s clear that none of the three were winners.
So who did get the top prizes? Mary Roberts Rinehart’s foreword tells us that the contest was open only to first time authors. Getting the honor of having their novels published in stand-alone volumes were A. R. Hilliard with Justice Be Damned, and Carolyn Coffin with a book entitled Mare’s Nest. Hilliard (male) wrote only one more work of crime fiction, Outlaw Island (1942), and also so did Carolyn Coffin, that one being Dogwatch (1944).
Of the runners-up, this was the only work of crime and detective fiction that either McIntire or Wallace (male) managed to get published. In some sense, that makes Howie the real winner, as she went on to write six additional detective novels. A list will be provided later.
At the moment I don’t know how long this contest continued, but I can tell you who the winners were for 1940: Clarissa Fairchild Cushman (I Wanted to Murder), Ione Sandberg Shriber (Head Over Heels in Murder), Elizabeth Daly (Unexpected Night) and Frank Gruber (The French Key, reviewed here by Jeff Meyerson). I believe, but I am not sure, that all four books were published individually.
A couple of those authors’ names I’m sure everyone will recognize.
As for Murder for Tea, I enjoyed it, most of it, that is. I wonder why Howie didn’t make a series with the two leading characters in this one. Shawn Cosgraeve, a six foot black Irishman with a temper to boot, is a mystery writer. Telling the story is his wife of three years standing, Kit, who didn’t make it in New York as a musician niy did find a husband whom she can manage very well, most of the time.
It takes three years to convince Shawn to take a trip back to her home town of Nashiona, somewhere in the American midwest, not too far from Chicago. From here I’ll quote from page 172:
“Then what was he doing in Lower Town?” the Sergeant demanded. “Oh, I know there ain’t an answer. Hell! I’m sick of this whole screwy case, Look at it! A woman gets poisoned while a couple hundred people stand around and nobody knows who done it nor why nor even where the poison could have come from. Then a man’s killed and safe’s blown while people wonder what was the noise and a bunch of dopes stand around to watch the guys who did it flop in their car and drive off. And that ain’t all!” The Sergeant flapped his hands despairingly. “We got another murder and a brace of threatening letters and a mess of jewelry that you don’t know whether or not it’s going to be real or phony the next time you see it–” It was too much. He dropped his head and remained sunk in a misery beyond all expressing.
Kit’s problem is that all of the suspects are friends of hers and their husbands and wives. She knows them from before, but she soon discovers that she doesn’t know them now very much at all — and one of them, the killer, not at all.
On the overall scale of things, the story takes place in the upper middle class of a small town. The prospects of an upcoming war are not mentioned at all.
One huge drawback to the story is the Had I But Know aspect of Kit’s story, told some time well after all of the events in had taken place. One wonders if that is what might have caught the judges’ eyes. The other drawback is that when the killer’s identity is revealed I discovered that it didn’t really much matter who it was. Picking a name from a hat may have produced the very same reaction.
Nonetheless, it might have been instructive to see if Edith Howie could have thought of another situation to place her two leading characters in, to give them a chance of cracking another case. Even though it’s a detective story through and through, this one may have been a little too personal.
Bibliography: EDITH HOWIE (1900-1979).
Murder for Tea. Farrar, 1941.
Murder for Christmas. Farrar, 1941.
Murder at Stone House. Farrar, 1942.
Murder’s So Permanent. Farrar, 1942.
Cry Murder. Mill, 1944.
The Band Played Murder. Mill, 1946.
No Face to Murder. Mill, 1946.
Note: For more about the author and a review of Murder for Christmas, check out what Curt Evans has to say over on his blog.
ED McBAIN – The Gutter and the Grave. Hard Case Crime #15, paperback, December 2005. First published as I’m Cannon — for Hire, as by Curt Cannon (Gold Medal #814, 1958), with the leading character also named Curt Cannon.
Ed McBain’s The Gutter and the Grave is a quick, entertaining read and quite good, if not overly complicated, murder mystery. It’s also a time capsule of sorts, an enchanting mirror looking backward to late 1950s Manhattan, an age when jazz was king, the Bowery was for bums, and there were down and out and hard drinking private eyes like the book’s protagonist, one washed out thirty-something, Matt Cordell.
Cordell, as the narrator of the work, lets us know early on who he is and what he is. “I’m a drunk. I think we’d better get that straight from the beginning.” (Page 13.) Our “hero” spends his days hanging out around Cooper Union in lower Manhattan. Then one day, a friend—of sorts—from the old neighborhood uptown — way uptown — shows up and wants an investigative favor.
Enter Johnny Bridges who wants Cordell to look into some fishy goings on in the tailor shop he runs with a guy named Dom Archese. Maybe Dom’s fishing from the cash register late at night.
All fine and good, until the duo head uptown only to find Dom Archese dead. Worse still, at least for Bridges, are the initials “JB” scrawled in chalk. Bridges, to no one’s surprise, becomes the chief suspect and ends up in police custody. It’s now up to Cordell to figure out what’s going on and to exonerate his so-called friend, if possible.
Along the way, Cordell meets up with Dom’s wife, Christine (who also ends up dead), Christine’s sister, who is an aspiring musician by the name of Laraine Marsh, a Manhattan cop named Miskler, and sundry other colorful characters including a rival PI and his sultry employee. All the while, Cordell is reminded of his ex-wife, Toni, his one true love who ended up in the arms of another man.
Cordell’s world is not a happy one, but it’s an extraordinarily vivid one. At least that’s how Ed McBain paints it. And what a painting! Reading The Gutter and the Grave transports you to a specific time and a specific place. It’s sometime in the late 1950s and Manhattan’s a crowded, hot city in the summer. The murder and the lies all around Cordell only make it hotter. Recommended.
The Matt Cordell/Curt Cannon short stories (as by Evan Hunter) –
“Die Hard” (January 1953, Manhunt)
“Dead Men Don’t Dream (March 1953, Manhunt)
“Now Die in It” (May 1953, Manhuntt)
“Good and Dead” (July 1953, Manhunt)
“The Death of Me” (September 1953, Manhunt)
“Deadlier Than the Male” (February 1954, Manhunt)
“Return” (July 1954, Manhunt)
“The Beatings” (October 1954, Manhunt)
The first six of the above were collected in I Like ’em Tough, as by Curt Cannon (Gold Medal #743, 1958).
JAMES MITCHELL – Dying Day. Henry Holt, hardcover, 1989. First published in the UK by H. Hamilton, hardcover, 1988.
James Mitchell has done a number of crime novels, as himself and as James Munro, and now turns up with a London private eye named Ron Hogget. Hogget finds things for people, though the finding usually involves some fearful activities.
Ron is often fearful — he’s that sort of person — but he usually gets the job done. And he has Dave, a friend who drives a cab, reads Literature, knows everything about guns and self-defense and nothing about fear.
Hogget’s second adventure is Dying Day. [But see below.] Here Tony Palliser, filthy rich now from business that began with airplanes — Dakotas — participating in the Berlin airlift in 1948, calls on Hogget’s services. It’s one of those planes, lost at that time, that Palliser now wants Ron to find.
Why, after all these years? Palliser’s reason is thin, but his money is good so Ron starts. And finds he’s not alone on the search, that the real reason must be quite impressive for all the dying being arranged on its behalf. Including, very likely, his…
A solidly constructed, high-tension story with a well-crafted array of characters.
— Reprinted from The MYSTERY FANcier,
Vol. 11, No. 3, Summer 1989.
The Ron Hogget series —
Sometimes You Could Die. H. Hamilton, 1985. No US edition.
Dead Ernest. H. Hamilton, 1986. Holt, 1987.
Dying Day. H. Hamilton, 1988. Holt, 1989.