Showing posts with label mystery. Show all posts
Showing posts with label mystery. Show all posts

12 May 2015

Mariel– The Story, Part II


by David Dean

As promised in my last piece, here's the conclusion of "Mariel" (Originally published in Ellery Queen Mystery Magazine's December 2012 issue):

Mariel


That night, as Mariel lay awake in her bed, she contemplated her efforts to date at exposing Ripper’s murderer and was bitterly disappointed with the results. Though occasionally blessed with flashes of innovative vigor, her intellectual resources had been sorely taxed by the whole affair. She stared blankly out of her curtain-less window and thought of almost nothing.

The backyard was bathed in the cold illumination of a full moon that created black and white etchings of once-familiar objects. Ripper’s empty chain-link pen was captured near-center frame of her nocturnal reverie, its gate standing forlornly open, forever awaiting his impossible return. A spill of shadow ran like blood from the dog house and onto the brilliant concrete pad it rested upon.

Mariel felt her eye lids grow heavy, while above her the ponderous footsteps of her mother measured the distance from her bathroom to her bed. This was followed by a groaning of bedsprings and a loud yawn; then silence descended over the household. Outside, something glided soundlessly from out of a tree, only to vanish within the greater shadows of the forest. Mariel’s eyes began to close.

As she was drifting off, she saw something moving stealthily along the darkened tree line that formed the natural boundary of her yard. As she was often a nocturnal traveler herself, this did not, at first, alarm her. Mariel had spent many a night prowling Crumpler Lane and its environs, and had on more than one occasion allowed herself into the homes of their neighbors using emergency keys that they had thought were cleverly hidden within flower pots and beneath paving stones. In fact, her midnight forays and cool boldness had become something of a neighborhood legend.

This had been several years before however, shortly after the loud divorce of her parents and the twaining of her family into a Mother-Daughter/Father-Sons arrangement. Mariel had hoped that she would discover that her brothers were simply sleeping over at some neighbors’ house but never seemed able to catch them at it. When the state’s child services were brought in, her mother took drastic action and placed a latch on Mariel’s bedroom door.

She watched dreamily as the figure detached itself from the shadows and emerged, glowing, into the moonlight. The man looked familiar, but the bright, ghostly light only served to erase his features. He glided across the littered lawn of her back yard in a direct line with her bedroom window and a small, shrill alarm began to sound in Mariel’s head. She struggled to come fully awake and sit up.

The man disappeared from view as he reached the wall of her house and for the first time sound entered into the hushed scene. Mariel heard the scrape of something metal and remembered the rusty ladder that lay beneath her window. She had not needed that ladder since her mother ceased locking her in at night and it had lain, discarded and forgotten, until now, in the rank grasses of her backyard. It was this sound that set her in motion.

Sitting up, fully awake now, she slid noiselessly from her bed and began stuffing her pillows beneath her blankets. Once done, she dropped to her hands and knees and began to crawl to the closed bedroom door. It had been some time since her mom had locked her in and she hoped that she had not done so this night.

Behind her a head rose cautiously within the frame of the window. Mariel froze as soon as she saw its elongated shadow begin to crawl up the opposite wall, then, ever so slowly, lowered herself into the welter of dirty clothes and discarded dolls and toys that formed the tangled landscape of her room. She sank from sight within the camouflage of her own environment.

Peering out from beneath a damp towel that she draped over her head, Mariel saw the silhouette swivel slightly; then focus on the lumpy bed revealed in the moonlight. For several moments the scene remained frozen in this attitude. Then the window began to squeak like the tiniest of mice.

Mariel knew that she could call out to her mother and perhaps, if she had not had too much to drink, awaken her to the peril she faced. But this was not part of Mariel’s rapidly forming plan.

Instead, she snaked an arm upwards for the doorknob. With any luck she could ease herself out into the hallway as the intruder made his way into her room, then…use the latch that she, herself, had been confined with so many times before. As for the window, she had simply to race around to the back of the house, tip the ladder over and he was caught like a rat! Then, and only then, she would yell bloody murder! Wouldn’t everyone be surprised at what she had accomplished? Mariel began to grin beneath her covering.

She found the doorknob and began to turn it. From behind her came the hiss of clothing sliding over the window sill followed by a soft thump. Things were happening a little faster than she had planned and so she tried to hurry a bit more. She could hear her own breathing as she slithered into the opening she was making.

Then Sailor began to hiss and yowl, only just now deciding that this stranger in his room was not welcomed. Mariel looked back over her shoulder, she had completely forgotten Sailor.

The cat had been a gift to her mother from a former boyfriend who had worked on a clamming boat, hence the name, ‘Sailor’. Naturally, he took up with the one member of the household that cared nothing for him—however, Mariel was not above putting him to good use.

Without a word, she sprang to her feet and snatched the fat, orange cat from the nest he had created within her bed coverings. With a screech of protest he was suddenly airborne in the direction of Mariel’s would-be assailant, his claws fully extended in a futile attempt at air-braking.

When the two met, it was the nocturnal visitor’s turn to vocalize, as he screamed like a woman in labor, whether from pain or terror, Mariel could not know. From above there was a great concussion as her mother’s considerable bulk was set suddenly in motion.

Mariel, consigning Sailor to whatever fate awaited him, flew for the door once more, slamming it behind her and latching it all in one movement. A tight smile appeared on her chubby face as she raced for the back door, even as her name was loudly heralded with her mother’s rumbling approach.

Tripping over the uneven doorsill, she spilled clumsily into the silvered yard just in time to see the intruder fling himself from the ladder and begin his headlong flight. She had not been fast enough! Her disappointment rose like bile in her mouth. But even as her mother blocked the moon from view and began to scrabble at Mariel with sweaty, fleshy hands, she noted with some vindication that her enemy had fled in the direction of the cul-de-sac.



The Sheriff’s K-9 unit tracked the burglar unerringly from Mariel’s window to Mister Salter’s back yard, the scent leading them directly into Bruiser’s territory. There, the sleepy, overfed dog, alarmed by the night’s doings, and mysteriously free of confinement, managed to engage the interlopers in a snarling, slobbering, snapping exchange of canine unpleasantness. In the end, he was re-incarcerated, but not before thoroughly spoiling the search. Mariel knew all of this from eavesdropping as the officers briefed her mother in the living room.

When the policemen asked Mariel if she had gotten a good look at the man that had made his way into her room, she studied the dirty knees of her pajamas for several moments as if thinking very carefully, then mumbled, “I think it was Mister Salter.” Though she had never really gotten a good look at her assailant, Salter appealed to both her logic and sense of justice based on both the dogs’ tracking and the fact that she liked him the least of anyone in the neighborhood. The officers glanced meaningfully at one another after her pronouncement, then departed to invite Mariel’s neighbor to accompany them to the station for further questioning.

After they had left, Mariel had a very difficult time falling to sleep—it had been a very exciting evening. When, at last, she did drift off, it was with the pleasant sense of a job-well-done, mission accomplished.



As the following day was Sunday and Mariel’s night had been a long one, her mother allowed her to sleep in well past noon. When she did awake it was with a ravenous appetite and an equally fierce curiosity about the results of her efforts on the neighborhood-at-large. It seemed to her that an act of such magnitude would result in seismic changes on Crumpler Lane. So after two heaping bowls of frosted cereal and a glass of chocolate milk, she mounted up and set off to reconnoiter her domain.

The day was bright and fine, but as it was mid-autumn, the sun remained low in the sky and a distinct chill could be felt through her inadequate windbreaker. Racing down the lane, she swerved to drive through all leaf piles that awaited pick-up, scattering the labor of her adult neighbors with her willful passage. When she arrived at the Salter household she did it twice, and then rolled to a halt one house away to watch for any outrage.

None was forthcoming. The house remained closed and silent. There were no cars in the driveway either, and Mariel imagined Mister Salter’s wife and teenage daughters down at the police station weeping and pleading for his freedom. She felt confident that the cops would pay them no heed and might even arrest them as well because they were related to him. She smiled at this thought, though she had hoped to be the unmoving object of their pleas herself.

Mariel heard a stealthy footfall behind her and, without sparing a look, began to pedal quickly away.

“Mariel,” A voice called to her softly…urgently.

After placing a safe distance betwixt herself and the voice, she spun around to see who had called out to her. It was Mister Forster.

He stood uncertainly by his mailbox, which was entwined in ivy. He smiled weakly at her and said, “I was trying not to startle you…sorry.”

Through the near-skeletal trees behind him the cold disk of the sun peeked through. Mariel waited.

He nodded his neat head at the Salter home. “What a ruckus last night, huh…police and everything…goodness, I didn’t know what was going on around here.”

Forster stopped awkwardly. Mariel watched his face and noticed that he had whiskers today.

“Scared the hens nearly to death, I can tell you that! They don’t like a lot of commotion. Of course, I’m not telling you anything you don’t already know.” He glanced slyly at the Salter residence, then asked, “What did happen last night? I figured if anyone knows what went on it would be you. You’re our neighborhood policeman…er, woman, that is.”

Mariel felt her chest expand with pride. “Come on,” he waved her forward, “we can feed the hens while you tell me all about it.”

Forster turned and began to walk back up his drive without a backward glance and Mariel followed. When they reached the back yard he took up a pan of feed and handed it to her and she began to scatter it for the hens. Within moments they were busily scratching away at the soil around her feet.

“So what did happen, Mariel?” Forster asked after a period of contented quiet.

Mariel felt herself beginning to smile and tried to suppress it. “Mister Salter came in my room,” she managed by way of explanation, while gauging her chances of seizing one of the glossy black hens.

“He did?” Forster gasped. “Why on earth would he do that?”

Mariel’s small lips twisted uncomfortably. “Don’t know,” she said at last.

“Hmmm,” Forster hummed, then added, “Maybe he was trying to steal something…what do you think?”

Mariel shrugged and said nothing. The pale sun, sinking ever lower, cast lengthening shadows across the wooded back yard.

Forster leaned toward Mariel and asked in a confidential tone, “You haven’t told anybody about that necklace, have you?”

Mariel’s small, pale eyes flashed up and back down again, then she shook her head causing her curls to bounce in agreement.

“Good,” Forster assured her. “That’s very good…not even your mom, though?”

Again she shook her head.

“How about some hot cocoa, what do you say? It’s getting chilly out here and the hens will be alright for a while.” Again he turned and walked away from Mariel without looking back. At the top of the steps he held the door open for her and patted her on the shoulder reassuringly as she passed within. Mariel felt his fingers run over the necklace beneath her pullover as the slightest pressure—a fly walking across her neck.

He crossed to the stove where a kettle was already pumping steam into the fussy, over-heated room. “Lot’s of sugar?” he inquired brightly.

Mariel nodded enthusiastically even as small beads of sweat formed along her hairline—the heat was a palpable force. There was also a peculiar, not altogether pleasant, smell in the house.

“Sit…sit,” he waved at the round table that was placed within the arch of the bow window. Between the gingham curtains Mariel could see the back yard with its chicken coop and the darkening woods beyond. Ripper flashed through her memory and then was gone.

“It’s for the birds,” Forster called to her as he spooned cocoa mix into a mug and poured the hot water. “They can’t take the cold, you know…the songbirds. Most of them are from South America.” He swept an arm toward the ceiling of the room and Mariel saw them for the first time: dozens of cages mounted at various levels within the kitchen and continuing on into the rest of the house. Forster whipped off the parka he had been wearing and slung it onto a nearby chair. He wore a tee-shirt beneath as mute testament to the hot-house atmosphere of his home.

“They’re always quiet when a stranger comes in…but they come around when they get used to you.”

As if on cue, first one, then another, began to sing and the house soon filled with their tropical chorus. Mariel thought she had never heard anything so beautiful and rose as if on strings. She gripped the cage nearest her and peered in at the tiny, vibrant creature. The colors of its plumage, brilliant blues and reds, shimmered with the rise and fall of its delicate breast. Forster was still busy making the hot chocolate, taking far more time at it than her mother ever had, and Mariel lifted the little latch to its cage to reach in and…

“Don’t!” Forster screamed, spilling some of the cocoa from the mug he had in his hand. “Don’t touch them, Mariel!” The birds, all of them, went instantly silent.

Mariel started and drew her hand back but not out. It was not her nature to surrender the initiative without good cause. The tiny bird regarded her sticky, chubby fingers without alarm.

“They’re very delicate,” he added, while looking for an uncluttered surface to set the mug down on, then added under his breath, “Not that you would know anything about that, you little Neanderthal.”

Mariel didn’t know anything about that, nor did she know the meaning of the strange word he had used, but she did know when she was disapproved of, this was something of which she was keenly aware. But of far more importance, she recognized Sailor’s handiwork from the night before.

Forster caught her gaze and looked down at the long, festering scratches that ran down his arms, then back up at Mariel. “I despise cats,” he hissed very much like one. His pupils shrank to tiny dots as his neck tendons distended. “I just wanted the necklace, Mariel…that’s all. I have my reasons, as I’m sure you know.”

Mariel said nothing and the room filled with a thick, clotting silence.

Forster nodded, as his face rearranged itself into something less savage. “If you give it to me now, we can still be friends,” he promised quietly, “you can still have your cocoa. It’s just that the necklace is important, it might be recognized if you wear it around. It’s not really worth anything otherwise…it’s cheap, paste jewelry…something a whore would wear—something a whore did wear.” He set the mug carefully down and took a sudden step across the slight distance that separated man and child.

“You killed Ripper,” Mariel pronounced clearly, seizing the songbird with surprising rapidity.

Forster froze in mid-step. “Don’t,” he gasped, even as he watched the bird’s tiny, futile struggles within Mariel’s pudgy grip. “Please…don’t.”

Mariel withdrew her fist with the bird firmly in her control. Backing up to the door, her sweaty free hand groped for the handle while Forster watched her every movement, his eyes sliding back and forth as the heat-swollen door resisted her efforts.

As she turned slightly to gain more leverage, he eased a step closer, taking advantage of Mariel’s distraction, his long fingers reaching out for her nest of curls.

Mariel’s fist shot up, the tiny head of her captive swiveling this and way and that in its panic, it’s black, shiny eyes blinking and blinking.

“Okay,” Forster halted once more, his hands coming up palms outward, “okay, please…please, don’t hurt him, Mariel…please.”

At last, she succeeded in throwing open the door to the outside world letting a cold wind rush through the stifling kitchen.

“Maybe,” she answered enigmatically backing out onto the porch, her eyes never leaving his as she pulled the door slowly closed behind her. The latch snapped into place like a hammer blow in the now-silent room. From the porch Forster heard a muffled giggle and the sound of clumsy footsteps.

He took a long step, then had to grasp the edge of the table to keep from falling, his legs grown too weak to support him. He slumped down onto the nearest chair. After several moments there came the ratcheting of a bike bell. “Oh God,” he moaned into his hands, “Oh God, what am I going to do?”

Finally, as his breathing quieted, he looked up and around him as if just awakening. Lifting the mug he had prepared for Mariel, he drank its contents down in one scalding gulp, then walked from room to room turning on every light. All around him the air began to fill with the song of a new and sudden day.

Returning to the kitchen he resumed his seat at the cluttered table, and after a while, sagged tiredly forward, laying his head to rest on the place mat. As his eyelids began to flutter his breathing grew very rapid and he began to pant like a dog, perhaps like Mariel’s dog, he thought. Then, suddenly, it slowed once more to become reedy and shallow. Trying to lift a hand to reach out for the empty bird cage, he smiled and muttered, “The speech of angels…the language of God.”
From other rooms his choir sang on.



Though Mariel had been successful in keeping the necklace a secret, the song bird proved another matter altogether. Between its near continuous song celebrating the unfettered freedom of Mariel’s bedroom, and Sailor’s constant yowling and scratching at her closed door, the secret was soon out. The following morning Mariel’s mother discovered the colorful little creature flitting happily about Mariel’s room, leaving its droppings wherever they happened to land. Neither she nor Sailor was amused.

Remaining mute in the face of interrogation as she always did served no purpose in the end, for her mother had heard from other mothers on the street about Mr. Forster’s fussy relationship with birds. An unsettling suspicion began to dawn on her.

Snagging the contested bird within the worn fish net from an old forgotten aquarium, she confined it within a perforated bait can left behind by her ex and set off down the street. Mariel followed on her purple bike at a distance, silent, resentful, and slightly fearful, but curious for all that.

When Forster failed to answer her repeated knocks, Mariel’s mom marched her formidable bulk to the rear of the house where she found his hens scattered about the yard and far into the woods. Upon seeing her they stormed forth with hungry shrieks. Ignoring them she mounted the rear steps, grunting with each, to peer in through the glass of the back door. Forster sat slumped at his table and would not respond to her repeated poundings. An empty mug with a teddy bear painted on it rested next to an outstretched hand. As keen as her daughter, the long scratches that festooned his bare arms did not go unnoticed.

Turning with a gasp, she swept back down the steps, through the now-fleeing hens, and back up the street to her home, carrying Mariel in her wake by force of will and dire threats. The police responded within minutes of her call.



Mister Salter was released from custody with a muted apology from the police, even as Forster was bundled away for autopsy. It appeared Mariel had misidentified her assailant in the darkness, a common enough mistake even for an adult. For his part, Salter threatened lawsuits all round.

As to Forster’s motive for breaking into Mariel’s bedroom, the general consensus was the obvious one. But as he was dead, the matter was laid to rest with his body.

Mariel, as a reward for her brave defense of herself, was allowed to keep the bird, and though it was not a dog, she was very satisfied with the exchange. As for the necklace, she continued to keep it a secret from her mother and wore it only when out of the house. Ripper, forgotten in all the excitement, remained in his shared and secret grave, an arrangement that also suited Mariel, as she had no wish for her possession of the necklace to be challenged in any way.

The End

19 January 2015

Creeping Crud From Lower Slobbia


Jan Grape
I've had crud before and dang if I haven't had it again. I know none of you want to hear my litany of complaints so I won't enumerate them. Suffice it to say my crud hasn't been the flu or even rotten enough to carry me off to a doctor, thank goodness. I just wish I owned stock in Aireborne, Zinc, Vitamin C and Slippery Elm tea and Allegra D and whatever brand of sinus medicine I can find that does NOT have Tylenol in it because I take a pain medicine that has Tylenol. I've learned you just don't want to add too much to your system.  I'm finally on the road to recovery and strangely enough everyone I speak with or read about on Facebook or run into at the grocery store or drug store have been fighting some form of the crud. Hope you've all been healthy.
I've managed to get quite a bit of reading done and one of the best new books was A SONG TO DIE FOR by Mike Blakely. You may not have heard of Mike before, but he's a local singer/songwriter/musician who also writes historical westerns. If you haven't read him, look for COMANCHE DAWN as that one blows me away. He's won Spur Awards from Western Writers of America for SUMMER OF PEARLS. He also won a spur for a song, "The Last of The White Buffalo," which was the first Spur ever given for a song.   A few years ago he did a book with Willie Nelson, titled A TALE OUT OF LUCK. Last year he did a book with Kenny Rogers, titled, WHAT ARE THE CHANCES.

A Song To Die For is the closest to a mystery as you can get from a western writer.. It's set in 1975 and features a guitarist/singer Creed Mason who is hoping to ride the wave of new Austin style music. His last hope is to team up with a washed-up legend named Luther Burnett. If you enjoy Music lore and a little romance and mob-killers from Las Vegas, give this one a try.

One thing I read about this week and it's been my stand-by for a few years, when you're asked to do a reading at an author event, please don't just read from your work.  I mean, you can and should read from your work but read a little, then stop. Talk a bit, about where that particular scene came from or the trouble you had with it until you finally realized a solution came from. Then you're ready to read a bit more. You don't want your listeners eyes to glaze over do you?

No matter how interesting your own writing sounds to you and I know you love every word you have written, but to just read can be way too boring. Another thing if you can...use a bit of acting expressions as you read. When you use a male voice (and you're a woman) lower your voice a bit. And if it's a female voice then speak a bit more in a feminine voice. If there's action going on, then make your voice sound excited. If it's a quiet and reflective scene, read it quietly but try your best to not read too many lines of quiet.

I think this is something I learned early on, maybe even before I read any of my own work. But a writer who came to my bookstore, Judy Jance (aka J.A. Jance) brought it home to me and to a couple other writers who attended the book signing. Ms Jance read a bit, then talked a bit, the read a little more. Everyone in the audience seemed to hang on every word. And she made everyone there want to read her book.


Book signing events can be a lot of fun or a real drag if you're at one of those big chain stores. If you've been asked to do a reading, try to make it as interesting as possible. If you're just sitting at the front of one of those big box stores, try to catch people's eye and engage them in conservation. A large number of writers are basically shy and have a hard time speaking in public. Most would rather just stay home and write. But you have to do something to help get your name out to the book buyers. If you are shy, try to imagine that you're an actor who has taken on a role of a writer. That you will act out this book signing event as a role you're playing and once it's over, you'll quietly go back to your office and write. It's not the easiest  thing if you are shy, but you do want to sell your books.

Okay, class, that's all for this time. Hope you're not suffering from the crud and if you are, that you're over it soon.

07 January 2015

A new era in Mystery, sort of


First of all, happy new year to you and all.  I hope you have gotten over your hangovers and filled up on black-eyed peas.

Now that that is out of the way, I am happy to announce that I have started a new blog.

 No, I am not deserting SleuthSayers; you are all stuck with me for the unforeseeable future.  But I have added a new blog to my quiver, and what a terrible metaphor that makes.

The name is Today in MYSTERY HISTORY, and that pretty much tells you what it's about.  Tune in every day for a peek at something that happened on that date in our field.  And that, by the way, is what the illustrations on this page are for; each representing something that has appeared on my blog since it started on January first.

I can tell you that future entries will  include not only the obvious ones like the births of authors, and publication  of novels, but also the dates of:
* Awards
* Movie releases
* Statue unveilings
* Comic strip beginnings
* Songs hitting Number One
* Plot events in novels

And many more.   This, by the way, is where you can participate.  Feel free to contact me with suggestions for events you would like to see commemorated.  I have 358 more days to fill, and that's just this year.

I hope you enjoy it.

03 January 2015

Mess with me, Darlin'? Watch me Kill You with Words


(In which we attempt to address a serious subject in a light-hearted way)

Here’s some news for all you sociopaths out there, and just plain nasties: Don’t mess with a crime writer.  We know at least twenty ways to kill you and not get caught.

On paper, of course <insert nervous laughter>. We’re talking about fictional kills here.

Or are we?

My name is Melodie Campbell, and I write comic mob capers for a living. And for the loving. So I know a bit about the mob. Like espresso and cannoli, you might say they come with my Sicilian background.

This should make people nervous. (Hell, it makes ME nervous.)

But I digress. To recap:  the question offered here was:

Do you ever take out real life rage on fictional murder victims? Are any of your victims based on people who pissed you off in real life?

Oh sweetie, don’t I ever.

One of the joys of being a writer is playing out scenarios in your fiction that you dream about at night.  One of these is murder.  (The other is sex, but that would be my other series, the Rowena Through the Wall fantasy one.)

Back to grievous bodily harm. Like in Gilbert and Sullivan’s Mikado, I have my little list.

To the covert colleague who made out to be friends and then bad-mouthed me to the board at a previous job. 

Yes, you got caught red-handed. I called your bluff.  But better than that, I made your mealy-mouthed sorry hide a star of THE GODDAUGHTER’S REVENGE.  Goodbye, Carmine the rat.  You live forever in fictional history.

He never will be missed.

To the sociopathic boss who undermined an entire department and got a kick out of making my sweet younger colleague cry: may you age like a hag and end up alone.  Oh wait – you did. And not just in A PURSE TO DIE FOR.

She never will be missed.

Oh, the joy of creating bad guys and gals from real-life creeps!  The crafty thing is, when you design a villain based on people you have met in person and experienced in technicolor, they sound real. Colourful.  Their motivations are believable, because they actually exist. No cardboard characters here! 

Of course, I may fudge a few details to keep out of jail. Names and professions change. Males can morph into females.

But fictional murder can be very satisfying. (Definitely more satisfying than fictional sex. Oops.) 

Revenge is sweet, when coupled with royalties. 

You can ignore that crack about 'fictional kills only.' Of course we’re only talking books; in my case, light-hearted murder mysteries, and mob crime capers.

That’s right: mob capers. Like I said: never mess with a Sicilian Goddaughter.

Melodie Campbell achieved a personal best when Library Journal compared her to Janet Evanovich.  Her fifth novel, THE GODDAUGHTER’S REVENGE, won the Derringer and the Arthur Ellis.  www.melodiecampbell.com

21 November 2014

The Joys of Miss Fisher


Leigh's recent quips about cricket, coupled with Rob's mention of a "sexy cozy" triggered this post about Miss Fisher's Murder Mysteries, an ABC (um … that's: Australian Broadcasting Company, in this case) television series, which I've been watching on NetFlix.

Kerry Greenwood
This two-season (so far) TV series -- which I think could be accurately called a sexy and humorous cozy -- is set in Melbourne and based on a series of books by prolific Australian author and defense lawyer Kerry Greenwood.


Ms. Greenwood has penned no fewer than 20 books about Miss Fisher, plus several more novels spanning the YA, Sci-Fi and mystery markets.  If Wikipedia is to be believed, she's also a playwright.

The series' titular "Miss Fisher" is, point in fact, Miss Phryne ("Fry-nee") Fisher, a young upper-crust Australian woman of the 1920's who evidently served in the ambulance corps during the First World War.  It seems that the horror she encountered there stripped away her innocence, baring a wry and often humorous cynicism that I, as a viewer, find delectable.




In a word, I'd say she's "cheeky."
Delightfully so!




Dot quietly feels
Miss Fisher drives
far too recklessly. 
Having returned to Australia from England, in the first episode, young Phryne pronounces herself a lady detective.

And – stylish detective that she is – she even sports a gold-plated revolver, when needed. As well as a gorgeous Hispano-Suiza, which she drives at breakneck speeds.

The mysteries here are not mind-bendingly difficult to solve.



Nor do people running around with fancy metal-plated weapons usually entice me to watch a show.  Quite the opposite on both counts. But, if I'm honest, I'll have to admit I don't watch Phryne to test my wits against hers, as I might with a good Sherlock or Miss Marple. And, the fact is, the gold-plated revolver works in this case.  It's just the right weapon, with just the right feel of "decorative accessory," that would make it seem likely to strike the character's flair for the unique and stylish -- two things Phryne Fisher definitely personifies.  But, I really don't watch shows because of weapons.


So, why do I watch Miss Fisher?

Frankly, because the show is so much fun.

The characters are delightful.  First, there's Phryne's friend and assistant, Dorothy, often called Dottie or Dot.  Little Dot is devoutly religious, and frightened by technology.  One of my favorite scenes, which occurred in the first episode, involved Dot trying to answer a telephone.

.
As the young woman had earnestly explained to Phryne earlier, the priest at her church had told everyone that the electricity in the phone lines was building up in the center of the earth, and that – one day – one telephone connection too many would be made, causing the world to explode. Thus, as Phryne's phone rings, Dot, charged with answering it in Phryne's absence, is torn between doing her duty to her friend and employer, and her fear that answering the instrument might trigger a cataclysm that  destroys the entire planet.
The results had me rolling.

Then there's Phryne's female doctor friend: Dr. Elizabeth "Mac" Macmillan.  The good doctor dresses in men's clothing, as many women of the time actually did.  It had nothing, necessarily, to do with their sexual leanings; it was simply a style fad in the post-war years, according to my professor at ASU, when I took a class on this time period in Europe's history.

This taste in clothing may actually be associated with the view that women with bodies that looked "good for breeding" were thought of, at the time, as being similar to cows, or even "breeding machinery" (a connotation much distrusted in the wake of a war that saw the horrific effects of combat mechanization for the first time).  Consequently, "le garçon" arrived on the scene in Europe -- women whom the French called, literally: "the boy" because of their thin hips, flat chests and "masculine" behavior (such as smoking in public).  The wearing of men's clothing, according to one line of thinking, was an extension of such new social norms.

On the other hand, there is strong evidence (albeit off stage) that "Mac" may enjoy the company of women in her boudoir – something that bothers Phryne not one whit.  Mac also harbors a deep grudge against the male establishment, which would be perfectly understandable for a female M.D. of that time period. She's quick to anger, slow to trust, but is fast friends with Phryne, whom she evidently trusts implicitly.

Detective Inspector John "Jack" Robinson carries on a – so far – unrequited love affair with Phryne, though the femini Phryne doesn't appear to let this interfere with her bedroom gymnastics with other, more immediately willing, partners.  Robinson is quite conservative, but he clearly can't get this remarkable woman out of his mind.  And, the fact that she keeps showing up at the scenes of crimes that he's charged with investigating does little to alleviate this problem.

Robinson is assisted by Constable Hugh Collins, an innocent new police officer who soon begins dating Dot.


Add in Bert and Cec, two rather rough-around-the-edges manual
laborers with hearts of gold, who do some of Miss Fisher's heavy lifting, and Phryne's dowager aunt Prudence, along with a few other characters, and you've got a gold mine of humor, conflict and fun.

I highly recommend the show, if you haven't seen it already.

Phryne Fisher: Not only can she drive, and fly a plane…
She's also not afraid to fan dance!
See you in two weeks,
—Dixon

03 November 2014

Who Me? Moderate a Panel?


Jan Grape
If you haven't already, then one day soon, you will be asked to moderate a panel at a mystery con, writer's event or even locally at a group signing. Personally, I enjoy it, but I'm a bit of a ham. If you are registered to attend a con and you want to be asked to be on a panel or to moderate one and you're worried that you won't be asked, then make your own panel.  Let's face it, you can pick up a few new readers if you're on a panel. You might even do better by moderating one.
To make up your own panel, find out the writers you know personally. Or ones you don't know, but you enjoy their work and want to get to know them better. Come up with an idea for a panel, "Writing Killer Characters?" "Walking the Mean Streets...Research or Not?"  "Can There Be Humor In Murder?" Contact you might want to be on a panel with, Jane Bestseller (you know a little), John Unknown (Just published but funny and you know him from your critique group), Tom, Dick or Harry Whodunit (you've never met, but you love his work.)

So you've chosen a topic, Writing Killer Characters and before you contact other writers you think about your idea on the topic. Most writers have their main characters in mind but you'd like to delve into the mind of your BAD GUY, your Killer. That's a bit of a change than just creating your main and secondary characters and that idea might be more interesting.

You write to your future panelist, Jane Bestseller, John Unknown and Harry Whodunit, telling them you'd like to work up a panel with them to present at Malice, or B'Con, or Magna or whatever con you're all attending.  You mention that you'd like to explore their minds on "How Do They Come Up With a Killer" in their story.

You add that you've never been worth a darn until after lunch time so would something around 1, 2, or 3pm work and why don't we try for Friday afternoon.? Tell them to please let you know if they'd be interested as soon as possible so can write to the program chair and get this panel on schedule.

In the meantime, you also write to Judy Program Director and say that you've published three books in your series with a private-eye. That you'd be delighted to send her a copy of your latest, in case she's not familiar. That you'd really enjoy an opportunity to moderate a panel on "Writing Killer Characters" to be scheduled on Friday afternoon at 1:00 pm. That you think talking about how a writer comes up with a character who kills. Are they evil and devious? Are they just an ordinary person who allows greed, or anger to take hold and they strike out? Or they someone who had been abused and actually only killing in self defense? You mention that you think there can be a number of ways this discussion can be explored and developed. Say that you have contacted, Jane Bestseller, Johnny Unknown and Harry Whodunit to be on the panel with you. That you are sure that Jane and Johnny are on board but you haven't heard from Harry yet. But that if he declines for whatever reason, you'll be happy to invite Tom or Dick Whodunit.

You immediately hear back from the program director and Judy Programmer says she is thrilled that you've done the hard work already. Thanks for the book offer but she's already bought and read all three of your books and thoroughly enjoyed them. She also says she'll be happy to set you up on Friday at 1:30pm. That she's hoping to stagger the times so people can attend more that one session if they want.

In the meantime, you hear from Harry Whodunit who says he'll be delighted to be on a panel with you, that he knows Jane Bestseller quite well and he's read your recent work and likes your writing style and voice.

Now begins the hard part. What can I do to highlight these writer and give them the best light in which to shine? Start by reading their book/s. Read their Facebook pages. Think about your own bad guy character and his or her motives. Is this killer a dark side of you?

This all came to mind the other day when I was asked to moderate a panel at the Jewish Book Festival this coming Thursday, November 6th with Best Selling Authors, Faye and Jonathan and Jesse Kellerman. I didn't have to set up a panel, it was already determined who would be on the panel. I was just asked if I'd be willing to moderate. I was delighted to answer yes.  Faye Kellerman's latest Decker/Lazarus novel, Murder 101 is just out. Jonathan and son, Jesse Kellerman have collaborated on their first novel also just published, A Golem in Hollywood. Jonathan is a Best Selling Author with around 40+ novels under his belt and Jesse is a Best Seller in his own right with five novels published.

Next time we'll talk about how it all went and my take on how to promote your panelists and not promote your own work as much.

28 October 2014

Why do you write Crime Fiction?


Friday afternoons drag. If you work in an office, it can feel like the devil has planted one of his hooves down on the minute hand of the clock, slowing down time to the point where it starts to hurt. The happiness you felt earlier in the week has gone, the bright colors of life have faded, and all that remains is a seemingly endless, black and white, nothingness. Punctuated by the random antics of work colleagues, who are even more insane than you are (miniature remote-controlled helicopter racing, anyone?). Friday afternoons are a good time to start thinking about the next SleuthSayers article.

And then Friend K asks: Why do you write crime fiction? This is not a question I've been asked often; in fact, I can recall only one other instance. And I didn't really know how to answer it then, either. The short answer is: That's the way I evolved.

First of all, I actually think of myself as a mystery writer, not specifically a writer of crime fiction. I like mysteries, and at the heart of every story I've written you'll find one. It's a fundamental "human thing" to look for meaning in things we don't understand, to want to bring order to the chaos of life. Who, as a kid (and I mean everyone who's ever lived), hasn't looked to the stars at night and wondered what's out there? My foremost pleasure in writing a story is engaging the reader in a mystery; some kind of problem or enigma that needs/demands to be unraveled and solved. Seeking resolution is what makes readers keep turning the pages. I know it's why I do.
Danger! Conflict ahead! 
It's no surprise, then, that I grew up watching dozens of TV shows and movies about detectives and police officers. The mystery of who did it, how they did it, or why they did it, is central to any story in this arena; it's their raison d'être. I also grew up loving science fiction, because in Sci-Fi, the mystery can be as big as the universe. In fact, my favorite TV show of all is The Twilight Zone.

The thing I like about the Twilight Zone is that no matter how "out there" the stories were, they were mostly stories about real people. Rod Serling (the show's creator and principal writer) even said so. Setting stories in the "twilight zone" enabled him to explore almost anything about the human condition, that placed in a "realistic" or contemporary setting, he would never have gotten past the network censors or advertisers.

I don't write a lot of science fiction because I mostly prefer realistic settings and situations. I'm more interested in the girl hiding her dead boyfriend's body after she strangles him, rather than the girl who has three eyes and a luminous tail.

So, mysteries and stories about real people.
Picture a classroom in a suburban high school. The building is barely three years old and everything still has the feeling of the new and the modern about it: spacious, large windows, well lit. Teacher H is standing at the front of the room. She's middle-aged, has dark hair, glasses, and curious sense of humor. She's written "What makes a story work?" on the blackboard. It's English class, the last class before lunchtime on a Friday. The class is filled with a bunch of tired students, daydreaming about the weekend, their sandwiches, or the cute boy or girl seated in front of them.

This was a question that caught my attention and woke me up. And no one had an answer. No one put up his or her hand. No one had a clue, not even Student D, the cute girl who sat in front of me, in the front row -- the class Hermione, who usually had an answer for everything. In fact, she turned around to see if anyone else was putting up his/her hand. We traded vacant shrugs.

"Anyone?" Teacher H asked.

Nope.

She defined story: The plot, or everything that happens in a book, or a movie, or a TV show.

Teacher H, by the way, was the teacher who entered class one morning and announced: "The king is dead". I was proud that I was the only one in the room who knew what she was talking about. It was the day Alfred Hitchcock died.

She wrote the answer on the blackboard. "Conflict". She explained. Stories work when people are in conflict with someone, something, or themselves. What makes a story work is conflict. She cited three examples from our reading that year:

  • Romeo and Juliet's happiness in their love is prevented by the conflict between their two families.
  • The conflict in The Importance of Being Earnest is the misunderstanding (lies and confusions) that exist between most of the characters.
  • In To Kill a Mockingbird, Atticus' decision to defend a man he believes to be innocent in a rape trial threatens his family's safety.

Teacher H summed it up: Conflict is a problem to be resolved. The conflict and its resolution ARE the story. A story about a man who wakes up on a nice sunny day, goes out and buys groceries, and then comes home again, is not going to be very interesting or memorable. Without conflict, there's nothing to be engaged with.

You don't forget teachers like that.

So, mysteries, realistic people in realistic situations, and conflict -- the evolution of my writing gained mass around the nucleus of these three core components.

There are, of course, degrees of conflict. A misunderstanding where a guy asks a girl on a casual date and she misinterprets his intentions is at one end of the conflict scale. A man murdering another man because he stole his girlfriend is at the other. The scale itself is one of life endangerment -- the higher the risk, the more extreme the conflict.
As a writer, I tend to lurk around the extreme end of the scale. Heightened conflict engages the reader (and me). I simply find it more interesting to write about people in deeply dramatic situations -- more often than not, that involves some kind of crime. Had I not been so inclined, I might have become a romance writer, or a writer of literary fiction.

I don't know if my scale of conflict (illustration above) actually holds any water, I only just made it up (on the day before you read this) so I haven't had time to really think about it. Feel free to shoot it full of holes.

Anyway, that's why I write crime fiction.

Be seeing you!


www.StephenRoss.net

25 October 2014

The HIGHS and Lows of being an Author


(This was the second half of my Mattress of Ceremonies (MC) address at the Bloody Words Mystery Conference Gala in Toronto this June.  Which was a blast and a half.  I even have a photo of me giving this address.  It actually looks like me, which will be explained below. The Spanish Flamenco outfit cannot be explained.)

We all know the highs.  Those delirious times when you win awards and/or get a royalty cheque that takes you and your family to Europe rather than McDonalds.

I’ve had a few highs this year, winning the Derringer Award and the Arthur Ellis Award in Canada.  And I’m exceedingly grateful for them.

Because - thing is - authors get a lot of lows.  It's not just the bad reviews and rejection slips.  For some reason, most of my lows seem to cluster around that scariest of all activities: the book signing.

Some people think the worst thing that can happen is nobody shows up.  Or when you’re on a panel of 4 authors, and only three people show up.

But that’s not the worst.

1.     Worse is when five people show up for your reading.  And they’re all pushing walkers. And half way through, when you’re right in the middle of reading a compelling scene, one of them interrupts, shouting, “When does the movie start?”

Sometimes, even large crowds don’t help.

2.     I did an event this year with two hundred people in the audience.  I was doing some of my standup schtick, and it went over really well.  Lots of applause, and I was really pumped.  I mean, two hundred people were applauding me and my books!  A bunch of hands shot up for questions.  I picked the first one and a sweet young thing popped up from her seat and asked in a voice filled with awe, “Do you actually know Linwood Barclay?”

3.    Another ego-crusher:  I was reading in front of another large crowd last year.  Same great attention, lots of applause.  I was revved.  Only one hand up this time, and she said, in a clearly disappointed voice:

“You don’t look anything like your protagonist.”

So I said, “Sweetheart, not only that, I don’t look anything like my author photo.”

4.     One of the best things about being a writer is getting together with other writers to whine about the industry.  I was at The Drake in Toronto this year with a bunch of other Canadian crime writers, Howard Shrier, Robbie Rotenberg, Dorothy McIntosh, Rob Brunet… who am I missing?

We were whooping it up in the bar, moaning about the book trade.  Someone bought a round.  And another.  And then I bought a round.  And soon, it became necessary to offload some of the product, so I went looking for a place to piddle.  You have to go upstairs in the Drake to find washrooms, so I gamely toddled up the stairs, realizing that I couldn’t actually see the steps.  I was probably not at my best. 

I made it to the landing at the top and scanned a door in front of me.  It had a big “W” on it. That seemed sort of familiar, but fuzzy, you know?  Then I saw the door to my left.  It had an “M” on it.  So I thought, ‘M for Melodie!’ and walked right in.

Howard, I think you had probably gone by then, but the guy at the urinal asked for my number.

Melodie Campbell writes funny books, like The Artful Goddaughter. You should probably buy it because she, like, writes about the mob.

18 April 2014

Post Tax-Day Fun Post (A Short One ... for a change!)


David Dean’s tax-day post, asking for advice concerning an upcoming talk to writers, stymied me.

I’m usually pretty long-winded, but I had no idea what to suggest to the guy, because I’d never found myself in such a situation. On the other hand, I also know that—to me—the difficult part of writing is not the writing; it’s the selling of what I’ve written. And I figure that holds pretty true for most writers.

Thus, I thought “How to sell your writing” might be a good topic, but felt too inexperienced to make such a suggestion. It did get me thinking, however, of how I go about selling work, which brought me into direct confrontation with my feeling that markets tend to be hard to find sometimes.

In an effort to find markets that might be interested, I follow blogs such as Cindi Myers Market News. Every so often, I get an email with a list of markets seeking work. The list has embedded URL’s I can follow to get further details and writers guidelines.

On Wednesday, I noticed that my latest email from Cindi Myers held a tidbit I thought other SS’ers might find interesting.

It seems that the Maurice A. Deane School of Law at Hofstra University—a school sometimes better known as “Hofstra Law”—is holding a mystery writing contest. For those who don’t know, Hofstra University is located in Hempstead, Long Island, 25 miles east of NYC.

And, not only are they holding a contest, the judges include Lee Child and Marcia Clark (Yep! The same Marcia Clark we saw in the O.J. Simpson trial has now written three novels featuring Los Angeles Special Trials prosecutor Rachel Knight. TNT has optioned her books to create a drama series.). The third contest judge is Alafair Burke, a Hofstra Law prof. who has written ten novels, including her Ellie Hatcher series.

The prizes aren’t huge, and contests really aren't my cup of tea, but anyone looking for a possible chance to have Lee Child or Marcia Clark look over a manuscript of 3500 words or less (maybe just for S&G lol), might like to click HERE. for more details.

I wonder what blogs YOU follow, or other sources you use to learn about new markets.  Love to hear about them in the comments.

See you all in two weeks!
--Dixon

11 March 2014

Women Sleuths of the Silver Screen


In a recent post, I considered some minor mystery movie series, closing with the promise that I'd follow up someday regarding movie series featuring female detectives.  A more recent column by Leigh Lundin reminded me that March is "Women's History Month" and, more specifically, "Women in Mystery Month." So why not "Women in Mystery Movie Series Month" as well? It seems like a good fit.
I know of three such series from the 1930s, and each is worth a look.  (Each shows up on TCM from time to time.) All three series had literary antecedents, two now obscure and one still famous.  The three protagonists are surprisingly diverse, given that they were battling crime at more or less the same moment in time. 

Hildegarde Withers

A Boston school teacher turned amateur sleuth, Hildegarde Withers was the creation of Stuart Palmer, novelist, short story writer (including two Sherlock Holmes pastiches), screenwriter, and president of the Mystery Writers of America.  Withers debuted in The Penquin Pool Murder in 1931.  Withers reappeared regularly through the early fifties and even had two titles released in the sixties, with Palmer sharing credit with writing partners, including Craig Rice (Georgiana Ann Randolph Craig).  Withers, a comic take on Miss Marple,  is a busybody crime solver.  Much of the humor derives from her clashes with a tough New York police inspector, Oscar Piper.

With RKO producing, Withers made it to the big screen only a year after her literary debut, in a film version of that debut, The Penquin Pool Murder.  She was played by the great Edna May Oliver, an actress with a long face and a great way with an acerbic line.  A native of Massachusetts who specialized in independent and cranky characters, Oliver was born to play Withers.  She followed up Penquin Pool with two more, Murder on the Blackboard (1934) and Murder on a Honeymoon (1935).  All three benefit from James Gleason's performance as Piper.  After Honeymoon, Oliver left RKO for MGM, where she graced big-budget costume pictures like Romeo and Juliet and Pride and Prejudice until her untimely death in 1942, age 59.  Following Oliver's departure, RKO tried three more Withers films, staring first Helen Broderick (not good) and then Zazu Pitts (worse).  Later, there were two television Withers, Agnes Morehead in a failed 1950s pilot and  Eve Arden in a 1972 television film, A Very Missing Person.

Hildegarde Withers (Edna May Oliver) and Oscar Piper (James Gleason)

Any of the Oliver films is worth catching.  My favorite is Murder on a Honeymoon, which features location footage shot on Catalina Island, an uncommon thing in a film of that period.

Torchy Blane

One of old Hollywood's favorite stock characters was the plucky female reporter.  She could pop up in A pictures like Mr. Deeds Goes to Town (1936) in the person of a genuine star like Jean Arthur or in B pictures like Mystery of the Wax Museum (1933) in the person of a contract player like Glenda Farrell.  Farrrell was a member of the Warner Bros. stock company, and as such was as likely to play a gold digger in a Busby Berkeley musical as a gun moll in a gangster picture.  The Warners films of the early thirties were known for their rapid pacing and general brassiness.  Farrell, a brassy blonde who was to wisecracking what Edna May Oliver was to superciliousness, fit right in.  Warners eventually gave Farrell her own series, in which she played a crime-solving newswoman, Torchy Blane.

The series was inspired by a story Warners had purchased from Fredrick Nebel, a pulp writer who published in Black Mask alongside Hammett and Chandler.  Nebel's original story featured a hard drinking male reporter who competed against and knocked heads with a cop named McBride.  Warners switched the reporter's gender, renamed him (or rather, her) Torchy Blane, and started cranking them out.  McBride was played by Barton MacLaine, and he became Blane's love interest as well as her professional rival.  Blane would stop at nothing to solve the crime and get the story, including exploiting her relationship with McBride. The films were light and, at around an hour each, lightning paced.  Of the nine films released between 1936 and 1939, seven starred Farrell, with Lola Lane and future Oscar winner Jane Wyman each stepping in for one.

Torchy Blane (Glenda Farrell) and Steve McBride (Barton MacLaine)

Farrell's take on the wisecracking blonde went out of style when the thirties went west, but she kept acting, sometimes in smaller movie roles, sometimes on the stage or on television.  She died in harness in 1972, age 66, and was buried at West Point beside her second husband, an army doctor who had served on Eisenhower's staff.

Leonard Maltin calls Smart Blonde (1936) the best of the Torchy Blane films, and I'll bow to his expertize.

Nancy Drew

Carson Drew's only child debuted in book form in 1930 and has been solving crimes (and lying about her age) ever since.  The brainchild of the genius book packager Edward Stratemeyer, the books, written under the pseudonym Carolyn Keene (originally by Mildred Wirt Benson) were an immediate success.

In 1938, Nancy Drew made it to the big screen courtesy of Torchy Blane's studio, Warner Bros. She was played by a young actress with a name that always sounded to me like it should have belonged to an old actress:  Bonita Granville.  Granville was a movie veteran in 1938, having made her debut in 1933 at age nine. (Her most famous child role was an Oscar-nominated turn in These Three, the original film version of Lillian Hellman's The Children's Hour.)  Granville first played the girl sleuth in Nancy Drew, Detective, based on The Password to Larkspur Lane.  Three more films followed in 1939, the last being Nancy Drew and the Hidden Staircase.  Carson Drew was played by Warners regular John Litel, and Frankie Thomas played Nancy's boyfriend (with his book name, Ned Nickerson, changed to Ted Nickerson for reasons best known to Warners).

The films were short, fast-paced, and Nancy was both the brains and heart of the outfit (though some critics found Granville insufficiently intrepid).  I'd recommend the last one, Nancy Drew and the Hidden Staircase.  (And not just because it has a title I remember fondly.)

Ted Nickerson (Frankie Thomas) and Nancy Drew (Bonita Granville)

Though she remains a publishing franchise and has spun off into new areas like video games, Nancy Drew's screen afterlife hasn't been much more impressive than Hildegarde Withers'.  There would be only one more big screen attempt, Nancy Drew, a 2007 film released by her old studio, Warner Bros., starring Emma Roberts.  There also was a television show, which premiered in 1977, with Pamela Sue Martin in the role.  (Drew was eventually squeezed out of that by her co-detectives, the Hardy Boys.)  A 2002 made-for-television movie, also simply called Nancy Drew, starred Maggie Lawson of Psych fame.      

Granville would remain with Warner Bros. long enough to appear in support of Betty Davis in Now Voyager.  When her acting career wound down, Granville became a television producer. She died (just when she was getting old enough for her name) in 1988, age 65, of lung cancer, like fellow Warners alumnus Glenda Farrell.    

26 November 2013

My Hit List Strikes Again


Last June I posted My Hit List, a list of thirty of my favorite mystery/crime films, many of them obscure and forgotten.  (Okay, most of them obscure and forgotten.)  Just to show that I can do this all day long, here are another thirty films for which I'm thankful on this Thanksgiving week.  
I'm once again purposely avoiding mystery series, about which I've also posted and may post again when you least expect it.  And again, I've passed over some better known and undeniably great films, like The Big Sleep and Chinatown, because they don't need a plug from me.  Even without the former title, the films of the 1940s are overrepresented here, as they were in my original list.  What can I say?  The forties were to mysteries what the fifties were to westerns and the sixties to Annette Funicello pictures.  A golden age.

I hope you've had a chance to sample a couple of films from the original list and that you'll also try a few of the following guaranteed gems.


1930s

The Phantom of Crestwood (1932)
A real curiosity.  A movie based on a radio serial with an ending voted on by listeners (or so the producers claimed).  The solid cast is headed up by Ricardo Cortez, the movies' first Sam Spade.

Star of Midnight (1935)
William Powell of The Thin Man fame in a Thin Man knockoff, with Ginger Rodgers. 

The Princess Comes Across (1936)
Carole Lombard and Fred MacMurray in a comic mystery set aboard an ocean liner.  (What did you think the title meant?)  MacMurray even sings.

Night Must Fall (1937)
Robert Montgomery established his acting chops in this film version of the famous Emlyn Williams play about a brutal killer in rural England.


1940s

The Glass Key (1942)
An underappreciated Dashiell Hammett novel becomes the best of the Alan Ladd/ Veronica Lake teamings.  William Bendix is a truly scary bad guy.

Murder, My Sweet (1944)
Former musical star Dick Powell is a believable Philip Marlowe, at least until he takes off his shirt.  The great Claire Trevor is in support in this adaptation of Raymond Chandler's Farewell My Lovely.

The Blue Dahlia (1946)
Many people would pick this as the best of the Ladd/Lake pictures.  I think it's only a close second, in part because the original script, by Raymond Chandler, was watered down during filming.  Another solid supporting turn by William Bendix.

The Strange Love of Martha Ivers (1946)
What long-ago crime binds Barbara Stanwyck, Van Heflin, and Kirk Douglas?  Noir regular Lizabeth Scott would like to know.
  
Riffraff (1947)
Graying but game Pat O'Brien versus oil field hijackers in Panama with the aid of Anne

Jeffreys.

The Unsuspected (1947)
Actually, you will suspect the solution before it's revealed, but the cast, which includes Claude Rains and three striking blondes (Constance Bennett, Audrey Totter, and Joan Caufield), makes this worthwhile. 

Force of Evil (1948)
Very short, very intense noir film features John Garfield as a glib mob lawyer.  The always good Thomas Gomez is especially so here.

The Big Clock (1948)
Ray Milland is a magazine editor assigned to head up a murder investigation.  Every clue his staff turns up points to. . . Ray Milland.  Charles Laughton plays his oily boss.

Criss Cross (1949)
More noir with Burt Lancaster running afoul of Yvonne De Carlo and Dan Duryea.

 

1950s

Where the Sidewalk Ends (1950)
Dana Andrews, Gene Tierney, and director Otto Preminger, all Laura veterans, reunite for a much tougher and darker film.

Man With a Cloak (1951)
Barbara Stanwyck again and Joseph Cotton, as a mystery man out to save Leslie Caron in 19th Century New York.  This time Stanwyck sings.

Detective Story (1951)
Kirk Douglas as the grandfather of all burned out cops.  The film's stage roots show, but a great cast brings it to life.  William Bendix (who is to this list what Herbert Marshall was to my first one) is again outstanding in a serious supporting role.  (This movie was nominated by Herschel Cozine after my original list was posted.) 

Kansas City Confidential (1952)
John Payne out to clear his name.  A interesting mix of fading stars, like Payne and Preston Foster, and up and comers, like Lee Van Cleef and Jack Elam, a characteristic of most B pictures.



The Narrow Margin (1952)
Low-budget cult film of cop Charles McGraw trying to keep star witness Marie Windsor alive during a train trip from Chicago to LA.  McGraw is tougher than Intermediate German.
 
The Blue Gardenia (1953)
Why should dahlias have all the fun?  When Anne Baxter is accused of murdering Raymond Burr, columnist Richard Conte comes to her aid.



The Big Heat (1953)
Glenn Ford as a cop who loses everything in his pursuit of a crime ring.  Lee Marvin is a particularly slimy mobster. 


1960s

A Shot in the Dark (1964)
Comic whodunit was the second Inspector Clouseau film and the only one without any Pink Panther business.  For that reason, and the participation of Elke Sommer, it's also the best.

Mirage (1965)
A Hitchcock thriller made without Hitchcock.  Gregory Peck has lost his memory (as he did in Hitchcock's Spellbound) and he's on the run (and he was in Hitchcock's Spellbound).  P.I. Walter Matthau tries to help.

Point Blank (1967)
A film that's more iconic than obscure.  Lee Marvin wants the mob to pay him his money and shoots his way through the organizational chart to get it.  Why don't they just pay the guy?  Angie Dickinson heads up the supporting cast.

 Cogan's Bluff (1968)
How obscure can it be with Clint Eastwood as its star?  Contemporary Arizona lawman comes to New York to butt heads with Lee J. Cobb and meet Susan Clark.  Betty Fields, a bright young face of the 1940s, makes her sad last film appearance here. 

P.J. (1968)
A 1960s take on film noir, starring George Peppard as a P.I. hired to bodyguard Gale Hunnicut by her millionaire husband Raymond Burr, a veteran of forties noir.



1970s

They Only Kill Their Masters (1972)
James Garner is a small-town policeman trying to solve a complex murder.  Katharine Ross is the romantic interest, but the supporting cast is largely made up of names from the forties brought on to give this a forties feel.  They include June Allyson, Peter Lawford, Edmond O'Brien, and Anne Rutherford.  

Charley Varrick (1973)
Thriller detailing the plight of Walter Matthau, a small-time bank robber who accidently knocks over a mob bank.  Joe Don Baker almost steals the film as the hit man sent after him.

Night Moves (1975)
California P.I. Gene Hackman is in over his head in the Florida Keys.  Directed by Arthur Penn. 

The Late Show (1977)
Aging P.I. Art Carney sets out to solve the murder of his old partner Howard Duff. (Duff was old-time radio's Sam Spade, making this an evocative bit of casting).  Lily Tomlin in support.

Murder by Degree (1979)
Peter Finch as Sherlock Holmes and James Mason as Dr. Watson face off against Jack the Ripper, one of whose victims is Susan Clark.  John Gielgud, who once played Holmes on the radio, does a cameo.  


Once again, I didn't make it to the eighties, but last time I didn't get past 1974, so I did break new old ground.  Maybe next time, when My Hit List Strikes Back, I can "finish off" the century.