Forgotten Book - Death is My Bridegroom

Death is My Bridegroom was published in 1969 by Dominic Devine, shortly after The Sleeping Tiger, a strong and cleverly plotted book with a distinctive storyline. Here, I think he was trying to do something different again. In fact, one of the things I like about Devine is that he kept varying the way he told his stories. Each was a stand-alone, and most of them were distinctive and very well-crafted, with good characterisation as well as crafty plots.

The story is set at Branchfield University, evidently in England (although Devine worked as a senior administrator in a Scottish university, and the scene does shift north of the border at one point). There is quite a bit about university politics, which has an authentic flavour (for the time the book was written) and Devine amuses himself by making a few jokes at the expense of academics (e.g. 'If there was one thing academics had in common, it was a taste for other people's alcohol').

The students are protesting about the alleged mistreatment of one of their number, and a a fake kidnap stunt connected with the protest is utilised for malign purposes by someone who has murder on their mind. One of the key characters is Barbara Letchworth, daughter of a rich benefactor of the university, another is her lover, the charming but feckless Michael Denton. Barbara is the potential 'victim' in the fake kidnap, but things don't go to plan.

I found this book an enjoyable read, but although the story is quite elaborate and twisty, the culprit is easier to spot than in many of his books, and the truth is revealed some time before the end. I think this is because Devine was trying to focus on character and the psychological stresses that can give rise to murder. I'm not sure he got the balance quite right on this occasion, but the book is still a pretty good read.   

A Cure for Wellness - 2016 film review

A Cure for Wellness, first released ten years ago, is a film that seems to divide opinion, and I can see why. It's certainly visually stunning. And it's almost certainly too long. After that, many aspects of the film are debatable. For instance, how does one categorise it? A horror film with a large dollop of fantasy seems to me to be about right. Thomas Mann's The Magic Mountain was apparently an influence on the writer, Justin Haythe. There are also elements of satire, of the 'wellness' industry, and of capitalist ruthlessness, but these ingredients are handled in a rather patchy way. 

Dane DeHaan plays Lockhart, a young and rather soulless financial guy working in a crooked American corporation. His bosses order him to a colleague, Roland Pembroke, whose input is required so that their business doesn't collapse. Pembroke has checked into a 'wellness centre' in the Swiss Alps. Suffice to say that the corporate part of the story is presented in a stylised and not very credible way. I'm pretty sure Thomas Mann had nothing to do with it...

Lockhart travels to the wellness centre, to find that it's housed in a rather spectacular, if remote, castle. In charge of things is a doctor called Volmer - who is played by Jason Isaacs. And that wasn't the only bit of casting that startled me - one of the patients is played by Celia Imrie. Lockhart is involved in a car accident and wakes up to find that he too is now a patient. He meets a mysterious young woman called Hannah (Mia Goth, perfectly cast), and by now it's abundantly clear that Something Very Odd is going on at the clinic.

Barminess prevails for most of the rest of the film. You don't so much need to suspend your disbelief as hang it by the neck, probably until it's dead. It's all pretty crazy, and yet the film does have something of merit. Although the dentistry scene is definitely not for the faint-hearted. I had very mixed feelings about it, perhaps because I found it so hard to empathise with Lockhart. And the belated re-involvement of his capitalist bosses into the story simply didn't work for me.  

Black Widow aka The Black Widow

First, a word of thanks to the loyal readers of this blog. In the month of May, there were more than one million pageviews (over 1.085 million, in fact), a figure I find astonishing and a number that represents a record for the blog. So thank you very much. As I've said before, I suspect AI has something to do with the upsurge, but I know from your emails and messages that it's not the whole explanation. And there will be a new free 'Life of Crime' Substack newsletter from me today as well. Plus, all being well, no fewer than three 'Life of Crime Premium' newsletters and supplements during the course of June containing plenty of fresh information about one of the great figures of the Golden Age, Gladys Mitchell. 

Now to today's topic. Black Widow is a phrase that makes a good title, so it's no surprise that it's been used plenty of times. I've reviewed one film with such a title on this blog - eight years ago, in fact. That movie was based on a novel by Patrick Quentin. The film I'm discussing today was released three years earlier, in 1951, and doesn't have such a strong cast. It was based on a radio serial by Lester Powell called Return from Darkness. The storyline must have something, since in 1958 there was a TV version of the play, written by Powell for an anthology series, Suspicion.

Powell was, you might say, a journeyman writer, but he enjoyed success on both radio and TV . Among other things, he contributed a couple of scripts early on to The Avengers. The screenplay for the film, however, was written by Allan Mackinnon, another of the hard-working scriptwriters of the post-war era, and someone who also tried his hand as a novelist; I recall a book of his, House of Darkness, being reissued in paperback a long time ago, in one of the many attempts to launch a strong crime reprint series (Cyril Hare's first novel Tenant for Death also appeared under the same imprint, which is where I first discovered it, but that particular series of 'Crime Classics' soon disappeared from sight).

The film is one of those 'quota quickies' that were so common in the post-war years, and it was made by Hammer, whose forays into the crime field I find interesting. The set-up of the film is pretty good. Mark Sherwin (Robert Ayres, an American playing a Canadian) is motoring in Yorkshire when he comes across a body lying in the road. He goes to help, and is coshed and has his car stolen for his pains. When he recovers, he is suffering from amnesia, and doesn't know who he is.

The plot thickens nicely for a time, although it's all wrapped up with rather unseemly haste. The sultry Christine Norden plays the eponymous widow, and Jennifer Jayne is the love interest. The director was the prolific Vernon Sewell.  

Forgotten Book - A Hero for Leanda

There's a passing reference to Archbishop Makarios in Andrew Garve's 1958 sailing thriller A Hero for Leanda, and this is, I feel sure, a huge clue as to the inspiration for the storyline. Briefly, Makarios was a high-profile figure in the 1950s, and thereafter. He was a Greek Cypriot who wanted Cyprus to escape from British colonialism, and in 1956 the British had him exiled in the Seychelles, where he remained for a while before being released and although he had to give up on the idea of unifying the island with Greece (because of the hostility of the Turkish Cypriot community), independence and a partitioning of the island was eventually achieved.

Garve's story is about an Irish yachtsman, Mike Conway, whose boat is destroyed in West Africa, leaving him destitute. However, he's approached by someone who introduces him to a rich chap who wants to achieve independence for an island called Spyros (spot the similar name?) The British are keeping Kastella, the leader of the independence movement in exile on an island called Heureuse. Conway (whose Irish roots mean that he is no lover of the Brits) is hired to rescue him, and introduced to an attractive young woman, Leanda, who is willing to help him on his perilous mission.

I did wonder if there might be some kind of plot twist about the wrecking of Conway's boat; spoiler alert, there wasn't. But this is a side issue in any event. The interest of the book likes in Garve's account of the trip on the boat Thalia. I have no expertise in sailing boats whatsoever, but I have no doubt about the authenticity of the material.

The interplay of the lead characters is quite nicely done. I liked, in particular, the way in which Conway expresses his cynicism about political idealists. I think the world needs idealists, but I also think that idealism can create horrors of its own. Garve seems to have spent his early years very much as a political idealist, but by the time he wrote this novel, his views had changed markedly. This is a soundly written thriller, which has stood the test of time pretty well. 

Back from France

I've returned to sunny England after a lovely trip to almost equally sunny France that represented a very welcome break before I get stuck into the edits for my forthcoming novel, Fever Island, which is due out in September. The trip was based at two hotels, one in Sarlat, and one in Carcassonne, both of which are delightful places.

To be honest, I'd never heard of Sarlat, but it turned out to be quite a revelation, a lovely and historic town with lots to see and plenty of excellent restaurants. It also proved to be an excellent base for several excursions. One of these was to see the famous cave paintings of Lascaux - well, replicas thereof, to be precise, since the originals are too precious to be exposed to tourists - and they lived up to their reputation.

Then followed a trip to Rocamadour, a famous place of pilgrimage, and very impressive, and the lovely gardens of Marqueyssac. After that, a visit to the impressive castle at Beynac and then via Domme to La Roque-Gageac for a river trip (something I always enjoy). A longish coach journey to Carcassonne was broken at Cahors. The final trip from there was to Albi, an impressive old city with a massive brick cathedral and an excellent Toulouse Lautrec museum and art gallery. 

 

Carcassonne was the only place on the itinerary that I'd visited before, and it was as fascinating as I remembered, oozing history and charm. Again, plenty of nice places to eat and drink, and a highlight was a walk all around the walls of the city. Not everyone is a fan of organised tours such as this one, but I loved it. Now to plan the next trip... 

Flavia - and Alan Bradley

It's always a source of pleasure when a friend of mine has a novel or series of theirs adapted for film or television, and in the run-up I keep my fingers crossed that the people who have done the adaptation have done the story justice. This doesn't always happen - the TV versions of books by friends of mine like Tim Heald, Marjorie Eccles, and Liza Cody were not a success, as they were the first to say - but sometimes it really does: Vera, Shetland, Slow Horses and Fallen Angel are among the triumphs that spring to mind.

Now we can add Flavia to the list of successful adaptations. When I saw the film a couple of weeks ago (and started drafting this blog post), I felt especially pleased for Flavia's creator, Alan Bradley, a delightful person whom I always enjoyed chatting to - usually, alas, all too briefly. He was telling me about Flavia when we last met on the Isle of Man about eighteen months ago: see the above photo. 

I was, though, deeply saddened to hear, whilst I was away in France last week, that Alan had died. I had hoped, among other things, to have the chance to discuss his thoughts on the film, and his reaction to the experience of having his book brought to the big screen. Alan was Canadian, and after living in Malta for a time, he settled on the Isle of Man. He was based there when he and I first met at a crime writing conference in Oxford back in 2014. I found him very good company. We met again when I presented a murder mystery on the island five years later - see the photo above. It was very good of him to turn up to the events I did on the island and I feel he was a generous and kindly man, as well as a very talented writer.

What of the film? The script (by Susan Coyne) is based on Alan's first book about Flavia de Luce, The Sweetness at the Bottom of the Pie. Importantly, the cast is a strong one. The demanding role of the rather precocious Flavia is well handled by young Molly Belle Wright, and there are stellar names in the cast: Toby Jones, Martin Freeman, and Jonathan Pryce. With such excellent actors, you are in safe hands, and they all give strong performances.

A dead body turns up in the garden of Flavia's home, and when her father (Freeman) is accused of having committed the murder, Flavia sees it as her job to turn detective and secure his freedom by tracking down the real killer. Stamp collecting, of all things, plays a significant part in a storyline that has enough variety and light amusement to keep the viewer entertained. I enjoyed watching the film and I bet Alan was delighted with it. I'm sad that he's gone but so glad that he lived to see the film made and enjoying good reviews. 

Forgotten Book - Dead Heat

Dead Heat, first published in 1986, is a lively example of Martin Russell's skill as a crime writer. I've always liked his work and I wrote about him in a recent The Life of Crime Premium newsletter. He was good at conjuring up baffling situations which confront ordinary people who may or may not have been tempted to solve their problems by committing a crime - usually murder. He was also very readable, so that you can gulp down his stories pretty quickly. This technique, when used shrewdly, is also a good way of making sure that your readers don't start worrying about some of the unlikelier plot developments!

His protagonist here is another of the ordinary, flawed men who populate so many of his standalone novels. Marvin Pike is a man of thirty (who seems a lot older to me in the way he thinks and behaves) who is married to the lovely but lazy and faithless Arlene. He persuaded her to marry him with some pathetic big talk about making a million, but his ambitions of making a fortune were always pie in the sky.

Instead, he's running a shop that is struggling, in partnership with an old school friend, Gareth Somers, who handles the financial side of the business. Arlene has given up serving behind the counter and Marvin has become dependent on the help of a young woman called Gail. These four people become embroiled in an intriguing set of events when Marvin, having turned a blind eye to Arlene's adultery with Gareth, discovers that his partner is also robbing him blind. The worm is ready to turn...

There's one terrific plot twist in this book. The dust jacket blurb gives away a great deal of the story (not the only time that Collins Crime Club did this, regrettably), and I'm not going to follow suit, but I will say that although I struggled to warm to Marvin, I did enjoy the novel. A good, fast read, typical of Martin Russell's better work. 

The Intruder - 2019 film review

Home invasion thrillers have been commonplace for a long time, but their continuing appeal derives, I think, from the simple truth that, for almost all of us, home is a very, very important part of our lives. It can be our sanctuary from what's wrong with the world. So when someone or something invades it, the results can be not only disconcerting but extremely frightening.

The Intruder is a 2019 film written by the late David Loughery and it benefits from a suitably intense, and indeed at times manic, performance by Dennis Quaid as the eponymous bad guy. Quaid throws himself into the role of Charlie Peck with gusto and Michael Ealy and Meagan Good are effective as Scott and Annie Howard, the upwardly mobile couple who decide to escape urban living to move out to a nice house in the country with a view to raising a family.

The snag is that although Charlie reduces the price of the property (to a mere $3.3 million - the Howards are doing well financially...) and therefore appears keen to move to live with his daughter in Florida, in fact he hangs around in a rather troubling way. Even more disturbing, he has his eye on Annie, whose marriage to Scott has been through a rocky patch in the past.

There are various plot holes in the screenplay. For instance, one plot twist depends on a significant feature of the house that had me wondering why the surveyor never spotted it! And Annie's decision to allow Charlie back into the house after he has displayed his creepiness quite unequivocally was crazy. But the direction by Deon Taylor is just about brisk enough to justify the necessary suspension of disbelief. 

Hallow Road - 2025 film review

Hallow Road is a recent film with a small but high-calibre cast, led by Rosamund Pike and Matthew Rhys. One night they are woken up by a smoke alarm (is there any more irritating sound?) and receive a panicky phone call from their daughter Alice. She has, apparently, stormed out of the house after a row and driven to remote Hallow Road, in Ashfork Forest in her Dad's car. And she has knocked a girl down.

Maddie, Alice's mum, is a paramedic (although we sense quite early on that not all has gone well for her in that role) and Frank is evidently rather controlling. They decide to go out in the night to find Alice and as they drive, they are trying to figure out what to do for the best. Almost inevitably in this situation they make one bad choice after another. Frank in particular makes some decisions that, even in a high-stress scenario, are obviously unwise.

Bit by bit, as the couple drive and keep talking to their daughter - a very claustrophobic situation inside the car - we learn more about their relationship and the issues that led Alice to go out into the night. Alice's panic-stricken voice makes an ironic contrast with the smiley picture of her on the phone, a reminder of the gulf between the images that people often present of themselves and the more challenged reality.

It's difficult to say too much about this film, and in particular the way it ends, without giving away spoilers. Suffice to say that the ending is ambiguous, and the ambiguity didn't entirely work for me, because I felt there were logic problems whichever interpretation you adopt of the film. However, it has been mostly well-received, and I certainly found it watchable. 

Forgotten Book - Case without a Corpse

Case Without a Corpse was Leo Bruce's second book about Sergeant Beef, appearing in 1937 and following up the highly successful Case for Three Detectives. Again, the narrator is Beef's patronising writer friend Townsend. The story opens in a local pub, with Beef playing darts. A local rascal, young Rogers, bursts in and announces that he has murdered someone - and promptly takes poison and dies.

This is as dramatic an opening as you could wish for in a Golden Age novel, and overall the story lives up to its initial promise as Bruce surmounts the so-called 'second novel hurdle' with quite a degree of ease. There's also a lot of fun to be had. Bruce pokes fun at Golden Age tropes regularly, and he does so in a very entertaining way. I liked his disappointment at Beef's readiness to call in Scotland Yard, for instance, and the by-play between Inspector Stute of the Yard and Beef is a lot of fun, as is Stute's bafflement about the fact that one of the local constables is called Galsworthy (a joke that has not, perhaps, aged too well, but it pleased me!)

Even better is Townsend's comment when he's admitted to a police conference: 'my reading of detective stories...had taught me that an outsider, with no particular excuse, was often welcomed on these occasions, especially if he had the gift of native fatuity, and could ask ludicrous questions at the right moment...'

It's fair to say that things get a little bit bogged down in the middle section of the book, but I thought the final revelations made the wait worthwhile. At the end of the story, Beef hankers after a transfer to Scotland Yard, and says that if he doesn't get his just reward, he'll retire from the force and set up on his own as a private investigator. And Bruce's writing is so likeable that it will be a pleasure to see what happens next in Beef's career.  

Ten Million Pageviews

This blog has recently passed the ten million pageview milestone. I'd like to thank everyone who checks in - I really do appreciate it, and I thought I'd celebrate by reposting the above photo of the night when I presented Ann Cleeves - an early supporter of this blog - with the Diamond Dagger. As I've said before, it's thanks to this blog that I've got to know some wonderful people, quite a few of whom I've had the pleasure of meeting in person, which is invariably lovely. The comments you make on posts, and the emails you send me are always extremely welcome.

I feel very lucky, given my enthusiasm for finding out more about crime writers and their books and the genre's heritage, that many people get in touch with me to supply extra information, which is often truly fascinating. I receive plenty of questions, too, and I do my best to offer answers or suggestions.

I'm sure that AI is skewing the pageview figures, though. The increase in pageviews over the past year has been colossal, and while my 'postbag' of genuine messages has also increased, I'm convinced that blogs which contain plenty of information, whatever the subject, are being targeted by AI bots and scammers.

As I've mentioned before, this is one of the main reasons why I started my The Life of Crime Premium subscriber newsletter as well as the free monthly newsletter which I launched last year, and for which you can sign up here.    I've been very happy indeed with the response to these initiatives. 

So what about the future? The short answer is that I don't envisage any great changes in the short term. I keep finding fresh ideas for Premium and I'll mention them here from time to time. And I hope you will continue to keep in touch.

Thanks for all your support.   

The Hunger Games - 2012 film review

Given everything that is going on across the globe right now, you could argue that what the world does not need right now is a dystopian film. Reality can be dark enough, perhaps. Yet I wouldn't agree with that argument. A good dystopian story can cast light on society in a valuable way, and perhaps it's even more valuable when things seem rather chaotic everywhere. 

All this is by way of preamble to my confessing that I'd managed (not by a deliberate choice, though) to avoid reading Suzanne Collins' books in the Hunger Games series and to avoid seeing the 2012 film based on her first story in that series. One of many gaps in my cultural awareness, I'm afraid. But finally I've caught up with it. 

The premise is simple. At some future date, Panem is a country (a sort of reincarnation of the US on a smaller scale due to natural catastrophe) ruled from 'the Capitol', which is rich and well-resourced. Twelve districts exist in a much poorer state. As punishment for a past failed rebellion, each year a boy and a girl from each district must take part in the Hunger Games, which quite literally involve a fight to the death.

Jennifer Lawrence and the rather less famous Josh Hutcherson are the pair from District 12 for whom we are rooting from the start. The cast also includes Woody Harrelson, Stanley Tucci, Lenny Kravitz and Donald Sutherland. Sutherland plays President Snow with his usual style and there's also a smallish part for Jack Quaid, who was good in Companion. I'd have liked the satire on reality television to be a little sharper, but overall it's an entertaining blockbuster. 

Dead of Winter - 2025 film review

On my flight to Barbados last month, I read an Andrew Garve novel that I'll be reviewing before long and also watched a film. I chose Dead of Winter, despite not knowing anything about it, mainly on the strength of the fact that Emma Thompson was in the lead. In the early minutes of watching the film, I wondered if I'd made a mistake, as I was taken aback by the fact she had an American accent, and had mysteriously gone out on a trip to somewhere very cold and inhospitable - northern Minnesota, as it turned out.

Before long, however, I became intrigued by the story. It's a slow-burn, for sure, but none the worse for that, and Emma's character - a widow called Barb - has a poignant backstory which is revealed, bit by bit, as matters develop. During a snowstorm, she heads for Lake Hilda and meets a rather odd man who seems to have something to hide. Soon it becomes clear that in fact he has kidnapped a young woman...

The plot gathers momentum from that point and Thompson's quality as an actor really shines through. The other characters are less well developed, a point reinforced by the names they are given - Purple Lady, Camo Jacket, and Tall Hunter, for example. But Judy Greer and Mark Menchaca do a good job in the former roles, while Laurel Mars plays Leah, the kidnap victim.

Credit must also go to Brian Kirk, the director, and cinematographer Christopher Ross; the two of them worked together on the very good TV version of The Day of the Jackal, starring Eddie Redmayne, and their expertise makes the most of the highly atmospheric setting, which looked about as chilly as the North Cape, which is the coldest place I've ever visited. A good film, which I can recommend. And I can tell you that after watching it, I was all the more pleased to step out into the warm Barbadian sunshine.

Forgotten Book: Postscript to Penelope

Susan Gilruth's Death in Ambush was a highly successful British Library Crime Classic reprint last year. I enjoyed the book a great deal, and so, it is clear, did many readers. As a result, her Sweet Revenge will be published in the series later this year; it was her first novel, and it's another good one. I can't claim the credit for 'discovering' Gilruth - that goes, as far as I know, to Jonny Davidson, formerly of the British Library - but I have been keen to read more of her work, and I've been encouraged in this endeavour by the enthusiasm for Gilruth of both Barry Pike and Jamie Sturgeon, two great fans of classic mystery (and thanks to them for the dustjacket cover image).

This brought me to Postscript to Penelope, her third novel. It dates from 1954, and was the last to be published by Robert Hale before she moved to Hodder, a more prestigious imprint. This is another story to feature Liane Crauford as narrator, again in company with her golf-loving and amiable if uninspiring husband Bill and the good-looking Hugh Gordon of Scotland Yard, whose fondness for Liane is all too evident, notwithstanding the banter between the three of them in the course of this story. 

The book opens with a useful cast of characters, and we learn that the Craufords are renting a mews house in London, in an upmarket area near Bayswater. They are renting the house from a model called Penelope, who has gone off on a long working trip to Rio. (Incidentally I was intrigued to find that Heathrow is referred to as Heath Row in the novel; this seems to be a Gilruth mannerism, as I've seen maps from the 1930s giving the spelling we're familiar with, i.e. as a single word). Liane is even more of a gossip and nosey parker in this story than in the earlier Gilruths, but she'd outdone in both respects by some of her neighbours, some of whom are, it must be said, rather irritating people whom I'd hate to have living next door to me.

The structure and plotting of this novel is unusual, and some key information only comes to the reader's attention at a relatively late stage of proceedings. There is a fairly obvious murder suspect, but what has actually been going on in the mews is far from easy to figure out. There's also some cluelessness on the part of Bill and Liane with regard to a weapon that I found as hard to swallow as Hugh's willingness to confide in them so extensively. There's a clever idea at the heart of the story, but I don't want to say too much more about the storyline for fear of giving too much away, but the greatest strength of the novel lies in Gilruth's lively, mischievous style of writing.

   

What to Do When Someone Dies aka Without You - ITV X review

A number of husband and wife duos have written crime fiction with some success, but I'd say that Sean French and Nicci Gerard, who write together as Nicci French, are the leaders of the pack. I've read and enjoyed a number of their novels over the past twenty years or so. I met the couple very briefly at Slaughter in Southwold some years back, but our paths haven't crossed since. However, their vivid storylines are well suited to TV adaptation.

I chanced upon What to Do When Someone Dies on ITV X recently, but this mini-series of three episodes first aired fifteen years ago. It's also appeared as Without You, the name of the source novel. All a bit confusing, and some might say the same is true of the storyline, but I enjoyed it.

The series benefits enormously from the presence in the cast of Anna Friel, whom I've liked since her Brookside days. She strikes me as under-estimated, despite her great success. She really has a great dramatic range and in this series she plays Ellie Manning, a bereaved woman whose mental state is fragile very effectively. Her beloved husband Greg (Marc Warren), a partner in a small firm of accountants, is killed in a car accident, as does a passenger in the car, a woman called Milena about whom Ellie knew nothing.

The plot develops nicely, and there are quite a few twists. Marc's ghostly presence plays a part in the story, a device that needs careful handling. I'm not convinced it added to the story here. Ellie plays detective, and finds that the police are sceptical about her growing certainty that Greg was murdered. There are some very critical online reviews of this min-series, but I liked it.

Secret Service - ITV review

I've never read any of Tom Bradby's thrillers, but I was interested to watch the new ITV series Secret Service, based on one of them which was published a few months before the pandemic. It's a contemporary story, and Tom Bradby is in the perfect position for authorial cameo appearances - he keeps popping up on the screen, reading news bulletins.

The basic scenario - which I would guess is updated from that in the novel - is that the Prime Minister, a centrist Labour politician, resigns after being diagnosed with pancreatic cancer. The two cabinet ministers poised to do battle for the opportunity (or the misfortune?) of replacing him are Ryan Walker (Mark Stanley) and Imogen Conrad (Amaka Okafor). Both seem equally ruthless.

One of Conrad's closest advisers is Stuart Anderson (Rafe Spall), who is married to Kate Henderson (Gemma Arterton), who is head of the Russian desk in MI6. She's running an operation in Malta with an agent, and learns that the Russians have an agent in the government - seemingly one of the two front-runners to take over as PM.

It's a good premise, and perhaps doesn't require massive suspension of disbelief. There are quite a few familiar plot ingredients in the storyline, but the story moves along at a decent pace, and it's good to see actors like Alex Kingston and the ever-reliable Roger Allam in the supporting cast. It may not match the best of Le Carre or Deighton, and I did anticipate the final twist, but overall, I really did enjoy this one. 

Forgotten Book - The Body of a Girl

I first read Michael Gilbert's The Body of a Girl when I bought the paperback edition, two years after the book first came out in 1972. It was a book that I enjoyed, and I recall liking the character of the tough cop at the heart of the story, Mercer, although he did not feature in any more novels (there were just three short stories about him, which I caught up with many years later). One of the other detectives, Chief Superintendent Morrissey, also features in other Gilbert stories. Having forgotten the plot of the story, I thought it was high time I took another look at my old paperback edition.

I certainly wasn't disappointed. This is a witty and unpredictable story, which has great pace from start to finish, and the slightly of-its-time title doesn't fully convey the range of plot material that Gilbert handles with great skill, though it is fair to say that the discovery of a female body at an island on the Thames is the catalyst for what follows.

Mercer, who is sent to investigate, is cleverly presented. We can't be sure whether he's a villain or a good guy. Perhaps he is a bit of both. The tensions between the police officers conducting the investigation are handled convincingly, while there's a pleasing array of mysterious characters mixed up in events - including a one-armed garage owner who joviality may conceal a more sinister side. And, this being a Michael Gilbert novel, there is a solicitor in town who is believable yet may not be all that he seems.

I read this book in between two enjoyable novels by Andrew Garve. The similarities between Garve and Gilbert interest me; both were admirably versatile and highly professional in their writing. I have always rated Gilbert ahead of Garve, and I still do, though the more Garve I read, the more I like his books. But Gilbert was less prolific as a novelist, and I think he packs more depth into his novels, albeit with a light touch; perhaps this helps to explain why he won the Diamond Dagger and Garve did not. Both are authors I can recommend. Along with Julian Symons, I'd say they were probably the best male English crime novelists of their generation.

The Thursday Murder Club - 2025 film review

Few crime writers have enjoyed such dazzling success as Richard Osman since The Thursday Murder Club first hit the shelves - was it really as recently as 2020? The Covid-19 pandemic fuelled demand for light entertainment and the book delivered very successfully. The title was in itself a nod to Agatha Christie - Miss Marple, you will recall, first came on the scene in a series of stories in the 1920s about a Tuesday Night Club.

Of course, it helped that Richard Osman was already a well-known and very popular television presenter, and that his publishers got behind him with a great deal of marketing investment. But I am sure his books would not have done as well as they have done if they lacked merit. I find them comic rather than cosy and at his best his writing can make me laugh out loud. There are also touches of genuine poignancy. I've had the pleasure of having dinner with him and also of interviewing him and when (as has happened several times) other interviewers ask me if I resent the intrusion of celebrities into the world of crime writing, my honest answer is no. There are celebrities who write well and those who don't (and those who rely on ghost writers, which is a very different story). Richard is one of those who does write genuinely entertaining books, simple as that.

The film is in roughly the same vein as the book, and it's enjoyed a good deal of success. Again, it's benefited from big investment, but again the money has been well spent. What a cast - Helen Mirren, Ben Kingsley, Pierce Brosnan, Celia Imrie, Daniel Mays, Paul Freeman, David Tennant, Jonathan Pryce, Richard E. Grant...

I enjoyed the film. Like the books, it's good, straightforward entertainment that delivers a pleasing story without being glib or patronising. One remarkable point that occurred to me while watching was that a favourite crime film of mine from the past featured Helen Mirren, Paul Freeman, and Pierce Brosnan. This was The Long Good Friday. A very different film, and very different roles for these fine actors. If I'm honest, I'm not convinced by the casting of Brosnan as a retired trade unionist, but he's such an appealing actor that it really didn't matter.

Agatha and Good Company

 

Saturday was a perfect day in many ways. Wonderful weather - especially for northwest England in April - and a very enjoyable mystery-linked event. This was in the church at Cheadle, where Kate Ellis (who lives in Cheadle) and I were in conversation about Agatha Christie, an event moderated very well indeed by Lucy Dusgate. This was a slickly organised affair with well over 200 people present, and it was great to see a number of old friends including Dea Parkin, Matthew Booth, Jean Briggs, Cilla Masters, and Dolores Gordon-Smith.

I also enjoyed chatting with Andy Sykes, whom I hadn't met before. Andy is a local writer and I included a story of his in a recent CWA anthology. He was happy about that, and from an editor's perspective it is really gratifying to have happy contributors and to give a chance to writers who are relatively new to publication in the crime field. I've always been very keen to try to achieve a pleasing mix between established names and fresh voices. Some of the former group may be good friends of mine (Kate is a good example and she's had stories in several of my anthologies) but I'm not a believer in cronyism. For the sake of the reader, the focus has to be on quality and variety.

After the event, a number of us went on a very enjoyable walk to nearby Abney Park and Hall, the former home of Agatha's sister Madge, who was married to a local businessman, James Watt. It was fascinating to walk along paths that Agatha once walked - she made no secret of the fact that she loved Abney. And then we repaired to the James Watt pub (yes! that's its name) in Cheadle, and had a half of Sherlock Holmes ale.

Later, there was a lovely barbecue with Kate and her husband Roger and other friends. It was all very enjoyable, and to top it all, Kate kindly presented me with a copy of her new Joe Plantaganet book, Killing in the Shadows. She really is good at titles, and I'm sure the content will be equally pleasing.  

Forgotten Book - The Cuckoo Line Affair

During my recent trip on the Seabourn Ovation, I had plenty of time for pleasure reading on sea days and on flights to and from the cruise. I took advantage of this to fill in quite a few gaps, and read as many as five books by Andrew Garve, a writer whom I've always liked, but on whose work I've become increasingly keen lately, as the sheer extent of his versatility has become more apparent to me.

The Cuckoo Line Affair, first published in 1953, is a relatively early Garve novel, but it is, like all his books, a fast read and it has the almost mandatory Garve ingredient of small boat sailing (this is one of the reasons I felt his books were very appropriate to a boat trip!) One of the characters, Hugh Latimer, is a writer of crime fiction, and although this aspect of his life is not developed to any great extent, it allows for a very entertaining conversation with his family when he bemoans the way critics review his novels - either because they begin too slowly, or too fast and then tail off - or if they are pacy all the way through, they are dismissed as melodramatic. I bet Garve enjoyed getting that off his chest!

The opening chapter conjures up a rural idyll. Edward Latimer is a jobbing freelance writer of articles who had a brief career as an MP (like Garve's father, who may have been an inspiration for the character in some respects) but has now settled for a quiet life of good works in the English countryside. We meet his unmarried daughter Trudie, his lawyer son Quentin, and Hugh and his delightful future wife Cynthia. The story is almost soporifically pleasant at this point, but drama is injected when Edward goes on a rail journey on the eponymous Cuckoo Line (not the real life one in Sussex/Kent, which fell into disuse but has now been revived, partly, in preserved form, as the Spa Valley Railway, a trip I'd like to make some day). 

Edward meets a pretty girl on the train but disaster occurs when she accuses him of sexual assault. It seems unlikely that this nice chap could be guilty, but witnesses corroborate the claim (there is also a sort of foreshadowing of the crime in the much better-known 4.50 from Paddington, published a few years later: I wonder if Agatha had read this novel, also published in the Collins Crime Club) and Quentin wants Edward to plead guilty in the hope of getting a soft sentence. But Edward has other ideas, not all of them sensible.

The plot quickly thickens and the focus shifts to the attempts of Hugh, Cynthia, and Quentin to help Edward restore his reputation. There are several ingenious twists, although some suspension of disbelief is required (why didn't they talk to the police sooner? for instance). But when Garve does skate on thin ice, he does so cleverly, and there was a plot twist regarding the train incident that I didn't see coming. An enjoyable book.   

Unhinged - 2020 film review

There are plenty of psychopaths about in the world, and all most of us can hope for is not to fall foul of them. Especially not in a road rage incident. One remembers, for instance, the terrible road rage murder of Stephen Cameron, a young man who had the misfortune to cross paths with the most unpleasant antagonist imaginable. In Unhinged, a young single mother encounters someone even more violent.

That someone is Tom Cooper, played by Russell Crowe. Before the credits roll, we're introduced to him, a malevolent figure parked outside a house (which, we will discover, is occupied by his ex-wife). He goes inside, armed with a hammer and a can of gasoline and proceeds to wreak havoc. 

Attention then switches to the difficult life of Rachel Flynn (Caren Pistorius). Her marriage has broken down, although she seems to have got involved with the lawyer handling her divorce (never a great sign of judgment on either side), but her main interest in life is her son Kyle (Gabriel Bateman), who belongs to that currently fashionable group of children in movies who are irritatingly smarter than their admittedly inept parents. She's driving Kyle in a rush, as usual, when she is annoyed by Cooper's failure to move quickly at a green light. When he challenges her and asks her to apologise, she is tense - having just lost a major client - and irritable. Big mistake.

Before you know it, Cooper has launched on a horrible campaign of vengeance. The film moves at a brisk pace. The script is by Carl Ellsworth, whose CV includes Red Eye and Disturbia, and although it was never going to win an Oscar, it's a competent piece of work, sliding over the improbabilities (the limited involvement of the police above all) in a way that - just about - enables the viewer to suspend disbelief. Russell Crowe gives a compelling performance as the madman, and it's his contribution to the film that makes it worth watching.  

Back from the Seabourn Ovation

Last spring, I had my first taste of life as a 'guest conversationalist' on board a Seabourn cruise ship. This was a short but delightful trip, so I was very pleased to be invited back by Seabourn, for a much longer trip. I was asked to become a conversationalist on a trip that involved flying to Barbados, where I stayed for one night, before boarding the luxurious Seabourn Ovation, with over 500 guests, as one of a team of four conversationalists working alongside the talented, highly capable, and incredibly hard-working entertainments team. 

The trip involved nine sea days as we headed for Morocco, with stops at Casablanca and Tangier, both of which I've visited in the past, and then at Portimao, for the Algarve, which was new ground for me. The crossing was, therefore, even longer than that I had on my trips as a speaker on the Queen Mary, but there was never a dull moment. I met some delightful people from all four corners of the world and had a fantastic time.

My brief was to hold six conversations, about different aspects of crime fiction, and also to host three dinners; in addition, I hosted a murder mystery event, the very first time I've done anything like that on board ship. It was a great experience, made all the better by the terrific performances of the cast - cruise director Nick Martland, entertainments manager Caroline Miller, and entertainers Nicole and Matthew. I was very pleased by reaction to the event and felt I learned a lot about how these things can be done to best advantage while on the ocean wave. I also met (for example) someone who had actually known Gladys Mitchell, someone who told me about G.K. Chesterton's old home in Buckinghamshire, and someone who had (by pure coincidence) brought several of my books on board. 

After so long at sea, it was fun to visit the medinas in Casablanca (and to see Rick's Cafe!) and Tangier, where it was fascinating to visit St Andrew's Church, a unique survival with gorgeous gardens. 

On the Algarve, there was a trip to Cape St Vincent, aka 'The End of the World', which is the south westerly most point of Europe and quite special. We also travelled to the historic and delightful town of Lagos. The ship finally docked at Lisbon, and the journey home took rather longer than the original trip to Barbados, thanks to the new ID requirements and the fact that everyone's luggage failed to arrive at Manchester airport. But it finally arrived the next day. All in all, a wonderful trip. I'm hugely grateful to everyone at Seabourn, not only for inviting me, but for making it such a great experience.