Forgotten Book - The Lawyer's Secret

My latest entry in Patti Abbott’s series of Forgotten Books is a slim volume, even when padded with a short introduction by Matthew Sweet, and an additional story called ‘The Mystery at Fernwood’. Nevertheless, The Lawyer’s Secret, by Mary Elizabeth Braddon, caught my eye at the week-end when I called in at that splendid bookshop, Blackwell’s of Oxford, and it proved to be a swift and rather entertaining read.

The story opens in truly classical fashion, with an enigmatic lawyer announcing the eccentric contents of a will to a young woman. Here are the first lines:

‘”It is the most provoking clause that was ever invented to annul the advantages of a testament,” said the lady.

“It is a condition which must be fulfilled, or you lose the fortune,” replied the gentleman.’

A good start, I think, and I enjoyed this story. It’s a ‘novella with a secret’ or perhaps an example of ‘sensation fiction’ rather than crime fiction in the modern sense. The mystery at the heart of the story is not really concealed with great art for very long. But the pace carries the reader along, and although I don’t claim this as a neglected masterpiece, I was glad I found it.

The story, and ‘The Mystery at Fernwood’, were both first published as long ago as 1861. Shortly after that, Braddon published Lady Audley’s Secret, which remains her most famous work. Hers was a long career – she wrote over 70 books and died in 1915. Not in the Wilkie Collins class, perhaps, but an author to be reckoned with.

The Rules of Film Noir

The Rules of Film Noir, amiably presented by Matthew Sweet, offered a useful tour around the genre, with the assistance of plenty of clips and contributions from talking heads such as the notable American crime writer George Pelecanos.

Sweet pointed out that, although we tend to think of film noir as American, and the stories of the films often came from pulp fiction, the success of this dark brand of movie owed much to European influences. For example, Sweet and others pointed out that many of the finest directors, men like Wilder, Tourneur, and Siodmak, originated from Europe and some of the cinematographic effects had their roots in German expressionism. Similarly, there was a European style to some of the music used in the films, and due tribute was paid to the work of the great Miklos Rozsa.

Some of the clips came from films I know well, but I’ve never got round to watching either The Big Combo or Murder My Sweet. Two marvellous films based on James M. Cain classics, Double Indemnity and The Postman Always Rings Twice, were among those featured, but I was surprised that D.O.A., Phantom Lady and Detour didn’t get a mention. But there is a limit to how much ground you can cover in an hour.

It was said that Touch of Evil (1958) was the last true film noir. But, of course, movies in the film noir tradition continued to be made. And it was surprising, given that the programme ended on this note, that no mention was made of that modern classic in the tradition, Body Heat. Especially since John Barry’s brilliant jazzy theme for Body Heat opened the programme!