Lady of Deceit - aka Born to Kill - 1947 film review

Lady of Deceit, also known as Born to Kill was directed by Robert Wise, who much later was responsible for The Sound of Music. Two films more different in tone as well as storyline would be hard to imagine. Lady of Deceit, based on James Gunn's novel Deadlier Than the Male, is a dark story about amoral people, and this may account for the fact that it didn't do particularly well on first release. Uplifting it is not.

Claire Trevor plays Helen Trent, who has gone to Reno to get a divorce. Whilst she's there, she gets to know a breezy young woman who goes out with a new man, much to displeasure of Sam Wild (played by Lawrence Tierney), who is obsessed with her. Wild kills both his ex and her admirer. Helen discovers the bodies, but decides not to get involved, and goes back to San Francisco. At the station, she bumps into Wild, and they fall for each other.

However, Helen is engaged to a rich young chap, much to Wild's displeasure. Helen  is the foster sister of wealthy Georgia, played by Audrey Long (who was married at one time to Leslie Charteris, creator of the Saint). Wild seduces nice but naive Georgia, and they marry, but Wild and Helen remain besotted with each other. Wild's admiring chum Marty (Elisha Cook Jr) joins the not very happy household, and when a friend of Wild's victim hires a lazy and unreliable private eye, Marty tries to protect Wild, before events spin out of control.

Esther Howard, who hires the P.I., is perhaps the most appealing character in the film, not that the competition is strong. She's an alcoholic, but she is trying to do the right thing by her friend. Claire Trevor does a good job as the "iceberg" Helen, but I felt that Lawrence Tierney, who late in life became more famous than ever thanks to appearing in Reservoir Dogs, was wooden in the extreme. He tries to be a tough guy in the Humphrey Bogart style, and apparently was a tough guy in real life. But his lack of charisma is a big drawback. Robert Mitchum would have done a much better job, I feel. All the same, this downbeat movie is watchable from start to finish.

Forgotten No More? Deadlier than the Male

Something a little different today. Since the sad death of Bob Adey, author of the wonderful Locked Room Murders, I've been reflecting further on books about the genre, and those that I've enjoyed over the years, including some that are not often discussed nowadays. I'm tempted to write about several of them, and today I'm going to talk about one that has just been made available again to a new generation of readers

Deadlier than the Male was originally published in 1981. Its sub-title then was: "Why are respectable English women so good at murder?" which is a question that's been given various answers over the years, not least by P.D. James. The author was a friend of Phyllis James, and herself a crime novelist of distinction, Jessica Mann. Her books often have a feminist perspective, in a way that is persuasive and appealing, and this title is no exception.

Unfortunately, this particular book has been out of print for years, and it would, I think, be fair to describe it as a Forgotten Book. Happily, we live in an age when, with a bit of luck and enterprise, forgotten books need remain forgotten no longer. And Deadlier Than the Male is now available again, as an ebook, for the modest sum of £1.99. The sub-title now is "an investigation into feminine crime writing". As the blurb says, on its original appearance, the book was described by one critic as “obligatory reading for any reader of crime fiction”, while another wrote, "I cannot recall a better work of criticism devoted to the crime story."

I bought and devoured the book a good many years before I met Jessica, and I found the coverage of the "crime queens", especially those other than Agatha Christie (about whom I'd already read plenty) informative and enjoyable. It is fair to say that the range of books in this area has greatly improved over the past thirty years, and in some cases, more information has come to light about the lives of the authors. But that does not devalue the significance or merit of this consistently interesting book, and I'm delighted that it has returned to enjoy a new life and attract a new set of readers.

Writing about the Crime Genre

I'm fascinated not only by crime fiction, but also by books about the genre. This stems from my teens, when I first read Julian Symons' Bloody Murder, and learned a great deal about my favourite form of entertainment reading. One of the many strengths of the book is the pointers that Symons gives to titles worth reading (including many that took me a very long time to track down - one or two I've still never seen) and I continue to refer to it regularly. Another great merit of the book, by the way, is that Symons' prose is lean and highly readable.

The book prompted me to write a letter that was the closest I've ever come to sending a fan letter. Shortly after I left university, I had the temerity to drop Symons a line, and tell him how much I admired his book - but I questioned one or two things he'd said about Francis Iles' books, and suggested that he might have mentioned C.S. Forester's Payment Deserved, which somewhat anticipates Malice Aforethought, To my delight (and surprise) he responded with a charming and very thoughtful letter; he was well aware of Forester's book, and in fact he included it in a revised edition of Bloody Murder. He had a reputation in some quarters as being a rather grumpy chap, but I found him delightful, and did so all over again, when I  met him in person two or three times, many years later.He was clearly happy to debate opinions that conflicted with his own, as long as they were expressed in a courteous and measured way, and that is surely one of the marks of a civilised mind.

Since then, I've devoured scores and scores of books about the genre in all its aspects. On Thursday, I plan to write a post about ten favourites, but now let me just mention some new or forthcoming books by friends that are quite excellent, although like many other fine books, they are not in the list. I'll be covering B.J. Rahn's The World of Sherlock Holmes shortly, and I'm very much looking forward to an ebook reissue of Jessica Mann's Deadlier than the Male which will become available soon - details to follow.

And then there's Peter Lewis's Eric Ambler: a literary biography, a revised edition of which is now available from Endeavour Press as an ebook and via Createspace in print form..Peter contributed a guest blog about the book recently, and I was delighted by its new incarnation, almost a quarter of a century after it first earned acclaim. He makes the telling point right at the end that Ambler did so much to blur the boundaries between "the novel" and "the spy novel" or "the thriller". I would add that one thing that can be wearisome in books about the genre (if overdone) is extensive discussion of distinctions between, say, "thrillers" and "detective novels" or prolonged agonising about the precise definition of a "crime novel" or a "mystery". These are all useful terms,and they have their place, but they can also assume undue importance. Focus too much on such detail, and you risk losing sight of the big picture, or becoming uncertain of its true nature. I'm not sure, for instance, whether the great Julian's thesis that the detective novel had transformed into something superior, the crime novel, was really as helpful as it may have seemed when Bloody Murder first appeared. But to say that does not diminish his overall achievement. Just as the perfect novel can't be written, nor can the perfect book about crime fiction.

Last week, Curt Evans included on his blog an interesting piece which focused on writing about the Golden Age, and mentioned The Golden Age of Murder in very positive terms. As Curt anticipates, my views differ from those of Symons and Colin Watson (whose Snobbery With Violence is nevertheless a very good read) in numerous respects. Both men had a clear and credible point of view, but it led them to overlook some of the more interesting sub-texts in Golden Age fiction. Or at least, that's what I think, and that's what The Golden Age of Murder is -in part - about. In the run-up to publication, I'll discuss a number of aspects of my approach to writing the book. It was quite a departure for me, and one that has taken a great deal of work over a good many years. But now, thank goodness, the manuscript has been copy-edited (by another writer about popular culture, in fact) and best of all, Harper Collins have agreed to take on the task of preparing the index! .

Dead Woman Walking by Jessica Mann: review

Jessica Mann is a thoughtful and thought-provoking writer whose primary reputation is as a crime novelist. Amongst other things, she's written a study of the "Crime Queens" of the Golden Age, Deadlier than the Male. She's also written outside the genre, and her latest novel, Dead Woman Walking is a reminder of the breadth of her interests.

It's also a peculiarly fascinating book because she's done something unusual and appealing. Just as Agatha Christie, having started her career with A Mysterious Affair at Styles, took Poirot and Hastings back to Styles Court in her excellent and under-estimated novel Curtain, so here Jessica Mann has delved back into her own literary past.

As she explains in a note at the end of the book, the woman who narrates part of the story, Isabel, appearead in her very first novel, A Charitable End. Another major character, the memorably evoked Fidelis Berlin, appeared in an excellent mystery, A Private Inquiry, as well as in two subsequent books which I haven't read as yet. And Jessica is kind enough to say in the note that a suggestion from me inspired her to write a "sort of sequel" to her debut novel, forty years on. Very gratifying from my perspective (especially as she is a writer whose books I enjoyed long before I ever met her), and suffice to say that she's done something unusual and distinctive with that initial idea. The result is a book to savour.

This is a relatively short novel (published by The Cornovia Press, based in Yorkshire) and there are plenty of switches of scenes, as well as (mainly in the early part of the book) switches of period. So we begin with a preamble set in Nazi Germany, move forward to Scotland in 1964, then go to the present day, and so on. The catalyst for the story is the discovery of the body of a woman who disappeared half a century ago, but there is also a dramatic mix of ingredients, ranging from Fidelis' quest for the truth about her own identity to an ingenious method of murder, the abduction of children, and Satanic rituals.

There is a very striking climax, but this is also a novel of ideas, about feminism, family and literature. In addition, I suspect that there may be a number of semi-autobiographical elements. As you would expect with Jessica Mann, it's a very well-written as well as a poignant book. I'm delighted to have read it, and to be able to confirm that after a slight delay in publication date, it's now available generally..

Blogs

Jessica Mann is a writer of very interesting novels, some of which I’ve mentioned in the past. She’s also a critic and commentator, with a very good full-length study of female crime writers, Deadlier Than the Male, to her name.

Jessica has now started a blog with discussions about “pre-feminism for post-feminists”, a topic that really is much more fascinating than that tag-line may suggest. You could argue that feminist issues are at the heart of much of Jessica’s fiction, but her novels are certainly not didactic, and any points she wants to make don’t get in the way of the story.

The blog anticipates the appearance next spring of her latest non-fiction book, The Fifties Mystique, which evidently talks about some issues of concern to feminists. But whether or not one labels oneself as feminist, I’d expect it to be a very interesting piece of work. As a male reader who enjoys many books written by women and featuring female characters, I’m looking forward to it.

On the subject of blogs, you’ll have gathered that I’ve been having continuing problems with the new version of Blogger. My apologies – and thanks for your patience. My webmaster is now back to help me get things sorted out - hence the new layout. There are still some issues to iron out, but I hope that both the blog and my website will be looking better and more up to date before Christmas.

Forgotten Book - Deadlier Than The Male

Jessica Mann is an accomplished novelist, and I plan to write about her fiction in a future blog post, but my choice today for Patti Abbott’s series of Forgotten Books is a non-fiction work dating back to 1981. Deadlier Than The Male was written at a time when reference volumes about the crime fiction genre came out in a trickle, rather than (as now) a flood. But nearly three decades on, it stands up to scrutiny very well indeed.

The book is sub-titled ‘An Investigation into Feminine Crime Writing’, and it seeks to answer the question: ‘Why is it that respectable English women are so good at murder?’

Mann displays her formidable knowledge of the genre throughout. The heart of the book is devoted to an in-depth look at the work of Christie, Sayers, Marsh, Tey and Allingham, but many other authors are considered (including Mary Elizabeth Braddon, one of whose forgotten titles I featured last week.) I was pleased to see mention of Nina Bawden – it’s now seldom noted that, early in her career, she wrote detective stories of real merit.

This is such a good book that I’m sorry Mann has not written further works of crime-related criticism – although she remains a highly regarded reviewer. One of her many interesting observations is that ‘Crime novelists…are particularly reticent about their own personal lives’. I think it’s fair to say that this is less the case today than it was in 1981, thanks to the pressures on authors to promote themselves, coupled with the rise of the internet, social networking, and, yes, blogging. It’s not at all easy for modern crime writers to maintain their privacy as did the likes of Sayers, Christie and their contemporaries. But whether the change is wholly a good thing is an interesting subject for debate.

One final point. Mann acknowledges the help of that delightful writer Catherine Aird, and refers to Aird's proposed biography of Josephine Tey. It's a matter for regret that the biography has never appeared, and I still hope against hope that, one day, it might.

Jessica Mann

I’ve been giving more thought to the discussion about gruesome crime fiction that we had the other day. It is always slightly unnerving when I read in the media about the latest real-life serial killer to be arrested – invariably, it turns out (horror of horrors!) that his home is full of books about murder. Of course, mine is too, even though I really don’t think I am that ghoulish, and my books certainly aren’t in the grisly mould of some current best-sellers.

Here is an interesting article by a notable reviewer, Jessica Mann, who has tired of gore. And I can well understand why. Jessica Mann’s own books are rather more sophisticated than those she has decided not to bother with in future. I’ve read several of them over the years, dating back to the days when I’d just started work and I haunted the local library, as book-buying was outside my budget.

One of her most notable books, however, is a non-fiction study of female crime writers, Deadlier Than the Male. This is full of interest, especially on the topic of the great ‘crime queens’ of the past. One of them is Josephine Tey, a class act who, although far from prolific, had many admirers at the recent St Hilda’s conference. From the discussion, it was clear that her work has stood the test of time better than most.

In her acknowledgements, Jessica Mann notes the assistance of that great Tey expert (and very agreeable crime writer) Catherine Aird, who was at the time working on a biography of Tey. Sadly, the book has never appeared. I’ve talked to Catherine about this project a few times over the years, and it’s by no means certain it will ever see the light of day. But I hope it will, eventually.