Murder in the Afternoon is the third book in the Kate Shackleton series of mysteries that I've become rather addicted to (see reviews of Dying in the Wool, A Medal for Murder and A Woman Unknown). Set in Yorkshire in the 1920s, this novel blends the personal with the professional for amateur detective Kate. In the middle of the night she is visited by Mary Jane Armstrong who asserts that her two children found the body of their father at the quarry where he works. However, the body has since disappeared and the police aren't taking the matter seriously. Kate's discovery that Mary Jane is her sister leads not only to her taking the case but also visiting the mother who gave her up for adoption as a baby. Once again, Kate is determined to solve the mystery but this time there's more at stake.
Something I've enjoyed in previous books - the intimate descriptions of the Yorkshire locality - jumped to the fore in Murder in the Afternoon. A large proportion of it is set in and around Wakefield and I was thoroughly delighted to be following Kate through areas I know so well, allowing me to catalogue the differences a century can make. There's something about finding a book with locations you recognise that makes you feel closer to the text and it's definitely contributed to my overall love of the series.
As for the mystery itself, the familial tinge makes this novel different to the others. Kate's interactions with her hitherto unknown niece and nephew are particularly interesting, as is the contrast between the life she's had and the one she could've led. To offset this biological family there are more appearances than usual by Kate's adoptive parents in some amusing scenes involving their house being used as bait in a matrimonial trap. All this gives Murder in the Afternoon a distinctive flavour, while there's still a mystery at the heart of it.
Did I guess the killer this time? I suspected, but only because Brody wanted me to I think. I was nowhere near the 'why' and the unravelling at the end of the book was enjoyable in that respect. However, what I ultimate took from this book was a greater sense of Kate Shackleton the character - along with some brilliant depictions of 1920s Wakefield.
Showing posts with label murder. Show all posts
Showing posts with label murder. Show all posts
Wednesday, 10 June 2015
Thursday, 12 February 2015
Book Review: A Medal for Murder by Frances Brody
A Medal for Murder is the second book in the series of 1920s detective novels centred around the character of Kate Shackleton (of which I've read books one and four already). This one begins with Kate and her partner Jim being hired to investigate a robbery at a pawn-shop which could prove embarrassing for both the owner and his clients. She combines a trip to Harrogate to watch an amateur production of Anna and the Five Towns with delivering the news of the theft to one of the clients, but she finds the house doesn't exist. More pressingly, as she leaves the theatre later that night she stumbles over the dead body of local car salesman Mr Milner. The leading lady of the play has gone missing and a ransom note delivered and Kate soon finds herself tangled in a web of deceit that goes back to the Boer War.
As with the other books in this series, I enjoyed A Medal for Murder. I think what I especially like is the location, unsurprisingly enough. I adore being taken through Yorkshire in the 1920s and Brody is excellent at evoking both the time and place. Kate Shackleton is a very good protagonist to take us on the tour too, with a forward-thinking attitude that captures the essence of the era whilst still appealing to a modern reader.
The murder mystery itself was cleverly constructed and, though I knew the main suspects couldn't be the killer, I couldn't put my finger on who it was until Kate herself did. As with the other two novels, I enjoyed the ride and the amusing asides littered throughout the narrative. Brody's good at developing self-centred characters and there are some crackers in this novel. However, it also asks some powerful questions about guilt and responsibility, ending up ambivalent about punishment in more than one strand of the plot. That's something I noted in Dying in the Wool too and I appreciate the indecision - it makes the series feel very human.
As with the other books in this series, I enjoyed A Medal for Murder. I think what I especially like is the location, unsurprisingly enough. I adore being taken through Yorkshire in the 1920s and Brody is excellent at evoking both the time and place. Kate Shackleton is a very good protagonist to take us on the tour too, with a forward-thinking attitude that captures the essence of the era whilst still appealing to a modern reader.
The murder mystery itself was cleverly constructed and, though I knew the main suspects couldn't be the killer, I couldn't put my finger on who it was until Kate herself did. As with the other two novels, I enjoyed the ride and the amusing asides littered throughout the narrative. Brody's good at developing self-centred characters and there are some crackers in this novel. However, it also asks some powerful questions about guilt and responsibility, ending up ambivalent about punishment in more than one strand of the plot. That's something I noted in Dying in the Wool too and I appreciate the indecision - it makes the series feel very human.
Tuesday, 30 September 2014
ARC Book Review: Tinseltown by William J. Mann
The full title of this book is Tinseltown: Murder, Morphine, and Madness at the Dawn of Hollywood. It centres on the murder of William Desmond Taylor in 1922, examining all available material to try and pin down the culprits after all this time. More than that, though, this book serves as a portal into the early world of Hollywood. Other people discussed at length include actresses Mabel Normand, Mary Miles Minter and Virginia Gibson along with Adolph Zukor, the ambitious founder of Paramount. This book attempts to uncover the 'real' Hollywood of the early 20s and, for the most part, it succeeds.
While the murder investigation does form the centrepiece of the book, it certainly isn't the only strand. I liked the fact that it begins with the day of the murder then flips back to document how the main players got to that point. Although I knew the murder was coming, sometimes I got so engrossed with the power plays of various people that I forgot about it. As a consequence, it came upon me as a bit of a shock, mainly because by this point I was emotionally attached - not so much to Taylor himself but to Mabel Normand. Mann's portrayal of Normand is nothing short of exquisite and, out of all the names who touch these pages, for me, the representation of Normand lingers most strongly.
Mann's style may not be to everyone's taste but it certainly works. He has painstakingly recreated as much of that period as possible using, as he explains in a note at the end, as many primary sources as he could get his hands on but, beyond that, he has immersed himself and his reader in the possible thoughts of his primary protagonists. This kind of speculation is just that but it works because of Mann's level of research: there is always the sense that his speculation stems from deep involvement in his subject and his use of photographs and weather reports to visualise what a street would've looked like from the view of one of his protagonists works extremely well. Similarly, the use of very short chapters, flicking around from person to person is something I enjoyed once I accustomed myself to it. Mann uses enough markers and reminders to satisfy his most forgetful readers and keeping all the major players in the air is a shrewd move for maintaining interest.
The book claims to offer the solution to the mystery that has foxed film buffs for ninety years. Do I think the conclusions are plausible? Yes, I do. Mann doesn't manipulate the evidence to fit his theory. He presents it all, including that for other suspects. In the end, though, the circumstantial evidence accumulated via Mann's diligent recreation of the Hollywood milieu swings it for me.
Tinseltown isn't only a gripping read but an excellent depiction of a world long gone. If you're interested in the early days of Hollywood and the power plays of the era then this book is highly recommended.
I received an ARC of this book direct from the publishers, HarperCollinsPublishers. And here's a nifty trailer for it:
While the murder investigation does form the centrepiece of the book, it certainly isn't the only strand. I liked the fact that it begins with the day of the murder then flips back to document how the main players got to that point. Although I knew the murder was coming, sometimes I got so engrossed with the power plays of various people that I forgot about it. As a consequence, it came upon me as a bit of a shock, mainly because by this point I was emotionally attached - not so much to Taylor himself but to Mabel Normand. Mann's portrayal of Normand is nothing short of exquisite and, out of all the names who touch these pages, for me, the representation of Normand lingers most strongly.
Mann's style may not be to everyone's taste but it certainly works. He has painstakingly recreated as much of that period as possible using, as he explains in a note at the end, as many primary sources as he could get his hands on but, beyond that, he has immersed himself and his reader in the possible thoughts of his primary protagonists. This kind of speculation is just that but it works because of Mann's level of research: there is always the sense that his speculation stems from deep involvement in his subject and his use of photographs and weather reports to visualise what a street would've looked like from the view of one of his protagonists works extremely well. Similarly, the use of very short chapters, flicking around from person to person is something I enjoyed once I accustomed myself to it. Mann uses enough markers and reminders to satisfy his most forgetful readers and keeping all the major players in the air is a shrewd move for maintaining interest.
The book claims to offer the solution to the mystery that has foxed film buffs for ninety years. Do I think the conclusions are plausible? Yes, I do. Mann doesn't manipulate the evidence to fit his theory. He presents it all, including that for other suspects. In the end, though, the circumstantial evidence accumulated via Mann's diligent recreation of the Hollywood milieu swings it for me.
Tinseltown isn't only a gripping read but an excellent depiction of a world long gone. If you're interested in the early days of Hollywood and the power plays of the era then this book is highly recommended.
I received an ARC of this book direct from the publishers, HarperCollinsPublishers. And here's a nifty trailer for it:
Thursday, 31 July 2014
Birthdays Are Book Days
It's that time again. Another year older (which I'm trying not to think about) and something that goes hand-in-hand with birthdays for me - a cornucopia of new books. As far back as I can remember, if people were stuck for a present for me, they just got me a book and I never complained. I recall car journeys to the coast on birthdays with my nose more in a new book than bothered about sniffing the sea air. Don't worry, I eventually put it down and did kid stuff but the point is that birthdays and books are entwined in my head.
I went to York for a few days and went a little crazy in the book department. It's easy to be free with someone else's money but this is my York haul:
I went to York for a few days and went a little crazy in the book department. It's easy to be free with someone else's money but this is my York haul:
Three shops contributed to that. I've been meaning to read Brody's Kate Shackleton series from the beginning since I read A Woman Unknown (reviewed here) over a year ago but I'd got it into my head that I wanted to buy it from a 'proper' bookshop in Yorkshire and, being too dippy to order it in, I was waiting until I found it. Looking forward to that one immensely. The Stella Gibbons book will be the fourth of hers that I've read (and still haven't touched Cold Comfort Farm) and, although the last one I read was a little odd, I do have high hopes for this one. As for Jude the Obscure... Well, I might give that a wide berth for a while. I want to read it but Hardy tends to emotionally break me.
Now the non-fiction. Out of the five, Dickens and the Artists is probably the most intriguing and the prettiest. Dickens and the Social Order might be put off until I've read two of the novels it discusses but it was too good a deal to ignore and, while I've heard mixed things about the Collins biography, I couldn't really pass that up either. The Virginia Woolf book, although small, is notable for the illustrations so that should be good and as for Yorkshire's Murderous Women... Can I just point out that until I started studying sensation fiction my interest in gruesome historical murders was almost nil? I think we can blame Edmund Yates and Wilkie Collins for that one.
There's one other book to mention, a present from a good friend who aims to aid my procrastination by giving me books like this:
She knows me so well.
Here, have Audrey Hepburn singing (with her real, charming voice) in a bookshop in Funny Face:
Wednesday, 2 July 2014
Classic Film Review: Kind Hearts and Coronets (1949)
Kind Hearts and Coronets stars Dennis Price as Louis, the distant heir to a dukedom who plots to murder the eight family members standing in his way. The film opens with Louis in prison writing his memoirs and we find out how the law caught up with him We also see his relationship with Sibella (Joan Greenwood) develop, his first love who disparages his pretensions and marries Lionel (John Penrose) instead, only to start an affair with Louis later, and the widow of one of his victims, Edith (Valerie Hobson), who he takes a real shine to and is more equal to him in station. What will be the cause of Louis's downfall?
This is a brilliant film. It's a softly satirical piece of comedy, no laugh out loud moments but utterly hilarious in its way. Dennis Price does a good job as the suave, disgruntled killer but the real star of this is Alec Guinness who plays eight members of the D'Ascoyne family including Lady Agatha. The most interesting of these is probably the vicar is probably the best, dithering and pondering as he shows Louis, dressed as a continental bishop, around the church. Each death is excellent, completely different to the one before and Louis pulls them off with aplomb.
Joan Greenwood as Sibilla certainly grows in prominence and personality throughout the film. From an ambitious young woman, she becomes a coy adulteress and, finally, a manipulator worthy of Louis himself. She is a nice foil to Edith who is desperately nice and far too good for the murderer. He and Sibilla certainly deserve each other.
The twist towards the end was very welcome and fitting. The final scene when Louis realises what he has forgotten is golden and it allows you to fill in your own conclusion. Ultimately, Kind Hearts and Coronets is a dark comedy about jealousy and revenge but it also serves as a reminder that sometimes it's the things you don't count on that bring you down - and that nothing is as dangerous as a woman scorned.
This is a brilliant film. It's a softly satirical piece of comedy, no laugh out loud moments but utterly hilarious in its way. Dennis Price does a good job as the suave, disgruntled killer but the real star of this is Alec Guinness who plays eight members of the D'Ascoyne family including Lady Agatha. The most interesting of these is probably the vicar is probably the best, dithering and pondering as he shows Louis, dressed as a continental bishop, around the church. Each death is excellent, completely different to the one before and Louis pulls them off with aplomb.
Joan Greenwood as Sibilla certainly grows in prominence and personality throughout the film. From an ambitious young woman, she becomes a coy adulteress and, finally, a manipulator worthy of Louis himself. She is a nice foil to Edith who is desperately nice and far too good for the murderer. He and Sibilla certainly deserve each other.
The twist towards the end was very welcome and fitting. The final scene when Louis realises what he has forgotten is golden and it allows you to fill in your own conclusion. Ultimately, Kind Hearts and Coronets is a dark comedy about jealousy and revenge but it also serves as a reminder that sometimes it's the things you don't count on that bring you down - and that nothing is as dangerous as a woman scorned.
Tuesday, 1 July 2014
Book Review: The Wisdom of Father Brown by G.K. Chesterton
Coincidentally, I reviewed the first collection of Father Brown stories in June 2013 - obviously I like reading Chesterton's short mysteries in the summer! The thing I enjoyed most about this collection was the eclecticism: Father Brown flits around all over the place, sometimes with his companion Flambeau and sometimes alone. It means that no one story is similar to the one preceding it, something which I greatly appreciated.
The first story is 'The Absence of Mr Glass' which ridicules a doctor's deductions and is quite hilarious. It's brilliant in its simplicity, as is the second story, 'The Paradise of Thieves', which, despite being fairly confident about what was going on, entertained me nonetheless. The fourth story in the collection, 'The Man in the Passage' is both ingenious and a little heartbreaking. It tells of an actress with several suitors in her dressing room and who is mysteriously struck down by a suspect who is described differently by every witness. Father Brown's cross-examination here in this story is downright wonderful.
Story number seven, 'The Purple Wig', is enjoyable for its variation in narrative style as well as the substance of the mystery while 'The Perishing of the Pendragons' is notable for its description of the environment as well as the mystery. Similarly, in the ninth story, 'The God of the Gongs', the desolate descriptions of a seaside town out of season are very evocative.
All of the stories in this collection have something to recommend them but my favourites are probably the last two, 'The Strange Crime of John Boulnois' and 'The Fairy Tale of Father Brown'. The former's characterisation is wonderful and, again, it toys with narrative style at the beginning. It tells of a philosopher accused of murdering his love rival but this philosopher is far too disinterested to lift a finger - he just wants to be left alone with his book. 'The Fairy Tale of Father Brown' is an exploration of a past event by Father Brown and Flambeau. I always love these two together and the tale of a prince who was shot when guns were banned from his kingdom is a wonderful little teaser to conclude on.
I suppose that by this point I'm more adept at spotting where Chesterton is going with his mysteries. However, much to my delight, he still manages to surprise me on occasion and, regardless, his stories are both evocative and clever. However, I do think I should put off reading the next collection for a few months - delay the pleasure!
The first story is 'The Absence of Mr Glass' which ridicules a doctor's deductions and is quite hilarious. It's brilliant in its simplicity, as is the second story, 'The Paradise of Thieves', which, despite being fairly confident about what was going on, entertained me nonetheless. The fourth story in the collection, 'The Man in the Passage' is both ingenious and a little heartbreaking. It tells of an actress with several suitors in her dressing room and who is mysteriously struck down by a suspect who is described differently by every witness. Father Brown's cross-examination here in this story is downright wonderful.
Story number seven, 'The Purple Wig', is enjoyable for its variation in narrative style as well as the substance of the mystery while 'The Perishing of the Pendragons' is notable for its description of the environment as well as the mystery. Similarly, in the ninth story, 'The God of the Gongs', the desolate descriptions of a seaside town out of season are very evocative.
All of the stories in this collection have something to recommend them but my favourites are probably the last two, 'The Strange Crime of John Boulnois' and 'The Fairy Tale of Father Brown'. The former's characterisation is wonderful and, again, it toys with narrative style at the beginning. It tells of a philosopher accused of murdering his love rival but this philosopher is far too disinterested to lift a finger - he just wants to be left alone with his book. 'The Fairy Tale of Father Brown' is an exploration of a past event by Father Brown and Flambeau. I always love these two together and the tale of a prince who was shot when guns were banned from his kingdom is a wonderful little teaser to conclude on.
I suppose that by this point I'm more adept at spotting where Chesterton is going with his mysteries. However, much to my delight, he still manages to surprise me on occasion and, regardless, his stories are both evocative and clever. However, I do think I should put off reading the next collection for a few months - delay the pleasure!
Monday, 16 June 2014
Book Review: The Peculiar Case of the Electric Constable by Carol Baxter
The Peculiar Case of the Electric Constable recounts the real-life arrest of Quaker John Tawell, arrested on New Year's Day 1845 with assistance from the electric telegraph system that ran from Slough to London. However, the title is really only something for the writer to hang their hat on. This may have been the first case assisted by the telegraph wires, yes, but it is a fascinating one even disregarding that.
Tawell converted to Quakerism and spent a lot of time trying to fit in but marriage to an outsider didn't help his case. There's a lot in this book on Quaker rules and regulations - as they were at the beginning of the nineteenth century - and it makes for fascinating reading for those of us who hadn't really looked into it before. While some of Tawell's frustrations can be linked to these rules, his conviction for fraud (while trying to hide behind his uniform) demonstrates Tawell's tenuous grip on morality. The pages about his transportation to Australia are excellent and don't feel at all superfluous.
The murder Tawell is accused of is the poisoning of single mother Sarah Hart. Baxter's research is fantastic and her lucid narrative style almost puts you in the house at the time of the murder. She also knows when to flick back and forth between aspects of the story, ensuring that the reader is both interested in what's being told and intrigued about what she will return to. The atmosphere she recreates later in the prison is stifling and ridiculously realistic.
I don't want to spoil any more of the details of this fascinating case so I'll leave it there. However, I will say that I thoroughly enjoyed this book, particularly the meticulous research and the complete immersion in Tawell's life that it results in. I'll definitely read more by Baxter in the future.
Tawell converted to Quakerism and spent a lot of time trying to fit in but marriage to an outsider didn't help his case. There's a lot in this book on Quaker rules and regulations - as they were at the beginning of the nineteenth century - and it makes for fascinating reading for those of us who hadn't really looked into it before. While some of Tawell's frustrations can be linked to these rules, his conviction for fraud (while trying to hide behind his uniform) demonstrates Tawell's tenuous grip on morality. The pages about his transportation to Australia are excellent and don't feel at all superfluous.
The murder Tawell is accused of is the poisoning of single mother Sarah Hart. Baxter's research is fantastic and her lucid narrative style almost puts you in the house at the time of the murder. She also knows when to flick back and forth between aspects of the story, ensuring that the reader is both interested in what's being told and intrigued about what she will return to. The atmosphere she recreates later in the prison is stifling and ridiculously realistic.
I don't want to spoil any more of the details of this fascinating case so I'll leave it there. However, I will say that I thoroughly enjoyed this book, particularly the meticulous research and the complete immersion in Tawell's life that it results in. I'll definitely read more by Baxter in the future.
Tuesday, 3 June 2014
Classic Film Review: Lady on a Train (1945)
Lady on a Train tells the story of Nikki Collins (Deanna Durbin), a woman travelling to New York to spend Christmas with her aunt who witnesses a murder in a property just before the train gets into Grand Central. When she goes to the police they think she's wasting their time so she tries to enlist the help of her favourite mystery writer, Wayne Morgan (David Bruce). However, he's perturbed by the attention so she has to set about investigating the matter herself. By accident, she ends up masquerading as the dead man's nightclub-singer lover which brings her into contact with the household and, in particular, his nephews Jonathan (Ralph Bellamy) and Arnold (Dan Duryea). Has she put herself in danger? Rounding out the cast is the excellent Edward Everett Horton as Nikki's chaperone in New York.
This is an absolutely brilliant film. I saw it described in another review as 'screwball noir' and that certainly fits. It doesn't take itself too seriously, there's always something going wrong for Nikki's investigation but there are some real moments of tension and suspense. I'm not sure how it manages to mix the two up so superbly but it does.
Deanna Durbin evidently relished the part. She brings warmth and energy to the role and bounces off everyone in sight. Her interactions with David Bruce as Wayne when she follows him into a movie theatre to try and get his help are nothing short of hilarious. There are plenty of little moments throughout where she makes her mark and, of course, there are the requisite songs, including a beautiful version of 'Silent Night'. However, the scene that had me in stitches was the 'shush, I'm a chair' scene. Pure gold. The rest of the cast is great too, though special mention goes out to Edward Everett Horton for being the loser in every scene he's in.
The identity of the murderer was neatly obscured by the conspiracy around it. I didn't try too hard to work it out though - I was enjoying the ride too much. Definitely recommended and Deanna Durbin has been added to my list of favourites, rather belatedly, I know.
This is an absolutely brilliant film. I saw it described in another review as 'screwball noir' and that certainly fits. It doesn't take itself too seriously, there's always something going wrong for Nikki's investigation but there are some real moments of tension and suspense. I'm not sure how it manages to mix the two up so superbly but it does.
Deanna Durbin evidently relished the part. She brings warmth and energy to the role and bounces off everyone in sight. Her interactions with David Bruce as Wayne when she follows him into a movie theatre to try and get his help are nothing short of hilarious. There are plenty of little moments throughout where she makes her mark and, of course, there are the requisite songs, including a beautiful version of 'Silent Night'. However, the scene that had me in stitches was the 'shush, I'm a chair' scene. Pure gold. The rest of the cast is great too, though special mention goes out to Edward Everett Horton for being the loser in every scene he's in.
The identity of the murderer was neatly obscured by the conspiracy around it. I didn't try too hard to work it out though - I was enjoying the ride too much. Definitely recommended and Deanna Durbin has been added to my list of favourites, rather belatedly, I know.
Wednesday, 16 April 2014
Classic Film Review: I Confess (1953)
I Confess stars Montgomery Clift as Father Michael Logan, a priest who hears a confession of murder from employee Otto Keller (O.E. Hasse) and is morally unable to act on it. When the police, headed by Karl Malden as Inspector Larrue, discover that Father Logan has links to the dead man, he quickly becomes a suspect himself. Unable to break Keller's confession, Father Logan faces the ultimate penalty for holding his silence.
With a cast that also includes Brian Aherne as Willy Robertson and Anne Baxter as Father Logan's past love Ruth (now married to Pierre Grandfort (Roger Dann)), I Confess certainly holds a lot of promise. And, for the most part, it lives up to it. The atmospheric introductions to Quebec City at the beginning set up a tense film, a feeling only enhanced by the confession in the opening minutes. From then on, the film is carried by Clift and he is truly excellent as Father Logan. His faith and stoicism could portray him as a silly figure but Clift manages to convey this as a deep sense of belief in something more important than the prospect of being hanged for a crime he didn't commit. The rest of the cast works well, especially O.E. Hasse who has a difficult role to play in convincing the audience he would rather a priest hang for a murder he committed than risk himself.
I had one major niggle. The short flashback sequence which depicts Father Logan's relationship with Ruth before and after the war is superfluous, nothing that couldn't have been explained more briefly in words alone. At that point, music overtook the film in something of an irritating manner, when it was used so well at other moments. However, other than this, the film slots together very well and creates and sustains tension until the very end. I honestly wasn't sure what the final half an hour would bring. An underrated Hitchcock - in fact, one I hadn't even heard of - and one definitely worth dusting off for the central performance alone.
With a cast that also includes Brian Aherne as Willy Robertson and Anne Baxter as Father Logan's past love Ruth (now married to Pierre Grandfort (Roger Dann)), I Confess certainly holds a lot of promise. And, for the most part, it lives up to it. The atmospheric introductions to Quebec City at the beginning set up a tense film, a feeling only enhanced by the confession in the opening minutes. From then on, the film is carried by Clift and he is truly excellent as Father Logan. His faith and stoicism could portray him as a silly figure but Clift manages to convey this as a deep sense of belief in something more important than the prospect of being hanged for a crime he didn't commit. The rest of the cast works well, especially O.E. Hasse who has a difficult role to play in convincing the audience he would rather a priest hang for a murder he committed than risk himself.
I had one major niggle. The short flashback sequence which depicts Father Logan's relationship with Ruth before and after the war is superfluous, nothing that couldn't have been explained more briefly in words alone. At that point, music overtook the film in something of an irritating manner, when it was used so well at other moments. However, other than this, the film slots together very well and creates and sustains tension until the very end. I honestly wasn't sure what the final half an hour would bring. An underrated Hitchcock - in fact, one I hadn't even heard of - and one definitely worth dusting off for the central performance alone.
Friday, 11 April 2014
Book Review: The Mystery of the Boule Cabinet by Burton E. Stevenson
Although one in a series about a New York lawyer, The Mystery of the Boule Cabinet can stand alone. I haven't read the earlier stories yet the characterisation was fine and any references to other mysteries were brief and not crucial to the plot. Lester, the lawyer, is visiting the home of his client and friend, Philip Vantine, discussing the new cabinet Vantine has just bought but which has been accidentally switched for another one. The cabinet that has been delivered is worth much more and has a rich history. However, a visitor arrives and, after waiting in the room containing the cabinet, is struck down dead. An investigation starts up but then Philip Vantine himself becomes the next victim. Both seemed to have been killed by poison administered via two marks on the hand but it would be a very deadly poison. Who has killed the men and what role does the cabinet have in the case? The police try to investigate but it is Lester's friend, Godfrey, who is more open-minded and willing to put himself at risk to unearth the mystery.
As I said, this book can easily stand alone, though the references to earlier book made me want to read them. The friendship between Lester and Godfrey is a pleasant one, contributing to the case but also adding a focal point that I suspect runs through the books. As for the mystery itself, there are plenty of twists and turns and a few red herrings that make it interesting enough to hold attention. Perhaps the final twist was one too far but it did lead naturally from the rest of the book so I suppose it's difficult to complain on that point. There were a few twists that I saw coming but sometimes that's part of the fun of reading mystery stories.
However, for all the intricacies of the plot, The Mystery of the Boule Cabinet is laxly written in parts. There are careless repetitions which draw attention from the central mystery, at least for somebody paying as close attention as I was. Still, they don't impede the book as a whole, just create a little irritation. The mystery is enjoyable and the characterisation of Godfrey is a delight. I'll read the other books in this series, I'm sure.
As I said, this book can easily stand alone, though the references to earlier book made me want to read them. The friendship between Lester and Godfrey is a pleasant one, contributing to the case but also adding a focal point that I suspect runs through the books. As for the mystery itself, there are plenty of twists and turns and a few red herrings that make it interesting enough to hold attention. Perhaps the final twist was one too far but it did lead naturally from the rest of the book so I suppose it's difficult to complain on that point. There were a few twists that I saw coming but sometimes that's part of the fun of reading mystery stories.
However, for all the intricacies of the plot, The Mystery of the Boule Cabinet is laxly written in parts. There are careless repetitions which draw attention from the central mystery, at least for somebody paying as close attention as I was. Still, they don't impede the book as a whole, just create a little irritation. The mystery is enjoyable and the characterisation of Godfrey is a delight. I'll read the other books in this series, I'm sure.
Wednesday, 9 April 2014
Book Review: Die a Dry Death by Greta van der Rol
Die a Dry Death is a retelling of the true story of the shipwreck of the Batavia in 1629 and the horrors that occurred afterwards. On a journey to the Dutch East Indies the ship hit a reef. Most of the passengers managed to get ashore to some small yet barren islands nearby. The commandeur Pelsaert and Ariaen Jacobsz, the captain, after checking two other nearby islands, made the decision to take a small group towards their destination in the longboat, with the intention of returning to help the rest. However, once they'd left, Jeronimus Cornelisz took charge and began a reign of terror on the islands, determined to cull the numbers and get rid of rivals in anticipation of high-jacking the rescue ship.
What Greta van der Rol does in this book is bring a terrible story to life deftly and without melodrama. It's a different tale to tell, especially giving life to what are, for the most part, names. Getting into the mind of Cornelisz is interesting, providing a plausible take on his thought processes after the wreck. With this being fiction, the author also puts forward an interesting theory about Jacobsz involvement in a plot with Cornelisz, prior to the wreck, to steal the Batavia and the goods on board. For the most part this book is dark, realistic and genuinely horrific.
Aside from the three characters already mentioned, some of the other important ones include Wiebbe Hayes, a soldier who is banished to another island and left to starve, Lucretia, a high-ranking passenger who Cornelisz wants as his mistress, and the Predikant and his family, including his daughter, Judyk. These are the people who shine brightest in this novel though, due to the number of names who pass though, it is easy to get a little disorientated at times.
Incredibly dark and very well written, Die a Dry Death brings to life the events of 1629 vividly. It's an unsettling one to say the least and I had to read it all in one day because I didn't want to leave it overnight. The haunting tale of the Batavia is ably communicated via these pages.
This book was read as part of the TBR Challenge 2014, details here.
What Greta van der Rol does in this book is bring a terrible story to life deftly and without melodrama. It's a different tale to tell, especially giving life to what are, for the most part, names. Getting into the mind of Cornelisz is interesting, providing a plausible take on his thought processes after the wreck. With this being fiction, the author also puts forward an interesting theory about Jacobsz involvement in a plot with Cornelisz, prior to the wreck, to steal the Batavia and the goods on board. For the most part this book is dark, realistic and genuinely horrific.
Aside from the three characters already mentioned, some of the other important ones include Wiebbe Hayes, a soldier who is banished to another island and left to starve, Lucretia, a high-ranking passenger who Cornelisz wants as his mistress, and the Predikant and his family, including his daughter, Judyk. These are the people who shine brightest in this novel though, due to the number of names who pass though, it is easy to get a little disorientated at times.
Incredibly dark and very well written, Die a Dry Death brings to life the events of 1629 vividly. It's an unsettling one to say the least and I had to read it all in one day because I didn't want to leave it overnight. The haunting tale of the Batavia is ably communicated via these pages.
This book was read as part of the TBR Challenge 2014, details here.
Friday, 6 December 2013
Classic Film Review: The Velvet Touch (1948)
The Velvet Touch stars Rosalind Russell as Valerie Stanton, a Broadway star who wants to break from her long-term partnership with director Gordon Dunning (Leon Ames) because she wants to star in a serious play and she's also fallen in love with Michael Morrell (Leo Genn). Dunning is unwilling to let her go and she accidentally kills him when he threatens to make up lies to tell Morrell to split them up. A flashback sequence shows how they got to that point and then the police investigation starts up. The primary suspect is the woman who truly loved Dunning, Marian Webster (Claire Trevor). She found the body and picked up the murder weapon but she's in a catatonic state. What will happen when she comes round?
I thought this was an excellent film. There were a few shaky moments acting-wise but Leon Ames played the villain to perfection, giving Valerie every reason to attack him in the opening scene. The moments that follow that, as Valerie makes her way back to her dressing room in a daze are exceptional. Russell plays that entire sequence perfectly and really, from then on, she's completely absorbing. She battles with her guilt and her fear but ultimately uses her acting skills to good effect to keep the truth under wraps. However, she may have underestimated Captain Danbury (Sydney Greenstreet), an affable police detective who adores the theatre and investigates the case.
There are some brilliant scenes that have stayed with me. The hospital confrontation between Valerie and Marian - and Valerie's subsequent breakdown in Captain Danbury's office - is tense, with Claire Trevor giving a very good performance throughout the film but especially in this scene. Really, though, this film is Russell's alone and she makes good use of it. The final sequence of her opening night in Hedda Gabler builds to a climax where you're unsure what the outcome will be. Ultimately, I think the ending worked but the alternate scenario would have been equally as good.
Highly recommended. It's a psychological thriller that leaves you wondering when Valerie will finally break - because break she must.
I thought this was an excellent film. There were a few shaky moments acting-wise but Leon Ames played the villain to perfection, giving Valerie every reason to attack him in the opening scene. The moments that follow that, as Valerie makes her way back to her dressing room in a daze are exceptional. Russell plays that entire sequence perfectly and really, from then on, she's completely absorbing. She battles with her guilt and her fear but ultimately uses her acting skills to good effect to keep the truth under wraps. However, she may have underestimated Captain Danbury (Sydney Greenstreet), an affable police detective who adores the theatre and investigates the case.
There are some brilliant scenes that have stayed with me. The hospital confrontation between Valerie and Marian - and Valerie's subsequent breakdown in Captain Danbury's office - is tense, with Claire Trevor giving a very good performance throughout the film but especially in this scene. Really, though, this film is Russell's alone and she makes good use of it. The final sequence of her opening night in Hedda Gabler builds to a climax where you're unsure what the outcome will be. Ultimately, I think the ending worked but the alternate scenario would have been equally as good.
Highly recommended. It's a psychological thriller that leaves you wondering when Valerie will finally break - because break she must.
Tuesday, 30 July 2013
Book Review: The Leavenworth Case by Anna Katharine Green
The Leavenworth Case is told from the point of view of lawyer Mr Raymond as he gets drawn into a mysterious murder inquiry. Mr Leavenworth has been found shot dead in his library by his secretary, Mr Harwell. The house has been locked overnight and the only people inside were Harwell, the servants and Leavenworth's two nieces, Mary and Eleanor. The curious thing about Mary and Eleanor is that, simply by virtue of being prettier, Mary will inherit all her uncle's money. Does that give Eleanor or her sister the motive for murder? And why is one of the servants missing?
I enjoyed the plot of this book. I thought it was clever, though it felt a little static in the middle before Raymond set off on his mission to locate the missing servant. The resolution surprised me, though, and that's always a good thing with a murder mystery. However, about a third of the way into the book, I lost faith with the narrator and I found it difficult to recover from that. It was very difficult for me to accept that Raymond had not considered an alternative to one of his assumptions at all and, after that, I treated him as a guide but nothing more. I didn't see how he could've been so stupid to be honest.
The rest of the book was fairly good. The later scenes with Mrs Belden were very well written and, in truth, I felt more attached to her character than the narrator. Equally, the detective Mr Gryce was an excellent character, humanised by his gout that provides Raymond with an opportunity to follow up the case on his own. The complex relationships between the suspects are gradually drawn out, realistically so, but, again, I feel this hampered the middle section of the novel.
However, The Leavenworth Case works as a piece of detective fiction and is especially interesting as a nineteenth-century example written by a woman.
I enjoyed the plot of this book. I thought it was clever, though it felt a little static in the middle before Raymond set off on his mission to locate the missing servant. The resolution surprised me, though, and that's always a good thing with a murder mystery. However, about a third of the way into the book, I lost faith with the narrator and I found it difficult to recover from that. It was very difficult for me to accept that Raymond had not considered an alternative to one of his assumptions at all and, after that, I treated him as a guide but nothing more. I didn't see how he could've been so stupid to be honest.
The rest of the book was fairly good. The later scenes with Mrs Belden were very well written and, in truth, I felt more attached to her character than the narrator. Equally, the detective Mr Gryce was an excellent character, humanised by his gout that provides Raymond with an opportunity to follow up the case on his own. The complex relationships between the suspects are gradually drawn out, realistically so, but, again, I feel this hampered the middle section of the novel.
However, The Leavenworth Case works as a piece of detective fiction and is especially interesting as a nineteenth-century example written by a woman.
Thursday, 20 June 2013
Classic Film Review: Murder on the Orient Express (1974)
Murder on the Orient Express boasts an all-star cast in one of Agatha Christie's most-loved stories. Albert Finney stars as Hercule Poirot, the famous detective who is called unexpectedly back to London and so ends up on a train he wasn't supposed to be on. He encounters Ratchett (Richard Widmark) who is concerned about his own safety but Poirot declines to become involved. A few hours later Ratchett is killed, a fact discovered the next morning. While clues begin popping up, Poirot interviews his fellow passengers and an incredible story begins to emerge.
To give a cast run-down this film stars Lauren Bacall as Mrs Hubbard, Ingrid Bergman as Greta, Sean Connery as Colonel Abuthnot, John Gielgud as Beddoes, Wendy Hiller as Princess Dragomiroff, Vanessa Redgrave as as Mary Debenham and Michael York as Count Andrenyi. For me, the stand-out performance comes from Ingrid Bergman who captured me from her first few seconds - though that happens with most things I see her in. Utterly outstanding, getting better with age. Also, John Gielgud was outstanding but, again, that was expected. Really, though, every cast member puts in an excellent performance. Outside of the huge names, my favourite performance came from Jean-Pierre Cassel as Pierre, who actually brought me to tears.
I'm not sure Finney is my favourite Poirot (I grew quite attached to Peter Ustinov in Death on the Nile) but he certainly plays the part well. He accepts the quirks of the character and jumps straight into them and, for the most part, his interactions with the suspects are spot on. He is sublime in the final revelation scene and his interactions with characters there were perfect. The end of the film more than lived up to its potential.
What about the minor flaws? Well, I thought that rather too much time was spent getting the Orient Express moving, although I did appreciate the attention to detail in the first few minutes. However, after that I thought the pace worked well and every actor played their parts wonderfully. A good use of music throughout added to the effect but mainly this story requires actors immersing themselves into their characters. They managed that and therefore it was a complete success.
To give a cast run-down this film stars Lauren Bacall as Mrs Hubbard, Ingrid Bergman as Greta, Sean Connery as Colonel Abuthnot, John Gielgud as Beddoes, Wendy Hiller as Princess Dragomiroff, Vanessa Redgrave as as Mary Debenham and Michael York as Count Andrenyi. For me, the stand-out performance comes from Ingrid Bergman who captured me from her first few seconds - though that happens with most things I see her in. Utterly outstanding, getting better with age. Also, John Gielgud was outstanding but, again, that was expected. Really, though, every cast member puts in an excellent performance. Outside of the huge names, my favourite performance came from Jean-Pierre Cassel as Pierre, who actually brought me to tears.
I'm not sure Finney is my favourite Poirot (I grew quite attached to Peter Ustinov in Death on the Nile) but he certainly plays the part well. He accepts the quirks of the character and jumps straight into them and, for the most part, his interactions with the suspects are spot on. He is sublime in the final revelation scene and his interactions with characters there were perfect. The end of the film more than lived up to its potential.
What about the minor flaws? Well, I thought that rather too much time was spent getting the Orient Express moving, although I did appreciate the attention to detail in the first few minutes. However, after that I thought the pace worked well and every actor played their parts wonderfully. A good use of music throughout added to the effect but mainly this story requires actors immersing themselves into their characters. They managed that and therefore it was a complete success.
Wednesday, 19 June 2013
Classic Film Review: Star of Midnight (1935)
Star of Midnight stars William Powell as lawyer Clay 'Dal' Dalzell. He's approached by Tim Winthrop (Leslie Fenton) whose girlfriend went missing in Chicago a year ago. Dal agrees to try and find her but when a journalist is shot in his apartment just before giving Dal a vital clue, he realises the case may be more complex than he thought. Helping him out is the woman who insists she's going to marry him - Donna Mantin (Ginger Rogers).
I knew I was going to enjoy this film because Rogers was in it but I wasn't expecting to become as absorbed in the plot as I did. It's a good whodunnit and, although I had my suspicions, I was kept guessing until the final minutes. The supporting cast is very good, including J. Farrell MacDonald as Inspector Doremus and Vivian Oakland as Jerry Classon, but far and away the best support comes from Gene Lockhart as Dal's butler Horatio Swayne. He's a delight to watch, especially in his little conspiracies with Rodgers.
Powell and Rogers work well together, sparking off each other to an extent. I was happy to root for their relationship, which isn't always the case in this era for me. Rogers gets her fair share of zinger lines but her strength, as ever, stems from her facial expressions and reactions. She can steal a scene by simply being in the background. Then again, so can Powell so they're in competition in this film.
I won't say too much about the plot but it certainly captured my interest and I enjoyed this film immensely. Recommended for any fan of 30s mysteries but particularly for fans of Ginger Rogers.
I knew I was going to enjoy this film because Rogers was in it but I wasn't expecting to become as absorbed in the plot as I did. It's a good whodunnit and, although I had my suspicions, I was kept guessing until the final minutes. The supporting cast is very good, including J. Farrell MacDonald as Inspector Doremus and Vivian Oakland as Jerry Classon, but far and away the best support comes from Gene Lockhart as Dal's butler Horatio Swayne. He's a delight to watch, especially in his little conspiracies with Rodgers.
Powell and Rogers work well together, sparking off each other to an extent. I was happy to root for their relationship, which isn't always the case in this era for me. Rogers gets her fair share of zinger lines but her strength, as ever, stems from her facial expressions and reactions. She can steal a scene by simply being in the background. Then again, so can Powell so they're in competition in this film.
I won't say too much about the plot but it certainly captured my interest and I enjoyed this film immensely. Recommended for any fan of 30s mysteries but particularly for fans of Ginger Rogers.
Tuesday, 18 June 2013
Book Review: A Woman Unknown by Frances Brody
This is another book I was drawn to because of the cover. I bought it not knowing it was the fourth in a series or that it was set in Yorkshire. I therefore got a very pleasant surprise when I opened the front cover. Finding good period mysteries set outside the capital is rather difficult but A Woman Unknown introduced me to a new series that specialises in it. I have to admit to getting very excited when the heroine hopped on a train to Wakefield Opera House and wandered a little around my home town in 1923.
So - the story! Kate Shackleton is a private investigator who is approached by Cyril Fitzpatrick because his wife, Deirdre, is acting strangely. He's chosen Kate because her partner, Sykes, caught Deirdre shoplifting previously and let her off. But Deirdre's 'secret' is that she is spending (non-sexual) nights in hotels with married men who are providing their wives with grounds for divorce. Unfortunately, on one occasion Deirdre wakes up next to a dead man and flees.
Everett Runcie isn't short of enemies. His wife, Philippa, is divorcing him and moving back to America; his long-term mistress, Caroline, may be put out when she doesn't feature in his plans and he's not proving the best asset to the family firm either. But who killed him? From investigating a person acting strangely, Kate suddenly finds herself searching for a missing woman while skirting around the edges of a murder investigation chaired by her ex-boyfriend.
With some mysteries I like to guess ahead but with this one I just allowed the tale to take me. The fluid, readable style of Brody made for an enjoyable ride. And I was relieved to discover that, although there are references to previous books, it's not necessary to have read them in order to understand and enjoy this one. Of course, I did have a few criticisms, primarily that the narrator switches at different chapters with no discernible pattern. It can be a little disorientating at times but, really, that's a gripe. The book was very enjoyable and I will certainly be going back to learn about Kate Shackleton from the very beginning.
So - the story! Kate Shackleton is a private investigator who is approached by Cyril Fitzpatrick because his wife, Deirdre, is acting strangely. He's chosen Kate because her partner, Sykes, caught Deirdre shoplifting previously and let her off. But Deirdre's 'secret' is that she is spending (non-sexual) nights in hotels with married men who are providing their wives with grounds for divorce. Unfortunately, on one occasion Deirdre wakes up next to a dead man and flees.
Everett Runcie isn't short of enemies. His wife, Philippa, is divorcing him and moving back to America; his long-term mistress, Caroline, may be put out when she doesn't feature in his plans and he's not proving the best asset to the family firm either. But who killed him? From investigating a person acting strangely, Kate suddenly finds herself searching for a missing woman while skirting around the edges of a murder investigation chaired by her ex-boyfriend.
With some mysteries I like to guess ahead but with this one I just allowed the tale to take me. The fluid, readable style of Brody made for an enjoyable ride. And I was relieved to discover that, although there are references to previous books, it's not necessary to have read them in order to understand and enjoy this one. Of course, I did have a few criticisms, primarily that the narrator switches at different chapters with no discernible pattern. It can be a little disorientating at times but, really, that's a gripe. The book was very enjoyable and I will certainly be going back to learn about Kate Shackleton from the very beginning.
Monday, 17 June 2013
Television Review: The Fall
I knew we were in for trouble when I heard that The Fall had been recommissioned for a second series. My fervent hope was that the first series would at least tie up its loose ends and a second series would focus on another case. No such luck. I was left feeling cheated by an ending designed to thwart the audience which also had the misfortune of making one of the protagonists seem the slightest bit dim. Not really appropriate for a character who has gracefully pursued the serial killer up until this point. But let's start with the positive aspects.
The Fall tells the story of a serial killer in Northern Ireland. Detective Superintendent Stella Gibson (Gillian Anderson) has been brought over from the MET to investigate one death but she quickly links another to it and soon another body turns up. Unlike most serial killer dramas, though, the audience knows that Paul Spector (Jamie Dornan) is the killer and we follow him as he stalks his victims whilst still maintaining his job as a bereavement counsellor and being a good husband and father.
I had no issues with the slow, almost torturous, pace of the main plot. It felt realistic and toyed with the emotions of the audience, particularly in the first episode when we get very involved in the life of lawyer Sarah Kay (Laura Donnelly). Showing Paul's relationship with his wife, Sally Ann (Bronagh Waugh), and his daughter, Olivia (Sarah Beattie), infiltrated us into the life of this serial killer remarkably well. There were many excellent scenes, even a few amusing ones, strange as that sounds. The dialogue was also wonderfully written for the most part, slow and thought-provoking. Up until the final few minutes of the final episode I was content with the way the plot had progressed.
Something I wasn't as happy with were the superfluous subplots. I realise they were trying to establish a team environment, and throw in some typically Irish problems too, but it detracted rather than added to the overall effect. I honestly didn't care who shot the policeman and why there were foreign prostitutes being beaten up or the fact that another police officer blew his brains out - it had absolutely nothing to do with the main story, which was the reason I was watching, and those loose ends weren't tied up either. Fair enough if they planned another series (though I'm not sure if 'planned' is the correct word given how they almost tied up the main plot then unravelled it rapidly) but, still, they needed to give me a reason to care. Ultimately, there were too many characters floating around in a five-hour drama for me to care about. The core of Gibson, Jim Burns (John Lynch), Danielle Ferrington (Niamh McGrady), Spector and his family and the family of Sarah Kay was enough to keep the viewer's attention. More than that was pushing it and I think it showed.
However, I thoroughly enjoyed The Fall for the main story and, yes, I probably will watch the second series, even if I'm disappointed with how slow they had to make Gibson in the final minutes to facilitate one.
Friday, 7 June 2013
Television Review: Case Histories S2
In all honesty, I could've done with a handy recap at the beginning of the first episode of this three-part series. The first series aired in the summer of 2011 (reviewed here) and I was a bit confused about how things ended between Jackson Brodie (Jason Issacs) and police officer Louise Monroe (Amanda Abbington) and it took me quite a while to reacclimatise to their relationship. Instead of three two-hour arcs, this series had three hour-and-a-half episodes. I still can't decide whether this was a good decision or not - occasionally things felt a little packed but, yes, there was still enough brooding shots of Brodie so it probably worked out.
The three individual episodes worked individually and continuity was usually good (though what happened to the dog?!). It'll be no surprise to readers of this blog that my favourite episode turned out to be the first one, guest starring Victoria Wood as an ex-police officer who basically abducts a girl whose mother treats her like rubbish. It's a typical Brodie scenario - he knows that doing the legal thing is not necessarily doing the right thing.
The second episode focuses on Brodie's investigation into a man whose fiancé believes is acting strangely and leads accidentally to a murder investigation. Brodie's daughter, Marlee, also comes to live with him for a little bit, adding a new dimension to both the case he's undertaken and his complex relationships with women.
Finally, the third episode focuses on Brodie's investigation on behalf of the son of a woman who was dragged from the river years ago along with his return to a despised business associate who calls in a favour to find his daughter. The two cases, along with the complexities of his personal life, occasionally made this one a little disjointed and the ending certainly came too soon.
Overall, I enjoyed this series immensely. Good use of the Edinburgh landscape and it wasn't all as grim as the nature of his cases suggests - just watch him trying to deliver a baby. I do wonder, however, where they're planning on going next with Jackson and Louise - while I realise it's impossible for Brodie to be given a happy ending, I think that where they are now closes doors rather than opens them. If another series is made I'll be interested to see how that develops. And, yes, I want another series. Jackson Brodie is the latest in a long line of flawed heroes with inner demons and is arguably one of the best.
The three individual episodes worked individually and continuity was usually good (though what happened to the dog?!). It'll be no surprise to readers of this blog that my favourite episode turned out to be the first one, guest starring Victoria Wood as an ex-police officer who basically abducts a girl whose mother treats her like rubbish. It's a typical Brodie scenario - he knows that doing the legal thing is not necessarily doing the right thing.
The second episode focuses on Brodie's investigation into a man whose fiancé believes is acting strangely and leads accidentally to a murder investigation. Brodie's daughter, Marlee, also comes to live with him for a little bit, adding a new dimension to both the case he's undertaken and his complex relationships with women.
Finally, the third episode focuses on Brodie's investigation on behalf of the son of a woman who was dragged from the river years ago along with his return to a despised business associate who calls in a favour to find his daughter. The two cases, along with the complexities of his personal life, occasionally made this one a little disjointed and the ending certainly came too soon.
Overall, I enjoyed this series immensely. Good use of the Edinburgh landscape and it wasn't all as grim as the nature of his cases suggests - just watch him trying to deliver a baby. I do wonder, however, where they're planning on going next with Jackson and Louise - while I realise it's impossible for Brodie to be given a happy ending, I think that where they are now closes doors rather than opens them. If another series is made I'll be interested to see how that develops. And, yes, I want another series. Jackson Brodie is the latest in a long line of flawed heroes with inner demons and is arguably one of the best.
Thursday, 30 May 2013
Television Review: Life of Crime
Life of Crime is a three-part drama with the action taking place over three time periods - 1985, when Denise Woods (Hayley Atwell) first joins the force and investigates the death of a teenager; 1997, when the conviction of her killer is thrown into doubt and the present day, when the investigation is finally concluded. I wasn't overawed by this one, though I very much wanted to like it.
For a start, I thought it latched itself unnecessarily onto 'events', namely the Brixton riot of 1985 and the death of Princess Diana. It added artificiality to the plot for me, when showing the passage of time could simply be done via the medium of Denise's family. In addition, I found the direction lacking. It was too slow with far too many extended scenes that simply weren't necessary. I thought that it could've been easily transferred into a two hour drama special instead of being spread over three weeks but, I suppose, that would've toyed with the format they'd set their hearts on. What happened was that the action became diluted and the mix of the family troubles Denise experiences as a result of her headstrong nature failed to capture my attention as they should have.
I have another construction criticism which, again, could have been remedied by it being a more compact drama. By the time the 'reveal' came around I honestly couldn't recall who the killer was for a good few minutes. This was partly caused by a lack of signposts and partly by the fact the third episode recap was fundamentally useless. Finally, I felt let down in the final episode by the fact that Denise spoke to the first victim's mother in quite a touching scene and then there was no more from her - that was one aspect that deserved more exploration and it didn't get it.
I thought that Life of Crime was an interesting concept but, ultimately, it just moved too slow for me to enjoy it and by the time the third episode came around I was ambivalent about the killer. In addition, Denise isn't an easy character to like or even respect. You don't have to like a protagonist in a drama like this but you do at least have to be concerned about what happens to them and, really, I wasn't. A bit of a let-down but, as ever, this was only my opinion. I'm sure other people enjoyed it.
For a start, I thought it latched itself unnecessarily onto 'events', namely the Brixton riot of 1985 and the death of Princess Diana. It added artificiality to the plot for me, when showing the passage of time could simply be done via the medium of Denise's family. In addition, I found the direction lacking. It was too slow with far too many extended scenes that simply weren't necessary. I thought that it could've been easily transferred into a two hour drama special instead of being spread over three weeks but, I suppose, that would've toyed with the format they'd set their hearts on. What happened was that the action became diluted and the mix of the family troubles Denise experiences as a result of her headstrong nature failed to capture my attention as they should have.
I have another construction criticism which, again, could have been remedied by it being a more compact drama. By the time the 'reveal' came around I honestly couldn't recall who the killer was for a good few minutes. This was partly caused by a lack of signposts and partly by the fact the third episode recap was fundamentally useless. Finally, I felt let down in the final episode by the fact that Denise spoke to the first victim's mother in quite a touching scene and then there was no more from her - that was one aspect that deserved more exploration and it didn't get it.
I thought that Life of Crime was an interesting concept but, ultimately, it just moved too slow for me to enjoy it and by the time the third episode came around I was ambivalent about the killer. In addition, Denise isn't an easy character to like or even respect. You don't have to like a protagonist in a drama like this but you do at least have to be concerned about what happens to them and, really, I wasn't. A bit of a let-down but, as ever, this was only my opinion. I'm sure other people enjoyed it.
Wednesday, 29 May 2013
Classic Film Review: The Mad Miss Manton (1938)
The Mad Miss Manton is a madcap film that stars Barbara Stanwyck as Melsa Manton, a socialite known for her pranks to police. However, when she finds a dead body (and the dead body disappears) the police are angry with her for wasting their time and she enlists her group of friends to help her prove there was a body - but all doesn't go to plan. She is faced with irate police officer Lieutenant Brent (Sam Levene) and journalist Peter Ames (Henry Fonda) who quickly falls in love with her but is still all for letting the police deal with the investigation.
This film's tricky. It obviously doesn't take itself too seriously and goes for the laughs whenever it can but there is still a murder at the heart of it and one of the final scenes between Melsa and the killer seems far too dark for the ending of such a film. The murder mystery aspect is also a bit convoluted with more faces than necessary put into the picture at one point. Without proper guidance, I was a bit confused about what was going on when Melsa was shot at.
The 'group' of socialite friends Melsa assembled was possibly too large - sometimes they blended into each other and their personalities on the whole seemed far too similar. However, Levene and Fonda as Brent and Ames raised the film a little with their distinctive personalities. Levene particularly added much amusement to the film, though I was slightly sick of his predictable reactions by the time the credits rolled.
However, that's not to say that The Mad Miss Manton isn't a funny film. It is. This was my first introduction to Barbara Stanwyck and it was a relatively good one. Melsa's a strong character, dominant over those around her, with the exception of her maid Hilda (Hattie McDaniel). I also liked the twist of Melsa and her friends 'proving' something only for it to backfire. All in all, this was an enjoyable comedy, hardly ground-breaking but entertaining enough for a lazy afternoon.
This film's tricky. It obviously doesn't take itself too seriously and goes for the laughs whenever it can but there is still a murder at the heart of it and one of the final scenes between Melsa and the killer seems far too dark for the ending of such a film. The murder mystery aspect is also a bit convoluted with more faces than necessary put into the picture at one point. Without proper guidance, I was a bit confused about what was going on when Melsa was shot at.
The 'group' of socialite friends Melsa assembled was possibly too large - sometimes they blended into each other and their personalities on the whole seemed far too similar. However, Levene and Fonda as Brent and Ames raised the film a little with their distinctive personalities. Levene particularly added much amusement to the film, though I was slightly sick of his predictable reactions by the time the credits rolled.
However, that's not to say that The Mad Miss Manton isn't a funny film. It is. This was my first introduction to Barbara Stanwyck and it was a relatively good one. Melsa's a strong character, dominant over those around her, with the exception of her maid Hilda (Hattie McDaniel). I also liked the twist of Melsa and her friends 'proving' something only for it to backfire. All in all, this was an enjoyable comedy, hardly ground-breaking but entertaining enough for a lazy afternoon.
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