Tag Archives: film noir

Christmas Noir II: Beyond Tomorrow

This year, my subject for Christmas noir is Beyond Tomorrow  (1940), an intriguing little dark fairy tale.  Well, aren’t most fairy tales dark somewhere along the line?  Edward Sutherland’s film starts with three “fairy godfathers,” wealthy old gents and business partners.  One Christmas Eve, on a whim ˗˗ and out of loneliness ˗˗ each puts his business card into a separate wallet with ten dollars and tosses it out the window of their mansion onto the snowy Manhattan sidewalk below.  All to see who will return the wallets and perhaps become a new friend to replace the old ones that one partner points out have disappeared into death.
Indeed, fate seems to reward them.  The first wallet is nabbed by a jaded socialite, who keeps it while carelessly tossing the ten bucks  to her chauffeur.  They dodge a bullet missing this brittle babe.  The other wallets are returned by two who promise to fulfill the old men’s wishes for rejuvenating friendship.  The first is Jim Houston, a polite, young, down-on-his-luck cowboy, stranded after a rodeo at Madison Square Garden.   The second is a Jean Lawrence, a sweetly pretty but pert and practical young woman who works and lives at a children’s clinic run by “The Wayne Foundation” (Bruce’s parents?).  Fate scores big for the old guys, as the young people share their lives and open up all kinds of opportunities for fun and giving, especially working with children.  Why the whole set up even earns the approval of the sensitive, spiritual elderly housekeeper (played by who better than Maria Ouspenskaya?)   Of course, the young people brought together by their godfathers fall in love and plan to marry.
A merry Christmas movie, right?  Full of jingle bells, holly wreaths, caroling children, and glittering lights and ornaments.  Um, not exactly.  Characters, plot twists, mise en scène, and lighting combine to create a noir ambience.  Early on, the film does present a cherubic Charles Winniger, as Michael, bursting into a business meeting of his partners at home on Christmas Eve. Laden with presents and releasing overworked secretaries for the holiday, Michael is a kind of redeemed Ebenezer Scrooge.  Yet all this fun and cheer is threaded with dark elements.  There are intimations of something sinister in the past of the crotchety partner George Melton.  The other partner, Chad Chadwick, casts longing glances at photos of a wife and a son long lost to death.  Dear friends scheduled to visit for Christmas Eve have canceled out, leading the men to reflect that those they love are mostly dead and gone.
Even the advent of the fresh, kind, and honest Jean and James is overshadowed, literally, by a noir mood.  Sutherland does use bright filler lighting for the Christmas Eve dinner, but that moment is brief.   When old and new friends and servants Madame Tanya and Josef come to the window to listen to a Christmas band, though inside the window frame  is fairly bright, the area surrounding that square of light, the outside world, is darkly shadowed, even the strolling musicians.  The band is brought inside to play for a comradely sing along, yet shadows encroach on the firelight holding the people.   When James sings a love song, though he and Jean exchange tender looks, the shadows insistently fringe their medium close ups, with soft focus further creating an eerie  effect.  Even the love song, “I Dream of Jeanie” emphasizes longing rather than communion, conveying the effervescence of happiness in a noir world.
Throughout the film, noirish night undermines stability, comfort, and humor.  Jean and Jim’s romantic walk home and funny encounter with a mounted policeman and his sergeant occur in small pools of soft-focus light with darkness shrouding most of the frame.  Jim’s later proposal to Jean, though the two laugh playfully, is not in a sunny Central Park but in a dark, shadowy, late night walk there, only faintly illuminated by narrow key lighting on their mostly shadowed faces and the faint glow of a street lamp.  Such imagery  would not be  out of place in the hauntingly sinister streets of Val Lewton’s eerie New York in The Seventh Victim or The Cat Woman
Later, when the femme fatale lures away Jim as he becomes a successful radio star, they meet in a bright apartment.  Yet through the slits of partially open blinds between them pour in the black  night , with intermittent points of light from skscraper windows piercing in on them like intrusive, glaring eyes. It is the noir world that forms the apex of this triangle, predominating and binding the humans together  beneath in tragedy and corruption.
Elsewhere, Sutherland uses darkness and mise en scène to signal that alienation and tragedy inevitably supplant good fortune.  The reporter getting the story he will spread of Jim’s and Jean’s inheritance from Michael is framed in front of  the two (all three in medium closeup) a black silhouette before and between them, almost blotting them out with his black fedora and his black trench coat.  He looms between them and between them and their future  like Death incarnate.  Even the godfathers and their magical influence are at crucial moments overwhelmed by noir ‘s fateful darkness. 
The afterlife is given the noir treatment as well.  Isolated and alone, like many a noir anti-hero, Melton is drawn into and swallowed  by a photo- negative of inky, roiling clouds after his death, predicated by his dark past. Michael’s call to the beyond, though promising peace and happiness, is portrayed disconcertingly:  bright, thin rays against a black sky striking earth from a mass of black clouds.  The friendliness of the angelic voice calling him is unsettlingly undermined by this nightmare image of the divine- all in the surrounding darkness of Lewtonesque city night.
The plot twists imbue Beyond Tomorrow with the same noir vision as the lighting and setting, sometimes even in conjunction.  Just when the godfathers and the young folk seem happy, hopeful, and excited to live, where many a Christmas movie ends, the business partners are killed in a plane crash.  The signal of their deaths merges this ironic turn with dark imagery to create noir ambience. The lovers’ joy as Jean accepts Jim’s humorously inadvertent marriage proposal is undercut for the audience by unseen newsies’ growing cacophony of “Extra” surging insistently out of the shadowed night surrounding the unwitting lovers, hinting that a dreadful turn is emerging from the darkness. It more clearly emerges as the scen closes with a closeup of a headline proclaiming the three godfathers’ deaths.
Other expectations of “comfort and joy” are obliterated with noir’s relentlessly disconcerting unexpectedness.  The three godfathers return as ghosts and settle in their old study to preside over those they love, comforted by Mme. Tanya’s sense of their presence.  However, just when we and they start to get comfortable with this cozy turn, they are one by one called to leave by a darkening of the screen and a mysterious higher power, two to pain and sacrifice. 
In another noir reversal, Michael’s final godfatherly act in life to leave the young friends some dough to make their lives easier and their dreams come true turns out to be exactly the curse Melton warns him it would be – foreshadowed by the reporter’s ominous depiction darkly splitting the lovers.  The news story on the couple’s luck leads to Jim becoming a radio star who deserts Jean under the spell of Arlene Terry, whose fatale ways with her former husband drive him to shoot Arlene, Jim, and himself.  Just when we become comfortable in our security, happiness, love, and fellowship are all battered by the darkness of the world outside us, and also by the darkness within even the best of us that will reach for that darkness without.
There are happy endings in the film, but not without pain, disillusionment, falls from grace, and even death.  Madame Tanya is proved right in her observation that the power and prestige of being royalty in old Russia is nothing compared with the joy of loving and serving others. Loving sacrifices are rewarded; friendship even redeems Melton’s soul from roiling clouds of bitterness and despair.  And yet, Melton’s sadly cynical recognition of human weakness in the face of the darkness outside and within imbues this Christmas film with a noir outlook:  “To be born innocent is natural.  To die pure is a gift.”  No one dies pure in Sutherland’s film.

 

Nick Knight Forever?

 

As part of my Halloween viewing program, I broke out Nick Knight (1989), the made-for-TV movie predecessor of the series Forever Knight.  Interestingly, the only actor to make it from this film to the series was John Kapelos as Schanke.  Even the setting was replaced, LA with Toronto.  So, how do they compare?
The more I think about it, the set up for each best suits its own format.  The neo-noir vibe of the movie, its  lighting, use of current music, locations, casting, and characterization are appropriate for a one-off movie.   Then there’s the clever humor of having a vampire arrive at his home to  “I’m Only Human.”  Even better, this home is a former movie palace with It’s a Wonderful Life on the marquee, signaling Nick’s haunting by the dream of many past lives, likely not all so wonderful.
On the other hand, Toronto works beautifully for the series, Forever Knight (1992-96), setting the stories in a unique locale that’s a blend of the old world lurking in the new, characteristic of that city.  The tone of the series is perfectly attuned to the eerie wryness of the era of The X-Files and the revived Outer Limits, with playful riffs on the cinematic vampire tradition. As a series, Forever Knight draws you into a community of the Gothic dark world and noir mean streets, but still a place where relationships shift and grow rather locating you in a stylized, neon-lit LA.  Not to say that the aerial shots of LA’s blue glow, to capture a vampire’s-eye view of the city, aren’t pretty darn nifty.
I find the characterizations and casting more compelling in the series, but of course a series gives more time for development.  Rick Springfield is good as a slick, cynically ironic, tough-as-nails but really decent detective/vampire, perfect for 1980s neo-noir.  Still Geraint Wyn Davies’ Byronic Nick has an emotional depth, an ability to reflect and regret and care, seasoned with a mischievous wit, that deepens his character.  Changes in the rest of the cast also prove more interesting in Forever Knight.  The supportive male coroner from Nick Knight is now played by the feisty Catherine Disher, and the romantic tension that bubbles up from time to time in Nick and Natalie’s friendship makes for an interesting evolution of the relationship that only the longer duration of a series better facilitates.  The movie’s Jeanette is a poseur at Continental finesse, whereas the series version of the character is an actual woman of the Old World (like Medieval France!), who is clever, witty, and definitely menacing.  Schanke is still kind of a jerk, but in the movie he’s just a jerk. In the series he’s smarter and less self-impressed. He actually becomes Nick’s friend. LaCroix is maybe the most interesting change, after Nick.  Nigel Bennett’s LaCroix in the series carries a wit and menace that leaves Michael Damon’s rather wooden interpretation in the dust.  Where Damon’s LaCroix is Nick’s age-contemporary, Bennett’s greater age and expertise lend an Oedipal twist to the relationship between master/mentor vampire and apprentice growing into independence. 
So, glad as I am that James D. Parriot did get his vampire tale made in 1989, I’m even gladder that he recast and relocated the project to give us a series with more depth and a greater Gothic feel.
For more info on the series and movie, check out: 
Forever Knight Forever
Lady Vamp’s Forever Knight Site
Nick Knight
Photo Credits:
DVD cover for Nick Knight:  (c)  1989 New World Television; 2003 Anchor Bay Entertainment
Forever Knight Skyline Promo:  Forever Knight Forever:  foeverknight.org
Images of Nick and Natalie; Natalie and Nick:  Lady Vamp’s Forever Knight Site, http://www.foreverknight.org/LadyVampKnight1228/home.html
If any violation of copyright has been inadvertently committed by my re-posting these images, let me know and I will remove them.

 

“My Smart-Talking Gal Mystery Heroine: A Joan Bennett Birthday Tribute”

“My Smart-Talking Gal Mystery Heroine: A Joan Bennett Birthday Tribute”

It’s only natural to honor Joan Bennett on her birthday by explaining her powerful influence on my writing. A lot of this influence goes back to my earlier years watching old movies. As a kid, I started out hooked on Bela Lugosi, Boris Karloff, and the rest of the stable of Universal and RKO horror films – God Bless Val Lewton! The mystery and otherworldliness of black and white film, the smart dialogue, the clever twists of plot that other forties and thirties film genres shared with horror lured me into a liminal world like a perpetual deep summer night. I was further captured by classic films’ biting wit, challenging plots, and independent women – especially in what I came to know as film noir. And who showed herself the queen of this world? Above them all, Joan Bennett.

I must admit that I first came really to know Joan when she appeared in Dark Shadows. Her Elizabeth Collins Stoddard was formidable, reminding me of my mother when I was in deep trouble. How could vampires, werewolves, and witches withstand her powerful, regal stare? Still, like my Mom, there was deep feeling and love for her daughter and her family. However, only in film did I discover Joan displaying one of the traits I loved best about my Mom: that witty, smart-talking-gal sense of humor. In outright comedy, Joan could drop a clever line with style and intelligence, but even in some of her darkest dramas that wit came through. What a delight to see her wield that humor to put firmly in their places anyone trying to crush or bamboozle her. In The House across the Bay, she undercuts a smart-mouth chorine who harangued her, “Cheep, cheep, cheep” with “Where’s the birdseed?” When the obnoxious woman tries to go after her physically, Joan rakes her over the coals with, “Just a minute, Miss Dimwit.  I was silly enough to apologize, but now that you want to make something of it, I’ll give you a good reason. You’re a phony, you’ve got a voice like four panes of cracked glass, and about as much appeal as a can of embalming fluid. I could go on, but that ought to give you a rough idea of how I feel about you.” Eight years later, when Paul Henreid tries to disparage her cynicism towards him in The Scar with a deprecating, “You’re a bitter little lady,” she puts him in his place with a world-weary but tough, “It’s a bitter little world, full of sad surprises, and you don’t go around letting people hurt you.” In The Man I Married, Joan’s not even daunted by Nazis, telling her husband-turned-fascist, “Heil heel” when he promises to dump her and take their son. Her feistiness isn’t limited to verbiage, either. Take a gander at this picture.
Like my Mom, Joan played women of wit, strength, humanity, and confidence – not just what the New York Times dubbed her gallery of “hydrochloric dames.”
So, in my twenties, when I decided to take my writing seriously than developing Victoria Holt knock-offs or spoofs of Dark Shadows, I turned to 1940s style mysteries to inspire my own adventures of romance, danger, suspense, and wit. Interestingly, as a writer influenced by film, I found I could better create distinct, believable characters by casting them as actors with whom I was familiar, blending their traits with some of the people I knew (including myself!). I also knew that I didn’t want my heroine to be wimpy, weepy, and inclined to faint in the final reel or pages, which, unfortunately, did often happen on the page or screen in the ’40s and ’50s. Guess who I saw as perfect for the role of Jessica Minton, a smart, independent, quick-with-a-quip forties gal? Someone who had a sensitive heart and a strong sense of responsibility, but didn’t take guff from anyone – and would smack said guff out of the ballpark with whip smart humor.
Surprise!
I do see a lot of myself in Jessica – and in Joan’s less nasty roles – or maybe an idealized version of myself, anyway. I know that mischievous banter with those I love and pointed barbs for those I don’t is something I share with Jess, which Joan plays to perfection. However, I doubt that like Jessica, I’d have the guts to hold onto a mysterious package left by a mysterious and handsome British stranger at the risk of being liquidated by Nazi fifth columnists – to disguise myself as a maid to get into a criminal’s apartment while he’s still there (!) to retrieve a gun used to frame a friend – to grab a gunsel by the lapels and threaten to turn him into a soprano if he ever threatened my cat again – to show up in a shadow-draped room and wittily bargain with a gun-toting femme fatale and her hired gun to trade stolen jade for my friends’ lives – or to slip into a cove and explore a beached and rotting ship while layers of ocean fog swept in around me. I might dare to weaponize a banana-cream pie, but I can’t guarantee my aim would be as good as Jessica Minton’s. I can guarantee you that any fans of our Joanie could picture her carrying off these adventures with verve and wit, though not without human trepidation.
Those of us who love Joan Bennett and appreciate her talents would also, as Sam Fuller writes, see her as “a sensitive actress” enough to also believe her playing Jessica’s distress at being torn between loyalty to an old boyfriend and to a new man who brings her adventure and love; a sister who gets annoyed with her older sibling’s foibles leading them into danger but sticking by her to the end (though not without a smart quip or two exchanged between them); a sweetheart waiting to hear news of a fiancé lost in the war, then a wife supporting her husband’s struggle with memories from that war. And Jessica loves her cat. I know Joan was a dog person, but heck, there’s still part of me in Jessica Minton. So, she’s a cat person!
Anyway, that’s all I’ve got to say on the subject, but if you’d like to take a peek at some passages from Bait and Switch or Letter from a Dead Man, click on the links on the titles and have fun picturing Joan working her magic as Jessica Minton. Oh, and by the way, I cast her sister Elizabeth as Rosalind Russell (and my sister-on-law). Can you imagine what a grand ride it would have been to catch Joan and Roz trading quips with each other, then marshaling their humor to take on Nazis, criminally corrupt American aristocrats, femme fatales, underworld crooks, and crooked cops? And I’ve got two more books on the way! Viva Jessica Minton and Joan Bennett!
If you love mysteries on the screen or on the page, especially centered on the golden era, click here to go to my web page where you can find lots of interesting stuff – including my Joan Bennett tribute page!

 

 

Photos: Author’s collections

Promoting Books, Meeting People, Having Fun

Once school was out- permanently for me now! – I had more time for readings/talks/signings.  One of my first events was the Local Author Book Fair in Worcester at the Wesley United Methodist Church.  This was a signing and chatting rather than a reading.  I had a wonderful time.   I met lots of new readers and also got to talk with many other local writers.  Jean Grant and I did a book trade, so I’m looking forward to reading her A Hundred Breaths this summer.   I also saw some old friends.  Kate Zebrowski, whom I know from my time at Worcester State, had the table next to mine where she was promoting her  time-slip fantasy Sleepwalking Backwards as well as her poetry. Tom and Barbara Ingrassia were at the other end of the auditorium with tables for their work as well – Barbara on copyright law and Tom with his “supreme” books on the Supremes (Reflections of a Love Supreme) and self-help (One Door Closes).  By the Bye, Tom’s One Door Closes is being turned into a film that is nearing conclusion.  Stay tuned for more on that!

 

In June, I returned to my alma mater where I earned my BA, then ULowell- now UMass-Lowell, to give a talk on becoming a published author through the school’s LIRA (Learning in Retirement Association) Program.  To my delight, the talk was at the South Campus (originally Lowell State), where I did all my course work.  We were in  Allen House, a beautiful old building on a rise overlooking the Merrimack River.  There are some wonderful views, as you can see from this photo that my cameraman and husband, Yang, took.
I can remember going to some receptions here back in the mid to late ’70s when I was an undergraduate- a child undergraduate, that is.  The place was entirely redone after having been abandoned for a long time after I had graduated – no connection.  The room I presented in was done beautifully in dark wood paneling with floor-to-ceiling doors looking out on a green and then down to the river.

 

The presentation was loads of fun, with a packed house and an audience who had great questions for me on my personal experiences as a writer and on the travails of finding a publisher and promoting my work. I especially loved sharing with the audience the powerful influence of filmed and written mysteries of the golden age and film noir on creating Bait and Switch and Letter from a Dead Man.  Of course, I made sure to give a tip of my mightily feathered hat to my favorite smart-talking gal Joan Bennett and her influence on the creation of my heroine Jessica Minton.  I also got some nice comments on my hat and suit!  The nylons with the seam up the back (from the WWII Museum in New Orleans) were a big hit, too!

 

What the heck am I thinking about here? It must have been some question  thrown at me?!
Look here.  I CAN walk and talk at the same time!  Thank God no one asked me to chew gum!  One bridge too far.
Interestingly enough, I also met some people who knew folk I with whom went to grammar school and high school!  And people laughed at my jokes, too!  So, the summer has started off nicely in terms of doing readings and such.  Now, it’s on to Pettee Memorial Library in Wilmington, Vt. on Saturday, 6/22.  Hmm, which hat and suit should I wear.  Any suggestions?

 

Passport to Adventure: WSU Writers Workshop

On Friday, April 26th, I had the pleasure of joining Lisa Lieberman in presenting the writing workshop “Passport to Adventure” at Worcester State University.  Like me, Lisa writes historical mysteries.  Hers follow the adventures and intrigues of Cara Walden from 1950s Hollywood to England and Italy (special guest appearance by Cary Grant!) to Hungary during the Revolution and soon to Indochina.  Lisa is also Vice President of Sisters in Crime New England.  In that role she’s been working to bring new blood, so to speak, into our organization.  This fun work shop is one means she is rolling out to do so.  I was happy that she asked me to join her.
To give you an idea of how fun and inspirational this work shop is, here’s Lisa’s description: “The Surrealists used to pool their money and buy a one-way ticket to the furthest destination they could afford. They’d send one person off on an adventure and they’d have to make their way back somehow, and tell the others all about it when they returned.  Along they way, they’d collect talismans that helped them navigate the dark places they encountered. In this workshop, we’ll be sending each of you off on an adventure and when  you get back, you’ll have the outline of a short story.”
Of course, we didn’t literally send anyone off ‑ that would be a really long workshop.  More pragmatically, we had a display of all kinds of intriguing objects from which participants could choose for the “talismans” or souvenirs. For a destination for their journey into the mysterious, we had them select one sealed envelope from an array, each with a different noir image to inspire their journey into creativity.  They had time allotted to get started on who one character in the image was and what his/her concern was.  Then, to spice things even more, I got to do individual tarot reading of past, present, and future of their characters ‑ which would aid them in thinking through where their characters had been, what conflict they were in now, and how that conflict might be resolved.  It was fun for me to give vague interpretations of the cards and then watch our writers run with them, already inspired by their images and selected souvenirs.  Wonderfully, the writers all seemed pretty well pleased with what they had come up with and planned to continue their tales.  One fellow even told me he had finished his short story and had submitted it to the Al Blanchard Short Fiction Contest.  Since he’s one of my students, of course, I’m pulling for him to win!
Our faculty liaison, Cleve Wiese was so excited by our endeavors, that he not only now has a story he wants to finish, but asked us to come back next fall to do the session with the WSU writers’ club INK.  Another faculty member wants us to do the workshop with his course The Writers Life in the spring!  And here’s the good news for everyone else out there!  Lisa and I would be delighted to come to schools or writers’ groups to do the workshop as well!  So let me or Lisa know if you would like us to work with you.  Once again, Sisters in Crime is out there making a difference for writers, published and unpublished!  Joining was one of the best decisions I ever made!

            

On the Road Again – In a Noir Frame of Mind

 

 

In between the raging blizzards of this spring, I was fortunate enough to be able to join some wonderful fellow mystery writers to promote our books and make connections with readers and neophyte writers.  The first such adventure took Yang and I to the far north (of New York, anyway) to Ithaca and Buffalo Street Books.  Here, my friend Lisa Lieberman and I presented “An Evening of Noir,” where we not only talked about our books but about the noir films that inspired us!  Lisa’s husband Tim created this gorgeous poster for our adventure.  Note that it features my favorite femme fatale and/or smart-talking gal, Joan Bennett!  Didn’t he do a superb job?!

 

 

Lisa and I had a fun program.  I had prepared a cd of background music to help create the mood of dark, mean streets; tough detectives; mysterious dames; and haunted pasts.  Our playlist contained  multiple versions of “Laura,” “Harlem Nocturne,” “Penny Blues,” “Drink Dirty Water,” “Peter Gunn,” and even Bruce Springsteen’s “I’m on Fire,” to name a few.  And, of course, we dressed the parts, with Lisa’s swanky mink stole and slinky mystery-lady dress and my Claire Trevor femme fatale black suit with  swag, complimented by  red velvet and black feathered cap.  Watch out Phil Marlow and Sam Spade!

 

We had loads of fun talking with our audience about the trademarks of film noir  and how they influenced our novels, especially in terms of specific films.  Lisa detailed how  her experiences in Hungary and the film The Third Man  inspired the tense and dark atmosphere and tight plot twists of her  Burning Cold.  I shared how the wit, surprising reversals, and slippery characters in films like The Scar; Murder, My Sweet; and Double Indemnity shaped the latest adventures of Jessica Minton in Letter from a Dead Man.  And both us ladies of noir had a great time sharing trivia and background about the filmmakers and writers of our favorite noir films with our audience.  We had such a wonderful time, we’re thinking of adding film clips and “taking  our act on the road”!

 

My other recent appearance was on a delightful panel, with an equally delightful name:  “Stealing from the Dead.”  This Sisters-in-Crime Panel took place at Atria Bay in Barrington, RI.  I was pleased to join Frances MCNamara and Steve Liskow for a fun presentation at the community.  Both writers have fascinating books, with Frances’s latest series set in early 20th century Chicago and Steve’s in Connecticut and New York concerning the brutal reality of human trafficking.  Do click on each of their names to check out their work in greater detail.  You won’t be sorry! You can see from the picture on the left that I had a wonderful time.  If you ever want to book a Sisters-In-Crime panel for your library, school, or other such group, you can contact Leslie Wheeler at the Speakers Bureau.

I also want to extend my thanks to Margaret Shand of Atria Bay for setting up the panel.  the audience had intriguing questions and great comments for us.  My thanks to Margaret for the photo at the top of the paragraph.

 

Yang took what is probably the best shot of me, below.

Tea and Mystery at Mrs. Bridge’s Pantry

Monday, March 26th, I had the delightful pleasure of being the guest of honor at the Tea and Book Club held every last Monday (fall through spring) at Mrs. Bridges Pantry in Woodstock, Ct.  It’s an exciting experience, where I join the book club for an evening of tasty comestibles and tea, then get to talk to them and answer questions about my writing – as well as sell some books! For good luck, I wore a beautiful navy and grey two-tone suit that Yang made for me, based on a pattern he created from a vintage outfit.  Of course, I couldn’t talk about my smart-talking gal, Jessica Minton, without wearing a pin that had once belonged to one of the original smart-talking gals, Joan Bennett!

 

 

 

 

Mrs. Bridges is set in beautiful rural Connecticut, just over the border from Massachusetts.  The tea room is in a rustic wooden building.  Every day of the week but Tuesday, you can journey there for lunch, dessert, and/or afternoon tea.  They have a wide selection of black, green, red, and herbal teas.  In fact, they are a major supplier for me!  I highly recommend you visit, as I and my husband or I and my girlfriends frequently do.  The people there are so friendly and fun, you’ll feel as if you are back with chums in no time.  As you can see in the layout for the evening’s tea, there is a homey, lovely dining room.  Further, you can find on the other side of the building all kinds of teas, china, and tea-related items for sale – including Bait and Switch and Letter from a Dead Man, the perfect accompaniment to a nice cuppa!

 

 

I had a wonderful time talking to the regulars in the club about my love of mysteries from the golden age, both on the page and on the screen, and the cinematic inspirations for many of the characters in my novels.  It was also fun to talk about how evocative settings don’t just inspire a writer; they can drive you to use that place creatively.  The folks had stimulating questions about how I found time to work, did I write by the seat-of-my-pants or did I have a fully formed plot at the start,  how long it took me to complete work on a novel, or how I researched locations and events. In answer to that last point, I had fun telling them about going to New York City to test out one of Jessica’s hair-raising escapes, myself.   You’ll have to read Letter from a Dead Man to find out how it works out. Here’s a hint – it involves the lions in front of the New York Public Library.  And speaking of Patience and Fortitude (the lions’ names), it turns out that a brother and sister there that night were descended from the man who ran the business charged with moving them to the library.  Small and intriguing world, isn’t it?
It was fun to renew old acquaintances and make new friends amongst the book club folks that evening.  It was also lovely to work with Hope, who runs the Tea/Book Club, and Amber, who was our waitperson for the evening – constantly and patiently supplying me with Irish Breakfast tea!  I have a picture here of Hope and I together, but I forgot to get one of Amber.  Shame on me!  If you live in the area, check out the Tea/Book Club.  For $15.00 you have a  delicious evening  (homemade soup, tea sandwiches, dessert with homemade jam, and unlimited tea), as well as the chance to meet and talk with interesting authors (like me!).  Or just stop by Mrs. Bridges for lunch or an afternoon snack – and pick up a copy of Bait and Switch or Letter from a Dead Man while you’re there!  Dusty would approve!

 

Launching Letter from a Dead Man

Saturday, 11/18/17, Letter from a Dead Man got its official launch at The Booklovers’ Gourmet in Webster.  What a wonderful experience!  There was a nice turnout of friends, colleagues from school, fellow writers, students from WSU, and even new people I didn’t know yet.  As usual, Deb Horan had the room set up beautifully, and we all had the opportunity to partake of some yummy comestibles and beverages.  I smoothed out my vocal cords with a tasty pumpkin latte – ’tis the season!

 

We all started off by chatting about writing, teaching, and the inspirations for my 1940s-style mysteries, especially how I like to cast my characters as  favorite actors from the era: Joan Bennett and Rosalind Russell as the smart-talking Minton sisters, Lloyd Nolan as the tough-guy henchman, and Claire Trevor as the ultimate femme fatale, for example.   Interspersed with these points, I did some readings, which I’m happy to report, people found tense and intriguing.  I gave them a scene where sisters Jessica and Liz have to face off against the threats of the femme fatale’s menacing torpedo – without giving away what mysterious object he held in his hand that would prove a vital pivot for the plot.  I later read from the scene where Jessica had to flee and seek refuge from deadly pursuers behind one of the lions in front of the New York Public Library. This led to a discussion of Dead Man’s cover and the fun story where I went to New York with Yang to “test” out the scene of Jessica’s flight.

 

I was fortunate that two of my Sisters In Crime, Lisa Lieberman and Leslie Wheeler, joined me.  The three of us bounced questions and comments off one another to give the rest of the audience insights into the sources of our ideas, how we write (outliners or seat-of-our-pantsers), how we overcome writer’s block, and how good editors or writers/readers groups challenge  and inspire us to overcome obstacles in the way of getting the right words on the page and those pages into print.

 

 

Speaking of reading/writing groups, one of the posse who keeps me on my toes, my friend Judy Jeon-Chapman, was able to join us. Not only has she given me great feedback, but  there were days when she’d needle me every night to get her more chapters to calm the suspense I’d enkindled with my writing.  So, as a reward, I worked her into the third story (yet to be published)  as I was editing it!  Several of these pictures even came from her.

You can see how enthusiastic I am about talking writing here.   I also love Leslie’s “Crime Scene” scarf!

 

Maybe the best part of the day was getting to spend time with old friends and colleagues whom I hadn’t seen in a while, like Rini Kilcoyne and Jim Foley from Worcester State.  I so much appreciate how these folks support me and the good friends and coworkers they have been over the years.  I’m a lucky gal!

 

 

 

 

 

Here’s a picture of my favorite supporter!

Maybe I shouldn’t be charging him for the books?

Holiday Noir

So, Christmas noir?  The opening of a lively chorus caroling and holiday cheering over Christmas cards displaying the credits evokes holiday spirit, except litl_c-0-1080-0-0there’s always just the slightest manic edge to their liveliness creating a noir frisson.  Then the chorus ends in a startled drop as the last card slips away to reveal a gun.  Click here for a Silver/Ursini commentary on the opening.

You have holiday parties, mistletoe, presents that give away true intentions, mixed with a disappearing adulterous wife, her charmingly sleazy actor boyfriend, her sophisticated and two-faced husband, a high-class gold digger of an assistant publisher, a brutal and p1969_p_v8_aaprobably crooked cop, and a high strung mystery woman.  Leon Ames is at his most smarmy-charming as the husband, Audrey Totter is tart as a Granny Smith as the assistant, Lloyd Nolan is at his menacing and slightly psychotic best as the cop, and Jane Meadows is positively manic.  I needed a sedative after five minutes of her.  Bob Montgomery’s Philip Marlowe wasn’t bad, but he wasn’t my favorite.  He was smart and wary, but he was also a little too full of himself – especially when putting down Audrey Totter’s publishing executive.  Lloyd Nolan wasn’t the only one who wanted to slap him around.  And speaking of Lloyd, the character he plays here went a long way to inspiring one of the characters in the sequel to Bait and Switch,   Letter from a Dead Man.

I just love the great Chandler names:  Muriel Chess, Adrienne Fromsett, Derace Kingsby, Mildred Havilland, Chris Lavery, and Det. Degarmot – they just roll off your lady-in-the-lake-movie-titletongue.  But they’re real names, too, with the quirkiness you find on class rosters or employment lists.  Spolier Alert for people who speak French:  The actress playing Crystal Kingsby is listed as Elay Mort (Elle est morte.)

The plot’s a convoluted, dashing sleigh ride but it’s worth the trip.  Have fun!

Here’s a link to a trailer for the film.

If I have time, I’ll try to review some other Christmas or Holiday noir, like Coverup, Lady on a Train, Repeat Performance, or The Thin Man Goes Home.  Otherwise, there’s always next Christmas – with any luck!

collection of Lady in the Lake title cards: http://annyas.com/screenshots/updates/lady-in-the-lake-1947-title-sequence/

poster:  https://www.google.com/imgres?imgurl=http://www.gstatic.com/tv/thumb/movieposters/1969/p1969_p_v8_aa.jpg&imgrefurl=http://google.com/search%3Ftbm%3Disch%26q%3DLady%2520in%2520the%2520Lake&h=1440&w=960&tbnid=QS6aVEtEp-I23M:&vet=1&tbnh=186&tbnw=124&docid=E4FjWx9Gi_vlZM&itg=1&usg=__KVBoURWNv4fAKtZKjVPaG8cgtzY=&sa=X&ved=0ahUKEwja3L3RgInRAhVojlQKHXOOBc8Q_B0IcjAK&ei=imhcWNrvLuic0gLznJb4DA

River Hawks Bookstore Lowell – Reading on My Old Home Turf

 

So, on May 28th I gave my final reading of the month at my alma mater’s bookstore, River Hawks.  It wasn’t exactly a trek back to Tara, but it was a wonderful experience for seeing so many old friends at UMass Lowell.Lowell4

First of all, the day was a scorcher:  in the 90s!  Of course, I had to have a hot cappuccino before my performance!  Thank God this place is air conditioned – but the nice, comfortable kind of air conditioning, not the Arctic temps that make polar bears shiver, which you find too often once May rolls around.  Lowell5Here, I’m sitting, looking over my notes and finishing my coffee in the lobby.  The building is really nice, with lots of windows and airy space.

Ham bone that I am, I had to get a picture of myself with the display for my book! Lowell1 The young woman clerking at the counter was nice enough to do the honors.  Like the dress?  Yang made it for me by copying a vintage dress I’d bought on Ebay.  This way we get the beauty of authentic vintage design combined with the convenience of material you can hand or machine wash!  There’s not much he can’t do:  from using physics to move boulders to building an oxygen R08chamber for a kitten recovering from double pneumonia.  Note the luxurious quarters:  litter box, bed, blanket, toys, and inspiring pictures (Rosie the Riveter, Rosalind in AYLI, and Rosalind Russell).

Before the session, I had a nice chat with Abbey and Christina, who had taken charge of setting up the space for me.  As you can see from the pictures, it’s a great area for doing a reading.  Lowell7What I could really kick myself over is that I had such a wonderful time seeing old friends that I forgot to have my entourage (Yang) take any pictures of folks.  Damn! Not even a group shot!  So, who’s on the red – or here royal blue-  carpet?

Sue Thorne-Gagnon and her husband Bobby were first to arrive.  Sue and I were at ULowell together at the same time, but darned if we never met until years later when we were working at BASF systems before we both went back into teaching.  She’s a wonderful teacher and flutist.  Next came Lisa McCarthy and her daughter Hedda.  I’ve known Lisa since the late seventies, and we’ve been through everything together from rambles around Boston, hikes through the woods, and Star Trek conventions.  My nephew Phil and his wife Steph also appeared on the scene.  Steph is responsible for addicting me to Psych; Monk; Murder, She Wrote; and Miss Fisher’s Mysteries.  Can I get her hooked on Murdoch?  Steph is a teacher and Phil is a filmmaker – check out his co-production of My Name Is Jonah.  When he and his older brother were kids, Sharon&GeoffI used to hold them under the arms and swing them in a circle, which they loved.  Now they can do it to me, but not at the reading. Here’s a picture of my giving Geoffrey a whirl.

After the reading started, I was so excited to see, first, Barbara DeMeuth then Mary Lou Beausoleil slip in!  These guys have been my friends since grammar school!  Clearly, they have much forbearance.  It was fantastic that they came to support me!  Barb is actually my oldest friend – not in age but in duration.  We met when we were going into the fifth grade.  Mary Lou is only a few months behind.  But we can’t get together as much as we’d like, so it was fantastic to catch up!  Mary Lou was one of the earliest readers of one of the earliest versions of Bait and Switch – and she still came, anyway!  Barb and I have managed to stay in touch on the phone or over an occasional lunch lo! these many years.  Both have wonderfully wicked senses of humor!

It was an absolute delight to see people I care so much about, and who showed me they cared by being here to share in the success of Bait and Switch. And thanks to Maria Shusta, Christina, and Abbey at River Hawks for doing a wonderful job of setting everything up for me and making the day run so smoothly.

So, if you’re a friend from the Merrimack Valley, old or new, who missed the reading but still would like to get Bait and Switch, they have copies awaiting you at the Dusty1River Hawks Bookstore, 220 Pawtucket Street, Lowell.  Dusty from Bait and Switch will be watching for you.