Who was Eunice Gray, author of the spicy 1959 ‘romance’ Steffi?
Don’t ask me. You can find several Eunice Grays, one an author but surely not of a novel like Steffi. Another was a scientist, another the proprietor of a turn of the century (19th to 20th, that is) bordello, of all things.
There are more, but I’m not convinced any are the Eunice Gray (if that’s not a pen name) who lucked out with this saucy Clement Micarelli cover art. I’m supposing Micarelli referred to the frequently seen publicity photo of Swedish actress Anita Ekberg (1931 – 2015) in lieu of a model for Steffi’s gouache illustration, but if not, it’s uncanny how similar the poses are.
Several consecutive posts in early August talked about Henry Kane’s late 1950’s ‘stiletto gumshoe’, Marla Trent, the “Private Eyeful” (link below). The paperbacks were graced by cover art from postwar illustration greats like Robert Maguire and Mort Engle, but I did once have a hardcover with much simpler (and a little less leering) art by Denis McLoughlin, which in its way was all the more striking.
British artist Denis McLoughlin (1918 – 2002) was as much a graphic designer as an illustrator, doing spot illustrations for a mail order catalog firm when WWII broke out and he became a gunner at a suburban London Royal Artillery Depot. There he was also ‘drafted’ to do officers’ portraits and produce murals around the base. After the war, McLoughlin began a long association with UK publisher T.V. Boardman, Ltd., his book cover work what he’s best known for, though he also did many magazine illustrations and even worked in comics. Fascinated by the swiftly evolving photo-mechanical color separations processes, McLoughlin was known for eking out striking results with limited colors, something pretty foreign to contemporary designers and illustrators working in a CMYK digital environment.
Like many of the unsung heroes of the postwar commercial art world, Denis McLoughlin was all too often underpaid for his efforts. In his case it meant being forced to work way past retirement age. Tragically, his eyesight faded in his 80’s, Soon, he began to lose dexterity in his right arm. Fearing he’d be unable to draw and paint, Denis McLoughlin committed suicide using a studio prop pistol that only had one bullet in it.
I’m not the world’s biggest James Bond fan, with mixed feelings about the original 1950’s-60’s Ian Fleming novels, favoring the first three Sean Connery films over all others, and with (you can yell at me and throw things now) the first Pierce Brosnan film, Goldeneye, coming in next. But not being the world’s biggest fan doesn’t mean I’m still not on board for all of them…well, except for the Roger Moore films. Sorry, I just cannot get into those.
Planned for a Spring release, but delayed like everything else in our pandemic world and now headed our way (we’ll see) this November is the 25th: No Time To Die. Ana De Armas strikes some lethal poses as CIA agent Paloma, a “Bond Girl” though not 007’s love interest, or so I’ve read.
I can’t call Nancy Guild (1925 – 1999) a Noir Princess, but she did star alongside George Montgomery in The Brasher Doubloon, the 1947 film adaptation of Raymond Chandler’s 1942 Philip Marlowe novel The High Window (see the preceding post). Guild may not have had the shortest Hollywood career, but close it, and her eight-movie resume’s a peculiar mix of a truly good films and real clunkers like Abbott & Costello Meet The Invisible Man and Francis Covers The Big Town (Francis being Universal’s popular talking mule). Basically, she knocked out one film per year between 1946 and 1953, then simply left tinsel town for wedded life, only occasionally appearing on television in the late 1950’s and doing one final film role in the early 1970’s.
But check out The Brasher Doubloon, a darn good postwar noir and a respectable Chandler adaptation. Nancy Guild (her last name rhymes with ‘wild’) acquits herself well as a sometimes fetching — sometimes frightening secretary to a wealthy woman seeking the return of a valuable collectible coin from her deceased husband’s collection. Some consider The Brasher Doubloon the most ‘gothic’ of the Phillip Marlowe movies, and both of its often overlooked stars, George Montgomery and Nancy Guild, deserve to be seen.
There’s not much reason to be familiar with Racine, Wisconsin. Unless you’re a fan of old-time radio shows, that is, and remember Fibber McGee & Molly’s sponsor, the Johnson Wax company of Racine, Wisconsin (S.C. Johnson today, mega-corporate marketers of Windex, Pledge, Glade, Drano, Saran Wrap, Raid, Ziploc bags, Off and many other branded products probably lurking somewhere around your home). There’s a chance if you attended college anywhere from Chicago to Milwaukee that you might’ve taken a field trip to the Frank Lloyd Wright designed S.C. Johnson corporate campus for an architecture class. But that aside, Racine has been eclipsed lately by its small city/big town neighbor just a short hop down the road, Kenosha Wisconsin, which has been in the news much more than it would like.
I’ve been to Kenosha and Racine and all points in between Chicago and Milwaukee, that 100 mile+ stretch along lower Lake Michigan’s western shoreline, more or less one continuous metro area straddling two states (even been to that diesel-punk shrine S.C. Johnson campus numerous times on day job chores). But I never expected to see Racine mentioned in the pages of Mystery Scene magazine, much less to learn that one of my wordsmith heroes resided on the north side of that town for a year and half back in the mid-1960’s.
With his writing career briefly stalled, Lawrence Block (a name mentioned often enough here at The Stiletto Gumshoe) found himself relocating from Buffalo, New York to Racine, Wisconsin for a year and half, working a regular day job at Whitman Numismatic Journal (numismatics being coin collecting). The job offer was based in part on one particular 1964 article Block wrote: “Raymond Chandler And The Brasher Doubloon”. That essay (also available in Block’s collection of non-fiction pieces, Hunting Buffalo With Bent Nails, 2019), is reprinted in the latest Fall 2020 issue of Mystery Scene magazine, and it’s an intriguing read for Block fans and Raymond Chandler enthusiasts alike. Whether you know Chandler’s story from his 1942 Philip Marlowe novel The High Window or the 1947 film adaptation (the second, actually) The Brasher Doubloon with George Montgomery and Nancy Guild, do check out Block’s essay.
This Fall 2020 Mystery Scene issue is full of the usual tasty stuff, including all the new book release ads and reviews, some of which I’ve added to the orders refilling the writing lair’s to-be-read endtable. But there’s more, of course, like Pat H. Broeske’s excellent (but all too short!) “Love On The Run” article, which takes a look at some of the many Hollywood films inspired at least in part by the notorious exploits of the real-life Bonnie Parker and Clyde Barrow, including Joseph Lewis’ Gun Crazy (1957), Arthur Penn’s Bonnie & Clyde (1967) naturally enough, Nicholas Ray’s incredible They Live By Night (1948) and others. They Live By Night is a particular fave of mine and overdue for a fresh viewing soon. It’s odd that such a noir classic is mostly seen in cheesy omnibus disk set editions found in bargain bins. If you haven’t seen this one, perhaps Italian illustrator Averardo Ciriello’s gorgeous film poster art below will send you off to find this incredible piece of doomed, dark romance with Farley Granger and Cathy O’Donnell. The faces Ciriello painted for that poster are truly haunting.
As for Mystery Scene magazine, go get your own copy of the Fall 2020 Mystery Scene now…
Jane may be a man-hater, but only because she’d been jilted by her high society beau. So, she set out to punish all men, or so her story goes in “Man-Hater” from a 1953 issue of All True Romance.
The art’s by the Iger Shop, headed by Sam Iger (1903 – 1990), originally the Eisner & Iger Studio (that’d be comics icon Will Eisner). She got another whack at the chumps when Jane’s story was reprinted forty years later in a 1994 issue of Terrible Romances from New England Comics.
Don’t let a noir protagonist’s quirky name fool you. Will Christopher Baer’s Phineas Poe is not Auguste Dupin or Hercule Poirot. Hell, he’s not even Mike Hammer or Jessica Jones. The mean streets of Manhattan or L.A. have nothing on Phineas Poe’s darkest nightmares. If you want to read something uplifting – or at least reassuring – move on. The closest familiar comparison I can offer you to Baer’s three Phineas Poe novels would be Peter Medak’s unrelentingly dark (and almost surreal) 1993 neo-noir thriller Romeo Is Bleeding, scripted by Hilary Henkin.
Baer’s Phineas Poe is a former cop and drug addict fresh from the psych ward and promptly mixed up with Jude, a classic noir femme fatale who abandons him (and I won’t tell you precisely what he discovers has occurred when he awakes to find her gone), and his tortuous, violence filled quest to find her – to reunite, to rescue her or to seek revenge – takes Poe on a dark journey through drug induced dreams and violent episodes populated by two-bit crooks, Goths, hackers, sociopaths and killers. It all plays out in a nightmare landscape that may be Denver, Colorado and desert-noir Texas, but is more like Dante’s nine circles of hell. Sound like fun?
It is. Oh, it really, really is.
There are three Phineas Poe novels: Kiss me, Judas (1998), Hell’s Half Acre (2000) and Penny Dreadful (2004), each readily available individually both new and used and also conveniently offered in three-novel omnibus editions. The reader may take a while to adjust to Baer’s writing style, its rapid-paced yet surreal language and almost bratty taunting with ‘normal’ structure, punctuation and grammar. But a few pages in, Baer’s dark poetry will have you hooked, and structural norms largely forgotten.
I was shocked to discover Baer’s Phineas Poe books (individual editions and one omnibus…I’m not a collector but always acquisitive) missing from the writing lair’s too-many and overstuffed bookcases, presumably squeezed out by new additions at some point in recent years. Shame on me. But that’s a mistake that’s easily rectified. I have Greg Levin’s Criminal Element article “12 Neo-Noir Authors Too Good Not To Be Crazy Famous” (see the preceding post) to thank for prompting me to look for my Baer books and to order new ones right away. There’ll be other new books ahead of Baer’s Phineas Poe trilogy, but now I can’t wait to get really weirded out all over again.
The to-be-read pile on the writing lair’s endtable looked ready to topple over by late August, mystery/crime fiction titles strangely absent in the imposing stack. Though I expected late Summer to be short on reading time (due to day job and daily life stuff rudely intruding) I’ve managed to work through most of the heap, from a depressing list of current events/politics titles to Isabel Wilkerson’s Caste – The Origins Of Our Discontents, and winding up with a real change of pace for me, Lisa Morton and Leslie Klinger’s new anthology Weird Women – Classic Supernatural Fiction By Groundbreaking Female Writers 1852 – 1923. But even while I whittled the pile down, I’d phoned in over a dozen new books to the local indie for curbside pickups, ordered a few more direct from their specialty press publishers, and still more – ‘pre-owned’ books and POD-only editions – from the Seattle behemoth. Some of these are showing up quicker than expected, the to-be-read pile re-growing quickly.
‘Course, that doesn’t mean I can’t always make room for more…
Linked via Crime Reads, Greg Levin’s 9.9.20 “12 Neo-Noir Authors Too Good Not To Be Crazy Famous” at Criminal Element (link below) was just what I needed to help with the replenishing. Levin looks at a dozen edgy contemporary noir writers, like Sara Gran, one of my faves, though as much as I love her Claire DeWitt series, her third novel Dope (2006) eclipses even those for me and remains one of my all-time beloved books. Craig Clevenger, Lindsay Hunter, Holly Goddard Jones and others have spent time on that same to-be-read pile in the past, and Levin’s article prompted me to add a couple of them to my current book ordering frenzy (have to get ready for Autumn, don’t I?) even if they’ll be re-reads. But in particular, Levin prompted me to look at Will Christopher Baer, maybe the darkest on his neo-noir list, and for me, way overdue for a re-read. More about Baer’s magnificent Phineas Poe novels in the next post…
More from some anonymous residents of the “Tomb Of The Unknown Illustrators”: Three B&W interior illustrations by (sadly) unidentified artists from the November 1942 issue of Spicy Detective Stories, including “Too Many Clubs” by John Wayne (I’m assuming it wasn’t The Duke) above, and below, “Riddle In Red”, a Robert Leslie Bellem Dan Turner – Hollywood Detective story, and “Dead Girls Can’t Talk” by John Ryan.
Some examples of Egyptian photographer, artist and filmmaker Yousseff Nabil’s hand-tinted gelatin prints shown here, much of his work intended to evoke the look of old Egyptian films he saw in his youth. I’ve tried my hand at had tinting B&W prints with oils, the results pretty tragic, and have to marvel not only at his lens work but his deft hand with the subtle and effective coloring. I believe these come from Nabil’s 1997 “Sweet Temptation: Cairo” series.