More From Bertil Hegland

Bertil Hegland 1

A few more examples of Swedish artist Bertil Hegland’s mystery/crime fiction cover art, the illustrator’s career tragically cut short at age 42 when an accident caused him to lose the use of his hand. Look for the preceding post for more examples of Hegland’s work.

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A Career Cut Short: Bertil Hegland

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Bertil Hegland (1925 – 2002) was a Swedish illustrator known in the Scandinavian market for popular children and teen book series covers — including the Nancy Drew series (apparently called “Kitty”) — as well as hard-boiled mystery and crime fiction covers. Initially an advertising illustrator, Hegland migrated more and more to publishing. By the late 40’s and still only in his mid-twenties, his main clients were book, digest and magazine publishers.

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But at only 42, Hegland was the victim of an unfortunate car battery accident that severely injured his hand, to the point that he could no longer draw. Apparently, he gave up art altogether at that point. Whether his hand was crushed by a battery (they can be pretty heavy) or it exploded (which we’re often warned about) isn’t clear.

You can point out that Mickey Spillane, James Hadley Chase, Peter Chaney and other writers’ work was packaged in more handsome cover art in the U.S., UK and elsewhere, and I won’t argue. Publishers in smaller markets deal with substantially shorter press runs and surely looked for proportionately smaller fixed upfront costs. Many encouraged illustrators to freely ‘adapt’ U.S./UK covers, and you can see that at work here with some of Hegland’s illustrations.

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Biographical info is spotty at best on Bertil Hegland, and most of that in Swedish, which I can confirm translates pretty poorly in standard online translation. Check the next post tomorrow for additional examples of Hegland’s work.

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Love, Libel And Murder

Invasion Of Privacy

“He was head over heel – in love and libel and murder…”

Illustration by Joe Bowler for Harry Kurnitz’ “Invasion Of Privacy” from Collier’s magazine, 1955.

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And I Haven’t Read A Single Story Yet.

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It’s over a month ago that I reserved a copy of Otto Penzler’s The Big Book Of Reel Murders – Stories That Inspired Great Crime Films, warned at the time that it might not arrive till mid-November. In fact, I got it almost two weeks ago and have been burrowing through this nearly 1,200-page monster of a book since.

And yet – so far, I haven’t actually read a single story.

The Big Book Of Reel Murders

Each of the 61 stories by writers like Robert Bloch, Ian Fleming, Dashiell Hammett, Dennis Lehane, Sinclair Lewis, Daphne du Maurier, W. Somerset Maugham, Budd Schulberg, Cornell Woolrich and others was the basis of a mystery/crime/noir film. Some you’d know, of course. Some, perhaps not. (I’d never heard of a few!) The movies inspired by the anthology’s tales include Woman In The Dark (1934), The Big Steal (1949), Fear In The Night (1947), Gun Crazy (1950), Tip On A Dead Jockey (1957), Mr. Dynamite (1951) and many others — some stills, publicity shots and posters for those shown here with this post.

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Many anthologies seem to be hastily put together, with little more than a brief genre celebrity preface, editor intro and — if the reader’s lucky — author bio’s. Not this book. Each of the 60+ stories are preceded by a two or three-page introduction providing author, story or publication background info, plus details and anecdotes about the film inspired by that story. Add it up: These intro’s almost form a book on their own, with the insights into familiar films being informative treats, the others being prompts to hunt up the movies as yet unseen.

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Oh, I’ll go back and read the stories, of course. The Arthur Conan Doyle, Robert Louis Stevenson, Edgar Allan Poe and Agatha Christie tales I already have elsewhere and have read more than once might be skipped, but there’s some choice material in this big book. And though it might seem a little weird, some of the choicest content is actually the story introductions, as much as the stories themselves.

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You Have Killed Me.

You Have Killed Me Cover

Cold and windy under nonstop pouring rain, last Saturday would’ve been a good day to stay indoors. But I ventured out to pick up a current events book reserved at the library (there being a current event or two to keep tabs on these days). The local public library’s a bit lean on actual books, but is well appointed with comfy reading nooks, plush seating and even a fireplace. Almost ready to check out, Jamie S. Rich and Joelle Jones’ You Have Killed Me caught my eye on the graphic novel section’s endcap. I have it, of course, being an ardent Jones fan. Still, I paused to flip through the 2018 trade pb edition of this 2009 graphic novel anyway. Before I knew it, I’d dropped into one of those fireside chairs to reread this yummy bit of retro noir fun from cover to cover before dashing back out into the rain.

You Have Killed Me Art

Some will holler cliché. Me? I see nothing but classic noir and hard-boiled genre tropes lovingly celebrated in Rich’s story, a smooth flowing piece of work that reads like a period-perfect screenplay for a 1940’s-50’s noir. As for Joelle Jones art? Fans might be surprised to see some softer lines and curvier faces here and there, but it’s still Joelle Jones’ brilliant, stylized draftsmanship throughout, and an excellent chance to see where she was ten years ago. The pair make an excellent team (as seen since on Lady Killer, for example) in this tale of hard luck P.I. Antonio Mercer, hired by wealthy and beautiful Jessica Roman to locate her sister Julie, who’s gone missing on the eve of her society wedding…the missing Julie also Mercer’s one-time lover. But family dramas and messy love affairs are the least of Mercer’s problems once he begins to tangle with gamblers, gangsters and hard-assed cops in jazz clubs, racetracks and roadhouses. Any savvy noir fan will smell a rat – or at least an untrustworthy femme fatale – early on, but even the savviest may not be ready for what really happened to the missing sister. Trust me: This one’s a treat.

Sure, I got soaked on my way back to my car. But I did get the political rant hardcover I’d reserved a week earlier (just to drive myself nuts) and had a good time savoring Jamie Rich’s wordsmithing and ogling Joelle Jones art, both every bit as tasty today as ten years ago when the book came out.

 

Mark of The Vampire.

Inside Detective - Mark Of The Vampire April 1939 copy

Mark of The Vampire? No, it’s not a feature on MGM’s 1935 Todd Browning film with Bela Lugosi donning the black cape (only the second time onscreen, I think).

This “Mark of The Vampire” is from the 1939 issue of Inside Detective magazine with cover art by illustrator Albert Fisher, and is a lurid ‘all-true’ story about an Oakland, California ‘vampire killer’, his victim found in a lovers lane.

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I’d been planning on something goofy for later Halloween evening, once the trick-or-treaters stop ringing the bell, that is. Instead of watching creepy classics (and I have a few on DVD), maybe just a horror comedy like Victoria Justice in The Boy Who Cried Werewolf (what, you don’t have any guilty pleasures?) or perhaps the first Elvira movie with…well, Elvira, of course.

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But I know I have MGM’s 1935 Mark of The Vampire lurking somewhere on my shelves. Bela Lugosi, ultra-creepy Carrol Borland as his vampire daughter Luna, the two Lionel’s – Barrymore and Atwill – as an investigator and police inspector in a mid-1930’s visual delight of gothic eeriness, despite Todd Browning’s insistence on inserting intrusive comedic bits that really…just…aren’t. Originally titled The Vampires of Prague, adapted from Browning’s silent era London After Midnight (the Holy Grail of lost silent era films) and based on a scenario by Guy Endore, the film deals with the death of a Bohemian nobleman, apparently a victim of Count Mora and his daughter Luna, the local vampires. But near the film’s end, it’s all revealed as an elaborate ruse to catch a very human murderer with his eye on the victim’s daughter. I’ve never decided if Todd Browning was a genius or a hack (most likely a little of both) but the man sure could set up some stunning visuals, and Mark of The Vampire, for all of its flaws, is classic horror eye candy.

Hmmm…I could go gloomy and gothic instead of ‘goofy’, couldn’t I?

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Pulpy Vampire Noir

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Happy All Hallows-Eve-Eve. Doesn’t quite look like Halloween hereabouts today. More like Xmas-Eve, with the snow falling this morning.

The preceding post looked at the “blurred lines” between horror and noir, as addressed by Zach Vasquez in a 10.29.19 Crime Reads article. Crime and horror often go hand in hand, with some ‘suspense’ novels more accurately billed as horror and some horror novels devoid of anything remotely supernatural but chock full of grisly stuff being done by sadistic crazed criminals. ‘Noir’ and horror can intersect, sharing hopeless quests, battles between indistinct shades of good and evil, shadowy figures in long cape-like coats emerging from the fog and evil seductresses tricking fools into (figuratively, at least) selling their souls.

Within the horror genre, vampires seem to be cyclical, dominating bookshelves and movie screens for a stretch, only to crawl back into their coffins to lay low till agents, editors and readers crave them once again after overdosing on the traditional castles-capes-n-fangs crowd, twinkling puppy-love teens, undead zombie style ghouls and various (and seemingly countless, at least in the E-book and self-published scene) sex-crazed vampiresses who prefer to do their imbibing in bed. Naked. Or, gussied up in period lingerie inevitably described in infinitely minute detail.

Oh yeah, and usually with another woman. (Don’t blame Joseph Sheridan LeFanu, blame those 1970’s Hammer movies.)

If “The Stiletto Gumshoe” is a home for quirky noir culture, there’s also a fondness here for most things retro-pulpy, so let’s peek at P.N. Elrod’s (Patricia Nead Elrod) The Vampire Files series, where hard-boiled meets horror, with vampires, no less. Elrod, a writer with a truly prodigious output in horror, fantasy, gaming tie-ins and more, wrote an even dozen titles in this series, I believe, the first published nearly thirty years ago. No, make that twelve and a half – I spotted a self-published version of The Devil You Know from Elrod’s own Vampwriter Press.

The Vampire Files novels are set in 1930’s Chicago (in the beginning), where ace newspaperman Jack Fleming must solve a murder in the first book, having awoken as a vampire after a gangland slaying. As in, his own. Ultimately, Fleming becomes a kind of undead hard-boiled private investigator (later a nightclub proprietor) aided by human pals and his new girlfriend Bobbi as they grapple with various mysteries, mobsters and supernatural villains, with a crew of determined vampire hunters always on his tail.

I no longer have any of Elrod’s books on my shelves, but if I recall, I had two or even three of The Vampire Files books at one time, including the first. Ace published new editions in 2010-2012 or thereabouts, with five volumes combining multiple novels from the original series in each. As I write this, I’m making a mental note to either track down some used bookstore originals or to order up the re-issued versions. As I recall, they were fun reads, with a good mix of supernatural vampiric-ness and retro-pulp style hard-boiled crime fiction, all punctuated with bits of wry humor.

Vampire detectives have been done by others, of course, particularly on television. Canada’s Forever Knight starring Geraint Wyn Davies ran from 1992 through 1996, based on a dropped 1989 CBS pilot starring Rick Springfield, and had a late-night cable run in the U.S. before going into syndication. I’m sure I’ve seen episodes on one of the many cable rerun channels (there are a few of those, aren’t there?). Blood Ties (2007 – 2008) originated in Canada as well, airing on Lifetime in the U.S., based on Tanya Huff’s Blood Books series and starring Christina Cox as a former Toronto cop turned P.I. who’s teamed up with a vampire. Moonlight (2007 – 2008) was a CBS prime time series starring Alex O’Loughlin as a private eye turned into a vampire. I’m sure there are more, and more vampire-as-investigator books and book series that I’m not mentioning here. P.N. Elrod’s Vampire Files deserved being singled out, its familiar retro crime fiction turf a good fit for The Stiletto Gumshoe’s world.

Now, get back to work on your Halloween costume.

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The Lady Is A Witch.

Startling Stories Earle K. Bergey

It’s almost Halloween, so let’s get witchy with an impractically attired sorceress perched on her flying broom for Norman Daniels’ “The Lady Is A Witch” from the March 1950 Startling Stories pulp magazine.

The cover illustration’s by Pennsylvania artist Earle K. Bergey (1901 – 1952), who’s better known for fetching female space adventurers who — like our witch here — tended to be on the scantily clad side. I’ve read that his many sex-i-fied sci-fi sirens, who often sported inventive metal breastplates of one sort or another, were the inspiration for Princess Leia’s ‘slave girl’ costume from Return Of The Jedi. True or just online myth, who knows?

Norman Daniels’ complete novel appeared in this nearly 70 year-old pulp with interior illustrations by famed fantasy pulp artist Virgil Finlay.

 

Crime Does Not Pay: The First issues

Crime Does Not Pay Volume 1

A while back I mentioned Blackjacked And Pistol-Whipped: A Crime Does Not Pay Primer,  a handsome 2011 Dark Horse Books trade pb with a sampling of stories from that notorious early 1950’s pre-comics code authority era title, which also included a detailed, multi-page history by Denis Kitchen.

Crime Does Not Pay: Volume One is a 2012 hardcover reproducing complete intact issues, ads and all. Much of Crime Does Not Pay’s legendary status – and why it attracted the attention of censors and the newly appointed Comics Code Authority — is due to its gruesome covers more than the actual stories and art, some of which can be surprisingly tame. But oh, those covers…yikes! The Charles Biro art shown here is pretty indicative of some. Crime Does Not Pay was packaged by Charles Brio and Bob Wood, the latter coming to a nasty end a few years after Crime Does Not Pay’s demise, doing time for manslaughter (which by all accounts should have been a second-degree murder charge), his girlfriend the victim. Out after only three years, Wood hit the skids, and died in 1961…run over by a truck when drunk, or as the rumor mill tells it, taken for a one-way ride by some former prison acquaintances. Either way, Wood’s story is a Crime Does Not Pay tale in itself, and worthy of its own post later.

This 279-page book is a visual treat, with crisp and vibrant colors throughout that really make the sometimes-stilted vintage artwork pop. Volumes Two and Three were right beside this book when I bought it a week ago. I have a feeling they’ll be going home with me on my next trip to that particular comix shop.

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