Happy Mother's Day!

Such gorgeous work. Artist unknown.

Ernest Bieler

Mary Cassatt

Arthur John Elsley

Jessie Wilcox Smith

Phoebe Wahl

Giovanni Boldini

Shirley Hughes

Jessie Wilcox Smith

Petra Brown

George Hughes

Carter Goodrich

Zinaida Serebriakova

I'm heading out for a picnic on the lake with my kids and grandkids. I hope you will all have an equally special day.

These works of art have been culled from various sources on the net. If you own the rights and would like the picture removed, please just let me know.

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Friday's Forgotten (or Overlooked ) Book: SPINSTERS IN JEOPARDY (1954) by Ngaio Marsh

A preposterous book peopled with preposterous characters in a preposterous plot, and yet Ngaio Marsh makes it all work. How is it that some authors can get away with stuff like this?

I don't know.

(Even the title is a stretch, explained near the end in case the reader missed the connotation.)

Agatha Christie did this sort of thing all the time. Not to mention, John Dickson Carr and a few others whose names escape me at the moment. The height of preposterousness is T.H. White's DARKNESS AT PEMBERLEY, but damn if it doesn't work a treat and leave you wishing White had written more mysteries - many more.

SPINSTERS IN JEOPARDY begins with a well-known plot device: murder spotted from the window of a moving train. In this instance though, it's not some old lady looking on from her train compartment, it's Chief Inspector Roderick Alleyn of the C.I.D. and his wife Troy (Agatha Troy, the famed British painter). They are traveling in France with their little son Ricky, on holiday, but in Alleyn's case, also to do a bit of police work on the side. There is this drug smuggling ring that needs to be dealt with.

This was back in the day when people still used the term 'reefers' and it was thought that marijuana was almost as life destroying as heroin. (I suppose that's been dis-proved.) Some of the terminology is very quaint, but the deadly implications of heroine can never be emphasized enough in my view - then and now. One of the main reasons, by the way, that I normally avoid books with drugs as a main theme is that it all seems so sordid, mindless and soul crushing. But I digress.

The overall setting of SPINSTERS IN JEOPARDY is the South of France, but the more immediate setting is the lazy little town of Rocqueville and the nearby dark and creepy Chateau de la Chevre D'Argent. (Chateau of the Silver Goat.) A very atmospheric place full of nooks, crannies and dark shadows.

The Chateau is the home of a 'jet-set cult' at the heart of the dope smuggling business which Alleyn has been asked to investigate - in tandem with the French police. The fact that his family is with him is meant as cover though to me it seems preposterous that Alleyn would connive in this way, allowing himself to believe that there is no specific danger to Troy and Ricky. But nobody's perfect.

I'm very fond of Alleyn and Troy, especially as a married couple and then as parents. They seem to have the sort of relationship any woman might envy. They even have a small son who speaks as if he were a very proper little old man. As some of you might know, I am especially fond of precocious British children of the well-to-do (if written well). This little six year old is fond of using the words, 'lavish' and 'however.' I have to say I was charmed by the whole thing. Especially when Alleyn and his wife worry that maybe Ricky is just a tad too precociously inclined (their friends have remarked). All is done with the suave Alleyn touch.

Back to the plot:

Moments after Alleyn and Troy have spotted the murder from a window, a fellow traveler aboard their train - an elderly British lady (Miss Truebody) traveling alone - is stricken with appendicitis. Alleyn and Troy, as fellow compatriots, feel they can't turn their backs on her. Coincidentally, the only doctor available is a certain Dr. Ali Baradi (a sweaty and oily sort reminding me very of much of Wilkie Collins' evil creation, Count Fosco) who resides at the Chateau.

Alleyn realizes that the murder glimpsed from the train took place in a room at that same sinister chateau. He proposes to leave his wife and son at the hotel in town while he insinuates himself into Baradi's group of restless ex-pats. And what better entry to the place than the poor, stricken Miss Truebody who lies on the brink on death unless Baradi performs an immediate operation. (A bit cold-blooded, but when providence provides...)

The Chateau de la Chevre D'Argent belongs to an effete 'poseur', an embarrassment of a man, the very wealthy Monsieur Oberon of indefinable nationality and pretensions of grandeur - the leader of the so-called cult. The sort of man who has begun to believe his own dangerous malarkey, but a man not really as clever as he might, at first, appear.

The jaw-dropping activities which occur at the chateau on one Thursday night a month are hinted at (think pentagram), but mostly left to the imagination. Though we aren't spared the 'sight' of the repulsive Monsieur Oberon walking around in the buff. Drugs and sex go...uh, hand in hand, I suppose.

My favorite characters in the book, besides Alleyn, Troy and their son, are the young and terribly handsome Frenchman Raoul Milano, the Alleyn's indefatigable local driver, and Monsieur Dupont of the Surete, Acting Commisaire at the Prefecture, Rocqueville. I love how Dupont keeps calling Ricky, 'Ricketts' - so adorably French. I love how Raoul and Dupont join the hunt when 'Ricketts' is kidnapped and the frantic mother and father must keep their heads while searching for their boy - Alleyn desperately trying to keep his real identity from the culprits up at the chateau.

Oh we know who the bad guys are going in, no question. What we don't know is who was killed and why and who at the Chateau can be counted on to not interfere when the you-know-what hits the fan. Besides that, there is the excellently written suspense of the kidnapping and search for Ricky and near the end, an impersonation which comes out of the blue. Ngaio Marsh is brilliant at misdirection. There is also a brilliant scene at a local chemical factory when the righteous officialdom of the law comes up against egocentric criminal stubbornness. Just fabulous writing.

There is also a thumping good scene in which Raoul in all his glorious Frenchiness berates his weeping girlfriend (who works at the chateau as a maid and has been duped into taking part in the kidnapping). It's the sort of scene which only an experienced writer (sure of herself) can fashion. It surges into life in your imagination and you watch the thing with dismay and amusement. You can even hear the French accent of the rightly outraged beau. (He is speaking in French, but the author translates for our benefit.)

Alleyn, Raoul and Teresa sat on an ornamental garden seat in the factory grounds. Teresa wept and Raoul gave her cause to do so.

"Infamous girl," Raoul said, "to what sink of depravity have you retired? I think of your perfidy," he went on, "and I spit." He rose, retired a few paces, spat and returned. 

"I compare your behavior," he continued, "to its disadvantage with that of Herod, the Anti-Christ who slit the throats of first-born innocents. Ricky is an innocent and also, Monsieur will correct me if I speak in error, a first-born. He is, moreover, the son of Monsieur, my employer, who, as you observe, can find no words to express his loathing of the fallen woman with whom he finds himself in occupation of this contaminated piece of garden furniture."

"Spare me," Teresa sobbed. "I can explain myself."

Raoul bent down in order to place his exquisite but distorted face close to hers. "Female ravisher of infants," he apostrophized. "Trafficker in unmentionable vices. Associate of perverts."

Well, as you can see, Raoul has a tendency to get carried away. It is a very enjoyable scene. Ngaio Marsh has Alleyn look askance at all this as if he's watching grand opera. And so do we. It's wonderful.

At any rate, all will be well. Teresa will be vindicated and the happy couple will be left at the end of the book, after a fabulous feast at the future in-laws' cafe, planning their wedding.

Ngaio Marsh is 'lavish' in her fabulousness, don't miss her books. Here's a link to my favorites.

I read all of Marsh's books in one fell swoop, several years ago, and now it looks as if I'm beginning again.

Don't forget to check in at Patti's blog to get the low-down on other forgotten (or overlooked) books.

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Mary Astor Blogathon and Overlooked (or Forgotten) Film Tuesday: DODSWORTH (1936) starring Walter Huston, Ruth Chatterton and Mary Astor

My post today does double-duty. I'm taking part in the Mary Astor Blogathon hosted by Dorian at Tales of the Easily Distracted and Silver Screenings, running through May 3rd and May 10th, 2013 - as well as fulfilling my Tuesday's Overlooked (or Forgotten) Film commitment at Todd's Sweet Freedom blog. How's that for multi-tasking?

DODSWORTH (1936) is a film directed by William Wyler (Oscar nominated), adapted for the screen by Sidney Howard and starring Walter Huston (in an Oscar nominated role), Ruth Chatterton and Mary Astor, co-starring Paul Lukas and David Niven.

It is the engrossing story of the 'happy' marriage of Sam and Fran Dodsworth and maybe in an odd way, it's also a cautionary tale against retirement.

I loved the book by Sinclair Lewis (if you like, you can read my book review here), but I adore the movie so pardon me if I gush. The film is actually a pretty true interpretation of Lewis's novel, so whichever you do first, you won't be disappointed. This is that rare combo of film and book working fabulously alone or together.

The gorgeous Mary Astor as she looked in the 1930's.

Since this is a Mary Astor Blogathon post, I'll begin by saying that Mary Astor never looked better than she does in this movie. She is absolutely spectacular. From the first moment she shows up on camera wrapped in a dark fur, Astor puts the film's star, Ruth Chatterton, in the shade. In this instance, it's the wife who fancies herself an eternally young deb and 'the other woman' who represents a more classic elegance.

Stop encouraging her, Sam.

Astor is all calm, cool and collected sophistication. She plays Edith Cortright, a divorced ex-pat living by herself (with a servant or two and a wonderful and very large dog) in a small, sunny Italian seaside villa.

Sam Dodsworth (Walter Huston) and Mrs. Cortright (Mary Astor) chatting aboard ship.

Mrs. Cortright (as she's known in the film rather formally) first meets Sam Dodsworth (Walter Huston), retired automobile titan, on the Queen Mary. Dodsworth is traveling with his wife on a sort of second honeymoon - at her insistence - sailing to Europe in search of relaxation and something new and - in his wife's case - exciting.

Sam says goodbye to his kingdom.

In truth, Sam (a self-made man) is plenty satisfied with their life back in the good old comfortably familiar Midwest where he'd built an automobile company from scratch. While that 'scratching' was going on, his wife Fran had busied herself with the sort of typical small town duties which (unknown to Sam) bored her to death. She is the sort of woman who feels much put upon by a comfortable life - she wants Excitement. What's more, she feels entitled to that excitement - small town life can be oh-so-stifling, especially for a would-be woman of the world.

Fran sees Sam's retirement (he's sold the company to a large conglomerate for big bucks) as her opportunity to 'begin to live' the kind of life to which she would like to become accustomed. Desperate to hang on to her youth, she pretends to be thirty five again (though she has a married daughter), fooling no one but herself. She never seems to tire of reminding Sam how he robbed the cradle when he married her.

From the very beginning we see Fran's restlessness, her impatience with Sam's 'homey' values, his happy complacency. He adores her, but that's not enough for Fran, she considers Sam's devotion her due.

Ruth Chatterton is excellent playing a woman who craves a second chance at romance and excitement, as if life can be made to order. She fancies herself a sophisticate while wrongly viewing her husband as a 'rustic' bumpkin - a part he is not embarrassed to play. He is who he is and makes no pretense. The fact that he is simply charming in his Midwestern rusticity escapes Fran.

I am happy that they did not cast a Hollywood-handsome icon in the role of Sam Dodsworth. Huston is tall, lanky and raw-boned, completely believable as an unsophisticated Midwesterner willing to oblige his wife's silly attempts at rejuvenation. He delights in her 'girlishness'.

When he meets Mrs. Cortright (Mary Astor) on board ship, Sam is no more looking for a 'dalliance' than she is. She throws out no lures. Both become shipboard friends (Sam seems immune to her casual glamor) since his attention is focused on his wife and on sharing the sights with her. (Something she is quite willing not to do.)

Fran and dashing shipboard beau (David Niven) dancing the night away.

On board ship, Fran has already indulged in a flirtation with a young and rather callow David Niven who remarks, impertinently, that she is not as sophisticated as she would like to believe. See what a fuss she makes when he attempts to kiss her. He raises an eyebrow and puts Fran in her place. It's only a kiss, my dear - grow up.

Chagrined and humiliated, Fran decides to indulge a more dangerous infatuation with experienced roue Arnold Iselin (Paul Lukas) whom she meets while lunching one day in Paris with an acquaintance. (The acquaintance fosters the introduction.) Iselin is a smarmy predator who has no qualms about making Fran his latest conquest. A 'real' sophisticate would see through him in ten seconds, but poor Fran, alas, makes the mistake of thinking herself irresistible.

Through glances and body language, we are meant to understand that Fran is indulging in much more than mere flirtation with Iselin. Sam realizes the truth but believes Fran will return to him once she's outgrown her infatuation. In his eyes, she is still the same spoiled, charming girl he married twenty years before even if occasionally she tries his patience.

A triangle. Perhaps not so eternal.

But Fran (apres Iselin) is not ready to return home. She has more fish to fry. When she fancies herself in love ('real' love this time) with a younger man (she has apparently pulled the wool over his eyes about her age) she asks an astonished Sam for a divorce. She has marriage plans. Don't be difficult Sam, be happy for me.

"Could you let yourself enjoy life for awhile?"

On his own in Europe (still hoping Fran will change her mind), Sam re-connects with Mrs. Cortright when they run into each other in Italy at an American Express office. Impulsively she invites him to her home. Once Sam sees the comfortable way of life Mrs. Outright has established (she has a dog!), he is intrigued. She makes him believe that he too can rest, relax and perhaps let go of the past. She wisely makes a quiet, carefree haven for him.

Mrs. Cortright is the antithesis of Sam's wife. She embodies the kind of life that Fran, in all her sophisticated pretense, would never know how to deal with. She is a grown woman capable of grown-up love.

In the meantime, Fran plans her marriage to a certain Baron Von Obersdorf (think of it, a 'girl' of 35 from the Midwest, landing a Baron), a rather vapid young man dominated by his formidable mother (or maybe grandmother). The Baroness Von Obersdorf is played by the one and only Maria Ouspenskaya (in an Oscar nominated role). Remember her as the old gypsy woman in Lon Chaney Jr.'s THE WOLF MAN? She was a remarkable screen presence.

Once the Baroness meets Fran, the knowing old lady puts the kibosh on the nuptials. My dear, it would never do. The Baron must have children.

Thinking herself heartbroken, Fran decides to head home. In truth I don't think she's learned anything at all. She imperiously recalls Sam from his seaside tryst and he, like a lamb to the slaughter, says goodbye to Mrs. Cortright and prepares to follow his unhappy wife home.

Mary Astor's natural 'coolness' works well for her here, because it is obviously masking hidden depths. She is 'settled' in her life alone, perhaps wary of men, but Sam has somehow won her over. He can be himself with her, not having to mind his ways or be afraid he might embarrass her. He is delightful. You can see why she would fall for this lanky guy whose manners border on the gauche. But she knows that Sam hasn't completely broken free from the hold his ex-wife exerts over him.

The end I leave to your imagination in case you haven't seen the film yet.

And if you haven't, what the heck are you waiting for? I urge you to see DODSWORTH, it is simply, memorably wonderful.

Unfortunately Netflix doesn't have the film in any form yet. You have to go on the 'save' queue. And it's only available on youtube in parts. Check with your library or else you may have to buy the DVD. It's well worth the money.

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Nancy Drew and Friends or How I Learned to Love Mysteries Once Upon A Time...

The Mystery of the Brass Bound Trunk by Carolyn Keene. Gorgeous cover art by Russell Tandy.

The Message in the Hollow Oak by Carolyn Keene. Artwork by Russell Tandy.

The Clue of the Broken Locket by Carolyn Keene.

The Secret at Shadow Ranch by Carolyn Keene.

The Dana Girls. By the Light of the Study Lamp by Carolyn Keene.

The Dana Girls. The Ghost in the Gallery by Carolyn Keene.

The Dana Girls. In the Shadow of the Tower by Carolyn Keene.

The Hardy Boys. The Secret of the Old Mill by Franklin W. Dixon.

The Hardy Boys. The House on the Cliff by Franklin W. Dixon.

The Hardy Boys. Footprints Under the Window by Franklin W. Dixon.

Beverly Gray's Vacation by Clair Blank.

Beverly Gray's Adventure by Clair Blank.

A Judy Bolton Mystery. The Midnight Visitor by Margaret Sutton. Probably illustrated by Pelagie Doane.

A Judy Bolton Mystery. Seven Strange Clues by Margaret Sutton. Probably illust. by Pelagie Doane.

A Judy Bolton Mystery. The Yellow Phantom by Margaret Sutton. Illustrated by Pelagie Doane.

A Melody Lane Mystery. Terror at Moaning Cliff by Lilian Garis. Illustrated by Ruth King.

A Melody Lane Mystery. The Tower Secret by Lilian Garis. Illustrated by Ruth King.

The School on the Moor by Angela Brazil.

Two Girls and a Mystery by May Hollis Barton.

Jimmie Drury Candid Camera Detective, by David O'Hara.

Cherry Ames Chief Nurse by Helen Wells.

Vicky Barr series. The Mystery of Flight 908 by Helen Wells.

Jane, Stewardess of the Air Lines by Ruthe S. Wheeler.

Five Go to Smuggler's Top by Enid Blyton.

The Sea of Adventure by Enid Blyton. Cover art by Stuart Tresilian.

The Rockingdown Mystery Enid Blyton

The Outdoor Girls in the Air by Laura Lee Hope

I like to say that I jumped from Nancy Drew to Agatha Christie because that's the way I remember it. But I know I also read The Dana Girls (which I loved even more than Nancy) and likely there might have been a couple of other series - now faded from memory. 

All I know for sure is that I loved the titles, the early covers, the artwork, the end-papers and of course, the adventures which showed how young people could do for themselves and take charge even way back then, all the while solving mysteries which baffled the rather ordinary police. For sure, it was fantasy, but I fell hard for it all.

I can't remember reading any Enid Blyton, but I'm thinking it's never too late. At one time Blyton was a beloved and widely read writer whose books were in every kid's library - maybe even mine.

You can read more about these various series at this providential link.

Eventually and with regret, I outgrew Nancy and her friends but I know that these books instilled in me a love of mystery fiction (and reading) which continues to this day.

And I know I'm not the only one.

P.S. Wanted to add that my original link to download the Blyton books for free no longer applies. Apologies for that. But I did download the first of the The Five adventures for 99 cents over at Amazon. You can also download various others for 3.99. At least for now. Of course I'd rather have the actual books with the oh-so-charming covers but needs must.

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