Tuesday, October 7, 2025

The Nones of Perry Mason 95

Note: Who to cast as Donald Lam? Cagney - too pugnacious, not smart enough. William Powell - too old. Alan Ladd - too young. Dick Powell -  perfect in his 30s, yes, but older, no. As Bertha Cool? Marie Dressler had a commanding presence, but too matronly. Thelma Ritter - too small. Lucille Ball - only after 1960, hard to picture her smacking somebody, but possibly.... Geraldine Wall in her 40s - about perfect.

Give 'em the Ax - A. A. Fair aka Erle Stanley Gardner

In this 1944 mystery Donald Lam returns Stateside from duty in the Pacific. The hardcore reader trusts the Navy got a lot of milage out of Lam’s sharp legal mind – which got him disbarred when he talked too much to a gangster about how to get away with murder. Suffering from malaria sequelae, he's been discharged from Navy Intelligence with symptoms such as decreased appetite and unpredictable onsets of sudden fatigue. The sharp legal mind is subject to brain fog like memory problems, difficulty focusing, and slower less efficient processing.

He finds in a precarious state the detective agency that before Pearl Harbor he ran with partner Bertha Cool. Cool and Lam had attracted complex cases with serious money, headlines, and the enmity of the cops involved. But after Lam’s deployment, business fell back to the penny-ante insurance and cheating spouse stuff, though the professional animosity from Sgt Sellars of the authorities continued. Paradoxically, Sgt Sellars has a thing for Bertha because she is what he looks for in a woman: tough and practical.

And that’s Bertha’s problem when she’s client-facing. Bad-tempered Bertha is smarmy when she attempts charm. Her obvious faking of care and concern turns potential clients off. The office manager Elsie Brand, target of Bertha’s acting out, tells Lam that the only reason she stayed on was to try to hold the business together. Another reason is that Elsie is in love with Lam. Manipulative monster Lam pretends not to know her feelings for him though it would a tough lift to find somebody as loyal, smart, and kind as Elsie, an ideal Gardnerian woman like Della Street.

Lam is a client-pleaser because he’s such a good listener. So on his first day of popping into the office, a new case comes their way. It’s hardly a lulu. Admitting to being a home-wrecker, a woman wants a private detective agency to get something on her boss’ new wife. The woman says she and the boss were very “close,” but when she returned from a long vacation, the boss, pining and bereft, married a woman he had met when the two had a car accident together. Angry and hurt, the woman wants the goods on the new wife. Ho-hum, nothing to get excited about here.

Eager to get back in the saddle, Lam luckily finds the wife in the Rimley Rendezvous. This is a nightclub that has tapped the afternoon market of bored married women who are looking for afternoon delight. The operator of the club, a hard case named HJH, recognizes Lam and throws him out since a PI on the cheating side of town is “as welcome as smallpox on an ocean liner.”

Pressed to time, Donald calls Bertha. He describes the owner and tells Bertha to tail him when he leaves the club. The tail job ends in an auto accident, which will be followed by an ax murder. Lam finds himself involved with a cigarette girl with legs up to here, who's way close to the murder.

Highly recommended.

Wednesday, October 1, 2025

The Kalends of Perry Mason 94

Note: Sure, everybody wants an honest, loyal and efficient lawyer that will fight like the devil when the going gets rough. But even more, everybody wants a supporter, an advocate who knows their weaknesses and understands their messed-up choices but pleads their case eloquently and shrewdly anyway.

The Case of the Negligent Nymph – Erle Stanley Gardner

This 1959 mystery starts with the usual working girl – pretty, naturally; full of moxie, certainly – needing super-lawyer Perry Mason when she finds herself in a jam. Perry is in a canoe scoping out a millionaire’s island on behalf of a client in a real estate case. The naked nymph, pursued by a savage dobie, swims up to the canoe so Perry saves her and takes her to her own battered yacht.

The next day Perry finds out that the game and canny beauty he rescued is wanted by the cops on suspicion of stealing $50K worth of gems from the millionaire’s island mansion. She is apprehended and bound over for trial for grand theft. In an exciting courtroom scene, Perry sets off legal fireworks during a cross-examination and gets her bail whittled down to a manageable $2,500.

Things start looking up for the accused, but, self-reliant to a fault, she makes errors in judgment, the worst of which are not following Perry’s legal advice and then lying to him. Perry ends up defending her on the inevitable murder charge.

He finds his back up against the proverbial wall yet again since he faces as many legal woes as his client does if he doesn’t find out the truth. Perry kicks himself for letting impulse rule him and helping the fibbing brat in the first place, but he defends her with all he’s got. Perry acknowledges his own fallibility and is thus compassionate about the short-comings of others.

Usual. Of course. Inevitable.

Why return again and again to the Perry Mason stories that invariably feature damsels in distress, the powerful exploiting the vulnerable, and the cunning and resourceful hero who combines wise tactics and swift action to exonerate the innocent? Because these irresistible elements, the essentials of heroic myth and folktales, exert a magical appeal over our senses of fairness and courage, shared senses that come easily to us because we are human beings hard-wired with the same nature.

Tuesday, September 30, 2025

European Reading Challenge #9

The Generation of 1914 - Robert Wohl

This intellectual history was released in 1979, four years after the seminal book The Great War and Modern Memory (Paul Fussell) influenced historians to examine the idea that what people think happened was just as interesting as what really happened. Wohl explores the intellectual and cultural landscape of Europe before, during and after World War I. To study what young educated men regarded as “generations,” Wohl delves into the thoughts and writing of the intelligentsia who came of age during the tumultuous period running up the WWI, focusing on the middle-class elite of five European countries: France Germany, England, Spain, and Italy.

Readers like me who are not so up on European history in the 19th century will appreciate Wohl's comprehensive approach. He examines briefly the events and how each country’s unique experiences shaped its intellectual climate. For instance, in the example most familiar to us hardcore readers because of Fussell’s book, in England, the concept of the "lost generation" emerged due to the significant losses suffered by the British upper class during the war who happened to be literary guys like Robert Graves, Edmund Blunden, and Wilfred Owen. In contrast, Germany's war generation became a driving force on the political right, emphasizing the supposedly “moral” strength gained through the hardships of the trenches. I had no idea that the war had damaged Ernst Jünger so severely as to drive him to such wrong conclusions about human nature, democracy, and the Weimar Republic.

The book is structured around separate chapters for each country, allowing Wohl to highlight the distinct generational concepts that developed in each culture. Wohl's use of primary sources, including novels, journalism, autobiographies, and political speeches, adds depth to his analysis. He skillfully connects these personal and collective experiences to broader historical trends, such as the rise of Communism and Fascism, and the decline of liberal and humanitarian values.

One of the book's strengths is Wohl’s decision to disregard the definition of a generation, in favor of analyzing what the figures such as Spanish philosopher José Ortega y Gasset thought was a generation. Wohl is careful to point out that the thinkers themselves were well aware of the logical problems with defining what a generation is. Translating theoretical constructs like "generation" into specific variables or factors that can be studied in quantifiable research is a challenging intellectual task, for example, needing the statistical tools of sociology. Wohl captures the sense of disillusionment and sheer confusion that characterized the generation of 1914, making the book both an intellectual history and a poignant human story.

Overall, this is an engrossing study that offers valuable insights into the minds of young, more or less educated or well-read men who lived through one of the most transformative periods in modern history. Serious students of European history will get much from this book, even if they think that terms like ‘generation z,’ ‘boomers,’ and ‘millennials’ are the worst kinds of pseudoscientific horseshit.

Sunday, September 28, 2025

Happy Birthday Marcia Muller

Wolf in the Shadows - Marcia Muller

A reader with some pretentions to taste would expect, after a dozen installments in a series, to hear the gears grinding in the thirteenth in a series. But not at all in this case because Sharon McCone, the baddest female PI in San Francisco, learns, grows, and changes from book to book.

This 1993 mystery deals with the issues of immigration and dolphin-protecting environmentalists. With her bosses going all corporate on her and pressuring her to accept sitting at desk and moving papers around, she proves herself to be the Coolest Toughest Girlfriend Ever and works on finding her missing boyfriend Hy Ripinsky who has gone missing.

As usual, the characterizations, even of the secondary characters, are very finely drawn, as are the settings. Nothing mars the elaborate plot but a couple of melodramatic scenes. Worth reading. 

Friday, September 26, 2025

Pre-Mason Raymond Burr 6/6

Note: September 21, 1957 was the date of the first episode of the classic Perry Mason TV series. So this past week we celebrated Raymond Burr’s performances in film noir. Burr built up quite a reputation playing movie villains in the late 1940s and early 1950s. Probably to stay sane and pay the rent, Burr took roles in comedies, too. In Casonova's Big Night (1954), he played Minister Bragadin, a minister in service to the Doge. I’ll watch Brother Ray in westerns if the first 10 minutes are tolerable, but I draw the line at Bob Hope’s silly goldang costume pictures, in beautiful Technicolor or not. 

Unmasked
1950 / 1:00
Tagline: “Smeared by Scandal that led to MURDER!”
[internet archive]

Raymond Burr puts in a turn as an unscrupulous publisher of a scandal sheet. A stoolie analyzes him, “You kinda like to hate in bunches, doncha.” The publisher murders a guy’s wife and then frames the guy.

This was produced by Republic whose competitive advantage was its ability to churn out slick movies to fill out the bottom of bills in the theaters. Clocking in at only 60 minutes, this movie does not have the time to feature well-rounded characters. The crime story script is fast-moving, full of chase and duplicity, with a twist that came out of the blue for me.

Burr, a true professional, puts in a very good account of himself, as he did in the many so-so movies where he played the beast that somehow learned to walk and talk among us humans. Despite the precisely tailored pinstripe suits, bulky Burr seems to loom just sitting behind his desk even without arty camera work. Imposing, menacing, but somehow graceful like the Graf Zeppelin at the end of a tether. When he ponders his next move into blackmail and murder, he seems to withdraw from our common mundane plane to a dark place where moral judgement no longer exists. That is, he makes his face toddler-like in its guile-free mercilessness so that on seeing it the parent or pet parent or movie-goer knows for all his seeming innocence, he’s cooking up nothing good.

This solid B picture also stars Robert Rockwell, who was to appear in the original Perry Mason series five times. Like Denver Pyle, Rockwell is another actor with a solid career with high points to be proud of, totally right that a handful of us fans remember.

Pre-Mason Raymond Burr
Please Murder Me (1956) [internet archive] [my review]
I Love Trouble (1948) [internet archive] [my review]
Sleep My Love (1948) [internet archive] [my review]
Ruthless (1948) [internet archive] [my review]
Pitfall (1948) [internet archive] [my review]
Walk a Crooked Mile (1948) [internet archive] [my review]
Raw Deal (1948) [internet archive] [my review]
Station West (1948) [my review]
Red Light (1949) [internet archive] [my review]
Abandoned (1949) [internet archive] [my review]
Borderline (1950) [internet archive] [my review]
Unmasked (1950) [internet archive] [my review]


Thursday, September 25, 2025

Pre-Mason Raymond Burr 5/6

Note: September 21,1957 was the date of the first episode of the classic Perry Mason TV series. So this week we will paradoxically demonstrate Raymond Burr didn't just come out of nowhere. Burr was a demon for work, appearing in more than 50 feature films between 1946 and 1957. He was typecast as the villain because his stoutness gave him a commanding menacing presence. "[Raymond Burr] tried to make you see the psychosis below the surface, even when the parts weren't huge," says film historian James Ursini. "He was able to bring such complexity and different levels to those characters, and create sympathy for his characters even though they were doing reprehensible things."

Borderline
1950 / 1:28
Tagline: “Two Undercover Agents Unwittingly Stalk the Same Target”
[internet archive]

The martial Dragnet-type music hints that in the offing is heavy-handed cheerleading in the fight of US Customs agents against dope smugglers along the US-Mexico border in 1950. However, the movie is not awkward PR. It is in fact a chase and action crime story with elements of romcom and mistaken identity.

Some but not much cinematography is interesting, especially reflections in window glass and mirrors. Otherwise, visually the movie is unexciting. Some scenes take place outside in what purports to be northern Mexico, which is a nice change from gritty urban dramas.  Sometimes the soundtrack is hard to square with the action. Funny, whimsical music plays in what a movie-goer would think is a frightening situation like when Claire Trevor wakes up in captivity after being knocked out with a slug to the jaw.

The humor is off beat. Claire Trevor gets a job as a dancer in a floor show in a Mexican resort. The dance act is so clodhoppingly, high-pitched bad that you wonder if director William A. Seiter was going for camp. We get banter between Trevor and MacMurray. He: Don’t talk to any strangers. She: I don’t know any strangers. But, as amusing as it is, light banter seems out of place in a crime movie about dope smuggling. The jokey treatment of Mexicans and their cute ways has not aged well, though the Mexican pilot was funny in his imperturbability when the plane ran out of gas.

Raymond Burr plays Pete Ritchie, a narcotics smuggler operating from Mexico to the United States. He looks imposing in an ice-cream suit with black shirt and white tie. Remote, calm, and poised, his character is not given a chance to be more than cunning and ruthless. He does however get a movie-goer’s skin a-crawling when he embraces Trevor and promises in a voice so silky it’s terrifying, “You'll find me nicer when you get to know me better.”

Claire Trevor is the swizzle stick that stirs the drink. She is energetic, eye-catching, and as bright as a new penny. She is sensible and resourceful and is mercifully in almost every scene. A graduate of the George Raft School of Performing Arts, Fred McMurray plays his usual type, stolid and reliable if gruff and cross with no discernible personality.

To fulfill its mission to generate conversation on dates after the movie, the movie offers up this claim for lively philosophical talks: “All dames will stay in line if the payoff is big enough at the end.” Burr also urges would-be victims to clarify their values when he says, “I hope you haven’t got a good reason to live.”

As for the connection with the original Perry Mason TV series, Morris Ankrum plays Bill Whittaker, a Customs agent who runs Claire Trevor’s undercover agent. He played Da Judge no fewer than 22 times from 1957 to 1964.


Pre-Mason Raymond Burr
Please Murder Me (1956) [internet archive] [my review]
I Love Trouble (1948) [internet archive] [my review]
Sleep My Love (1948) [internet archive] [my review]
Ruthless (1948) [internet archive] [my review]
Pitfall (1948) [internet archive] [my review]
Walk a Crooked Mile (1948) [internet archive] [my review]
Raw Deal (1948) [internet archive] [my review]
Station West (1948) [my review]
Red Light (1949) [internet archive] [my review]
Abandoned (1949) [internet archive] [my review]
Borderline (1950) [internet archive] [my review]
Unmasked (1950) [internet archive] [my review]


Wednesday, September 24, 2025

Pre-Mason Raymond Burr 4/6

Note: September 21, 1957 was the date of the first episode of the classic Perry Mason TV series. Let's mark that happy day this week by celebrating Raymond Burr’s many scary performances in film noir. Burr started his career in the late 1940s in bit parts. In Fighting Father Dunne (1948) he appears as an attorney in trial montage. Blink and you’ll miss him. But soon after Burr built up quite a reputation playing villains. His psychopathic private detective in Pitfall is a must-see.

Abandoned
1949 / 1:19
Tagline: “NO NAME FOR HER BABY...only a PRICE!”
[internet archive]

The introductory voice-over solemnly intones this is a true-to-life story that could be happening in our own cities as we speak. The movie describes how heartless scumbags promise the moon to young single expectant mothers. And then deliver nothing to the mother as they traffick the newborn baby to “nice people” who want to add that finishing touch to their middle-class lifestyle. The problem is that their purchase of a bundle of joy enriches a criminal enterprise that is run by racketeers who will kill mothers and babies – anybody - if they find it expedient.

The strongest point of this movie is simply its telling about the sorry system of illegal baby brokering. It’s a helluva story of how a black market thrived at a time when oversight was so loose that only about half of adopted children in the USA were placed through legitimate agencies.

I am not so credulous a ninny that I learn history through noir movies, but I’m willing to conclude that 1) baby selling must be bad because libertarians think it is good, and 2) this movie was on target in its portrayal of the kind of stone-cold criminals that would run such networks.

Mrs. Donner (Marjorie Rambeau) hands out Bibles and makes cynical promises to scared girls who are not being told what they are getting into: a baby is being sold to people who want to seem “people of unquestioned character” but don’t want to do what “people of unquestioned character” do. They simply want to avoid the “rigamarole” of investigations and “the bothersome details of a legal adoption.” When the head man of the syndicate (Will Kuluva) finds out an underling is stepping out of his domain, he remarks, “Rumors around town are that I’m getting soft so I’m going to have to cut a couple of throats.”

Raymond Burr, the shady private detective, is getting out of this lane, and knows a pin-stripe suit can be very slimming. As PI Kerric, he manages to look aloof and arrogant even as he skulks behind bushes like a goblin when he follows the good guys Dennis O’Keefe and Gale Storm. But Burr finds that kidnapping and murder get him in over his head and he wistfully remarks, “I was just thinking how nice life used to be when I stuck to blackmail and petty larceny.”

Dennis O’Keefe plays a newspaper reporter who is helping Gale Storm find her sister who has disappeared in the big bad city. O’Keefe is really obnoxious at first. Gale feels distraught and out of sorts over her missing sister, but he’s putting his hands on her and flirting and talking glibly. But he softens a bit when she reports about her father “He didn't want us back home but he didn't want to leave us alone” – isn’t it just like a noir movie to hint incest is more common than most people would think? And O’Keefe practices cognitive behavioral therapy without a license when he suggests to beat anxiety “Why don't you stop thinking about it.”

Camera work is effective and some cuts are startling and effective. The climax has a certain amount of cop porn – stakeouts, crackling radio, car chases, yadda yadda – but it doesn’t overwhelm the tension surrounding the saving of Gale Storm and ultimate fate of the characters, all of whom are under pressure. The film, directed by Joseph M. Newman, is considered a solid example of film noir, blending crime thriller elements with social commentary on black-market adoptions.

As for the connection with the original Perry Mason TV series, Sid Tomack plays a clerk but he is not given a chance to crack wise. Appearing three times on the classic Perry Mason, Tomack was especially great in a satirical scene in TCOT Envious Editor. Jeanette Nolan played a Salvation Army major who took care of single expectant mothers. A wonderful character actress, she was keen on accents and an array of clothing and accessories. She appeared no fewer than six times on Perry Mason. She was the perp three times, a loyal secretary once, and a sorely-tried ordinary woman twice. 

Pre-Mason Raymond Burr
Please Murder Me (1956) [internet archive] [my review]
I Love Trouble (1948) [internet archive] [my review]
Sleep My Love (1948) [internet archive] [my review]
Ruthless (1948) [internet archive] [my review]
Pitfall (1948) [internet archive] [my review]
Walk a Crooked Mile (1948) [internet archive] [my review]
Raw Deal (1948) [internet archive] [my review]
Station West (1948) [my review]
Red Light (1949) [internet archive] [my review]
Abandoned (1949) [internet archive] [my review]
Borderline (1950) [internet archive] [my review]
Unmasked (1950) [internet archive] [my review]