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]


Tuesday, September 23, 2025

Pre-Mason Raymond Burr 3/6

Note: September 21, 1957 was the date of the first episode of the classic Perry Mason TV series. Paradoxical, perhaps, to celebrate that happy day by examining Raymond Burr’s many performances in film noir. In the ten years after WWII, Burr had busy career playing villains in noir movies. He was cast as the thuggish minion (Walk a Crooked MileI Love Trouble) or, because he was hefty, he looked old enough to play big bad crime bosses (Raw Deal). Perhaps if syndication had not kept his Perry Mason in the public eye for half a century, only we hardcore movie buffs who know who Anthony Mann was would still remember Burr’s career as The Portly Prince of Noir. We’ll never know. Thank heaven.

Red Light
1949 / 1:23
Tagline: “It takes everything MAYO has to stop a guy like RAFT!”
[internet archive]

This crime drama opens with a convicted embezzler stewing in his prison cell. He blames the owner of a trucking firm for his imprisonment. So he hires a killer to exact revenge on the owner by killing the owner’s brother who is a priest. The owner then seeks revenge by going on a manhunt for the killer or killers of his brother. The owner and newly-released embezzler feverishly question people in order to locate a Bible which may contain evidence that points to the killer. The cops are working to find the priest killer and stop the owner from pursuing vigilante justice.

Fans used to Perry Mason may see as peculiar Raymond Burr as a vengeful brute but moreso is seeing Harry Morgan as a cold-eyed killer, he who was serious but colorful Bill Gannon and warm but crusty Col. Potter. Drafted by George Raft the owner to be a people-finding private eye is working-girl Virginia Mayo, full of her usual fight. The archetypal tough homicide detective, Barton McClane, warns George Raft not to go after the killer of his brother, employing noir sayings in support of communitarian ideals, “When you're playing solitaire, you can only beat yourself.”

Raymond Burr sometimes looks rotund, wearing the waist of his pants at navel height the way men did up to the late Fifties. At other times, as stout as he is, he still wears a suit snappily. He plays the unstable embezzler as oleaginous and dangerous at the same time. Burr really knew how to use his eyes to give the oddest amphibian effect. He uses his wide froggy eyes that are quick to be wary but slow to be alarmed. Burr is well served with his underlit face, shot from low angle, with a light at the top, all in shadow, as he prepares to commit a murder. The black and white cinematography is wonderful in this movie, definitely the second reason to view this, after Burr.

The dramatic music by genius Dmitri Tiomkin is much needed to support the glaring and staring, stomping and clomping by George Raft. Raft’s acting style – oh, never mind, he was a dancer first. Running around impersonating a homicide detective, he yells, smacks people around, and breaks stained glass windows as if all this frantic movement will distract us movie-goers from suspicioning that Raft doesn't seem to have any zip or pizzazz or mystery to him. 

Trying to salvage a scene that could have been written better, feisty Virginia Mayo rebukes him with, “You can't take the law into your own hands - it's not the way things are done.” When she tells him the truth that he’s being selfish and egocentric by not dealing with difficulties that many other people handle daily, Raft hits her. Going out the door, she warns him that he'll end up in trouble with the law since the cops are after both the killer and him. Mayo gamely does the best she can with bad lines but Raft seems to be on automatic, not consumed by anything deep inside him.   

As movie-goers expect of films made in the late Forties, this picture has a dark look full of shadows. The settings include offices, hotel lobbies and cheap rooms, and barber shops with shoeshine stations. A lousy diner (“They serve bicarbonate for dessert”) is fantastic, with its ceiling fan, checkered tablecloths, wooden counter and stools, and walls covered in signs. The murder on a caboose is very well lit and shot. Also beautifully done was Burr stalking Raft’s colleague Gene Lockhart in the parking lot, all ominous shoes and scraping soles. Strangely beautiful cars - like the 1940 Chrysler Royal - look fine to me, who usually notices automobile design in the Forties only with disgust. The climax with the neon sign on the roof of the trucking firm is worth seeing.

To fulfill its mission to educate the public, the movie offers up claims for consideration such as “Liquor doesn't drown your troubles, it only teaches them how to swim,” and “There’re only two kinds of hotel guests: the ones that steal Bibles and the ones that steal towels.” Pop history buffs can pat themselves on the back when they recognize antique allusions that nobody under 70 could be expected to recognize: “as chummy as Leo Durocher with an umpire” means “not chummy at all” since baseball manager Leo the Lip always gave umpires crap.

As for the connection with the original Perry Mason TV series, Arthur Shields plays Father Redmond, the mentor of George Raft’s brother-priest. Shields reminds us of Barry Fitzgerald because Shields was Fitzgerald’s younger brother by ten years. In TCOT Screaming Woman Shields played Dr. Barnes who would have expectant mothers “confined under the name of the married woman who wanted the child,” so at birth the certificate would list the adoptive mother as the birth mother. As if private adoption were not fraught with enough ethical and legal peril, Dr. Barnes kept a notebook with the names of unmarried women with children and women who did not legally adopt. Naturally the book was stolen for the purposes of blackmail. This episode is one of the best noir episodes of the first three seasons, featuring that rarest of birds, the sympathetic perp.

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]

Monday, September 22, 2025

Pre-Mason Raymond Burr 2/6

Note: September 21, 1957 was the date of the first episode of the classic Perry Mason TV series. So this week we celebrate Raymond Burr’s performances in film noir to demonstrate that Burr didn't come out of nowheresville.  Burr built up a fearsome reputation playing villains in the late 1940s and 1950s. For instance, in They Were So Young (1955) he plays a felon who is involved in a human trafficking ring in which young women are tricked into traveling to Rio de Janeiro to join an elite modeling agency, only to find out it's a front for sexual slavery in brothels. An easily shocked moralist and prude, I’m not into exploitation movies so not even the yen to view Brother Ray’s film noir outings would induce me to watch a movie whose alternative titles are Violated and Party Girls for Sale.

 Station West
1948 / 1:18
Tagline: “She Was Sweet...and DEADLY AS POISON!”

Tolstoy said the elemental story begins with a stranger coming to town. In this noir western, Dick Powell is that stranger hitting town where the Chorus of the movie, hotel man Burl Ives, is singing a ditty about the short life spans of strangers in town. Powell plays an underground federal agent whose mission is to break up a ring that is robbing stagecoaches of gold, killing the soldiers guarding the consignment, and disrupting transportation and the smooth functioning of the economy.

The black and white cinematography is beautifully shot, especially an epic fist fight that a movie-goer can’t believe any fighter would walk away from. With stirring orchestral music, any western has a travel log aspect, with its views of big nature, open skies, and weird landscapes. But there are noir touches as well, such as cool shadows, light on faces in darkness, and warehouses burning down in the night. Noir influences the dialogue. Jane Greer: I think he secretly likes you. Powell: Well, he keeps it a secret. Powell also assures us, “Trouble and I are old enemies. We understand each other.”

Directed by Sidney Lanfield, the movie is considered a unique hybrid of Western and film noir, with a complex narrative and atmospheric tension. The screenplay, in fact, won the award Best Written American Western from the Writers Guild of America in 1949. It was based on a novel by Luke Short, a well-respected author I remember fondly from when I read westerns long ago.

Dick Powell could do anything, musicals, comedy, or noir. His chemistry with Jane Greer works as Hollywood works in the inevitable love interest. In fact, the exquisite Greer is so attractive even a tight-lipped noir hero would fall in love with her. Besides, she’s the richest woman in town, even wealthier than Agnes Moorehead who has a thing going with the local Army General. The three plug-uglies look the part, especially one that looks like George Atzerodt, one of the conspirators in the Lincoln assassination.

Raymond Burr plays Bristow, a cowardly and crooked lawyer in the town. He has a poker jones. Jane Greer, who inherited the saloon-casino-bordello from her father, uses Burr’s IOU’s to make lily-livered Burr fold like a card table. In his four scenes, duplicitous Burr has a skittish manner, jumpy voice, and spine of macaroni, thinking it terribly unfair that the bad guys would kill him when they had no use for him. He’s persuasive when we see him realize how exposed he is as he crosses the street between the casino and his office. Maybe he wanted to put in an excellent performance because he was so happy not to be playing the heavy for once.

As for the connection with the original Perry Mason TV series, a familiar face in noir movies, Steve Brodie was a young officer in one scene in this movie. Brodie was the perp in TCOT Garrulous Gambler and a PR man in TCOT Angry Astronaut. His best part was as a political fixer in TCOT Witless Witness, probably in my Top Three Favorite Episodes.


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]