George BaxtCritiques

Film buffs will delight in this wonderful book, mystery lovers, not so much. Baxt has written a light mystery that will bring a smile to the face of many who fondly remember William Powell and Myrna Loy as Nick and Nora Charles, as long as they don’t expect the charm or sophistication of the Thin Man films. And don’t expect any deft plotting. Some great series set around Hollywood’s heydays, such as Stuart Kaminsky’s Toby Peters mysteries, are both nostalgic and riotous as they deliver the goods. This one will deliver the goods, but only if your order is something light and entertaining, with little bite.

Baxt's regular characters in his series, cops Herb Villon and Jim Mallory, along with Herb's girlfriend Hazel Dixon, a gossip underling of Louella Parsons, have plenty to do and have quite a bit of interaction with Powell and Loy. This is good, because rather than having Powell and Loy be a gimmick, they are actually front and center in solving the murder. It makes for a sweet and nostalgic ride through 1930s Hollywood. Gossip and tidbits classic film fans will love are peppered throughout the narrative.

Hollywood is buzzing and Louis B. Mayer is fuming when a former stock player at MGM named Audrey Manners gets word out that she needs money. Since she is now Claire Young, a rather famous madam with a black book full of Hollywood names, such a message can only lead to murder. When her assistant gets killed, it is up to Villon and the gang to get it solved. To Mayer's consternation, however, it is Powell and Loy in the news, when they are reported as helping out with the investigation. Powell is about to marry the sickly "Baby" (Jean Harlow), and Myrna is having marriage trouble as she and Powell use the cover of researching their next Thin Man film to nose around helping Villon. Hazel, of course, is delighted at the prospect of a juicy story. Herb, however, is more concerned for Claire, with whom he once was in love.

There is nothing tawdry here despite the storyline, just some gentle fun for classic film fans. Powell and Loy discover the murder may have ties going all the way back to Paul Bern, Jean Harlow’s former husband. The friendship of Powell and Loy comes alive in their fun exchanges, and if that’s what you’re after, it’s a nice read. If you’re looking for intricate plotting, some genuine tension, this one isn’t for you. Riveting the mystery may not be, but fun in the extreme it most definitely is, if you come at it from the right direction. Obviously your mileage may vary greatly on this one, depending on expectations and how much you love wallowing in film nostalgia.

I was just reminded of this book. It's been ages since I first read it, but I still remember the *wow* about the writing. Just fell in love with the voice of Pharoah Love. Am reminded I need to hunt down the series. Don't think I made it to book five.

Nicely atmospheric film with an interesting cast, including Christoper Lee, who just may be up to no good.... Interesting to know that witches like to dance to jazz before moving on to the human sacrifice.½

Between the lie about William Powell and the authors use of "he he he" over and over.. 2 stars is generous.

Pharoh's back and after who's murdering the local mobsters. At the start of the book he has to kill one of his childhood friends, part of his three musketeers. The other musketeers is now a leader in the local mob. It all goes back to the death of twin girls who were performing at a local club. With the help of his partner and a madam he slowly but surely puts the pieces together. That and a young man with Tourette's who everyone calls the grey ghost.

Late 1960's mystery which involves a loosely veiled gay African American cop. A hustler/model is found dead in his bathtub from what looks like an accidental electrocution, the radio fell into the bathtub. The lead detective thinks it may not have been an accident after all. We meet a wide variety of characters, the writer who's first two books didn't sell very well and also the deceased ex-"roommate" The writers ex-wife who's still in love with him, but is out to tank his latest book. An eccentric and very wealthy brother and sister duo. It's a little snap shot of the time everyone seems to use the word cat for people. Everyone drinks a lot and smokes. The mystery will have you guessing until the end and has numerous other twists as well.

Known as "Burn, Witch, Burn" in the United States and "Night of the Eagle" in the UK, this is a clever and nicely constructed adaptation of Fritz Lieber's, superior horror story "Conjure Wife". Written by frequent Roger Corman collaborators Charles Beaumont and Richard Matheson, the film tells the story of professor Norman Taylor (Peter Wyngarde), a young, gifted academic, loved by his students and quickly rising through the ranks of academia. When he catches his wife Tansy (Janet Blair) engaging in secretive witchcraft, he orders all her magical totems and witchy accoutrements destroyed. As soon as Tansy's charms are burned things start going terribly wrong for Norman - he's accused of rape, his country cottage burns down and Tansy tries to drown herself. With his life out of control he begins to reappraise his belief in the supernatural. The Matheson / Beaumont story is hugely interesting in the clever dynamic it sets up between male and female. Norman has a rigid belief in "masculine" rationalism and logic, while Tansy has a "feminine" belief in intuition and supernaturalism. Norman tries to control and impose his will on the world with his cold, rigid logic, while Tansy seeks to work in tandem and co-operation with the natural world. The climax of the film, where Norman is forced to submit to a world beyond his rationalism and arrive at a belief in the supernatural, clearly sets out where the film-makers sympathies lay - the women are clearly in charge in this world of magic. Director Sidney Hayers and cinematographer Reginald H. Wyes give the film a beautifully stark look, with some excellent shadowy and atmospheric black-and-white photography. The interiors are cleverly illuminated, but it is the exterior nighttime photography that really catches the eye - the moonlit exteriors, particularly when Norman goes walking across the night time beach and through an ancient cemetery are particularly impressive. Hayes moves the story forward at pace, building from one set piece to the next with unrelenting momentum; his only misstep, perhaps, being the strange stone eagle climax. The acting is good throughout - Peter Wyngarde starts out arrogant and in control, at home in his world of staid conformity, buts ends up a broken man in a world beyond his ken. Janet Blair is equally good, panicked at Norman's actions, frighteningly knowing of the consequences and strangely willing to sacrifice herself for the man she loves. Margaret Johnston as Flora also puts in a good turn as a second witch on campus. Overall "Night of the Eagle" is a superior, tight and terse little chiller with plenty of delicious subtext and subversive thought floating (not very far) beneath the surface.

Known as "Burn, Witch, Burn" in the United States and "Night of the Eagle" in the UK, this is a clever and nicely constructed adaptation of Fritz Lieber's, superior horror story "Conjure Wife". Written by frequent Roger Corman collaborators Charles Beaumont and Richard Matheson, the film tells the story of professor Norman Taylor (Peter Wyngarde), a young, gifted academic, loved by his students and quickly rising through the ranks of academia. When he catches his wife Tansy (Janet Blair) engaging in secretive witchcraft, he orders all her magical totems and witchy accoutrements destroyed. As soon as Tansy's charms are burned things start going terribly wrong for Norman - he's accused of rape, his country cottage burns down and Tansy tries to drown herself. With his life out of control he begins to reappraise his belief in the supernatural. The Matheson / Beaumont story is hugely interesting in the clever dynamic it sets up between male and female. Norman has a rigid belief in "masculine" rationalism and logic, while Tansy has a "feminine" belief in intuition and supernaturalism. Norman tries to control and impose his will on the world with his cold, rigid logic, while Tansy seeks to work in tandem and co-operation with the natural world. The climax of the film, where Norman is forced to submit to a world beyond his rationalism and arrive at a belief in the supernatural, clearly sets out where the film-makers sympathies lay - the women are clearly in charge in this world of magic. Director Sidney Hayers and cinematographer Reginald H. Wyes give the film a beautifully stark look, with some excellent shadowy and atmospheric black-and-white photography. The interiors are cleverly illuminated, but it is the exterior nighttime photography that really catches the eye - the moonlit exteriors, particularly when Norman goes walking across the night time beach and through an ancient cemetery are particularly impressive. Hayes moves the story forward at pace, building from one set piece to the next with unrelenting momentum; his only misstep, perhaps, being the strange stone eagle climax. The acting is good throughout - Peter Wyngarde starts out arrogant and in control, at home in his world of staid conformity, buts ends up a broken man in a world beyond his ken. Janet Blair is equally good, panicked at Norman's actions, frighteningly knowing of the consequences and strangely willing to sacrifice herself for the man she loves. Margaret Johnston as Flora also puts in a good turn as a second witch on campus. Overall "Night of the Eagle" is a superior, tight and terse little chiller with plenty of delicious subtext and subversive thought floating (not very far) beneath the surface.

This book was ok. The main character is Mae West and someone is going around killing her impersonators. The killer also has a vampire bent. He kills people by making bite marks on their jugular and finishes the job with a knife to the heart. At times it's pure camp, much as you'd expect with Mae West. The author does do a good job of creating her world and vernacular. And if you've seen any of her movies you can hear her voice saying them in your head. The plot has Mae working with the police detectives to try and solve the murders. There have been two drag queens and one real lady impersonator who have been killed all with the same mo. And the murderer is not revealed until the last few pages and comes as quite a shock. The motives are explained but never really why the vampire connection to my satisfaction.

Sweet Harriet and some other wash-up 30s era movie dames are trying to make a comeback on television in the 60s, but their past haunts them. Are they mixed up in the murder of their former producer? Musical references and gay men in Manhattan in the 60s. What could be better? It's a bit fluffy, but hey it's a mystery. What do you want? Detective Pharoah Love, whom I really liked in Topsy, has only a bit part in this and is it the end of his career? I think this is fun for the theatre gays, but it mostly left me cold. Shades of Sunset Boulevard.

Author George Baxt had written a few fluffy mystery with famous actors/actresses as the victims. Nothing special, just fun having Bette Davis as a victim, you would not see that in real life.

1968. Extremely funny campy mystery. Third in the Pharoah Love detective series. References a ton of movies and musicals I didn't know. Everyone is double-crossing everyone else to try to get rich.½

Rather fun. Garbo and Marlene Dietrich each help solve a murder case.... full of other Hollywood celebrities of the '30s (Peter Lorre makes my favorite appearance), and liberally larded with gossip. Written by a former 'Hollywood insider' who was at least acquainted with both stars. A cop and his gossip-columnist girlfriend are series regulars...