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Kate Ketterling, one of a strolling players troupe, has Archie Islington, Viscount Barrington, take her to Astley’s Amphitheater to meet the star, Phillipe Ducant. They learn that Angelique de la Reina has been found dead—and Bow Street will decide her horse is to blame. Kate instead considers all the other suspects—and refuses to be intimidated when more people are attacked. Regency Mystery/Romance by Nina Coombs Pykare; originally published by Five Star and second of the Kate Ketterling mysteries
During the annual Fiesta, three desperate men converge in a perilous New Mexico town in this “extraordinary” crime novel (The New Yorker). It takes four days for Sailor to travel to New Mexico by bus. He arrives broke, sweaty, and ready to get what’s his. It’s the annual Fiesta, and the locals burn an effigy of Zozobra so that their troubles follow the mythical character into the fire. But for former senator Willis Douglass, trouble is just beginning. Sailor was Willis’s personal secretary when his wife died in an apparent robbery-gone-wrong. Only Sailor knows it was Willis who ordered her murder, and he’s agreed to keep his mouth shut in exchange for a little bit of cash. On Sailor’s tail is a cop who wants the senator for more than a payoff. As Fiesta rages on, these three men will circle one another in a dance of death, as they chase truth, money, and revenge.
Kate Ketterling investigates the death of Angelique de la Reina, even when the police believe her horse was to blame.
(FAQ). Film Noir FAQ celebrates and reappraises some 200 noir thrillers representing 20 years of Hollywood's Golden Age. Noir pulls us close to brutal cops and scheming dames, desperate heist men and hardboiled private eyes, and the unlucky innocent citizens that get in their way. These are exciting movies with tough guys in trench coats and hot tomatoes in form-fitting gowns. The moon is a streetlamp and the narrow streets are prowled by squad cars and long black limousines. Lives are often small but people's plans are big sometimes too big. Robbery, murder, gambling; the gun and the fist; the grift and the con game; the hard kiss and the brutal brush-off. Film Noir FAQ brings lively attention to story, mood, themes, and technical detail, plus behind-the-scenes stories of the production of individual films. Featuring numerous stills and posters many never before published in book form highlighting key moments of great noir movies. Film Noir FAQ serves up insights into many of the most popular and revered names in Hollywood history, including noir's greatest stars, supporting players, directors, writers, and cinematographers. Pour a Scotch, light up a smoke, and lean back with your private guide to film noir.
Andrew Dickos's Street with No Name traces the film noir genre back to its roots in German expressionist cinema and the French cinema of the interwar years. Dickos describes the development of the film noir in America from 1941 through the 1970s and examines how this development expresses a modern cinema. He argues that, in its most satisfying form, the film noir exists as a series of conventions with an iconography and characters of distinctive significance. Featuring stylized lighting and urban settings, these films tell melodramatic narratives involving characters who commit crimes predicated on destructive passions, corruption, and a submission to human weakness and fate. Unlike other studies of the noir, Street with No Name follows its development in a loosely historical style that associates certain noir directors with those features in their films that helped define the scope of the genre. Dickos examines notable directors such as Orson Welles, Fritz Lang, Otto Preminger, and Robert Siodmak. He also charts the genre's influence on such celebrated postwar French filmmakers as Jean-Pierre Melville, Francois Truffaut, and Jean-Luc Godard. Addressing the aesthetic, cultural, political, and social concerns depicted in the genre, Street with No Name demonstrates how the film noir generates a highly expressive, raw, and violent mood as it exposes the ambiguities of modern postwar society.
The crime film genre consists of detective films, gangster films, suspense thrillers, film noir, and caper films and is produced throughout the world. Crime film was there at the birth of cinema, and it has accompanied cinema over more than a century of history, passing from silent films to talkies, from black-and-white to color. The genre includes such classics as The Maltese Falcon, The Godfather, Gaslight, The French Connection, and Serpico, as well as more recent successes like Seven, Drive, and L.A. Confidential. The Historical Dictionary of Crime Films covers the history of this genre through a chronology, an introductory essay, and an extensive bibliography. The dictionary section has over 300 cross-referenced entries on key films, directors, performers, and studios. This book is an excellent access point for students, researchers, and anyone wanting to know more about crime cinema. -- from Amazon.com.
Robbers, gangsters, murderers, and criminals of every description have long been a staple of popular entertainment. Movies are no exception, and film buffs and scholars alike now have a complete guide to the vast array of films that make up the fascinating world of crime cinema. The BFI Companion to Crime offers detailed information on the sub-genres and motifs of movies dealing with criminals and their behavior: prison dramas, heist stories, kidnappings, the exploits of serial killers, juvenile delinquents, and hired guns. Phil Hardy also includes articles on the historical and social background of crime movies. The Mafia, the Japanese yakuza, the FBI, and the underworld of union rackets, prostitution, and drugs are some of the topics covered. Fictional characters such as Sherlock Holmes, Inspector Maigret, Philip Marlow, and Pretty Boy Floyd appear in these pages, along with the literary sources of many crime films. The works of Graham Greene, Dashiell Hammett, Mickey Spillane, and Eric Ambler are among those featured. Abundantly illustrated with more than 500 photographs, this is the book for film enthusiasts and anyone interested in the crime genre.
Literally the last word for Hollywood trivia buffs, a celebrity death certificate is also strangely compelling. Its matter-of-fact reportage makes the famous ordinary, illuminating previously well-lit profiles with the unfiltered light of the everyday. A death certificate may also reveal information that stars concealed, such as actual birthdates. In California, death certificates are a matter of public record--a real mine of information. This follow-up to M.F. Steen's previous two collections (2003 and 2005) reproduces in full 226 death certificates. Brief biographical notes are included, listing birth and professional name as well as notable film, television and entertainment credits.
An alphabetical reference on the major film figures (stars, producers, directors, writers, et al.), past and present. Each entry provides a substantial career biography and a complete listing of all films the individual has been involved with. Annotation copyrighted by Book News, Inc., Portland, OR