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A gripping spy thriller with a deserved reputation. Philip sees an announcement in ‘The Times’ from an old friend who has instructed the newspaper to publish only if they don’t hear from him. This sets a trail running through Europe, with the Kremlin, defectors, agitators and the People’s Court setting the background to a very realistic story ...
Horniman, Birley and Craine are a highly respected legal firm with clients reaching to the highest in the land. They use a system of keeping important documents in deed-boxes and when one of them is found to contain the remains of a certain Mr. Smallbone, the threat of scandal reaches their innermost psyche.
A suspected informer is found dead in a collapsed escape tunnel in a prisoner-of-war camp in Italy. So as to protect the tunnel the prisoners decide to move the body. But then the fascist captors declare the death to be murder and determine to execute the officer they suspect. It therefore becomes a race against time to find the true culprit.
Oliver Nugent takes on a derelict pharmaceutical firm. He encounters ruthless opposition, and counteracts with some unscrupulous methods of his own. It seems no one is above blackmail and all is fair in big business battles. Then a threat, alluding to a time when Oliver was in charge of an SS camp, jeopardizing all that he has worked for.
Dr. Alexander Wolfe seemingly plunges over a cliff in his car. His body is never recovered and it emerges his life was recently insured for a considerable sum. An insurance loss adjuster is sent to investigate. There is romance, possible gang involvement in arson, and a potential job offer in store. Is Wolfe really dead?
Includes Part 1, Number 1 & 2: Books and Pamphlets, Including Serials and Contributions to Periodicals (January - December)
There are hundreds of satisfactory and satisfying British mystery writers whose works should be studied both for their own individual accomplishments and for their comments on the society in which they were published, in the last 150 years, but who have not received any critical comment lately. This volume is designed to correct that fault in a dozen of those unjustifiably neglected British authors: Wilkie Collins, A.E.W. Mason, G.K. Chesterton, H.C. Bailey, Anthony Berkeley Cox, Nicholas Blake, Michael Gilbert, Julian Symons, Dick Francis, Edmund Crispin, H.R.F. Keating, and Simon Brett.
Hollywood's conversion to sound in the 1920s created an early peak in the film musical, following the immense success of The Jazz Singer. The opportunity to synchronize moving pictures with a soundtrack suited the musical in particular, since the heightened experience of song and dance drew attention to the novelty of the technological development. Until the near-collapse of the genre in the 1960s, the film musical enjoyed around thirty years of development, as landmarks such as The Wizard of Oz, Meet Me in St Louis, Singin' in the Rain, and Gigi showed the exciting possibilities of putting musicals on the silver screen. The Oxford Handbook of Musical Theatre Screen Adaptations traces how the genre of the stage-to-screen musical has evolved, starting with screen adaptations of operettas such as The Desert Song and Rio Rita, and looks at how the Hollywood studios in the 1930s exploited the publication of sheet music as part of their income. Numerous chapters examine specific screen adaptations in depth, including not only favorites such as Annie and Kiss Me, Kate but also some of the lesser-known titles like Li'l Abner and Roberta and problematic adaptations such as Carousel and Paint Your Wagon. Together, the chapters incite lively debates about the process of adapting Broadway for the big screen and provide models for future studies.