IMDb meta-data is runtime 16 m 15 s, rated 6.8 by 13 cinematizens.
Genre: Sci Fi
Verdict: Dystopia is so yesterday.
A SyFy short from DUST filmed mid-winter in a bleak Bulgaria where tweenagers beat each other to death to control population growth. Reminds of some Saturday morning television competitive game shows. It doesn’t make sense but there it is.
Not on the IMDb. Too bad, because it is well made even if the plot is obvious. I did find a Facebook page according to which the production is Australian. Its premier was in Sydney at 2021 Flickerfest with these production credits, Director and writer: Nik Kacevski and Producer: Christopher Seeto.
I checked IMDb again and since my first check, it has been added, hence the meta-data above.
While I watched this sitting at my desk, I would have disliked paying to watch it and being trapped in a theatre. I got film festivals out of my system a long time ago, and glad to remain free of that monkey.
IMDb meta-data is a run-time of 1 hour and 40 minutes, rated 6.6 by 1,200 cinematizens.
Genre: krimi.
Verdict: The aliens are among us.
To sum up, it is detached and indifferent, off-set by the eye-candy of provincial France which makes a nice change from either Paris or Marseilles. The plot is neat but the direction is lethargic.
Some marvellous Claude Chabrol images, especially of Bernadette LaFont; in opening and closing shots she appears as beautifully lifeless as a butterfly pinned to a card under glass. That she is so emotionally remote is a Chabrol meme, but in this film she has competitors. The household where the action is largely confined is as lively as a wax works. Though they are oddballs for the sake of being odd (and not to move the plot), they are largely inert.
Then for we trolls there is Lavardin’s bottomless suitcase from which he extracts an endless wardrobe of suits, sport coats, and neckties to put on under the ever-present trench coat. He always looks like he just stepped out of a glossy magazine advertisement and just about as animated. That coat is a parody of the genre from Chabrol, one worn thin with repetition.
The only life among the ensemble is projected by the sleazy nightclub owner who gives the imbeciles what they what at a premium and the wanna be blackmailer. These two actors inhabit their parts with conviction. Everyone else is so cool and remote as to be different lifeforms.
Lavardin insinuates himself into the household rather as Maigret would’ve done, but then proceeds to break the china in a way Maigret would not. Moreover, the insertion is automatic and not an accomplishment. No sooner does the inspector appear than he is a guest at the table.
The idea that Jean Poiret as Lavardin could be a tough guy in the Jean Gabin mould stretches the suspension of disbelief too far. Snap! He is trop petit et beau for such muscle. Gabin had iron in his soul and it showed on camera, but not this greying pretty boy with designer suits.
Even more tiresome, Lavardin shows no insight as a detective and is completely surprised by the denouement, but that in no ways dents his smug egotism. That is Chabrol irony, I suppose but it is not very entertaining. He seems to be degrading the very coin he is spending.
There was a time when Chabrol could coax some powerful performances from actors and that made his reputation. It was said that he treated the actors as in-role from the start on and off the set. If I was playing Max, he would call me Max, even at the bar after work. And his treatment would match the character of Max.
Ditto for L’escargot noir (1988): IMDb overrated 6.9 by 57. While the magnetic Stéphane Audran is listed in the credits and that was enough for me, she has two scenes near the end. Why bother with such a great player for that. Hrrumph! No one in this outing takes the roles seriously, though once again the plot is ingenious and once again, despite his posturing, Lavardin misses the point entirely, even when holding the clincher in his hand, even after a disturbing scene with a grandmother in a church that seems out of place; was it an editing error? It had been obvious from the first 30-minutes who had to be the villain. Once again his suitcase is bottomless. Once again the charms of provincial France are on display. Once again the viewer leaves the table hungry.
Double ditto for Maux croisés (1989) rated 6.9 by 10 members of the director’s family, which limps, though the plot idea is neat, the execution is woeful. None of the players take it seriously and the sumptuous spa hotel is barely exploited. The guilty parties might as well have signs pinned on, and the background game show makes even less sense. Once again the bottomless suitcase is there. One scene is simulated in a rainy Firenze and many of the players speak French with an Italian accent.
The last was first. I watched last the first instalment of Inspector Lavardin, Cop au Vin (Poulet au vinairgre) (1985), run time of 1 hour and 50 minutes, rated 6.6 by 10 cinematizens. That viewing sequence wasn’t intentional, just the way they came up on the Plex server at home. This one certainly shows the old Chabrol in the first mysterious 45 minutes or so, and offers some splendid performances, one from Stéphane Audran, as an obsessive, manipulative mother of a young man, played by Lucas Belvaux, who is also very well drawn in what was a difficult part to play. Lavardin applies the vinegar in beating a boy and a pensioner to show he is tough, always confident no one will hit back, hiding behind to his police identity card and the director’s assurances. The bottomless suitcase is there. Others are so tolerant of his violence and enigmatic remarks that they must have been well paid. Some characters seem crucial and then disappear.
By the way, the musical scores were a major plus in all four episodes.
Provincial France as shown in these films is whiter than white. Not a hint of tint of the Maghreb is to be seen. Not even a colonial* restaurant is passed in the streets.
All in all, I was disappointed by the four DVDs. True, there were excellent moments, but like Wagner operas they went on and on and those moments became fewer and farther between. Chabrol’s own obsession with ridiculing the provincial bourgeoisie seems adolescent. Likewise his contempt for his own character, Lavardin, the lone ranger, who comes out of the mists, wreaks violence, and leaves is very spaghetti western without the parody, wearing thin quickly. A Maigret he is not.
P.S. It is unorthodox in that Flics are usually portrayed in film as fools (Louis de Funès), corrupt thugs (Gérard Depardieu), or square-jawed defenders of the Republic (Jean Reno). I leave the redoubtable Jules Maigret and his many incarnations in a separate and singular class.
* The first time I patrolled the food floor of the Galerie Lafayette in Paris in 1980, there was a section labeled ‘Cuisine coloniale’ where a few items from IndoChina (rice) and North Africa (harissa) were displayed.
An American Saga: Juan Trippe and his Pan Am Empire (1980) by Robert Daley.
Goodreads meta-data is 529 pages rated 4.38 by 106 litizens.
Genre: Biography +
Verdict: Chapeaux!
If ever someone was born to do business it was Juan Trippe (1899-1981) who made Pan American Airways the colossus of the sky it was for two generations. Before coming to that story first a word about the name. The Trippe family emigrated from England to Maryland in 1660 which at the time was a safe haven for Roman Catholics. He was called ‘Juan’ in honour of an aunt by marriage named ‘Juanita’ who came from Venezuela. At gatherings of the clan, she was the presiding matriarch. He was whitebread through and through, and not hispanic, though it is often implied that he was, the more so because of Pan Am’s later domination of Latin American skies when it was the semi-official flag carrier of the United States in foreign air. This misperception was cultivated at times to win favours south of the border.
As a teenager he was sky-struck, as was the likes of Antoine de Saint-Exupéry in France. The lad Trippe went to an exhibition of stunt flying on Long Island (circa 1912) with his father and thereafter never had another interest. Even girls came a distant second to the siren’s song of the air. (His libido is completely absent from this telling though he did marry in 1929 and sired four children.) At Yale University he day-dreamed of flying and when the Great War loomed he was quick to volunteer, lying about his age, and choosing the US Navy because it offered recruits fast entry into its flying service. Some of the things he liked about the Navy that stayed with him included the order, hierarchy, discipline, and the uniforms. Unlike, St-Ex, Trippe was a good pilot and made full use of his training. (Sidebar: As much as St-Ex loved flying and wrote lyrically about it, he was a lousy pilot. See my earlier post about a biography on this writer and soldier.) However, the war ended and so did Trippe’s flying. He was but eighteen at the time and he set about to make a living by flying.
From the myriad of details the author has assembled several characteristics of Trippe emerge. He made mistakes, and he learned from them. He was in a hurry to get to the future, often running before he could walk. He seldom dwelt on mistakes, defeats, or failures, but quickly moved on. He saw opportunities long before others. He was an unflappable negotiator and in the longer run that was his strongest asset; he just did not quit. (In this way he calls to mind Barbara Castle.) He was unfailingly soft spoken and polite, even when being verbally assailed by angry competitors who grew frustrated at his persistence. His touch at hiring subordinates was good, and once in place he delegated a great deal of authority to them.
Zipping through the stratosphere thrilled him, but he was even more enamoured of spreadsheets and ratio of fuel costs to pounds of payload. After 1918, hundreds of other military-trained pilots liked flying and tried to make a living from it by barnstorming tours, stunt flying, circus acts, joy rides, and more, in contrast he went at it as business competing with trains and ships for freight, not fun. When he talked to someone it was about miles per gallon or turn-around time on loading. He carried a notebook which he filled it repeatedly with all he learned.
When he did fly, he spent much of the air time mapping the ground below for features a pilot might need to know from flat pastures, to rock outcrops, to nearest towns. The man had application. This is in contrast to St Ex who once airborne often seemed to pass into a reverie with the skygod and sometimes overshot the destination, had not unlocked a control, failed to make a turn, ran out of fuel against a headwind because he did not notice either the wind or the gauge.
Trippe also spent much time in the New York City public library studying atlases, maps, sea charts, annals of shipping companies, meteorological texts, and more as he – long before anyone else – pictured aircraft flying passengers across the Atlantic and then the Pacific Oceans. Neither Wake nor Canton Islands showed on atlases in 1929 but Trippe found them mentioned in the handwritten logs of merchant sailors from Nineteenth Century sailing ships and US Navy archives, and in due course they became Pan Am way stations across the Pacific. (As first coal and then oil powered ships, replacing sails, these uninhabited islands had been by passed and forgotten.)
Trippe must have had moments of doubt and despair, but these did not make it into this book.
When in 1919 he bid for a US Postal Service contract and won the route from Miami to Havana (which at the time was a portal to all of the South America) he had no airplanes, no staff, no landing fields, no agreement with the Cuban authorities to land. But once he had the contract with nine months lead time, he got everything together. Almost.
He spend a lot of money preparing an airfield in Key West. When he finally went there to see for himself, well, no matter how much construction was done, the continual high water table engulfed the flat landing strip and as the deadline neared the aircraft engine exploded due to poor quality fuel. With days to go, Terpsichore paid him a visit. To hell with landing strips, to hell with wheeled aircraft, he found a battered seaplane (such as he had trained on in the Navy) and hired it to fly it and a twenty-pound bag of mail to Havana, where it landed on the water, needing no permissions. From that moment of invention came Pan Am’s clippers in the next decade.
Very soon he spent all of his time at a desk (often on the telephone) in New York City and seldom flew after age twenty-nine. For years he looked younger than he was, and at times when wooing investors hired an actor as a frontman to win their confidence in maturity.
Trippe was always worked ahead of the competition, and also his own investors as well as the boards of directors, and that often led to conflicts, some of which he lost, and walked away to continue elsewhere. There were other innovators in aviation, of course, but he often led the way with designing aircraft to carry cargo, to carry passengers, to carry cargo and passengers in pressurised cabins with meal service, ever more powerful engines, non-stop flights, with jet passenger planes, and jumbos, and so. Then there was the hierarchy of rank, the naval uniforms, and other amenities to make flying seem easy and normal and, most of all, safe. Putting women in the cabin crew was part of that psychological of safety.
He usually shunned the limelight, unlike many celebrity CEOs. When his companies, planes, or personnel made the news by establishing new firsts in civil aviation, others took the press interviews, not Trippe, who by then was knee-deep in a new project. Journalists who inquired of him were likely to be directed to someone else. The people he wanted to impress were bankers and financiers who would invest in his next dream, and they were not going to swayed by laudatory newspaper stories with clichéd headlines. The people he wanted to talk to were engineers, designers, and technicians. By the same token the entry in Wikipedia is sparse for an individual who had such large footprint.
Yet he understood the allure of celebrity and established and traded on a relationship with the most famous aviator of the day – Charles Lindberg. Lindy was awash with opportunities but what Trippe offered was more flying in ever newer airplanes over unexplored routes and this combination appealed to the adventurer Lindberg who flew airplanes conspicuously marked Pan Am where no one had done so before, boldy going. Such markings were another Trippe innovation. Where Lindy went the newsreels followed. (They came to a parting of the ways later when Lindberg became an apologist for Hitler. That is another sad story in its own right.)
Alarm bells rang at the State Department in Foggy Bottom when in the 1920s a German consortium set up an airline in Columbia. While the business was perfectly legal and operated through a local company in Bogotá, a German controlled airline in the Western Hemisphere touched the Monroe Doctrine nerve. After all, an airline had the potential to be an enemy air force in a future war, and one based close to the Panama Canal was a strategic threat of the first rank. Diplomatic pressure on Columbia was applied and that slowed development but did not stop it. In this context, Trippe was encouraged by the State Department to extend his ambitions southward, and that suited him fine. Pan Am was developing into a semi-official state airline that carried the flag even as France, Germany, and Great Britain were themselves developing state-owned airlines.
That status was compounded later by the Post Office Department, in letting contracts for foreign airmail, ruled that a single carrier was the most efficient and effective means, and not a series of competing airlines using different schedules, sites, standards, and so on. That single preferred carrier was…Pan Am. Yes, when not nailed to his desk in a two-room office in New York City, he was in Washington nearly every week lobbying with his spreadsheets and honeyed-tongue. He more of less wrote the Post Office ruling.
Later his exclusive and exclusionary business practices were challenged by rival airlines in both courts and Congress. He won those arguments on the grounds that he had an ‘achieved, natural monopoly,’ that is, a monopoly achieved by pioneering. Any rival ought not to profit from Pan Am’s investments, say, by using its facilities, data, or routes. The monopoly was not the result of shady financial practices but rather of bold innovation, risk-taking with its own money, and the pioneering efforts of its flyers.
While in each case the conclusion was close run and carefully worded, nonetheless the result was that Pan American Airways was a state airline in all but name. Yet it was not subject to direct control by the government that authorised it, unlike Imperial Airways in Great Britain which flew where and when the His Majesty’s government directed.
To be sure this status had benefits but it also had burdens. In 1940 Pan Am was pressured by the State Department into building more than twenty airports in Central and Latin America to a military standard in case a threat to the Western Hemisphere came from the Bulge of Africa. At the time it seemed possible that Germany would occupy the French colonies of Morocco and Senegal with the cooperation of the collaborationist Vichy regime, and then use the French and Dutch West Indies islands as forward basis to operate against the Panama Canal with the help of the many Germans resident in Columbia. Later Pan Am was again coerced into organising a series of way stations in Africa between Monrovia and Cairo to allow for air cargo en route to the British in Egypt. Much later its Latin American installations were integrated into the US Space program for tracking and weather reports. N. B. In all these cases it was Pan Am, not the State Department, that negotiated with the host governments. Because of that it was sometimes referred as the Air State Department.
Backing up to 1929, still not yet thirty years old, he had commissioned the first purpose-built airliner. conceiving of it as an astral equivalent of a luxury ocean liner. The nautical theme chimed in with the flying boat’s milieu, and it was systematically applied in both design and furnishings. As regular freight and then passenger service was established in the Pacific the new Boeings were called clippers to evoke the sailing ships that had plied that ocean blue.
Note on terminology. Land planes use wheels. Sea planes use pontoons which are filled with fuel. Amphibians have both. Ski planes have…skis. Catapult planes had a brief fashion but later were confined to military use. Flying boats like the clippers use the hull for landing, no pontoons. By the way, making the clippers amphibious was not possible for technical reasons mainly because of the weight, especially on take-off with a full load of fuel, but also on landing. They were beasts. To equip them with struts on the wheels and enough wheels to distribute the weight would add even more weight and degrade the aerodynamic qualities of the craft.
There are many other examples of his approach to management which would not get him an MBA from the McKinsey School. Noteworthy is his delegation of authority, disinterest in micro-management, long term view, premium on safety, patience, resilience, modesty, and more. He did anticipate McKinsey in his insistence that everything, and I mean everything, be documented for future reference. He was willing to gamble but he wanted to learn from mistakes, not repeat them. He valued these qualities in subordinates, too, and funded projects that took years to complete without a demur.
In 1939 there was a management coup d’état on Fifth Avenue in the Chrysler Building where it was now headquartered (before constructing its own building [the lobby of which I once entered]). A decade before Trippe had selected all the directors who were personal friends and some distant relations, but as the need for capital increased the Board of directors included more bankers and lawyers who owed him no loyalty. Though Pan Am was gargantuan as airlines of the time went, it was losing a lot more than money than it was making. It had more 50,000 miles of routes through 47 countries with 125 planes, 145 ground stations worked by 5000 employees around the world. The only gap in its route was between Hong Kong and Léopoldville (Belgian Congo) which was left to Britain’s Imperial Airways and France’s Aéropostale. That made it larger than the US Army Air Force at the time, let alone every other incipient airline. However, only the Latin American mail routes were regular enough to make pesos. In the vast Pacific service was irregular. Worse, crashes there were a few. Over the Atlantic Pan Am had ambition and had invested very heavily in preparation for flights but there was none in the offing. Trippe had made Pan Am and now it in its board of directors unmade him.
That interregnum lasted eight months, during which Trippe was moved sideways and a new CEO installed who liked having his picture taken, but everyone, including the new CEO, soon realised he did not know much about Pan Am and nothing about running an international business or an airline and he quit. With little fanfare Trippe, not yet forty years old, returned to the big office. During the months of exile he had attended meetings and sat silent for the whole time watching (and waiting).
There is a fascinating sidebar about China National Air (CNA) which Trippe had bought years before to provide a base in China when Pan Am finally got across the Pacific. When Japan invaded China in 1937 CNA was caught in the crossfire, and Trippe, wanting no part of this war, pulled everyone out, but some employees would not leave and tried to maintain service of a sort. Trippe thought this madness and fired them, but kept paying their life insurance policies (for their families) and kept them on the list for bonuses. Ergo he could truthfully say that Pan Am had divested itself of CNA, while allowing benefits to accrue to the wildcat airmen. That remainder was motivated by a love and respect for China and the Chinese, and in time found a protector in Madame Chiang. In the perilous years of the war in China, that airline became a lifeline flying over the Hump (look it up). Like Trippe himself, these employees also identified nearly completely with the airline they had built up and could not bear to dismember it. We might conclude that he saw something of himself in these few dedicated individuals. Later they were returned to the fold and credited with seniority for those lost years and back pay for the bonuses that had accrued. This is one of many instances where he demonstrated loyalty to employees quite foreign to the cosmology of McKinsey Management in which the cogs are interchangeable, a fact lightly disguised with a rhetorical lip service about the importance of ‘our people’ whoever they are.
By the middle of the 1940s it was clear that lobbying Congress and departments of state was a full-time job and Trippe put a woman in charge of Pan Am’s Washington D.C. office who became a Vice President of the company. She was often underestimated by politicians and officials she dealt with and proved invaluable to Trippe is sizing up one situation after another. The journalists of the day ignored her completely with the same unerring judgement so common today. She steered Pan Am through some very rocky patches and Trippe came to rely on her completely when he went to Washington.
By 1947 Trippe saw that the future of passenger aviation was the jet engine and for that to be profitable it had to take customers away from ships and trains. The way to do that was to offer speed. That meant non-stop flights to London, Rome, Paris with a hundred or more paying customers. Those who manufactured engines and built airplanes told him in great detail that it was impossible to do that, and he persisted. He often seemed not to hear these negatives and just pressed on. Finally, he gambled big on jet engines by buying them for airplanes that did not exist, and then convinced Boeing (after Martin, Douglas, and Lockheed declined) to design and build a jetliner round them, the Boeing 707. A knowledgable observer has opined that the 707 broke the tyranny of distance in Australia.
He followed his usual practice of divide and conquer with the airplane and engine manufacturers and drove hard for the development of the first Boeing 707 but soon moved on to the Boeing 747 and the jumbo jet, which still rule the skis in other forms. All of that cost millions and millions but on he drove until one day in 1968 when he quit. Yes, cold turkey. He announced his resignation at a board meeting in the evening, cleared his office the next morning. It was a thunder bolt both in Pan Am and in the business in general. He had typed all the necessary documents himself, so not even his personal, private secretary of twenty years knew until he told her the following morning.
One innovation Trip rejected, despite considerable pressure, was the SST or Concorde as it became. The US Air Force wanted a supersonic transport, and a commercial interest from Pan Am would help to stimulate development, but Trippe did not like anything about it. To reach the speeds it did it could carry only a few passengers and the noise it made would turn airports into uninhabited zones. We saw one of these beasts take to the air while we were trudging, suitcase ladened, across a rental-car parking lot at Heathrow, and it was L O U D! It also spewed black exhaust.
He became emeritus but never uttered another word beyond pleasantries in the office, in board meetings and in conferences, and he eschewed most invitations to speak here and there. In retirement he made it a point to preserve the history of Pan Am with a foundation that created, devised, maintained, and ran a corporate archive which this author mined.
As a national, flag-carrying airline in all but law, Pan American Airways was in the odd position of having no domestic routes to feed into its international flights. While Trippe’s lobbying had long allowed it to monopolise foreign travel, that very success united the domestic airlines against it and they prevailed with Civil Aviation Board in excluding Pan Am from domestic routes. One could fly from Sydney to LAX on Pan Am, as I did, and then from New York City to London on Pan Am, but not from LAX to New York. In time as other carriers muscled into the international market that monopoly disappeared, leaving Pan Am suspended in the ether with no domestic business, despite much lobbying. Ultimately that imbalance was fatal.
That was bad — worse was to come with the oil shock, and soon the empire that at its peak employed 40,000 people with more than a hundred long haul aircraft in the air every day, grudgingly conceded to be the industry leader, crumbled. With five years of his resignation, the Pan Am of old started to disintegrate, selling off assets, discharging employees at the top and bottom, all the while the new management paid executive bonuses of a magnitude Trippe had never done.
One of Pan Am’s many safety precautions was that each member of the crew had to be triple qualified. Think of a football coach’s depth chart. Each crewman had to qualify for three different jobs, for example, the radio operator was also qualified to pilot and navigate. And so on for each one. Ergo there was triple back-up on each crew. Qualification was done through third parties certified by the government. In addition, on long haul flights there were two of everything: two navigators, two co-pilots, two pilots, two radio operators, and two engineers so they could work twelve-hour shifts. Each of these ten would have two other qualifications.
We don’t find out much about Trippe the man in these pages. Was that name a burden as a boy? How did he court the woman who married him, and what kind of home-life did they have, if any. There were children but was he a father to him, taking them to air shows as his father took him? Did he have any interest beyond the company? Collect stamps? Dig in the garden? Did he always keep his libido in check? When he lobbied officials or politicians, did he start from first principles, appeals to patriotism, establish personal relations, belittle rivals, or offer incentives? He had always been secretive and solitary and those qualities increased with advancing age as he became some of a recluse in his corner office.
The book certainly does explain Pan Am’s semi-official status, but with its emphasis on the accomplishments of flight and the technical achievements to make that happen, apart from the management spill, I never did understand where the money that Trippe spent so freely came from, especially in the earlier days. Yes, there were investors, but who were they, especially through the years of the Great Depression? What kind of return did they expect or get?
Pan Am was always parsimonious in management costs. Trippe paid himself well below the industry standards for CEOs and so, too, everyone else employed by Pan Am from Vice-Presidents to cabin attendants. Some of the VPs he recruited were surprised to be taking a pay cut to join Pan Am. Ditto pilots. His unstated principal was that the experience of working at Pan Am was a bonus in itself. Certainly for those in technical fields Pan Am offered opportunities no other airline matched. For crew the allure of international travel was there. For all there was the glory and glamour of Pan Am. It seems a case of an individual who came to belief his own advertising. Still it worked as long as Trippe was there, but when he quit the looking glass broke and very soon pilots, mechanics, caterers, and cabin staff, they all went to strike for industry standard salaries. In response the new executive team dismissed personnel and sold off assets to pay for their own bonuses. Ah, the pure, sweet air of McKinsey management.
The book is based almost entirely on original sources, interspersed with newspaper accounts from the day. There is a detailed appendix explaining the research that went into the book, and it is impressive. Much of it was in interviews with the principals in the 1970s and rich as that lode is, one might worry about memory especially since few of these individuals kept diaries at the time. Nonetheless, the groundwork is assiduous and everything was double and triple checked, including a visit to Wake Island! Chapeux!
* * *
Pan American Airlines was a world unto itself for generations only coming to earth with a thud in the 1980s. Seeing references to it in reading, film, broadcast, and at the air museum at Pearl Harbor, I have wondered about its origin and development. An ember of that vague interest sparked recently when I read about an unintentional round the world flight in 1941 after Pearl Harbor (discussed in another post). I went looking for a corporate history and eventually came to this title. Having now seen in this book the development of flight up to 1941 I appreciate even better what a remarkable feat that 1941 circumnavigation was. That Boeing model had only come into use in late 1939 and had a litany of teething problems.
Though there are many books on Pan Am, few matched my interest. Many concerned famous incidents involving Pan Am machines or personnel. A good few picked over the bones of the final corporate demise. Even more prolific were books about fashions in dress or, ahem, undress. Did Mortimer in the back row mutter ‘Cheap sensationalism’? Yes, there seemed to be a lot of that. In sorting through this material Juan Trippe’s name kept coming up and the tidbits harvested clearly indicated that at least for some long time Pan Am, gargantuan though it was, was a one-man band. How could that be, I wondered? As much publicity as that celebrity CEO of General Electric (GE) Jack Welch got, his influence on the company was never emphasised. GE was a behemoth before Jack and remained that after him. Not so Pan Am. It seemed Pan Am = Trippe and Trippe = Pan Am. He made Pan Am and it did not outlast him nor did he it.
I flew on Pan Am once near its end in 1979 across the wide Pacific crammed into Economy on a flight when smoking was common. The cabin crew had been trained by Houdini and disappeared before one’s eyes. It was the same from New York City to Paris. Overall it was a ghastly experience. The only benefit after the safe arrival was that I now get to say that I once flew on Pan American Airways.
Goodreads meta-data is 64 pages, rated 4.50 by four members of the family.
Genre: History.
Verdict: Once over lightly.
I remain in the market for a corporate history of Pan Am. This essay has whet my appetite and enlightened me on some points, but, well, there must be a lot more to the story.
This is my first first Google Book book and that meant I had to read it the screen, not on the Kindle. Fortunately, at 64 pages that could be done. Moreover, I found skimming it was best. It has the typos I associate with books from CreateSpace, and offered the laborious prose of a trained engineer.
Goodreads meta-data is 209 pages, rated 3.83 by 24 litizens.
Genre: krimi, historic
Verdict: Go, Leo!
During the brief hey-day of the Florentine Republic (1494-1512) Leo from the nearby village of Vinci is in town, having worn out his welcome in northern Milan. His arch-rival Loud and Lout Mike has just finished the anatomically detailed David to much acclaim. Basking in the limelight, Mike slangs off at Leo just for fun. This has nothing to do with the plot but enriches the ambience, or so the author must have supposed. Some may find it a distraction. ‘Some’ gets my vote. Mike was a lout, to be sure, but who cares.
Leo has signed a contract, another one, to devise, prepare, paint, and complete a wall size mural memorialising a great Florentine victory Battle of Anghiari (1440). Since there haven’t been many such victories the pictorial representation is all the more important. But it is like just about everything else Leo did, incomplete. While he is busy not finishing this public commission, a Florentine functionary puts him to work on a different job.
That minor official is in these pages a Big Man on the Campanile (BMOC), one Nick Machiavelli. Turns out these two are old buddies and the next project is to divert the River Arno from tiresome Pisa so that the tower will fall over or something. To calculate what has to be done and how, Leo overheats his slide rule.
Then, as if that were not enough, a series of foreign merchants having come to Florence on business are found murdered. More anatomical detail follows. A lot. Dead buyers are not good business, and something has to be done. Leo has to (1) finish the giant painting, (2) divert the Arno River, and (3) find the culprit. Would a genius really get in this situation?
Nick, too, decides to investigate, but not before much of his anatomical detail is set before the reader. Much. Too much.
The conceit of this series is that Nick has an illegitimate daughter called Nicola who is an offsider of sorts for Leo when he dons the deerstalker. Now we get a great detail of Machiavelli backstory as it concerns Nicola.
Goodness me. It is all too much like a Hollywood film, ‘based on a true story.’ The Nick fiction follows. In these pages Nick is a force in Florence, he is rich, he is powerful, he may be no David but he has all the same gear which is displayed more than once for the edification of the reader. The tiresome pedant in me requires that I say he was never any of those things. (Though of course I don’t know about the gear.) He served at the grace and favour of his betters. He did not ascend the hierarchy in his fourteen years of dutiful service. No promotion in a a decade and a half. Not a stellar performance. He was never rich by any stretch of the definition. He was never so secure financially, socially, and politically to be the swagging BMOC he seems to be in these pages. He prospered as the client of the patrons Piero Soderini and, to a less extent, the two Franciscos Vettori and Guicciardini. When they could not or would not help him, he sank without a trace. That is when he took up the quill and quire.
It is true that Machia must have met Leo at least once, since it was Machia who signed the contract for the Republic to commission the painting. It is possible, even likely, that Machia interested himself in the Arno project, too, though his status was too low to make him a driver of it. Finally, they were both in the orbit of Cesare Borgia for a few months and likely met there, too.
Whew! That said. this is a diverting work on fiction and the license to create is valid so I rolled with it. If I had tried to do something like this, well, it would have been a right mess, and quibble though I may there is a sure hand at work here on the keyboard. I found it diverting but I got lost in the plotting of who dun’it at the end. Apart from the liberties with Nick, the author is a master of the period detail and makes good use of it, though much of it is not to my taste. Still it is well done.
I paused when at one point when Machiavelli asked Leo for an itemised bill for his services. Would that be written back to front with the left hand while munching a carrot? Would Leo ever finish even this invoice?
Leo never finished anything, including his afterlife for he has also been busy in George Herman’s series which includes, A Comedy of Murders (1994), Tears of the Madonna (1996), Artists and Assassins (1998), The Florentine Mourners (1999), and more. Nick is around in these pages, too.
However, Leo is not to be confused with the clichéd Da Vinci’s Inquest (1998+) from Vancouver. Nor did he have anything to do with that code.
Goodreads meta-data is 134 pages rated 4.19 by 109 litizens.
Genre: Holmesiana.
Verdict: Meh.
Much to’ing and fro’ing as Holmes and his daughter Lucy rescue her mother Zoe from the Black Hand with some carbolic soap. Just kidding. It is all rather a lot for barely more than a hundred pages. It ends with a cliff hanger for the next volume in the series, but I fell off.
If I am reading the information aright, this is book number 23 in this partnership on Holmes. While I am impressed by that productivity, I have to say that it shows. Tired and trite. Maybe my Holmes addiction is in remission.
Goodreads meta-data is 384 pages, rated 3.75 by 1569 raters.
Genre: Chick Lit.
Verdict: Gal pals unite!
Vivi(an) and Max(ine) are two damsels determined not to be distressed. They start three thousands miles apart and end up, unwillingly in each case, at the 1939 World’s Fair during a chilly May at Flushing in New York City. Vivi is a starlet on her way up in Hollywood’s food chain in sunny LA. Since moving there from Brooklyn Heights she has undergone voice training to lose the accent, wears lens for eye color, hair dyeing, posture correction, lost weight, layered with make-up, trained to walk, had cosmetic surgery, and been rugged out in new clothes. Later even her estranged sister barely recognises her. By contrast Max, who is a couple of years younger, say around twenty, was an NYU student in soggy Gotham vying for a scholarship in journalism. Her one aim in life is a job at the New York Times, in which ambition she is enthusiastically supported by her family for the Times is oracular. Then the World’s Fair beckoned, sort of.
Both are intelligent, independent-minded, and hard working. And everything is falling into place, until life throws each a curveball. The studio serves up a Steve Carlton slider to Vivi when the producer of her current film – her first leading role – decides to lend her to a friend and fellow producer who is masterminding an aquacade at the World’s Fair, despite her protests. Off she goes, resigned to making the best of it, after all her watery co-star is the biggest orb in the Hollywood firmament at the time, Johnny Weissmuller. Having her name coupled with his on a program has got to be good news. Hmm, was that a double entendre?
Max enters an internship program, aspiring for a placement with the aforementioned Times. Then a Bob Gibson sinker sees her instead relegated to duties with a daily newsletter published at the Fair. Worse, the duties are clerical, not journalistic. In each case the reader is left in no doubt, no doubt whatsoever, that these curveballs came because of the stifling atmospheric sexism of the time and place. Women do the clerical work. Starlets are chattel property to be used.
When they both get to the Fair there is a lot about it that I found fascinating and it has whet my appetite for more on the Fair, and, gulp, less on the women. (Notice, I did not say ‘girls.’)
There are chaps circling around, including Tarzan.
As the story goes on we add three other women to the team who devise a way to outwit the men who manipulate them. Nicely done. The prevailing sexism and exploitation of the weaker sex is the underlying narrative, and the World’s Fair itself aspires to be a major character but comes over more as a painted backdrop. I was not sure about all the resolutions, particularly for the journalist-intern. She seems to have gotten the short end of the stick in her own plan. However, the chains of crippling sexism did fall away (at least for a time).
If the title ‘We Came Here to Shine’ is explained in the book, I blinked and missed it. The book has a very informative afterword about the history and the Fair that I particularly liked that and hope to follow up on a couple of the suggestions.
I had a soupçon of the 1939 New York City World’s Fair in the memorable Dark Palace (2000) when Edith worked at the League of Nations Pavilion as the lights went out in September. Occasionally I have wanted to find out more about this event, greatly overshadowed by start of World War II in Europe. Recently I went looking again for something; I had rather been hoping for a historical account but among the few titles I found most were concerned with style featuring colour plates and so on, not suitable for lazy reading on the sofa or at bedtime. Nor did any of these artistic, architectural, or fashion studies seem to have any sociological, political, or historical perspective as gleaned from the blurbs. The Mechanical Turk, however, consulted the algorithm and proffered this title which I resisted at first, but then asked for a Kindle sample in the absence of any more suitable alternative, and then read on to the end. Glad I did.
Baseball fans will know both Carlton and Gibson, each of whom let his pitches do most of the talking, though Carlton on the few occasions when he spoke publicly was positively evangelical about the slider, while Gibson mostly grunted on and off the mound. Every batter knew Carlton would deliver a slider and no one could hit it. Every hitter knew Gibson’s out-pitch was the sinker and he liked to get batters out right now, but few batters ever saw it and not one ever hit it. Carlton once proclaimed he was put on earth to throw the slider, while Gibson’s mission was to get batters out, now! He did. They both did. There was a time when both were contracted to the same team, and that would have been a fearsome twosome to rival the tyranny of Koufax and Drysdale.
Goodreads meta-data 320 pages rated 4.04 by 23 litizens.
Genre: krimi.
Verdict: Agent 001 at work.
In 1947 Hero has returned from the war to a life of privilege at an Oxford college, where he mopes and feels sorry for himself. He is an archeologist who specialises in the Middle East of, well, not pre-history but 4000 years ago is getting close. A friend of a friend puts moper in contact with a Foreign Office (FO) toff who has a Sumerian doodad from those ancient days. ‘Meh’ is Hero’s reaction. But wait, there is more, this FO toff is also getting threatening messages in Sumerien cuneiform that seem to be relate to that doodad. Did it take the Royal Mail 4000 years to deliver them? This conundrum briefly arouses moper from his melancholy self-absorption at least to footnote the texts from which the threats emanate. Scholars must always footnote.
Then the FO toff gets crushed (yes, crushed) on top of a Sumerien statue (one of the colossi) at midnight in the British Museum (BM). This wakes up moper. (That reference to the BM is what got my click for Kindle. Be warned there is very little of it.)
At the same time the Irgun tries to assassinate the British Foreign Minister on the street, perhaps having mistaken him for the Archduke Ferdinand. The Foreign Minister wants Hero to protect him since he has mistaken the Scots accent of his security detail for Sumerien. Can the plot get any thicker?
Yes, it can because while escorting the FM moper meets the sister of his lost love. You see, Lost Love thought he was already dead and so jumped to her own death, aided by the S.O.E. Code names Romeo and Juliet. (If you don’t know what the S.O.E. was, keep it that way.) He wonders ever so politely what his chances now are with sister. We all know where that is going to lead, even if he doesn’t.
There are so many back and side stories and lengthy expositions on everything from the naming of ships to the location of hotels of the ‘Did you know?’ variety. Did you know that seven kinds of wood were used for the paneling on the luxury ocean liner? There follows a list of each, its qualities, and application on the ship. This is one of many such trivial pursuit sidebars that slow the pace, distract the attention, blur the focus, and weary the reader. Our author obviously did an enormous amount of research into the period and was determined to put it all on the page. Gracious, get on with it.
Hero is a man of endless talents. He leaps from tall buildings, outwits all manner of thugs, repairs ships at sea, and I am sure he can fly – with or without – a plane in the next chapter. All of these accomplishments he owes to his S.O.E. training. Sure. Truth is S.O.E.’s real expertise was in getting its agents killed and its managers knighthoods.
On the bright side, the ambience is brought to life, the characters are differentiated, the two story arcs (Sumerien and Irgun) are tantalising, Hero – on the rare occasions when he is not introspecting – is credible. There are some really arresting moments, say when a dead boring academic lecture, goes all spooky. (I wish I had been able to do that!) Too often there is the trivia quiz about extraneous and irrelevant details.
Loose ends there are a few. At the end I still did not know how or why the first victim got on top the colossus in the British Museum, i.e., mechanically how did he get put there. Where was gravity when all that happened? Did it take the night off? As to why, well it did not matter in the end. The dwarf loomed large and then vanished. Is that what dwarves do? The origins of Mr Smith are unknown. Was he victim of a gassing in the trenches of World War I? How did this freak hide on the Queen Mary? Buy clothes? Use face recognition on the smart phone? Although it is the centrepiece of the beginning of the book there is never an explanation of the artefact’s theft from the lecture hall.
Crutches there are a few. I lost track of the number of times when Hero is contemplating the woodwork for the next trivia round, when a voice at his side interrupts his reverie. Gosh, he seems to have no instinct to warn of these impending intrusions, and would hence never survive as a quarterback. Yet later we learn that he can sense the presence of invisible enemies, and he can see in the dark. It’s the daylight, then, that blinds him.
In an afterword the author links many of the events to historical reality, too many for this reader to digest. The author seems to have been born with a keyboard on each hand because he has hundreds of writing credits in all manner of genres. This one is part of series.
Goodreads meta-data is 447 (very long) pages, rated 4.47 by 136 litizens.
Genre: Thriller.
Verdict: Ugh.
There is a world of difference between a thriller and a krimi, and this is a thriller, well, a wannabe thriller. What it is largely is an exposition of the facts and figures about Switzerland in 1939. A crashing bore, you might think, and you’d be right. It is opened by a chapter about a German tank unit during the invasion of France in 1940, and I am now at 54% in Switzerland in early 1939 with no connection to that first chapter. No, I am not on the edge of my seat, rather slumped in the chair in frustration and boredom. (P.S. I flipped to the end and found a squib of an explanation of the tank unit opening. Too little, too later for this impatient reader.)
One major theme is the extensive arms production in Switzerland. They were busy selling to all sides. That is played up so much I began to think that the way to avoid war was to put the Swiss out of business as the merchants of death.
As I was skimming through the pages of stilted, meandering prose I wondered why I had elected to read it. What prompted me to take up this stew. I flicked the pages on the Kindle faster and faster and then…
Our hero secret agent Müller is impressed by the banker he meets, the more so since she is a woman, because she knows a lot about Switzerland that he, native though he is, does not know. One of the unknowns for him is where Basel is. Yep. It seems to be news to him that it is on the German border with that most peculiar train station. (Psst. There must have been a reference to this station in the blurb and that is why I selected it.)
One of the three Basel train stations is very peculiar. The Basel Badischer Bahnhof was known from 1933 to 1945 as the Basel Deutsche Reichsbahn. See the difference? No, well, check those dates and think again. Historically a rail company from Baden built the track and the station in the 19th Century and arranged by treaty – when Baden was an independent duchy before German unification – with Switzerland (in effect with canton of Basel) to operate the station which is on Swiss territory. This arrangement rolled over when Germany absorbed Baden. The track and the platform are by treaty German, but the station building is Swiss. De facto the border runs through the station between the platforms and the station hall. This was a legal fiction until 1933 with advent of Nazism made it a grim reality.
Think of a train station as three components to get the picture: the tracks, the platforms, and the hall. In this station the tracks and trains on them along with the platforms to enter and leave the trains were in Germany, while the hall that travellers passed through was in Switzerland. That division, by the way, is easily to visualise in Sydney Central Station for intercity travel with the ticket barrier and its scanners as the border.
On the other side of the hall there are platforms and rails serving Switzerland (like the suburban platforms at Sydney Central). I know that I saw this station when in Switzerland (1983) because I remember asking someone about the Badischer in the name and getting fobbed by an interlocutor who either didn’t know or didn’t care or both.
Today this kind of arrangement can be found elsewhere. In both Vancouver and Toronto airports (and perhaps elsewhere, too) USA customs and immigration is accommodated in the Canadian airports on Canadian territory. To leave Toronto one passes through Canadian officials and then US ones to get to an aircraft going to the USA. In that zone the US authorities are sovereign by treaty like an embassy.
Back to Basel, from 1933 this division of the station made it a tempting conduit for some fleeing Nazi Germany, and knowing that fact, Nazi agents manned the checkpoint from the platform to the station with vigilance and plainclothes Gestapo agents roamed the hall in Swiss territory intimidating and on occasion kidnapping travellers. That latter was illegal but the neutral Swiss seldom complained, preferring to go along to get along with the bigger and meaner neighbour as long as the victims were not Swiss.
I can find almost nothing about this anomalous station. I went looking for history on the Swiss Federal Railways web site to no avail. That is, Schweizerische Bundesbahnen, Chemins de der fédéraux suisses, Ferrovie federali svizzere, and Viafiers federalas svizras, whew! No wonder it has more than 30,000 employees! Visiting archives, I once travelled on SFR from Zurich to Geneva to Neuchâtel, and back.
Is this station another missed opportunity for Hollywood to muddle history ‘based on a true story?’ Dibs! I can imagine the clichés punctuated with childish CGI for by the prepubescent boy directors and audience.
All of this is more interesting than the tome at hand. Read it and decide for yourself.
IMDb meta-data is 11 episodes of 48 minutes each. Ratings are below.
Genre: Hard Boiled.
Verdict: An intoxicating cocktail of cynicism and optimism.
These titles from the second season came my way:
Blackmailers Don’t Shoot rated 7.4 by 53 cinematizens,
Spanish Blood rated 7.2 by 32 cinematizens,
Pick-up on Noon Street rated 7.4 by 34 cinematizens,
Guns at Cyrano’s rated 7.2 by 30 cinematizens,
Trouble is My Business rated 7.5 by 35 cinematizens, and
The Red Wind rated 7.5 by 30 cinematizens.
From the typewriter of Raymond Chandler this series adapts some of his early short stories for the screen. A few of these early stories featured Mallory before the gestation of Philip Marlowe in print, but Marlowe has been retrofitted into these scripts. (Word to the wise: the entry on Wikipedia is not useful for the early days of Marlowe.) These are episodes from the second season. My efforts to locate the first series have not (yet) been successful.
In these outings Marlowe is (retrospectively) the Marlowe of The Big Sleep, tough and cynical, incarnated by Powers Booth (1948-2017), the only Marlowe I have seen who has the bulk, with added jowls and a vocal rasp from all those cigarettes and scotch. Some cluey aficionados rank him as the #2 Marlowe after Bogart. Could be. That’s one toss I won’t argue.
Taken together in these episodes what I noticed is the racial themes in Spanish Blood and Pick-up on Noon Street, and I wondered how closely that aligned with Chandler’s original stories, or was it the production company, HBO, beating the virtue drum? I don’t recall anything about either Latinos or Blacks from Chandler’s stories, except in the background as gardeners or drivers, maids and servants. Make of that what one will. I may have to re-read these stories myself for a refresher.
There is also a recurrent motif in that the victims of a crime had contrived the crime to gain publicity in the dream factory town, where publicity is oxygen, where if you are not going up then you are going down on the popularity gauge, because someone else is going up on it. That seemed surprisingly current given the great desire of so many people to be victims.
My personal favourite from this half-dozen is The Red Wind. Its evocation of the Santa Ana wind is a malevolent character in the wings, just off camera, in this drama. It precipitates actions, explains method, and drives the momentum. If anything this is even more effective on film than on the page. Maury Chaykin, before he went straight and became Nero Wolfe, is as repellant as a Republican Senator, lazy, stupid, corrupt, and greedy. He positively drips malice off the screen onto the carpet in front of the television. Yuk! (Note he is not in the story but an addition for the screen play and wonderful.) While the screenplay retains all the convolutions, for unknown reasons it changed the context to a political campaign, as was the case also in Spanish Blood. It also changed the colour of the bolero jacket that is crucial to the plot. Change for the sake of change is not limited to management.
The staging is for television, slow and methodical and that allows for Marlowe’s worldweary voiceovers. I went shopping for Season One but cannot find it in any of the usual locations. Odd that.
It is also striking that a man-eating femme fatale is the pivot in all of these stories. Did Chandler fear women that much. It sure seems it watching these in a row. Moreover, the women, though played by different actors, bear a resemblance to each other, but I put that down to the preferences of the casting director for the willowy athlete. The only one miscast is the lead in Red Wind: The camera looks right through her. (Every time I encounter this story I react to Marlowe’s closing speech on the pier. It seems ill judged to me. Maybe the flyer could only afford the pearls he bought and dreamed of replacing them sometime with the real thing. But Marlowe has no truck with dreamers.)
It offers plenty of eye candy with period dress, automobiles, and much location shooting of the vanishing 1930s Hollywood and, more generally, Los Angeles. Love those California Spanish mansions, and the tropical foliage (in which lurk deranged rapists, murderers, black-widow spider women, and drug-addled teenagers). The cigarette smoking is constant by one and all, as it was then. Most of all there is the light, the sun, the blue sky above all the depravity. Sunshine Noir as this style came to be called is aborning in these stories, and some of the quips are gold, if ephemeral, perhaps that is fool’s gold that flashes in the sunlight.
The user reviews on IMDb are replete with pedants picking errors in the models of cars, street addresses, and other, like essentials. Keeps the trolls busy, anyway.