Wednesday, November 30, 2016

Exit to Death: So Many Doors (1949), by E. R. Punshon

Crime detection at its exciting best!

This fascinating tapestry of murder and superior detection is a prime example of the classic type of mystery story--a story whose ingenious kinks and turns absorb you, while its intense scrutiny of clues will keep you agog with anticipation.

E. R. PUNSHON was inducted into the London Detection Club by the late G. K. Chesterton, then president.  This club was founded with the idea of bringing together mystery writers who were willing to aim at high literary standards, and who believed that in the mystery novel "the reader must always be given fair play...."

--From the front and back flaps of the American edition of E. R. Punshon's So Many Doors (Macmillan, 1950)

Does "intense scrutiny of clues" keep mystery readers "agog with anticipation" these days?  Did it in 1950?  Apparently someone at Macmillan thought so. Or, possibly, they were making for traditionalists the most that they could of Punshon's perceived strengths as a mystery writer in an era when, to generalize, male readers of crime fiction were turning increasingly to hard-boiled novels and women to so-called domestic suspense.

Yet to no avail: So Many Doors (to be reissued in January by Dean Street Press), would be the last Punshon novel published in the United States during the author's lifetime, though nine more new Punshons would be published in the UK by the author's longtime publisher, Victor Gollancz.

Taking note of the 17th-century stage origin of the title of So Many Doors, Anthony Boucher, then dean of American mystery critics, praised the "Elizabethan, even Jacobean" aspect of the novel in its compulsive chronicling of the "obscure destinies that drive [Punshon's] obsessed and tormented characters, and...the frightful violence that concludes the story." These were qualities that should have appealed to mid-century American readers, yet they may have been obscured by Punshon's deliberate narrative style for most of the novel.

For much of the novel Punshon's charming series sleuth, Bobby Owen--now, in his 26th novel appearance, ranked a Commander in Metropolitan Police (more on this below)--is trying to determine what happened to to Isabel Winlock, a respectable young woman who has run off with Mark Monk, a magnetic male of doubtful character who is suspected of having done in his wife.

Monk has a connection to Bexley House, a great Thameside mansion from "the days when domestic help was cheap and plentiful and and no one dreamed that it would one day very much be the reverse."  The once abandoned house seems to be the locale for gambling and black market activities, and there's evidence that someone--Mark Monk? Isabel Winlock?--was done in there, evidently stabbed, not long before Bobby pays Bexley House a visit.

Eventually Bobby's investigation of this most mysterious matter takes him to scenic Cornwall, specifically the old tin mining district around Redruth. What does he discover there? Read the novel and find out!

remains of tin mine works in Cornwall

Now, about Commanders on the Metropolitan Police.  Some people have commented that Bobby's rise in Scotland Yard seems meteoric.  Bobby was still a sergeant in 1939, when he left the Yard to join the police force in Wychshire, where he spent the war years as an inspector and later deputy chief constable.  Returning to London in Music Tells All and The House of Godwinsson (both 1948), Bobby is made a deputy assistant commissioner, the equivalent of deputy chief constable, but by So Many Doors he has become a Commander, reflecting the recent creation of the rank of commander out of junior DAC's.

For comparison, PD James' Adam Dalgliesh started off as an Inspector in Cover Her Face (1962), but had made it up to Commander by The Black Tower (1975). It took Bobby about fifteen years to make it up to deputy assistant commissioner (if you think this was too fast, blame Wychshire, not the Yard), but then he was a lot younger than Dalgliesh.

Or maybe not.  Bobby starts off the series at about age 23 and ages more or less naturally as the series progresses over the next 23 years, so at the end of his recorded career he's about the same age as Dalgliesh, who starts off in his forties, I believe, but never seems to age over the 46 years of cases chronicled by James. Good thing too, because had he aged naturally Dalgliesh would have been around 90 at the time of his last case!

More on the next Bobby Owen novel in the series, Everybody Always Tells, coming soon. If So Many Doors bears resemblance to Christie, Tells brings in bit of today's birthday boy, John Dickson Carr.

Monday, November 28, 2016

In with the New: Five Years of Blogging and A Plenitude of Punshons, A Lone Lingo and Murder in the Closet

It's been just over five years since my premier blog post on November 22, 2011, on the mystery genre's "passing tramp" and the once out-of-print mystery writer Jefferson Farjeon, creator of the series character Ben the Tramp.  I followed with another post on Farjeon on the 26th and then made this one on December 26, on a certain Farjeon novel called Mystery in White, which you may have heard of since.  There were other posts as well in those first few weeks, and there have been many since.  Indeed, this post will be the 700th post at The Passing Tramp.

Lately I haven't been posting here as much as I would have liked, but I have been busy working on proofs for the essay collection Murder in the Closet, which will be out the last day of this year, a long introduction to Ada E. Lingo's regional detective novel Murder in Texas (1935) and the last ten novels in E. R. Punshon's Bobby Owen mystery series, beginning with So Many Doors, which Dean Street Press will Release on January 2.

opening in January
For this last set of Punshon Bobby Owen mystery reissues there is bonus material: with the first four novels, selections from Punshon's crime fiction reviews; with the next five novels, a Bobby Owen short story apiece (there are five known Bobby Owen short stories); and with the last novel, a Punshon Bobby Owen radio play, rediscovered by the indefatigable Tony Medawar.  This brings to 41 Bobby's total cases.

For this last set of Punshons I wrote a 3300-word introduction, "Detective Stories, the Detection Club and Death: The Final Years of E. R. Punshon" and short pieces on the reviews, short stories and radio play.  There also a note by Tony Medawar on the radio play, "Death on the Up-Lift," giving more detail about Punshon's work in radio.

I've now written over 30,000 words, when all the Dean Street Press Punshon pieces are taken together, about Punshon, making him the seventh the pre-WW2 Detection Club member about whom I have written at such length, after Cecil John Charles Street, Freeman Wills Crofts, JJ Connington--see Masters of the "Humdrum" Mystery-- and Douglas and Margaret Cole and Henry Wade (See The Spectrum of English Murder).  I also got the chance to write about Ianthe Jerrold, another early DC member, for DSP's reissues of her crime novels.

Coming soon, some more on Ada Lingo and her Murder in Texas and on Murder in the Closet, my major book project for 2016, to which a lot of great people have contributed.  There will also be some more news on additional projects and, I hope, just some regular book reviews!  Thanks for sticking with the blog all these years, I appreciate the readership.

Sunday, November 20, 2016

Beware the Bushmaster! She Walks Alone (1948), by Helen McCloy

"Tony, did you ever hear of the Emperor Yao?"

"What on earth...?"

"He ruled China in its Golden Age.  There is a saying about the peacefulness of his reign. 'In the days of the Emperor Yao, a virgin with a bag of gold could walk alone from one end of the Empire to the other without fear of being molested.'  Since then, times have changed."

"Understatement," muttered Tony.

                                                                                               --She Walks Alone (1948)

She Walks Alone (1948) was the tenth crime novel American mystery author Helen McCloy (1904-1994) published over a productive first decade of crime writing.  Six detective novels featuring her series sleuth, psychiatrist Dr. Basil Willing, appeared between 1938 and 1943, but Willing's appearances in her novels would diminish relatively in the decades that followed.

Five Basil Willing novels were published between 1945 and 1956, along with five non-series novels. Over the rest of her writing career McCloy produced only two additional Basil Willing adventures in novel form, the beguiling Mr. Splitfoot (1968) and her final crime novel, Burn This (1980). Meanwhile during this comparative Willing drought she published ten non-series novels, beginning with the eerie The Slayer and the Slain (1957) and ending with The Smoking Mirror (1979).

In short, Helen McCloy's career as a crime writer reflects the wider movement within mystery fiction away from the pure, clue-puzzle detective novel toward the realistic and psychological crime novel. Strict detection (though with strong doses of psychological theorizing) predominated in McCloy's output in the late Thirties and early Forties, only to be gradually superseded by psychological suspense (what is often called "domestic suspense" today).

The Basil Willing novels The Goblin Market (1943) and The One That Got Away (1945) incorporate topical espionage elements, while the non-series Do Not Disturb (1943), reviewed by John Norris, is a flight-and-pursuit tale and the non-series Panic is a housebound girl in peril story. (Take a beautiful girl; isolate her in a remote cottage in the wooded Adirondacks; inject an ominous note of peril...and you have--PANIC, runs the jacket blurb). 

At the same time there is a pronounced intellectual aspect to Panic, in that a good deal of the novel is devoted to some quite complex code-breaking.  Anyone who hated that element in Dorothy L. Sayers' Have His Carcase probably will hate it in Panic as well.

the imperiled protagonist expresses
yearning for the days of Emperor Yao
She Walks Alone is something of a similar hybrid. Knowing the outline of the plot beforehand--a woman on a ship traveling the Caribbean finds herself entrusted with a packet of $100,000 that people prove quite willing to kill to obtain--I was expecting pure suspense.

Yet in reality the story is a quite complexly structured and plotted affair that reminded me of a detective novel without a strongly marked detective presence for much of its length. The first part of the novel comes in the form of a first-person narrated manuscript detailing recent events, while the second part switches to present time, as Captain Miguel Urizar, of the police force of the Caribbean island state of Puerto Vieja, appears on the scene. 

At the request of the ship captain, Urizar, whose viewpoint this section adopts, investigates a mysterious death on the ship. This marks a return engagement on his part five years after The Goblin Market, wherein he appeared with Basil Willing.

Then we go back to another manuscript portion (a different one this time), then to a finale in third person.  It may seem odd and overly structured as you are reading, but all is justified by the finale. You may figure out what is going on before the reveal a few pages before the end of the novel, but even so you should still admire the cleverness of it all.

Arguably McCloy over-intellectualizes the novel, going into lecture mode occasionally (McCloy seems quite obviously to have been a New Deal Democrat, progressive on both economic and social issues of her day that now more than ever seem not to have ever actually left us); and the novel is not as gripping as it could be, considering that we are presented with a "girl in peril" and that, as the splendid GP Micklewright jacket of the English edition reveals, one of the human victims on the ship is a beautiful women (not the girl in peril), bitten by a deadly bushmaster snake (just think what John Dickson Carr does with snakes in He Wouldn't Kill Patience). Still, I recommend this cleverly wrought piece of crime fiction.

See also Mike Grost on Helen McCloy's writing.

Wednesday, November 9, 2016

Outer Genre Limits, Part One: Invasion of the Body Snatchers (1956)

Science fiction was of course around before the explosion of sci-fi films in the 1950s.  Even Golden Age mystery writers, like J. J. Connington (himself a scientist) and J. Jefferson Farjeon wrote fine sci-fi novels.  Connington's Nordenholt's Million and Farjeon's Death of a World are both gripping apocalyptic thrillers.  Indeed, I think the two novels represent some of the best work in any genre by the two authors and I highly recommend them. (Nordenholt's Million has been reprinted by Dover in its "Doomsday Classics" series.)

I don't claim to be an expert on sci-fi cinema from the Fifties but much of it resembles other genres, such as mystery and horror.  Certainly when I think of horror, I think of all those creepy-crawly, big and scaly monster movies like Godzilla (we all know him), Them! (giant ants), Beginning of the End (giant grasshoppers) and Tarantula (duh).

Films like The Thing from Another World (1951) and Invasion of the Body Snatchers (1956) have "monsters" too in a manner of speaking.  The "pod people" in Body Snatchers are rather akin to zombies, ever so popular today, as we know, and tap into the primal fear many of us have had, in the Fifties and arguably more recently, of being forcibly submerged into a mindless, conformist mass.

Panic: Kevin McCarthy

Yet there's also a strong mystery element in both films. In Body Snatchers, Dr. Miles J. Bennell (Kevin McCarthy), lately returned from abroad to his small California town, encounters increasingly disturbing evidence that the townspeople are behaving strangely. Then his friends Jack and Theodora "Teddy" Belijec (King Donovan and Carolyn Jones) present him and his girlfriend, Becky Driscoll (Dana Wynter), with a human body, a very queer human body indeed, in their game room.

Later on this strange body disappears, just like in murder mysteries, and public authorities start spouting suspiciously pat explanations about the whole thing.  Heck, we might almost be in film noir territory here!  But then of course we veer into pure sci-fi.  Still, much of the early interest driving the film lies (akin to that in detective fiction) in its investigative element, as the doctor struggles valiantly to determine just what is taking place around him.

The body in the game room: Carolyn Jones and ????

During the 1950s the hegemony of the detective novel continued to fracture with the rise not just of sci-fi, but espionage, or spy, novels, noir and psychological (frequently domestic) suspense.  Indeed, publishers started indiscriminately to term what used to be called mystery or detection as "suspense" fiction.  This is not necessarily the most useful term in the world, as some have pointed out, because all storytelling would seem to be based on the question of suspense, i.e., what happens next.  But, still, the mystery form survived in within all of these genres, even if in mutated form, like that of the creatures so frequently found in sci-fi film.

Invasion of the Body Snatchers is much praised, and deservedly so, for its atmosphere of rising fear and paranoia, buoyed by a terrific performance from Kevin McCarthy. (Dana Wynter and Carolyn Jones are fine too, though a little too much shoehorned into "helpless female" roles characteristic of the era, especially Wynter).  The framing scenes forced on director Don Siegel have been criticized, probably with justification, but the penultimate scene with McCarthy is truly memorable. A great film, as is its 1978 remake.

Pursued by the mob, is resistance futile? Dana Wynter and Kevin McCarthy

Tuesday, November 8, 2016

More Than "A Slight Case of Murder" (1938 and 1999), Part One

How many mystery novel titles have been repeated over the decades?  Surely a great number of them.  Both "Murder is Easy" and "Easy to Kill," the British and American variant titles of a popular late Thirties standalone Agatha Christie mystery, had been used as titles before Christie came to them, for example.

"A Slight Case of Murder" is the title of both a late Thirties Edward G. Robinson country house murder farce and and a late Nineties black comedy starring William H. Macy.  Both are very good and happily available on DVD.

Edward G. Robinson's A Slight  Case of Murder (1938) is based on the 1935 play of the same title by Damon Runyon and Howard Lindsay.  Like the play, the film tells the story of New York gangster and bootlegger Remy Marco (Robinson), who decides to go "legit" as a brewer with the end of Prohibition and become a respectable businessman. 

Remy has an idea
Huber, Jenkins, Robinson
Unfortunately over the next few years Remy starts losing money hand over fist, because his beer (which he has never actually tasted) is really rather awful.  (People took what they could get during Prohibition.)  As the film proceeds, he's having to fend off bankers about to foreclose on his brewery, while keeping the news of his financial meltdown from his wife, Nora (Ruth Donnelly), and daughter Mary (Jane Bryan), who has just arrived back home from an outrageously expensive Paris finishing school. 

More trouble on the horizon: Unbeknownst to Remy, Mary is engaged to Dick Whitewood (Willard Parker), the scion of an old upper class family in Saratoga Springs, where Remy has taken a country house for the season.  Remy wants Mary to marry "up," so to speak, but the problem here is that Dick, at Mary's behest, has taken a job--as a state trooper.  Cops and their ilk are something that Remy simply can't abide.

Meanwhile, up at Saratoga Springs an armored truck full of bookie's money has been robbed by old cronies of Remy's and the gang of crooks has holed up with the boodle at Remy's house.  One of the crooks shoots the the others, leaving four dead bodies at Remy's place.  (He also keeps hanging around trying to get the money out of the house unobserved.)

Remy's little helpers
Huber, Jenkins, Brophy
So when Remy arrives to open the house party with his entourage, which also includes a trio of three gang underlings--Mike (Allen Jenkins), Lefty (Edward Brophy) and Guiseppe (Harold Huber)--and, as a philanthropy case, an egregiously wiseacre juvenile delinquent, Douglas Fairbanks Rosenbloom (Bobby Jordan, of Dead End Kids Fame), they find themselves presented with the classic crime film dilemma, so beloved by Alfred Hitchcock: what do we do with the bodies?

There's yet more complication, like when Dick Whitewood's snobbish "old money" father (Paul Harvey) shows up to scout out his prospective in-laws. You get the idea by now: it's going to be a most frantic country house party!

I quite enjoyed this movie.  Edward G. Robinson of course is one of the great contributors to the crime film genre, known, like James Cagney, for playing tough gangsters in films like Little Caesar and Key Largo, but like Cagney he actually had great range and was equally adept at comedies like A Slight Case of Murder and "straight" dramas as well, like Dr. Erlich's Magic Bullet, based on a real life man of medicine who courageously battled the scourge of syphilis.  He also played sympathetic characters in classic noirs like Scarlet Street and The Woman in the Window

Breaking some bad news to the wife
Donnelly and Robinson
Most of the supporting cast puts in masterful performances too.  I especially liked Ruth Donnelly as Remi's wife, who like Remy, is having trouble adjusting to the ways of respectable society, and Jenkins, Brophy and Huber as Remy's crook underlings, who, like Remy, are having trouble straightening themselves out, so to speak.  These three men were all great genre character actors who you will certainly recognize if you have watched many crime films from the period.

What with all those bullet-riddled bodies upstairs, A Slight Case of Murder is most definitely a crime film, but it's also a film most definitely played for laughs, like a French farce without the sex. (The movie's young lovers are exceedingly wholesome.)  But if you allow that murder can share the stage with mirth, you should like A Slight Case of Murder--and not just slightly.

Sunday, October 30, 2016

An Abbott and Costello Comedy Creeper Double Feature: Hold That Ghost (1941) and Who Done It? (1942)

Being a great fan of Universal classic horror films as a kid in the 1970s, one of my favorite films that was shown regularly on television back then was Abbott and Costello Meet Frankenstein (1948), where the classic comedy duo of Bud Abbott and Lou Costello encountered, to their horror and our hilarity, the unholy trinity of Frankenstein's Monster, Dracula (played once again by Bela Lugosi) and the Wolf Man.

This comeback film for the two talented yuksters spurred a whole new series of Abbott and Costello films, wherein the pair "met," for example, the Killer, Boris Karloff (1949), the Invisible Man (1951), Dr. Jekyll and Mr. Hyde (1953) and the Mummy (1955)  Some of these films incorporate mystery elements as well.

But Abbott and Costello's filmography goes back farther than that.  They first appeared together on film as a comedy team in One Night in the Tropics in 1940, stealing the show.  The next year they starred in the smash hit Buck Privates, which was followed over the next couple of years by In the Navy (1941), Hold That Ghost (1941), Keep 'Em Flying (1941), Ride 'Em Cowboy (1942), Rio Rita (1942), Pardon My Sarong (1942) and Who Done It? (1942).  Two of those titles will immediately suggest themselves to mystery fans: Hold That Ghost and Who Done It?

a dark and stormy matte painting

Hold That Ghost is an old dark house flick played for laughs, like Bob Hope's The Cat and the Canary (1939) and The Ghost Breakers (1940), films which set the gold standard for this sub-genre. In the film Abbott and Costello are gas station attendants who manage to inherit a deceased gangster's old Twenties-era roadhouse. (Don't ask me to explain how this comes about here, but the gangster's will reading scene is amusing.)

They go out there, one dark and stormy night, and it turns out that the moribund roadhouse is quite the old dark house.  Let me add in passing here that these early Abbott and Costello flicks really had great set designs: the old dark house in this film is a splendid one indeed, riddled with secret passages and hidden rooms, and it's just all-round cobwebby creepy.

Don't they know to stay out of the cellar? Bud Abbott, Lou Costello, Richard Carlson

Other people end up at the defunct roadhouse as well: pencil-thin mustached gangster Charlie Smith (Marc Lawrence), obviously up to no good; a beautiful blonde, Norma Lind (Universal's "Scream Queen" Evelyn Ankers); handsome, bespectacled Dr. Jackson (Richard Carlson), who seemingly has eyes more for water microbes than for lovely Norma Lind; and wacky radio mystery star Camilla Brewster (Joan Davis).

Another thing I have to interject here is what a good supporting cast this is!  Abbott and Costello films followed a pattern, common for the day, of having a romantic subplot run parallel with the zany doings of our boys.  Often in these situations the male and female lovers are bland and boring, making their passages d'amore a chore to watch, but here the dependable Evelyn Ankers and Richard Carlson are a charming pair.

Carlson in fact had appeared in The Ghost Beakers the year before and in 1941 he was in the acclaimed film The Little Foxes as well.  He's best known for King Solomon's Mines, I think, as well as the sci-fi/horror films he did in the 1950s, such as The Magnetic Monster, It Came from Outer Space, The Maze, Riders to the Stars and Creature from the Black Lagoon (another absolute favorite of mine as a kid).  He was also in The Spiritualist/The Amazing Mr. X (1948), a fine little film that I reviewed here.

And fangs!  Like this!!
Bud Abbott, Joan David, Richard Carlson (Evelyn Ankers peeking out from the shadows)

Then there's Joan Davis--best known today, I believe for the Fifties television series I Married Joan--who is superb as the comic female in the film.  She adds a lot from the humor standpoint, including a memorable waltz-rumba dance scene with Lou Costello.

And let's not forget Marc Lawrence, whose credited film career spanned seventy years, from White Woman (1933), not at all a bad thriller with Charles Laughton and Carole Lombard (reviewed by me here) to The Shipping News (2001) and Looney Tunes: Back in Action (2003)  Lawrence appeared in countless crime shows on the big and small screens over the decades, often playing gangsters.  He had good roles in such classic films as This Gun for Hire, Key Largo and The Asphalt Jungle.

Hail, Hail, the gang's all here (and a certain person is totally stressed out again)
Bud Abbott, Lou Costello, Evelyn Ankers, Joan Davis, Richard Carlson

I should also mention Shemp Howard, who has one nice scene in a drugstore, and Mischa Auer, who appears in book ending nightclub scenes, which also include numbers by the Andrew Sisters and Ted Lewis, performing his theme song, "Me and My Shadow" (a performance that you would not see today).

In only their third of many starring outings, Abbott and Costello are in top form here, Abbott bossy and bullying (at times he comes off like a snarling Dan Duryea) and Costello the not-too-bright man-child, who gets very stressed out indeed in trying situations.

He has one of his classic bits here, involving a pair of candlesticks.  I also love the discussion he, Abbott and Joan Davis have about "figures of speech," it's a hoot.  I know some people consider Abbott and Costello's humor unpardonably low, but I admire the gusto Costello put into his best performances.  In his own way I think he was a comedy genius.

Hold that Ghost is, I think quite a bit better than Who Done It? Abbott and Costello don't seem as funny here, and the supporting cast, which includes some fine players, like Thomas Gomez (the murder victim), William Bendix (dumb cop) and Mary Wickes (gal Friday, essentially the Joan Davis role from Ghost), don't have as good material either.

Patric Knowles
and Louise Allbritton carry the romantic subplot here and while they are perfectly competent and pretty to look at, they come off as rather aloof and superior and don't have the sparks that the more naturalistic Ankers and Carlson do in Ghost.

The great Thomas Gomez is murdered after one scene, and so is wasted.  The mystery plot might not have been bad, but here, unlike in Ghost, Abbott and Costello's frantic antics work decidedly against it.

Still, there are some good bits, including a great finale (I can see the influence on the 1994 film Radioland Murders, reviewed here), and there's a wonderful evocation of a radio mystery series, Murder at Midnight, in a couple of scenes. I don't know who played the radio announcer, but he did a fine job in this part. 

"Murder! At Midnight"
....(cue woman's scream)

Monday, October 17, 2016

Pump up the Volume! Radioland Murders (1994)

witnesses to death
Scott Michael Campbell and Brian Benben

Radioland Murders, a terrifically frenetic yet warmly nostalgic comedy-mystery film produced by George Lucas, was overwhelmingly panned by critics upon its release in the US and promptly cratered at the box office, having one of the biggest second weekend drops in American film history; yet since then it has enjoyed a good life on television, video and DVD, having developed something of a loyal fan following.

I'll admit it, I'm one of those fan followers.  Sure, the film is far from Woody Allen's ingenious Bullets over Broadway (1994), but it leaves me with a smile.

Anita Morris
At the time of its release, Radioland Murders received a dreaded one-star review from the late film critic Roger Ebert, who lambasted it as "all action and no character."  It certainly is one frenetically paced film, obviously drawing inspiration from Thirties screwball comedy as well as slapstick Forties mystery spoofs like Bud Abbott and Lou Costello's Who Done It? (1942) (which is also set at a radio station). 

The film was originally conceived by George Lucas when he was writing the script of American Graffiti. (He also has a certain untitled science fiction film in mind.)  By 1979 it was slated for production (Steve Martin and Cindy Williams had been approached to star as the leads), but it took fifteen years for the film, heavily rewritten to appeal to the MTV generation, finally to be made.

Set in 1939 during the inaugural night of a major new radio network (WBN-Chicago), Radioland Murders is a madcap, mile-a-minute mystery film with a fantastic cast, although many of the parts are little more than cameos. 

Frantic! Scott Michael Campbell and Mary Stuart Masterson

The film's main characters are radio scriptwriter Scott Henderson (Brian Benben), Penny Henderson (Mary Stuart Masterson), Scott's estranged wife and assistant director at WBN, and harassed page boy Billy Budget (Scott Michael Campbell); though there are a tremendous number of additional players, including:

Ixnay on the urdermay! Mary Stuart Masterson and Brian Benben

Michael Lerner
as Lieutenant Cross, the police officer investigating the murders; Dylan Baker as Detective Jasper, Cross's dim assistant; Ned Beatty as General Walt Whalen, the owner of WBN; Jeffrey Tambor as Walt Whalen, Jr., WBN program director; Larry Miller as Herman Katzenback, the German-born stage manager of WBN; Anita Morris as Claudette Katzenback, "the va-va-va voom girl with the va-va-va voom voice"; Stephen Tobolowsky as Max Applewhite, the WBN sound engineer; Michael McKean as Rick Rochester, the WBN band conductor; Corbin Bernsen as Dexter Morris, the station announcer; Christopher Lloyd as Zoltan, sound effects impresario; Ellen Albertini Dow as the WBN organist; and Bobcat Goldthwait, Harvey Korman, Robert Klein, Ann De Salvo and Peter MacNicol as additional scriptwriters.

Whew! Even after six murders, there is still quite a bit of cast left!

the frequently clueless WBN scriptwriters get a lot of helpful tips from
cleaning lady Morgana (Leighann Lord, center), in a nice bit of social commentary

I'll admit right off that the mystery element is certainly a fizzle as a fair play mystery, but the plot still offers the old attraction of keeping us in suspense to see who will be next to be bumped off.  Also, the film adheres to the classic "wrong man" plot gambit so beloved by Alfred Hitchcock and other suspense film directors, as Scott Henderson gets arrested by Lieutentent Cross for the murders and ends up making a break for it, getting pursued by the blundering cops all over the towering station building. 

On the lam with a fruity problem: Brian Benben

The production design of the film is fantastic (if improbably elaborate?) and the radio show parodies that hurtle past us are wonderful. (Of course it helps if you love old time radio.)  Roger Ebert was right that there isn't much emphasis on character development--I think the page boy Billy Budget, in a winsome performance by Campbell, actually has the most developed character (he even has a story arc!)--but a number of the characters make impact even with their limited screen time. 

Back on the case: Michael Lerner and Brian Benben

The great Michael Lerner makes a great blustering cop; Anita Morris, in her last role (she tragically died from ovarian cancer at the age of 50 seven months before the film opened), is funny and sexy to the very end; Stephen Tobolowsky offers a welcome oasis of calm for much of this frantic film; Dylan Baker is delightfully dim indeed; Michael McKean, is quite droll in a mostly visual performance (check out the Saber Dance scene); Corbin Bernsen is memorably suave and acidly snide as the announcer; and even Bobcat Goldthwait didn't seem as irritating as I remember him from those days. Brian Benben and Mary Stuart Masterton gamely follow the bickering and bantering path blazed by Cary Grant and Rosalind Russell, even if their lines aren't nearly as good and Benben's character is more schlep than sophisticate.

Off the hook?  Brian Benben and Mary Stuart Masterson

I should mention too that there are additional cameos, uber-cameos, by Joey Lawrence, Rosemary Clooney, Billy Barty and, in his last film, the legendary George Burns, then 98 years old and with a delivery as comically deadpan as ever.  Radioland Murders always leaves me wanting to see more of the characters who inhabit its world (until they get bumped off); and that's not a bad thing to say about any creative work.