A Margaret Millar Mystery Spoiled

The Lively Corpse [Rose's Last Summer]
Margaret Millar
New York: Dell, [1956]
224 pages

Margaret Millar's The Iron Gates was sold to Warner Brothers. Barbara Stanwyck was signed to play the lead. The film never happened, but I haven't give up hope. David Cronenberg, if you're reading this, The Iron Gates is for you.

One of the odd things about Millar's career is that she was courted by Hollywood, and worked for Hollywood, yet nothing came of it. The only adaptations of her twenty-five novels appeared on the small screen. Beast in View, which was moulded into a 1964 episode of Alfred Hitchcock Presents, is the best. A later adaptation of the same novel, shot as part of the series' 1980s reboot, can't be considered an adaptation at all.

Anyone who has read the novel will agree.

I wrote here about Beast in View on television six years ago. Right after I did, I made the mistake of watching the 1960 Thriller broadcast of Rose's Last Summer, the only other Millar novel to have been adapted. It's not so memorable as either Alfred Hitchcock Presents Beast in View, but it did stay with me... and, as a result, it ruined my enjoyment in reading the book. I place Rose's Last Summer near the bottom of the Millars I've read, but can't say whether I'm being fair. That this mystery held no mystery is probably explained by the fact I'd watched that old Thriller adaptation.

Random House sold the 1952 first edition as "A MYSTERY TOLD WITH MURDEROUS WIT." It's an accurate description, though I would argue that "MURDEROUS" is intended to deceive. Rose's Last Summer is lighter than than Do Evil in Return (1950) and Vanish in an Instant (1952), the two novels that come before and after.

Much of the wit is supplied by its main character, Rose French, a once wealthy former film star, who now lives in a rooming house many miles north of Hollywood.

Rose is given to drink, though Frank Clyde, her greatest champion doesn't think she's "true alcoholic," nor does he consider her a "mental case." A social worker, Frank has all sorts of time for Rose, and is in every way her greatest defender and champion. He knows the actress better than anyone – all five ex-husband's included – and so is surprised when Rose calls him to say that she's taken a job as a housekeeper in San Francisco.

The next day, news of Rose's death makes the afternoon papers.

Reports have it that she was found face down beside a lily pond on the grounds of a large house rented by Willett and Ethel Goodfield. Their gardener, Ortega, made the discovery. Willett dealt with it in an practical manner:

"A dead woman you say? Well." Willett cleared his throat. "Well, I'll tend to the matter immediately."

One of three heirs to the Horace M. Goldfield Doll Corporation, makers of the Sweetheart doll,  Willett Goodfield appears to have more pressing concerns, one of which is the health of his ailing mother, who rests in a bedroom overlooking the lily pond.

The Thriller adaptation spoiled things for me. I'm assuming you haven't seen it. Even if you have, I recommend the novel. See if you don't agree with me on this point: Rose's Hollywood career wasn't destroyed by drink, but by age.

Margaret Millar knew Hollywood.

Dedication:

"TO THE MEMORY OF M.M. MUSSELMAN"

A humorist and minor Hollywood screenwriter, Morris McNeil Musselman (1899-1952) is best remembered for the 1939 version of The Three Musketeers, starring the Ritz Brothers. A friend of Margaret and Kenneth Millar, he was the author of a half-dozen  of books, including Wheels in His Head (1945), a biography his inventor father. M.M. Musselman died of pancreatic cancer seven months before Rose's Last Summer was published.

Object: A squat mass market paperback, this edition marks the only time the novel appeared under the title The Lively Corpse. The cover painting is by the brilliant  Victor Kalin, a man who I most associate with John Coltrane. I purchased my copy three years ago from a New York bookseller. Price: US$4.50.

Access: Held in one edition or another by Kitchener Public Library, four academic libraries, and Library and Archives Canada.

Rose's Last Summer returned to print last year as one of the six novels included in Volume Two of the Collected Millar. It was last published on its own in 1993 by Allison & Busby (again, no relation). As far as I've been able to determine that edition marked the first and only UK edition.

Lancer published the novel 1965, followed by International Polygonics Ltd in 1985. Unlike most IPL Millars, the cover (left), ain't half bad (though, like the Random House first, the cover caption misleads).

Used copies of the novel are easily found online with prices ranging from US$3.15 (a Very Good IPL) to US$250 (a Near Fine first edition).

A French translation, Son dernier rôle, was published in 1961 and 1986 by Librairie des Champs-Elysées.

Related posts:

Telephone Always Rings
Desperately Seeking Violet
Margaret Millar Saturday Matinée Spoilers
Margaret Millar's Great Toronto Murder Mystery
Margaret Millar's Michigan Murder Mystery

Margaret Millar's Great Toronto Murder Mystery

The Iron Gates

Margaret Millar

New York: Dell, 1960

222 pages

This review now appears, revised and rewritten, in my new book:

The Dusty Bookcase:

A Journey Through Canada's

Forgotten, Neglected, and Suppressed Writing

Available at the very best bookstores and through

Biblioasis, Amazon, Chapters/Indigo, and McNally-Robinson.

Related posts:

True Crime Stories from David Cronenberg's Dad

Damaged, Dysfunctional and Decadent Toronto

True Crime Stories from David Cronenberg's Dad

There's much to admire in Milton Cronenberg, a man who worked very hard to put food on his family's table. A writer and editor, through much of the Depression he owned and ran a bookstore on Toronto's College Street. Greg Gatenby's Toronto: A Literary Guide features a very nice photo of Cronenberg, père, in front of his shop. "COME IN AND BROWSE AROUND" invites one of the many signs in the window. Would that I could. The store sold new and old books, new and old magazines, and offered bookbinding and book repair services. "MANUSCRIPTS EXPERTLY TYPED" reads another sign.

Gatenby tells us that David Cronenberg has held onto his business diary: "though it is a fascinating document, the income statements (some days he grossed less than two dollars) make for sad reading." In 1942, as bookseller he closed up shop for the last time. Cronenberg seems to have thrown himself into writing for magazines – everything from Magazine Digest to American Gas Association Monthly – and would later have a stamp column in the Toronto Telegram. I'm most interested in the writing he did for Canada's true crime pulps, like the piece he penned for Greatest Detective Cases (August 1943) on Ontario's most infamous swindlers. Pipsqueaks all when compared to the charlatans working Bay Street today.

As a contributor, Cronenberg was better than most, but what really sets him apart is that he often – perhaps always – wrote under his own name. Sadly, I've never seen a copy of the Famous Crime Cases (May 1943) pictured above, so can't speak to "Toronto's Double Cross Death", but I do know the story behind "Death for $100", which Cronenberg contributed to the April 1942 issue of the same magazine.

It all begins with the 5 May 1941 disappearance of 52-year-old Ottawa businessman Charles Walton and the discovery of his wrecked car in Rockland, Ontario. Fourteen days later, two boys in a row boat found his body floating in the Ottawa River within the sight of the Parliament Buildings. It was thought that Walton had drowned, possibly after having been thrown from the Champlain Bridge. On 25 June, Edward Paquette and Germaine Doucet two RCAF servicemen, were arrested for the murder; seven months later each received 20-year-sentences for manslaughter.

Milton Cronenberg tells it much better than I do.

Graphic Film, Graphic Novel

eXistenZ
David Cronenberg; illustrated by Sean Scoffield
Toronto: Key Porter, 1999

For nearly two decades, The Dead Zone stood as my favourite Cronenburg film – then along came Spider, A History of Violence, Eastern Promises, and A Dangerous Method. The Toronto filmmaker has been going from strength to strength this millennium, encouraging me to catch up on everything I'd missed.

Last week it was eXistenZ, Cronenberg's fin de siècle nightmare about gamers, the gaming industry and Blinky the Three-Eyed Fish. One of the director's body horror films, the title refers to a new game system contained in a disease-prone pod that is in fact "an animal grown from fertilized amphibian eggs stuffed with synthetic DNA." You play by inserting a 12-foot UmbyCord of "twisted, translucent, blue and red veiny vessels" into your spine through a permanent Metaflesh bioport.

Steve Jobs would've called this a "shit design".

Jennifer Jason Leigh stars as Allegra Geller, the designer behind eXistenZ. A "game-pod goddess", she's just begun leading her fawning followers through a test when things appear to go very, very wrong. First, an assassin tries to kill her with a gun made of flesh and bone (she takes a tooth in the shoulder), then she's saddled with timid Ted Pikul (Jude Law), who is not only an ineffective bodyguard but an UmbyCord virgin.

I knew something of what to expect from eXistenZ through this odd book, which is as far as I'm aware the only graphic novel made from a Canadian film. Purchased back in April 1999, it did a disservice in  discouraging me from taking a trip to the cinema. Where on screen eXistenZ is disorienting in its depth, on thin paper it's just confusing.

Illustrator Scott Scoffield takes the film's murky look and renders it black, at times obscuring vital detail. His panels look like stills that have been manipulated with a paint-simulation filter. Who knows, maybe they were. The dialogue is all here, but the acting is absent. Faces float, washed-out and emotionless in the darkness.

There is no drama.

Don't get me wrong – as a film, eXistenZ is not a triumph – but it is worth seeing.

Warning: Not for the squeamish.

Better yet, see Cronenberg's A History of Violence, which – interestingly – was adapted from John Wagner and Vince Locke's graphic novel of the same name.

Warning: There will be violence.

Did that need saying?

Object: A slim paperback – 111 pp – containing the graphic novel, an uncredited interview with Cronenberg, an uncredited essay on his films and a Glossary (uncredited).

Access: My copy, signed by Messrs Cronenburg and Scoffield, was purchased new for $24.95 back in the spring of 1999 at Toronto's TheatreBooks. "Very scarce thus", claims an online bookseller (who offers two copies). I'm not so sure. I remember plucking mine from a teetering stack of signed copies. In fact, half of the fourteen currently listed online are signed by both men; prices range from US$40 to US$98 (condition is not a factor). Unsigned, "as new" copies begin at US$4.09.