James M. Cain spins a tale about an unusual love and an unusual life.
Vintage Ace paperbacks are considered highly collectible for a few reasons, including the fact that the company popularized the double novel. But we like Ace because it often did well with art. This front for James M. Cain's The Moth is about as striking as cover illustration gets. It's uncredited, but we know exactly who it is. It's Sandro Symeoni. How do we know? Because the cover at this link is confirmed to be Symeoni, and there's no doubt the artist is the same as above. Not only is the style a match, but so is the time period. This came in 1958, and Ace used Symeoni's art several times between ’58 and ’60. That makes this paperback a super discovery, because Symeoni, a brilliant Italian artist who specialized in movie posters, rarely painted book covers. It's possible that, as with Arthur Miller's Focus (you clicked the link above, right?) the art was borrowed from one of Symeoni's posters, but if so we don't know which one. Doesn't matter. Sandro kills again.
Moving on to the novel, Cain, one of the towering figures of pulp literature, stretches himself here to tell the life story of a man through his first thirty-five years, spanning the Great Depression, Prohibition, and World War II; his various jobs, schemes, and hustles; and his ups, downs, ups, downs, ups, downs, ups... We're not putting an end on that sentence in order to avoid giving a hint whether he ultimately triumphs or fails. For a time Cain's protagonist works in the oil business. For years he's a hobo riding the rails. For part of his life he's a renowned soprano. But no matter where he goes or what he does, there's a past destined to come full circle to stare him in the face. This is Cain's longest book, but it's pretty involving. Its only flaw—if it can be called that—is that is doesn't surprise. You know which untrustworthy friend will come back to haunt him, and which unlikely love will reappear to offer a chance at redemption. Still, a good read. We recommend it.
Cain is guaranteed to deliver.
Above you see a Pocket Books cover for James M. Cain's The Postman Always Rings Twice, the 1953 edition. It has art from James Avanti, and is very different from Pocket's 1947 edition, which we showed you here. Avati is an illustrator we don't run across that often, but his work is easily recognizable, and always very good. See a few more examples here, here, and here. Needless to say (but we'll say it anyway), The Postman Always Rings Twice is a book you should read.
Hmm. I know there are seven deadly sins, but maybe if I just keep doing lust over and over it'll only count once.
It's been a criminally long time since we've read a James M. Cain novel. We have several, so we'll have to remedy the omission pronto. The last one we read was Sinful Woman, and above we have the cover of the 1957 edition from Avon, which originally published the book in ’47. That earlier cover is spectacular, and we recommend taking a look at it here. We'll get back to Cain soon.
Certain breeds of insects are going extinct, according to scientists. We didn't need their help to figure that out.
Above is an alternate cover for James M. Cain's racy 1947 novel The Butterfly. The edition we showed you previously (paired with a short write-up of the disastrous movie starring Pia Zadora) was from Dell, with art by Frank McCarthy. This one came from Signet in 1955, and it's really hard to find. By far it's the rarest of any of Cain's Butterfly editions. But it's worth seeking out because the cover is great. It's uncredited, though. See the previous cover here.
In my experience the ones who think I'm sinful are always the ones I won't let join the fun.
Above is a brilliant cover for James M. Cain's Sinful Woman painted by Barye Phillips, early work from him, and among his best. This was published by Avon in 1947, and though it isn't hard to find it's dear to purchase. The story involves a famous actress who goes to Reno for a quickie divorce from her movie producer husband. When she runs into problems she charms the local sheriff—a big fan of her work—into helping out, but must deal with increasing complications. Most agree Sinful Woman isn't Cain's best, but from a purely literary perspective he's a better writer than most, even in lesser efforts. It's well worth a read.
The eyes have it in for you.
Above, a beautiful promo poster for the film noir Mildred Pierce made for the film's run in France, which began today in 1947, more than a year after its U.S. premiere. This is pure awesomeness from artist Roger Rojac. Note that it touts Joan Crawford's Academy Award triumph, her win as best actress. It was also nominated for best picture but beaten by Lost Weekend, which is these days considered a bit of a cheeseball classic. We have our earlier write-up on Mildred Pierce here, and a nice promo image for the film at this link.
There's no way to avoid paying what's owed.
We just talked about the novel The Postman Always Rings Twice, so why not take a moment to focus on the movie, since it premiered today in 1946? Even if it weren't a widely known classic of lust and murder, when John Garfield fetches up at a rural gas station and sees a sign that reads “man wanted,” you suspect where the movie is going. Such a sign, if posted by Nick, the owner, could say “help wanted” or “job available,” but as worded it cleverly establishes the subtext that it's his platinum blonde wife Lana Turner that really wants a man. Garfield and Turner's mutual attraction is immediate and obsessive. The affair starts shortly thereafter, leads to a failed scheme to run off together, then finally devolves into a murder plot. But murder in film noir is never easy. Character-wise, some edges were rounded off James M. Cain's novel, which was a good decision—those two lovers are throughly reprehensible; Garfield and Turner at least generate some sympathy. But not too much—murderers are murderers and just desserts are just for a reason. Highly recommended flick.
Once you open the package there's no returning the contents.
There are numerous vintage editions of James M. Cain's classic thriller The Postman Always Rings Twice out there, including one from the Spanish publisher Bruguera that we showed you years ago, but we recently got our hands on this 1947 Pocket Books edition, with a cover by Tom Dunn. We read the book, and there are several interesting aspects to the novel, including frightening violence, a generally amoral view of the world, and this:
I took her in my arms and mashed my mouth up against hers...
“Bite me! Bite me!”
I bit her. I sunk my teeth into her lips so deep I could feel the blood spurt into my mouth. It was running down her neck when I carried her upstairs.
Obsessive lust. We get it. Still, it's bizarre. Then there's this:
"Well, get this. I'm just as white as you are, see? I may have dark hair and look a little [Mexican], but I'm just as white as you are."
It was being married to that Greek that made her feel she wasn't white.
Caustic racism. Later the femme fatale, Cora, explains that she simply cannot tolerate having a child with the aforementioned husband, who she married for security. “I can't have no greasy Greek child, Frank. I can't, that's all.” Cain establishes with this style of banter that his two main characters are bad people. But The Postman Always Rings Twice is great, and nobody ever said literature is supposed to be easy to read. This is fast-paced pulp fiction that's about as good as you'll ever find. Highly recommended.
Spare the rod, spoil the child.
We ran across this West German poster for Solange ein herz schlaegt, aka Mildred Pierce, and realized we had a substantial gap in our film noir résumé. So we watched the movie, and what struck us about it immediately is that it opens with a shooting. Not a lead-in to a shooting, but the shooting itself—fade in, bang bang, guy falls dead. These days most thrillers bludgeon audiences with big openings like that, but back in the day such action beats typically came mid- and late-film. So we were surprised by that. What we weren't surprised by was that Mildred Pierce is good. It's based on a James M. Cain novel, is directed by Michael Curtiz, and is headlined by Joan Crawford. These were top talents in writing, directing, and acting, which means the acclaim associated with the movie is deserved.
While Mildred Pierce is a mystery thriller it's also a family drama revolving around a twice-married woman's dysfunctional relationship with her gold-digging elder daughter, whose desperation to escape her working class roots leads her to make some very bad decisions. Her mother, trying to make her daughter happy, makes even worse decisions. The movie isn't perfect—for one, the daughter's feverish obsession with money seems extreme considering family financial circumstances continuously improve; and as in many movies of the period, the only black character is used as cringingly unkind comic relief. But those blemishes aside, this one is enjoyable, even if the central mystery isn't really much of a mystery. Solange ein herz schlaegt, aka Mildred Pierce opened in West Germany today in 1950.
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