Less compelling as a story than as a richly teeming historical canvas.
The seamy side of silent pictures.
After killing her abusive husband in self-defense, Flavia Purcell leaves Wichita to stay with her grandfather, photographer Bill Ogden, in Los Angeles. In 1916, the Hollywood studios have yet to establish themselves, and filmmaking is a dog-eat-dog world. Clyde Grady, who’s graduated from one-reel comedies to stag films, joins forces with Irene Buntnagel, of the West Coast Art Company, and her husband, George Kaplan, of the film company Provident, whose sex film starring streetwalkers Trudy Crombie and Victoria Tessart encourages him to propose a series of “queer stuff.” The X-rated films produced by Magnificat Educational Distribution Company, Incorporated, are so successful despite flouting the laws of the Postal Service that they provide the thread that (barely) holds together several far-reaching subplots. Small-time criminal Ezra Crombie, Trudy’s long-estranged husband, turns up determined to make a go of it with her. Henry Seghers, who meets Ezra aboard a freight train the two of them have hopped, becomes Bill’s assistant and falls in love with Flavia. Tommy Gill, a vaudeville star whose career in film comedies is on a steep decline, finds himself co-starring with Trudy’s two children by Ezra, who punch and humiliate him onscreen to universal laughter. Postal inspector Melvin van de Kamp switches from patronizing the workers in a local brothel to watching the latest blue movies the madam sets up for him. The city grows sharply divided over the question of whether the U.S. should enter the Great War. The roster of hangers-on is obviously headed for a day of reckoning, but when it finally arrives in a series of violent confrontations, it can’t help seeming anticlimactic.
Less compelling as a story than as a richly teeming historical canvas.Pub Date: Aug. 6, 2024
ISBN: 9781641294935
Page Count: 384
Publisher: Soho Crime
Review Posted Online: May 31, 2024
Kirkus Reviews Issue: July 1, 2024
Trust no one in this over-the-top tale of deception and revenge.
Dead bodies turn up in the first sentence of the prologue in McFadden’s latest domestic thriller.
The mystery of who died is at the pulsating heart of this propulsive tale. As Chapter 1 begins, Naomi arrives home to find the locks changed on the front door of the gorgeous home she shares with her husband, Jeremy, and their 5-year-old son, Teddy. Jeremy steps out the front door and convinces Naomi to move out while he has their home renovated, a plan Naomi knows nothing about. It’s all a ruse, though, as the next day Jeremy tells her he wants a divorce. Naomi is shellshocked and soon discovers that Jeremy is having an affair with Veronica, a beautiful younger woman. What seems at first like a stereotypical story about a man who leaves his wife turns into something else when Naomi decides she’ll do anything to get Veronica away from Jeremy and Teddy, and Veronica decides to fight for what she thinks she deserves. Fans of stalker novels will cringe with delight as creepy things start to happen. Teddy’s stuffed elephant, a gift from Veronica, is found impaled on a kitchen knife; Naomi suspects Jeremy is gaslighting her and that Veronica tried to poison her. A weird confrontation among Jeremy, Veronica, and Naomi at Teddy’s birthday party, to which Naomi shows up uninvited, is priceless. There are three main characters, and any or all of them may be unreliable narrators. Packing the plot with dark, gasp-inducing twists, McFadden outdoes herself in a story about how highly emotional people engage in risky behavior to get what they want—but in this novel, for better or worse, not everyone will survive.
Trust no one in this over-the-top tale of deception and revenge.Pub Date: May 26, 2026
ISBN: 9781464249631
Page Count: 368
Publisher: Poisoned Pen
Review Posted Online: April 20, 2026
Kirkus Reviews Issue: May 15, 2026
BOOK TO SCREEN
Amateurish, with a twist savvy readers will see coming from a mile away.
A woman accused of shooting her husband six times in the face refuses to speak.
"Alicia Berenson was thirty-three years old when she killed her husband. They had been married for seven years. They were both artists—Alicia was a painter, and Gabriel was a well-known fashion photographer." Michaelides' debut is narrated in the voice of psychotherapist Theo Faber, who applies for a job at the institution where Alicia is incarcerated because he's fascinated with her case and believes he will be able to get her to talk. The narration of the increasingly unrealistic events that follow is interwoven with excerpts from Alicia's diary. Ah, yes, the old interwoven diary trick. When you read Alicia's diary you'll conclude the woman could well have been a novelist instead of a painter because it contains page after page of detailed dialogue, scenes, and conversations quite unlike those in any journal you've ever seen. " 'What's the matter?' 'I can't talk about it on the phone, I need to see you.' 'It's just—I'm not sure I can make it up to Cambridge at the minute.' 'I'll come to you. This afternoon. Okay?' Something in Paul's voice made me agree without thinking about it. He sounded desperate. 'Okay. Are you sure you can't tell me about it now?' 'I'll see you later.' Paul hung up." Wouldn't all this appear in a diary as "Paul wouldn't tell me what was wrong"? An even more improbable entry is the one that pins the tail on the killer. While much of the book is clumsy, contrived, and silly, it is while reading passages of the diary that one may actually find oneself laughing out loud.
Amateurish, with a twist savvy readers will see coming from a mile away.Pub Date: Feb. 5, 2019
ISBN: 978-1-250-30169-7
Page Count: 304
Publisher: Celadon Books
Review Posted Online: Nov. 3, 2018
Kirkus Reviews Issue: Nov. 15, 2018
BOOK REVIEW
BOOK REVIEW
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