| Vintage Pulp | Nov 29 2018 |
I told you to always stand on a hard 17, and never double down when they deal out death, but you don't listen.
Dealing Out Death is another paperback given to us by a friend. He bought it randomly years ago and passed it along to us when he visited from the States a while back. Of the books he gave us we'd have read this one first if we knew, one, that it had to do with the movie industry (where we once worked), and two, that it was so good. It was written by W.T. Ballard, published by Graphic Books in 1948, and deals with bigtime studio VP Bill Lennox, who tries to figure out who murdered star actress Renée Wilson's husband. Wilson is in Las Vegas to deal with a personal matter—her screw-up brother's desperate plea for money to get out from under a mob boss—but soon discovers that her brother's troubles and her husband's murder are connected to an impending turf war, one initiated by mobsters from the east who want to move in on the legitimate hotel owners. Lennox flies out from Hollywood to find the killer, save his star actress from both danger and bad publicity, and navigate the seething cauldron of Vegas without losing his cool or his life.
In mid-century crime fiction you find tough guys in unlikely places. The various authors, casting about for signature characters, made ass kickers out of insurance adjusters, chemists, charter fishermen, and more. Having known a few movie producers we can tell you they run the gamut. Being a producer generally means you merely have access to money or the ability to raise it, or you have access to a script or treatment and the mandate to shop it. You can get into such a position by working your way up the ladder, but if you come to the party with money already in pocket that buys your entrance. Thus producers in both the old days and today might be former organized crime guys, former drug dealers, and such. Think Chili Palmer in Get Shorty. So the fact that the studio exec hero in Dealing Out Death is so tough is unusual but not unrealistic. Ballard uses the character of Lennox to construct an engrossing plot, imbue it with a strong sense of place, and populate it with numerous competing personalities. He's a very confident writer and he gets the job done in Dealing Out Death briskly and skillfully. The ending is not perfect, but they rarely are. Recommended stuff.
In mid-century crime fiction you find tough guys in unlikely places. The various authors, casting about for signature characters, made ass kickers out of insurance adjusters, chemists, charter fishermen, and more. Having known a few movie producers we can tell you they run the gamut. Being a producer generally means you merely have access to money or the ability to raise it, or you have access to a script or treatment and the mandate to shop it. You can get into such a position by working your way up the ladder, but if you come to the party with money already in pocket that buys your entrance. Thus producers in both the old days and today might be former organized crime guys, former drug dealers, and such. Think Chili Palmer in Get Shorty. So the fact that the studio exec hero in Dealing Out Death is so tough is unusual but not unrealistic. Ballard uses the character of Lennox to construct an engrossing plot, imbue it with a strong sense of place, and populate it with numerous competing personalities. He's a very confident writer and he gets the job done in Dealing Out Death briskly and skillfully. The ending is not perfect, but they rarely are. Recommended stuff.
