Acquired Book By: I received an enquiry from a publicist at Tor/Forge in regards to this lovely new Historical Mysteries series I had not had the pleasure of finding out about previously! I was quite excited about what the scope of the series might entertain as I have a fond appreciation for Old Hollywood and the treasure trove of movies one can experience through the channel Turner Classic Movies (or TCM for short). Being one of the lead characters was Edith Head (a woman of interest of my own from Hollywood’s past) it felt like a wicked good fit for me to accept this series for review. Especially as I love watching old films as a stepping stone towards ‘discovering’ new actors and actresses I have not yet had the pleasure of seeing before and in effect become my ‘new favourites’ even decades after their careers ended. There is a pulse inside those films and I love watching the fashions change as much as the settings and story-lines!
I received a complimentary copy of “Dangerous to Know” direct from the publisher Forge (an imprint of Tom Doherty Associates) in exchange for an honest review. I did not receive compensation for my opinions or thoughts shared herein.
Why I am loving the energy of this wicked good Cosy Historical Mystery series:
Their cheeky humour is well timed and brilliantly placed – as for instance – when your first observing the department store Tremayne – I’d like to hear from a reader who didn’t smirk themselves into a laugh when they read how the section manager arranged the wares of the women’s department! If that isn’t comedic and brilliantly astute of how to sell more stock than what is left behind, I don’t think I could capture his tenacious spirit better than the authors did! I love how they thread their setting and their world into your imagination by presenting you with both the aesthetics and readily understood ‘points of reference’ where envisioning their novel is a delight to your senses! They nail their era of choice by dialogue, background ambiance and the sensational brilliance of era-specific comedy!
My own love of this generation aided me in recognising the ‘pop cultural references’, the slang words and the tongue-in-cheek comedic bits which made this such a classically brilliant story to read! You wouldn’t readily suspect it was published in the 21st Century as it has such a strong vibe of realistically authentic representations of the ’30s! I love that about this series! Seriously, what is better than finding authors who have threaded a needle back inside the early Nineteen Hundreds?
-quoted from my review of Design for Dying
I sensed I might become wholly addicted to this series – especially when I realised when it was set and how it might be staged around the fever pitch of Hollywood during the Golden Years of the studios. There would be plenty of fodder to examine from those early generations where the Film Industry was getting it’s groove on – where you could make and break a career on the grit you had to make your dreams a reality. Each time I soak inside a classic movie via TCM or borrow a dvd from my library and/or purchase one for my own media library – you feel like time has stood still. You can still re-enter this period of Film History – seeing everything as if it were being shot close to our current timeline and re-examine what it was like to create motion pictures in the early bits of the 20th Century. These were the foundation years – where talkies had overtaken the Silent generation and where actors and actresses were not just vying for parts but asserting their personalities for the roles they felt bit their talent.
What I hadn’t expected is the clarity of the era and the cheekiest method of re-exhuming it for our readerly senses to be threaded into such a sophisticated arc of narrative by the Patrick’s*. I could not have sought out a more ‘me centric’ novel than this particular series illumines! By this, I refer to how cleverly crafted the roots of the series were made but also, how well in-tune the Patrick’s are with their base of origin! It’s just a treat to dive right back into this harried world where faking your way to the top is the order of the day but also, backing up what your bluffing about with ballsy guts, winning charm and the merits of hard work to prove the point past getting your foot in the door! It’s a lively and engaging series you want to become re-immersed inside as soon as you exit – especially considering how quickly things can ‘change’ in your absence! This is Hollywood after all, and nothing is ever quite static when there is something new coming round the corner!
Being in the position to read both the debut of the series and the sequel, er, book two back to back has been a true gift for my readerly heart because I’ve been able to follow straight through alongside Edith and Lillian as they find themselves in new territory (career wise) and further establishing their bond of friendship as they navigate sleuthing when cases present themselves. These two are natural bourne sleuths for how their minds like to knit together puzzles and how they have the gumption to place themselves in danger with the off-set of confidence to use their minds to get themselves out of trouble.
I love thinking-man stories where part of the joy of noodling out the mystery for yourself is watching how the characters stitch everything together. This is why I have a fond appreciation for Perry Mason, Columbo, Murdoch Mysteries, Foyle’s War and others like Murder, She Wrote. What makes the mysteries enjoyable is being centerstage to the action and of seeing how the pieces of the crimes are reassembled by those solving them; either from the professional angle or the amateur. Mysteries are just wicked exciting when written with a penchant for the setting and timescape and I’m happy I’ve found a new series in which I can happily entreat inside as the series continues to gain momentum and move forward!
*I realise their not the ‘Patrick’s’ as this is their pen name but for argument sake and for continuity purposes not to defer to saying ‘the authors’ continuously, I’ve decided to use their pen surname thus forward.
A conversation with the writers behind the series:
I love how everything you put into your mystery series stems from your passion for Old Hollywood, the joys of research and of celebrating the legacies left behind in the footsteps of those who interest you most. How did you decide what to include about Edith Head in the beginning in the series to serve as an anchour into the next sequences of stories? In other words, how did you pull together the essence of her legacy but hone in on who she was during her down-time as well?
Their response: We deliberately chose to begin the series with Edith in an unstable professional position, certain that she was about to be fired and possessing few prospects. No one had any expectation that she would become a costume designer of note, least of all her. That gave us a chance to talk about the work habits and mindset that would allow her to grow into the position. We loved learning that outside the office Edith was a different person, letting her hair down literally and figuratively. That discovery made us look forward to exploring that side of her personality as well.
Having read the first two novels in this series, I can give you full credit for bringing Edith straight back to life in how you’ve captured her essence! I felt it was a strong opener to put Edith in a position below the one she was vying to take over, as like you said, it should her personal growth as an artist in her own right but also, the work ethic she was known for having. It also gave a plausible entrance for Lillian to strike up a friendship with Edith; as they had so much in common at that junction.
As you’ve previously stated, Edith Head herself proved to be the best inspiration for your series by granting a liberty of lee-way to take the series forward. What if anything surprised you most of your research into her life? Is there one tidbit of her personal life she might have shared that genuinely interested you but surprised you at the same time?
Their response: Edith inspired three biographies and wrote her own memoir, and the books regularly contradict each other. (In later years, she’d disavow her own book!) We have a better sense of what Edith wants us to believe is true as opposed to the actual truth. As writers, that may be the best position to be in. She cultivated a very stern image but we learned from her correspondence how affectionate she and her husband were with each other. Their letters are full of nicknames, and questions about what the cats are up to. We also found a list of Erle Stanley Gardner books she wanted to buy, so we feel think she’d be comfortable appearing in mystery novels.
Really!? I hadn’t realised this about her biographies or her autobiography! As I declared on my first review, I’m still in the process of researching her myself. I do agree with you here – if the subject your writing about gave you the perfect leeway to take liberty with their life and etch out your own ‘gaps’ between truth and fantasy, you have the best entrance into penning your own version of the truth they might have lived. I love how you were able to get a hold of her correspondences – letters can tell so much about a person as they are quite at home revealling more of themselves in the space of a letter than sometimes a spoken conversation. The beauty of course for all of us, is how letters and correspondences tend to withstand time; ergo, giving us more insight than perhaps we could ever speculate. I love how she loved cats and was a reader of of Mysteries. I think you’ve given her a special treat in being part of a team of amateur sleuths! She might find the whole affair quite champion!
How did you pull yourself back into the era your series is set? What did you find the most difficult of writing authentically for the late 30s?
Their response: The movies themselves are always the best guide. We want to be faithful to the period but also to the movies of the era. So if the book sometimes feels like a screwball comedy, that’s OK with us. Immersing ourselves in the newspapers and magazines of the era allowed us to feel more at home there. The most difficult thing was gauging the level of formality to use. Almost every interaction today is casual, so it took some effort to get out of that mindset and back into people calling each other Mr Smith instead of Joe.
Aren’t they so!? I find I could drink in a heap of movies per each viewing day if only to learn as much as I could which previously hadn’t been discovered! I spent a considerable amount of time viewing Hitchcock’s early films – even then, you could start to see his infamous style coming through, even when some of the films lacked the polish his later releases would embody. His personal style was still being moulded into place and there were little moments of ‘oh’ this is how he developed his signature style right there on the reels! I can see why you’d be enthralled about how you have to watch the movies for researching and developing future plot points – you’d have a well of potential cases percolating to mind all the time! Ah, yes. About the formality – one thing I can attest to is that I have the tendency to being more formal than my peers, even in today’s world. It’s how I was raised and how I still, to this day choose to address people out of respect. For me, it’s second nature to be more formal even in the modern causal world. I would also say you’ve nailed the language, idioms, slang words and phrases of the era, too! I love how the word play in your novels gives my wordsmith heart a heap of joy!
As your writing as a team, how does it work for you whilst your creating your stories? Do you both co-write different sections of the novel or do you write in tandem at the same time and move the story forward all at once? I was curious about your process and how you approach each individual story – or do you have the long scope of the series already set and are working towards that goal?
Their response: We work out detailed outlines in advance so we’re always at least starting from the same place. Then one of us writes a first draft while the other edits and revises. That person then tackles the second draft, so that by the end of the process we’ve each weighed in and “Renee Patrick” does the final pass. Edith’s career spanned seven decades and had her working with so many fascinating people that we’re not at a loss for material. So yes, we have many adventures planned.
Thank you for giving me an inside view into your process! I find it wicked fascinating, truly! It’s almost like you’ve developed your approach quite organically to what befits both of your writing instincts and in the end, it’s become the Patrick’s signature style. All I can say in reply is to continue doing what your doing because it’s a wicked delight for those of us reading your novels!
As you thread the hidden secrets out of time to become bent against this posh world of films and Hollywood, how do you continue to re-inspire your next plot per each new installment? What are your touchstones? What becomes the harbinger of ‘yes!’ that should be the direction we head in ‘moment’ of clarity?
Their response: Edith’s career is a constant source of inspiration. All we have to do is look at the next films she was designing in order to figure out where we want to go next. Plus the broader history of movies is a well that never runs dry. Even if Edith didn’t work on a particular film of note, we’ve found that the world of Hollywood is small enough that we can find a way to involve her and Lillian in its story.
Yes! You definitely have done this well, too! Pulling Edith and Lillian together even if there isn’t an active film being produced! I had a feeling by how you’ve placed them in such close proximity to the studio and the lifestyle of Hollywood – there would be natural causes of connecting them to everything around them. Yes, it is quite a small world – then, most creative worlds are aren’t they? Such as the world of art and the world of publishing, too. You make me smile quite a heap as I’m reading the stories – I recognise so much of the cultural references and of course, the novels have their own rhythm, too.
When it comes to the arc of the series – per decade, how far forward to you foresee taking the series in regards to the transitions Hollywood went through in the 30s, 40s and 50s? What excites you about seeing the series progress through the changes of it’s setting?
Their response: Edith’s last movie was 1981 — and yes, we are prepared to take it that far! We’d love to chart the changing course of women in Hollywood as the industry evolved. In the silent era, women were often writers and directors. With the advent of sound and the rise of the studio system, that changed. Edith was a noteworthy figure, one of the few women in a position of authority. We like to think of the series as a female-centered history of Hollywood.
Ooh! I hadn’t realised this – about how her career went into the early 80s! My, my,.. if you continue to create one novel per each year leading up to 1981, that would make this a full set of 44 novels! Imagine!?! And, a direct history of the Film Industry, to boot! Wow. I am singularly impressed and giddy about that prospect! I love how you’ve focused on the Feminist History of the Industry; I wonder though, why there was a reversal of equality from the Silent era to the Talkies? Hmm. The best way to ‘tell’ history I feel is through Historical Fiction and you’ve given us the added benefit of knitting history round curiously addictive mysteries! I also need to make a list of all the movies mentioned in each of the novels – talk about a primer for what to watch!
What uplifts your spirit the most whilst on a break from writing and researching your next novel?
Their response: It’s never a chore to watch movies, contemporary films or those from the era of the books We love to take long walks, but often end up discussing plot business anyway. And nothing lifts spirits like spirits themselves. Vince makes a mean martini.
Laughs with mirth. No, it would never be a chore to watch movies – of any era or generation! There is so much joy in finding your niches in film and enjoying the moment of seeing someone’s vision pull together through script, art direction, acting and cinematography. (and/or special effects) Isn’t that the way? Being a nature lover and a hiker myself, it does incur inspiration to talk shop about something your creating. I think it’s the backdrop that is curiously inspiring; nature has a way of connecting our mind and imagination in a way that cannot always feel as free elsewhere. A wicked good martini, eh? I wonder if that includes Cosmos! lol I know my grandfather is smiling from heaven knowing his granddaughter grew up enjoying her own martini as he loved his with green olives!
Dangerous to Know
Subtitle: A Lillian Frost and Edith Head Novel
by Renee Patrick
Source: Direct from Publisher
The salon and the case files are open...
Meet Lillian Frost. A transplanted New Yorker with a boundless love of the movies and a single lousy screen test to her credit.
Meet Edith Head. The costume designer who, over the course of a career spanning seven decades, would be nominated for more Academy Awards than any other woman. Who dressed the most glamorous stars in history. Who worked closely with directors like Alfred Hitchcock and Billy Wilder.
Meet the sleuthing duo about to become Hollywood’s greatest detectives.
Los Angeles, 1938. Former aspiring actress Lillian Frost is adjusting to a new life of boldfaced names and endless glamour as social secretary to a movie-mad millionaire. Costume designer Edith Head is running Paramount Pictures’ wardrobe department---though her position is precarious and her eight Academy Awards are far in her future.
Lillian recently attended a swanky Manhattan dinner party at which well-heeled guests insulted Adolf Hitler. Now, a vengeful housemaid with Nazi sympathies has all New York society running for cover---and two Paramount stars, Jack Benny and George Burns, facing smuggling charges.
Lillian tries to lay low while the studio is in an uproar over the scandal, but she has no such luck. Edith asks Lillian to look into the disappearance of Jens Lohse, the émigré pianist in Marlene Dietrich’s budding nightclub act, as a favor to Dietrich. Lillian reluctantly agrees, and soon finds him---dead.
Dietrich blames agents of the Reich for his murder, and Lillian investigates further. Could Hollywood---thought to be a safe place for German exiles and émigrés---be hiding a sinister Nazi element beneath its glitzy veneer?
As Lillian and Edith unravel intrigue that extends from Paramount’s Bronson Gate to FDR’s Oval Office, only one thing is certain: they’ll do it in style.
Places to find the book:
ISBN: 9780765381866
Also by this author: Design for Dying
Also in this series: Design for Dying
Published by Forge
on 11th April, 2017
Format: Hardcover Edition
Pages: 336
Published By: Forge (@torbooks) | Read their incredible BLOG
Available Formats: Hardcover + Ebook
Read an Excerpt of Chapter One via Tor/Forge blog!
On the friendship of Edith & lillian:
Neither of them sat on ceremony – they simply caught up with each others’ lives as readily as sisters who cannot wait to dish on the latest goings-on which may or may not affect the other. Edith was a consummate creator – never far from her sketchpad which of course drew a bit of ire out of Lillian; I can understand why, you do wonder if Edith could parlay between inventing and critical listening. Lillian to her credit accepted her friend’s quirks, as all good-natured girls do but there was a part of her that was prime to the challenge of winning Edith’s full attention. I had to smirk here, knowing how I have felt in those situations where a fireside chat is best when spent in capturing someone’s immediate attention rather than to settle for half.
There are little nuances of continuity I appreciated seeing back in the sequel: such as Lillian’s Catholic faith coming out in passages where she calls on certain saints for a bolt of courage and how she is in love with Mrs Q’s cat Miss Sarah. Cat lovers will appreciate how the ‘cat’ is characterised in the series, as you can almost see how regal the cat is simply by how she’s described. Lillian hold’s true to herself as much as Edith which is one of the best bits of the series. You can pull back the layers of their personalities and get to see the ‘real’ woman behind their masks to the world. Not that they hide much, but they do have their vulnerable moments.
Getting to see Edith in her home was a nice change of scenery than seeing her strictly at Paramount; the Patrick’s weren’t kidding when they said there were two versions of Edith: public and private! In some ways, I think it was a rather keen idea! She could separate her work life from her personal hours and in effect, keep people guessing about her interests and particulars. It was also a small clever way of having a ‘work persona’ vs always having to present your vulnerable side to the public. They fit together well even outside their work circles as each of them understands the other without having to explain anything but it’s how Edith has a prescience over how Lillian’s mind thinks which was quite champion of her intuitive nature.
my review of dangerous to know:
I could not click my heels fast enough to re-enter the tales of Edith and Lillian! The duo has captured my heart and imagination – for their lives are on the verge of history, where fashion and motion pictures happily collide into a kaleidoscope of beauty. They also happen to be two strong women living in an age where asserting one’s talent isn’t readily accepted but could be proved through their dedicated hard work. As we re-enter their lives, Edith is now in charge of the Wardrobe Dept. at Paramount (a rite of passage she should have assumed sooner, if you ask me) where she is setting a new standard for both business and personal attire. One thing I appreciated about the bits and bobbles I knew about Edith prior to reading this series, is how she never backed down from being ‘Edith’. She reminds me a lot of Diane Keaton in that regard and Katherine Hepburn as well. They set their own standards for how they wanted to present themselves – whether or not anyone understood their choices was not their concern. There is a strong lesson in how to live in their examples.
Lillian has just returnt from a tour of New York City, courtesy of her new employ the magnanimous Addison (a wealthy man turnt Hollywood charmer who likes to lavish the towne with oddball parties and a chance to network) who took her back East due to her strong connections to the city itself. Lillian had started her position as his social secretary as we were exiting Design for Dying, as her previous employment at the department store did not weather the storm of her ‘first case’. In my mind, it wasn’t worth the heartache as her boss was less than understanding about the circumstances. I felt she gained more freedom of motion and movement by working with Addison, but also, placed her in a better position to hobnob with more of the in-crowd of Hollywood.
As she found her footing re-telling a story her and Addison had perfected (replete with accents), Lillian truly threw herself into the performance to gain Edith’s curiosity – it was such a mad prospect, you see, the hosts of the dinner they attended back East were accused of smuggling goods without clearance through Customs. The war hadn’t yet been declared but there were hints of distress out of Europe. The mad bit is how much gull it took to sneak the clothes and jewels across water and border without thinking of being caught. This is what first whet the interest of Edith and the key reason why Lillian loved to tell the story; combined with the fact, there was a maid who had been dismissed without references thrown into the fray. I thought it was wicked how Lillian managed to see Barbara Stanwyck’s new film and temper her own curious heart about the deeper secrets revolving around the dinner.
Imagine her shock to find Edith had drawn her out to the studio to meet with Marlene Dietrich and thus a bit cat-tongued realising the woman wanted to hire to to sleuth out the location of an artist from Austria! Dietrich, mind you, is on my list of ‘must watch’ actresses but I have not yet had the pleasure of seeing her or Greta Garbo; their foremost of interest as I make my way through the film archives which are available to see on TCM or dvd. Seeing Dietrich in this role felt fitting, as she was quite an active philanthropist during the war era and as this story-line has war era connections, it felt quite organic she might seek out Edith and Lillian for help which wouldn’t be leaked to the papers.
Dietrich was leading Lillian on a cat and mouse chase of a gambit: everyone was curious about where the missing musician had gone off too, but without breadcrumbs to guide her towards that end, all Lillian had to go by were a few clues left behind by his landlady. There is an overlay of connection to the delicate situation in regards to Europe; as the world was on the fringes of war for the second time. The authors inserted information about this concurrent to Lillian’s search for information as the players in this mystery were not American citizens. They had to renew their visas but there was the wench in the wheel – how do you get a visa when all of Europe was trying to be somewhere other than home?
Edith wanted Lillian to investigate this case as a favour to her but what surprised Lillian more is how much Addison wanted her to investigate it; even if Morrow (blessed he is still a feather in her cap!) was less enthused about finding fault with how the police handle missing persons. The interesting bit is that the further Lillian tried to dig out information, the more complex the circumstances became to ferret out the truth. I had a smirk over how Lillian and Morrow weren’t won over by ‘bridge’ as I must admit being a card player myself, it is the least inspiring game – I have never opted to play it due to how complex just listening to the rules dulls my competitive nature. I’d rather have a ready game of Shanghai Rummy – played over seven rounds of exchanging difficulties than to be bored into a game of bridge! It’s also a wicked way of coaxing out a firelight of boisterous conversation whilst still having half your attention on the cards!
When it came to light Burns (George Burns, that is!) was caught lock and square inside the tax dodge – you truly felt for the bloke! He had innocently wanted to surprise his wife Gracie with a trinket which would make her smile whilst cleverly covering up a childhood accident that left her scarred. The way in which Burns was convinced to take part in the fold of the plot involving the dodging of custom agents, you saw him more of a victim than partner in the crime. I still remember when I learnt about why he carries his cigar with him and I smiled seeing the Patrick’s had brought this to the surface, too. They have wicked good choices regarding ‘what to share’ and ‘what should be revealled’ about all the lovely well known persons who frequently make appearances in their series.
Morrow and Lillian are happily placed together more than once – although, you can read between what Morrow says and doesn’t say to realise he’s smitten with Lillian. At least, you hope he is as he spends most of his time with someone (Abigail) he supposedly only considers a ‘friend’. He’s still sore with Lillian for taking chances and she’s a bit peeved at him for not seeing that she is interested but doesn’t want to play the fool. To Lillian’s credit, she keeps surprising him by how well versed she is at uncovering details even the LAPD are struggling to find for themselves! The complexities in the case continue to grow as more people take their entrances into the fray; you have to wonder though, what was really happening to cause such a stir about a musician who only wanted to be a film composer? One idea I kicked around my own mind is what if he was a double-agent or a spy? It wouldn’t have been unheard of in that era – as I couldn’t quite fathom how tax dodging could be the whole of it. No, something else was going on and I had to be patient to see how it would all let out eventually.
Kay (Lillian’s reporter friend), Vi (the one-time unlucky girl of a gangster) and Ready all make their returns – their the eclectic friends of Lillian’s from her old boardinghouse days spent with Ruby. Kay is a bit distant in this entry, where she’s super focused on furthering her career and doesn’t want to waylaid herself on superficials whereas Vi has softened a bit from her errant romance. Ready is the type of bloke a girl could call on and have someone game for just about anything in return. He liked looking out for the girls and in return, the girls kept mum about his own secret about why he was stepping out with Kay. This favour Lillian had asked of Ready put her in a pickle with Kay, who was starting to show a bit of a full head since she was growing in popularity; instead of being the winning confidante and good friend of Lillian’s – she was soon becoming irksome and too full of herself.
Oh, my! What a torrid way to turn a dime! When Lillian finds out the dish on the missing musician, you almost wish he had been a spy of the legitimate variety! Oh, no! Not him! He had to find a way to spin a profit out of brokering information in a sneaky backhanded version of blackmail – even Perry Mason would have liked unravelling this mystery, in regards to how the bloke had the gull and daring bravado to pull it off! It still begged to question though – sure he’s a fink and a cad, but was that enough to off him or was there something in the scheme that backfired on him if he became the new man ‘who knew too much’? Yet, part of me wondered if I was right in the first place. He wouldn’t have been the first person to offer a front to what his main gig in life was about and what better way to cover for covert affairs than a blackmail scheme? One thing is for certain he was walking a tightrope without a net.
One of my favourite sequences is when Edith and Lillian were questioned by the Bureau! It showed how deft they are at talking their way out of trouble but also, how to hold onto cards not played which could in effect further their efforts elsewhere. Edith took control of the situation but Lillian was now seasoned to follow in her stead; and like sisters, they were reading each others’ mind as they sidestepped their way out of the interrogation whilst negotiating a way for Jack Benny and George Burns to get out of a tax dodge. The irony there is they were barking up the wrong trees – the celebrities who were involved were blinded by the innocent choice to not suspect foul play when they were offered the favour in the first place. I had to agree with the girls’, why focus on the innocents caught in the web when they had a bigger fish to catch with more bite in their guilt than unsuspecting actors who were trying to impress their wives with gifts they could take back to their country with less fees than previous trips? Talk about misplaced priorities!
Given how this particular entry was more politically charged, I found some of my joy floundering a bit as it was a bit heady to go back over how tenuous the situation was back in the late 30s. In some ways, it was a borderline pre-war drama, as the political climate back then was on high alert as war was imminent. What smoothed out the rougher edges of the story is how well timed the interactions between Edith and Lillian were placed alongside their sleuthing duties. The Patrick’s also expanded on the relationships outside of their sisterhood friendship; providing more insight in the secondary characters’ lives and showing how changing personalities could strain those relationships. I still found this a wicked treat to read. You get to re-live everything through Edith and Lillian’s eyes and ears; walking in their shoes and being caught up in the swirl of Hollywood’s pulse. Even the newspaper clippings interspersed between chapters and key sections of the novel, kept your feet firmly grounded in seeing how supposition and hearsay had their five minutes in the limelight, too.
*NOTE: You can listen to an interview of Marlene Dietrich embedded on her Wikipedia page. I enjoyed reading the whole article, wherein I learnt of the term ‘box office poison’ prior to Edith telling Lillian about it, too. I had to smile at that realisation! I found the whole thing something to ‘tut tut’ about with disdain; flops? Oy. Perhaps, but sometimes I wonder if flops are truly deserving of such attention as most of the films I personally love might not have been box office showrunners but they were wicked good films nonetheless and smartly made. It makes you wonder, if ‘quality over quantity’ will ever win out.And, of course, more than one classic film beloved by a lot of us Classic Film buffs was ‘box office poison’ as they said – never made a profit at time of release but is one of the most watched classics nowadays! Just two cents.
why I am continuing to love this wicked good series by renee patrick:
I had forgotten the swirl of chatter around who would get the title role of Scarlett in Gone with the Wind; as it’s such a personal favourite film. You could say it was one of the favourites I inherited from my Mum. There are certain films and tv serials (such as the original five series of Star Trek) you simply gain a traction of loving from your parents. Finding this as a tidbit included in this installment stilled my heart as I couldn’t imagine another woman stepping into Scarlett’s shoes now that I have loved seeing Vivien Leigh in the role.
Further credit to the Patrick’s for giving us things to chew on whilst we’re reading their novels; they have dug out all the lovely bits of gossip you’d hope a best friend would share with you. The random inclusions of film history trivia and the immediate rumours which would have been hungrily sought after during the years in which the series is set is what makes it such a delish series to read! You get to be hugged inside this exclusive world with personal guides giving you all the juicy details which makes the world feel closer to you somehow. Almost as if you’ve crossed the threshold and are living inside this era yourself.
What I am hoping to find as the series moves forward are more compelling back-stories and interactions with the actors, directors, crew members and other socialites who will intercede on Edith and Lillian’s path. The best part of how this series is paced is being able to spend one year in their lives. You get to see a record of what was happening in the world at large but also, on the smaller scale of the Hollywood bubble of where scripts, films and costume designs were just as important as politics. The Patrick’s have a gift for telling the stories with a happy insight on things you only previously wished you’d known about and now can readily devour with intense appreciation! They continue to craft drama and humour in a cheeky balance of heart and the spirit of living in the moment of one’s dreams. Watching the series flourish in the next volumes of the series will be a delight of my bookish heart.
Fly in the Ointment:
There were still small pepperings of stronger words flickering in and out of the narrative, but thankfully as with the debut of this series they were few and far between. I am still at odds to understand why they were used at all – as the strength of the series is in the beauty of how well-written the novels are by the Patrick’s. Their Hollywood insight and the passion they have for their subjects is alarmingly real, tangible and a treat to read. To mar the series with small blights of words which deflect from the bevy of words igniting through passages where sophisticated humour and an old world appreciation for word usage is expertly chosen seems a bit ill-placed. If anything sometimes I feel the flippant words decrease the level of the series sophisticated edge for being a prime jaunt back into the Hollywood fast paced lifestyle. As foresaid – I’m attached to the characters, especially to Edith and Lillian which is why I find the novels #unputdownable and an enjoyable feast. I simply wish sometimes writers could keep the momentum of what they perfected to such a brilliant opus of insight without collapsing it a bit with words which detract from the core.
This review is courtesy of: Tor / Forge
Whilst reading this wicked lovely series I tuned my headphones into #SlackerRadio’s 1940s station, listening to all the greats of a classically inspiring musical generation! The music of these artists befit the series so very well, it was an added layer of my reading experience to be transported backwards through time and re-entering the world in which Edith Head and Lillian Frost navigated their careers! I decided to reside musically in the 40s rather than opt to go further back as there is a quiet reverie of tone in this generation’s music which aesthetically matches reading a Cosy Historical Mysteries such as this one! It adds rather than detracts from your imagination as you follow the prompts of the authors’ pen!
This book has just started to make it’s bookish rounds in the blogosphere!
Review | TCM Backlot
I LOVE TCM and I am so thankful this series caught their attention!
I look forward to reading your thoughts & commentary!
Especially if you read the book or were thinking you might be inclined to read it. I appreciate hearing different points of view especially amongst bloggers who gravitate towards the same stories to read. Bookish conversations are always welcome!
{SOURCES: Cover art of “Dangerous to Know”, book synopsis, author photograph of Renee Patrick and the author biography were all provided by the publisher Tor/Forge and used with permission. Post dividers by Fun Stuff for Your Blog via Pure Imagination. Tweets were able to be embedded by the codes provided by Twitter. Blog graphics created by Jorie via Canva: Book Review Banner using Unsplash.com (Creative Commons Zero) Photography by Frank McKenna and the Comment Box Banner.}
Copyright © Jorie Loves A Story, 2017.
I’m a social reader | I tweet my reading life
Book Review & Q&A | “Dangerous to Know” (Book No.2 of the Lillian Frost & Edith Head… https://t.co/aXZ8UQIcy7 pic.twitter.com/x6QuC07Nkj
— Jorie, the Joyful Tweeter says "hallo!" 2020 ?? (@joriestory) April 21, 2017
.@torbooks #BookReview + Q&A
feat. @RPatrickBooksFind out why Jorie ?this #EdithHead
Cosy #HistFic #Mystery series https://t.co/E58mFKBskm pic.twitter.com/PeZFmgPYwW— Jorie, the Joyful Tweeter says "hallo!" 2020 ?? (@joriestory) April 21, 2017
Comments via Twitter:
#Author interview "Dangerous to Know" by Renee Patrick #amreading #bookreview https://t.co/cEq8VDZezC via @joriestory
— Christina Philippou (@CPhilippou123) April 21, 2017
I *loved!* your replies! :) It was the perfect capstone to #reading your wicked good #Mystery series! ?As you might have noticed I've gushed
— Jorie, the Joyful Tweeter says "hallo!" 2020 ?? (@joriestory) April 21, 2017
Reading this book contributed to these challenges:
- 2017 Historical Fiction Reading Challenge
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