Final Serial Murders of 10 Rillington Place Part 3 of 4[Mature Content]

Total Page:16

File Type:pdf, Size:1020Kb

Final Serial Murders of 10 Rillington Place Part 3 of 4[Mature Content] Final Serial Murders of 10 Rillington Place part 3 of 4[mature content] I pulled away a small cupboard in the corner and gained access to a small alcove. -John Reginald Halliday Christie, 1953 For nearly 10 years, beginning in 1943, serial killer John Reginald Halliday Christie had gotten away with murder. A largely sexually impotent man (stemming from adolescent failures that earned him the disparaging monikers "Reggie No-Dick" and "Can't-Do-It Christie") he found his main means of sexual release could only be met by undemanding, submissive prostitutes. Though married in 1920, Christie continued to visit prostitutes the rest of his adult life. In 1943, he murdered a part-time prostitute, Austrian-immigrant munitions worker Ruth Fuerst, strangling her during sex. After burying her in the back yard, Christie's appetite for the morbid thrill of climaxing as Ruth had died weighed upon his mind. He devised a glass jar he hoped to use as a means of killing other women so he could have absolute power over their unconscious bodies while he ravaged them as he pleased. The jar had two holes in it: one led to a tube a victim would inhale from, smelling only an aromatic home remedy in the jar, and the other tube went to his apartment's gas line. His first chance to use the jar came in late 1944 when a co-worker, Muriel Eady, complained of bronchitis. Christie talked her into coming home with him: he had a "special mixture", he said, that would cure her respiratory problems. In his flat, Muriel used his jar; overcome by the gas, she passed out. Christie raped her as he strangled her. He buried her in the back yard near Ruth. On Easter 1948 a young married couple, Tim and Beryl Evans, moved into the top floor of Christie's building, 10 Rillington Place. Beryl was expecting a child; she gave birth in October of that year. Beryl's husband Tim was almost 60 IQ points shy of Reg Christie--his tested IQ of 70 put him in the borderline mentally retarded range. Tim, however, had a job driving a delivery van despite the fact he could only read and write his own name. Over a year after the Evans' arrival, Beryl turned up pregnant again and wanted to abort her developing baby. In early November 1949, Christie, under the pretext of being an expert abortionist, went up to her apartment while her husband Tim was at work and murdered her. He made up a story of the abortion having gone wrong that the simpleton, Tim Evans, believed when he came home from work and found his wife dead. Reg Christie said he would dispose of Beryl Evans' body. He and Tim moved it to a temporarily vacant apartment on the second floor. Christie took care of the Evans' 13-month-old daughter for a couple of days, saying he would arrange for the now- motherless girl to be put in care of a couple he knew. Tim, unsure of himself and deferring to Christie, let this happen. Instead, on November 19 (two days after he had murdered Beryl) Christie took the child up to the second-floor apartment and strangled her, leaving the body alongside her dead mother. Believing his daughter was in safe hands, Tim let Christie talk him into selling off his possessions and leaving town. He retreated to his childhood hometown in Wales, living with an aunt. Suspicions of his mother (who lived in London) about her grandchild's and daughter-in-law's whereabouts led Tim to turn himself in to a Welsh police station where he claimed he had stuffed his wife's dead body down a storm drain. After much convoluted discussion, police there asked for help from police in London to investigate Tim's former residence. Notting Hill police found no body in the drain, but enough strangeness accompanied the case that, after they found a stolen briefcase in Tim's vacant apartment, they used that as an excuse to charge him with a crime so he could be extradited to London. There, Tim crazily added to his "confession" about his wife's death, implicating himself in a cover-up, but claiming Christie had caused her death during an abortion attempt. Their bodies were found in a communal washhouse in the apartment building's back yard. Upon learning his daughter was dead, Tim Evans then made more confessions, all fraught with factual errors, but used by British authorities to bring him up on charges of murdering his daughter (the Crown held the murder of Beryl in reserve in case he was acquitted). Christie appeared as the star witness for the prosecution at the three-day trial. Tim was handily convicted of murder, and on March 9, 1950, Timothy John Evans was hanged for murdering his infant daughter. Through all this, Christie sweated. Two bodies were buried in his back yard. A femur had surfaced from one of his burial sites. He had used it to prop up a sagging wooden fence that bisected the back yard. Police failed to notice it when searching the grounds after Tim's statements to Welsh police. Later, after a second search had yielded Beryl's and the baby's bodies, Christie discovered the skull of one of his early victims had been dug up by his dog and was lying on top of the soil. Police hadn't seen that, either--Christie tossed it into a neighborhood building that had been bombed during World War II's German Blitz of London. It seemed that in the wake of Tim Evans' execution for murders Christie had committed John Reginald Halliday Christie was never going to be touched by the long arm of the law. "Darkies Upstairs" Relative peace reigned in the Christie household but for the middle-aged couple's racism. Both Reg and his wife, Ethel, found their new West Indian--and very black--neighbors loathsome. The third- floor flat (previously occupied by the Evans family) had been let to a Jamaican man. The second-floor tenants (in the wake of that apartment's becoming available when previous occupant, Mr. Kitchener, had moved out) were also people of color from the Caribbean. The Christies considered their new neighbors their inferiors (despite the fact that the Christies themselves could be typified easily as what is known as "white trash" today). And Ethel's racism was as bad as Reggie's: ever class-conscious as the British are, she thought the English- Africans from the Caribbean were of low status. She was also afraid of them, but mostly she detested sharing close quarters with them (particularly since she and all the residents of 10 Rillington Place had to use the same outhouse to answer Nature's call). The Christies complained ceaselessly about their new housemates to the landlord. They hated the smells of the native Jamaican foods cooking in the building. They hated the Caribbean music the new people preferred. Living in harmony was not to be: Ethel brought a criminal action against a neighbor for allegedly assaulting her. And "Reggie No-Dick" scored a coup when through the use of a law service catering to lower income people he managed to legally secure his (long-claimed but never documented) exclusive use of "the back garden". This meant no one in the house, other than he and Ethel Christie should walk past the falling wooden fence that cut the yard in half. This, at least, gave Christie some peace of mind about no one discovering the strange things he'd "planted" in the garden (Ruth Fuerst and Muriel Eady). Nagging Too Much Christie learned as a child to get attention by faking illnesses or by conflating minor injuries into major complaints guaranteed to generate sympathy. Right after Tim Evans' trial, he sank into a depression (more likely a mild shock-like condition stemming from the close call to being exposed as a murderer). He lost weight, about 28 pounds. Christie had been working for the Post Office Savings Bank before Tim Evans' trial. In court, the defense brought up Christie's past criminal behavior (from 1920 through 1933 he had been arrested and convicted multiple times for petty theft, and in one case, in 1929, of malicious wounding he used a cricket bat to batter a prostitute with whom he was living while separated from his wife). His conservative employer learned of Christie's criminal history from reports of Evans' trial. Christie was fired from his job. On top of that, his job loss from the bank (as a result of disclosures about his criminal history) meant he was home more often, with Ethel nagging him to find work. His hypochondria and its attendant whining grew worse. He complained of all sorts of nervous and gastro-intestinal problems. Probably for no other reason but to get a break from his limited responsibilities at home (and to get away from Ethel) he checked himself into a hospital for a three- week observation period. A staff psychiatrist felt he should be hospitalized for analysis--had Christie not been worried about the two bodies in his back yard such a "rest' would have been welcomed. Instead, though, he claimed he couldn't leave Ethel alone much longer, and he declined the offer. He did, however, see his own doctor for many imaginary complaints: 33 visits over the next eight months were documented. As time wore on, Ethel became more of a nag. She constantly complained about the West Indians overhead. In the past Reg formerly had gotten some relief from her because she spent time away from 10 Rillington Place on visits to her family in Sheffield (in northern England).
Recommended publications
  • A Sheffield Hallam University Thesis
    Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/20984/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance.
    [Show full text]
  • Teaching Social Issues with Film
    Teaching Social Issues with Film Teaching Social Issues with Film William Benedict Russell III University of Central Florida INFORMATION AGE PUBLISHING, INC. Charlotte, NC • www.infoagepub.com Library of Congress Cataloging-in-Publication Data Russell, William B. Teaching social issues with film / William Benedict Russell. p. cm. Includes bibliographical references and index. ISBN 978-1-60752-116-7 (pbk.) -- ISBN 978-1-60752-117-4 (hardcover) 1. Social sciences--Study and teaching (Secondary)--Audio-visual aids. 2. Social sciences--Study and teaching (Secondary)--Research. 3. Motion pictures in education. I. Title. H62.2.R86 2009 361.0071’2--dc22 2009024393 Copyright © 2009 Information Age Publishing Inc. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, microfilming, recording or otherwise, without written permission from the publisher. Printed in the United States of America Contents Preface and Overview .......................................................................xiii Acknowledgments ............................................................................. xvii 1 Teaching with Film ................................................................................ 1 The Russell Model for Using Film ..................................................... 2 2 Legal Issues ............................................................................................ 7 3 Teaching Social Issues with Film
    [Show full text]
  • 1,000 Films to See Before You Die Published in the Guardian, June 2007
    1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.
    [Show full text]
  • New Hollywood Violence and the 1960S True Crime Cycle Tim
    1 Guilty Pleasures: New Hollywood Violence and the 1960s True Crime Cycle Tim Snelson Abstract: This article focuses on a cycle of late 1960s true crime films depicting topical mass/serial murders. It argues that the conjoined ethical and aesthetic approaches of these films were shaped within and by a complex climate of contestation as they moved from newspaper headlines to best-sellers lists to cinema screens. Whilst this cycle was central to critical debates about screen violence during this key moment of institutional, regulatory and aesthetic transition, they have been almost entirely neglected or, at best, misunderstood. Meeting at the intersection of, and therefore falling between the gaps of scholarship on the Gothic horror revival and New Hollywood’s violent revisionism, this cycle reversed the generational critical divisions that instigated a new era in filmmaking and criticism. Adopting a historical reception studies approach, this article challenges dominant understandings of the depiction and reception of violence and horror in this defining period. Keywords: reception studies; film cycles; New Hollywood; violence; true crime; 1960s In June 1968 Kine Weekly columnist Derek Todd identified a current cycle of true crime films based on topical mass/serial murder cases and, in most cases, recent bestselling books. He suggested that this Anglo-American production cycle had been triggered by the success of Bonnie and Clyde (1967) and Richard Brooks’ ‘equally horrifying’ adaptation of Truman Capote’s In Cold Blood (1967). Titled ‘should we be exploiting the harmonics of horror?’, Todd’s article pinpointed the recently released The Boston Strangler (1968) and in-production 10 Rillington Place (1971), both directed by Hollywood veteran Richard Fleischer, as evidence of the escalating number and morbidity of such films.
    [Show full text]
  • Jack the Ripper in Film and Culture
    Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith General Editor: Clive Bloom Crime Files Series Editor Clive Bloom Emeritus Professor of English and American Studies Middlesex University London Since its invention in the nineteenth century, detective fi ction has never been more popular. In novels, short stories, fi lms, radio, television and now in computer games, private detectives and psychopaths, poisoners and overworked cops, tommy gun gangsters and cocaine criminals are the very stuff of modern imagination, and their creators one mainstay of popular consciousness. Crime Files is a ground-breaking series offering scholars, students and discerning readers a comprehensive set of guides to the world of crime and detective fi ction. Every aspect of crime writing, detective fi ction, gangster movie, true-crime exposé, police procedural and post-colonial investigation is explored through clear and informative texts offering comprehensive coverage and theoretical sophistication. More information about this series at http://www.springer.com/series/[14927] Clare Smith Jack the Ripper in Film and Culture Top Hat, Gladstone Bag and Fog Clare Smith University of Wales: Trinity St. David United Kingdom Crime Files ISBN 978-1-137-59998-8 ISBN 978-1-137-59999-5 (eBook) DOI 10.1057/978-1-137-59999-5 Library of Congress Control Number: 2016938047 © The Editor(s) (if applicable) and The Author(s) 2016 The author has/have asserted their right to be identifi ed as the author of this work in accor- dance with the Copyright, Designs and Patents Act 1988. This work is subject to copyright.
    [Show full text]
  • 2018-2019 BIC Teaching Guide
    Collin College DigitalCommons@Collin Book in Common Center for Scholarly and Civic Engagement 9-1-2018 2018-2019 BIC Teaching Guide Marta Moore Editor Follow this and additional works at: https://digitalcommons.collin.edu/bookincommon Recommended Citation Moore, Marta Editor, "2018-2019 BIC Teaching Guide" (2018). Book in Common. 10. https://digitalcommons.collin.edu/bookincommon/10 This Article is brought to you for free and open access by the Center for Scholarly and Civic Engagement at DigitalCommons@Collin. It has been accepted for inclusion in Book in Common by an authorized administrator of DigitalCommons@Collin. For more information, please contact [email protected]. BOOK-IN-COMMON TEACHING GUIDE 2018-2019 Collin College Book-in-Common Committee 2017-2018 BOOK-IN-COMMON CONTRIBUTORS Letha Clair Robertson Casey L. Carter Khimen Cooper Linda Sears Gary H. Wilson Lisa A. Kirby Dallie Clark Debra St. John Jules Sears Gloria Cockerell Kay Mizell Lubna Javeed Lisa Hull Forrester Melisa Blackmore William Brannon Ryan Fletcher Marta Moore Helen McCourt Stephanie James Joan Kennedy Gerald Sullivan Melissa Johnson EDITOR Marta Moore CONTACTS For more information about the Book-in-Common Program please see the website www.collin.edu/academics/bookincommon or contact one of our coordinators: Name Role e-mail Betty Bettacchi District Coordinators [email protected] Ryan Fletcher [email protected] Catie Brooks Central Park Campus [email protected] Coordinator Cheryl Wiltse Preston Ridge Campus [email protected] Coordinator Marta Moore
    [Show full text]
  • Why Are Real-Life British Serial Killers Rarely Represented on Film?
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sheffield Hallam University Research Archive Taboo : why are real-life British serial killers rarely represented on film? EARNSHAW, Antony Robert Available from Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/20984/ This document is the author deposited version. You are advised to consult the publisher's version if you wish to cite from it. Published version EARNSHAW, Antony Robert (2017). Taboo : why are real-life British serial killers rarely represented on film? Masters, Sheffield Hallam University. Copyright and re-use policy See http://shura.shu.ac.uk/information.html Sheffield Hallam University Research Archive http://shura.shu.ac.uk Taboo: Why are Real-Life British Serial Killers Rarely Represented on Film? Antony Robert Earnshaw Sheffield Hallam University MA English by Research September 2017 1 Abstract This thesis assesses changing British attitudes to the dramatisation of crimes committed by domestic serial killers and highlights the dearth of films made in this country on this subject. It discusses the notion of taboos and, using empirical and historical research, illustrates how filmmakers’ attempts to initiate productions have been vetoed by social, cultural and political sensitivities. Comparisons are drawn between the prevalence of such product in the United States and its uncommonness in Britain, emphasising the issues around the importing of similar foreign material for exhibition on British cinema screens and the importance of geographic distance to notions of appropriateness. The influence of the British Board of Film Classification (BBFC) is evaluated. This includes a focus on how a central BBFC policy – the so- called 30-year rule of refusing to classify dramatisations of ‘recent’ cases of factual crime – was scrapped and replaced with a case-by-case consideration that allowed for the accommodation of a specific film championing a message of tolerance.
    [Show full text]
  • The Abolition of the Death Penalty in the United Kingdom
    The Abolition of the Death Penalty in the United Kingdom How it Happened and Why it Still Matters Julian B. Knowles QC Acknowledgements This monograph was made possible by grants awarded to The Death Penalty Project from the Swiss Federal Department of Foreign Affairs, the United Kingdom Foreign and Commonwealth Office, the Sigrid Rausing Trust, the Oak Foundation, the Open Society Foundation, Simons Muirhead & Burton and the United Nations Voluntary Fund for Victims of Torture. Dedication The author would like to dedicate this monograph to Scott W. Braden, in respectful recognition of his life’s work on behalf of the condemned in the United States. © 2015 Julian B. Knowles QC All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or any information storage retrieval system, without permission in writing from the author. Copies of this monograph may be obtained from: The Death Penalty Project 8/9 Frith Street Soho London W1D 3JB or via our website: www.deathpenaltyproject.org ISBN: 978-0-9576785-6-9 Cover image: Anti-death penalty demonstrators in the UK in 1959. MARY EVANS PICTURE LIBRARY 2 Contents Foreword .....................................................................................................................................................4 Introduction ................................................................................................................................................5 A brief
    [Show full text]
  • Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities
    Mapping the British Biopic: Evolution, Conventions, Reception and Masculinities Matthew Robinson A thesis submitted in partial fulfilment of the requirements of the University of the West of England, Bristol for the degree of Doctor of Philosophy Faculty of Arts, Creative Industries and Education, University of the West of England, Bristol June 2016 90,792 words Contents Abstract 2 Chapter One: Introduction 3 Chapter Two: Critical Review 24 Chapter Three: Producing the British Biopic 1900-2014 63 Chapter Four: The Reception of the British Biopic 121 Chapter Five: Conventions and Themes of the British 154 Biopic Chapter Six: This is His Story: ‘Wounded’ Men and 200 Homosocial Bonds Chapter Seven: The Contemporary British Biopic 1: 219 Wounded Men Chapter Eight: The Contemporary British Biopic 2: 263 Homosocial Recoveries Chapter Nine: Conclusion 310 Bibliography 323 General Filmography 355 Appendix One: Timeline of the British Biopic 1900-2014 360 Appendix Two: Distribution of Gender and Professional 390 Field in the British Biopic 1900-2014 Appendix Three: Column and Pie Charts of Gender and 391 Profession Distribution in British Biopics Appendix Four: Biopic Production as Proportion of Total 394 UK Film Production Previously Published Material 395 1 Abstract This thesis offers a revaluation of the British biopic, which has often been subsumed into the broader ‘historical film’ category, identifying a critical neglect despite its successful presence throughout the history of the British film industry. It argues that the biopic is a necessary category because producers, reviewers and cinemagoers have significant investments in biographical subjects, and because biopics construct a ‘public history’ for a broad audience.
    [Show full text]
  • STANDARD COFFEE SHOP 160 E. 23 St.(Bet Lex-3Rd Ave©
    •h 29. 19" VOL. MCML BERNARD BARUCH COLLEGE No. 1 I; •~ar- -jr. *-•-*-*•] %m% - "• •'•'..- - •..>--e3j.-j Announcements -'-'-V..." "- Attention CPA Candidates REGISTRAR MOVING LAMPORT LEADERS JOHN JAY COLLEGE Senator- George McGovern^ a The Accounting and Law Societies of College faculty in 1967. i>GNSORED By The Office .of Admissions and The Lamport Leader Society invites all Baruch College will co-sponsor a In 1970, Professor Lakin co-autjored Records will be located on the second Baruchians to participate in a mini-lab in the call ofr a C ^ investigation of J. Edga lecture on Thursday April 1, 1971 (12 A Guide to Secured Transaction? with floor o£l55 East 24th Street, as of 9:00 Wednesday, March 31 from 12—2 in^fhe noon, Room 4220} by Professor Professor Howard J. Berger also of policies as head of the " •••' -^^iss? a.m.,, Tuesday, March 30th> North Lounge. It will be a taste of the Leonard Lakin on the topic: "What BaructV College. Professor Lakin has workshop experience. address students at John Jay College, m The Offices now locatea Th~ Room 6 Every Candidate Should Know About spoken^^Tbodt the Business Law and Room 312 at 17 LexthgtonnAvenue, from which 15 FBI agents were forced to drop out because of a professor's The Business Law Part Of The Uniform Examination- before professional will be officially closed on Friday, CPA Examination". groups in Colorado and Georgia as well APRIL 1^2,1971 March 26th_and Monday, March 29th, MCGOVERN FOR PRESIDENT critical remark about Mr. Hoover. The McGovern talk will take place on Professor Lakin is well qualified to as New York.
    [Show full text]
  • Columbia Pictures: Portrait of a Studio
    University of Kentucky UKnowledge Film and Media Studies Arts and Humanities 1992 Columbia Pictures: Portrait of a Studio Bernard F. Dick Click here to let us know how access to this document benefits ou.y Thanks to the University of Kentucky Libraries and the University Press of Kentucky, this book is freely available to current faculty, students, and staff at the University of Kentucky. Find other University of Kentucky Books at uknowledge.uky.edu/upk. For more information, please contact UKnowledge at [email protected]. Recommended Citation Dick, Bernard F., "Columbia Pictures: Portrait of a Studio" (1992). Film and Media Studies. 8. https://uknowledge.uky.edu/upk_film_and_media_studies/8 COLUMBIA PICTURES This page intentionally left blank COLUMBIA PICTURES Portrait of a Studio BERNARD F. DICK Editor THE UNIVERSITY PRESS OF KENTUCKY Copyright © 1992 by The University Press of Kentucky Paperback edition 2010 Scholarly publisher for the Commonwealth, serving Bellarmine University, Berea College, Centre College of Kentucky, Eastern Kentucky University, The Filson Historical Society, Georgetown College, Kentucky Historical Society, Kentucky State University, Morehead State University, Murray State University, Northern Kentucky University, Transylvania University, University of Kentucky, University of Louisville, and Western Kentucky University. All rights reserved. Editorial and Sales Offices: The University Press of Kentucky 663 South Limestone Street, Lexington, Kentucky 40508-4008 www.kentuckypress.com Cataloging-in-Publication Data for the hardcover edition is available from the Library of Congress ISBN 978-0-8131-3019-4 (pbk: alk. paper) This book is printed on acid-free recycled paper meeting the requirements of the American National Standard for Permanence in Paper for Printed Library Materials.
    [Show full text]
  • The Forgotten Man Richard Fleischer’S RKO Years Jason Ney
    THE FORGOTTEN MAN Richard Fleischer’s RKO Years Jason Ney f you were to ask a group of film noir fans to come up with a single list of the best film noir directors of all time, a spirited debate would no doubt ensue. Those who prefer the big-ticket “A” pictures would put Billy Wilder and John Huston at the top. The low-rent, Poverty Row aficionados would argue passionately in favor of Edgar G. Ulmer and Anthony Mann. A few would loudly clamor for Sam Fuller. Ida Lupino, the lone lady of the bunch, would surely get at least a handful of votes. Orson Welles fans would have intricately detailed arguments for why their guy deserved to be on the list. Others would argue in favor of Edward Dmytryk, Robert Wise, Nicholas Ray, Jacques Tourneur, and Robert Siodmak. Despite his debatable noir pedigree, Alfred Hitchcock would probably get at least a few mentions. However, there’s one name that probably wouldn’t come up often, Ursini. The book provides profiles of no less than twenty-eight noir Iif at all: Richard Fleischer. directors, but Fleischer is nowhere to be found—except as the tar- While Welles, Wilder, and other noir heavyweights continue to get of a quick brush-off in Silver’s introduction, who explains that be celebrated and studied decades after their films were originally Fleischer’s lack of inclusion is because he is “not necessarily” one released, Fleischer remains noir’s forgotten man. Despite a success- of “the best examples” of a noir director. However, a fresh look at ful directorial career that spanned nearly fifty years, he never man- Fleischer’s accomplishments in the noir genre while under contract aged to carry the same level of brand-name recognition that his at RKO Radio Pictures in the late 1940s and early 1950s, reveals a more famous colleagues enjoyed.
    [Show full text]