FFB - Spiderweb

Robert Bloch' Spiderweb was published in 1954; this book was one of a double offer from Hard Case Crime (2008), hence the bar-code on this image and the strapline ‘Two complete novels!’ The other Bloch novel was Shooting Star. Hard Case Crime brings to a modern audience old out-of-print classic crime novels plus new writing, with covers harking back to the golden age of pulp paperbacks.

Bloch’s novel is an enjoyable crime noir about Hollywood’s dark side. Eddie Haines is a washed-up radio jockey who can’t get airtime in LA. Then he’s befriended by Professor Otto Hermann who promises to make Eddie rich. All Eddie has to do is pretend to be a gifted self-help guru to the stars. It seems that Hermann has access to many secrets of the film stars and by using Eddie in his new guise of Judson Roberts, they can fleece unsuspecting pigeons. When Eddie meets Ellen and falls in love with her, he can’t get out of his deal with Hermann – because he too was being cunningly blackmailed…

Bloch gives away some of the conman’s secrets, which should be enlightening and educational. His characters use the psychological studies of the day to good effect to work subtle and convincing scams.

There are some great one-liners in this book. As the Professor explains about one film star hooked on astrology: ‘But she won’t so much as sleep with an assistant producer without consulting the stars.’

Bloch’s horror writing style is in evidence as well: ‘Poinsettias pressed myriad bleeding mouths to a garden wall.’

And he always likes to play with words – as evinced by some of his book and short story titles. Here, he goes all alliterative: ‘I eyed elkskin and surveyed suede.’

Of course he’s a master of the hardboiled style too; this is a great description: ‘She gave a look that would have made her a fortune as a glass cutter…’

Stephen King writes of Bloch, ‘Perhaps the finest psychological horror writer.’ [He’s keeping his options open, I guess, using ‘perhaps’.]

King’s writing pal Peter Straub says, ‘Robert Bloch is one of the all-time masters.’

I wouldn’t disagree with either of these gentlemen. Bloch is worth reading.

Book of the film: Psycho

Thanks to the Alfred Hitchcock film, the character Norman Bates has entered that dubious pantheon of modern myth. Of course reading this book after being aware of the movie destroys some of Robert Bloch’s well-constructed suspense. Even so, it is still an intriguing and page-turning crime noir study of reader misdirection and dark psychology. And it’s also possible to appreciate the cunning structure of the novel and the subtle hints beneath the veneer presented by Bates.

Bates is fat and bespectacled and quite unprepossessing and dominated by his mother. He resents her but cannot seem to function without her in his life. He hides in his books but to no avail. He evokes some sympathy but is also somewhat unprepossessing. A memorable creation.

Mary Crane absconds from her job with a large sum of cash and heads for the home of her fiancé, Sam, intent on using the stolen money to help him get out of debt. She stops overnight off the beaten track at the Bates’ motel. The shower scene occurs on page 30, so she isn’t in the book much, but her presence is felt throughout as first Sam then her sister Lila start to wonder where she has gone. They are aided by the insurance private detective Arbogast.

Bloch masterfully weaves the individual stories of Bates, his mother, Mary Crane, Sam, Lila and Arbogast. His story is unsettling since it seems that the main protagonists are not destined to survive. Then those who do remain are brought to the creepy storm-laden denouement.

This is a short book, with hardly any words wasted in deceptively simple prose. Usually, Bloch enjoys peppering his stories with wordplay but here the narrative doesn’t seem to need it – though he can’t resist one final foray in the last sentence.

Inevitably, a film script is going to differ from its source: Psycho was in fact a difficult book to film as there was a great deal of internal monologue to create character, move the story forward and to misdirect. Some of this was achieved by voice-over for thoughts. Apparently, as there was a real Mary Crane in Phoenix at the time of the film, it was decided to rename this character Marion (played by Janet Leigh). Her boyfriend Sam and the detective Arbogast kept their names, as did Bates. The Marion character didn’t succumb in the shower scene until the film was 40 minutes into the story, with just over an hour to go. Neither in stature nor appearance did Anthony Perkins resemble the Bates character in the book, but he certainly claimed the role as his own with creepily nuanced under-acting.

If you have only seen the film but not read the book, I’d recommend finding a copy; it’s worthwhile. The entry for the film in Wikipedia is quite comprehensive and fascinating.