The Angel of Terror

TO F.L.S.—A MAN OF LAW

Introduction

Edgar (Richard Horatio) Wallace (1875-1932) was an English novelist, prolific short story writer, dramatist, journalist—and probably the most popular thriller writer of all time.

Born in Greenwich, the illegitimate son of actress Marie (Polly) Richards and actor Richard Horatio Edgar Marriott (who appeared on the birth records as Walter Wallace), he was adopted by George Freeman at the age of nine days and raised as Dick Freeman, one of eleven children of a fish porter. He learned the truth about his parentage when he was eleven years old and needed birth papers for a job. A year later his formal education ended, and he held a series of odd jobs until he joined the Royal West Kent Regiment at eighteen, later transferring to the Medical Staff Corps. Sent to South Africa, he wrote war poems (later collected in The Mission That Failed, 1898, and other volumes) and served as a correspondent during the Boer War for Reuters and South African and London newspapers. In 1900 he returned to England and the following year married Ivy Caldecott; they were divorced in 1918, after having four children: Eleanor (who died as a child), Bryan, who was also a writer, Patricia, and Michael. Wallace married Jim, his secretary, in 1921; they had a daughter, Penelope.

Since publishers lacked faith in his work, he founded the Tallis Press and published The Four Just Men, his first mystery and best-known work, in 1905. A vast advertising campaign and a unique publicity gimmick—a £500 reward was offered to any reader who could guess how the murder of the British Foreign Secretary was committed—resulted in enormous sales and great financial losses, for there were several correct solutions and everyone had to be paid. In this tale, four (actually three, since one died before the series began) wealthy dilettantes find pleasure in administering justice when the law is unable, or unwilling, to do so. Wallace wrote sequels to The Four Just Men: The Council of Justice (1908); The Just Men of Cordova (1917); The Law of the Four Just Men (1921; U.S. title: Again the Three Just Men, 1933); The Three Just Men (1925); and Again the Three Just Men (1928; U.S. title: The Law of the Three Just Men, 1931).

By 1920 Wallace was writing at a prodigious pace, ultimately producing 173 books (more than half involving crime and mystery) and 17 plays. He once dictated an entire novel during a single weekend; on another occasion he plotted six books simultaneously; and he dictated serials at such a furious pace that he never knew what would happen in the ensuing chapters. His output was matched by his popularity. It has often been stated that, in the 1920s and 1930s, one of every four books read in England was written by Wallace, the King of Thrillers.

This immense popularity earned Wallace a fortune. During the last decade of his life he earned a quarter of a million dollars a year; yet, because of his extravagant life-style, he left enormous debts when he died. He often lost $500 or more a day at the racetrack, but his lack of success at picking horses did not diminish his enthusiasm for the sport. He was a longtime racing editor for newspapers and wrote several books with racing themes and backgrounds. Motion pictures and television programs based on Wallace’s stories are everywhere.

As might be expected of such prolificacy, much of the writing is slapdash and cliché-ridden, characterization is two-dimensional, and situations are frequently trite, relying on intuition, coincidence, and much pointless, confusing movement to convey a sense of action. The heroes and villains are clearly labeled, and the stock characters—humorous servants, baffled policemen, breathless heroines—could be interchanged from one book to another. The dialogue is convincing, however, with strong elements of comedy at appropriate times, and suspense is effectively created.

One of the best—and rarest—Wallace books is The Tomb of Ts’in (1916), actually little more than a revised version of his Captain Tatham of Tatham Island (1909), which was slightly revised in a different way for another publisher in 1916 and issued as The Island of Galloping Gold. The main character of The Man Who Bought London (1915), Kerry King, is an American millionaire who plans a revolution and forms a gigantic syndicate to buy houses and shops in London as part of his scheme. The Green Archer (1923) is a famous story about a man found murdered after having quarreled with the owner of a ghost-haunted castle. The ghost is the Green Archer, and the corpse has a long green arrow in his chest. In The Crimson Circle (1922) Derrick Yale, the amazing psychometrical detective, is pitted against Scotland Yard.

Other popular Wallace characters include Sanders, the commissioner who maintains law and order for the crown in South Africa, assisted by his drawling lieutenant, Bones (Sanders of the River, 1911, and others); Oliver Rater, a silent Scotland Yard detective (The Orator, 1928); Surefoot Smith, a CID man who hates science and loves beer, and has to deal with an eccentric millionaire in The Clue of the Silver Key (1930; U.S. title: The Silver Key); James Mortlake, The Black, a member of U.S. Intelligence who wears black clothing and a black mask (The Man from Morocco, 1926; U.S. title: The Black); Arthur Milton, the Ringer, an underworld character who, like the Four Just Men, always gets his man (The Gaunt Stranger, 1925; U.S. title: The Ringer); financier Tony Braid, known as the Twister because he has only one method for extricating himself from difficulties—telling the truth (The Twister, 1928); a pretty female crook who steals from people with bloated bank accounts (Four Square Jane, 1928); a shady character, called The Squealer, who is in on every major jewel robbery in London-if the robber will not split with him, he tells the police where the culprit can be found (The Squeaker, 1927); U.S. title: The Squealer); and the benign Mr. J.G. Reeder.

Films

Literally hundreds of screen melodramas have been fashioned from Wallace material. The highlights are given below; the first three are American silent serials.

The Green Archer. Pathé serial, 1925. Allene Ray, Walter Miller. Directed by Spencer Bennet. From the 1923 novel. A mysterious costumed archer lurks on the grounds of Bellamy Castle, helping a reporter expose the secrets of its recluse millionaire owner.

The Mark of the Frog. Pathé serial, 1928. Donald Reed, Margaret Morris, Frank Lackteen. Directed by Arch Heath. Based on The Fellowship of the Frog (1925). In search of a vanished treasure, a criminal ring headed by the hooded Frog terrorizes New York.

The Terrible People. Pathé serial, 1928. Ray, Miller. Directed by Bennet. From the 1926 novel. An heiress is imperiled by the gang of a criminal who seemingly has returned from the dead.

The Terror. Warner Brothers, 1928. Louise Fazenda, May McAvoy, Edward Everett Horton, John Miljan. Directed by Roy Del Ruth. Warner Brothers’ second all-talking feature, the film was based on Wallace’s play of 1927. A Scotland Yard operative goes to an old house in his search for a murderer who mutilates his victims.

The Ringer. British Lion (British), 1928. Leslie Faber, Annette Benson, Lawson Butt. Directed by Arthur Maude. Screenplay by Wallace, from his play, which began a successful London run in 1926; the most frequently filmed Wallace work. A criminal skilled in disguises eliminates his enemies despite heavy police surveillance.

The Flying Squad. British Lion (British), 1929. Wyndham Standing, Dorothy Bartlam, Bryan Edgar Wallace and Carol Reed (in bit roles as petty crooks). Directed by Maude. From the 1928 novel. London’s motorized police break up a criminal gang.

The Clue of the New Pin. British Lion (British), 1929. Benita Hume, Kim Peacock, Donald Calthrop, John Gielgud. Directed by Maude. From the 1923 novel. A rich recluse is murdered in an absolutely sealed room.

The Squeaker. British Lion (British), 1930. Percy Marmont, Anne Grey, Gordon Harker. Screenplay and direction by Wallace. The first all-talking British Wallace film, based on the 1927 novel. London’s jewelry thieves are at the mercy of a superfence (actually the head of a benevolent society).

The Menace. Columbia, 1932. H.B. Warner, Bette Davis, Walter Bryon. Directed by Roy William Neill. Based on The Feathered Serpent (1927). A man, sentenced to life imprisonment for the murder of his father, is certain that his stepmother is actually guilty. He escapes.

The Frightened Lady. Gainsborough- British Lion (British), 1932. Norman McKinnell, Cathleen Nesbitt, Emlyn Williams. Directed by T. Hayes Hunter. Wallace also used this material in a play, The Case of the Frightened Lady (U.S. title: Criminal at Large). A titled window nervously consults the police, fearing that someone in her secret-passage-filled manor, Mark’s Priory, is trying to strangle the fiancée of her mad young son (Williams).

King Kong. RKO, 1933. Fay Wray, Bruce Cabot, Robert Armstrong. Directed by Ernest B. Schoedsack and Merian C. Cooper. Wallace died in Hollywood while working on the original screenplay of this adventure epic.

Before Dawn. RKO. 1933. Stuart Erwin, Dorothy Wilson, Warner Oland. Directed by Irving Pichel. Based on Wallace’s short story Death Watch. A girl spiritualist, in a trance, tries to find the treasure hidden in a supposedly haunted house.

Mystery Liner. Monogram, 1934. Noah Beery, Astrid Allwyn, Gustav von Seyffertitz. Directed by Neill. Based on Wallace’s story The Ghost of John Holling. Murders take place on a liner at sea, while an inventor on board experiments with wireless control of ships.

The Return of Terror. First National, 1934. Mary Astor, Lyle Talbot, John Halliday. Directed by Howard Bretherton. Loosely based on The Terror, the 1927 play. A man accused of murdering three patients returns to an eerie sanatorium one stormy night.

Sanders of the River. London Film (British), 1935. Leslie Banks, Paul Robeson. Directed by Zoltan Korda. Based on the 1911 novel. Wallace’s tribute to British colonialism centers on efforts to keep peace among savage African tribes.

The Crimson Circle. Wainwright (British), 1936. Hugh Wakefield. Alfred Drayton. Beery, June Duprez, Niall McGinnis. Directed by Reginald Denham. Based on the 1922 novel (there was also a 1922 silent film version). The victims of a mysterious blackmail gang- and members of the gang itself- are found dead, marked with a red circle.

The Girl from Scotland Yard. Paramount, 1937. Karen Morley, Robert Baldwin, Eduardo Ciannelli. Directed by Robert Vignola. From The Square Emerald (1926; U.S. title: The Girl From Scotland Yard). The heroine pursues the mad creator of a death ray.

The Squeaker (U.S. release title: Murder on Diamond Row). London-Denham (British), 1937. Edmund Lowe, Ann Todd, Sebastian Shaw, Robert Newton, Alastair Sim. Directed by William K. Howard. Based on the 1927 novel. Again, London’s fences are imperiled.

The Four Just Men (U.S. title: The Secret Four). Ealing (British), 1939. Hugh Sinclair, Griffith Jones, Francis L. Sullivan, Frank Lawton, Anna Lee, Basil Sydney, Alan Napier. Directed by Walter Forde. Based on the 1905 novel; previously filmed as a British silent in 1921. An actor, a producer, a costume designer, and a millionaire join forces to dispense justice privately; they eliminate a member of Parliament who was a traitor.

Dark Eyes of London (U.S. release title: The Human Monster). Argyle (British), 1939. Bela Lugosi, Hugh Williams, Greta Gynt. Directed by Walter Summers. Based on the 1924 novel. Scotland Yard probes the link between the kindly, gray-haired director of a workhouse for blind men and a shady insurance broker.

The Green Archer. Columbia serial, 1940. Victor Jory, Irish Meredith, James Craven. Directed by James W. Horne. Based on the 1923 novel. Criminals again occupy Bellamy Castle while the masked archer casts his shadow against the walls.

The Door with Seven Locks (U.S. release title: Chamber of Horrors). Pathe (British), 1940. Banks, Lilli Palmer. Directed by Norman Lee. Based on the 1926 novel. Weekend guests at a country house are involved in an attempt to steal a jewel inheritance.

The Case of the Frightened Lady (U.S. title: The Frightened Lady). Pennant (British), 1940. Marius Goring, Penelope Dudley Ward, Helen Haye. Directed by George King. Based on The Frightened Lady (1932; U.S. title: The Case of the Frightened Lady). Neurotic young Lord Lebanon (Goring) is heard playing the piano wildly as stranglings occur at Mark’s Priory.

During the war decade, Wallace received less attention, and there was only one important adaptation during the 1950s.

The Ringer. London (British), 1952. Herbert Lom, Donald Wolfit, Mai Zetterling, Gynt. Directed by Guy Hamilton. The Ringer, a master of disguises, will not allow a police cordon to keep him from his vengeance.

In 1959 Germany began a series of Wallace adaptations that became that nation’s most popular screen entertainment; in fact, for more than a decade, there was a Wallace mania. The films are all similar, and familiar- a stock reservoir of players, sets, and even plot elements only slightly rearranged in an endless succession of films. Initially, they remained close to the novels from which they were drawn (including the most faithful Green Archer ever filmed, in 1961), but the scenarios soon became heavy and distorted; after almost a hundred films, the specific Wallace inspiration is difficult to detect. These films were produced by Berlin’s Rialto, mostly directed by Alfred Vohrer and Harald Reinl (who also specialized in the Dr. Mabuse series of the same period). Joachim Fuchsberger is a recurring hero (often as Scotland Yard’s Inspector Higgins, with Siegfried Schuerenberg as his superior, Sir John), and he is frequently photographed in actual London locations. Klaus Kinski is the perennial neurotic suspect-victim-comedy foil.

Among the very best German films are The Fellowship of the Frog (1960), in which Graham Greene’s Harry Lime is used (unseen); The Terrible People (1960), a somewhat altered version in which the executed criminal returns but the original ending is changed; Forger of London (1961), in which a young aristocrat fears that during an amnesia period he became a counterfeiter; the brooding Inn on the River (1962), in which a harpoon is the instrument in several murders alongside the Thames; Curse of the Yellow Snake (1963), Wallace’s tribute to Fu Manchu (see Fu Manchu, Dr.); The Indian Scarf (1963), a wild mix of The Frightened Lady (the title refers to the strangler’s tool) and an and-then-there-were-none theme; and The Black Abbot (1963), with its eerie castle setting. The Wallace film craze continued with only slightly lessened vigor into the 1970s, with such blood-curdling titles as The Mad Executioner, The Phantom of Soho, and The College Girl Murders; a voice identifying itself as Wallace chuckles macabrely under the credits of such films as Hand of Power.

In the meantime, England experienced a Wallace film resurrection of almost equal magnitude. In 1960 Jack Greenwood began producing a series of short screen adaptations, all slightly more than an hour in length, for secondary theatrical release, and ultimately for British and American television use, under the umbrella title Edgar Wallace Mystery Theater. A bust of the author revolved sinisterly in smoke under the credits. In more than forty films (a few actually the unacknowledged work of other writers, including George Baxt; see Garve, Andrew), the compact scenarios sometimes overcondensed Wallace’s complex stories, but often his characteristic twists and surprises survived the constriction. Some of the highlights of the series are listed below.

The Clue of the Twisted Candle. Anglo-Amalgamated (British), 1960. Bernard Lee (the first of several appearances as Superintendant Meredith of Scotland Yard), David Knight. Directed by Allan Davis. Based on the 1918 novel. In a room locked from the inside, a millionaire is found murdered; near him are two half-burned candles.

The Malpas Mystery. Anglo-Amalgamated (British), 1960. Maureen Swanson, Allan Cuthbertson, Geoffrey Keen, Ronald Howard. Directed by Sidney Hayers. Based on The Face in the Night (1924). A girl, a former convict, and now secretary to a strange recluse, learns that she is the heir to a fortune- from her long-lost father, who is searching for her.

The Man Who Was Nobody. Anglo-Amalgamated (British), 1961. Hazel Court, John Crawford, Lisa Daniely. Directed by Montgomery Tully. Based on the 1927 novel. A girl private detective’s search for a missing playboy leads her to the mysterious South Africa Smith.

Clue of the New Pin. Anglo-Amalgamated (British), 1961. Paul Daneman, Bernard Archard. Directed by Davis. Based on the 1923 novel. Again, a millionaire is found killed in a locked room, the key to the door on a table near him.

The Fourth Square. Anglo-Amalgamated (British), 1961. Conrad Phillips, Natasha Parry, Delphi Lawrence, Daneman. Directed by Davis. From Four Square Jane (1928). Three valuable jewels are stolen from three London squares, with murder thrown in.

Man at the Carlton Tower. Anglo-Amalgamated (British), 1961. Maxine Audley, Lee Montague. Directed by Robert Tronson. From The Man at the Carlton (1931), the title altered so that scenes could be filmed at the newly constructed Carlton Tower Hotel. The chief suspect in a jewelry theft vanishes, his partner and the police searching for him.

Clue of the Silver Key. Anglo-Amalgamated (British), 1961. Lee (Meredith), Alexander Knox, Moira Redmond. Directed by Gerard Glaister. From the 1930 novel. In another impossible crime, a bad-tempered blind moneylender is found shot to death.

The Share Out. Anglo-Amalgamated (British), 1962. Lee (Meredith), Alexander Knox, Moira Redmond. Directed by Glaister. From Jack O’Judgment (1920). A shady private investigator tries to clear his past by helping Scotland Yard close in on a large blackmail ring, many of whose members are suddenly murdered.

Number Six. Anglo-Amalgamated (British), 1962. Ivan Desny, Nadja Regin, Michael Goodliffe, Brian Bedford. Directed by Tronson. From the 1927 novel. Criminals try to ferret out the identity of Number 6, Scotland Yard’s secret agent.

Although the series continued for several more years, less attention was paid to Wallace sources.

Television

In 1959 thirty-nine half-hour television programs were fashioned from The Four Just Men, featuring, in turn, the adventures of Dan Dailey, Jack Hawkins, Richard Conte, and Vittorio De Sica, who, as private citizens, corrected injustices in various parts of the world.

Plays

Wallace was quite successful in contributing to England’s rich tradition of melodrama theater with such plays as The Ringers (1926) and The Terror (1927); as late as the 1950s, long after his death, Princess Margaret and Elsa Maxwell participated in a society staging for charity of The Frog, which had been adapted from Wallace’s The Fellowship of the Frog (1925) by Ian Hay. Among Broadway productions, he is best remembered for Criminal at Large (a version of the stranglings at the Priory of The Frightened Lady of 1932) and On the Spot, a popular drama filmed as Dangerous to Know (1938). In this play, staged in London in 1930 and on Broadway in 1931, a gangster czar (closely resembling Al Capone) living in a Chicago penthouse is ultimately done in by his wronged Chinese mistress (Anna May Wong). Typically, Wallace wrote the play in four days. It made a star of Charles Laughton.

CHAPTER I

THE HUSH OF THE court, which had been broken when the foreman of the jury returned their verdict, was intensified as the Judge, with a quick glance over his pince-nez at the tall prisoner, marshalled his papers with the precision and method which old men display in tense moments such as these. He gathered them together, white paper and blue and buff and stacked them in a neat heap on a tiny ledge to the left of his desk. Then he took his pen and wrote a few words on a printed paper before him.

Another breathless pause and he groped beneath the desk and brought out a small square of black silk and carefully laid it over his white wig. Then he spoke:

"James Meredith, you have been convicted after a long and patient trial of the awful crime of wilful murder. With the verdict of the jury I am in complete agreement. There is little doubt, after hearing the evidence of the unfortunate lady to whom you were engaged, and whose evidence you attempted in the most