False Scent, by Ngaio Marsh

Ngaio Marsh’s False Scent 1960

Nobody seems to like this book much, I’m not sure why. I’m rather fond of it, perhaps due to the brilliant audio performance by James Saxon. This is for the Past Offences 1960 challenge.

Summary: Mary Bellamy is an actress of, as Inspector Alleyn puts it, the “naughty darling” school. Her heyday was probably the 30s. She wakes on the morning of her birthday as her maid Florence (also her dresser) brings her breakfast in bed. Mary lives in some style, thanks to a rich husband. Her dresser has made her a filmy embroidered camisole, but her old Nanny (known as Nin) has knitted her a warm bedjacket, saying that you like to be comfortable when you’re “getting on”. Yes, Mary can’t kid herself she’s 49 any more.

Her husband Charles enters the room and she disloyally ponders how badly he has aged. Then she makes the mistake of posing for him in the camisole and a shaft of sunlight. He notices that she is using a lethal looking pest spray on her indoor plants and begs her to throw it out. Another admirer makes her a present of a vulgarly large cut-glass bottle of an overpowering scent, and Charles begs her not to use that either.

As preparations for her birthday party get under way, we meet the rest of the cast as Mary has flaming rows with one after the other. Bertie Saracen, her gay costume designer (where would she be without the “Saracen concealed curve”?) and her old friend and understudy Pinky Cavendish, who has just been offered a rather too-good part. Mary lays into them both, getting more and more paranoid and seeing conspiracies everywhere.

“Rise above, dear, rise above,” says Bertie to Pinky and they carry on doing the flowers (there’s a conservatory downstairs as well as in Mary’s bedroom).

We also meet Dicky, Mary’s adopted son, who has written several plays for her. He is nervous about showing her the latest, as it’s in a completely different style and doesn’t have a role for her. In fact it’s meant to star his new girlfriend, Anelida, who lives nearby with her antiquarian bookseller uncle, Octavius Browne. Maurice Warrender, Charles’s cousin and an old admirer of Mary’s, turns up early for the party.

The bash gets going, the guests mill about, including Mary’s director, Timon Gantry, and producer, Monty Marchant. Aspiring actress Anelida of course makes an impression on Bertie (“your clever hat!”) and Gantry, who immediately asks her to read for him. Mary overhears, there are more scenes, and Mary goes upstairs to apply some more of the pungent scent (Formidable), which she has poured into her atomizer. Yes, she is found dying on her bedroom floor as someone has adulterated the scent with the Slaypest. The Yard are called in and the main players spend an uncomfortable night sitting around as various awkward truths are revealed, between agonizing silences and the occasional “deadly little pause”.


Highs
The opening scene, the entractes with Bertie and Pinky. A few likeable characters: Florence, Colonel Warrender. I like Alleyn and Fox as well. Alleyn’s facetiousness is toned down from the earlier books.

Lows
Octavius is insufferably arch, and Anelida is both pallid and wet. And we’re supposed to like them, which makes it harder to bear. Anelida deserves a role in James Barrie's Dear Brutus, bleating: "Daddy, come back; I don't want to be a might-have-been." Dicky’s “different play” sounds intolerable, but perhaps it’s meant to. The fact that Florence is known as “Floy”. (Marsh nicked her from Somerset Maugham’s Theatre, but filled her out and made her more of a character.) Nin’s over-indulgence in port and subsequent bad behaviour. She talks backwards, like this: “A man to you, seem he may...”, a tic also displayed by the Nanny in Noel Streatfeild's Ballet Shoes. Alleyn calling the middle-aged Florence a “girl”.

What makes it particularly 1960?
Drawing-room comedy is going out, probably thanks to television. Mary’s clothes: for the party she wears pink, with flying panels of chiffon, over what sounds like a “corselette”. Anelida going to an evening party in a white hat. (The 60s didn’t really know what to do with hats. They were no longer obligatory for respectable women, as in the 50s and earlier, but milliners had to make a living and hats became a “feature”.) A gay character (Bertie) with a well-honed camp persona. (Homosexuality was still illegal, but the law was soon to change, and Kenneth Williams was a big star.)

More Marsh.

The Detective Novels of Ngaio Marsh

"She knows - but she mustn't be told!"

Ngaio Marsh was a damned good writer of detective stories – most of the time. She loved to lay bare an exotic milieu and a large cast of diverse characters, and was good at repulsive but attractive men, and sympathetic murderers. Here are my favourites and also-rans.

A Man Lay Dead (1934) Her debut in the cliché’d country house mode, plus Russian spies. We are introduced to her series detective, Roderick Alleyn, who keeps quoting Shakespeare. Not worth rereading. (She referred to it as "man laid egg".)

Enter a Murderer (1935) She hits her stride with a theatrical background and the engaging journalist, Nigel Bathgate.

The Nursing Home Murder (1935) We meet the prissy but perceptive lawyer Mr Ratisbon and learn a lot about social attitudes of the 30s.

Death in Ecstasy (1936) Dodgy goings on in a fringe sect with likeable characters and an undercurrent of drug-dealing.

Vintage Murder (1937) Back in New Zealand with a theatrical troupe. Skip the tasteless slapstick with a fat policeman.

Artists in Crime (1938) Alleyn meets and falls in love with painter Agatha Troy. Watch out for revolting details and appalling snobbery.

Death in a White Tie (1938) Set among debutantes. Apart from Lord Robert Gospell most of the characters are unappealing and coincidence takes too much of a hand.

Overture to Death (1939) Marsh is really nasty about femmes d’un certain age in love with the vicar.

Death at the Bar (1940) A few interesting characters, but too gruesome again. She had a thing about vomiting. Review here.

Surfeit of Lampreys (1941), published in USA as Death of a Peer. Unreadable – features an eccentric family we are supposed to like.

Death and the Dancing Footman (1942) Right back on form as some bitter enemies are marooned by snowdrifts in the early days of the war. They include rival beauty specialists and a plastic surgeon.

Colour Scheme (1943) Brilliant story with a Pygmalion theme set in a failing NZ spa.

Died in the Wool (1945) Another terrific story with appealing characters set on a sheep farm in NZ (watch out for grisly corpse, though).

Final Curtain (1947) Troy Alleyn paints a theatrical knight while waiting for her detective husband to come home from NZ. Great story and characters including a cat and a horrid little girl. Pokes fun at fashionable Freudian psychology.

Swing Brother Swing (1949), published in USA as A Wreath for Rivera. The characters are involved with a ghastly jazz band and an agony “uncle”. Only flaw – the couple we care about are side-lined. Review here.

Opening Night (1951), published in USA as Night at the Vulcan. Her masterpiece and a Cinderella story set in the theatre. Seen largely through the eyes of an aspiring actress who gives the narrative a witty flavour.

Spinsters in Jeopardy (1954), republished in the USA as The Bride of Death (1955). Sects and drugs in France. Great story, though she just can’t do children and is sentimental about the “salt of the earth” chauffeur.

Scales of Justice (1955) One of her best, set among the country gentry. There are the usual soppy young lovers, but the real romance is between two middle-aged people.

Off With His Head (1957), published in USA as Death of a Fool. I can’t reread this one, which is all about Morris dancing.

Singing in the Shrouds (1959) A fabulous tale set on a cargo ship with passengers who include a priest, a lesbian, a femme fatale and a murderer. Review here.

False Scent (1960) Great story with a theatrical cast and an ageing star. Review here.

Hand in Glove (1962) Marsh puts snobbery under the microscope again in a country village. The young lovers are present, but likeable.

Dead Water (1964) Shenanigans around a healing spring on an island. I can’t reread this one either: the story and main characters are too nasty.

Death at the Dolphin (1967), published in USA as Killer Dolphin. A cracker set in an old theatre where a young company is funded by a mysterious millionaire. Review here.

Clutch of Constables (1968) Wonderful on many levels. Troy Alleyn takes centre stage when she takes a river trip and begins to have doubts about her fellow passengers.

When in Rome (1970) A disparate set of characters end up on the same guided tour of “San Tommaso” with its Mithraic crypt. Great.

Tied Up in Tinsel (1972) It's Christmas time at the Gothic prisoners' rehabilitation centre. I can’t reread this one, and apparently she had trouble with it.

Black As He's Painted (1974) Her last masterpiece, focused on retired Sam Whipplestone, his London “village” and his knowledge of an obscure African country.

Last Ditch (1977) Stars the Alleyns’ son and is difficult to get through.

Grave Mistake (1978) She flickers back to something approaching form, but this is a pallid tale with a deeply unpleasant pub scene.

Photo Finish (1980) Forgettable tale set on an island in an NZ lake.

Light Thickens (1982) We return to the characters of Death at the Dolphin, but she should have left them where they were.

More on Marsh here, and links to the rest.

Was Ngaio Marsh a snob?

 

I ordered Ngaio Marsh: Her Life in Crime by Joanne Drayton because I'm a fan of Golden Age crime writer Ngaio Marsh (1895-1982). One Amazon reviewer writes "it goes into the sociological and literary roots of Marsh's books and the whole country-house murder genre." "On her regular visits to England, always traveling by ocean liner, she would stay with her aristocratic English friends who lived in country houses in the Home Counties or in fashionable flats in London." says jrank.org. By ocean liner! How was she expected to get from New Zealand to England? On foot? She must have travelled by cargo ship at least once, to get the background for Singing in the Shrouds. "For a long time... she stayed in my mind as a goodish writer but an impossible snob" says Helen Szamuely on the Social Affairs Unit website. She goes on to say that she reread Marsh and was pleasantly surprised at how good the books were.

Of course it's flattering to us in 2010 to think that people in 1940 were all "raging snobs". We know better now! To repeat, a “country house” is not the same as a “house in the country”. Wikipedia says: "Country houses not only displayed the owners' fashionable and cultivated tastes, but were the centre of a vast landed estate, providing employment to hundreds."

“Country house murder” is shorthand for the kind of story where about eight people are staying in a big house and one of them is killed. It can’t have been done by the servants or an intruder — “but it can’t be one of us, inspector!” It is, but which? There may or may not be titled characters.

Actually the joy of detective stories (since the 30s) is that they let the novelist introduce a large cast of characters of all types, ages and backgrounds, and the reader is not stuck with a few boring gentlefolk. This gives the writer scope for a lot of keen observation of people, snobbery, fashions, fads, ideas and trends.

So, how many of Marsh's 32 books were set in country houses or involved titled characters? (Untitled people can be rich, but they aren't aristocrats.) I make it six.

Her output varied in quality. Some books are comedies of manners and novels in their own right, others are unreadable.

A Man Lay Dead – country house (Her first detective story and a pastiche of current trends)

Enter a Murderer – a theatre, homes in London, Scotland Yard (An excellent story set among some acutely affected actors)

The Nursing Home Murder – a nursing home, homes in London, Scotland Yard (A cabinet minister is operated on by his rival in love – fascinating on attitudes of the time, just pre-war.)

Death in Ecstasy – a cult-like “church”, homes in London, Scotland Yard (Gripping tale of a cult leader and his varied victims.)

Vintage Murder – train, theatre, New Zealand (A troupe of English actors visits New Zealand.)

Artists in Crime – a large house in the English countryside which is used to run art courses, London, Scotland Yard (Her series detective Roderick Alleyn meets the love of his life among some posturing artists. She was strangely fascinated by gruesome details, and this story contains some scenes that are not suitable for those of a nervous disposition.)

Death in a White Tie – the main characters are the country house type and include a Lord and some debutantes, but the action all takes place in large houses in London (and Scotland Yard). (The central character is appealing, but those surrounding him are not, and it's rather trying to be in their company. A jaundiced view of the English debutante "season".)

Overture to Death – an English West-country village, a village hall, a vicarage, various gentlemen’s residences. (Set in a remote village in winter and wartime, this book isn't really worth reading – it's full of venom directed at older women who are embarrassingly in love with the vicar, and the murder method is so complicated that the detectives spend pages and pages explaining it to each other.)

Surfeit of Lampreys – London, Scotland Yard. The main characters are rich eccentrics. (This is a book to avoid – again there is a lot of bile directed at unpleasant characters. And the characters we are supposed to like are quite unbearable.)

Death and the Dancing Footman – her 10th book and the 2nd set in a genuine country house where a house party is taking place. One of the characters is titled – and runs a beauty salon. (A return to form – the characters are interesting, varied and eccentric, and most are likeable in various ways. They all hate each other – and then they get snowed in.)

Colour Scheme – a run-down spa in New Zealand. (This is an excellent story with vivid scene-setting and a likeable cast. The heroine is forced to listen to a proposal of marriage while wearing an ill-fitting bathing suit and an old raincoat. Shame that the solution is somewhat forced.)

Died in the Wool – a farm in New Zealand (The war is still going on, and Alleyn is chasing spies in New Zealand. In the process he solves the murder of an unmourned woman MP. Watch out for the gruesome details, though.)

Final Curtain – her 13th book and the 3rd set in a country house. But it’s a Victorian pseudo-castle built by a dynasty of theatrical baronets. (Five stars: society painter Agatha Troy (Mrs Alleyn) is waiting for her husband to come home when she gets a commission to paint a theatrical knight. His family are preposterous but bursting with personality, especially the cat. Marsh pokes fun at fashionable theories of child care.)

Death at the Bar - a West Country village. (The characters are potentially interesting: there are some local communists, an ex-convict who's changed his name, a middle-aged Irish painter, a barrister and actor on holiday – but it doesn't really add up, many of the actors have West Country accents, and her love of the revolting is too prominent. Her editors should have told her to cut the vomiting scenes. You have been warned.)
 
Swing, Brother, Swing – a large house in London, a fashionable night club, the offices of a magazine, homes, Scotland Yard. One of the characters is titled and once had a country house but sold it. (The war has ended and London society is trying to pull itself back together with the help of a bandleader called Breezy Bellairs. Eccentric Lord Pastern decides he'd like a go on the drum kit. It's a shame that the nicest couple are somewhat sidelined.)

Opening Night – a theatre in London, homes. (Possibly her best. A destitute actress finds a job as a dresser in a theatre, then as an understudy, then the girl she's understudying has hysterics... but it's not as simple as that. Characters are both complex and loveable.)

Spinsters in Jeopardy – a castle in Italy (The Alleyns go to Italy for a holiday - and to look up some local drug dealers. And also to track down Troy's mysterious cousin who keeps sending her bus tickets. They fall in with some cultists who are drifting close to devil worship – but they're not all dislikeable. Only spoiled by the presence of the Alleyns' nauseating son, Ricky.)

Scales of Justice – a village in the West country, various gentlemen’s residences, a country house inhabited by a titled family. Her 17th book and the 4th to use a country house as one setting among many. (One of her very best. There's a soppy young couple, but real love sparks between two unlikely middle-aged people as the little community is disturbed by the death of a colonel.)

Off with his Head – a West country village (I find this one quite unreadable. It concerns some Morris dancers. Enough said.)

Singing in the Shrouds – a cargo ship sailing to South Africa with a a few passengers on board (Brilliant "life boat" plot with a group of travellers who are stuck with each other and a possible murderer. Freudian reasons for his actions are solemnly laid out.)

False Scent – an actress’s house in London (Mary Bellamy is a well-known actress and PITA. During the course of her 50th birthday party a lot of secrets are revealed and home truths yelled. Four stars.)

Hand in Glove – an English village. One of the characters is titled. The theme is snobbery and social climbing. (This one has grown on me. Maybe I got to like the people, who include a raffish much married lady who has clung to the title she acquired along the way, and a raging snob who somehow makes his idiocy seem forgiveable.)

Dead Water – a British island trying to attract tourists (I can't reread this one. A middle-aged woman turns a local spring into a pilgrimage destination for those in search of healing. But her egocentricity, and exploitation of a less than bright boy, are nauseating.)

Death at the Dolphin – a theatre, people’s homes in London. Characters include two millionaires, along with actors, backstage staff and playwrights (One of her very best, with likeable characters who spend much of their time in and around the theatre where they're putting on a play about Shakespeare's life. It's only marred by a cruel depiction of a character called "Mrs Guzman".)

Clutch of Constables – a river boat in England (One of her very, very best, with Troy at the centre cruising the waterways of England with some very dubious people who are not what they seem.)

When in Rome – Rome, hotels, an ancient church on many levels. One of the characters is titled, but he's a Dutch baron. (A lovely book, full of Roman atmosphere, Irish priests and a Baron Corvo-like character. The sixties were in full swing, and Marsh's attempt at the language and habits are somewhat random. But at this distance her misunderstandings can be forgiven.)

Tied up in Tinsel – a country house that’s being used as an institution for rehabilitating criminals. Her 26th book and the 5th to use a country house. (I can't reread this one - apparently she had trouble with it.)

Black as He’s Painted – a village-like area of London containing a mews and an embassy. One of the characters is the president of an African country. (Her last masterpiece, with an endearing central figure, a retired diplomat. The villains are particularly grotesque. As for the plot - I'm never quite sure if I really know whodunnit.)

Last Ditch – an English island (A late work and only worth reading for some perceptive glimpses of current fashions and mores.)

Grave Mistake – an English village. There are two large houses, one rather tasteless and belonging to a millionaire, and the other an architectural gem which the millionaire wants to get his hands on. Her 29th book and the 6th involving country houses in any way. (The central character, playwright Verity, is attractive, but the plot as a whole doesn't convince. And there's a very unpleasant scene in a pub as Alleyn tries to get at the truth – Marsh's taste for the gruesome arising again.)

Photo Finish – an island in New Zealand (Marsh clearly thinks opera is a big joke, which is OK if you agree with her. There's a fine jovial singing teacher but otherwise the cast is forgettable.)

Light Thickens – a theatre (We return to the characters of Death at the Dolphin and wish Marsh had left them in the early 60s where they belong.)

So, Was Ngaio Marsh a Snob?