Invisible Scarlet O'Neil: The 1943 Russell Stamm Novel

In 1943, Russell Stamm wrote a 248 page novel based on the comic strip character, Invisible Scarlet O’Neil, published by Whitman Publishing. The novel had the same title and because I was familiar with the comic strip, I wanted to read the adventure. As a fan of radio’s The Shadow, I always felt the comic strip was a deliberate intent to cash in on the success of an invisible superhero, and making her a woman (whereas Lamont Cranston was a man) made me suspect they wanted to replicate from the opposite end of the spectrum. 

Scarlet got the power of invisibility from a ray her father, a scientist, was experimenting with. She curiously put her finger in the ray, and she suddenly disappeared, clothes and all. Fortunately, she discovered that a certain nerve in her left wrist could work as a means of toggling the power, turning her invisibility on and off. Along the way she met with a number of colorful villains.

 

Russell Stamm, who was an assistant to Chester Gould on the comic strip Dick Tracy, created this series in 1940 and was syndicated after it premiered in the Chicago Daily Times. Nine years later, the strip took a drastic turn as her ability to turn invisible was dropped (slowly fazed out, to be specific) and the title of the comic strip changed to Scarlet O’Neil. In 1954, Emery Clarke began drawing the comic strip while Stamm continued to write the stories/scripts. Under Clarke’s auspice, he changed the title to Stainless Steel but that revision of the strip only lasted two years. Alas, dear Scarlet was dropped from the newspapers in 1956 and never heard from again.

 

Scarlet O’Neil made the transition to comic books, courtesy of reprints from the newspaper strips, which are collectible today. Sadly, no one has collected a partial or entire run of the newspaper strip and reprinted them. So, with the exception of the handful of comic books, the only thing we have today is the 1943 novel. 

 

Comics historian Don Markstein remarked how the series was light (compared to the raw violence portrayed on Dick Tracy) so her combats with Nazi spies, Japanese saboteurs and master criminals were more cat and mouse with her ruining their schemes. The violence, it would seem, be reserved for the Dick Tracy strip.

 

In the novel concerned a hit and run, a ransom note, the kidnapping of a little boy, a stolen puppy, arson and a boxing match. What might sound like a lot of excitement was simply an amusing read for someone like myself who was curious to enjoy an adventure of the Invisible Scarlet O’Neil… until someone one day publishes the newspaper strip.

 

 

Christopher Lee at Monster Rally 1999

One of the earliest conventions I ever set up as a vendor was at the Monster Rally in 1999. Formerly known as Fanex, an annual fan gathering in and outside of Baltimore, Maryland, focusing on classic horror and science-fiction films, the event changed its name and relocated to Crystal City, Virginia. There is a lengthy history to why and how Monster Rally came to be, but the long gist of it was that the convention promoters had an opportunity to get Christopher Lee among the celebrity guests. 

The event was hosted by Gary and Susan Svehla, owners of a publishing company known as Midnight Marquee, who secured the publishing rights to Christopher Lee's autobiography. Lee was willing to travel to the United States to autograph copies of his book, and the event was as large and ambitious as the turnout. After all, who wouldn't want to meet Christopher Lee in person? Well, I did.

Not being old enough to drive a car yet, my father proposed I pay for a vendor table and set up at the convention. This would allow me the opportunity to recover the costs involved to attend. My first two books were published by that time and it made sense to set up as a vendor and sign copies of my own books. The turnout was impressive and the book sales were equally -- if not more -- impressive. Before the end of the three days I sold over 130 copies of my Suspense book and over 50 copies of my Cavalcade of America book, along with other collectibles. In the end, I not only paid for the expenses (hotel, food, gas, tolls, vendor table, etc.) but I went home with enough to buy my first computer. Who remembers Gateway computers?

But the highlight of the weekend was not just selling books. It was meeting Christopher Lee in person, buying the autobiography, and having Lee sign the inside title page. There was a rule that the actor could not pose for photos with fans because they wanted to get the autograph line moving as fast as they could. It was autograph only. 

Just last week I found my book and the photograph inside where the man who stood behind me in line was kind enough to take my photo with Christopher Lee. In return I used his camera and took a photo of him with Lee, which he asked me to do. And that kind individual (thank you, whoever you are) sent me the photo in the mail afterwards. Few people that weekend had their photo with Christopher Lee so this is one of the few times I can brag about my brush with fame.

(Left to Right) Martin Grams, Gary Svehla and Christopher Lee.

Michael Ripper and Christopher Lee at Monster Rally in 1999.

DRAGNET, "The Big Lover," March 29, 1951

On the evening June 3, 1949, NBC Radio premiered what would easily become one of the ten best detective programs ever broadcast -- Dragnet. Actor and producer Jack Webb wanted to present a sense of realism that had never been achieved on radio. Whereas most radio detectives were a variation-on-a-theme, Dragnet was unique with originality.  

Dragnet debuted inauspiciously. The early months were bumpy, as the program was sustaining (as yet unable to attract a sponsor) and the budget was limited, forcing Webb to employ relatively few radio actors per episode. The network originally stressed a shrill, strident tone as popularized on rival show Gang Busters (the earliest Dragnet episodes mimic the Gang Busters opening, with an announcer shouting "Draaaaag...net!"). Webb put a stop to this after only a few episodes, with a different announcer adopting a more neutral delivery. Webb also discovered how versatile his actors were, and kept them on hand week after week.

 

A total of 314 radio broadcasts aired on a weekly basis through the spring of 1957. The majority of them exist in recorded form but a small handful still remain elusive. A few months ago I was able to copy and scan into PDF the last of the radio scripts for those few "lost" episodes. Enclosed is a link for a PDF of one of those episodes. Enjoy! 

https://www.dropbox.com/s/gm77kzldnkm8br0/Dragnet%201951%20March%2029.pdf?dl=0

WEST SIDE STORY: The Jets, The Sharks, and the Making of a Classic

A major hit on Broadway, the motion-picture musical West Side Story became immortal. It was a movie different from anything that had come before, but the cinematic victory came at a price. Richard Barrios, a film historian who knows how to dig into the archives, seek out hundreds of unpublished photographs and interview the cast and crew, recently wrote a great book about the making of this classic.

In this engrossing volume, Richard recounts how the drama and rivalries seen onscreen played out to equal intensity behind-the-scenes, while still achieving extraordinary artistic feats.

The making and impact of West Side Story has so far been recounted only in vestiges. In the pages of this book, the backstage tale comes to life along with insight on what has made the film a favorite across six decades: its brilliant use of dance as staged by erstwhile co-director Jerome Robbins; a meaningful story, as set to Leonard Bernstein and Stephen Sondheim's soundtrack; the performances of a youthful ensemble cast featuring Natalie Wood, Rita Moreno, George Chakiris, and more; a film with Shakespearean roots (Romeo and Juliet) that is simultaneously timeless and current. West Side Story was a triumph that appeared to be very much of its time; over the years it has shown itself to be eternal.

 

Full confession: I am not a fan of musicals. Why? I often find most of them are poorly made and too long. If you cut the musical numbers from the movie and the remainder (dramatic portion) tells the story without interruption, then I find the musical sequences unnecessary. Worse, it tells me I could have enjoyed the movie if it was shorter in length and not stretched out into a musical. Very few motion-pictures use music to tell the story (as it should be) and it is those particular musicals that I enjoy: The Wizard of Oz, Chicago and West Side Story are prime examples of how good a musical can be. 

 

Any self-proclaimed West Side Story junkie will want a copy of this book.