James M. Cain (1892–1977)

Before I picked up James M. Cain's Mildred Pierce, I'd already seen the Joan Crawford movie version. Which meant I knew the general idea of the plot, but this isn't the kind of story that's "ruined" if you know how it goes. It tells the story of the titular character, a wife and mother of two during the Depression era. Before the crash, her husband had supported his family through investment income, but is too proud to work for a living when that's no longer an option. He's decided to perk up his spirits by having an affair, and Mildred kicks him out of the house pretty much right off the bat. Desperate to keep the roof over her and her daughters' heads, she tries to figure out how to make money. Her side business selling cakes and pies isn't enough, and so even though she tries to find a white collar position, she finally has no choice but waitressing.

She's embarrassed to be forced into this service role...not just because it's hard for her personally, but because she's afraid of what her daughter Veda will think. The older of the girls, Veda is spoiled and selfish and snobby, and Mildred is completely devoted to her. Eventually, Mildred's hard work and a bit of luck lead her to open her own restaurant and attract the attentions of handsome socialite Monte, which Veda loves because his social connections open up an entire world of wealth to the now-aspiring musician. But Monte's fortunes fall, and soon he's taking Mildred's money but making no moves toward marriage. So she leaves him, but before long her relationship with Veda flounders. So Mildred and Monte renew their romance, though this leads to the ruin of everything Mildred holds dear.

The movie, to me, was in some respects more successful than the book. Some plot lines were cut and some were significantly changed to comply with the Code. In the book, Mildred's obsession with her daughter reads as almost romantic, which both explains why she clings to her so hard but honestly is also creepy. Mildred onscreen comes off as doormat-y as Joan Crawford was capable of being, but in the book she's got more moxie. Her rise also feels more organic, as it develops more slowly, and therefore all the more hard to read about as it starts to crumble underneath her. Cain created a great character in Mildred...she's clearly fundamentally good but not without flaws, with the kind of scrappiness that makes her easy to root for.

The characters around her, though, are flat: Veda's just a bitch with nothing redeeming about her, Monte's obvious trash, her business partner is totally shady. The plot hinges on Mildred's love for Veda, and although I've known of plenty of parents of brats that think they're just misunderstood geniuses, that she would so consistently overlook her daughter's harshness (especially when she's clearly capable of knowing when to push people away) strains the bounds of credulity. It's not a question of whether Mildred is going to destroy herself for her daughter's sake, but when and how. Cain's writing isn't particularly smooth or insightful, either. It's not a bad book or a waste of time, but it's not good enough that I'd affirmatively recommend it. If you like domestic dramas or want to read the source material of a story that's been adapted twice (there's also the Kate Winslet miniseries from several years back), it's worth a read. Otherwise, skippable.… (lisätietoja)

Not really a noir novel. Postman and Indemnity were, so critics and others label this as a hard-boiled noir. It's really more of a melodramatic and proto-feminist one. There's essentially nothing more sinister than Monte sponging off Mildred and Veda blackmailing the Forrester kid's parents for three quarters of the book. However, this might be Cain's finest moment as far as plot and writing quality goes. The film with Joan Crawford was also erroneously labelled noir; the director Curtiz and cinematographer Haller were not associated with noir and its bleak, cynical takes on people and German expressionist influences. Sure, they made some crime films, but lumping films and novels like this in with noir is just not correct.… (lisätietoja)

Why, oh why, don't I read these kinds of books more often?

James Cain is a master of the crime noir novel. Not a word is wasted as he suspensfully sets the scene -- smoky, dark bar; love triangle; a voluptuous young cocktail waitress who already has one dead husband and needs to find a way to get a lot of money -- quickly. The story is told in the first person from her point of view, which works so well -- as a reader can we trust her?

This was Cain's last book and he died before it was finished. Editors painstakingly went through his notes and drafts to come up with a final version. While many say it's not his finest work, this reader was pretty darn pleased.… (lisätietoja)