The games are tennis and murder … and private eye Max Roper has a bevy of beautiful tennis competitors to turn his head when he goes after the murderer of lovely Aussie tennis star Wendy Cliff. It was set up to look as if it was one of her opponents in the Los Angeles ladies pro tournament who did it—Wendy was garroted by a piece of tennis stringing. These include all the lovely women athletes who are taking part in the international competition. In addition to the local aspirants, the usual collection of current and ex- champions, there is the Italian start who boasts the most devastating-looking legs Roper has ever seen, the cuddly young Russian doubles pair, the beautiful French star, and their various friends and countrymen who hate to see them lose. Just to complicate Max’s problem, there is a fighting liberal senator from California threatened by a fanatic guerilla group of international assassins with whom Roper is waging a long-time personal vendetta. In the course of his investigation (as usual, filled with risk and violence), other murders follow. And Roper, pursuing the blood trail, quickly has his own life to worry about. Max has to go to the limit with his special brand of endurance and fighting character before he can come up with the winner and bring the murderer along. "

Winner of the 2021 Bony Blithe Light Mystery Award “An intriguing mix of character, plot, time, and place. Highly recommended.” —Ian Hamilton, author of the bestselling Ava Lee novels Lane and Darling's Arizona honeymoon is interrupted by gunshots in the newest instalment in a series Kirkus Reviews calls "relentlessly exciting." It’s November, and Lane and Darling have escaped the chilly autumn in the Kootenays for a honeymoon at the posh and romantic Santa Cruz Inn in sunny Tucson, Arizona. But despite her very best intentions to relax, soon after their arrival Lane’s plans to spend the holiday poolside with a good mystery are interrupted by gunfire. One of the hotel’s wealthy guests has been shot point blank and Lane is second on the scene. Though Lane and Darling attempt to distance themselves from the investigation, the longer they stay at the Santa Cruz Inn, the deeper they are drawn into a web of suspects and bystanders, and a collection of seemingly perfect marriages fraught with jealousy and violence. The situation threatens first their honeymoon and then their lives when Lane puts herself directly in the sights of local criminals who will stop at nothing to get what they want. Back in Nelson, Sergeant Ames has been left in charge of the department during Darling’s absence. As he investigates a case of vandalism at the Van Eyck garage, it seems to lead directly to the death of the suspected vandal himself. Working with Constable Terrell, the new recruit, to piece together what happened in this strange and unsettling murder, Ames finds his romantic interest in mechanic Tina Van Eyck creates complications that are more than awkward; they could be deadly. Fans of Maisie Dobbs and the Kopp sisters will delight in the latest Lane Winslow, a study of matrimony and mirage in the American Southwest.

Edited by two renowned Allen experts, A Companion to Woody Allen presents a collection of 26 original essays on the director’s films. Contributions offer a number of divergent critical perspectives while expanding the contexts in which his work is understood. A timely companion by the authors of two of the most important books on Allen to date Illuminates the films of Woody Allen from a number of divergent critical perspectives Explores the contexts in which his work should be understood Assesses Allen’s remarkable filmmaking career from its early beginnings and investigates the conflicts and contradictions that suffuse it Discusses Allen’s recognition as a global cinematic figure

In this fascinating insight into the artistic process, longtime Woody Allen biographer Eric Lax follows the legendary director through the making of a movie—from start to finish. Charting the production of Allen’s forty-sixth directorial feature, Irrational Man—starring Joaquin Phoenix and Emma Stone—from inception to premier, Lax takes us onto the set and behind the scenes, revealing the intimate details of Allen’s filmmaking. We see the screenplay being shaped, the scenes being prepared, and the actors, cinematographers, editors, and other participants at work. We hear Allen’s colleagues speak candidly about working with him, and Allen speaking with equal openness about his career. An unprecedented insight into one of the foremost filmmakers of our time, Start to Finish is sure to delight not only movie buffs and Allen fans, but everyone who has marveled at the magic of the movies.

Through detailed, real-life case studies, this series presents the history, theory, and practical application of crime solving through the use of forensics. Features include eyewitness testimony and step-by-step descriptions of techniques used in case studies.

Filmmakers' fascination with opera dates back to the silent era but it was not until the late 1980s that critical enquiries into the intersection of opera and cinema began to emerge. Jeongwon Joe focusses primarily on the role of opera as soundtrack by exploring the distinct effects opera produces in film, effects which differ from other types of soundtrack music, such as jazz or symphony. These effects are examined from three perspectives: peculiar qualities of the operatic voice; various properties commonly associated with opera, such as excess, otherness or death; and multifaceted tensions between opera and cinema - for instance, opera as live, embodied, high art and cinema as technologically mediated, popular entertainment. Joe argues that when opera excerpts are employed on soundtracks they tend to appear at critical moments of the film, usually associated with the protagonists, and the author explores why it is opera, not symphony or jazz, that accompanies poignant scenes like these. Joe's film analysis focuses on the time period of the post-1970s, which is distinguished by an increase of opera excerpts on soundtracks to blockbuster titles, the commercial recognition of which promoted the production of numerous opera soundtrack CDs in the following years. Joe incorporates an empirical methodology by examining primary sources such as production files, cue-sheets and unpublished interviews with film directors and composers to enhance the traditional hermeneutic approach. The films analysed in her book include Woody Allen’s Match Point, David Cronenberg’s M. Butterfly, and Wong Kar-wai’s 2046.