Film again. This time the hero, Thomas Lyon, is a director. Although based in California, he is on location in England near his childhood home to make a film based on a book about an unsolved death that occurred when he was a small child. One level of conflict is between Thomas and the novelist who (silly man) signed a contract which basically gave the film company the right to do whatever they wanted to do. The writer, of course, is committed to his ethereal and inconclusive novel, and Thomas is charged with making a film that will draw crowds, that is, neither ethereal nor inconclusive.
In spite of the vagueness of the novel and the interference of the writer, bits and pieces start coming out and it becomes clear that someone is determined to prevent the completion of the film - if it means killing the star, the director, or a harmless little old lady who just might hold the critical piece of evidence. It should not need saying that the original crime occurred at a training stable.
It seems to be all about knives - but in characteristic style, Francis does tie in the wild horses. I was impressed by the visual images that he produced. The hero thinks in images, certainly appropriate for a film director. Francis made me see the images in Thomas's mind - and want to see the film.
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