Review: Rendezvous in Black
“Now you know what it feels like.”
In the mid-1960s Alfred Hitchcock was planning a film called Frenzy (A.K.A. Kaleidoscope) that would have detailed the crimes of a misogynist serial killer. The viewer would be treated to agonizing scenes of suspense as they watched the killer charm his victims to their doom. Regrettably Hitchcock’s project was never realized*, but in its place I present to you a little known literary masterpiece called Rendezvous in Black.
Written by the late Cornell Woolrich (best known for writing the story on which Rear Window is based), the novel is a grim study of one man’s quest to avenge the untimely death of his fiancee. One by one he targets the most important women in the lives of the five men he deems responsible. The rendezvous are spread out into five separate chapters, and each plays out like its own short story. The depiction of the killer, Johnny Marr, ranges from an invisible presence (the introduction by Richard Dooling describes him as “omniscient”), to a sensitive lady’s man. It is the latter portrayal that really reminded me of the aborted Hitchcock project, while the former is not unlike the shady assassins of the Italian giallo†. Like Hitchcock, Woolrich understood that suspense was the key to making such a story work, and he milks it for all that it’s worth. It’s no surprise that he’s known as the Hitchcock of the written word! Where Woolrich differs from Hitchcock is in the unceasing gloominess of his approach. ‡ Read the rest of this entry →















