Стеклянный ключ

1931 novel by Dashiell Hammett
the 1931 novel by Dashiell Hammett

The Glass Key is a novel by American writer Dashiell Hammett. First published as a serial in Black Mask magazine in 1930, it then was collected in 1931 (in London; the American edition followed 3 months later). It tells the story of a gambler and racketeer, Ned Beaumont, whose devotion to Paul Madvig, a crooked political boss, leads him to investigate the murder of a local senator's son as a potential gang war brews. Hammett dedicated the novel to his onetime lover Nell Martin. There have been two US film adaptations (1935 and 1942) of the novel. A radio adaptation starring Orson Welles aired on March 10, 1939, as part of his Campbell Playhouse series. The book was also a major influence on the Coen brothers' 1990 film Miller's Crossing, which features a similar scenario. The Glass Key Award (in Swedish, Glasnyckeln), named after the novel, has been presented annually since 1992 for the best crime novel by a Scandinavian writer.

The story revolves around Ned Beaumont. Beaumont is best friend, confidant, and political advisor to the criminal political boss Paul Madvig. Ned finds the body of a senator's son on the street, and Madvig asks him to thwart the D. A. 's investigation, his motive being that he wants to back the corrupt senator in order to marry his daughter, Janet. Ned goes to New York searching for Bernie, a bookie who owes him a great deal of money from a gambling debt, but ends up getting beaten up. Someone sends a series of letters to people close to the crime, hinting that Madvig was the murderer. Suspicion for this falls on Madvig's daughter Opal, the victim's girlfriend. Madvig's political base begins to crumble when he refuses to spring a follower's brother from jail. The follower goes to rival mob boss Shad O'Rory, who eliminates a witness to the brother's crime. Madvig then declares war on O'Rory, who offers to bribe Beaumont to expose Madvig in the newspaper. Beaumont refuses, is knocked unconscious and wakes captive in a dingy room where he is beaten daily. Hospitalized after his escape, Beaumont tells Madvig and Janet that he was laying a trap for O'Rory; he then struggles out of bed to stop the newspaper from printing its expose. Beaumont confronts O'Rory, the publisher, and Madvig's daughter Opal. The publisher commits suicide after Beaumont seduces his wife. Next Beaumont interviews Janet, discovering that she wrote the letters and that the Senator knew about the murder before Beaumont found the body. A new clue points to Madvig and when confronted he confesses but he cannot account for the victim's hat, a detail Beaumont pointedly repeats throughout the novel. This impasse and Beaumont's growing interest in Janet, Madvig's love interest, cause a second rift between the men. Beaumont and Janet pair up to solve the murder. Beaumont uncovers evidence proving the senator killed his own son and turns him over to the police. Beaumont confronts Madvig with his new discovery, and the two depart, not enemies but no longer friends.

As noted by the literary critic James F. Maxfield, "Hammett employs an objective approach, merely reporting the conversations and describing the surface actions of his characters, never directly presenting their thoughts and feelings". This leaves some ambiguity in the reasoning of Ned Beaumont's actions, such as his suspicions about Janet Henry's father. This makes it hard to determine the nature of Ned's relationship with Janet. The loss of "luck," as described in the novel ("What good am I if my luck’s gone?" He asks. "You might as well take your punishment and get it over with") is another deciding factor in the actions of the characters. The Glass Key, written in Hammett's later noir years, is a prime example of his stylistic power. William Kennedy, also a 20th century author and book critic, explained what is so complex about Hammett's writing style: "Hammett's strategy is to show the process of detection as motivated by and affecting a friendship between two men. Out of these materials Hammett creates a dynamic structure of uncertain, constantly shifting human relationships." With the passing years Hammett looked more and more harshly on his own fiction but conceded that The Glass Key was "not so bad". Its reception was even better than that of the previous novel, and so were sales, 20,000 copies having been sold eighteen months after publication. Some preferred the Falcon, others said simply that Hammett had written the three best detective stories of all time, and in the New Yorker Dorothy Parker screamed that "there is entirely too little screaming about the work of Dashiell Hammett". Hammett felt that the finished book was his best work, nonetheless because "the clues were nicely placed although nobody seemed to notice". Reviewers were less sanguine. David T. Bazelon, writing for Commentary, thought that Hammett had attempted a conventional novel, in which characters act for reasons of loyalty, passion or power. Even on those generous grounds, he found the novel unsatisfactory: "We never know whether [the] motive in solving the murder is loyalty, job doing or love this ambiguity reflects, I think, Hammett's difficulty in writing an unformularized novel one in which an analysis of motives is fundamental". Other critics wrote that the novel was "Hammett’s least satisfactory" and that the hero was "mechanical and his emotions were not there". Robert Edenbaum, for basically the same reasons, called The Glass Key Hammett's "least satisfactory novel [in Hemingway] the mask is lifted every time the character is alone; he admits his misery to himself exposes his inner life. The Hammett mask is never lifted; the Hammett character never lets you inside. Instead of the potential despair of Hemingway, Hammett gives you unimpaired control and machinelike efficiency". Louis Untermeyer wrote, "Hammett has done something extraordinarily new to the murder and mystery story. He has made the reader as much interested in the relation of his individuals to each other as in the solution of the story". Somerset Maugham saw in Ned Beaumont "a curious, intriguing character whom any novelist would have been proud to conceive" And Raymond Chandler found "an effect of movement, intrigue, cross purposes, and the gradual elucidation of character, which is all the detective story has any right to be about anyway. All the rest is spillikins in the parlor".

Dashiell Hammett and The Glass Key have influenced many other hardboiled writers. Raymond Chandler wrote in his oft cited essay "The Simple Art of Murder" that Hammett and other hardboiled writers created a style that removed the puzzle game intrigues of typical detective novels and instead replaced it with realism: "Where murder is committed for reasons, and people talk and act as real people do". Chandler argued that it is due to these authors that this style was developed and raised from a generic form to a "new level of artistic substance". Together with Hammett's 1929 novel Red Harvest, The Glass Key provided inspiration for the Coen brothers' 1990 film Miller's Crossing. The 1942 film adaptation appears briefly in the season 2 finale of the show Bosch during a conversation between Bosch and the detective on his mother's murder case. The book is a major reference point in the 2017 film, Mercury in Retrograde, whose characters discuss it at length in a climactic book club scene.

The novel was adapted for the 1935 film The Glass Key, directed by Frank Tuttle and produced by E. Lloyd Sheldon, with a screenplay by Kathryn Scola and Kubec Glasmon. It was distributed by Paramount Pictures. The lead characters were portrayed by George Raft as Ed [not Ned] Beaumont, Edward Arnold as Paul Madvig, and Claire Dodd as Janet Henry. Another film, also entitled The Glass Key, was released in 1942, directed by Stuart Heisler and produced by Buddy G. DeSylva, with a screenplay by Jonathan Latimer. It was also distributed by Paramount Pictures. Though not a direct adaptation, the Coen brothers' 1990 film Miller's Crossing features a similar premise and characters.

The Glass Key was adapted by Howard E. Koch for the March 10, 1939, episode of Orson Welles's CBS Radio series The Campbell Playhouse. The cast included Welles (Paul Madvig), Paul Stewart (Ned Beaumont), Ray Collins (Shad O'Rory), Myron McCormick (Senator Henry), Effie Palmer (Mrs. Madvig), Elspeth Eric (Opal Madvig), Elizabeth Morgan (telephone operator), Everett Sloane (Farr), Howard Smith (Jeff), Laura Baxter (Janet Henry) and Edgar Barrier (Rusty). Another adaptation, by Robert Cenedella, was presented on Hour of Mystery on ABC on July 7, 1946. Kenneth Webb was the director, and Edwin Marshall was the producer.

The Glass Key was adapted as part of the Westinghouse Studio One television series by screenwriter Worthington Miner and director George Zachary. TV version starred Donald Briggs, Lawrence Fletcher and Jean Carson and was originally broadcast May 11, 1949.