Reviews for Dance in the Dark


Booklist Reviews 2011 April #1
Actor Forrest Combs, with his aristocratic good looks and upper-crust British accent, had a good run as a second or third lead during the war years and shortly thereafter. But it's 1969, and the roles are few and far between. His teenage daughter, Miranda, has disappeared. Combs calls on old chum Scott Elliott, an investigator whose firm--Hollywood Security--has also seen better days, to find his daughter. Elliott reluctantly takes the case, if only to take his mind off his own missing child, Billy, who is MIA in Vietnam. Elliott follows the case into the filming of an Easy Rider-like movie that may be financed on the fly by drug money. The movie's climactic scene will be filmed at a huge outdoor rock festival featuring a band that Miranda may have attached herself to as a groupie. The fifth Scott Elliott novel is very rich in sixties ambience, especially in its portrayal of the counterculture's dark, cynical side. Think Sam Spade trading barbs with bikers and hippies. Faherty is also the author of the Edgar-nominated Owen Keane series. Copyright 2011 Booklist Reviews.

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Kirkus Reviews 2011 January #2

1969. Scott Elliott (In a Teapot, 2005, etc.), the Hollywood Security Agency's brightest light, juggles two cases and a wife who doesn't want him to work either one.

If she had her druthers, screenwriter Ella Elliott, whose son is MIA in Vietnam, would keep her husband close by her side so that she could berate him every minute for letting Billy enlist. If he had his druthers, Scott Elliott, who's turned into the professional tough guy he briefly played in the movies a generation ago, would be obliging his old friend Forrest Combs by looking for his runaway daughter Miranda, 17, whose departure has left her father as bereft as Elliott's wife. Instead, his boss Paddy Maguire, whose agency is clearly on its last legs, wants Elliott to take a job for Roland Hedison, an exploitation filmmaker he never would have given the time of day to in rosier times. Hedison's gotten a tip that someone on the cast or crew of Die, Zombie, Die was involved in smuggling marijuana from a location shoot in Mexico, and now he suspects a repeat performance on the shoot of Duo-Glide Rider. Protesting vigorously, Elliott joins the shoot and quickly finds out that nearly all the principals—director Sol Riddle, screenwriter/star Matthew McNeal, screenwriter Jacqueline Jarrett, cameraman Ben Maitlin, stuntman Robert Sears—have something to hide. But will the crew's trip to a concert in Avenal, where the marijuana's supposed to be handed over, actually lead him to Miranda Combs?

A valedictory sadness mutes Elliott's wisecracks and Faherty's plot twists but can't quench them.

Copyright Kirkus 2011 Kirkus/BPI Communications.All rights reserved.

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