|Later US Paperback (Pyramid, 1974)|
Madame (we never learn her real name) meets a young man in the Tuilleries, the famous public garden of Paris, befriends him in a short conversation and convinces him to come home with her. Throughout their brief meeting the young man, a stunningly gorgeous blond haired Adonis, never speaks. Madame thinks, as does the reader, that the boy is mute. That he can hear her is made very clear. Only in the second chapter titled "The Boy" do we realize he has chosen not to speak. He often plays the role of a mute in order to manipulate his targets. The boy goes by the nickname Mignon. He and his friend Yves are male hustlers roaming the streets and bars of Paris' less than touristy areas taking advantage of lonely, affection starved men and robbing them.
Mignon stays with Madame most of the time, but escapes his new home each night by climbing out the window and down the fire escape in order to visit Yves. As the book progresses we see that Mignon is both manipulator and manipulated. He is caught between two worlds -- his life of crime with Yves (who he is clearly sexually attracted to) and his freer, more creative life with Madame who is also controlling him and shaping him to become what she wants. She is a hostess, a housemaid, a mother and eventually his lover. The book takes on a sinister element when Madame learns of his nightly escapes. We begin to see the fragile state of Madame's mind when she imprisons Mignon in an attempt to possess him completely.
|UK 1st ed (Souvenir, 1966 )|
The key scenes that I remembered from the movie -- Madame bathing the boy, her locking him in his bedroom and nailing the windows shut, and the climactic scene when she procures a prostitute for him -- all are present in the book. It is the story of Yves' relationship to Mignon that was removed in the movie adaptation.
In the novel the boy is conflicted between trying to change himself under the guidance of Madame, who seems to be the only person who doesn't desire him only for his body and good looks, and his life of adventure and crime with Yves -- his best friend, pseudo-brother and quite obviously a surrogate father. As the silent kept boy Mignon is at first a pet, then a student of painting, and finally a lover. With Madame the boy is more compassionate and pitying, emotions he does not feel for the men he robs when he is with Yves. There seems to be hope for both of them in their secret life together. Yves doesn't want things to change. Mignon must make several decisions -- who is he really, who does he want to be with, and perhaps most important of all who and what can he become.
In the final pages the book turns into a lurid thriller complete with embarrassingly written sex scenes that reminded me of the worst of 60s erotica ("throbbing rod" and "swelling member"). Madame's character transforms too quickly into yet another psycho-sexual lunatic bent on deadly violence. Miles nearly destroys the interesting contrast in characters that, up to the bloody climax, was the most fascinating part of the book. The story works best in the sections between Madame and Mignon and weakens in the too predictable sequences when Yves appears.
|1st UK paperback (Corgi, 1967)|
That Cold Day in the Park is Miles' first novel. He followed up with Angel Loves Nobody (1967), a prize-winning novel about high school violence and The Moonbathers (1974), a revenge thriller featuring a Japanese secret society. One of his lesser works is the script for one of the worst movies ever made -- They Saved Hitler's Brain. But we all make mistakes, don't we? Don't judge him by that big one.
Tune in tomorrow when I examine Robert Altman's movie version of this book with a screenplay adaptation by Gillian Freeman. It's an example of taking the basic story of an intriguing novel and transforming it into a much improved and resonant character study.
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Reading Challenge update: Silver Age Bingo card, space L2 - "Book Made into a Movie"