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Summary
Summary
Hollywood star Frederic Stahl was sent to France on loan from his studio to make a French film. Little did he know that on the eve of World War II, he would become swept up in the dangerous and deadly world of German Nazis and their French co-conspirators.
Summary
From the New York Times bestselling author and the "modern-day master of the genre" (New York Newsday ) comes a gripping novel of espionage and deception in 1938 pre-war Paris.
At the center of the intrigue is Hollywood star, Frederic Stahl. September 1938. On the eve of the Munich Appeasement, Stahl arrives in Paris, on loan from Warner Brothers to star in a French film. He quickly becomes entangled in the shifting political currents of pre-war Paris--French fascists, German Nazis, and his Hollywood publicists all have their fates tied to him. But members of the clandestine spy world of Paris have a deeper interest in Stahl, sensing a potential asset in a handsome, internationally renowned actor.
Ranging from the high society of glittering Paris to film set locations in far-away Damascus and Budapest, Alan Furst's new novel confirms his status as a writer whose stories unfold "like a vivid dream" ( The Wall Street Journal ).
Author Notes
Furst received a B.A. from Oberlin College in 1962 and an M.A. from Penn State in 1967. Before becoming a full-time novelist, Furst worked in advertising and wrote magazine articles, most notably for Esquire, and as a columnist for the International Herald Tribune His early novels (1976-1983) achieved limited success. However, the 1988 publication of Night Soldiers inspired by a 1984 trip to Eastern Europe on assignment for Esquire revitalized his career. It was the first of his highly original novels about espionage in Europe before and during the Second World War. Born in New York on February 20, 1941, he lived for long periods in France, especially Paris where he was awarded a Fulbright teaching fellowship. In 2011, the Tulsa Library Trust in Tulsa, Oklahoma selected Furst to receive its Helmerich Award, a literary prize given annually to honor a distinguished author's body of work He also made The New York Times Best Seller List in 2012 with his title The Mission to Paris and Midnight in Europe in 2014. Furst again made the New York Times Bestseller in 2016 with his novel a Hero of France.
(Publisher Provided)
Reviews (6)
Publisher's Weekly Review
Alan Furst's writing reminds me of a swim in perfect water on a perfect day, fluid and exquisite. One wants the feeling to go on forever, the book to never end. Such is it with this historical spy novel. From September 1938 to January 1939, the reader vividly lives through Paris's last stormy breaths of freedom before Germany's attack in 1940. Our unlikely hero is Frederick Stahl, 40, a handsome American movie star, not an action figure but everyone's favorite silver screen doctor or uncle or romantic leading man. Warner Bros. loans Stahl out to make a picture in Paris. He likes Paris, and he likes keeping Jack Warner happy. But there's a little known fact in his past that the Nazis can make much of-born in Vienna, Stahl worked as a gopher for the Austrian legation in Barcelona at the end of WWI, and Austria had been an ally of Germany. So when officials in Germany's political warfare department discover Stahl will be in their sphere of influence, they alert their Paris section to put him on "the list" to be used. From movie studios to embassies, from parties with the untouchably wealthy to a sexy love affair with a sophisticated emigre living in a tenement, Stahl finds himself caught between those who believe France must rearm to fight Germany, and those who are desperate for a negotiated peace. When Stahl refuses to support "peace," the Nazi threats begin. To retaliate, he becomes a secret U.S. courier, bravely carrying hundreds of thousands of Swiss francs into Germany and Morocco to exchange for intelligence about the Nazis. Reading Furst is the next best thing to having been in Berlin: "Uniforms everywhere.... This country was already at war, though enemy forces had yet to appear, and Stahl could sense an almost palpable violence that hung above the city like a mist." Like Graham Greene, Furst creates believable characters caught up, with varying degrees of willingness, in the parade of political life. And because they care, the reader does, too. And like Lee Child, Furst captures personality with insightful brush strokes: Stahl's father had "a face like an angry prune." Long on an ability to translate good research into great reading, Furst has only two downsides: although threats escalate, little comes of them, and when Stahl takes risks, they tend to deflate. For example, Stahl insists he's honor-bound to pursue the Nazis who've stolen the film crew's cameras, but he ends up waiting in a rowboat with a gun while others do the dangerous work offstage. And when the woman he loves is held in Budapest for interrogation, Stahl's solution is to use his box-office status to get her a visa at the U.S. embassy, then phones the William Morris Agency in hopes his agent can come up with an exit strategy. Still, my complaints are minor compared to the breadth and realized ambition of this seductive novel. Furst is one of the finest spy novelists working today, and, from boudoir to the beach, Mission to Paris is perfect summer reading. Agent: Amanda Urban, ICM. (June) (c) Copyright PWxyz, LLC. All rights reserved.
Booklist Review
*Starred Review* Through his dozen historical-espionage novels, most set just prior to or during WWII, Furst has taken us across Europe, but he is most at home in Paris, which is why legions of his fans, upon seeing the title of his latest book, will immediately feel their pulses quicken. It only gets better. Recalling The World at Night (1996), which starred Parisian filmmaker Jean Casson dodging Nazis in 1940, this equally entrancing tale returns to the world of moviemaking, this time in 1938. Hollywood movie star Fredric Stahl, on loan from Warner Brothers to appear in a French production, arrives in Paris just as Neville Chamberlain is negotiating peace in our time. A Slovenian who was raised in Vienna, Stahl is quickly contacted by old friends, now all Nazi supporters, who see him as a valuable asset in their political warfare against the French. But Stahl has other ideas and, like so many casual hedonists in Furst's books, finds himself drawn into the prewar cloak-and-dagger world but not on the side of his former friends. There is romance, too, of course, but, as always, it carries that familiar carpe diem double edge, as lovers' attention jumps from one another to an unexpected knock on a hotel door. Furst has been doing this and doing it superbly for a long time now, and fans will note sly nods not only to The World at Night (Casson makes a kind of cameo) but also to Kingdom of Shadows (2001) and The Foreign Correspondent (2006). Is Furst repeating himself? Not really, but who would care, even if he was? Rather, he is revisiting a familiar moment in time but viewing it from a slightly different angle, through the eyes of other sets of characters. Thank heavens for that. It looks like we'll always have Furst's Paris. HIGH-DEMAND BACKSTORY: Long ago Furst made the jump from genre favorite to mainstream bestsellerdom; returning to his signature setting, Paris, he only stands to climb higher.--Ott, Bill Copyright 2010 Booklist
New York Review of Books Review
ALAN FURST'S Web site lists his current residence as Sag Harbor, Long Island. But, as legions of readers know, Furst obviously dwells in another time and place, somewhere between Paris and the Carpathian Mountains, sometime between the blindly tragic years of 1933 and 1941, when the world, as he says in an earlier book, "drifted idly toward blood and fire." "Mission to Paris" is the 12th of his enormously successful historical spy novels, and one of the best. Its protagonist, the Austrian-born American actor Fredric Stahl, is, like most of Furst's heroes, in his early 40s, stoic, resourceful, quietly sympathetic. In his films Stahl plays "a warm man in a cold world." And he has come to Paris in the autumn of 1938 not on a mission but simply to make a movie. Soon enough, though, as the wheels and gears of the plot engage, he stumbles into the clutches of Nazi conspirators who want to exploit his celebrity for pro-German propaganda. Furst's theme of "political warfare" - the infiltration of the media, repetition after poisonous repetition until lies become facts - has a distinctly contemporary resonance, though he bases it on the historical record. During the 1930s, before the first Wehrmacht tanks rolled across its borders, the Reich did indeed use movies, newspapers and books to sap other nations' will to fight. At the start of the novel, Stahl is surprisingly ignorant of politics, and the German agents manipulate him easily. A collaborationist reporter misquotes him on the "futility of war." He finds himself drinking Champagne with the lupine sophisticates of the subversive Comité France-Allemagne. Then, eyes beginning to open, he travels to Berlin for a film festival and arrives just in time for the horrors of Kristallnacht, Nov. 9, 1938, when, in savage nightlong attacks, the Nazis arrested 30,000 Jews and burned and looted thousands of synagogues and Jewish businesses. And with that we move from political warfare to perhaps the oldest drama in our national literature, the virtuous American recoiling from the smooth and treacherous arms of wicked Europe. Furst is often compared to Eric Ambler and Graham Greene because of his remarkable command of the dark moral atmosphere of Europe in the 1930s. But he commands another kind of atmosphere as well. Walking on the Left Bank, Stahl gathers scattered images into a lovely Paris bouquet: the "bittersweet autumn air, fallen leaves plastered to the cobblestones, lamp-lit rooms seen from the street - a night that sent his spirit aloft in a kind of melancholy elation." The air "smelled of a thousand years of rain dripping on stone, smelled of rough black tobacco and garlic and drains, of perfume." It was, Stahl thinks, "as though a door to heaven had been left open." This is the romantic Paris to make a tourist weep. Later, when the fog settles on the Luxembourg Gardens and the streetlamps grow dim, it's also the shadowy, faintly menacing Paris to thrill any armchair spy who has ever buckled a trench coat or fumbled in a secret pocket for the forged passport and the emergency stash of zlotys. YET atmosphere alone wouldn't be enough. Furst is a skillful storyteller, writing in two- or three-page scenes that instill a sense of movement and energy in an otherwise loosely episodic plot. His witty generalizations often enlarge an individual moment: "Gallic to the core, she had no desire to hear about personal problems." He likes the device of interpreting a gesture to deepen our understanding of a character: "From Mme. Boulanger, a theatrical sigh that meant, Oh no, he's being a prima donna." He peppers his descriptions with fascinating details - mastika may or may not be the favored drink in a Bulgarian seaside nightclub, but Furst's assured, un-self-conscious prose makes it so. And who would doubt, so confident is his voice, that when Stahl climbs into a 1938 Panhard Dynamic, the steering wheel on that particular model is "set in the center of the dashboard, so a passenger could sit on either side of the driver"? 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Guardian Review
Furst's commercial stock has risen sharply since he started giving his novels meat-and-potato titles such as Spies of the Balkans (a TV Book Club choice last year and his best seller to date). While it continues this trend, Mission to Paris is as intricate and enjoyable as anything Furst has written. It's 1938 and Paris is flooded with German money and spivvy opportunists. Hollywood actor Fredric Stahl - "mostly he played a warm man in a cold world" - has come to the city to make a film, a pawn in a trade-off between Warner Brothers and Paramount. But as an emigre he has a unique status which makes him uniquely exploitable . . . Furst's high level of surface period detail is expertly deployed to make us feel as if we're stranded in the past without a guide. Nothing is needlessly explained; it just happens, quickly and thrillingly. - John O'Connell Furst's commercial stock has risen sharply since he started giving his novels meat-and-potato titles such as Spies of the Balkans (a TV Book Club choice last year and his best seller to date). - John O'Connell.
Kirkus Review
A historical spy novel that takes the reader back to the 1930s, when Europe hurtled toward the abyss. The dashing Austrian-born actor Frederic Stahl returns to France from Hollywood to film the movie Aprs la Guerre. On loan from Warner Bros., he'll star as a soldier who survives The Great War and personifies its futility. All Stahl wants is to do his job on the movie set, have a pleasant dalliance or three and return to the States. But the Nazis have other ideas. Germany's goal in the '30s is to weaken France's will to fight. Germans infiltrate French society; citizens of both countries form alliances for peace while Germany quietly gathers all the intelligence it can about French military preparedness. Wouldn't Frederic Stahl like to come back to Austria to judge a movie competition? One day, good pay, and he'd be in the limelight promoting both German filmmaking and the Reich itself. Repulsed, Stahl declines. Nazis increasingly pressure him to reconsider until his life is in danger. How can he finish the movie and return--no, escape--to America? Furst doesn't make it easy on his hero, spinning strand on strand in a web of tension that's big enough to hold a lot of victims. Will the web snare Stahl and his lover? The seductive Soviet spy? The resentful waiter? The Hungarian count? No one is safe, but readers will care about all the characters, whether wanting them to survive or die. They all either live under the cloud of doom that gathers over Europe, or they are part of the cloud. Furst conveys a strong sense of the era, when responding to a knock might open the door to the end of one's days. The novel recalls a time when black and white applied to both movies and moral choices. It's a tale with wide appeal.]] Copyright Kirkus Reviews, used with permission.
Library Journal Review
Fredric Stahl, a successful Hollywood actor with a Viennese bloodline, returns to Paris to make a movie for a big studio. The German Reich's publicity machine works to steer him into the anti-war French camp, and he hobnobs with champagne magnates and German elites to enjoy the high life of 1938 Paris. Like every Furst hero, though, Fredric has a conscience, so he begins his own anti-Hitler campaign in the quiet ways familiar to Furst's legions of fans. VERDICT Between them, Fredric and Paris make this a book no reader will put down until the final page. Furst evokes the city and the prewar anxiety with exquisite tension that is only a bit relieved by Fredric's encounters with several women, each a vivid and attractive character. Critics compare Furst to Graham Greene and John le Carre, but the time has come for this much-published author (this is his ninth World War II novel after Spies of the Balkans) to occupy his own pinnacle as a master of historical espionage. [See Prepub Alert, 12/12/11.]-Barbara Conaty, Falls Church, VA (c) Copyright 2012. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.
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the necessity of reforming the church A Humble Exhortation to the most invincible Emperor Charles V and the most illustrious Princes and other Orders, now holding a Diet of the Empire at Spires that they seriously undertake the task of restoring the Church presented in the name of all those who wish Christ to reign by Dr. John Calvin August Emperor, This Diet is summoned by you in order at last to deliberate and decide, along with the Most Illustrious Princes and other Orders of the Empire, upon the means of ameliorating the present condition of the Church, which we all see to be very miserable and almost desperate. Now, therefore, while you sit for this consultation, I humbly beg and implore, first of your Imperial Majesty, and at the same time of you also, Most Illustrious Princes and distinguished gentlemen, that you will not decline to read and diligently consider what I have to lay before you. The magnitude and weight of the cause may well incite you to an eagerness to listen. I shall set the matter so plainly in front of you that you can have no difficulty in determining what part you must play. Whoever I am, I here profess to plead in defense both of sound doctrine and of the Church. In this character I seem at all events entitled to expect that you will not deny me audience, until such time as it may appear whether I falsely usurp the character, or whether I faithfully perform its duties and make good what I profess. But though I feel that I am by no means equal to so great a task, yet I am not at all afraid that, after you have heard the nature of my office, I shall be accused either of folly or presumption in having ventured thus to bring this matter before you. There are two things by which men are wont to recommend, or at least to justify, their conduct. If a thing is done honestly and from pious zeal, we deem it worthy of praise; if it is done under the pressure of public necessity, we at least deem it not unworthy of excuse. Since both of these apply here, I am confident, such is your equity, that I shall easily approve my design in your eyes. For where can I exert myself to better purpose or more honestly, where, too, in a matter at this time more necessary, than in attempting, according to my ability, to aid the Church of Christ, whose claims it is lawful in no instance to deny, and which is now in grievous distress and in extreme danger? But there is no occasion for a long preface concerning myself. Receive what I say as if it were the united voice of all who either have already taken care to restore the Church or desire that it should be restored to true order. On my side are several exalted Princes and not a few distinguished communities. For all these I speak though an individual, so that it is more truly they who at the same time and with one mouth speak through me. To these add the countless multitude of pious men, scattered over the various regions of the Christian world, who yet unanimously concur with me in this pleading. In short, regard this as the common address of all who so earnestly deplore the present corruption of the Church that they are unable to bear it any longer and are determined not to rest till they see some amendment. I know with what odious names we are marked down for disgrace; but meanwhile, whatever be the name by which it is thought proper to call us, hear our cause, and after that judge what place we are entitled to hold. First, then, the question is not whether the Church suffers from many and grievous diseases, for this is admitted even by all moderate judges; but whether the diseases are of a kind whose cure admits of no longer delay, so that it is neither useful nor proper to wait upon too slow remedies. We are accused of rash and impious innovation, for having ventured to propose any change at all in the former state of the Church. What? Even if it has been done with good cause and not imperfectly? I hear there are persons who, even in this case, do not hesitate to condemn us; they think us right indeed in desiring amendment, but not right in attempting it. From them, all I would ask at present is that for a little they suspend judgment until I shall have shown from the facts that we have not been prematurely hasty, have attempted nothing rashly, nothing alien to our duty, and have in short done nothing until compelled by the highest necessity. To enable me to prove this, it is necessary to attend to the matters in dispute. We maintain to start with that when God raised up Luther and others who held forth a torch to light us into the way of salvation and on whose ministry our churches are founded and built, those heads of doctrine in which the truth of our religion, those in which the pure and legitimate worship of God, and those in which the salvation of men are comprehended, were in a great measure obsolete. We maintain that the use of the sacraments was in many ways vitiated and polluted. And we maintain that the government of the Church was converted into a species of horrible and insufferable tyranny. But perhaps these statements have not force enough to move certain individuals until they are better explained. This, therefore, I will do, not as the subject demands, but as far as my ability will permit. Here, however, I have no intention to review and discuss all our controversies; that would require a long discourse, and this is not the place for it. I wish only to demonstrate how just and necessary the causes were which forced us to the changes for which we are blamed. To accomplish this, I must show that the particular remedies which the Reformers employed were apt and salutary; not here intending to describe the manner in which we proceeded (for this will afterward be seen), but only to make it manifest that we have had no other end in view than to ameliorate in some degree the very miserable condition of the Church. Our doctrine has been, and is every day, assailed by many cruel calumnies. Some declaim loudly against it in sermons; others attack and ridicule it in their writings. Both rake together everything by which they hope to bring it into disrepute among the ignorant. But there is in men's hands the Confession of our Faith, which we presented to your Imperial Majesty. It clearly testifies how undeservedly we are harassed by so many odious accusations. We have always been ready in times past, as we are at the present day, to render an account of our doctrine. In a word, there is no doctrine preached in our churches but that which we openly profess. As to contested points, they are clearly and honestly explained in our Confession, while everything relating to them has been copiously treated and diligently expounded by our writers. Hence judges who are not unjust must be satisfied how far we are from every kind of impiety. This much certainly must be clear alike to just and unjust, that the Reformers have done no small service to the Church in stirring up the world as from the deep darkness of ignorance to read the Scriptures, in laboring diligently to make them better understood, and in happily throwing light on certain points of doctrine of the highest practical importance. In sermons little else used to be heard than old wives' fables and fictions equally frivolous. The schools resounded with brawling questions, but Scripture was seldom mentioned. Those who held the government of the Church had this one concern, to prevent any diminution of their gains. Accordingly, they readily tolerated whatever brought grist to their mill. Even the most prejudiced admit that our people have in some degree reformed these evils, however much they may impugn our doctrine at other points. But I do not wish that all the profit the Church has derived from our labor should avail to mitigate our fault, if in any other respect we have injured her. Therefore let there be an examination of our whole doctrine, of our form of administering the sacraments, and our method of governing the Church; and in none of these three things will it be found that we have made any change in the old form, without attempting to restore it to the exact standard of the Word of God. All our controversies concerning doctrine relate either to the legitimate worship of God or to the ground of salvation. As to the former, certainly we exhort men to worship God in neither a frigid nor a careless manner; and while we point out the way, we neither lose sight of the end, nor omit anything which is relevant to the matter. We proclaim the glory of God in terms far loftier than it was wont to be proclaimed before, and we earnestly labor to make the perfections in which his glory shines better and better known. His benefits toward ourselves we extol as eloquently as we can. Thus men are incited to reverence his majesty, render due homage to his greatness, feel due gratitude for his mercies, and unite in showing forth his praise. In this way there is infused into their hearts that solid confidence which afterward gives birth to prayer. In this way too each one is trained to genuine self-denial, so that his will being brought into obedience to God, he bids farewell to his own desires. In short, as God requires us to worship him in a spiritual manner, so we with all zeal urge men to all the spiritual sacrifices which he commends. Even our enemies cannot deny our assiduity in these exhortations, that men look for the good which they desire from none but God, that they confide in his power, trust in his goodness, depend on his truth, and turn to him with the whole heart, rest on him with full hope, and resort to him in necessity, that is, at every moment, and ascribe to him every good thing enjoyed, and testify to this by expressions of praise. That none may be deterred by difficulty of access, we proclaim that a fountain of all blessings is offered us in Christ, from which we may draw everything needful. Our writings are witnesses, and our sermons also, how frequent and sedulous we are in recommending true repentance, urging men to renounce their reason, their carnal desires, and themselves entirely, that they may be brought into obedience to God alone, and live no longer to themselves but to him. Nor indeed do we overlook external duties and works of charity, which follow on such renewal. This, I say, is the sure and unerring form of divine worship, which we know that he approves, because it is the form which his Word prescribes. These are the only sacrifices of the Christian Church which have attestation from him. Since, therefore, in our churches, God alone is adored in pure form without superstition, since his goodness, wisdom, power, truth, and other perfections are there preached more fully than anywhere else, since he is invoked with true faith in the name of Christ, his mercies celebrated with both heart and tongue, and men constantly urged to a simple and sincere obedience; since in short nothing is heard but what tends to promote the sanctification of his name, what cause have those who call themselves Christians to take us up so ill? First, since they love darkness rather than light, they cannot tolerate the sharpness with which we, as in duty bound, rebuke the gross idolatry which is apparent everywhere in the world. When God is worshipped in images, when fictitious worship is instituted in his name, when supplication is made to the images of saints, and divine honors paid to dead men's bones and other similar things, we call them abominations as they are. For this cause, those who hate our doctrine inveigh against us and represent us as heretics who dare to abolish the worship of God as approved of old by the Church. Concerning this name of Church, which they are ever and anon holding up before them as a kind of shield, we will shortly speak. Meanwhile how perverse, when these infamous corruptions are manifest, not only to defend them, but to dissemble and represent them as the genuine worship of God! Both sides confess that in the sight of God idolatry is an execrable crime. But when we attack the worship of images, our adversaries immediately take the opposite side and lend support to the crime which they had with us verbally condemned. Indeed, as is more ridiculous, while they agree with us as to the term in Greek, it is no sooner turned into Latin than their opposition begins. For they strenuously defend the veneration of images, though they condemn idolatry. But these ingenious men deny that the honor which they pay to images is worship, as if, when compared with ancient idolatry, it were possible to see any difference. Idolaters pretended that they worshipped the celestial gods, though under corporeal figures which represented them. What else do our adversaries pretend? But is God satisfied with such excuses? Did the prophets on this account cease to rebuke the madness of the Egyptians, when, out of the secret mysteries of their theology, they drew subtle distinctions under which to screen themselves? What too do we suppose the brazen serpent which the Jews worshipped to have been, but something which they honored as a representation of God? "The Gentiles," says Ambrose (in Ps. 118), "worship wood, because they think it an image of God, whereas the invisible image of God is not in that which is seen, but precisely in that which is not seen." But what is done today? Do they not prostrate themselves before images, as if God were present in them? Unless they supposed the power and grace of God to be attached to pictures and statues, would they flee to them when they desired to pray? Excerpted from Mission to Paris by Alan Furst All rights reserved by the original copyright owners. Excerpts are provided for display purposes only and may not be reproduced, reprinted or distributed without the written permission of the publisher.
