Portrait of a Man with Red Hair

by Hugh Walpole

A macabre romance from the early 20th century best-selling British author, Hugh Walpole.

Genres: Horror, Fiction, Audiobook, British Literature

264 pages, Paperback

First published January 1, 1925

About the author

Sir Hugh Seymour Walpole was an English novelist. A prolific writer, he published thirty-six novels, five volumes of short stories, two plays and three volumes of memoirs. His skill at scene-setting, his vivid plots, his high profile as a lecturer and his driving ambition brought him a large readership in the United Kingdom and North America. A best-selling author in the 1920s and 1930s, his works have been neglected since his death.

Reviews

[Warren Fournier · Rating 4 out of 5]

"The red-headed stranger had eyes like the thunder, and his lips, they were sad and tight." --Willie Nelson

What saves this novel from mediocrity is the exquisite prose of Hugh Walpole, his talent for weaving suspense, and his wonderfully sympathetic main character.

Harkness is an American on vacation in Cornwall to hang out at the beach and take in some of the local Cornish culture, but he gets distracted by falling in love. To a married woman.

Well, she hasn't been married long, and it seems her union was under duress. An unscrupulous and controlling man with oddly flaming red hair has essentially exploited the girl's devotion to her family by convincing her to marry his codependent son to save her alcoholic father from financial ruin. Harkness teams up with the unhappy bride's childhood sweetheart to save the day.

First, let's discuss the negatives. I had trouble having absolutely any sympathy for the heroine at first. Walpole does his best to make her marriage to someone she hates seem like a noble thing on her part, and a terrible injustice on the part of the man with red hair, whose name is Crispin. But the real villain in this situation was her father who preferred to always get drunk rather than take care of his family, and who selfishly encouraged the unholy union, thinking it would be his ticket to easy living. Essentially, the father pimped her out, and she went along with it, despite knowing perfectly well how nasty of a situation this would put her in. What's worse, her best friend, who recently came into some money, offered to wed her, and she declined out of pride. Yet, she also admitted that she chose to marry young Crispin because she wanted to be free from her abusive father. So her high scruples allow that she prostitute herself to an even more dangerous person, as opposed to marrying her best friend? I know we're dealing with essentially a dopey kid here, but I struggled buying the whole "damsel in distress" bit, no matter how much Walpole tried to psychologically justify her actions.

Hugh Walpole is a descendant of the author Horace Walpole, who wrote "The Castle of Otranto," and he wanted to make his own updated version of one of the classic "horrid" Gothic romances. But with all his genius, even he couldn't escape the traps of the genre. I generally dislike these kinds of stories, because I rarely am invested in the basic peril. It's the equivalent of reading a modern horror novel where dumb teenagers wander into places where nobody in their right mind would ever go just so the scary stuff can happen. In fact, there is some of that kind of thing here as well! There's one scene where the protagonists separate while trying to escape, and it is so outrageously contrived that Walpole might as well have been honest and written it like this:

"I say, old girl, do be a nice damsel in distress and wait here out in the open in the dark woods alone while Harkness and I go on up the path a ways... Without you, yes... Now, now! No arguments from you, my dear young lady!.... Well, I know there seems to be no bloody good reason to leave you, since you will have to come down this way anyhow, but this is called 'scouting,' you see, and this is a man's job. Oh, and I almost forgot--Harkness, once we've sufficiently gone far enough, the fog will have closed in and surely will make it impossible to see your hand before your face--so would you be a jolly good sport and go back for our dear damsel once we've finished our reconnoiter? I couldn't possibly retrace my steps with my bunions and all that, and I'd only hamper your progress. I dare say my plan is quite genius, what!... Yes, my splendid fellow, it means you'll be alone in the dark! And in the fog! And on a treacherous path overlooking a cliff--but do put yourself in my place! Why, I'll be all alone too, you know! I don't wish to be rude, but you Americans do seem to only think of yourselves!... Oh, splendid! I knew you'd see it my way, there's a good chap! What could possibly go wrong?"

The contrivances get even more stupid than that before the end, but I can't say more without spoilers. Just believe me, it was not Eighties slasher movies that invented these ridiculous tropes!

But as I implied in my opening remarks, this book actually turns out to be quite good. So let's discuss the positives.

Harkness is a delightful protagonist to follow. He is genuinely sweet and adorable. Hell, I'd marry the guy if I wasn't already spoken for. So even if you don't care about the problems of the heroine, you can at least understand why he might. And so the story works.

He quickly realizes that the situation is bigger than him, which raises the stakes. He's not the strongest or bravest. In fact, he's rather timid. He has a hard time setting limits on an obnoxious old man in the first chapter, and he is frightened by hotel officials. Not a very likely hero. But he simply can't stand to see someone struggling, and he is always willing to lend a hand, even if he doesn't know you. Meanwhile, the reader has a chance to learn more about Crispin, how deeply psychologically disturbed he is due to years of childhood trauma and being self-conscious over his unusual appearance. Once we realize how emotionally unstable and how much of a sadist Crispin really is, the tension and suspense we feel for any character in his clutches becomes palpable. Thus, whatever we might think about the damsel's distress and how foolishly she came to this situation, that plot point becomes irrelevant.

This novel really does become quite scary--it's Hitchcock before Hitchcock became the master of suspense. I'm surprised this was not made into a horror film by the Thirties. I could easily see Tod Slaughter playing the role of the insane Crispin.

Walpole's overall wordsmith is musical. I can't say he is in top form here, as there's evidence he may have rushed this through without his usual careful self-editing, but he really captures rural Cornwall and the spirit of the place so vividly that you feel you are there. His description of a village folk festival is a triumph, and made me happy with it's perfect depiction of souls in harmony. And as usual, he injects an eerie feeling of the supernatural where otherwise the horrors are very human. He has quickly become one of my favorite horror writers, even though most readers may not consider his work typically horror.

In conclusion, this is not Walpole's best work, but it highly deserves a read. If you like suspense thrillers of the modern Gothic variety, such as by Daphne du Maurier, this will be right up your alley.

SCORE: 3.5/5 rounded to 4 gingers out of 5

"Out there, a redhead walkin'--better listen, keep your distance from the crimson."--REM

[Laura · Rating 4 out of 5]

Free download available at Project Gutenberg

I made the proofing of this book and Project Gutenberg will publish it.

5* Rogue Herries
5* Judith Paris
5* The Fortress
5* Vanessa
5* The Bright Pavilions
4* Captain Nicholas
3* The Old Ladies
4* Portrait of a Man With Red Hair: a romantic macabre
TR Joseph Conrad
TR A Prayer for My Son
TR All Souls' Night
TR The Green Mirror, a Quiet Story
TR Katherine Christian
TR The Captives
TR Anthony Trollope
TR Jeremy
TR The Dark Forest
TR Fortitude: Being a True and Faithful Account of the Education of an Adventurer
TR The Duchess of Wrexe Her Decline and Death: A Romantic Commentary

[Sally · Rating 3 out of 5]

A sort of gothic tale by a descendent of the author of The Castle of Otranto. Although written in 1925, Hugh Walpole's novel seems rather 19th century in style. It's a macabre tale of Harkness, a timid American, who travels throughout Europe with his etchings as his only friends. While in London he meets a man in a club who recommends that he visit a small town during its festival time. The next 24 hours change his life totally. He befriends a terrified young woman who is unhappily married and meets the man with red hair, a rich and sadistic man who loves to exert power over others by hurting them. Harkness rises to the occasion despite the threat of torture and finally feels love for others. It's macabre and sort of weird, but great descriptions. Walpole was a very popular author in the 1920s and 1930s but is now little read and is considered old fashioned.

[Brent · Rating 4 out of 5]

Just finished this last night. I have never read one of Walpole's books. Obviously, it is dated. Written in?? 1925, I think, there are references to "the Japs" and a woman's place. Overlooking all of that, which one must or one wouldn't read anything published before 1970, I really liked it. Yes, it is melodramatic, but it's exciting and compelling. The portrayal of Crispin Sr. alone is incredible. I read it because the play sounded interesting that had starred Charles Laughton as Crispin. The setting, the characterization, the plot, and the writing are all surprisingly good.

[Sam Hirst]

This is interesting as an example of an early 20th century queer Gothic text. It's most subtext but the subtext is fairly loud and clear. For anyone interested in the development of the Gothic through the 20th century, this is certainly an interesting read in terms of the survival of the Gothic novel and the structures that would later become so key to the 'Gothic romance' in the 50s/60s/70s.

The plot is highly driven by fog and you should gird yourself now for character decisions to be at times rather frustrating!

It is also an insight into its time and you can absolutely expect poor representation of mental health, caricatures of the Japanese and a very weird attitude to red hair.

[Sammi · Rating 3 out of 5]

An interesting read? I really like the style of writing in this, hence 3 stars, but it is a tiny bit odd.

[Simon Dunant · Rating 5 out of 5]

This is a review of the 1925 original book.

Portrait Of A Man With Red Hair is a romantic macabre, a thriller of a melodrama written in 1925 and dedicated to his good friends from America Ethel and Arthur Fowler with whom Hugh Walpole stayed with on many occasions whilst he was on his literary tours of America.

It is a gripping read, a real page turner with vivid descriptions, intense drama and intrigue. It’s written over four chapters, all of which feel like the rolling acts of a theatre play.

Indeed it did make it to the stage, First Opening In London’s Little Theatre on February 27th 2018 and subsequently on November 8th in New York’s Garrick Theatre, just three years after the books publication. In September 1942 Benn W Levy’s adaptation of the book had a two month run at the Ambassadors Theatre In London.  It had been slated for a film release in the 1930s but never made to production, although in 1957 it did make it to the small screen as a 1 Hour Television Special as part of the ‘Hour Of Mystery’ Series.

This is Hugh Walpole’s storytelling at his best, a mix of good and evil, sweet and sour, macabre and romance. If you liked his tale of Mr Perrin & Mr Traill (in the US called ‘The Gods & Mr Perrin) you’ll love Portrait Of A Man With Red Hair.

[Mbuye · Rating 4 out of 5]

For a 1925 novel, this one is a classic Gothic novel of the macabre-horror type, complete with isolated mansion, sinister inhabitants, odder servants, maiden (in this case, terrified young bride) in distress, an indifferent husband - the lot. And yet this it is not so much about horror as it is about confronting and subduing one’s own demons. It is also about a kind of universal love arising from an awareness of the torments that face your antagonist, and which he, unlike yourself, has been unable to overcome.

Walpole’s language is lyrical, hypnotic and magical, yet clear and crisp, the sheer beauty and simplicity of which sharpens the sense of a brooding horror, and the suspense, the feeling of danger and imminent death that overpowers the narrative. For me, it carried echoes of Coleridge’s ‘Rime of the Ancient Mariner,’ especially in the descriptions of the fog that encircled the narrator as well as in the gradual build up of suspense and horror. It is even reflected in the lines from Coleridge's poem:

“A spring of love gush'd from my heart,
And I bless'd them unaware.”

Some of the most vivid descriptions of a hauntingly stunning Cornwall find their way here through Walpole’s flawless prose in this novel.

[Steve Payne · Rating 4 out of 5]

A man keeps a woman married to his son by force. Good atmospheric thriller which pre-dates Ian Fleming but reminds me of his style and themes. We have a villain and henchman, there's much talk of pain, and there's a simplicity of style.

[Terry · Rating 2 out of 5]

Essentially a penny-dreadful. Vivid scenery and high-Gothic melodrama.

[That show will never end · Rating 4 out of 5]

Przedziwna książka że świetnym klimatem i mroczna historią
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