Kiss Kiss, Bang Bang: The Boom in British Thrillers from Casino Royale to The Eagle Has Landed. Mike Ripley

action fast and furious. These were not only ‘what is really going on?’ mysteries but also ‘how do they get out of this?’ adventures.

      I was no longer reading war stories, I was reading thrillers and then, at the age of 12, I discovered James Bond and realised there was more than one type of thriller out there.

      With the benefit of half a century of hindsight I realise that there was a real purple patch of British thriller writing in the Sixties and into the Seventies and I had been hungrily reading my way through it. The ‘Golden Age’ of the British detective story (usually accepted to be the Twenties and Thirties) had well and truly lost its lustre by the Swinging Sixties, but a new generation of thriller writers had emerged after the war, appealing to a much wider audience. Thanks to the expansion of public libraries and attractive, mass market paperback editions British writers dominated the national and international bestseller lists. Nobody, it seemed, when it came to action-adventure heroes, secret agents, or spies, did do it better.

      After the dull, austere post-war period as Britain declined as a world power, its thriller fiction had – like British pop music and Carnaby Street fashion – moved from black-and-white to Technicolor. The thrillers just kept coming: bigger, brasher, and more fantastical than ever. The early death of Ian Fleming in 1964 did nothing to slow the rush of would-be successors to Bond, in fact it accelerated the flow as did the success of the Bond films. New voices joined in, establishing a school of more realistic spy fiction born in the shadow of the Berlin Wall and more films followed. The year 1966 seemed to have been a peak year, with twenty-two spy or secret agent films released in the UK – admittedly several of them spoofing the genre and only a few of which have stood the test of time.

      Kiss Kiss, Bang Bang attempts to be a reader’s history – specifically this reader – of that action-packed period around the Sixties when, having lost an Empire, Britain’s thriller writers and their fictional heroes saved the world and their books sold by the million. It was very much a British initiative and it only faltered in the mid-Seventies when American thriller writers began to flex their muscles, different types of thriller emerged, and the detective or crime story began to enjoy a renaissance.

      This book concentrates unashamedly on the British spies, secret agents, and soldiers, and their creators and publishers, who saved the world from Nazis, ex-Nazis, proto-Nazis, the secret police of any (and all) communist country, super-rich and power-mad villains, traitors, dictators, rogue generals, mad scientists, secret societies, ruthless businessmen and even, on one occasion, an ultra-violent animal protection league which kills anyone who kills animals for sport! I will shamelessly ignore the fictional heroes of other countries and concentrate on British authors, with the exception of a handful of Australians and South Africans, whose primary publishers were in the UK.

      It will also limit itself to thrillers rather than ‘detective stories’ or ‘whodunits’. This means that some famous names hardly feature at all, those authors who may well have dipped a toe into the thriller pool but are far better known for their crime novels; for example, the wonderful and much-missed Reginald Hill. Similarly, I will down-play one of my favourite writers, that supreme stylist P. M. Hubbard, who wrote novels of suspense on a domestic, almost micro, level. The thriller-writers taking centre-stage here are those who worked on a broader canvas with sweeping brush-strokes and who came to prominence in the period 1953 to 1975. Some who had established themselves before the Second World War were still writing and experienced something of a ‘second wind’ in the Swinging Sixties.

      I should insert here a warning: fans of Eric Ambler (1909–98) and Graham Greene (1904–91) will feel themselves short-changed. Both these authors were immensely influential on the form and tone of the thriller genre (novels and films); indeed, their surnames became adjectives frequently used by reviewers. It was high praise indeed for a thriller to be called ‘Ambler-esque’ and everyone knew exactly where ‘Greene-land’ was. Yet neither of these giants were a product of the period under scrutiny as they had cemented their reputations two decades previously, although both were still producing work of high quality, notably Ambler’s Passage of Arms (1959), The Light of Day (1962) – famously filmed as Topkapi, and The Levanter (1972); and Greene’s The Quiet American (1955), Our Man in Havana (1958), and The Comedians 1966). Their legacy and importance in the genre will be acknowledged, though not in enough detail to satisfy their dedicated fans. I have also relegated Leslie Charteris and Dennis Wheatley to the pre-war era for, although ‘The Saint’ was an immensely popular figure on British television in the early Sixties, Charteris had ceased to produce full-length novels and Dennis Wheatley’s novels in the period under scrutiny tended towards the historical or the occult stories with which he had made his name in the Thirties.

      One limitation is not self-imposed, and that is the absence of women writers. Adventure thrillers and spy stories tended to be what is known in the book trade as ‘boys’ books’ or, pejoratively, ‘dads’ books’ and were to a very great degree, written by men – some might say men who had never grown out of being boys. A notable exception was Helen MacInnes, a Scot based in America, whose first novel had appeared in 1939. By the Sixties, she was a well-established and popular writer and had three notable bestsellers in that decade, but she, like Ambler and Greene, was not a product of that period when Britain ruled the thriller-writing waves and so gets an honourable, but passing, mention here. And it should not be forgotten that it was in the Sixties that some rather talented female writers, notably P. D. James and Ruth Rendell, were laying the groundwork for a revival in the British detective story and crime novel.

      It is difficult to pin-point the exact end of this ‘Golden Age’ (or purple patch) of dominance by British thriller writers. One option would perhaps be the death of Alistair MacLean – the biggest name in the adventure thriller market – in 1987, or alternatively the collapse of the Berlin Wall in 1989, which threatened to put many a spy-fiction writer out of business. In truth, the writing was on the wall (if not the Berlin one) from roughly the mid-Seventies onwards as the Americans, slightly late as usual, entered the fray.

      The beginning of the boom is rather easier to identify. The 1950s were grey and austere for a supposedly victorious wartime nation whose empire was starting to crumble. You might say Britain had been expecting you, Mr Bond …

       Chapter 1:

       A QUESTION OF EMPHASIS

      You can smell fear. You can smell it and you can see it and I could do both as I hauled my way into the control centre of the Dolphin that morning. Not one man as much as flickered an eye in my direction … they had eyes for one thing only – the plummeting needle on the depth gauge.

      Seven hundred feet. Seven hundred and fifty. Eight hundred. I’d never heard of a submarine that had reached that depth and lived.

      Alistair MacLean, Ice Station Zebra

      Was it a Golden Age or an explosion of ‘kiss-kiss, bang-bang’ pulp fiction which reflected the social revolution – and some would say declining morals – of the period? Both are reasonable explanations, depending on your standpoint, for the extraordinary growth in both the writing and reading of British thrillers, between 1953 and 1975.

      Popular fiction, as opposed to literary or ‘highbrow’ fiction was always, well – popular; but suddenly the thriller seemed to be out-gunning all other forms. Writing in the middle of the Swinging Sixties, in his economic history Industry and Empire, the Marxist historian Eric Hobsbawm noted that since 1945, ‘that powerful cultural export, the British detective story, has lost its hold, conquered by the American-patterned thriller.’ Professor Hobsbawm was certainly correct in that the traditional British detective story had been replaced by the thriller as a cultural, and in fact economically valuable, export but wrong in suggesting they were ‘American-patterned’. This was a very British boom.

      The British, or probably more accurately the English detective