By Jim Thompson
William Collins is especially good-looking, very well mannered, and extremely pleasant. His can be risky whilst aroused. Now Collins, a one-time boxer with a deadly "accident" in his prior, has damaged out of his fourth psychological establishment and met up with an affable con guy and a hugely arousing lady, whose plans for him comprise kidnapping, homicide, and masses, a lot worse.
First released in 1960
Bill Collins is younger, sturdy having a look, agile and robust yet he's a drifter with light a number of neuroses, out and in of associations, and dangerously violent every so often. while he will get concerned with the hard-drinking Fay Anderson and the deceptively friendly ex-police officer we all know as Uncle Bud in a ruthless kidnap plot, every thing is going to hell in a rush, and the top, for invoice, is inevitable and shattering. it is a travel de strength of paranoia and violence from the grasp of the crime noir novel.
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Extra resources for After Dark, My Sweet
Interpol and UNESCO listed art theft as the fourthlargest black market in the world (after drugs, moneylaundering, and weapons). But what did that mean? After I’d been following Czegledi’s career for several years, one point was clear: don’t look at the Hollywood versions of an art thief—the Myth. This is a bigger game, with more players, and the legitimate business of art is directly implicated. A lot of the crimes are hidden in the open. Stealing art is just the beginning. Then the art is laundered up into the legitimate market, into private collections, into the world’s most renowned museums.
In Lyon, France, there was Interpol, the international police organization established in 1923, which issued posters and CDs listing stolen artwork from across the globe. It had a database of stolen art. She ﬂew to Lyon and met with Interpol staff. In Paris, there was the International Council of Museums (ICOM), founded in 1946 , which provided guidelines for the buying practices of museums in most countries, but it was loosely organized. She met them too. In New York, there was the International Foundation for Art Research (IFAR), a private foundation established in 1969 that mainly represented the interests of archaeologists in studying the impact of the massive looting of cultural heritage across the earth.
In New York, there was the International Foundation for Art Research (IFAR), a private foundation established in 1969 that mainly represented the interests of archaeologists in studying the impact of the massive looting of cultural heritage across the earth. IFAR lobbied governments, hosted conferences, and had started to make its own list of missing pieces of art. Czegledi attended its conferences. In London, there was the Art Loss Register, a private company started in the 1990s that had created the world’s largest international database of stolen artworks; collectors, Law and Disorder · 27 auction houses, museums, and galleries paid a fee to search it.