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The "locked-room" or "impossible crime" mystery is a type of crime seen in crime and detective fiction. The crime in question, typically murder ("locked-room murder"), is committed in circumstances under which it appeared impossible for the perpetrator to enter the crime scene, commit the crime, and leave undetected.[1] The crime in question typically involves a situation whereby an intruder could not have left; for example the original literal "locked room": a murder victim found in a windowless room locked from the inside at the time of discovery. Following other conventions of classic detective fiction, the reader is normally presented with the puzzle and all of the clues, and is encouraged to solve the mystery before the solution is revealed in a dramatic climax.
The prima facie impression from a locked room crime is that the perpetrator is a dangerous, supernatural entity capable of defying the laws of nature by walking through walls or vanishing into thin air. The need for a rational explanation for the crime is what drives the protagonist to look beyond these appearances and solve the puzzle.
The earliest fully-fledged example of this type of story is generally held to be Edgar Allan Poe's "The Murders in the Rue Morgue" (1841).[1][2] Robert Adey credits Sheridan Le Fanu for "A Passage in the Secret History of an Irish Countess" (1838), which was published three years before Poe's "Rue Morgue".[1]Other early locked-room mysteries include Israel Zangwill's The Big Bow Mystery (1892);[3] "The Adventure of the Speckled Band" (1892) and "The Adventure of the Empty House" (1903), two Sherlock Holmes stories by Arthur Conan Doyle; "The Problem of Cell 13" (1905) by Jacques Futrelle, featuring "The Thinking Machine" Augustus S. F. X. Van Dusen;[3] and Le Mystère de la Chambre Jaune (The Mystery of the Yellow Room), written in 1907 by French journalist and author Gaston Leroux.[3]
G. K. Chesterton's Father Brown stories often featured locked-room mysteries,[3] and other mystery authors have also dabbled in the genre, such as S. S. Van Dine in The Canary Murder Case (1927),[3] Ellery Queen in The Chinese Orange Mystery (1934),[3] and Freeman Wills Crofts in such novels as Sudden Death and The End of Andrew Harrison.[3]
John Dickson Carr, who also wrote as Carter Dickson, was known as "master of the locked-room mystery".[4] His 1935 novel The Hollow Man (US title: The Three Coffins) was in 1981 voted the best locked-room mystery novel of all time by 17 authors and reviewers,[5][6] although Carr himself names Leroux's The Mystery of the Yellow Room as his favorite.[5] (Leroux's novel was named third in that same poll; Hake Talbot's Rim of the Pit (1944) was named second.[5]) Three other Carr/Dickson novels were in the top ten of the 1981 list: The Crooked Hinge (1938), The Judas Window (1938), and The Peacock Feather Murders (1937).[5]
During the Golden Age of Detective Fiction, English-speaking writers dominated the genre, but after the 1940s there was a general waning of English-language output. French authors continued writing into the 1950s and early 1960s, notably Martin Meroy and Boileau-Narcejac, who joined forces to write several locked-room novels. They also co-authored the psychological thrillers which brought them international fame, two of which were adapted for the screen as Vertigo (1954 novel; 1958 film) and Diabolique (1955 film). The most prolific writer during the period immediately following the Golden Age was Japanese: Akimitsu Takagi wrote almost 30 locked-room mysteries, starting in 1949 and continuing to his death in 1995. A number have been translated into English. In Robert van Gulik's mystery novel The Chinese Maze Murders (1951), one of the cases solved by Judge Dee is an example of the locked-room subgenre.
The genre continued into the 1970s and beyond. Bill Pronzini's Nameless Detective novels feature locked-room puzzles. The most prolific creator of impossible crimes is Edward D. Hoch, whose short stories feature a detective, Dr. Sam Hawthorne, whose main role is as a country physician. The majority of Hoch stories feature impossible crimes; one appeared in EQMM every month from May 1973 through January 2008. Hoch's protagonist is a gifted amateur detective who uses pure brainpower to solve his cases.
The French writer Paul Halter, whose output of over 30 novels is almost exclusively of the locked-room genre, has been described as the natural successor to John Dickson Carr.[5] Although strongly influenced by Carr and Agatha Christie,[6] he has a unique writing style featuring original plots and puzzles. A collection of ten of his short stories, entitled The Night of the Wolf, has been translated into English. The Japanese writer Soji Shimada has been writing impossible crime stories since 1981. The first, The Tokyo Zodiac Murders (1981), and the second, Murder in the Crooked House (1982), are the only ones to have been translated into English. The themes of the Japanese novels are far more grisly and violent than those of the more genteel Anglo-Saxons. Dismemberment is a preferred murder method. Despite the gore, most norms of the classic detective fiction novel are strictly followed.
The British TV series Jonathan Creek has a particular 'speciality' for locked-room-murder style mysteries. The eponymous protagonist, Jonathan Creek, designs magic tricks for stage magicians, and is often called on to solve cases where the most important element of the mystery is clearly how the crime was committed, such as a man who allegedly shot himself in a sealed bunker when he had crippling arthritis in his hands, how a woman was shot in a sealed room with no gun and without the window being opened or broken, how a dead body could have vanished from a locked room when the only door was in full view of someone else, etc.
Pulp magazines in the 1930s often contained impossible crime tales, dubbed weird menace, in which a series of supernatural or science-fiction type events is eventually explained rationally. Notable practitioners of the period were Fredric Brown, Paul Chadwick and, to a certain extent, Cornell Woolrich, although these writers tended to rarely use the Private Eye protagonists that many associate with pulp fiction. Quite a few comic book impossible crimes seem to draw on the "weird menace" tradition of the pulps. However, celebrated writers such as G. K. Chesterton, Arthur Conan Doyle, Clayton Rawson, and Sax Rohmer have also had their works adapted to comic book form. In 1934, Dashiell Hammett created the comic strip Secret Agent X9, illustrated by Alex Raymond, which contained a locked-room episode. One American comic book series that made good use of locked-room mysteries is Mike W. Barr's Maze Agency.
In the 21st century, examples of popular detective series novels that include locked-room type puzzles are The Girl with the Dragon Tattoo (2005) by Stieg Larssen, Bloodhounds (2004) by Peter Lovesey, and In the Morning I'll Be Gone (2014) by Adrian McKinty.
Crispin was a brilliantly witty writer, and like me a devotee of Carr. His series detective, Gervase Fen, is a distinctly Carrian academic and in this neat locked-room problem Crispin proved himself a worthy student of the maestro.
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As far as classics go, Agatha Christie has the honors of having authored the most famous locked-room mysteries. She wrote several, and among the best-known is And Then There Were None (1939), about ten people stranded in a mansion on a remote island who start dying one by one, and no one has any idea who the murderer is, just that it can only be one of them. Her other most famous locked-room mystery is Murder on the Orient Express (1934), in which a man on a train is murdered in his cabin overnight while the train is trapped on the tracks in a blizzard.
A seemingly impossible crime, the standard example being that of a murder victim found in a room with only a single door, securely locked from the inside. Can be the basis for a single plot, or an entire show. A well-designed Locked Room Mystery provides pleasure from trying to figure out the puzzle before it is revealed, from moments of dawning realisation, and from a satisfyingly logical solution. A poorly designed Locked Room Mystery only provides a feeling of having been cheated. Contrary to the name, Locked Room Mysteries don't necessarily have to be murders or take place in locked rooms, just to be crimes that seem to be impossible at first glance (e.g. contemplating how it's possible for someone to travel from one part of the island to another within minutes). The question of who is rarely as interesting in this kind of plot as how.
Magazines
- Mad Magazine had a parody where a Sherlock Holmes pastiche finds a man lifeless on the ground of a locked room, and spends a page flying around laying out an elaborate series of events until the victim comes back from the dead to say that he accidentally hit his own head on the mantelpiece.
Music
- The Mercedes Lackey song "It Was A Dark And Stormy Night" features a death in a locked room to which there were only two copies of the key. One was found on the Countess' body, and the other copy was held by her Henpecked Husband. After investigation showed that the Count had an airtight alibi for the entire night, backed by every servant in the household, the death was ruled as suicide (She tried to eat her lute). Reading between the lines, it's pretty clear that The Count killed his wife, and everyone else in the household was in on it.