Plot & Reaction:
From New York, Bolan makes his way to Cleveland on the suspicion that this hub of commerce and shipping could be a new Mafia "pipeline" of some kind. Running the Cleveland mob is "Bad" Tony Morello, a mobster so unhinged that even the mob's own "Emperor Palpatine" (Augie Marinello) kept him in a box and on a leash. Pendleton seizes on the then popular urban legend of snuff films to paint Morello as a particularly evil foe. But it's no urban legend here, where Morello has snuff film studios both in his house and on his Liberian-registered commercial freighter.
Morello is the worst kind of "savage" and not a team player, so the mystery driving Bolan is what kind of play is Bad Tony making. Following a trail of bribery leads Bolan to a plot involving several "respectable" members of high society scheming to corner the energy market by creating a fictional shortage of oil and natural gas, and then hiking up the prices. Bad Tony is simply the muscle behind the blackmail.
I really liked what Pendleton was trying to do with this book. Plot mechanics aside, he introduces a love interest for Bolan in the form of freelance journalist Susan Landry. And she is a genuine love interest, stirring emotions in Bolan that are rare for him in this series. Early on, right after their "meet-cute" (Bolan murders the two men who are trying to drown Susan in a country club swimming pool), Bolan makes her hot chocolate to comfort her. She objects to his methods (i.e. murder) and even gets him to question his own point of view for a brief moment (Bolan cries!). And it all culminates in a Sophie's choice he must make between her and his "duty." All of which would have been quite moving had it been better executed (pun intended).
As it is, the early dialogue between them is cringeworthy. Pendleton seems to think arguing equals flirting. He immediately sets up Susan as an ideological foil for Bolan, but she's really just a straw man for Bolan to win over to his side of the argument. We've seen this before in this series. Pendleton never really lets a legitimate counter-argument to Bolan's war stand for very long. Everything is stacked in Bolan's favor: Bad Tony is so bad he shoots his own men and regularly makes snuff films; the two thugs Bolan rescued Susan from were sadistic rapists and murders.
Even the twist plays into Bolan's favor: Susan's secret reason for investigating the blackmail conspiracy is that her grandfather is involved and she wants to save him if she can. Turns out he's one of the masterminds who not only knew about the plot to kill her but supported it. So when Bolan executes him, he does it with a clear conscience and no moral conflict.
I'm curious if Bolan's execution of "respectable" civilian businessmen will have consequences with the public or any of his allies in law enforcement.
Returning Characters:
Leo Turrin is pretty much a series regular at this point, available by phone whenever Bolan needs intel. Hal Brognola is mentioned but doesn't make an appearance.
Timeline:
The main action of the book spans a few days at most. I didn't get a sense of how long Bolan had been in Cleveland before the start of the book, but he does make a reference to "six weeks" when Susan is explaining her investigation into a series of suspicious deaths of prominent people in the area that suddenly stopped. My guess is that Bolan's "command strike" in New York was six weeks prior and by taking out La Commissione, it caused a hiccup in the mob's plans in Cleveland. That's when Bad Tony came out of his box and took over. Maybe? If there was another explanation for the "six weeks" reference, I missed it.
References to Other Books:
Bad Tony has imported mob soldiers from Sicily, just like the mob planned to do in Panic in Philly, I think it was. The plot to manipulate the energy market is reminiscent of Texas Storm, something Turrin even comments on.
Additional Comments:
Pendleton uses the "k" slur to describe the mastermind of the villainous plot: "...not a Jew but a k***, the kind that gives a fine race that terrible reputation..." It feels gross, even for the 70s.
It's mentioned early on that Morello had "land interests" in Arizona. I know that's where the next book takes place, so I wonder if there's a connection or not.
In a fun little twist, we find out by the end of the book that the "Cleveland pipeline" is not drugs or money or something metaphorical, but actual oil and gas. The title turns out to be literal -- unlike the cover, which never actually happens (Bolan's assault on the ship is at sea, not the dock).
This made me chuckle: "...and even a series of books were being written to chronicle his [Bolan's] exploits. Pretty soon, no doubt, the movies would be taking off..." First, I know Pendleton was courted by Hollywood several times, though nothing ever manifested. Second, it's fun to think that in a world with a real Mack Bolan, they might be reading the same exact books we are, only as dramatizations not fiction.
When Bolan is showing Susan how he uses the advanced technology in the Warwagon, he describes the future: "But one of these days you'll be able to buy records—you know, like an LP album. You'll just throw the record on a turntable. The turntable will be hooked up to your television set. You'll sit there and watch The Brady Bunch from your turntable. The engineers are also developing tape cassettes." I really enjoy these time capsule moments in these books. I was hoping to use this to help with the placement of this book in time, but The Brady Bunch ran from late 1969 to early 1974, and also in syndication after that. So that doesn't really help. Same with the reference to "video LPs." LaserDisc hit the market in 1978 but videodisc technology had been publicly demonstrated as early as 1972.
Finally, Bolan makes an extended defense of his ideology to Susan that is pretty compelling, though not in the way I think Pendleton thought it was. Basically Bolan tells Susan to quit journalism and become a homemaker instead. Sounds sexist, yes, which she points out. Bolan responds that her telling him to quit killing is the same thing. She's good at journalism, and that's why she feels a duty to be a journalist. He's had over a decade and over $100,000 of training invested in him to be one of the best soldiers in the world. Therefore it's his duty to use those skills in the best way he can. Hogwash, right? But here's the interesting thing: I think Bolan's point can be used to argue that he is not the criminal, at least not solely. Not that what he is doing isn't wrong. But the wrong didn't start with him. The original sin, or wrong, or "crime," was creating him. The United States war in Vietnam was categorically wrong and illegal. Bolan as "The Executioner" was created to fight that war. It should not be surprising when someone indoctrinated in that kind of fucked up ideology applies it to another "problem." I don't know for sure but I get the sense that Pendleton viewed service in the Vietnam war as heroic. Bolan's approach to his personal war would be analogous, in Pendleton's view. I think many of my misgivings about this series have to do with the lack of nuance. I often find myself wishing Bolan would grapple with some of the mess he makes as metaphor for the country grappling with the mess it made in Vietnam. The fact that there is zero collateral damage in Bolan's war is the most incriminating part of Pendleton's naiveté and bias.