Tag: venice

Cocktails and Crime

As you might know, Nathan Sutherland enjoys an occasional drink. So, too, does David Hewson’s Arnold Clover (he’s even been known to go to the same wine shop that I use). What, then, could be more natural than to arrange a couple of crime-based cocktail evenings (or should that be cocktail-based crime evenings?) at this year’s Venice Noir.

First up, here’s David with his favourite places to eat and drink, and news of a special event on the Friday night.

My first recommendation is don’t dine near the Piazza San Marco unless you know what you’re doing. Outside the hotels, some of the places are very touristy. But here’s an exception. Il Ridotto is a charming little restaurant in Campo Santi Filippo e Giacomo. Just nine tables so you must book and you’ll pay San Marco prices. But it’s a lovely spot and the Hotel Rio opposite was once home to Vivaldi.

I like to catch a boat to the Lido and enjoy the very local Al Merca, situated in the old market a ten-minute stomp from the vaporetto stop. Reliable local food, always a pasta dish and fish main course of the day, and there’s a very popular cichetti bar attached too. Best booked through Quandoo. That wonderful frittura mista at the top of the post is theirs. If the pasta of the day happens to be spaghetti alla busara, a dish from Trieste made with lagoon mantis shrimp, grab it. This is the one I had a while back and it was superb.

Spaghetti alla busara at Al Merca on the Lido

There’s always someone who wants meat, of course, and for that you need to find La Vacaria where you can even enjoy the legendary Fiorentina. It’s in an interesting out of the way location on the Fondamenta de L’ Arzere. Al Canton, the cafe next door is a great spot for lunch and breakfast too. The name, by the way, doesn’t just refer to the fact this is a meat restaurant. Not so long ago there used to be cows grazing in this area on the edge of Dorsoduro.

These are all serious restaurants but you can eat for a lot less. I love the traditional carbonara at Bakarò in Campo Santa Margherita — as good as any in Rome and you can eat outside in the square if the weather’s good enough. 

Margaret Duchamp (see if you can work out the name) is a great pub in the same square with a decent range of inexpensive panini and other light meals. Nearby you’ll also find good pub grub and excellent negronis in Cafe Noir and around the corner on the way to the Frari some of the best cicchetti in town at Bacarotto. Now for two places you’ll find Arnold Clover and Luca Volpetti visit regularly in my books. The Osteria ai Pugni is a long-time favourite bacarò with inexpensive lunchtime meals if you can get a table. And Adagio is the friendly cafe by the Frari they head for during breaks from the nearby Archivio di Stato. Nice cicchetti too…

Cicchetti at Adagio

If you crave a fancy three course lunch you’ll usually find a fantastic 40 euro menu at the close by Il Refettorio. This is a very pricey place run by the Majer chain in the evening, but much more affordable at lunchtime. They usually do octopus, below. Here’s the current lunchtime menu to whet your appetite..

Il Refettorio lunchtime menuDownload

Octopus at Il Refettorio

And finally for a very memorable cocktail head for the beautiful old cafe of Il Mercante near the Frari. A very old establishment that used to be known as the Caffè del Frari, and in the 19th century had a famous cat visited by all manner of celebrities over the years.

Cin cin!

Inside Il Mercante, an elegant and historic place for a cocktail.

And if you’re still in the mood for more, here are my recommendations!

As those of you who follow my Venice novels might know, Nathan Sutherland does enjoy a drink. Negroni by preference, Spritz by necessity. Crimes, after all, are unlikely to be solved following a mid-morning Negroni.

This has, of course, meant a considerable amount of research on my part. But, in the cause of authenticity, that’s just the sort of thing a writer has to do from time to time. 

Now, if you’re attending the festival, you’re likely to be spending a lot of time in the area around the Ateneo Veneto. You’re going to need somewhere, then, to squeeze in a restorative drink and a bite to eat in between panels. Fortunately, the American Bar at the Taverna La Fenice is almost right next door, and they serve an excellent Spritz and cicchetti as well as more substantial bar snacks.

Of course, we’re only about five minutes walk from Piazza San Marco and you’re going to want to check that out. It’s very tempting to go to Florian or Quadri which indeed are lovely but you’ll be paying a lot for the experience. Instead, head for the Gran Caffè Lavena. And here’s a tip for you – don’t sit down but stand at the bar and you’re paying normal prices! They might even throw in some crisps. It was good enough for Richard Wagner and so it’s good enough for me. 

Head in the other direction, towards Campo Sant’Angelo, and you’ll come across Nathan Sutherland’s local the Caffè Brasilia (or “The Magical Brazilians) in the Rio Terà dei Assassini. It’s changed hands a few times over the years, but it’s still good. And you really do need to check out the Negronis here.

Head a bit further afield, over to Dorsoduro, and a Spritz outside Nico’s on the Zattere is always a pleasure on a fine day. However, should the weather drive you inside (and we are going to be in the middle of November after all), then why not check out “Corner Pub” (or, as Nathan calls it, “Church Pub”) in the Calle de la Chiesa. Alessandro, Virginia, Mercedes and the rest of the staff are all lovely, there’s a terrific selection of panini, focacce and polpette of every description, and Alessandro makes a mean Negroni!

Now, together with David’s recommendations, I think that should be enough to keep you comfortably fed and watered over the weekend. But if that isn’t enough, why not join us for two special cocktail evenings?

At 7pm on Friday 14th, David will be in conversation with Ian Rankin at La Rivista Restaurant, Ca’ Pisani. You’ll definitely need to reserve for this one (at €30 per person), so write to ristorazione@capisanihotel.it .

Similarly, at  7pm on Saturday 15th, Gregory Dowling and I will be discussing some of the great figures – and drinkers – in crime fiction. More than that, we’ll be unveiling the official cocktail of the festival in the wonderfully noir-ish space of the bar at the Palazzo Experimental on the Zattere. Again, spaces are verylimited for this one, so reserve your ticket (30 euros) by writing to adriatica@palazzoexperimental.com

We look forward to meeting you, hopefully over a drink or two, in Venice!

Venice in Film : Venetian Bird

Just a quick post, as we’re all working away like crazy here on the upcoming Gwyl Crime Cymru Festival, but I recently watched this early fifties British noir and thought it was worth recording given the Venice connection.

First of all, why that title (take from the source novel by Victor Canning, in the US it went out under the rather generic name of “The Assassin”)? Well, the plot centres around British private detective Edward Mercer (Richard Todd) searching for Italian war hero Renzo Uccello (John Gregson) in post-war Venice. Although I do wonder how many people would have made the connection of Uccello = bird.

As you can see, we’re firmly in Third Man territory here, only with a Venetian spin. The trouble is Todd is no Joseph Cotten, Gregson is no Orson Welles, and Eva Bartok is no Alida Valli. And so, sadly, Venetian Bird is no Third Man.

Perhaps that’s unfair. We’re holding up a masterpiece of cinema as a point of comparison here and Venetian Bird has plenty to enjoy on its own merits. There’s a veritable who’s-who of fifties character actors amongst the cast – George Colouris, Miles Malleson, Eric Pohlmann – and best of all, there’s Sid James. Now (as those of you who listen to The House of Hammer will know) this is Sid in his pre-Carry On days, demonstrating just what a great character actor he was.

But what really makes Venetian Bird worth watching is the location filming in Venice. The black and white photography is gorgeous and the final set piece, as Mercer pursues Uccello over the rooftops above San Marco, is terrific.

Not a classic then, but well worth a watch.

Right, that’s all for now – hoping to see some of you at Gwyl Crime Cymru Festival next month!

Cheers

Philip

Venice in Film : Eva

A recent watch with the House of Hammer team, Joseph Losey’s The Damned has set me off on a bit of a project, namely to watch every Losey film by the end of the year. A bit like my Fritz Lang odyssey of a few years ago, except this might be a little bit easier given that Losey’s filmography is shorter and all the films actually exist.

Unlike the Lang project I won’t be doing these in order. Thus far I’ve just been picking and choosing ones that happen to catch my eye. And this led me to 1962’s French-Italian co-production Eva (Eve, in the UK and – oh dear – The Devil’s Woman in the US).

Stanley Baker plays Tyvian Jones, a working-class Welsh writer living in Venice. As he explains, his first novel made him famous and the film adaptation made him rich. Well, perhaps they were different times for writers. Anyway, despite being engaged to the lovely-but-fragile Francesca (Virna Lisi) he becomes obsessed with high-class escort Eva (a deeply sexy Jeanne Moreau). Tyvian’s life unravels, in hopeless pursuit of Eva whilst being unable to find happiness with Francesca. It also transpires that he may not have been entirely honest about his background…

Further down the cast list we find Losey favourite James Villiers and his lovely voice. There’s a small role for Lisa Gastoni, and none other than Peggy Guggenheim has a cameo as a baccarat player in the casino. IMDB says Vittorio de Sica is there as well, but I couldn’t spot him.

Eva was co-scripted by Hugo Butler (blacklisted in Hollywood, like Losey himself) and his regular collaborator Evan Jones, who, unusually for the time, play up Baker’s Welshness. He even gets to sing Sospan Fach at one point. Baker was another favourite of Losey’s : if you wanted someone to play a tough cop, a working class hero or simply – as in this case – a major league asshole, there was no-one better at it than Stanley Baker. The boozy, self-destructive Welsh artist (this is only a decade after the death of Dylan Thomas) could easily have become a cliche and yet Baker makes it work; a seething toxic stew of machismo and self-pity. Moreau is cooler, controlled without ever wandering into “ice maiden” cliches, the intellectual to Baker’s force of nature.

Losey, filming in glorious black and white, makes 60s Venice look as beautiful as it ever has, including some memorable interior scenes at the Hotel Danieli and, unusually, on Torcello. Essential viewing for the Venetophile, then, but it’s also a wonderful film in its own right.

Highly recommended, then. It’s a film that will stay with you.

Review of the Year

Well, here we are again. Another year ends with me apologising for not blogging enough on here. Really must do better.

In some ways, it’s been a bit of a difficult time. Those of you who follow me on Facebook will have seen all those monthly flights being logged back and forth to Bristol Airport. Basically I’m trying to spend a week in Wales every month for what are best described as difficult family reasons. I’ll admit I’ve been finding it a bit tough. I don’t like spending time away from Caroline (and Mimi) but, for the moment, the situation is what it is.

There’s been good stuff as well, of course. “The Venetian Sanctuary” came out to really positive reviews – possibly the best I’ve received. Not bad for a book that I was a little nervous about. Just goes to show, you’re never the best judge of your own work.

Next year’s book, “The Magus of Sicily”, is almost ready to go. I enjoyed writing this one and think that – if you’ve been enjoying the company of Nathan and Fede – you’ll enjoy spending time with Calogero and Nedda. That’ll be coming your way next July, with the paperback of “Venetian Sanctuary” out in April.

Elsewhere, Nathan makes his debut in the Netherlands next year with the release of “The Venetian Game” in Dutch; and “The Venetian Masquerade” is coming out in Estonia. Oh, and there’ll be a supermarket edition of “Venetian Game” over there as well, which is quite exciting as I’ve never cracked the supermarkets before. And on the writing front, well I’m just about to start work on the Nathan/Venice novel for 2026 and I’ve been enjoying getting back into his head again.

October saw myself, David Hewson, Gregory Dowling, Tom Benjamin and a host of others at the inaugural Venice Noir festival of crime writing. Or, Venice Noir 0.0 as we’ve been calling it. We’ll be back next year from the 14th – 16th November and it’s going to be bigger and better. Get those flights booked now, you’re not going to want to miss this one!

Next year also brings Gwyl Crime Cymru 2025 over the weekend of the 25 – 27th April. I can’t say too much more about this now other than that the programme is coming together very nicely and we hope to have a line-up to announce early in the New Year. We had a fantastic time in Aberystwyth back in 2023. Do come and see us this time, for a mixture of the very best in Welsh and International crime writing. It’s going to be a lot of fun. I might even stand you a Negroni!

Media-wise, here’s a few recordings with me from the past twelve months; in conversation with, respectively, David Hewson, Paul Burke and John Bleasdale about Venice, crime writing, Ian Fleming and lots of other stuff besides.

https://davidhewson.com/philip-gwynne-jones-the-accidental-novelist/

https://open.spotify.com/episode/3lmYDGUm6Zgu5jWBCWNArH

https://open.spotify.com/episode/6mudGk435jWWyb01UadClM

And if you’re interested in hearing me bang on about things other than crime, Venice and Italian Prog, I’ve started regular podcasting with my good pals from the House of Hammer podcast – Cev Moore, Adam Roche and Smokey (just Smokey). The pod covers the entire history of Hammer films – not just the horror – from 1935 until the present day. I join the lads in 1961, from “Taste of Fear” onwards and the entire back catalogue can be found here…….happy listening.


As I said then, it’s been a difficult year in many ways, but there has been good stuff as well. We shall see what happens in 2025.

This isn’t *quite* my last communication of the year. Keep an eye on your inbox. There might just be a little something dropping into it before Christmas.

With warmest wishes for the festive season and a peaceful New Year. And, of course, with my continuing thanks,

Philip