Book Summary and Reviews of The Electric Hotel by Dominic Smith

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Cloggie Downunder

not Smith’s best work.
The Electric Hotel is the fifth novel by award-winning Australian-born author, Dominic Smith. For over thirty years, semi-reclusive French cinematic genius, Claude Ballard has kept a suite at Hollywood’s Knickerbocker Hotel, a suite filled with film and memorabilia, but it’s not until 1962 that he consents a request by aspiring film historian, Martin Embry to discuss his life.

When Martin is invited into Claude’s suite, he is assaulted by the vinegar smell and demonstrates to Claude how his precious archive of celluloid is deteriorating. Claude eventually consents to allow a selection of the canisters to be restored and copied. At their regular meetings, he describes for Martin how he first became enthralled in the world of moving pictures.

When he shows Martin his copy of the movie thought to be forever lost, The Electric Hotel, he explains how the key players in the making of that movie came together. The various problems and setbacks that besieged the filming process are explained in much detail, as is the grand premiere and the legal stoush that follows it. The sight of Sabine Montrose’s old valise under his bed takes Claude back to Belgium during the Great War, and this is definitely much more interesting than what has preceded.

The pace is quite slow, the narrative, wordy, and Smith’s attempt to bring this era to life falls short as his characters are initially a little distant and not easy to connect with. The behaviour of the characters meant to evoke sympathy in the reader is such that it is difficult to muster any. But perhaps fans of film history will be fascinated. It’s clear that Smith has done a lot of research into the subject, but trying to include it all is a mistake. The read would be greatly improved if much of the tedious first three quarters was relegated to the cutting room floor.

While some of the prose is gorgeous, this novel is not a patch on Smith’s previous novel, The Last Painting of Sara De Vos. And unfortunately, Smith's latest historical fiction loses half a star because he has succumbed to the irritating editorial affectation of omitting quote marks for speech. He almost redeems it by indicating the start of dialogue with a dash - but not quite. This is not Smith’s best work.
This unbiased review is from an uncorrected proof copy provided by Allen & Unwin.

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