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Mission to Paris

Mission to Paris

3.5 62
by Alan Furst

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It is the late summer of 1938, Europe is about to explode, the Hollywood film star Fredric Stahl is on his way to Paris to make a movie for Paramount France. The Nazis know he’s coming—a secret bureau within the Reich Foreign Ministry has for years been waging political warfare against France, using bribery, intimidation, and corrupt newspapers to


It is the late summer of 1938, Europe is about to explode, the Hollywood film star Fredric Stahl is on his way to Paris to make a movie for Paramount France. The Nazis know he’s coming—a secret bureau within the Reich Foreign Ministry has for years been waging political warfare against France, using bribery, intimidation, and corrupt newspapers to weaken French morale and degrade France’s will to defend herself.
For their purposes, Fredric Stahl is a perfect agent of influence, and they attack him. What they don’t know is that Stahl, horrified by the Nazi war on Jews and intellectuals, has become part of an informal spy service being run out of the American embassy in Paris.
From Alan Furst, the bestselling author, often praised as the best spy novelist ever, comes a novel that’s truly hard to put down. Mission to Paris includes beautifully drawn scenes of romance and intimacy, and the novel is alive with extraordinary characters: the German Baroness von Reschke, a famous hostess deeply involved in Nazi clandestine operations; the assassins Herbert and Lothar; the Russian film actress and spy Olga Orlova; the Hungarian diplomat and spy, Count Janos Polanyi; along with the French cast of Stahl’s movie, German film producers, and the magnetic women in Stahl’s life, the socialite Kiki de Saint-Ange and the émigré Renate Steiner.
But always at the center of the novel is the city of Paris, the heart and soul of Europe—its alleys and bistros, hotels grand and anonymous, and the Parisians, living every night as though it was their last. As always, Alan Furst brings to life both a dark time in history and the passion of the human hearts that fought to survive it.

Advance praise for Mission to Paris
“The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carré fan, this is definitely a novel for you.”—James Patterson
“I am a huge fan of Alan Furst. Furst is the best in the business—the most talented espionage novelist of our generation.”—Vince Flynn
Praise for Alan Furst
“Unfolds like a vivid dream . . . One couldn’t ask for a more engrossing novel.”—The Wall Street Journal, about Spies of the Balkans
“Though set in a specific place and time, Furst’s books are like Chopin’s nocturnes: timeless, transcendent, universal. One does not so much read them as fall under their spell.”—Los Angeles Times, about The Spies of Warsaw
“Alan Furst’s novels swing a beam into the shadows at the edges of the great events leading to World War II. Readers come knowing he’ll deliver effortless narrative.”—USA Today, about The Foreign Correspondent
“Positively bristles with plot, characters and atmosphere . . . Dark Voyage has the ingredients of several genres—the mystery, the historical novel, the espionage thriller, the romance—but it rises above all of them.”—The Washington Post, about Dark Voyage
“No other espionage writer touches [Furst’s] stylish forays into Budapest and Berlin, Moscow and Paris. No other writer today captures so well the terror and absurdity of the spy, the shabby tension and ennui of émigré communities at the time. His characters are hopeless, lethal, charming. His voice is, above all, knowing.”—Boston Sunday Globe, about Blood of Victory

Editorial Reviews

Publishers Weekly
Alan Furst’s writing reminds me of a swim in perfect water on a perfect day, fluid and exquisite. One wants the feeling to go on forever, the book to never end. Such is it with this historical spy novel. From September 1938 to January 1939, the reader vividly lives through Paris’s last stormy breaths of freedom before Germany’s attack in 1940. Our unlikely hero is Frederick Stahl, 40, a handsome American movie star, not an action figure but everyone’s favorite silver screen doctor or uncle or romantic leading man. Warner Bros. loans Stahl out to make a picture in Paris. He likes Paris, and he likes keeping Jack Warner happy. But there’s a little known fact in his past that the Nazis can make much of—born in Vienna, Stahl worked as a gopher for the Austrian legation in Barcelona at the end of WWI, and Austria had been an ally of Germany. So when officials in Germany’s political warfare department discover Stahl will be in their sphere of influence, they alert their Paris section to put him on “the list” to be used. From movie studios to embassies, from parties with the untouchably wealthy to a sexy love affair with a sophisticated émigré living in a tenement, Stahl finds himself caught between those who believe France must rearm to fight Germany, and those who are desperate for a negotiated peace. When Stahl refuses to support “peace,” the Nazi threats begin. To retaliate, he becomes a secret U.S. courier, bravely carrying hundreds of thousands of Swiss francs into Germany and Morocco to exchange for intelligence about the Nazis. Reading Furst is the next best thing to having been in Berlin: “Uniforms everywhere.... This country was already at war, though enemy forces had yet to appear, and Stahl could sense an almost palpable violence that hung above the city like a mist.” Like Graham Greene, Furst creates believable characters caught up, with varying degrees of willingness, in the parade of political life. And because they care, the reader does, too. And like Lee Child, Furst captures personality with insightful brush strokes: Stahl’s father had “a face like an angry prune.” Long on an ability to translate good research into great reading, Furst has only two downsides: although threats escalate, little comes of them, and when Stahl takes risks, they tend to deflate. For example, Stahl insists he’s honor-bound to pursue the Nazis who’ve stolen the film crew’s cameras, but he ends up waiting in a rowboat with a gun while others do the dangerous work offstage. And when the woman he loves is held in Budapest for interrogation, Stahl’s solution is to use his box-office status to get her a visa at the U.S. embassy, then phones the William Morris Agency in hopes his agent can come up with an exit strategy. Still, my complaints are minor compared to the breadth and realized ambition of this seductive novel. Furst is one of the finest spy novelists working today, and, from boudoir to the beach, Mission to Paris is perfect summer reading. Agent: Amanda Urban, ICM. (June) Gayle Lynds, the cofounder with David Morrell of International Thriller Writers and ThrillerFest, is the author of The Book of Spies (St. Martin’s, 2010).
Library Journal
Fredric Stahl, a successful Hollywood actor with a Viennese bloodline, returns to Paris to make a movie for a big studio. The German Reich's publicity machine works to steer him into the anti-war French camp, and he hobnobs with champagne magnates and German elites to enjoy the high life of 1938 Paris. Like every Furst hero, though, Fredric has a conscience, so he begins his own anti-Hitler campaign in the quiet ways familiar to Furst's legions of fans. VERDICT Between them, Fredric and Paris make this a book no reader will put down until the final page. Furst evokes the city and the prewar anxiety with exquisite tension that is only a bit relieved by Fredric's encounters with several women, each a vivid and attractive character. Critics compare Furst to Graham Greene and John le Carré, but the time has come for this much-published author (this is his ninth World War II novel after Spies of the Balkans) to occupy his own pinnacle as a master of historical espionage. [See Prepub Alert, 12/12/11.]—Barbara Conaty, Falls Church, VA
Kirkus Reviews
A historical spy novel that takes the reader back to the 1930s, when Europe hurtled toward the abyss. The dashing Austrian-born actor Frederic Stahl returns to France from Hollywood to film the movie Après la Guerre. On loan from Warner Bros., he'll star as a soldier who survives The Great War and personifies its futility. All Stahl wants is to do his job on the movie set, have a pleasant dalliance or three and return to the States. But the Nazis have other ideas. Germany's goal in the '30s is to weaken France's will to fight. Germans infiltrate French society; citizens of both countries form alliances for peace while Germany quietly gathers all the intelligence it can about French military preparedness. Wouldn't Frederic Stahl like to come back to Austria to judge a movie competition? One day, good pay, and he'd be in the limelight promoting both German filmmaking and the Reich itself. Repulsed, Stahl declines. Nazis increasingly pressure him to reconsider until his life is in danger. How can he finish the movie and return--no, escape--to America? Furst doesn't make it easy on his hero, spinning strand on strand in a web of tension that's big enough to hold a lot of victims. Will the web snare Stahl and his lover? The seductive Soviet spy? The resentful waiter? The Hungarian count? No one is safe, but readers will care about all the characters, whether wanting them to survive or die. They all either live under the cloud of doom that gathers over Europe, or they are part of the cloud. Furst conveys a strong sense of the era, when responding to a knock might open the door to the end of one's days. The novel recalls a time when black and white applied to both movies and moral choices. It's a tale with wide appeal.
The Washington Post
In the noble tradition of historical spy fiction that educates as it entertains, Mission to Paris clues readers into the propaganda warfare that the Nazis and their right-wing French sympathizers waged in France, long before conquering tanks rolled down the Champs-Elysees.
—Maureen Corrigan
The New York Times Book Review
Mission to Paris is the 12th of [Furst's] enormously successful historical spy novels, and one of the best…Furst is a skillful storyteller, writing in two- or three-page scenes that instill a sense of movement and energy in an otherwise loosely episodic plot…Furst writes profoundly realistic books. The brilliant historical flourishes seem to create—or recreate—a world. Because they take place in a desperate time, his plots dig down to human essentials: money, shelter, food and, even as Stahl swivels between women like an uncertain compass, love.
—Max Byrd

Even before Frederick Stahl arrives in pre-World War II Paris, he knows that he will be watched. This Hollywood actor is, after all, an international star who is making a film in a foreign country, not an everyday occurrence. But not all the people who are watching Stahl are movie buffs; German agents and French fascists pay close, furtive attention to alien influences that might affect their interests. Little do they know at first that Stahl harbors his own secrets: Appalled by recent European developments, he has thrown his lot into a clandestine group of anti-Nazi spies. Once again, Alan Furst demonstrates that he is a spy novelist worthy of comparison to John Le Carré. Now in trade paperback and NOOK Book.

From the Publisher
“This is the romantic Paris to make a tourist weep … The brilliant historical flourishes seem to create – or recreate – a world … In Furst’s densely populated books, hundred of minor characters – clerks, chauffeurs, soldiers, whores – all whirl around his heroes in perfect focus for a page or two, then dot by dot, face by face, they vanish, leaving a heartbreaking sense of the vast Homeric epic that was World War II and the smallness of almost every life that was caught up in it.”
The New York Times Book Review

Alan Furst again shows why he is a grandmaster of the historical espionage genre. Furst not only vividly re-creates the excitement and growing gloom of the City of Light in 1938-39, as war with Nazi Germany looms, but also demonstrates a profound knowledge of the political divisions and cultural sensibilities of that bygone era … As summer or subway reading goes, it doesn't get more action-packed and grippingly atmospheric than this.”
The Boston Globe

“Between them, Fredric and Paris make this a book no reader will put down to the final page. Furst evokes the city and the prewar anxiety with exquisite tension that is only a bit relieved by Fredric’s encounters with several women, each a vivid and attractive character. Critics compare Furst to Graham Greene and John le Carré, but the time has come for this much-published author (this is his ninth World War II novel after Spies of the Balkans) to occupy his own pinnacle as a master of historical espionage.”
—Library Journal (starred)

“Furst conveys a strong sense of the era, when responding to a knock might open the door to the end of one’s days. The novel recalls a time when black and white applied to both movies and moral choices. It’s a tale with wide appeal.”
Kirkus (starred)

“[Furst] is most at home in Paris, which is why legions of his fans, upon seeing only the title of his latest book, will immediately feel pulses quicken … Furst has been doing this and doing it superbly for a long time now … Long ago Furst made the jump from genre favorite to mainstream bestsellerdom; returning to his signature setting, Paris, he only stands to climb higher.”
—Booklist (starred)
“Alan Furst’s writing reminds me of a swim in perfect water on a perfect day, fluid and exquisite. One wants the feeling to go on forever, the book to never end … Like Graham Greene, Furst creates believable characters caught up, with varying degrees of willingness, in the parade of political life. And because they care, the reader does, too … Furst is one of the finest spy novelists working today, and, from boudoir to the beach, Mission to Paris is perfect summer reading.”
—Publisher’s Weekly
“The writing in Mission to Paris, sentence after sentence, page after page, is dazzling. If you are a John le Carré fan, this is definitely a novel for you.”
—James Patterson
"I am a huge fan of Alan Furst. Furst is the best in the business--the most talented espionage novelist of our generation."
—Vince Flynn

“Reading Mission to Paris is like sipping a fine Chateau Margaux: Sublime!”
—Erik Larson

From the Hardcover edition.

Product Details

Random House Publishing Group
Publication date:
Product dimensions:
6.20(w) x 9.30(h) x 1.40(d)

Read an Excerpt

the necessity of reforming the church

A Humble Exhortation to the most invincible Emperor Charles V and the most illustrious Princes and other Orders, now holding a Diet of the Empire at Spires that they seriously undertake the task of restoring the Church presented in the name of all those who wish Christ to reign by Dr. John Calvin

August Emperor,

This Diet is summoned by you in order at last to deliberate and decide, along with the Most Illustrious Princes and other Orders of the Empire, upon the means of ameliorating the present condition of the Church, which we all see to be very miserable and almost desperate. Now, therefore, while you sit for this consultation, I humbly beg and implore, first of your Imperial Majesty, and at the same time of you also, Most Illustrious Princes and distinguished gentlemen, that you will not decline to read and diligently consider what I have to lay before you. The magnitude and weight of the cause may well incite you to an eagerness to listen. I shall set the matter so plainly in front of you that you can have no difficulty in determining what part you must play. Whoever I am, I here profess to plead in defense both of sound doctrine and of the Church. In this character I seem at all events entitled to expect that you will not deny me audience, until such time as it may appear whether I falsely usurp the character, or whether I faithfully perform its duties and make good what I profess. But though I feel that I am by no means equal to so great a task, yet I am not at all afraid that, after you have heard the nature of my office, I shall be accused either of folly or presumption in having ventured thus to bring this matter before you. There are two things by which men are wont to recommend, or at least to justify, their conduct. If a thing is done honestly and from pious zeal, we deem it worthy of praise; if it is done under the pressure of public necessity, we at least deem it not unworthy of excuse. Since both of these apply here, I am confident, such is your equity, that I shall easily approve my design in your eyes. For where can I exert myself to better purpose or more honestly, where, too, in a matter at this time more necessary, than in attempting, according to my ability, to aid the Church of Christ, whose claims it is lawful in no instance to deny, and which is now in grievous distress and in extreme danger? But there is no occasion for a long preface concerning myself. Receive what I say as if it were the united voice of all who either have already taken care to restore the Church or desire that it should be restored to true order. On my side are several exalted Princes and not a few distinguished communities. For all these I speak though an individual, so that it is more truly they who at the same time and with one mouth speak through me. To these add the countless multitude of pious men, scattered over the various regions of the Christian world, who yet unanimously concur with me in this pleading. In short, regard this as the common address of all who so earnestly deplore the present corruption of the Church that they are unable to bear it any longer and are determined not to rest till they see some amendment. I know with what odious names we are marked down for disgrace; but meanwhile, whatever be the name by which it is thought proper to call us, hear our cause, and after that judge what place we are entitled to hold.

First, then, the question is not whether the Church suffers from many and grievous diseases, for this is admitted even by all moderate judges; but whether the diseases are of a kind whose cure admits of no longer delay, so that it is neither useful nor proper to wait upon too slow remedies. We are accused of rash and impious innovation, for having ventured to propose any change at all in the former state of the Church. What? Even if it has been done with good cause and not imperfectly? I hear there are persons who, even in this case, do not hesitate to condemn us; they think us right indeed in desiring amendment, but not right in attempting it. From them, all I would ask at present is that for a little they suspend judgment until I shall have shown from the facts that we have not been prematurely hasty, have attempted nothing rashly, nothing alien to our duty, and have in short done nothing until compelled by the highest necessity. To enable me to prove this, it is necessary to attend to the matters in dispute.

We maintain to start with that when God raised up Luther and others who held forth a torch to light us into the way of salvation and on whose ministry our churches are founded and built, those heads of doctrine in which the truth of our religion, those in which the pure and legitimate worship of God, and those in which the salvation of men are comprehended, were in a great measure obsolete. We maintain that the use of the sacraments was in many ways vitiated and polluted. And we maintain that the government of the Church was converted into a species of horrible and insufferable tyranny. But perhaps these statements have not force enough to move certain individuals until they are better explained. This, therefore, I will do, not as the subject demands, but as far as my ability will permit. Here, however, I have no intention to review and discuss all our controversies; that would require a long discourse, and this is not the place for it. I wish only to demonstrate how just and necessary the causes were which forced us to the changes for which we are blamed.

To accomplish this, I must show that the particular remedies which the Reformers employed were apt and salutary; not here intending to describe the manner in which we proceeded (for this will afterward be seen), but only to make it manifest that we have had no other end in view than to ameliorate in some degree the very miserable condition of the Church. Our doctrine has been, and is every day, assailed by many cruel calumnies. Some declaim loudly against it in sermons; others attack and ridicule it in their writings. Both rake together everything by which they hope to bring it into disrepute among the ignorant. But there is in men’s hands the Confession of our Faith, which we presented to your Imperial Majesty. It clearly testifies how undeservedly we are harassed by so many odious accusations. We have always been ready in times past, as we are at the present day, to render an account of our doctrine. In a word, there is no doctrine preached in our churches but that which we openly profess. As to contested points, they are clearly and honestly explained in our Confession, while everything relating to them has been copiously treated and diligently expounded by our writers. Hence judges who are not unjust must be satisfied how far we are from every kind of impiety. This much certainly must be clear alike to just and unjust, that the Reformers have done no small service to the Church in stirring up the world as from the deep darkness of ignorance to read the Scriptures, in laboring diligently to make them better understood, and in happily throwing light on certain points of doctrine of the highest practical importance. In sermons little else used to be heard than old wives’ fables and fictions equally frivolous. The schools resounded with brawling questions, but Scripture was seldom mentioned. Those who held the government of the Church had this one concern, to prevent any diminution of their gains. Accordingly, they readily tolerated whatever brought grist to their mill. Even the most prejudiced admit that our people have in some degree reformed these evils, however much they may impugn our doctrine at other points.

But I do not wish that all the profit the Church has derived from our labor should avail to mitigate our fault, if in any other respect we have injured her. Therefore let there be an examination of our whole doctrine, of our form of administering the sacraments, and our method of governing the Church; and in none of these three things will it be found that we have made any change in the old form, without attempting to restore it to the exact standard of the Word of God.

All our controversies concerning doctrine relate either to the legitimate worship of God or to the ground of salvation. As to the former, certainly we exhort men to worship God in neither a frigid nor a careless manner; and while we point out the way, we neither lose sight of the end, nor omit anything which is relevant to the matter. We proclaim the glory of God in terms far loftier than it was wont to be proclaimed before, and we earnestly labor to make the perfections in which his glory shines better and better known. His benefits toward ourselves we extol as eloquently as we can. Thus men are incited to reverence his majesty, render due homage to his greatness, feel due gratitude for his mercies, and unite in showing forth his praise. In this way there is infused into their hearts that solid confidence which afterward gives birth to prayer. In this way too each one is trained to genuine self-denial, so that his will being brought into obedience to God, he bids farewell to his own desires. In short, as God requires us to worship him in a spiritual manner, so we with all zeal urge men to all the spiritual sacrifices which he commends.

Even our enemies cannot deny our assiduity in these exhortations, that men look for the good which they desire from none but God, that they confide in his power, trust in his goodness, depend on his truth, and turn to him with the whole heart, rest on him with full hope, and resort to him in necessity, that is, at every moment, and ascribe to him every good thing enjoyed, and testify to this by expressions of praise. That none may be deterred by difficulty of access, we proclaim that a fountain of all blessings is offered us in Christ, from which we may draw everything needful. Our writings are witnesses, and our sermons also, how frequent and sedulous we are in recommending true repentance, urging men to renounce their reason, their carnal desires, and themselves entirely, that they may be brought into obedience to God alone, and live no longer to themselves but to him. Nor indeed do we overlook external duties and works of charity, which follow on such renewal. This, I say, is the sure and unerring form of divine worship, which we know that he approves, because it is the form which his Word prescribes. These are the only sacrifices of the Christian Church which have attestation from him.

Since, therefore, in our churches, God alone is adored in pure form without superstition, since his goodness, wisdom, power, truth, and other perfections are there preached more fully than anywhere else, since he is invoked with true faith in the name of Christ, his mercies celebrated with both heart and tongue, and men constantly urged to a simple and sincere obedience; since in short nothing is heard but what tends to promote the sanctification of his name, what cause have those who call themselves Christians to take us up so ill? First, since they love darkness rather than light, they cannot tolerate the sharpness with which we, as in duty bound, rebuke the gross idolatry which is apparent everywhere in the world. When God is worshipped in images, when fictitious worship is instituted in his name, when supplication is made to the images of saints, and divine honors paid to dead men’s bones and other similar things, we call them abominations as they are. For this cause, those who hate our doctrine inveigh against us and represent us as heretics who dare to abolish the worship of God as approved of old by the Church. Concerning this name of Church, which they are ever and anon holding up before them as a kind of shield, we will shortly speak. Meanwhile how perverse, when these infamous corruptions are manifest, not only to defend them, but to dissemble and represent them as the genuine worship of God!

Both sides confess that in the sight of God idolatry is an execrable crime. But when we attack the worship of images, our adversaries immediately take the opposite side and lend support to the crime which they had with us verbally condemned. Indeed, as is more ridiculous, while they agree with us as to the term in Greek, it is no sooner turned into Latin than their opposition begins. For they strenuously defend the veneration of images, though they condemn idolatry. But these ingenious men deny that the honor which they pay to images is worship, as if, when compared with ancient idolatry, it were possible to see any difference. Idolaters pretended that they worshipped the celestial gods, though under corporeal figures which represented them. What else do our adversaries pretend? But is God satisfied with such excuses? Did the prophets on this account cease to rebuke the madness of the Egyptians, when, out of the secret mysteries of their theology, they drew subtle distinctions under which to screen themselves? What too do we suppose the brazen serpent which the Jews worshipped to have been, but something which they honored as a representation of God? “The Gentiles,” says Ambrose (in Ps. 118), “worship wood, because they think it an image of God, whereas the invisible image of God is not in that which is seen, but precisely in that which is not seen.” But what is done today? Do they not prostrate themselves before images, as if God were present in them? Unless they supposed the power and grace of God to be attached to pictures and statues, would they flee to them when they desired to pray?


Meet the Author

Alan Furst is widely recognized as the master of the historical spy novel. Now translated into eighteen languages, he is the author of Night Soldiers, Dark Star, The Polish Officer, The World at Night, Red Gold, Kingdom of Shadows, Blood of Victory, Dark Voyage, The Foreign Correspondent, The Spies of Warsaw, and Spies of the Balkans. Born in New York, he lived for many years in Paris, and now lives on Long Island.

Brief Biography

Sag Harbor, New York
Place of Birth:
New York, New York
B.A., Oberlin College

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Mission to Paris: A Novel 3.5 out of 5 based on 0 ratings. 62 reviews.
DPJ More than 1 year ago
Alan Furst is one of the few authors I have found who writes well enough to keep your interest without resorting to central characters with super powers. When a character is severely injured in a motorcycle accident and fully recuperates in a few weeks with no ongoing problems, the story loses credibility and I can't relate to the hero/heroine. Alan Furst can keep you coming back without resorting to such techniques. I, for one, would like to see more authors create down-to-earth characters that I can relate to.
Hurricane_Hattie More than 1 year ago
Alan Furst's earlier pre World War II espionage novels evoke old black and white snapshots of a duplicitous Europe just before World War II. Furst is often compared to Le Carre. For me, Furst's ability to create the tone and a mood while providing historical fact outshine La Carre. " Mission to Paris" is Furst's newest novel in this genre, but it is not his best. Like his other books, the hero, an American film star, is a decent man caught up in Nazi intrigue in prewar Paris. Maybe it's the hero, fresh from limited Hollywood success, which makes "Mission to Paris" seem more like a glossy technicolor film than Furst's earlier smokey, mood novels. Frederic Stahl never seems to struggle with good versus evil, a "gentleman's treason". Or it could be too many details about film making in the story, but everything is just too slick, too commerical and even bordering on the mundane in this latest effort. It has been anounced that BBC is making a TV series from one of Furst's earlier books. Maybe the author is understandably intrigued by the process. Whatever the cause, there are still flashes of Furst's earlier craft in writing haunting sentences full of sensory illusions, but most of the novel seems pretty uninspired. Don't get me wrong. Alan Furst is still my favorite living author and while "Mission to Paris" is a good read, it was a disappointment. I can't wait for the 2014 Furst novel to be published.
Anonymous More than 1 year ago
The book to me has characters that you end up caring for. For instance I really liked Stahl and Orlova. To me the ending was very anticlimactic and dull and at no point was my heart racing. I love everything WWII and Europe so I wouldn't call it a total waste of time but a disappointment and definitely not worth 14 bucks.
Anonymous More than 1 year ago
The premise is intriguing, but the plot simple lacks any dramatic tension in all aspects: the Nazis make annoying, mildly threatening phone calls, relationships, romantic and otherwise come and go without import or meaning. Then everybody goes back to Hollywood!? This is my first and last Furst...
RLS1 More than 1 year ago
Alan Furst's novels all effectively convey just how desperate things were in continental Europe of 1937-40. Mission to Paris is a switch from the Eastern European characters who know well the likelihood of impending disaster. We see Paris through the eyes of Frederich Stahl, an internationally acclaimed Warner Brothers American actor. Stahl, himself an Austrian emigre, is sent there to make a movie. The anemic American preparedness is brought out through the actor's suspicions of just why Jack Warner insisted he go to Paris to make a French movie. Those suspicions are confirmed through Stahl's contacts with an lone American diplomat who asks Stahl to assist him in spying on Nazi infiltration in pre-war France. I knew large numbers of French collaborated with the Nazis during the occupation. The novel brings forth in vivid detail the extent of right wing French sympathy and assistance to Germany that made the defeat of France in 1940 inevitable. The principal characters of Furst's novels are all thoroughly decent men caught in desperate circumstances that became routine after World War II began. Unlike many of Furst's other novels, Stahl is an American who can choose to avoid the danger. He also has powerful friends to assist him, which is a refreshing departure from many of the helpless characters of Furst's other novels. I believe this is Alan Furst's best novel. I hope he will continue Mission to Paris' focus on Americans or British who actually have a choice in the pre-World War II events in which they become embroiled.
Anonymous More than 1 year ago
The story line is slow, boring, and mostly predictable. Characters are shallow. Quite a few historical inaccuracies, even given artistic liberties.
Ivanho4 More than 1 year ago
Quite simply, the most lack luster, uneventful spy novel I've ever read.  Alan Furst may be held in high regard in literary circles, but the storyline never really got off the ground.  Action?  What action?  Furst takes at least 100 pages before anything happens.  I found myself drifting off trying to stay focused on characters who spent most of their time at cocktail parties and coffee shops. Not worth the money or the time invested getting through 224 pages of fluff. 
Anonymous More than 1 year ago
like all of Furst's novels, this one gives you an excellent feel for Europe between the wars. While not as fine as a few of his other books, it is certainly worth reading.
Beenthere-heardthat More than 1 year ago
Lots of ties to previous works and his usual brilliant sense of mood make this an enjoyable read. Perhaps a thinner slice of "near history" than earlier novels but, perhaps befitting the Hollywood connection, still quite intertaining if somewhat implausible.
Anonymous More than 1 year ago
This is my first Alan Furst novel, and I can firmly say that it will be my last. As another reviewer commented, I too had a difficult time getting through the first 100 pages. I thought about abandoning the book on several occassions. There really wasn't a climax and the loose ends that you keep hoping will be tied up, never are. Very dissapointing read.
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Lance_Charnes More than 1 year ago
Mission to Paris is an Alan Furst production, which should, by now, tell you everything you need to know about it: interwar European intrigue, a morally compromised milieu, atmospheric settings sketched with the lightest touch, buckets of research made to look effortless. His novels take place in a world in which cocktail parties and dinners happen every night, every man has at least one mistress, and the main characters smoke Gauloises and say smart things and have a je ne sais quoi you might expect from upper-caste Europeans on the eve of World War Two. Yes, all that’s here. But as I read more of these, I’ve come to notice something else: not only does Furst get huge mileage out of reusing his research, he’s also reusing his story devices. Let’s go down the checklist for Mission.  -- Privileged hero with a complex past, naïve in the ways of espionage: Check. In this case, Frederic Stahl (a Paul Henreid type), a successful Hollywood actor who is also an Austrian émigré. -- Small, quick, voracious sex interest for the privileged hero: Check. In this case, with the added bonus of having a burlesque name (Kiki de Saint-Ange). Furst apparently has a thing for petite, small-breasted, oversexed women, because pretty much all his male leads do, too. -- Mature love interest for the privileged hero, also with a complex past: Check. Also to type, this character is physically the opposite of the small, quick, voracious sex interest, but the hero finds her equally irresistible. I believe this character is a sop to Mrs. Furst. -- Hero’s socially high-flying mentor in the ways of espionage: Check. To Furst’s credit, in Mission this character is only somewhat more wise, rather than being Yoda as usual. -- A risky trip into the Heart of Evil: Check. Stahl goes to Berlin, on Kristallnacht, no less. -- A desperate train trip through the Balkans: Check. Romanian and Bulgarian trains also consistently suck. The border guards remain flexible in their work practices. -- Fleeing (or attempting to flee) to Istanbul on a steamer across the Black Sea: Check. Sometimes (not here) the Aegean stands in for the Black Sea. Extra credit given if the voyage continues to Lisbon (as it does here). As you can see, all the essential Furstian elements are here. Is this bad? Not necessarily. A similar list can be ginned up for nearly every genre series, and it usually includes all the things that fans most love about the series. However, like any series, it can leave loyal readers wondering from time to time, “Did I already read this one?” And at a certain level of abstraction, the answer is, of course, yes. If you haven’t read Furst before, Mission to Paris (his latest effort) is a fast and pleasant introduction to his world, worthy of four stars. If you have read his previous works, fear not; you’ll find nothing startling or uncomfortable here. You’ll have to decide how you feel about that prospect. I’m ready to see how well Furst can handle something new; pre-WWI Europe, for example, or Cold War Eastern Europe. As a result, I feel just around three stars about Mission, and wish I could remember whether I’ve read it before.
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JKathleen More than 1 year ago
It was slow starting, but a fun read.
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