Jeepers, what a tough review to write. It's that 3-star curse: "I liked it just fine, thank you, Ma'am." My literary passions were neither inflamed nor offended, but I was happily entertained. And sometimes that's all I need from a read: an escape.
And if it comes in a package of sublimely crafted settings that conjure from history's clouds the darkening heart of 1938-39 Europe, with characters rendered as precisely as wood-block prints ("He was about fifty, Stahl guessed, with the thickening body of a former athlete and a heavy boyish face. He might be cast as a guest at one of Jay Gatsby's parties, scotch in hand, flirting with a debutante.") and a quietly simmering plot, well, Bob's your uncle and I'm your girl.
My hesitation to wax more enthusiastic is that I've been gobsmacked by Alan Furst's novels. The characters smoldered, the plots stole the breath, the thriller in "historical thriller" sent the spine a-tingle. It feels as if Furst approached Mission to Paris with tenderness and affection, both for his beloved City of Lights and for his Cary Grant-inspired leading man, Frederic Stahl. The soft-focus lighting on the characters and setting may have smoothed the sharp edge of tension found in his earlier works.
This is cinema-ready, just like its colorful characters and picture-postcard settings. Settle in with a big bowl of buttered popcorn and enjoy the show.