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The Columbo-esque character was conceived by Klaus von Stiegl, a filmmaker who came to America from Germany and enjoyed acclaim as a silent-film director.

It’s where Klaus films an alleged masterpiece on his own back lot, an artsy “Hansel and Gretel” allegory that MGM refused to release, and then attempts to burn down in a fury.

Castleberry means to frame Klaus as hard-hearted to the point of cruelty.

One woman in his life, a prized silent actress, is driven to kill herself by jumping off the Hollywood sign — a tragedy that, in addition to being a bit on the nose, is softened by more compelling narratives about Klaus’ late-career revival via “Brackett,” his selling out a writer during the Red Scare, and genius granddaughter.

“In America, art is always paid for by somebody and griped about by somebody else,” Klaus opines late in the novel to Di.