The Wikipedia page for Dark Shadows links the nineteenth century novel The Count of Monte Cristo with the story of Burke Devlin:
Burke Devlin’s Revenge For His Manslaughter Conviction, episode 1 to 201.
The accompanying citation, with something one would typically expect from all things Wikipedia, provides erroneous information:
“In episode 28, Burke Devlin is seen reading this novel. It similarity to events is commented upon i.e. a man returning to his home town to wreak revenge.”
They’re only off by ten episodes; and “it” should be “its” and “home town” is one word.
Now that we’ve done the necessary proofreading, let’s examine the more probable origins of the story of Burke Devlin, one of the main driving forces behind the beginnings of Dark Shadows.
Continue reading “Episode 38: The Count of Monte Devlin”
In the previous episode while encountering local artist Sam Evans at the Collinsport Inn, Victoria Winters was told by Mr. Evans, “Go back to your house on the hill, Miss Winters, go back to your ghosts and your goblins…”
In this episode, it seems that ghosts and goblins are precisely what she is returning to. In the great house of Collinwood during the post-midnight hours, the young governess will be drawn from her room on the second floor by the ghostly sound of a woman sobbing somewhere down below. Following the sound in the hope of tracing its origin, she will be led down to the basement and before a musty old wooden door sealed with a padlock. A moment later, she will come face to face with a real-life goblin.
In a subsequent post, we’ll explore the origins of what made Dark Shadows what it was; the deep shades of atmospheric gloom that lend Collinwood its haunting mystique, the family legends of ghosts that seemingly cannot rest, the disturbing disembodied sound of a woman sobbing in the night – even the way people close the double doors of a drawing room when they wish to speak with others in private.
As envisioned by Dan Curtis in a dream that woke him one night in 1965 with the spark of an idea for a TV show, the story of Victoria Winters recalls more the age of Charlotte Brontë’s Jane Eyre, with the sidebar story of Burke Devlin echoing shades of Alexandre Dumas’ The Count of Monte Cristo; however, the full backstory that fills out Dark Shadows as realized by story creator Art Wallace is more reminiscent of the rise of the haunted house genre from American motion pictures in the mid-1940s, with two in particular, The Uninvited (1944) and The Unseen (1945), both co-starring Gail Russell, serving as the main influences for the gothic romance that came to television in 1966 as Dark Shadows. Following the post for episode 37, there will be a special edition post of Dark Shadows from the Beginning which will examine these earlier motion pictures in depth and point out how they can be described as the origins of Dark Shadows.
For now, let’s visit with the ghosts and goblins of Collinwood as faced by Victoria Winters on this, her third night as governess in the big house on the hill…
Continue reading “Episode 37: One of Our Ghosts”
One of the big, lingering disappointments for many Dark Shadows fans is the lack of a story resolution for Victoria Winters.
This question is the basis for the very beginnings of Dark Shadows, the meaning of which is spelled out in the opening narrative that launches the first episode: Who am I? And now, in her first full day at Collinwood, the hope that she may be able to find out something about herself – her past, her origin – is enough to convince her to stay on at her new job, despite having just endured what she later recounts to Carolyn Stoddard as “the most frightening night of my life.” Because if she goes, all she will have is the ten words written about her on a piece of paper when she was left at the foundling home: “Her name is Victoria. I cannot take care of her.” So she has decided to keep searching, hoping, waiting.
Continue reading “Episode 6: Searching, Hoping, Waiting…”