Episode 37: One of Our Ghosts

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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…

 

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Episode 3: Information

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One of the charms of these early episodes of Dark Shadows is something I call “scene connectors.” Someone will close out a scene with a phrase or word, like when Joe Haskell asks Burke Devlin what he wants in exchange for what Devlin has offered him, and Devlin answers, “Information.” Then they cut away to the next scene, which begins by someone else taking up that key phrase or word but in a completely different context: “But I can’t give you any information,” Maggie Evans tells Roger Collins. “Pop’s a free soul, you know that. He wanders.” Just minutes ago, Roger, who is not such a free soul, wandered into the coffee shop just before closing time under the pretext of seeing if there’s “any coffee left in the hopper.” But what he really wants to know is where Sam Evans is. You’ll recall that in the previous episode Roger exploded when he realized that Burke Devlin is back in town – and what he needs this late hour is to pin down the whereabouts of a local artist who paints seascapes and sunsets. At this point Roger has something the viewer lacks: information.

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