Today Dark Shadows crosses over to the supernatural. In so doing, a new chapter in the story of Victoria Winters is presented; more about this below, in the main body of the post.
Dark Shadows fans have wondered why the original story of Victoria Winters, as outlined in the series bible Shadows on the Wall by story creator and developer Art Wallace, was dropped. It wasn’t; rather, it was revised.
Episode 60, also written by Wallace, strongly hints for the family background of Victoria Winters a maternal rather than paternal link to Collinwood, which is implied further in episode 127.
For now, today’s episode provides the first ever Dark Shadows mashup:
Alfred Hitchcock Presents + The Uninvited = Dark Shadows episode 52
Continue reading “Episode 52: Something Uninvited”
Today Elizabeth Stoddard’s banker John Harris drives down from Bangor to present her with financial documents for a trust fund she has set up for David. Cast for the role is Patrick McVey, who turns in what can only be described as the single least proficient performance of any actor ever to appear on Dark Shadows. An explanation for this is provided in the “background audio” section of the post on episode 43 as well as below in today’s post.
In the summer of 1966, there was a viral outbreak in the Dark Shadows studio, and Patrick McVey was among those infected. Lelarichia swifteria is a rare virus affecting mainly male middle-aged supporting actors on Dark Shadows. Symptoms of L. swifteria begin with confusion and unease followed by a sudden drop in confidence, soon progressing to reduced motor capacity affecting abilities for memory of lines as well as timing and steadiness of delivery.
In some cases, the afflicted sufferer may manage to sustain themselves for multiple appearances over several episode tapings, but in many cases L. swifteria proves fatal to an actor’s duration on Dark Shadows.
There is no known cure.
Continue reading “Episode 44: You Can Bank On It”
Sam Evans likes to keep pretty much to himself. Unfortunately, a number of people continually impose on him, folks he’d rather not see or talk to. He’s a painter who’s been commissioned to paint a portrait he doesn’t want to paint, and will even feign a headache to cut the portrait sitting short. On top of this, another man he doesn’t want to see barges in to talk about things Sam just doesn’t want to talk about; if that weren’t enough, the intruder even goes so far as to seize Sam’s bottle of whiskey to prevent him from even pouring himself a drink in his own living room. On that same morning, this demanding interloper will not only consider threatening him with murder, but will also offer him a sizeable bribe to leave his life and livelihood behind. After managing to get rid of the unwanted portrait subject, he begins losing his temper while trying to usher away trespasser number one, during which invader number three, Collins family business manager Bill Malloy, just walks right in through the front door without so much as a knock. When Sam raises a complaint, Bill simply tells him it’s his own fault for leaving the door unlocked.
That’s what happens in Collinsport, if you don’t bar the door, when something from your past you’d rather keep hidden comes calling right at your doorstep. Still, it could be worse, considering what the future holds in store for Evans cottage, with the gallery of Universal monsters that will someday be encroaching on his domain; a gentleman vampire caller who just can’t keep his fangs away from his daughter, a Frankenstein type man child who breaks in to borrow and brandish a huge carving knife while Sam is away at the pub for an evening drink, a werewolf in the night who just jumps crashing through the front window hungry and growling for any kind of action it can find.
There will come a time when Sam will long for the good old days of only the year or two before when it was just Burke Devlin, the old friend he betrayed long ago, Roger Collins, the man who imprisoned him in a pact of silence, and Bill Malloy, the wise old owl who comes around asking too many questions, that he would be trying to keep from seeking him out.
First thing in the morning here in the summer of sixty-six it’s open house at Evans cottage, and no one is invited.
Continue reading “Episode 39: Open House at Evans Cottage”
(Ruth Hussey and Ray Milland in the 1944 motion picture The Uninvited)
Dan Curtis is the last man you’d think would ever create a soap opera for daytime television. Very much a man’s man, Curtis began his television career in the 1950s by pitching TV syndication sales for NBC and eventually breaking through in 1963 as creator and executive producer of The CBS Golf Classic. The year before, he had created the Golf Challenge for ABC. You couldn’t get any further from the audience for such daytime soaps as General Hospital than a sports program featuring ball competition between Arnold Palmer and Gary Player.
While asleep one night in 1965, Curtis had a dream about a young governess on a train taking her somewhere up the coast of New England to a large house where she gets caught up in the intrigues of a wealthy and mysterious family. It has often been said that it was Jane Eyre that Curtis was bringing to daytime television as the first gothic romance; but it’s more likely that while in the dream state his subconscious was piecing together a reinterpretation of a 1945 motion picture called The Unseen.
The Unseen stars Gail Russell as a governess in her early twenties who travels from the big city to a New England village to tutor two small children, one of them a troubled boy whose mother is recently absent from the household and whose father is cold and disdainful toward him and who thinks of him as a congenital liar and “little monster.” Produced by John Houseman (Professor Kingsfield from The Paper Chase), The Unseen was Paramount Pictures’ follow-up to 1944’s The Uninvited, which also starred Gail Russell as a young woman who gets thrown into the center of paranormal disturbances plaguing a large house along the rocky coast of Cornwall, England. In terms of atmosphere, there are a good many similarities between The Uninvited and what was first presented on Dark Shadows more than twenty years later, including the strange and unsettling sound of a woman sobbing in the night, the source of which can never be pinpointed to any exact location in the big house.
So while Dark Shadows is still Art Wallace’s baby, at least in terms of story development and episode script writing, let’s take an in-depth look at the earlier influences he drew upon to bring the dream vision of Dan Curtis to life on daytime network television…
Continue reading “Dark Shadows from the Beginning Special Edition: Origins of Dark Shadows: The Uninvited (1944) and The Unseen (1945)”
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”
Months before becoming known as the vampire soap opera, Dark Shadows was a show about ghosts and goblins, or at least the frequent mention thereof. But on the Friday of the second week, the show produced a monster, one that proved especially unnerving because it was so real and true to life and therefore possible – a nine-year-old boy named David.
Continue reading “Episode 10: Little Monster”