The latest recordings to provoke obsessive listening have been Ian Anderson's Homo Erraticus, and Mūza Rubackyté's recording of the Shostakovich Op.87 Preludes & Fugues.
20 October 2014
I am not sure that I had ever actually watched any of The Twilight Zone; but I had absorbed the awed respect for the show which generally surrounded me. The only Night Gallery story I had seen when growing up was “The Caterpillar,” which made a powerful impression; nevertheless (again, probably by absorption), I had somehow ‘acquired’ the opinion that, as a series, Night Gallery is but a weak shadow of The Twilight Zone.
Having at last seen all of the original Twilight Zone (and much of it twice now), I do not find any of the praise of the series too lavish. Perhaps I was a ‘soft touch’ here, but even the comparatively weaker episodes do not inspire any derision from me. I also read Scott Zicree’s splendidly informative book (in which he shows, probably becomingly, a journalistic impartiality, and he calls some episodes poor with a readiness which may strike some as oddly harsh, for a fellow whose overall tone is greatly laudatory . . . but I suppose that shields him from the charge of hagiography). In a late chapter of that book, he briefly chronicles Serling’s life after Twilight Zone, and while the brace of paragraphs on Night Gallery might require a dose of salt, the fact of Serling’s dissatisfaction with not commanding artistic control of the series, and his eventual disenchantment with the project tended to color my view as I approached Night Gallery.
However, I was keen to revisit “The Caterpillar,” at the least.
Probably I started out with the 2-DVD set of Season Three which is available at the BPL. Probably I watched “The Girl With the Hungry Eyes” first, which I liked very well right off, partly because the cast included John Astin (I suppose); I was curious about a story which had both Vincent Price and Bill Bixby in the case, “The Return of the Sorcerer” – probably not genuinely bad, but I had the feeling of a B-movie vignette; and, curious to see Leonard Nimoy in this context, I watched “She’ll Be Company for You,” a story to which I do not think I was fair, that first time of watching.
Then (because I should need to return the DVD to the Library), I targeted the four stories of Season Three with scripts by Serling. Two are based on stories by other authors: “Something in the Woodwork” (which I think very good, indeed), and “You Can Come Up Now, Mrs Millikan” (which I thought one of a piece with some relatively clumsy attempts at humor). Two seem to be purely original scripts: “Rare Objects,” which is good (could have served as a Twilight Zone episode, in the character of the story, I mean); and “Finnegan’s Flight” . . . which I wanted to like better than I did, as it rejoined Burgess Meredith and Serling, but there was something a little sour about the development of the plot. (Probably, I should give it a fresh viewing). And with that bit of cherry-picking done, I returned Season Three only partly watched, indeed only a minority.
Season Two, I began with revisiting “The Caterpillar,” which I think I have praised earlier. Then, I set myself to watching the entirety of Season Two in order. While the odd Jack Laird miniature is trite enough, a kind of “slapstick Gothic,” that it tends to lower the tone, most of what I saw was very well done, and some of it as good as (or even better than) the top tier of The Twilight Zone. (In Jack Laird’s defense – as a writer, I mean, for clearly he was important to the series as its producer – “I’ll Never Leave You – Ever” rises above the level of his typical “blackout” sketches.)
So, I went back to view the rest of Season Three, and (to be sure) I found that in my haste, I had missed out on some of the best stories of that season (“The Other Way Out,” “The Ring With the Red Velvet Ropes,” “Death on a Barge,” “Whisper,” e.g.)
And here I’ve started in on Season One – or, properly speaking, I have now watched the three stories from the pilot, all of them (of course, since he was the one pitching the show) Serling scripts: “The Cemetery,” with a scoundrelly Roddy McDowall; “Eyes,” featuring one of the last appearances by Joan Crawford (and Tom Bosley in an interestingly ‘against-type’ role: and “Escape Route,” the latest in a number of Serling “revenge fantasies” against surviving Nazis. (I mean, obviously there ought to be, to have been, justice done to them; but I don’t feel comfortable being implicated in a wish to make them suffer cruelly, as retribution. Is it artistically satisfying? I find myself wondering if this third story is as good as the first two.)
19 October 2014
18 October 2014
His larger point, that Night Gallery has in some circles suffered short shrift, in unfair comparison to The Twilight Zone, is reasonable. He goes a bit far, I think, in his derision of the lesser episodes of Twilight Zone.
I don't think he can have it both ways. That is, I don't think he can selectively disregard Serling's expressed negativity about the later Night Gallery, and yet take Serling at his word when belittling some of the Twilight Zone episodes.
Well, finding the right balance is so often the challenge, isn't it.
17 October 2014
Perhaps a quiet matter, but ... "The Red Velvet Ropes" is up there among the strongest Night Gallery stories.
Already a little revisionist, I am thinking better of the third season of the Night Gallery than the conventional wisdom. But this story, particularly, is straight out of The Twilight Zone. May be the peak, or nigh thereunto. And all the same, all credit to the esteemed Mr Serling.
Yesterday was a tiring day; nonetheless, I owed it to my choir to be fresh, energetic, and non-cranky at the evening’s rehearsal. Rehearsal went very well.
1. We read through to the end of The Snow Lay on the Ground (with a good deal of spot-practicing). All went well.
2. With only a few missteps in the initial read-through which we needed to correct with consequent rehearsal, the choir did just fine with I Want Jesus to Walk With Me (the “Ur-text version”). This was really the crucial success of the rehearsal – since the choir never read these pages (as these pages) before last night, and I was proposing that we sing the number this Sunday coming. We sang the spiritual in just this manner (though simply reading from the hymnal) last year. So the whole endeavor was, arguably, low-risk; but I am grateful that everything went as smoothly as it did.
3. The other piece which we had never read before was the John Ferguson arrangement of Lord of the Dance, which was the next-highest priority, since I was proposing that we perform this the following Sunday (26 October) with the handbells. This went even smoother than I had hoped (and I had indeed hoped that it would go without any hitch). Near the end of the arrangement there is a high A-flat whole-note for the sopranos which simply does not suit my singers, so we re-voiced that choral chord a bit – no need for any discomfort among my choristers! Another signal success of the evening.
4. Those confidence-builders set the stage, as it were, for further work on (review of the first great chunk of the Vom Himmel hoch section of) Sweetest Ancient Cradle Song, in the sanctuary and with the organ. Very good work done, just have to keep building on it.
Now that the matter of the Cradle Song has been settled, I have had exchange with the brass chappie to confirm. I think there is nothing for it, but that I shall be a little out of pocket on that, but I feel confident that the entire experience will be a good musical experience for the choir and the church.