The Hollow Watcher aired Feb 12, 1962

“For the sightless eyes of the Hollow Watcher see more than you might imagine.” –Boris Karloff

The Hollow Watcher was written by Jay Simms, the man responsible for bringing us the screenplay of The Killer Shrews 1959. This is American Gothic. The mood is perfectly inhospitable and eerie with a poignant score that creates an atmosphere of queasy desolation.

Directed by William F. Claxton. The episode stars Audrey Dalton as Meg O’Danagh Wheeler, Warren Oates as Wheeler, Sean McClory as Sean O’Danagh, and assorted members from the Andy Griffith Show. Sandy Kenyon, Denver Pyle as Ortho Wheeler, Norman Leavitt, Mary Grace Canfield as Ally Rose, and then great character actor Walter Burke as Croxton.

MonsterGirl “Listens”: Reflections with great actress Audrey Dalton!

A Backwoods hollow, rife with superstition, folklore, and omens. Abuse, murder, greed, and rural righteous retribution for sins delivered by a legendary wielder of the law The Hollow Watcher. Black Hollow’s name for the bogeyman. A very homespun scarecrow. A straw man. A stitched guy on a stick, who watches over the simple people of Black Hollow from up on a hill. If any of the town folk should transgress they would surely be at the mercy of either ‘claws, feet or teeth’ of The Hollow Watcher. Do stuffed men have teeth I wonder?

The town of Black Hollow is filled with characters that are nosy gossips who seem almost gleeful with the idea that someone might fall out of grace within the old-fashioned laws watched over by this bucolic straw avenger. There’s a pervading fear anyone might become the next victim of their rustic beastie which lurks in the fields by night. The townspeople are also ethnocentric bigots who are suspicious of all outsiders or foreigners. The locals refer to Meg as ‘that fancy woman’ putting her in a way that separates and admonishes her for her difference

The abusive father, the general store’s proprietor Ortho Wheeler is perfectly cast, by Denver Pyle (Briscoe Darling on The Andy Griffith Show )

Ortho doesn’t approve of his son Hugo’s new wife. To Ortho, she’s “mail order baggage” The perfect hypocrisy of this self-righteous and sexually repressed small-town brutality is illustrated when Ortho in a rage, savagely rips Meg’s dress and then proceeds to tell her “Your nakedness is an abomination before the lord.” Typical of a patriarchal figure to damn the female subject of his gaze and project his own inner conflict onto them. This kind of religious fanaticism breeds an inverted frenzy that comes across as moral zealotry.

Hugo Wheeler thinks he has married a virgin mail bride from Ireland. An innocent lass whom he can dominate sexually, although Audrey Dalton who plays Meg successfully holds him at bay throughout the episode which adds to the tension. Hugo remains husband in name only. Warren Oates plays Hugo who enacts his carnal frustrations with such a subtle volatility that we wish mercifully that Meg would at least grant him entry to a mere kiss.

Hugo has been emasculated by his brutish father, and so he seeks out Meg’s physical attention to help boost his nerve to fend off his daddy’s assaults and to bridge the gap between a weak young farm boy and his rightful claim of manhood. After Ortho tells Hugo, “Come to the barn and get your lickin’“ Hugo asks Meg, “If I stand up to daddy, things will be different?” His identity seems to hinge on this. Ortho thrashes his son into a bloody swollen heap who passes out from the beating, in the meantime, Meg cracks Ortho in the back of the head with a very large farm implement and kills him.

What Hugo doesn’t know is that Meg already has a husband Sean who has killed a woman in back Ireland for her money and has now come to America to reunite with his bride who plans on doing the same to Hugo.

She has stuffed his daddy’s body into the scarecrow that sits atop the hill, hoping the locals will find the body and blame him. No one goes there but field mice and copper-headed serpents. Even the carrion birds, seem to sense the evil deed that’s been done and stay far away from that straw man in the field. Meg says, “It’s because it isn’t quite dead” The Black Hollow bumpkins suspect that either Hugo and his curious foreign witch-like bride have offed Ortho or that The Hollow Watcher has plucked him out because he was “mean enough.”

The pathologically fragile Meg who clings to her rag doll as if it were the child she’s never had, is in actuality awaiting her real husband, the dapper Sean who eventually arrives and begins to masquerade as her brother in order to swindle her woefully boorish and crude husband Hugo Wheeler out of his inheritance. Unfortunately, she has no idea where Ortho’s fortune is hidden.

Meg eventually starts to descend into subtle madness because she finally believes in Hugo’s “spook” and that The Hollow Watcher is a thing that sneaks around in the shadows getting closer and closer, casting judgment upon her and waiting in the darkness to exact his revenge. As Boris says in the beginning she’s afraid of “The wrath of a demon such as The Hollow Watcher.”

Although, the ending of this episode is slightly anti-climatic because we eventually see the scarecrow confront the weary Meg and it’s simplistic presence could be considered laughable, coming closer and closer its burlap-painted face peeking through the window pane. It clumsily follows her up the stairs, {my Grandma Milly could have outrun it!} Still, The Hollow Watcher has a wonderfully creepy American Gothic quality to it. And really, how could you make a simple straw man terrifying in the 60s? The effect at the end exposing Ortho Wheeler’s skeleton is pretty striking…

The sweetly sad melody written by Sidney Fine and William Lava sounds much like American composer Aaron Copeland and really adds a very moving dimension to this bleak and eerie story.

I love the cameo appearances from the Andy Griffith Show regulars, which adds to the homegrown rustic feel of the episode. Makes me sort of want to break into a rousing section of “Sourwood Mountain “Old Man Old Man I want your daughter- hey, ho, diddle-um day.” Mary Grace Canfield has a brief appearance as Ally Rose a homely plain town girl, (although It always bothered me that she was often cast as the ugly girl. I thought she was adorable and I wonder how it must have made her feel whenever they would send out a casting call for a homely girl and her agent would say Mary Grace there’s a role for you. Isn’t that awful really? It truly pains me.

Sourwood Mountain
Chickens a-crowin’ on Sourwood Mountain,
Hey, ho, diddle-um day.
So many pretty girls I can’t count ’em,
Hey ho, diddle-um day.
Old Man Old Man I want your daughter
Hey ho diddle um day
Bake me bread and tote me water
Hey ho diddle um day
My true love’s a blue-eyed daisy,
She won’t come and I’m too lazy.
Big dog bark and little one bite you,
Big girl court and little one spite you.
My true love’s a blue-eyed daisy,
If I don’t get her, I’ll go crazy.
My true love lives at the head of the holler,
She won’t come and I won’t foller.
My true love lives over the river,
A few more jumps and I’ll be with her.
Ducks in the pond, geese in the ocean,
Devil’s in the women if they take a notion.
RG

Nathaniel Hawthorne‘s short story Feathertop is about a scarecrow created and brought to life in seventeenth-century Salem, Massachusetts by a witch in league with the devil. He is intended to be used for sinister purposes and at first, believes himself to be human, but develops human feelings and deliberately cuts his own life short when he realizes what he really is. In the Japanese mythology compiled in Kojiki in 712, a scarecrow appears as a deity, Kuebiko, who cannot walk but knows everything of the world.

The Scarecrow is one of the most familiar figures of the rural landscape not only in the United Kingdom but throughout Europe and many other countries of the world. His ragged figure has been recorded in rural history for centuries. His image has proved irresistible to writers from William Shakespeare to Walter de la Mare as well as to filmmakers since the dawn of the silent movie. Yet, despite all his fame, the origins and the development of the scarecrow have remained obscured in mystery.

The earliest known written fact about scarecrows was written in 1592.Definition of a scarecrow – That which frightens or is intended to frighten without doing physical harm.Literally, that which – scares away crows, hence the name scarecrow.

 

MonsterGirl bids you howdy!