A Happy Valentine’s to Kathryn Leigh Scott and the legacy of the romantic, tragic figure of Maggie Evans & Josette Dupree 🧡
“I know that you are dead, but still you are alive. I’m not afraid of you, only of living without you.” -Josette to Barnabas
One of the more recent primal rituals we find ourselves indulging in these days is the act of ‘binge watching’ a series in order to escape what ever it is any of us might feel the need to break free from. Though, I grew up in the 1960s and can remember sitting close to our large Magnavox television console when Dark Shadows would come into view on the tv screen, I’d be instantly drawn to composer Robert Colbert‘s evocative score and that symbolic opening with the tumultuous waves crashing beneath the titles. I was lucky enough to watch the show unfold on air in reel time in 1966. It originally aired weekdays on the ABC television network, from June 27, 1966, to April 2, 1971 before the series went into syndication.
It is significant to note that Dark Shadows is one of the few classic television soap operas to have all of its episodes survive intact except one.
In 1966 on June 27th, the prolific master of the macabre Dan Curtis debuted his Gothic soap opera series Dark Shadows – the show still has it’s faithful cult following and had started a mania and love affair with it’s viewers. Dark Shadows was saluted as the first daytime drama styled in the Gothic novel tradition. A spooky, cultivated, suspenseful weekly half hour chamber pieces, that reverberated with Gothic fable like overtones becoming a pop culture phenomenon. The premise centered around the wealthy and tormented inhabitants of the mysterious Collinwood that had a pall that hung over the great estate besieged by curses and dark forces and supernatural narratives. The powerful and self indulgent Collins family, whose ancestors founded Collinsport Maine a small fishing village are seemingly haunted and always on the brink of destruction by scandal and supernatural scourge. Throughout the centuries, generations of the Collins family have their very own built in vengeful spirits and malefic curses. In 1967, when the series faced cancellation, Jonathan Frid joins the cast as the sympathetic vampire Barnabas Collins and revives the show. With it’s 1897 storyline featuring David Selby, as Quentin Collins draws a viewership of 20 million fans. In 1970 MGM released a feature motion picture Night of Dark Shadows. The show became syndicated in 1975 and in 1982 reruns began airing for the first time on PBS. In 1992 reruns on the Sci-Fi Channel ran until 2001, airing the entire run of 1,225 episodes.
Kathryn Leigh Scott and Dan Curtis on the set of House of Dark Shadows (1970)
On the set of the major motion picture spinoff of Dark Shadows-House of Dark Shadows (1970) Kathryn Leigh Scott, Roger Davis and Grayson Hall.
Down the road, I intend on covering in depth all the mythos and classical literary allusions to the groundbreaking show itself here at The Last Drive In. The marvelous cast and crew, the prolific elements of mystery, the supernatural and fantasy, that threaded the show with frightening motifs, melodramatic dread and tragic narratives, tributes to legendary nightmarish tales of the occult, Gothic romantic novels and the paranormal, even Bill Baird’s little bat puppet that made up the shadowy world of Dark Shadows!
For now, like Barnabas Collins I long to show some love for the beautiful woman who captured his heart and ours, Kathryn Leigh Scott as Maggie Evans & Josette DuPrés.
THE SILENT YEARS: When we started not giving a damn on screen!
In celebration of our upcoming Anti Damsel Blogathon on August 15 & 16, I had this idea to provide a list of bold, brilliant and beautiful women!
There was to be no indecent exposure of the ankles and no SCHWOOSHING! Not in this Blogathon baby!
From the heyday of Silent film and the advent of talking pictures, to the late ‘20s to 1934 Pre-Code Hollywood, films were rife with provocative and suggestive images, where women were kicking up a storm on screen… The end of the code during the early 60s dared to offer social commentary about race, class, gender and sexuality! That’s our party!
In particular, these bold women and the screen roles they adopted have become legendary. They sparked catchy dialogue, inspired fashion trends, or just plain inspired us… All together there are 111 of SOME of the most determined, empowered and uniquely fortified femmes of classic film…!
First of course I consulted the maven of all things splendid, shimmery and SILENT for her take on silent film actresses and the parts that made them come alive on the immortal screen…. Fritzi at Movies Silently has summoned up thesefabulous femmes….
Now to unleash the gust of gals from my tornadic mind filled with favorite actresses and the characters that have retained an undying sacred vow to heroine worship… In their private lives, their public persona and the mythological stardom that has & still captivates generations of fans, the roles they brought to life and the lasting influence that refuses to go away…!
Because they have their own unique rhythm to the way they moved through the world… a certain kind of mesmerizing allure, and/or they just didn’t give a hoot, a damn… nor a flying fig!
“The most courageous act is still to think for yourself. Aloud”-Coco Chanel
Stars like Bette Davis, Barbara Stanwyck , Joan Crawford and Ida Lupino managed to keep re-inventing themselves. They became spirited women with an inner reserve of strength and a passion for following their desires!
The following actresses and their immortal characters are in no particular order…!
In honor of the 40th anniversary of Robert Ryan’s death July 11, 1973 with a special nod to Karen & The Dark Pages for their spectacular tribute to this incredibly real man!
“Ryan was unfailingly powerful, investing his tormented characters with a brooding intensity that suggests coiled depth. Cut off from the world by the strength of their ‘feelings’ his characters seem to be in the grip of torrential inner forces. They are true loners. Ryan’s work has none of the masked, stylized aura of much noir acting. He performs with emotional fullness that creates substantial, complex characters rather than icons.” –Foster Hirsch-FILM NOIR: The Darker Side of the Screen
ClearlyRobert Ryan’sinfinite presence in film and his numerous complex characters manifest an embracing universal ‘internal conflict’ of masculinity. I tribute certain roles the actor inhabited during his striking career. Though he was cast more often in the part as the imposing heavy, the depth and breadth of Ryan’s skill with his rough-hewn good looks should have landed him more roles as a lead male capable of such penetrating levels of emotion. He had a depth that suggests a scarcely hidden intensity smoldering at the surface.
A critic for the New York Times reviewing Act of Violence (1948) wrote about Robert Ryan’s persona as the madly driven veteran bent on revenge, Joe Parkson calling him “infernally taut.”
Frank Krutnik discusses ‘Masculinity and it’s discontents’ in his book In A Lonely Street,“In order to make the representation of masculinity in the noir thriller, there follows a schematic run-through of Freudian work on the determination of masculine identity.” Claiming Freud’s work can be co-opted into film with an emphasis of it’s relevance to analysis of the cultural machinery of patriarchy.” He discusses patriarchal culture which relies heavily on the maintenance of a gender-structured ‘disequilibrium’ with it’s roots in the myth of the Oedipal Complex. Involving not only the power-based hierarchy of male service to masculine power but the established normative gender values which inform both the male and female figure.
Many of the characters in Ryan’s noir world are informed by a cultural ‘determinacy of the phallus’ that authorizes toughness and strips the limits of desire as an obligation to masculine identity. Patriarchal power structure predetermines a fixed and limited role that creates a destiny of submission and impotence in Ryan’s characters. But within the framework of these extreme male figures lies an intricate conflict of varying degrees of vulnerability and fragility.
Ryan manifests this duality within hyper-masculine characters. Outwardly physical, confrontational, and hostile, Ryan is a master at playing men who suffer from alienation and inferiority surrounding their own ‘maleness’ and self-worth. He was never just a dark noir brute or anti-hero but a complex man actualized through layers of powerful dramatic interpretation. His performances suggest a friction of subjugated masculinity bubbling within.
The trajectory of the male through the Oedipus Complex encompasses the male subjectivity which is a principle issue in the noir ‘tough-thriller.’ The ‘existential thematic’ link to the Oedipus myth concerns questions of male desire and identity as they relate to the overarching law of existing patriarchal culture substituted for the original fearsome ‘divinity.’ This element is one of the driving psychological themes underlying in any good classic film noir.
In this post I put my focus primarily on Ryan’s characters within the framework of each film and while I discuss the relationship between him and the central players I do not go as in depth as I usually do discussing his co-stars or plot design.
I apply this thematic representation to much of the roles engendered in the films of Robert Ryans‘ that I’ve chosen to discuss here. A patriarchal power structure establishes the tragedy of man’s destiny, a fixed and limited role in the character’s own destiny as there is a predominant power that threatens them into submission and sheds light on their own impotence. So many of the noir characters in a Robert Ryan noir world are shaped by a cultural authority structured through ‘determinacy of the phallus’ that authorizes toughness in the male identity that strips away the limits of desire, as an obligation to ‘masculine identity.’
I’m focusing on particular Ryan’s roles within a noir context that depict archetypal hyper-masculine tropes and the problematic strife within those characters. Whether Ryan is playing the deeply flawed hero or the tormented noir misfit, his characters are afflicted with an inherent duality of virility and vulnerability, an inner turmoil, alienation, persecution and masochism. It’s a territorial burden that Robert Ryan so effortlessly explores.
These films show Ryan’s trajectory through forces of menacing restraint and poignant self-expression. Within a noir landscape, the schism of stark virility and tenuous masculinity exposes the complexity of alienation, masochism and frailty. Robert Ryan’s performances are a uniquely fierce and formidable power.
Within the framework of these ‘extreme’ male figures lies an intricate conflict with varying degrees of vulnerability & fragility within the male psyche. The narratives don’t necessarily flesh out this conflict plainly, but Ryan’s performances certainly suggest and inform us about the friction of this subjugated theme bubbling to the surface as he manifests the duality within his hyper-masculine characters. Robert Ryan was a master at playing men who suffer from alienation and inferiority surrounding their own ‘maleness’ and self-worth.
Ryan is never just a dark noir ‘brute’ or anti-hero but moreover a complex male who is actualized through layers of powerful dramatic interpretation. A complexity of stark virility and ‘tenuous maleness’ as the narrative witnesses Ryan’s trajectory transforming him through various dynamic forces of menacing restraint and poignant self-expression. Outwardly physical, confrontational, hostile and ultimately masculine, and the schism that is inwardly emotional, alienated, self deprecating, masochistic and fragile within the film noir landscape. Robert Ryan’s performances still maintain a uniquely fierce and formidable aesthetic of the ‘suffering-marginalized man.’