Happy 50th Anniversary, Night of Dark Shadows

[Mysterious Benefactor]

I have no idea if John Solie also did the B Poster. Many aspects of the rotting faces of Angelique do look different -

- but that doesn't mean that the same artist can't change an image to suit the look they want in seperate pieces of work.

The interesting thing is a representation of Angelique's head in some upcoming posters/newspaper ad almost looks like a combination of both. But more on that once we reach that point...

More to come...

 

[Mysterious Benefactor]

... I've never come across a B&W version of the B Poster. But, of course, that doesn't mean one doesn't exist. And there are both color and B&W versions of the hoDS B poster. Though even that doesn't necessarily mean anything regarding NoDS...

Although, one thing that I've always found very interesting ever since the first time I saw it is that, rather than a version of the A Poster, the cover of the NoDS Pressbook goes with a grayscale of the B Poster's artwork and logo, minus the taglines and credits:

(Click here for a 1000X1568 version)

However, that's only part of the story - and that story will be picked up in a subsequent post after we've dealt with a few other things.

More to come...

 

[Mysterious Benefactor]

Revisiting yet more of how Scene 111 is scripted in DC's script:

After Alex warns Quentin that he thinks Tracy is in danger, Scene 111 continues with today's quote -

Page 52/Scene 111 - Quentin: 'Are you trying to tell me I could drown Tracy? I'm not going to listen to anymore of this. I am in complete control of myself. Have you mentioned any of this to Tracy?'

- coming up, followed by the script continuing with:

ALEX Not yet.

And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's notations indicate that the camera switches to a close-up of Quentin after Alex tells him his theory that Tracy is in danger and then things shift to a 2 shot after Quentin asks if Alex has mentioned anything to Tracy. Though, as we've learned from scenes in the shorter versions of the film, we can't necessarily blah, blah, blah, blah.

   And so far as "today's quote" goes, it is indeed today's, February 2nd's, this time around.

 

[Mysterious Benefactor]

As I shared with the A Poster, a gathering of the main ads based on the B Poster - and just as with the A Poster, they vary from minor differences to major differences:

(Click here for a 1233X2524 version)

Though unlike the A Poster, none of them are the same layout as the one sheet B Poster.

I've never come across any theater that placed either AD MAT NO.104 or NO. 105. Though those sorts of ads for other films had appeared numerous times in newspapers like The New York Times. (And an interesting thing regarding hoDS is that its pressbook also includes two 1 column ads, however, the longer one is only 100 lines and the shorter is only 74 lines.)

More to come...

 

[Mysterious Benefactor]

And two other ads based on the B Poster, featuring both elements of it, that are also included in the NoDS Pressbook:

With AD MAT NO. 204 notice how they clipped off part of the blood running from Collinwood to fit the logo.

More to come...

 

[Mysterious Benefactor]

Here are several ads I've already shared that feature both elements of the B Poster - and it's easy to tell which AD MAT the theaters went with for their ad(s)):

In my area NoDS only opened that first week in a drive-in in RI and it didn't begin showing until 10 pm (which is why I've waited until now to post this topic):

That was too late during the week for my mom to take me and my best friend at the time because she had to go to work. So I had to wait until Friday night (August 6th). (And you might wonder if that was a burden for my mom to take two 15-year-olds to see horror movies at the drive-in - but it actually wasn't because, as I've mentioned before, my mom was also a DS fan, so she was looking forward to seeing the film.)

I didn't get to see NoDS at an indoor theater until the week of August 25-31 when it came directly to my city in MA. And you'd better believe I saw it multiple times that week. 

An ad from the August 3rd issue of the Providence Journal:

...

(Click here for a 720X560 version)

...

... my area ... opening day ad ... version of the B poster:

...

Before moving on to new things, I'd like to point out that NoDS played in several different areas of the country throughout August of '71. Obviously it played in my area both the weeks of August 4-10 and August 25-31. But thanks to our very own KMR we know that it also played in MI the week pf August 4-10. And thanks to a sample of newspapers once auctioned off on the Heritage Auctions Web site, it's known that NoDS played in Memphis, TN and surrounding areas the week of August 11-17. And thanks to a posting of a NoDS newspaper ad on Pinterest, it's known that it played in and around Philadelphia, PA as well as parts of NJ the week of August 18-24. And thanks to an interview with Grayson and Sam Hall that appeared in the San Francisco Examiner that was also posted to Pinterest (in two parts: part 1, part 2) it's known that NoDS played in the San Francisco, CA area the week of August 25-31.

...

A few things of interest -

• ...
• Like Massachusetts, apparently NoDS played in Pennsylvania at different periods of time. As I've posted, NoDS played in Massachusetts the week of August 4-10 and the week of 25-31. And as is mentioned in the above quote, NoDS played in Pennsylvania (and parts of New Jersey) the week of August 18-24. But thanks to the ad I've posted above, it also played in Pennsylvania the week of September 1-7, which is the reason why I'm posting the ad today. (The Lincoln Drive-in was located in Trevose, PA.)

And speaking of that first week in Pennsylvania (and parts of New Jersey), I have this ad:

...

 

[Mysterious Benefactor]

Three ads that I hadn't shared that also feature both elements of the B Poster - and it's easy to tell which AD MAT the theaters went with for their ad:

The above three drive-ins were all located in NY, and considering NoDS opened in NYC on October 13, 1971, chances are that's also when it played in them. Though, of course, that may not necessarily be because NoDS opened in various MA theaters/drive-ins all throughout August. But at least that October date gives an idea because no actual dates accompanied the newspaper ad.

But when it comes to the above two I'm not quite sure where they were located because a Google search brings up theaters with those names in multiple states.

And AD MAT NO. 202 seems to have been quite popular.

More to come...

 

[Mysterious Benefactor]

Wrapping up revisiting Scene 111 as it appears in DC's script -

... beginning with today's quote -

Page 52/Scene 111 - Quentin: 'All right. I'll make a deal with you. You keep your crazy theories to yourself and I'll think about it.'

- coming up, followed by the script concluding the scene with:

ALEX Okay.           QUENTIN Let's go back to the house.

And when it comes to any differences in the dialogue, the directions, and the descriptions, at this point we can't compare the script to the film because blah, blah, blah. However, DC's final notations for the scene are all related to the dialogue. Rather than Quentin saying "All right" at the outset of today's quote, DC's script has that crossed out and replaced with "Wait a minute" - and the end of today's quote is changed to "I'll think about what you said" - and rather than Alex simply saying "Okay", that's crossed out and expanded to "As long as you stay out of the tower."

And coming up in the next post will be Grayson's script's version of Scene 111...

   And so far as "today's quote" goes, it is indeed today's, February 3rd's, this time around.

 

[Mysterious Benefactor]

As promised, revisiting Grayson's script's version of Scene 111:

It's interesting how Grayson's script's version of Scene 111 is at times very similar to DC's script's version but also different. And in certain instances I actually like bits of the dialogue in the original better than the rewrite. But I'm sure they had their reasons. For one thing, the sections about Tracy being in danger are more heavy handed in the original and, to me, telegraph too much of what's to come, so it was good that those aspects were softened.

So, without further ado, the original version of Scene 111:

111    INT - LIBRARY - DAY                               111        as Quentin listens to Alex, a look of disbelief on        his face.                              ALEX                  Yes, she disappeared.  Now don't                  look at me that way.  I got there                  only seconds after.  And she was                  gone.  Then the whole place fell                  on my head.                              QUENTIN                  What are you trying to tell me?                              ALEX                  I think it was Angelique.                              QUENTIN                  OK, come on.  So you saw a girl --                              ALEX                  No, man, it's true.  That's why I                  was coming here -- to tell you what                  I found out.  Now, obviously, I've                  become a threat to her.        Quentin looks at him, just shaking his head.  Alex        looks at his reference books, puts his hand on them.                              ALEX                  Right from your own library --                  According to these, Angelique                  Collins was married to a man named                  Gabriel -- but was really in love                  with his brother, your favorite                  painter, Charles.  It broke the                  family apart.  Any of this familiar                  to you?                              QUENTIN                  Why should it be?                              ALEX                  Because of those little scenes of                  yours.                              QUENTIN                  Oh, Alex -- they don't mean a thing.                              ALEX                  Yesterday you said you wanted to                  talk about them. 111    CONTD                                     CONTD   111                              QUENTIN                  Well, now I don't.                              ALEX                  Why?  Because of last night?                              QUENTIN                  Alex -- I told you I just thought                  Gerard was a burglar.                              ALEX                  Then why were you screaming, "She's                  mine, brother.  She's mine"?        Quentin just stares at him.  He has no answer.                  I think you were acting out one                  of those daydreams.  You were                  Charles and you thought Gerard                  was Brother Gabriel.  You were                  fighting over...                              QUENTIN                  Angelique, of course.                              ALEX                  Quentin, what were you doing in                  the tower at two in the morning?        TRUCK IN ON CLOSE-UP OF QUENTIN.  He hesitates.        He is not going to tell him about the "dream".                              QUENTIN                  I was working.                              ALEX                  By candlelight?  You spend a lot                  of time in that room.                              QUENTIN                  What in God's name are you trying                  to get at?                              ALEX                  You're going to laugh at it...but                  I think you're drawn to that room.                  I'm afraid you're being taken over                  by Angelique.                              QUENTIN                  You're right.  I am laughing. 111    CONTD                                     CONTD   111                              ALEX                  Well, don't.        TRUCK IN on Quentin.                  There is no doubt that Charles                  despised his wife Samantha.  The                  book says she died of drowning                  and then he disappeared forever.                  But suppose he killed her?        Quentin looks at him as if he is crazy.                              QUENTIN                  I guess according to that logic                  then I'll try to kill Tracy --                  right?                              ALEX                  It's possible.                              QUENTIN                  Well -- but I don't despise Tracy.                              ALEX                  I think you will -- if you can't                  keep from going to that room.                              QUENTIN                  Alex, have you gone all the way.                  Now you're telling me I can't stay                  out of a room.  I have never known                  you to be so wrong before.  No                  matter what happened last night,                  I am in complete control of myself --                              ALEX                  Well, if you are, then humor your                  old buddy and stay away from there.                              QUENTIN                  All right, Alex!  Enough!...I'll                  think about it.  But you do some-                  thing for me --        Alex looks at him.                  Don't give Tracy any of your crazy                  theories.                              ALEX                  You've got a deal.

It's also interesting how "daydreams" is spelled correctly in Alex' dialogue in this version...

 

[Mysterious Benefactor]

Before we leave Scene 111 behind, I have some stills I want to revisit. First up:

Today I decided to share a candid still from behind the scenes of the shooting of Scene 111:

(Click here for a 868X600 version)

This still is shared on page 100 of the DS Companion.

And thanks to that '04 post by ProfStokes I was recently reminded again that Scene 111 doesn't just take place entirely on the railroad bridge, as the script indicates, but features -

..., Quentin and Alex walking and talking about the recent bizarre events, ...

- though I have no memory of that. It's funny that some of the recovered footage is burned into my memory (like the seance sequence), whereas I have really little memory of some of the other stuff...

 

[Mysterious Benefactor]

Plus:

Also, even though they have no relationship to Scene 111, here are two candid stills taken on the railroad bridge of Lara Parker as Angelique:

(Click here for a 700X1050 version)


(Click here for a 700X1486 version)

Though it certainly seems as if there are very few spots on the Lyndhurst estate where she didn't take stills. 

The second still above was shared on page 23 of the movies soundtrack's booklet...

(ADMIN: Edited to replace the second still with a better quality scan)

 

[Mysterious Benefactor]

With regard to Scene 111, Darren Gross posted on his Restoration Web site:

A selection of scenes cut from the 129-minute version that have been recovered:

...

On the railroad bridge, Alex tells Quentin the sordid history of Charles, Angelique, Gabriel, and Laura. Though dismissive of Alex's fears, Quentin agrees to stay away from the tower.

 

[Mysterious Benefactor]

Revisiting how Scene 112 is scripted:

And now Scene 112 in its entirety:

CUT TO: 112    INT - FOYER - DAY                                112        A worried Tracy is at the door with Alex.

And that's when today's first quote -

Page 53/Scene 112 - Alex: 'You're right. I'm worried about him. He is changing.'

- comes up, followed by today's second quote -

Page 53/Scene 112 - Tracy: 'But why?'

- coming up, followed in the script by:

Alex opens the door.

End of scene.

And so far as any possible differences in the dialogue, the directions, and the descriptions go, we'll probably never know because this scene doesn't appear in any version of the film. And there aren't any notations in DC's script for this scene.

  And when it comes to "today's" quotes, they are indeed today's, February 4th's, this time around.

 

[Mysterious Benefactor]

And now four other ads based on the B Poster, but which feature only one element of it, that are also included in the NoDS Pressbook:

I'm disappointed to say that I've never come across any theater that placed AD MAT NO. 201 as their ad. There's just something about it that I really like.

More to come...

 

[Mysterious Benefactor]

Revisiting an ad I'd previously shared which features only one element of the B Poster:

... I can't believe it took me 50 years to actually notice it. As I was going through the various newspaper ads for NoDS for a post I plan to make later in the month, I noticed something quite interesting: only the ads for drive-ins showing NoDS mentioned that they were giving away free DS souvenirs - not one ad for an indoor theater said they were.

Here's another drive-in ad that mentions it -

(Click here for a 720X562 version)
Every time I see something regarding Rosemary's Baby the first thing that always comes to mind is Mad Magazine's take on it that was called Rosemia's Boo-boo LOL!)

...

(Click here for a 192X688 version)


(Click here for a 720X254 version)

...

Now, I'll readily admit that it's anecdotal evidence from only one part of the country, but now I'm wondering if the Angelique figures and the bumper stickers were only handed out at drive-ins? I know they didn't do so when I saw NoDS at an indoor theater - but that was in late August and I figured it was because all the allotted souvenirs for New England had been handed out by then and there were none still in supply. And actually, I was told that by the owner of the theater where I saw it ...

That second ad was obviously created by the theater because there is no AD MAT like it in the NoDS Pressbook. And when it comes to the third ad the theater apparently shifted around the elements of an existing AD MAT, most likely NO. 203.

...

... only one of two ads for the Ponta Drive-in not to feature some full variation of NoDS' B poster (though it is a part variation) ...

...

More to come...