“I regard anyone who tries to choke me as an enemy.”
Okay, the story so far: The Dark Shadows writers have decided that they want to stick around in the 19th century for a while, because the 1897 storyline is fun and popular. Plus, it’s got great characters, not counting the ones that they’ve murdered recently, which is most of them.
So we’re currently four days deep into the 1897 Relaunch week, where they start staffing up again for another few months on this uncertain and frightening journey into the past. So far, we’ve met Aristede, a dangerous, dark-eyed rogue from the Arabian Nights, and we’ve seen the latest reboot of Angelique.
Today, another mysterious stranger strolls into town, and he’s even more mysterious than the last one. We’re going to see a lot of mysterious strangers over the next month or so; it’s like an epidemic or something.
Now, a high-quality mysterious stranger is a complicated piece of machinery; you can’t just put a hood over somebody and tell them to whisper. Actually, you can — see: Kylo Ren, from The Force Awakens — but usually, you need to work harder than that.
For Dark Shadows, the gold standard for an effective villain introduction is Nicholas Blair, who showed up at Collinwood in June 1968 and immediately started acting like he owns the place, and by “the place” I mean the entire surface of the planet Earth. It didn’t end well — Nicholas was a huge disappointment, and there was nothing to do except send him out to Widow’s Hill and engulf him in flames for no particular reason — but don’t worry about that part.
Think back to when we first met Nicholas, when everything was new and the world was filled with promises. The only thing we knew about him was that he wasn’t the person that he said he was. He showed up at Collinwood and introduced himself as Cassandra’s brother, and that was impossible. So we were drawn in, leaning forward to catch any clues that he might drop about who he was, and what he wanted.
As it turns out, he was Sydney Greenstreet from The Maltese Falcon, and what he wanted was to make Dark Shadows a lot better in the short term, and then a lot worse over a period of several months. Today’s surprise guest is also Syndey Greenstreet from The Maltese Falcon, so either the Dark Shadows writers are obsessed with The Maltese Falcon, or I am, or all of the above.
So let’s take a look at the introduction of Victor Fenn-Gibbons, as he follows the Nicholas Blair playbook.
The key to the Sydney Greenstreet intro is that he has to be way scarier than the person you were scared of yesterday. By mid ’68, Angelique was unquestionably the Big Bad; she spent four months practically annihilating the Collins family of 1795, and she was starting in on the present-day family. Then Nicholas arrived, and he just treated her like an employee, and one that he didn’t think particularly highly of.
Over the last couple days, we were introduced to Aristede, who has a terrifying Persian dagger and somehow knows all about Quentin and the legendary Hand of Count Petofi. Then Angelique sucker-punched Aristede and took the Hand away from him, because reboot Angelique is scary again.
So when we left Aristede, he was lying on the Collinsport docks, unconscious and Handless. And then things get worse.
A large man in a black cloak kicks at Aristede, and tells him to get up. Aristede stumbles unsteadily to his feet, and the man growls, “Look at me. I said, LOOK at me!” Aristede does, and the man slaps him across the face: WHAM! “You didn’t get the Hand, did you!” the man shouts. And Aristede just stands there and takes it.
Now, we don’t know a lot about Aristede yet, but the one thing that we know is that he’s physically dangerous. He has a razor-sharp dagger with an ironic name, and he enjoys using it. But Victor smacks him, and all Aristede can do is make excuses. “I’ll get it back, believe me!” he sputters, as the man backs him up against a wall.
The man talks in a whispery rasp that makes your throat hurt just listening to it. “Which was it, Aristede? Liquor, a woman, an assailant — or a combination of all three?”
Aristede tries to gain some ground. “She was no ordinary woman, Victor. She possessed powers. She almost killed me!”
“She SHOULD have killed you,” Victor thunders, “and spared me your ineptitude!”
So that’s what we know about the new guy so far — his name is Victor, and he’s a Bond villain. The criminal masterminds love tossing their subordinates around when they fail at something; it’s their main form of exercise.
The next step in the Sydney Greenstreet villain-introduction plan is to know more about the plot than the audience does. Anybody can lurk in the shadows, with a big black hat obscuring their face. The new baddie needs to give us a reason to pay attention to him, and the most efficient route is to preview some upcoming story points.
“The Hand is vitally important to someone here,” Victor says. “I suspect its power has already been used. Am I correct?” Aristede says yes. “Then it is imperative that I put in an appearance. My credentials are in perfect order. I will go to Collinwood at once.”
So he knows about the Hand of Count Petofi, the spooky plot accelerator that everyone’s been chasing around in circles for weeks. The Hand has magical powers and its own strange agenda, but we don’t know where it comes from, or who controls it, or all the crazy things it can do. Victor appears to be an expert, so he’s definitely worth keeping an eye on.
Plus, he knows that if you’re going to get anything done on Dark Shadows, the first thing you do is report in at Collinwood. That was Nicholas’ first move too, gliding through the front door and talking his way into an invitation to stay. This proves that the character has a deep understanding of how the show works, which is vital. The most powerful characters on Dark Shadows always know what kind of show they’re on.
So Victor struts in and introduces himself to Edward, announcing, “I bring you greetings from our mutual friend in England, the Earl of Hampshire!”
“The Earl of Hampshire?” Edward frowns.
Victor reaches into a pocket, and pulls out a small envelope. “He asked me to give you this. I suspect it will tell you whatever you may wish to know about me.”
Edward looks over the letter, and all of a sudden, this strange creature is an honored guest. We’ve never heard of the Earl of Hampshire before, and I bet Edward never has either. The letter must be printed on psychic paper, an incredibly useful Doctor Who device that makes everybody stop asking tedious questions like who are you, and how did you get into our undersea nuclear reactor.
That’s when we get our first good look at Victor, and will you look at that. He’s wearing a tight gray Harpo Marx wig, all teeth and curls, with round, purple-tinged magnifying spectacles that make him look like a mildly deranged owl. He looks fantastic, unlike anybody else on the show, and it’s an incredible power move. A guy has to be pretty scary to get away with a look like this. The only appropriate reaction is to back away and call for animal control, but Edward is all over him. That psychic paper really works; it must be prescription strength.
“By the way, there’s something that I should explain,” Victor says, which is the understatement of the year. “My voice. I can barely speak above a whisper. I served with Kitchener in the Sudan. The knife of a tribesman caught me just above the shoulder blade. The tip pierced my throat. Almost gave me up for dead.”
“Good heavens,” Edward says, because what else can you say.
“Splendid man, Kitchener,” Victor smiles. “Integrity. Pride. A bit too much pride, perhaps, but still — a man among men, if you know what I mean.” As it happens, I don’t have the faintest idea what he means, but that’s the mark of a top-shelf Dark Shadows eccentric — the ability to distract everyone, by explaining all the wrong things.
While he’s at Collinwood, Victor has a scene with Angelique that we don’t really need to get into right now, except to point out that this is a television show that thinks these two belong in the same room together.
Then he sashays down to the Blue Whale, to meet with his co-conspirator and co-conspire for a while. The scene starts with Aristede lighting Victor’s cigarette, which is delightful.
Victor is still dressed in his black hat, fur-lined cloak and leather gloves; he’s been in five scenes so far, and we haven’t seen him take off anything but the hat. Victor Fenn-Gibbons does not have casual days.
Aristede asks what Victor’s learned from his stay at Collinwood, and Victor says, “That the lady named Angelique may be a most formidable enemy… or a most valuable friend.”
“Victor,” Aristede sulks, “I regard anyone who tries to choke me as an enemy.”
Victor gives a throaty chuckle as he puffs on his cigarette. “The Hand doesn’t always bring out the best in people, Aristede.”
So that’s another item we can check off the supervillain checklist: Have a unique set of values that don’t quite match up with any normal person. We don’t share the same worldview as Victor, which means his responses are going to surprise us. That is the single best quality that any TV show character can ever have.
Then a young gypsy girl walks into the bar, and Victor loses the entirety of his shit. Seriously, he gets all panicky about it. “Look — over THERE!” he whispers, and his hand shakes as he reaches for his drink.
Aristede tries to reassure him, saying that it’s only a gypsy. I mean, you know how there’s gypsies all over Maine; the state is basically just one big caravan. Gypsy capital of the world, they call it. You can’t go to New England and think you can avoid running into the occasional gypsy.
But Aristede tries explaining that to Victor, and the man just falls to pieces. He tells Aristede to find out what she’s doing, and then he exits the bar and runs off into the woods, trying to get some distance between him and the folk dancing.
And that is a phenomenal power move for the character. A good supervillain needs a weakness, and gypsies is a fantastic thing to be afraid of. I mean, imagine if his weakness was snow, or eyelash mites. You can’t write a story about a man at war with his own eyelashes. But gypsies! Throngs of them, hounding him through the streets of Collinsport, banging on tambourines and reading each others’ palms! Think what an unholy racket that would make!
In fact, there’s only one possible weakness that could be better than gypsies, and the Leviathans snag it. We’ll see the Leviathans by the end of the year — they’re an incredibly boring time traveling death cult, if you can imagine such a thing, and they’re entirely disappointing, except that their one weakness is that they’re deathly afraid of werewolves. You literally cannot get a better Achilles heel than werewolves. Really, any relationship with werewolves gives a character instant curb appeal, so guess what Victor’s got.
Late in the episode, Victor meets Aristede out in the woods, and the boy’s gotten into a physical dispute with one of the local wolf men. He’s screaming for help, but Victor just stands there, calmly, and tells Aristede to get up and leave them alone.
“I am not afraid of this creature,” Victor says, “and he is not afraid of me.”
So Aristede gets up, and leaves them alone. They make a charming couple, actually. One of them is a snarling, vicious monster, and the other one is a werewolf. They ought to get along fine.
Tomorrow: The Pits.
Dark Shadows bloopers to watch out for:
At the beginning of act one, as Angelique looks through the drawing room doors into the foyer, the boom mic appears overhead.
Victor asks if Edward is at home, and Angelique says, “Why, no, I…” and then trails off for a moment. “Well, maybe he is,” she adds, looking on the bright side. “Perhaps he’s in his study.”
At the Blue Whale, when Victor sits down at the table with Aristede, the boom mic comes into view at the top left.
Aristede asks Victor, “You went to Collinsport?” He means Collinwood.
Julianka tells Barnabas, “My grandmother — my great-grandmother began the curse, when she put it on Count Petofi. She passed the secret of it on to my grandmother.”
Behind the Scenes:
Bob O’Connell returns to the show as the silent Blue Whale bartender. The last time we saw him was more than a year ago — in February 1968, during the 1795 storyline. And we won’t see him again for a while — his next appearance is in February 1970.
Barnabas communicates with Angelique through his portrait today, and he’s done that sort of thing before — but usually with a throbbing heartbeat sound, and lighting effects. Today, his call is a complicated electronic whine from a theremin. I’m pretty sure that’s the first time that’s happened, and I don’t recall if they ever do it again. It sounds awful.
Tomorrow: The Pits.
— Danny Horn
23 thoughts on “Episode 794: Victor and the Wolf”
So Victor’s scared of a pretty little gypsy girl, but confronts a werewolf like a puppy that needs to be housebroken. He needs a new pair of coke bottle eyewear.
Love Victor’s eyewear. Aside from the fact that they are prescription glasses, and not mere sunglasses, they look right at home in 1969.
As an alternative to the super-futuristic plastic stuff that was in vogue after 2001: A Space Odyssey, certain things from the Art Nouveau era were very “in”, in the late 60’s/early 70’s.
Tiffany like lamps, reproduced in good quality plastic. They may have been plastic, but they looked great. Funky eyewear, round lenses, oval lenses, in any color. Victorian jewelry was big with hippies. It was often stuff from the 1890’s, done with a modern twist.
I’ve often wondered, did Dark Shadows go to 1897, because that era was already in fashion at the time, or did Dark Shadows going there make it so? Maybe it was neither…but Quentin’s Theme got a lot of attention. That much, I remember.
Ah, the introduction today of my all-time favorite DS character, bar none. I’ve described him elsewhere a DS variation on Oscar Wilde (or at least as much of one as they could get away with on 1960s daytime television), albeit considerably more powerful and dangerous. (Then again….) I can explain more about that little theory of mine later, for to do so now would require lots of spoilers. But, as for the Kitchener business, many historians believe that Kitchener was a deeply repressed Victorian homosexual of the military variety, so having Victor mention him by name may be code-speak to the well-informed.
The whole relationship between Petofi and Aristede is lifted from the relationship between Gutman and Wilmer in The Maltese Falcon. The censors didn’t know what the word gunsel meant. They assumed it meant a gunman (that might be why Hammet used it), and that meaning has stuck. But the original definition was, “a boy or youth who is in a sexual relationship with a man.”
Yes, I do think Aristede is meant to be regarded by those “in the know” as Victor’s murderous bisexual boy-toy. As he will later say of him (but I’ll have to paraphrase since I can’t recall the exact words), “I know that he’s crude at times, but he really can be quite charming when you get to know him. And he has his uses.” We can only imagine. 😉
“Sometimes stupid, often cruel. But otherwise a good boy!”
Alas, I ran across a homophobic DS fan who refused to believe that the relationship between Petofi and Aristide was sexual. Even after I pointed out that it was lifted out the Maltese Falcon, still, he would no believe…
I’m sure it’s very purposely made ambiguous (especially considering the fact it was done pre-Stonewall) so as both to keep it “hidden” from those less open to the prospect and to allow plausible deniability. From a purely “literary” perspective, it’s not a sexual relationship since it’s not unambiguously depicted as such. But it very readily lends itself to such an interpretation — and I personally believe that “lending” was probably intentional.
By the way, I believe that’s precisely the case for The Maltese Falcon (at least the film version) as well.
Yeah, Spade uses “gunsel” as a pejorative (notice also how the kid responds to it when Spade says it — it’s not like he’d be so upset about being called a “gunman” because, well, he is).
He did tell Edward that Kitchener was a “man among men, if you know what I mean.”
I don’t think Edward knew what he meant.
Yes, precisely. Another little tip-off, I think. I believe the writers had more fun with this character than just about any other on the show.
By the way, today of course he and Angelique meet for the first time. My all-time favorite Shadows scene comes up later on — quite a few weeks from now — between these two. I can’t wait —
But Big Lou did.
I love Reboot Angelique who has an agenda beyond Barnabas Collins. It’s wonderful to see them interact as an estranged husband and wife.
I can never marvel enough at the extraordinary transformative range of Thayer David as a character actor. His Ben Stokes of 1795 may have just been Matthew Morgan 1966 squared, but ever since then he has convincingly been entirely different people in terms of appearance, speech, and mannerisms. So convincing was his Ben Stokes, with his gruff “Ayuh,” that one would be completely surprised by his T. Eliot Stokes, amazed to find that the actor wouldn’t necessarily have spoken and enunciated like Ben Stokes in real life.
And what a marvelously antagonistic character portrayal this Fenn-Gibbon(s)/Petofi is. All those close-ups of that ingratiating grin beneath such a woolen cannonball of curls. Perhaps not the leading man, but most assuredly the guiding plan. Thayer David’s most important role; here, a character actor with a leading role.
My favorite DS actor
My first taste of Thayer David’s acting and what a great role! I look at it now with astonishment. Such a talented portrayal, and terrific costuming. And of course, unending fun to watch. Only as an adult watching the show for the second time did I pick up on the coded references.
Truly 1897 is a storyline I can watch without end, and still be surprised by something each time. The creative peak of the show, to be sure.
This is a great episode for a couple of reasons. I was convinced by your post from a few days ago that the show made a late-inning decision to stick around 1897, but only after a narrative blood bath that left many main characters dead. But this seems all to the good.
I was so happy to Aristede and his daddy hanging out at the Blue Whale. It reminded me of when the show was a modestly larger canvas and I missed those days. The show ratcheted up the po-mo monster mash but lost a little of its daytime charm.
But the new trio of characters are NOT Collinses. They’re a new family(kind of), like when OLTL introduced the Buchanans, a classic daytime move to shift a show’s trajectory. That means now not everyone on the damn show lives in the same house, which brings a different kind of fresh air to the scene. This seems like a moment of good balance on the show; both monster movie and soap opera, in an improved harmony.
The second reason this episode is amazing is Angelique basically delivering the 11 o’clock number from “Hello Dolly” to Barnabas. Even the living dead need to go out and live sometimes!
May as well chime in here on the theme adumbrated in the comments section, on the probably gay relationship between Petofi and Aristede. I’m inclined to agree, because Aristede gives off a bit of a gay “vibe” (sorry) to me, though I’m no expert.
The subservient nature of Aristede’s attitude certainly doesn’t argue against the interpretation, and one doesn’t have to strain to imagine the full spectrum of behavior that might thereby be encompassed in the power dynamic between the two. Ahem…
Comparisons between “Maltese Falcon” and this subplot are spot-on, so I think we do have at least trace elements of a homosexual theme coming through here. And we certainly know that DS almost always used plots recycled from books and movies.
One thing I’m aware of now that I wasn’t fifty years ago when I last saw these shows, is the fact that several cast members were gay. The most outrageous bleed-through must be Roger Collins, who seems like the perfect urbane and sly gay sophisticate, though we are told emphatically that he’s heterosexual. I’m reminded of that sitcom from the same era in which Paul Lynde played your average married family man. Was that all an inside joke?
Also, the vampire’s bite is universally seen as sexual in nature, and I can’t recall if it ever showed Barnabas biting a man; we saw the aftermath of such an attack just the other day with the officer on duty at Collinsport Gaol (I don’t think they were still spelling it that way in 1897; same sign hanging outside that they had in 1795).
So, there may be some degree of ambiguity in the interpretation of gay or bisexual characters. When is it implied, and when is just a certain attitude coming through from the IRL actor?
I’ll be interested to see if there is more development of this subject in future comment sections.
“Today, his call is a complicated electronic whine from a theremin. I’m pretty sure that’s the first time that’s happened, and I don’t recall if they ever do it again. It sounds awful.”
Agreed. It sounds like Mars Attacks. And until I read your comment I wasn’t even sure if it was something Angelique was actually supposed to be hearing, or if it was just for the benefit of the audience.
On a side note, according to the closed captions, there are characters on this show named Quinton Collins, Mr. Sangivens, Magda La Corti (who put a “purse” on someone who lives at Collinwood), Tandora Corti, and King John Iramano. lol. I did some research and it turns out good quality closed captioning is pretty expensive. So I guess we should be grateful we have it at all (and it’s actually not as bad as it could be). Besides, it sometimes adds to the unintentional humor of the show.
My, that Julianka was a petite little thing! Victor being afraid of her is hilarious as could literally put her in his pocket.
Victor’s Coke-bottle glasses are hilarious! David Thayer is my very favorite actor as he’s so versatile. I’m glad he’s playing a better character than Magda’s husband (I can’t recall his name right now).
I’m not familiar with the Maltese Falcon so I appreciate the insights into the relationship between Aristide and Victor.
I always thought of Petofi as a Bond villain, perhaps because I knew Bond, but hadn’t seen Maltese Falcon yet. I see it now.
Thayer David is an incredible actor. Petofi is my favorite villain, possibly because he stayed a villain to the end.
Poor Thayer David! Could they have found any cheaper or tackier wigs for these past two characters? (Sandor and this new villain.) He deserved much, much better for all he brought to that show. His wigs were only rivaled by Grayson Hall’s hideous ‘doo as Natalie du Pres.
David’s Ben was impeccable and one of my favorite characters. Aw heck, all his characters are highlights. Through a couple of viewings of this phase of the show, I still wonder if Thayer David could even see through those glasses. They were obviously real, in order to make his eyes large, but I don’t think needed glasses in other roles for close-up work.
I watched this one today. Absolutely right about Barnabas summoning Angelique. That was painful…OuterLimits, classic Dr Who and My Favorite Martian mashup built up in screeching layers. Please don’t do that again or I shall throw hands at the screen.