Which proves my old theory...
... Germans LOVE Ernest Chappell!
|Comments on Which proves my old theory...|
Joined: Mar 14, 2003
Total Topics: 73
Total Comments: 251
Posted Mar 06, 2004 - 5:57 PM:
While using the google.com search engine, I ran across a German page that discusses old radio shows and has some nice things to say about QP. Google attempted to translate the text and I thought I'd post the rather amusingly warped English version here:
1947-1949: QUIET PLEASE
Wyllis Cooper that itself already by early productions of LIGHTS OUT a place in the resound OF Fame radio of the horror earned, created with QUIET PLEASE a series, which differs from all different, which are mentioned here, strongly.
On the one hand it concerns a pure horror and Science Fiction row, whose Stories leaves the usual Crime and Detective materials unaffected, on the other hand becomes a consistent vision of shower poetry noticeably, which does not know a comparison.
Technically the Shows is not more complex than e.g.. DR. WEIRD. The musical company is a simple organ, the sound effects is meager, and occupation is often limited to only one actor. Ernest Chappell, actually announcer and moderator of a Quiz Show, carry the action usually completely alone, told in the first person and refer the alleged listener often directly into the happening. It is to be owed to its voice (and Coopers inspired and tremendously close Scripts) that QUIET PLEASE of many as the best radio horror series of all times is regarded.
In each case it concerns certainly the literarily high-quality series, because the horror is seized not from the Gruselkabinett of common materials and motives and by dramaturgischen cheats and effects blown up, but develops alone from the often suffering and mischief-heavy monolied to the main figure here.
Often this Monologe contacts the listener directly, places questions or answers to imaginary comments. Cooper's stories isolate their storyteller, so that the listener has soon already the feeling that more todgeweihter it entrusts itself to him here and Chappell's voice lowers itself so deeply into the soul that one preserves soon no more doubt to have to divide the inevitable fate.
Where LIGHTS OUT takes us only the view, in order in the darkness everything cheats and tricks to use, to hunt wet rags and rubber gloves Schauder over the backs QUIET PLEASE of us requires us with quills only to be quiet because Cooper knows the words and stories, which wake our fears. QUITE PLEASE ran only two years and did not find at that time not many listeners. To appreciate only today white one the bizarren qualities of this fantastic series.
Outstanding productions: Incoming goods
[WE WERE HERE FIRST] WERE HERE ROOFRIDGE in zynischem clay/tone tell a voice to a child warning of?denen? and how?sie? slowly even cause their fall. Strange allusions on a concentration camp on behalf of new jersey and the moerderische nature of the dominant giants (?But the more bigger they GET, the more harder they case!?) first of an extraterrestial invasion of the earth, but soon we let the listener think clearly that the storyteller is not by any means human. As in some other stories here an action in the center, but an atmospheric view also not really stands of deep poetry. Incoming goods WERE HERE ROOFRIDGE pull the moral Essenz from the b-Movies of the 50's, more than 10 years before these develop.
SHADOW OF THE WINGS a nut/mother fears for the life of its small, ill daughter. The girl is visited meanwhile by the angel of the death, which is to take it with itself. But the girl asks it to tell before still another history. The Story would have delivered perfect, morbide Weihnachtsgeschichte (it ran however in April!), and the bitter sweet one of action and dissolution could have glided easily in Kitsch. Coopers Script and the voices of Chappell and above all the small girl complement each other however so closely that one cannot lock its heart simply.
THE THING ON THE FOURBLE BOARD of an at night at a remote oil drill location is pulled a strange, alive thing from the depths of the earth. Although actually not much more can be said to the action (at least not, to cause without which ingenious work damage), applies this radio play far away than best horror radio play of all times! The Story lies far from all common plates, production is oppressively schauerlich, and the Pointe meets the listener in such a way that it does nearly pain. A quiet, bad masterpiece!
The original German page is here:
Joined: May 21, 2014
Location: Tybee Island GA
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Posted Jun 06, 2014 - 5:30 PM:
Obviously I've been browsing back here and reading old post,..
I hope it's not inappropriate to revive an decade old thread.
After reading the google translation of the german review which MS had posted above, I got curious and pulled up that old link on the internet archive to see how much the "google translator" may have improved in the last ten years..(web.archive.org/web/200501...m/kingdom/02/radio_02b.htm)
Here is how google translates the same article now: ( a little better, but still odd)
1947-1949: QUIET PLEASE
Wyllis Cooper, who has already earned by the early productions of LIGHTS OUT a place in the Hall of Fame of the radio Horrors, created with QUIET PLEASE a series, which is very different from all the others that are mentioned here.
For one, it is a pure horror and science fiction series whose stories have the usual Crime and Detective fabrics untouched, on the other hand a consistent vision of showers poetry is felt that knows no comparison.
Production wise the shows are no more complex than eg DR WEIRD.
The musical accompaniment is a simple organ, the sound effects are sparse, and the cast is often limited to a single actor.
Ernest Chappell, actually announcer and host of a quiz show, the plot usually wears all alone, told in the first person and refers to the supposed audience often directly into the action with a.
His voice (and Coopers inspired and immensely dense scripts), it is thanks to them that QUIET PLEASE is considered by many as the best radio horror series of all time.
In any case, it certainly represents the literary highest quality series, because the horror is not used here in the Chamber of Horrors familiar themes and motifs and inflated with the help of dramaturgical tricks and effects, but arises solely from the often suffering and sinister heavy monologues the main character.
Often these monologues apply directly to the listener, ask questions or even respond to imaginary comments.
Cooper's stories isolate its narrator, so that the listener soon have the feeling that entrusted to him here a fey, and Chappell's voice sinks so deeply into the soul, that you soon no doubt cherishes it, having to share the inevitable fate .
Where LIGHTS OUT takes us only the view to use in the dark all the tips and tricks chasing us with goose feathers, wet cloth and rubber gloves shiver down my back, demanding to be just quiet QUIET PLEASE from us, for Cooper knows the words and stories that awaken our fears.
QUITE PLEASE only ran for two years and was not at that time many listeners.
Only today we know to appreciate the bizarre qualities of this fantastic series.
WE WERE HERE FIRST
In a cynical tone, a voice tells a child warning of "them" and how "they" slowly even bring about their downfall.
Strange allusions to a concentration camp called New Jersey and the murderous nature of the ruling giants ("But the bigger They get, the harder they fall!") Leave the handset on first to an alien invasion of Earth think, but we soon clear that the narrator is not human.
As in several other stories also stands here not really a plot, but on an atmospheric
observation of deep poetry. WE WERE HERE FIRST draws the moral essence of the B-movies of the 50s, more than 10 years before they arise.
SHADOW OF THE WINGS
A mother fears for the life of her small, sick daughter.
The girl, meanwhile, is visited by the angel of death, who is to take it with you. But the girl asks him, before even a story to tell.
The story would have made a perfect, morbid Christmas Carol (but you ran out in April!), And the bitter sweetness of action and resolution could easily slide into kitsch. However, Cooper's scripts and the voices of Chappell and especially the little girls complement each other so closely that you simply can not ignore his heart.
THE THING ON THE BOARD FOURBLE
One night at a secluded Ölbohrstelle pulled a strange, living thing from the depths of the earth.
Although actually can not say much more to the story (at least not without causing damage to the ingenious work.), This radio play is widely regarded as the best horror radio drama of all time!
The story is far from all the common clichés that production is horribly depressing, and the punch line hits the listener so that it almost hurts.
A quiet, evil masterpiece!