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Which proves my old theory...
... Germans LOVE Ernest Chappell!

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Which proves my old theory...
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Posted 03/06/04 - 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:


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