The Hitchhiker's Guide to the Galaxy - Secondary Phase

The Secondary Phase continues some time after the events of the Primary Phase.  Arthur and Ford are still stuck on prehistoric Earth but they are trying to make the best of it.  If best of it includes drinking moonshine and trying to forget their troubles.  Zaphod has an entirely unbelievable experience escaping from the Haggunenons who have impatient chromosomes and constantly evolve into anything.  Including escape capsules.  And Marvin, the Paranoid Android.  My goodness, I love him so much!  Everything he says is hilarious!  Literally when he was screaming as he was falling, I was cracking up.  He still sounds depressed as he falls.

This phase also introduced the idea of the towel being the most important equipment a hitchhiker can carry with them, which is such a big part of the mythology of this series.  It's interesting to think that Douglas Adams only just thought of it (or maybe he thought of it and couldn't include it in the Primary Phase).  But I am proud to say that I do know where my towel is.

Douglas Adams enjoys lampooning bureaucracy, because it features memorably in the absurd, hilarious moments in this series.  You still can't get away from it - it exists in all of space.  But it makes it easy to relate to all the problems the characters go through!

I have one favorite scene in this where Arthur Dent is trying to get a cup of tea from the Nutrimatic Drinks Dispenser which analyzes your taste buds and neuropathways to come up with a drink that you would like.  And it comes up with a disgusting version of tea for Arthur.  And his refusal to give up, and his pointless attempts to get the machines to understand him goes from trying to tell them what tea is, to trying to explain why he likes dried leaves in boiling water.  The point is, machines can't do everything and they can also be a pain in the butt, which is a universal concept but made hilarious.  And maybe wasn't such a prevalent idea in the 1970s?  I wonder if people were more in awe of cutting-edge technology at that time, which is why Douglas makes a point of including it in this series.  And that scene also features an awesome song that is the company song for Sirius Cybernetics:

Share and Enjoy
Share and Enjoy
Journey through life
With a plastic boy
Or Girl by your side
Let your pal be your guide
And when it breaks down
Or starts to annoy
Or grinds when it moves
And gives you no joy
Cos it's eaten your hat
Or had sex with your cat
Bled oil on your floor
Or ripped off your door
You get to the point
You can't stand any more
Bring it to us, we won't give a fig
We'll tell you, 'Go stick your head in a pig'.

Robots aren't looking that great now.  By the way, I love singing this song randomly to myself.

The absurdity and wonder of this world that Douglas Adams created continues to grow in this phase.  There are many more interesting concepts in this (like the total perspective vortex - where if you can actually see your place in relation to the whole universe, you would go mad and elevators that can seen into the future so you don't have to press the button and make awkward small talk with the people who are also waiting for it).  This phase ends on another thought-provoking concept - who should rule if anyone who wants to rule isn't fit for it.  And apparently the ruler of the universe is a very frustrating person with ADHD.  It's sort of an open ending for this phase, which is surprising as the Tertiary phase comes 24 years after this!

My posts on:
The Primary Phase   |  The Secondary Phase   |   The Tertiary Phase   |   The Quandary Phase

Radio Hall of Fame - Jane Eyre (13 February 1944)

Radio Hall of Fame was a variety show with many different acts and performances so unfortunately the Jane Eyre portion was literally 10 minutes long (and in the middle of the program), but they did say it was an "impression" of Jane Eyre.  The sad thing about it is the great cast they put together for the "impression."  Joan Fontaine reprises her role, with the movie still out in theaters, and Frederic March takes up Mr. Rochester.

I found Joan Fontaine's voice acting to be somewhat surprising because it felt less timid then her onscreen version.  Maybe she could have taken the role in a different direction if she had the opportunity in the film.  I liked her better in this, even though there isn't too much to base that decision on.  She seemed more confident in what I heard.  Frederic March is actually a favorite actor of mine, so I might be a little biased in thinking he did an excellent job as Rochester for the little he had to say.  At least he seemed more invested in the character than some other drier, more mundane readings of the role.

The adaptation mostly had Jane narrating events, with Rochester interjecting lines.  There were no other characters voiced.  One scene that I thought was fun, was how when Jane was leaving the party, Rochester pointedly went after her, and called her back to have a little tête-à-tête.  In the ending however, instead of Jane leaving Rochester to go to the Rivers, or some unnamed far away area, Jane says she goes to Ferndean where her Aunt lives - an Aunt who didn't like her much when she was young, but was happy to see her now.  Oookay.  Obviously the Lowood/Rivers sections weren't adapted for this.  The reunion was sweet though, and overall I actually enjoyed this extremely shortened version of the story.

Listen to the adaptation

Favorite Story - Jane Eyre (22 November 1947)

Hosted by Ronald Colman, "Favorite Story" asked someone 'in the business' to pick a favorite story to dramatize.  Someone random picked "Jane Eyre" (a guy! I know I probably shouldn't be, but I'm always a bit surprised when a guy says it's his favorite book) and here we are.  

The story begins with a 'Last night I came back to Thornfield Hall' - Rebecca?  Peggy Webber and William Conrad star in this adaptation and although the script is decent (and just covers the Thornfield sections of the story) I thought Rochester was a little too stilted in his delivery, and not very emotional.  There was one part in the wedding when it is interrupted and he says "Huh?" which just sounds so funny.  It's almost like he wasn't paying attention.  Jane was too timid and retiring - she always sounded a little bit scared.  It was weird. 

But again the script is decent, especially for a half hour adaptation, and the final scenes where Jane is reunited with Rochester are probably one of the best parts of the adaptation.  Just because it is so cheesy! Jane comes back and Rochester pretends to not care and once Jane leaves, his monologue of sorrow as he contemplates his sacrifice of giving up Jane so she can have a better man, is interrupted by ... you guessed it, Jane! She was there the whole time! And now all of Rochester's logic has been wiped away because Jane knows Rochester really wants her to stay.  It's sweet, but a little too sweet.  

Listen to the adaptation

Family Theater - Jane Eyre (25 October 1950)

Donna Reed as Jane and Vincent Price as Rochester.  Yup. Vincent Price. I admit I have a slight infatuation with Vincent Price, and it started with this radio adaptation.

Family Theater's main purpose was to encourage families to pray.  It's a little odd that they put on radio plays for that purpose, but I guess they had to get their message heard somehow.  In this adaptation, the gruff and severe side to Rochester is downplayed, but the radio play is surprising faithful to the novel - well only to the Thornfield section.  This is only half an hour. Most of it is focused on Jane and Rochester's conversations, beginning with their meeting in Hay Lane. After a pretty polite beginning:
Jane: "Can I help you?"
Rochester: "Hmm? No, no thank you."

Something changes after that.  They have great conversational banter - sometimes in these radio adaptations, I feel like the actors don't really feel the meaning of the words, they just say them, and I didn't feel that way while listening to this.  And while other scenes are related in a few words by Jane's voiceovers (the party at the house for instance), they took the time to include the Gypsy scene.  In this half hour adaptation!  "Hello, Maurice Zinn?  You're the adapter for this radio version of Jane Eyre right?  Here, I've got ALL the awards to give you."  I know there are some people who don't care for cross-dressing Rochester, but I love a little whimsy, and that scene in the book has such a great emotional, tension-filled undercurrent.  And I love how it reveals so much of what Mr. Rochester is thinking.  Of course the Gypsy scene in this radio adaptation isn't quite the same as in the book, but it's a great reveal moment when you are listening to the show.

Although this short adaptation can't capture the whole novel, I found the focus on Jane and Rochester's interactions, and the great vocal performances of Donna Reed and Vincent Price to be a fabulous way to recreate the story.  Instead of trying to adapt as much story as possible, they took key scenes and worked on recreating the emotional connection between Jane and Rochester.  Donna Reed is very good as Jane - sensible and proper, but I think Vincent Price's teasing, commanding and tender performance steals the show.  And because of all that, this is my favorite of the American old time radio adaptations.

Listen to the adaptation

Lux Theater - Jane Eyre (14 June 1948)

The Lux radio show produced a couple radio adaptations of Jane Eyre, and this is the second one starring Ingrid Bergman and Robert Young.  I haven't had a chance to compare it to the earlier version from 1944, but listening to this, I'm struck by the similarities to the 1943 film starring Joan Fontaine and Orson Welles.  Lux usually adapted well known movies for their radio series, so I'm thinking that is the case for this adaptation as well.

All of my problems with the 1943 film are pretty much in evidence here.  Shortened script (the Lowood scenes are of course much shorter), Doctor Rivers replaces St. John, and is the doctor who helps Mr. Rochester out when Bertha attacks Mason.  There is also that scene where Mr. Rochester basically tells Blanche that she is a gold-digger and I suppose that it is an entertaining moment to listen to, but I would have rather had the gypsy scene!

Ingrid Bergman is a... different choice to play Jane.  Obviously she is a fabulous actress, but she does have a rather prominent accent, although it isn't terribly jarring I suppose.  I just wonder how older Jane developed it, when younger Jane did not have it (or rather when younger Jane had an American accent).  Although Ingrid did sound a bit too demure when she was talking to Rochester, her voiceovers had that touch of defiance that I like to hear and made her a better Jane in my opinion.  Robert Young as Rochester is alright I suppose, his way of conveying gruff and brusque seemed to speak in a low monotone.  I would have liked to hear more in his voice, for him to savor the words more, so in that I was disappointed.

The adaptation overall is really lighter than the original novel and even the 1943 film (which had the brooding lighting and cinematography - and Orson Welles' eyes! - to make it more Gothic).  The music used kind of reminded me of "Gone With the Wind", which didn't help evoke the tone of Jane Eyre.  As an adaptation it lacks a little, but the fact that Ingrid Bergman and Robert Young are even playing the roles kind of make up for it.

Listen to the adaptation

And on a completely different note - check out the nominations for the Book Blogger Twitter Con Awards on Parajunkee!  I'm up for best Noob Blogger so if just one person would vote for me, I'd be so much less mortified. :D  Thanks, and congrats to all the nominees!

Weird Circle - Jane Eyre

I've wanted to review all the radio adaptations of Jane Eyre that I have (Warning! I have a few!) for awhile now.  A year ago I would have put this on my website for Jane Eyre adaptations but now, I want to post them here and maybe interest a reader into listening to the episode. They are all mostly from the forties and fifties and really entertaining.  Check out all the radio adaptations of Jane Eyre here.

I'll start off with the adaptation for the radio series "Weird Circle" that aired December 26, 1943.  Unfortunately I have been unable to find any information on the cast.  Amidst the sound of rolling waves it begins:

In this cave by the restless sea, we are met to call from out of the past, stories strange and weird.  Phantoms of a world gone by speak again the immortal tale... Jane Eyre.

Dramatic much?  This should be called Weird Adaptation because it doesn't really take much from the book.  Absolutely none of the original dialogue is used, pretty much all scenes disregarded except for the interrupted wedding, goodbye faithful characterizations, and Mrs. Fairfax is inexplicably changed to Mrs. Campbell and clearly ripped off from sinister Mrs. Danvers from Rebecca.  (Rebecca the film was released in 1940 by the way)  The creep factor is turned way up by Mrs. Campbell's sneering threats, very unnerving noises coming from the attic, and a Bertha who maniacally says she likes death and fire.  But let's get back to the plot being pathetically stripped down to just include scenes that indicate 1) timid Jane has a new position as governess, 2) Something strange is going on in that attic 3) poor Adela is scared 4) Mr. Rochester and Jane have nice conversations (off microphone) but even Jane is surprised by how abruptly he declares his love, 5) Interrupted wedding, 6) as Jane is leaving she turns around and sees the house afire, and 7) she sits by Rochester's bed waiting for him to wake up so she can love him.  Wow.  I guess this vaguely reminds me of Jane Eyre.

Obviously this is a ridiculous, over the top adaptation.  It turns the multi-faceted story into a hackneyed ghost story with no ghost.  And yet I find it hilarious and very entertaining.  I'll leave you with my favorite part - twice Jane asks Mr. Rochester about the noises in the attic and this is what she gets:

Jane: Then why is the attic shut off that way?
Rochester: It saves fuel.
Jane: Well that's nonsense, the attic's heated.
Rochester: Let's say it saves fuel, and let us go with that.

Rochester: You had a nightmare probably, Jane
Jane: It wasn't the first time I heard those footsteps.
Rochester: Probably Mrs. Campbell rummaging up there.  She has insomnia at times.
Jane: Mrs. Campbell doesn't walk on all fours, Edward.
Rochester: Well, uh, probably the wind.
Jane: Adela heard it too.
Rochester: Let's say it's the wind and forget it, shall we?

Omigod what?  Jane, you are INSANE to just let those feeble answers go!   It's so terrible it's kind of brilliant!

Radio Adaptation: Clarissa or The History of a Young Lady

Clarissa or The History of a Young Lady
by Samuel Richardson
Adapted for radio in four parts by Hattie Naylor
First Aired: March 2010
Starring: Zoe Waites, Richard Armitage, Oliver Milburn, Stephen Critchlow, and Sophie Thompson

I thought I'd post some thoughts on a radio adaptation I listened to recently based on this 1747 novel. It is one of the longest novels in the English language, so maybe that is why I'm not in a mood to tackle reading it at the moment, and add to that the tragic nature of it's hapless and powerless heroine,  I much preferred listening to this radio adaptation.  Especially when it stars Richard Armitage as the devilish rake Robert Lovelace.  Oh Richard, why must your smooth baritone always indicate that you are dangerous?

The plot basically follows Clarissa who is being forced to marry a creepy old guy for his connections and to make sure she doesn't get involved with that libertine Robert Lovelace who has professed some interest in her.  Clarissa's family is surprisingly jealous of her virtue and beauty, and reduces Clarissa to desperation when she finally allows Lovelace to carry her off.  She was definitely not thinking clearly.  Lovelace's assurances that he wants only to help her get away from her family's clutches is belied by the fact that he keeps her imprisoned in a house of ill repute, and because of his own experience with the fickleness of women, has decided to test how virtuous she really is.  Oh, he finds out all right.

Richard Armitage gives Lovelace that charm that is necessary but completely unfair given how the character is completely irredeemable.  He does some truly horrible things.  And his attempts to trick Clarissa are relentless and continually inventive.  And the way Lovelace slips into his completely-for-love act is mesmerizing and odious - he is so likable and hateful at the same time.  Lovelace also continually treats Clarissa as some object to control, and Clarissa (being a woman in the 1700s) must fearfully put off his advances with appeals to her virtue and his (worthless) promises.  It's frustrating to listen to Clarissa's meekness and ineffectual attempts to get away from Lovelace, but she does have an inner strength that Lovelace can not get at and Zoe Waites captures all this fantastically in the adaptation.  The story moves along quickly, and though it is a tragic tale, I found it an entertaining listen, and loved the 1700s need to create a redemptive end for the characters.

More information on the radio serial on this wonderful Richard Armitage site