Pen & ink drawing, 15" x 19", on artist's board. Inspired by the many films and documentaries created by the noted French oceanographer, scientist, researcher & filmmaker Jacques Cousteau (1910-1997). The oceans of the world offer fabulous varieties of color, shape, form & intricate life. Artist: Glenn Tompkins
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Remembrance As a Path Toward Understanding After the young Martin falls off the spinning carousel, the effects of focused light and Bernard Herrmann's music add tremendous drama to the overall evocation of this scene in "Walking Distance." As the light fades away, one by one the children leave the darkened, now silently still carousel horses, revealing a brief gallery caught by the camera. A succession of wonderfully carved horses momentarily fills the screen, each one cast in motionless pose, as if suspended in frozen animation. Herrmann's accompanying music brilliantly underlines the emotional sadness of this powerfully reflective glimpse into the human heart. We sense Martin's coming-of-age as he grapples with these uniquely personal events, a time of intense introspection as well as a time of endearing compassion. As the music and dramatic lighting bring key elements to the foreground, Martin's father (played by Frank Overton) steps forward after meandering through the maze of carousel horses still visible in the distance. A Father Speaks to His Son The quality of Rod Serling's writing can be seen and heard in the next few moments of this luminous story. Martin's father finds his adult son sitting at the carousel's edge holding his hand to his head in anguish over the series of recent events. The dad sensitively approaches his son with the kindly spoken words, "I thought you'd like to know the boy will be alright." Here there are intimations of healing for both the physical and the hidden aspects of Martin's life. "I know who you are," the dad continues, revealing that Martin's license and identity have been confirmed through the wallet he accidentally dropped at his parent's home earlier that evening. "You've come a long way from here and a long time....How? Why? ....You know things that will happen. There's no room, no place. You have to leave here." Martin listens attentively to his father speak these heartfelt words, carefully measuring each phrase with an eagerness to fully understand his present predicament. "It was once your summer....It's his summer now," (referring to the young 11-year-old boy). "We only get one chance. Maybe there's only one summer to a customer." Instead of looking backwards, Martin's father suggests tenderly, "Try looking ahead." Martin agrees with his dad, beginning to sense the wisdom imparted to him through this intervention in time. As the carousel silently starts up, Martin hops aboard to gain another ride, this time with a smile, with renewed understanding, now on a transitional journey toward the closing scene. Final Scene of "Walking Distance" The last scene revisits the drug store/ emporium which first appeared at the beginning of this story. Martin discovers a lively perspective as he enters this crowded atmosphere in the store which features his favorite three-scoop chocolate ice cream soda. Now there is loud music, dancing teenagers, and a different soda jerk at the fountain. Initially desiring to order his favorite dessert, Martin strikes up a conversation with the fountain attendant, but then decides to forgo the treat. The attendant asks about Martin's slight but noticeable limp and difficulty in getting up from the counter. Martin says that he injured his leg when he was eleven years old and fell off a merry-go-round. The attendant says, "Merry-go-round? They tore it down....condemned it!" Rod Serling's closing narration speaks eloquently and endearingly about the almost universal desire to go home again, "...that a man might not have to become old, never outgrow the parks and the merry-go-rounds of his youth." Between Afternoon & Night in "Walking Distance" As Rod Serling begins his voice-over during the transition phase between afternoon and night at Homewood, we sense the rapidly changing pace of events for Martin Sloan in this seemingly idyllic neighborhood. Previously in the day Martin had attempted to meet his parents only to have them shut the door in his face, due to their incredulous reaction to his far-fetched claims. Now as the evening progresses, Martin finds himself again drawn to the home which he considers his own, a place which he fondly remembers from his childhood years. Under the mysterious mantle of descending darkness, Martin crosses the street and walks across the lawn of the house he once knew as a young boy. He rings the bell on a bicycle but another hand stops him abruptly, revealing the presence of Martin's father. "Back again?" Martin only wants to convince everyone that he is not lying and has proof of his true identity. As the porch light comes on, Martin's mother appears at the front door of the house, inquiring about the noise and unusual conversation on the front lawn. Martin leaps up the front steps and tries to convince his mother that he has factual personal history, a driver's license and further documentation to provide complete proof of his identity. But in an emotional scene etched with fear, fright and confusion, Martin's mother cuts off the conversation as a sign of rejection, no longer having the patience to listen to his irrational claims. To the Park Amidst the Lights & Music of a Carousel After facing his parent's rejection, Martin runs to the local Park where a carousel is brightly lit and revolving. In an incredible moment, he sees himself riding the carousel, at age eleven just as he remembers from his treasured past. Through an overhead camera angle, situated precariously high upon the carousel superstructure looking downward at the horses and children, we see the adult Martin furiously chasing the eleven-year-old Martin, as the horses prance rhythmically in motion and the carousel spins unrelentingly forward. Suddenly the young Martin falls off the carousel as we hear, "Oh my leg, my leg!" The adult Martin, out of reach of his eleven-year-old counterpart, clutches his own leg as he grabs forward in pain. There is the realization of the adult causing the injury to the child. At this moment the music of Bernard Herrmann is almost overwhelming in its power and emotional impact. Martin walks slowly toward the boy just as a sense of strong light enters the picture and the children one-by-one dis-mount their fanciful steeds. "I only wanted to tell you...Martin, I only wanted to tell you that this is a wonderful time of life for you. Don't let any of it go by without enjoying it." The carousel operator holds the injured boy in his arms and carries him away. At this moment the light fades in the distance and the children all begin to leave. As the light still focuses upon Martin (in a unique spotlight fashion), there is tremendous sadness expressed in the accompanying music. "That's all I wanted to tell you," Martin repeats as violins recite some evocative phrases in falling lines, with still shots in half-light of the various carousel horses all silently bearing witness to the tragic nature of events which have just transpired. This is one of the most beautifully expressed, carefully composed and hauntingly photographed scenes in all of the five seasons of "The Twilight Zone," a tribute to the very high production values of this series overall. Passages of Time - The Carousel & Bandstand Rod Serling's "Walking Distance" exhibits some bittersweet moments for a man in search of his past. When Martin Sloan's parents do not recognize him, there is a sense of loss and sadness at the doorstep of the home he once knew. In the next adjacent scene, we briefly meet a young man who is admiring a brand new car, freshly minted out of Detroit. As Martin takes in the shiny visage before his very eyes, the young man states that the car is a 1934 Roadster, leaving the distinct impression that this event is taking place through an incredible regression in time. Now Martin begins to understand this inexplicable excursion beyond the rational elements he initially expected via his revisit to Homewood. Atmosphere & Drama in a Series of Events The next scene is one of the most atmospheric moments ever presented on "The Twilight Zone." Having left the young man with the 1934 Roadster behind, we now realize that nightfall has descended upon the neighborhood, with church bells gently ringing in the distance. Lampposts along the street radiate their distinctive glow as interior lights fill the windows of Homewood's stately houses. At this moment I am reminded of the memorable artwork of Belgian surrealist Rene Magritte (1898-1967), an artist who often captured that otherworldly atmosphere just between sundown and early evening. One such masterpiece is entitled "The Empire of Light" painted between 1950 and 1954, a lovely composition delineating some of the enchantment and charm of this unique time of day, with the light of the sky acting as counterbalance to the positively mysterious glow emanating from streetlamps and interior houselights along the boulevard. One cannot perfectly distinguish whether Magritte has painted either a day scene or a night scene, yet the evocation of transient light remains fascinating and almost hypnotic in overall effect. Unique Perspectives Rod Serling's voice-over enters this atmospheric night scene, a moment of literary and philosophical insight adding dramatic pause toward further contemplation. "A man can think a lot of thoughts and walk a lot of pavement between afternoon and night." Here we begin to grasp this integration of varied elements, in retrospect realizing both the short and long passages of distance and time, from the country gas station to the Homewood sign to the people who live in this rather special place. Serling continues as narrator, "Memory suddenly becomes reality....Martin Sloan is back in time....his resolve is to put in a claim." Full realization of all these unusual elements will take place as Martin comes face to face with a powerfully emotional event from his childhood. A chance, a time of life and a revisit will help to clarify the hazy textures of Martin's treasured youth. The Music of Bernard Herrmann (1911-1975) One of the special aspects to "Walking Distance" is the magnificent contribution made by composer Bernard Herrmann via his evocative musical score which accompanies Rod Serling's heartfelt, wistfully remembered story. Few thirty-minute television programs ever beheld such fabulous musical composition as the gifted passages heard throughout this neatly crafted episode of The Twilight Zone. Herrmann has long held a rather distinguished place among soundtrack composers in both film and television. In 1974 and 1975 Decca/ London Records released two blockbuster recordings on the London Phase 4 Stereo label which showcased some of Herrmann's best scores for film. "The Fantasy Film World of Bernard Herrmann" features the composer conducting the National Philharmonic Orchestra in scores from "Journey to the Center of the Earth," "The Seventh Voyage of Sinbad," "The Day the Earth Stood Still," and "Fahrenheit 451." Some interesting liner notes are provided by the composer describing his designs for each individualistic score. The second disc is entitled "The Mysterious Film World of Bernard Herrmann," again featuring the composer conducting the National Philharmonic Orchestra at Kingsway Hall, London, all offered in London's superlative Phase 4 Stereo sound. This album highlights some selections from "Mysterious Island," "Jason and the Argonauts," and "The Three Worlds of Gulliver." These two albums became sonic favorites for many audiophiles, testing the full range of the audio spectrum via high-powered amplifiers, large speakers/ monitors and fine-quality turntable, cartridge & arm combinations. A Glimpse Into the Interior of "Walking Distance" After Martin Sloan finishes his conversation with the soda fountain attendant at the drug store, the scene switches to a wistful glance upon the beautiful boulevards and sidewalks of Homewood, as a walk down the street enlivens the cherished memories of a youth spent amid idyllic surroundings. The lovely trees, lush landscaping, neatly manicured lawns and stately homes instill within Martin a longing for the past as he takes in the brilliant sunlight and notices the bicycles and barking dogs of this enchanting neighborhood. A chance meeting with a young boy playing on the street allows Martin to reminisce about his early memories, but this scene ends abruptly when the little boy says, "You're not Marty Sloan...," and then runs away oblivious of the official driver's license which Martin attempts to offer as proof of his identity. Martin then walks to the park and notices an ice cream vendor whereupon he says to a local resident "Nothing quite as good as Summer, being a kid." In a wild twist of historical imagination, Martin then sees a young man carving his initials on the wooden post of a bandstand, remembering that he did the same thing at age eleven many years ago. When Martin approaches the young man, he sees that it is really him at age 11, the same way he looked at that age. The young man runs away fearful of being caught. At this point Martin decides to re-visit his old house, the place where he grew up and where his parents once lived. He rings the bell, but his parents don't recognize him. As Martin looks through the screen door at the front of the house, one notices a grey haze, a separation between the present and the past, an unbridgeable gap of understanding between the adult Martin and the young Martin we have just met moments ago. Martin Sloan finds that he is not known in this version of Homewood, far afield from the idyllic childhood which he still cherishes and remembers from his youth. "Walking Distance" - October 30, 1959 One of the most memorable episodes presented on The Twilight Zone was written by Rod Serling and first seen on television in October of 1959. "Walking Distance" features Buck Houghton as producer, Robert Stevens as director and George T. Clemens as director of photography. This finely written story stars Gig Young in the lead role along with a superbly chosen supporting cast, beautiful sets from MGM, and a superlative musical soundtrack composed by Bernard Herrmann. Themes of Remembrance, Travel & Time Rod Serling grew up in Binghamton, New York and fondly remembered his childhood experiences at Recreation Park, especially the magnificent carousel and ornate bandstand. There are moments of wistful remembrance enshrined in this remarkable episode, reflections upon travel & transportation, realizations of how distance and time may change our perspectives, and a yearning to rediscover the innocence & vitality of youth. Cars, Territory & Memories In the first scene of "Walking Distance" we see a sports car rapidly driving directly toward the camera, just about to bypass a country gas station in a relatively rural area. The driver comes to an abrupt halt off-camera and then quickly backs up to the vicinity of the gas pumps at the station. There is a bit of dust flying in the air as Martin Sloan (Gig Young) impatiently honks the horn for service, trying to gain the attention of the busy attendant in the background. We can sense this businessman's competitive spirit, his tight schedule of preordained appointments and his somewhat edgy demeanor in dealing with the tasks at hand. Rod Serling's voice-over speaks about Martin Sloan "looking for sanity up the road," seeking an "exodus" but finding something a bit different from what might be expected. The attendant says it will take about an hour to do an oil change and lube job, to which Martin responds "I'm not in a hurry." As Martin gazes toward a sign which says "Homewood - 1.5 miles" across the street on the side of the road, he rather wistfully states "Grew up there. Haven't been back in 20/ 25 years." 1.5 miles is walking distance from the location of the gas station, a trip which he decides to undertake while his car is being serviced. The Vortex of the Past The next scene features the soda fountain/ drug store which we associate with small-town America in the 1930's/ 1940's. While an overhead fan circulates in steady fashion, Martin enters this fascinating place, glancing at the fully stocked shelves, taking notice that he is the only customer in this magnificent emporium. A soda jerk emerges from behind the fountain just as Martin reminisces that the town still looks "exactly the same," a picture postcard of historic preservation. "It's funny, how many memories you connect with a place," says Martin as he enjoys an ice cream soda. He thought that everything would be changed, but it's as if he just left yesterday, "Just as if I'd been away overnight." Rod Serling (1924-1975) One of the great writers associated with live television dramas of the 1950's was the American screenwriter, playwright and television producer Rod Serling. Serling became well known for his dramatic presentations entitled "Patterns" (1955) and "Requiem for a Heavyweight" (1956). Kraft Television Theater, Appointment with Adventure, Hallmark Hall of Fame and Playhouse 90 provided Serling with a host of opportunities to share his creative vision through the writing of highly original scripts during this fertile period. Eventual awards would include the Emmy, Hugo, Peabody and Golden Globe alongside the popular notoriety gained through the ground-breaking anthology which came to be known as "The Twilight Zone." The Twilight Zone 1959-1964 Out of a total 156 Twilight Zone episodes, Rod Serling wrote the scripts for 92 stories, altogether offering a rather impressive collection of both science fiction and fantasy elements. Each week I looked forward to watching this series and then sought out alternative interpretations or individualistic impressions from my family, friends and like-minded viewers. For the first time I sensed that television could offer the very best writing, casting, photography, set design, soundtrack music, direction and brilliance of production which normally might be associated only with motion pictures or the classic films shown at movie theaters. I still find this series to offer some highly original thoughts and thoroughly imaginative scenarios, ideas capable of stimulating the creativity of the contemporary mind. A Dimension of Sight, Sound and Imagination Serling's introduction and voice-over always begin each episode with some thought-provoking phrases, ideas or tantalizing prospects. He speaks about the vastness of space, the timelessness of infinity, the "middle ground between light & shadow, science & superstition," an area which stretches from "the pit of man's fears to the summit of his knowledge." Both the introduction and the epilogue provide a personal journey into the unknown, the fantastic, the supernatural as well as the sometimes very human elements interwoven into the science fiction/fantasy genre. I find Serling's initial and concluding comments for each episode to be a recitation of some of the most vivid, memorable and fascinating lines from the entire five seasons of "The Twilight Zone." The Spectacular Sounds of the Band Organ RCA Records issued a fabulous recording of band organs in 1975, entitled "The Great French Carousel Organs," an album licensed by Erato Records of France. This recording showcases the collections of Paul Bocuse and Marc Fournier, a remarkable assortment of 9 different band organs playing a fine variety of popular tunes in a naturally splendid atmosphere. Bocuse and Fournier started their collection more than 60 years ago, carefully restoring these instruments and perfecting their mechanical integrity of performance. The results, as recorded on this album, are nothing short of phenomenal, exhibiting all the power, joy and precision of the band organ's unique textures & voices. A Splendid Sampler of Ebullient Tunes & Marvelously Preserved Instruments The Gros Orgue Gaudin performs "Perles de Cristal," "Light Cavalry Overture," "The Thieving Magpie Overture," "William Tell Overture," "Jalousie," "Under the Double Eagle," and "Ain't She Sweet." This is a very large instrument which displays the formidable sound of quite a marvelous orchestra, offering wave upon wave of musical joy, mechanical precision and splendor of memorable character. The recording also features many varieties of Limonaire, Dussaux, Lemoine and Mortier mechanical instruments, each exhibiting its own delightful sonic signature so beautifully captured by the recording engineers. The Limonaire with 66 pipes plays "Valencia" in a remarkably upbeat and exuberant manner, showcasing its rather robust sound with beautifully integrated percussive effects. The Limonaire with 56 pipes and xylophone plays a lovely version of "Rose Marie," and the Mortier performs positively dazzling versions of "Boum" and "America (from West Side Story)." Works of Art in Decoration, Wood-Carving & Colorful Ornamentation The Limonaire with 52 pipes and xylophone exhibits three carved figures standing in front of the opening to the interior woodwork, flanked by drums, cymbal, decorative panels and a light color to the paint scheme. The Mortier reveals a nice set of red drums placed in front of wooden pipes with a neat Art Deco sign overhead. The Petit Limonaire offers a lovely painting on its front facade with drums encasing a set of pipes on its rather petite frame, while the Lemoine showcases its rich chestnut stained woodwork surrounding elaborate lettering, carvings and artwork. Many of these band organs also feature gilded lettering and ornamentation, attributes which allow these instruments to shine and glow when seen in the proper atmospheric condition. The Carousel at the New York 1964-65 World's Fair In 1964 and 1965 I attended the New York World's Fair with a couple of my friends from New Jersey, taking a bus and then the subway train to Flushing Meadows in Queens, NY. We marveled at the incredible variety of pavilions and international exhibits at the Fair and took in the fabulous sights along the adventures of the day. One of my favorite places at this event was called Carousel Park at the Lake Amusement Area, a unique site dedicated to the showcasing of a rather beautiful vintage carousel & band organ. The carousel had been assembled from two different structures, a frame built by William F. Mangels for the 1908 Stubbman's Beer Garden Carousel at Coney Island, and masterfully carved horses from Charles Feltman's 1903 Carousel also originally from Coney Island. A Work of Art & Rare Examples of the Woodcarver's Craft Feltman's horses were simply splendid specimens of a rare & imaginative art, including 71 horses, 1 giraffe, and 2 chariots decorated and hand-carved with exuberant flair and consummate skill. The horses and other animals were the handiwork of Marcus Charles Illions, a master-carver who had trained at Walter Savage's London wood-carving shop. All of these horses and animals were mated to the William F. Mangels frame, the original 1908 Stubbman's structure which had been rebuilt in 1923. Military Band Organs & Their Joyous Projection of Sounds Two military band organs were installed at Carousel Park to provide music for this historically preserved merry-go-round. The Valdkirch was manufactured by the Gabebruder Organ Fabrik in Germany and featured 450 reeds along with woodwind & brass sections. An on-location recording made by Quote Records featured some of the fabulous music offered by these impressive mechanical marvels. Some of the selections offered on this LP album are "Brother Can You Spare a Dime," a couple of waltzes & marches, "In Apple Blossom Time," "Over the Waves," "Light Cavalry Overture," "Sweetheart, Sweetheart," "Beer Barrel Polka," and Rossini's "Una Voce Poco Fa." In this rather atmospheric recording you can occasionally hear an airplane fly overhead and a couple of workman's voices apparently captured by the open microphones. On a good stereo system you can crank up the volume and momentarily relive the the power and joyous projection of these marvelous instruments. Present Day Location of the 1964-65 NY World's Fair Carousel A permanent home for this carousel was established at Flushing Meadows/ Corona Park in 1968. A restoration project was begun in 2012 to last the next 10 years. The location is now known as Fantasy Forest with the carousel taking the place of honor in the present Park's magnificently preserved space and design. May riders of all ages continue to savor the beauty of the dazzling lights, the thrill of the regal steeds and the majesty of the band organ's resonant reeds. Visions & Memories From Storied Amusement Parks Liberty at Olympic Park in Irvington/ Maplewood, New Jersey The carousel at Olympic Park was named Liberty and quickly became my favorite merry-go-round, one of the primary joys of my early childhood. The Philadelphia Toboggan Co. assembled this carousel in 1914, a masterpiece of the wood-carver's art matched to a European band organ which played delightful marches, popular melodies and light Classical pieces. Liberty served from 1929 until 1965 when Olympic finally closed its doors after completing its final season. This carousel was housed in a beautifully constructed wooden pavilion which sported many small windows and a set of large entry doors. The large enclosure area inside the pavilion allowed the music to reverberate and resonate amidst the tall wooden rafters, imparting a sense of extravagantly delightful music emanating from a spacious concert hall. The sense of light was almost overwhelming to the visual eye, with thousands of brightly lit bulbs decorating Liberty's impressive exterior. There were paintings and colorful decorations in the inner portion of the carousel and also completely surrounding the upper portion of the superstructure. The horses themselves were marvels to behold, shining steeds in bright and fabulous hues, offering a staggering array of reigns and saddles and decorative accouterments. Perhaps the most endearing feature of Liberty was its fabulous band organ, a magnificently carved and decorated mechanical musical instrument which played fantastic tunes along with percussion accompaniment and miniature dancers. I always drew as close as I could to feel the brilliant vibrations sounding forth from the rhythmic music, sensing each brush of the cymbal and the thundering power of the bass and snare drums. This was high-spirited music which lifted the listener up to extraordinary realms of palpable joy. |
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