An accordionist's blog on music, art & life - Fanfares & Reveries

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Annie Laurie on the Vintage Hohner Tango II M Accordion

8/27/2014

A traditional folksong played upon my vintage Hohner Tango II M accordion, a 3/5 reed instrument in LMM configuration. Words and music by William Douglas and Lady John Douglas Scott, written in 1685. The sheet music is from the Folksong Fake Book published by Hal Leonard. This song appears in the 1945 film "A Tree Grows in Brooklyn" (Lazos Humanos), directed by Elia Kazan. James Dunn (as Johnny Nolan) sings this song and plays an upright piano for Dorothy McGuire (as Katie Nolan), while Peggy Ann Garner (as Francie) and Ted Donaldson (as Neeley Nolan) look on. Other notable players in this film include Joan Blondell as Aunt Sissy, Lloyd Nolan as Officer McShane, and James Gleason as McGarrity. The story takes place in Brooklyn in the year 1900 and is superbly directed and photographed with superlative performances by the entire cast.

Hohner produced the Tango model between 1953 and 1961. It has a very strong wooden frame and distinctive German reeds. It is lightweight enough to allow the player to stroll with the instrument, especially at a restaurant or wedding or public gathering. This design features 34 treble keys and 96 bass buttons, somewhat smaller than the typical 41/ 120 treble key and bass button configuration.

This Hohner features a rather sweet sound on traditional folk music and is versatile enough to play just about any genre of music from contemporary to Classical. The scene where Johnny Nolan sings this song to Katie Nolan (James Dunn and Dorothy McGuire in "A Tree Grows in Brooklyn") remains one of the most dramatically moving moments in this 1945 Elia Kazan film. All of the players in this film offer superlative performances, especially James Dunn who won an Oscar for his memorable portrayal of an imaginative artist and loving husband struggling to provide for his family. Equally impressive in their respective roles are Dorothy McGuire and Peggy Ann Garner as well as the rest of the cast. One feels the anguish of the artist's soul as Johnny pours out the poetry of his spirit in "Annie Laurie," reaching for the beauty and release of the gift of music in a moment etched in time.

Mysterious Island (1961) - Part Two

2/17/2014

Pen & ink w/watercolor, 11" x 14", G. Tompkins

Dramatic Events & Exotic Atmosphere
During the storm sequence over the Pacific Ocean, the rapidly descending balloon is pushed further westward toward an unknown island. We catch a brief glimpse of some rocks in the distance as one of the crew announces the sound of waves crashing against the shore. The group remains in a precarious position above the churning waters below, as rain continues to lash the balloon amid furious winds and the threat of impending disaster. Capt. Harding falls from the rigging and hits the water, followed by Herbert and then Mr. Spilitt who says he will swim all the way to shore. Neb and Sgt. Pencroft are the only two left holding onto the balloon's rigging as they are finally dragged up onto the sandy beach. The following scene opens upon a magnificent beach as the survivors begin to search for Capt. Harding. The matte painting is sensational in this beautiful portrait of a tropical island, with fluttering seagulls waving about and huge volcanic mountains in the distance. The atmospheric flavor breathes with incredible color, splendid detail and verdant tropical majesty. Full credit for the masterfully created scenes in this film would have to include William C. Andrews (Art Direction), Francisco Prosper (Construction Coordinator, Art Department, uncredited), Ray Harryhausen (Creator of Visual Effects), Vic Margutti (Special Photographic Effects, uncredited), Wilkie Cooper (Cinematography), Cy Endfield (Director), Charles H. Schneer (Producer), and Bernard Herrmann (Music, with the London Symphony Orchestra).

Making a Home on the Island & Exploration of the Landscape
In order to restore stamina for the crew after finding Capt. Harding, Mr. Spilitt cooks up a batch of giant oyster stew "seasoned with seaweed." There is some speculation amongst the survivors as to their exact location, perhaps Figi or New Zealand. Capt. Harding narrates the evolving story via his detailed observations delivered through the accompanying voice-over. "The landscape everywhere was a mixture of the strange and the beautiful." Volcanoes stand surrounded by tropical palm trees and sandy beaches, all of it "a riot of wonderful hues and fantastic colors." The Captain relates that there is "no evidence that man had ever set foot here before." Towards an exploration of the interior of the island, a stream and a magnificent waterfall appear in the midst of a lush tropical forest, again the results of spectacular matte painting. The survivors manage to battle a giant crab and win the fight when the creature falls into a hot geyser along the beach. We catch glimpses of a realistic volcano in the distance, which Capt. Harding orders the crew to scale in order to better observe their present location. In managing to climb to the summit of the volcano, Mr. Spilitt finds a pleasant surprise. "Giant mice!" he exclaims upon finding a herd of wild goats, all of which are dutifully pressed into service. Looking into the mouth of the volcano, one can perfectly visualize both the splendor and the terror of this genuinely awe-inspiring phenomenon.

Classic Film: Mysterious Island (1961)

2/11/2014

Arizona often imitates an exotic scene from Mysterious Island.

A Memorable Fantasy Film in the Science Fiction Genre
Cy Endfield directed "Mysterious Island" with a screenplay written by John Prebble, Daniel Ullman and Crane Wilbur, loosely based upon the original novel by French author Jules Verne (1828-1905). The cast is comprised of Michael Craig as Capt. Cyrus Harding, Joan Greenwood as Lady Mary Fairchild, Michael Callan as Herbert Brown, Gary Merrill as Gideon Spilitt, Herbert Lom as Capt. Nemo, Beth Rogan as Elena Fairchild, Percy Herbert as Sgt. Pencroft, and Dan Jackson as Cpl. Neb Nugent. The film was produced by Charles H. Schneer, featuring a grand music score by Bernard Herrmann (recorded with the London Symphony Orchestra), cinematography by Wilkie Cooper, Art Direction by Bill Andrews, and sensational visual effects created by Ray Harryhausen.
Opening Credits and Following Scenes
The film opens with the powerful orchestral music of Bernard Herrmann, utilizing a very large orchestra incorporating 8 horns, 4 tubas and an expanded wind and percussion section. We are swept up into enormous waves of imagination as we encounter Herrmann's vivid and spectacular score. Although Ray Harryhausen has stated that his original idea was to showcase a prehistoric concept, he indicates in the accompanying documentary that this plan was altered in order to highlight the plight of survivors on a marooned island in the Pacific, a vehicle for introducing giant creatures via the "Super Dynamation" process.
The film opens with a scene from the American Civil War as Federal and Confederate armies face one another during the Siege of Richmond, Virginia in 1865. As a storm rages outside of a Confederate prison, Federal prisoners make plans to escape, hoping to capture an observation balloon despite an armed guard and the furious windstorm aloft. The masterful set design gives a very atmospheric feel to the interior of the prison and the outer courtyard where the balloon is secured in the midst of buffeting winds and heavy rainfall. Through a clever execution of events, the Federal prisoners make their daring escape and manage to take the balloon aloft, narrowly missing a few rifle shots from the Confederate guards as well as avoiding a sharp steeple almost directly in their appointed path of ascent.
The Journey Aloft
Although Capt. Harding's plan of escape is successful, the group of escapees now includes a Confederate soldier (Sgt. Pencroft) who valiantly attempts but fails to halt the stealing of the balloon. Now there are five passengers in the wicker basket beneath the balloon, including Capt. Harding, Pvt. Herbert Brown, newspaper correspondent Gideon Spilitt, Cpl. Neb Nugent and the aforementioned Sgt. Pencroft (an unwilling participant in the grand escape). As furious winds carry the balloon further and further aloft, Capt. Harding narrates the story via a descriptive voice-over, indicating they are now "prisoners of the wind" in the greatest storm in American history. The group witnesses "forests torn up by their roots," and begins to feel "helpless in the storm's mighty grip." Capt. Harding intuitively speculates internally about ever setting foot on earth again.
Music, Storms & Atmosphere
When someone notices a large body of water below, the group decides to lower the balloon's altitude in order to investigate their exact location. After days of travel initiated by incredible winds, it is thought that they may now be over the Pacific Ocean. As the descent proves to be too fast (due to a stuck release valve), Capt. Harding heroically climbs up the craft's rigging to try to stem the rapid fall but manages only to break the valve. The group is now stuck in mid-air, unable to descend or ascend, frozen at a specific height above the ocean waters below. A storm appears, forcing the crippled vessel to be carried westward in the furious current of the moment, lashed by wind-gusts and torrential patterns of rain. The balloon tears open causing a rapid descent toward the angry waters swirling beneath the imperiled craft. Capt. Harding orders everything of weight to be thrown out, guns, food, ammunition, all in order to reduce heaviness. Everyone must climb the rigging to get closer to the balloon in hopes of jettisoning the wicker basket as a further measure of weight reduction. It is a precarious moment and Herbert hesitates as he looks down upon the violently churning sea far below. Capt. Harding orders Herbert to make a snap decision, "You climb or you drown!" This scene features a magnificent portrait of the sea and the ruptured balloon as the basket is cut loose and falls to earth below. The music of Bernard Herrmann adds immensely to the overall excitement, flavor and atmosphere of the special effects introduced by Ray Harryhausen and the artists involved in this thrilling fantasy film.

The Parks & Merry-Go-Rounds of Youth - Part V

11/13/2013

Pen & ink w/watercolor, 12 x 14", Glenn Tompkins

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."

The Parks & Merry-Go-Rounds of Youth - Part IV

11/6/2013

Pen & ink fantasy illustration

Pen & ink w/watercolor, 10"x 14", Glenn Tompkins

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.

The Parks & Merry-Go-Rounds of Youth - Part III

10/29/2013

Pen & ink with watercolor, 9" x 13", G. Tompkins.

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 Parks & Merry-Go-Rounds of Youth - Part II

10/25/2013

Pen & ink with watercolor, 8" x 11", G. Tompkins

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.

The Parks & Merry-Go-Rounds of Youth - Part I

10/23/2013

Watercolor, pen & ink, 8" x 11", artist: G. Tompkins

"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."

The Inspiration of a Great Writer

10/17/2013

Pen & ink, 7" square. Artist: G. Tompkins

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."