The disturbing tale of Mr Fritz – the haunted ventriloquist dummy of Stalag IIB
Halloween and Remembrance Day are a mere eleven days apart so it seems only fitting that I post this story regarding two of the most terrifying things a person should never have to encounter during their life – war and ventriloquist dolls.
The private collection of alternative entertainer Michael Diamond is home to some of the rarest sideshow exhibits and apparatus in the UK. Oddities such an elephant headed boy from Brading Waxwork Museum, real execution swords and axes, Houdini's handcuffs and shrunken heads are all on display in his 'Freak Room'. But tucked away in the corner, shrouded in a blanket is a display cabinet with a firmly locked door. The 'Freak Room' is now the final resting place of Mr Fritz, a haunted ventriloquist doll, who has struggled to find a home since 1945.
Not much remains of Mr Fritz. A solitary head, mounted on a piece of wooden pace stick, his face peeling and warped. As dead as he looks, some would argue that he is very much alive. Unlike most of the exhibits in Michael's collection which were acquired through considerable financial investment, Mr Fritz was given to him for free. Michael admits though that this was not initially unusual,
“Most people find dolls, especially ventriloquist dolls far too creepy. The unlucky ones end up being thrown out or locked in attics for years while others get given to collectors like myself”.
A well know WWII Militaria dealer in Liverpool approached Michael at a festival they were both working at over the summer. He had seen Michael’s travelling exhibition of oddities and thought that Mr Fritz would fit in perfectly. Mr Fritz was discovered in an Antiques Mall in Myrtle Beach, USA and once the dealer heard of the connection with a German POW camp he felt compelled to buy him and bring him to the UK. It was then that things started to happen.
The dealer, who wishes to remain anonymous, first started to notice something strange when he put Mr Fritz on display in his showroom. He would lock up for the night and come back in the morning to discover that Mr Fritz's display case door was wide open, even after it had been firmly shut. Every night it would be shut, yet every morning it would be open again. Things then started to take a more uncanny turn. Mr Fritz would sometimes have his eyes open, when they were normally closed. His mouth would also change position. The dealer tried to think of obvious explanations such as humidity, a breeze or even going as far to think that a mouse may have made a nest in his head. On closer inspection, he discovered it was neither of these things. Day after day the door continued to open so he finally taped it shut. The following day he returned to find the tape peeled back and the door open once more. He finally removed Mr Fritz from the showroom and placed him in the garden shed where he stayed for another six months. His children then reported hearing laughter from the shed as they played in the garden and nobody would dare go near it.
Mr Fritz had to go.
As soon as Michael adopted the lonesome remains of Mr Fritz, he placed him in the 'Freak Room' and immediately things started to happen. The door started to open. At first it was once or twice a week but soon the door opened every night without fail. He even discovered one morning that the display case was not only open but had moved six inches across the table. Curiosity finally got the better of Michael and he set up a GoPro camera to monitor Mr Fritz. As you might imagine, a doll that was made to entertain people was not camera shy and the following footage was shot over two nights in September 2019.
But what is the story behind Mr Fritz?
A small hand written note that accompanied the eerie doll explained that he was originally a ventriloquist doll who was used to entertain Allied POWs during WWII in Stalag IIB between 1943 – 1945.
Stalag II-B was a German POW camp situated 2.4 kilometres west of the village of Hammerstein in Poland. In 1933 it was established as one of the first Nazi concentration camps and was used to house German communists. In late September 1939 the camp was changed to a POW camp to house Polish soldiers and in August 1943 the first American prisoners arrived, having been taken prisoner in the Tunisian campaign. Over 600 US POWs were held in Stalag IIB and life was harsh, consisting of long days of hard labour on neighbouring farms with meagre rations.
Prisoners tried to overcome these hardships by educating themselves and staging entertainments such as musicals and comedy. Among the prisoners with enough energy to entertain was Private 'Billy' Booth who had been a children's entertainer and puppeteer before the war started. He had made Mr Fritz with German newspapers soaked in potato starch and painted him with a smuggled pot of pink gloss that a Polish farmer had given him which had been used to paint his daughter's cot.
For almost 18 months Billy Booth and Mr Fritz entertained the prisoners of Stalag IIB with 'in' jokes and songs. He was so good that even some of the German guards found him funny. But unfortunately on 14th January 1945, 2 weeks before the camp was liberated, Billy and nine other US POWs were taken into a field, made to dig a large pit and shot for not working hard enough.
When the camp was finally liberated on 28th January 1945, Mr Fritz was taken back to the US by a fellow prisoner and given to Billy Booth's family as a reminder of their son's fortitude and his ability to raise morale in the harshest conditions.
Lest we forget.
How Mr Fritz ended up in a US antiques mall is not know, did Billy Booth's family give him away or was he thrown out for being too 'lively'? These things we will never know. All we do know is that what remains of Billy Booth's creation is safely tucked away in Michael Diamond's 'Freak Room' where he shall remain for the unforeseeable future. And if Billy wants to open Mr Fritz's cabinet every now and again to reminisce days gone by, then Michael doesn't have a problem with that.
John Murray Spear's 'Mechanical Messiah' Discovered in Colorado Attic
In 1854, an experiment far stranger than anything in Mary Shelley’s novel took place when a New England clergyman married science and spiritualism in an attempt to build nothing less than a god. Discovered in a dusty attic in Colorado, could this be John Murray Spear’s fabled ‘God Machine’ or ‘New Motive Power’?
Those familiar with the Lore podcast may have heard of this bizarre machine in Episode 61 ‘- Labor Pains’. In 1853 work began on a mysterious machine, an experiment that has since become synonymous with the early spiritualist movement. If successful, it was believed that the machine in question had the power to “revolutionize the world and raise mankind to an exalted level of spiritual development.” It was thought that once finished, the machine itself would act as a physical body for God, a metal and copper suit to contain the divine spark. They called it the New Motive Power; Heaven’s last, best gift to man.
An Early Etching of the Mechanical Messiah
What eventually happened to this machine has become the source of legend and speculation. According to Spear, the Machine was dismantled and transported hundreds of miles to the small town of Randolph. There it was housed in a temporary structure until a mob - in a scene reminiscent of the peasants storming Frankenstein’s castle - destroyed it. However, over the years, those who believe in the creation of the God Machine have surmised that Spear and his group fabricated the destruction of the machine with the hopes of drawing negative attention away, sacrificing their credibility for the safety of the infant creation. They believe that it still exists somewhere, slowly gaining strength after one-hundred and fifty-six years in seclusion, and that one day, it will unveil itself to humanity in it’s true form : the second coming of Christ; the Metal Messiah.
Even more of a mystery if how the machine made the journey from Randolph to Colorado where it laid undiscovered for over a century. The age and likeness to the early etchings point to the possibility that this could well be the genuine ‘God Machine’. It was found during the routine house clearance of an elderly lady who sadly died with no next of kin or immediate family. Miss Akerman of Greeley, Colorado, known locally as ‘Old Lady Crackerman’ due to her eccentricity was a habitual hoarder and lived a rambling mansion on the edge of town which became home to her vast antique collection. In her will she instructed that in the event of her death, the house be cleared and all of the contents auctioned with the proceeds being donated to local pet rescue charities.
The God Machine was discovered during the final stages of clearance which had taken over 3 week to catalogue. In a locked attic in the furthest corner of the mansion, a drab stained dust sheet covered a mysterious object that would later baffle the local antique experts charged with valuing Miss Ackerman’s extensive collection.
The only clue to the origin of steampunk contraption was a brass plate engraved with ‘New Motive Power - John Murray Spear’. A quick Google search revealed that they had uncovered something that was rumored to have been destroyed over a hundred years ago.
The mass of brass cogs, dials, glass cylinders and strange clockwork systems looks like a steampunk wet dream, yet this was built long before the questionable fashion of top hats, goggles and clockwork powered laser guns was born.
So the big question is, does it work? Is this the real ‘New Motive Power’, the ‘God Machine, the ‘Mechanical Messiah’?
As far we know, the machine has been loaned from the Ackerman estate to a local Spiritualism expert where it is being tested for its authenticity. Watch this space for more news.
Hellboy reboot without Guillermo del Toro announced
It seems that Hollywood is hellbent on rebooting nearly every classic they can get their greedy hands on. After a shameful selection of half arsed reboots such as Poltergeist, Ghostbusters and a hundred versions of Spiderman it would appear that no movie franchise is safe from the Hollywood cash grab. Hellboy is up there with one of my all time favourite movies closely followed by Hellboy II : The Golden Army, yet it has been announced that the cult classic is getting a reboot WITHOUT Guillermo Del Toro as director. Hellboy II left us on a cliffhanger with Liz Sherman pregnant with Hellboy's child but unfortunately, the tale ends there for fans of the original adaptation of the Mike Mignola comic.
It's a huge shame that Del Toro didn't get the funding for a third installment and I sincerely doubt that anyone will top Ron Pearlman as Hellboy. I might be wrong but given the standard of recent Hollywood releases such as The Dark Tower, Valerian and The Mummy I don't have high hopes for this reboot. If it's not broken, why fix it?
The following article is taken from The Independent -
Despite being met with a relatively tepid box-office reception, Guillermo del Toro’s Hellboy, and 2008 sequel Hellboy II: The Golden Army, have gained a somewhat cult following.
Earlier this year, Del Toro confirmed a third instalment would not be happening. Now, we seemingly know why; the series is being rebooted, with a new director, actor, and an adult-orientated R-rating.
Hellboy’s creator Mike Mignola announced the news on Facebook, saying Neil Marshall — best known for directing horror film The Decent, along with various episodes for Game of Thrones, Westworld, and Hannibal — will direct the project.
Stranger Things actor David Harbour will play the titular character, who was previously played by Ron Perlman.
The reboot and re-launch of the series also has a title — Hellboy: Rise of the Blood Queen — and has been confirmed to have an R-rating, something that will likely bring the films closer to the darker tones of the comics rather than family-focussed Del Toro series.
The Hollywood Reporter confirmed the news, adding that comic book author Andrew Cosby, Sons of Anarchy novelist Christopher Golden and Mignola will pen the script.
According to the publication, Del Toro met with Dark Horse Entertainment, along with producers Larry Gordon and Lloyd Levin, to discuss future ideas for the series. The report details how the Mexican director wanted a larger budget, something they were not willing to offer.
Del Toro previously said of Mignola pressing on without him: "Hellboy may move into a different direction. I tried & wanted this - but, not up to me. I, for one, wish everyone involved the best of luck! "
The Dark Fairy Tale World of 'American Fable' First Trailer
If imitation is indeed the sincerest form of flattery, then writer-director Anne Hamilton’s “American Fable” registers as an eloquently constructed valentine to Guillermo del Toro, whose “Pan’s Labyrinth” provides her film with its haunting backbone. Gorgeously shot, and helmed with a sense of daring and verve that belies Hamilton’s greenness to feature filmmaking, this is a debut of obvious promise, although its story never quite rises to the level of its craft. Premiering in the experimental Visions program at SXSW, this tale of farmland intrigue as seen through the eyes of a dreamy 11-year-old has just as much arthouse potential as many of the supposedly more commercial entries in the narrative competition, though it may ultimately function best as a passport to bigger things for its gifted young director.
Hamilton’s introduction to filmmaking came via an internship with Terrence Malick on the set of “The Tree of Life,” and the director’s tendrils are visible from the very first shot, a dramatically swooning overhead view of a young girl chasing a chicken through monstrous expanses of corn stalks. The girl is Gitty (Peyton Kennedy, excellent), an imaginative, friendless grade schooler growing up in the farmlands of Wisconsin. The year is 1982, and overheard Ronald Reagan speeches place us right in at the beginning of the farm crisis, its gravity underscored by passing mentions of the rash of suicides in town.
Gitty adores her father, the salty Abe (Kip Pardue), who does everything he can to distract her from the fact that they’re in dire danger of losing their farm. Her factory-worker mother (Marci Miller) is pregnant with a third child, and Gitty’s older brother, Martin (Gavin MacIntosh), is a study in unhinged, unmodulated malevolence.
Wandering the farmlands on her bike, she makes a startling discovery: Locked inside her family’s unused silo is a dirty yet expensively dressed man calling himself Jonathan (Richard Schiff) who claims to have gone days without food. Though he’s short on details, Jonathan is a developer who’s been buying up farms in the area, and it doesn’t take long for Gilly to intuit that her own family has played some part in this kidnapping. As she begins bringing him food and books, the two develop a bond, with Gitty rappelling down through a small hole in the silo roof for chess lessons and reading sessions.
Meanwhile, Gitty’s father conducts some mysterious business with a Mephistophelean woman named Vera (Zuleikha Robinson), and Gitty begins to experience visions of a black-clad, horned woman striding through the countryside on horseback. These hesitant forays into the mythological realm — reaching a feverish peak with a flashy dream sequence — feel oddly underdeveloped, alternating between inscrutable and needlessly obvious, with a long montage accompanying a recitation of Yeats’ “The Second Coming” a prime example of the latter.
One of the strongest cues Hamilton takes from “Pan’s Labyrinth,” however, is the decision to allow Gitty’s own loyalties and misunderstandings to dictate the film’s p.o.v., and Kennedy ably carries the film on her back, radiating self-confidence while retaining an essential naivete and vulnerability; her many scenes of peering through doorways at conversations she doesn’t quite understand are beautifully played. Yet even accounting for this, the intrigue at the film’s center never makes total sense, and Gitty’s ultimate ethical dilemma — whether to leave Jonathan to his fate or put her own family at risk — never arrives with the right urgency. The shoehorned introduction of a few too many extraneous elements, especially a Marge Gunderson-esque retired police officer (Rusty Schwimmer), doesn’t help.
Working with d.p. Wyatt Garfield, Hamilton shoots the rural landscape with a transformative eye. These farmlands aren’t dusty expanses but rather humid, almost primordial jungles; individual frames from nighttime scenes in the family barn could easily be oil paintings of the Nativity. More than just cataloguing pretty shots, Hamilton builds an arresting aura of wonder and terror, of which Gingger Shankar’s haunting, teasing score is very much a piece.
The Dark Need for Modern Fairy Tales
This blog post by Meagan Navarro over BirthMoviesDeath.com has shed light on two modern fairy tale movies that totally slipped me by. With the unparalleled popularity of shows such as A Game of Thrones and WestWorld it's obvious that there is an increased adult need for some form of fantastical escapism. All facets of geek culture have experienced a renaissance over last few years that harken back to our childhood days. Board games, superheroes, role playing, fantasy movies; they all provide a temporary protective bubble that blocks out the modern world which is ironically dark and full of terrors.
As our world becomes a less pleasant place to live, we as adults create new ones to escape to. Either as a participant or simply a voyeur of these new universes, they provide the escapism we need to sooth the banality of the working day. We constantly look to the stars for new worlds where in fact we really need look no further than our own imaginations to experience the wonder of new discovery and adventure.
I do believe in fairies. I do. I do.
Once upon a time, fairy tales existed not for children, but for adults. They contained adult themes like rape, dismemberment, heartbreak and heroes that failed to triumph. Fairy tales were a means of historical and cultural preservation, which is what the Grimm brothers initially set out to do. At a time when the grown-ups grew bored of the fairy tale, Jacob and Wilhelm Grimm sought to preserve their Germanic traditions by amassing a collection of them. Ironically, the first edition of their collection was deemed too inappropriate for children, so each successive edition continued to edit out the adult content until the final edition we’re familiar with today existed. Disney heavily borrowed from the Grimm brothers in sanitizing the fairy tales, washing away the deep historical context and oft cautionary tales in favor of happier fare. Yet, dark times call for dark art, and a resurgence of fairy tale films geared toward adults might be the reminder of the past that we need to get us through our future.
Director Agnieszka Smoczynska’s stunning feature debut, The Lure, relies heavily on Hans Christian Andersen’s version of The Little Mermaid but is imbued with Poland’s cultural climate during the 1980s under Communist Russian rule. That the narrative is centered around this particular fairy tale is no small coincidence considering the significance of mermaid lore to Warsaw. Mermaid sisters Golden and Silver’s longing to see the pristine shores of America serves as a metaphor for immigration, but their journey also rings true on an emotional level when it comes to the highs and lows of first love. The nuanced layers of Robert Bolesto’s screenplay are rendered even more complex by the defiance to stick to any one genre. The result is a richly compelling Siren’s song of carnal lust, blood, and singing mermaids in a cabaret act set against a real setting of nightclubs and sadness.
Quietly released last year was Italian filmmaker Matteo Garrone’s adaptation of fairy tales by seventeenth-century poet Giambattista Basile. Well, more like a partial adaptation; his book has 50 stories and Garrone adapted only three of them in Tale of Tales. With much of Basile’s work overshadowed by Grimm’s adaptation, Garrone took the tales back to their medieval beginnings, honoring the Neapolitan history behind the stories. Whereas The Lure took on a more modern aesthetic, Tale of Tales retains a 17th century vibe. Despite appearances, though, Garrone’s film connects with modern audiences because the problems faced by the film’s characters are still just as relevant today as they were centuries ago. You know, except for the giant flea, cave monsters, or unwitting sea creature, but still. The three female-centered tales featured in Garrone’s film still apply to the modern woman - feelings of inadequacy or jealousy in both love and lust, the yearning for motherhood and the inability to let go, and the brutal sting of exposure to the outside world during the transition from childhood into adulthood. Not only did Garrone realize fairy tales are effective because they play off of common archetypes, but the real magic lies within the actual telling of the tale.
On the other end of the live-action fairy tale retellings lies Disney, an empire known for animated fairy tales far removed from their origins in favor of saccharine wish fulfillment. Good always triumphs over evil, and the princesses always get their happily-ever-after, nearly always in the form of a prince. For all of Disney’s messages about being unafraid to reach for your dreams, they seem afraid to detour from the blueprints of their animated classics when it comes to their live-action retellings. 2015’s Cinderella brought us a sweet yet by-the-numbers rehash of the 1950 animated version. As did 2016’s The Jungle Book, despite the talented cast behind it. While I have no doubt that audiences will flock to the theater in March for Beauty and the Beast, I can’t help but notice that it too mirrors its animated counterpart in every way. Disney takes more risks with their original properties, like Enchanted, but they still pay heavy homage to the classics. Disney’s fear of change isn’t baseless, though. Their intent to attract an older audience works against them, as those clinging to nostalgia likely won’t want their favorite tales altered. This is precisely the reason why we need that change.
The world is a dark place right now, and it seems to grow just a bit dimmer each day. Fairy tales bring harsh truths and cautionary tales in a digestible format while still reminding us that the world is bigger than we could ever know. They remind us that while things may seem dire, there’s still hope. Even more than that, fairy tales remind us of our heritage and bridge cultural divides. We need fairy tales like The Lure or Tale of Tales. These dark, violent, and horrific stories can allow for reflection of the past and potential course correction for the future. They can bring new truths and traditions with each subsequent telling, if we allow that growth. In a time where listening is sparse and voices are loud, the world needs more killer mermaid musicals.
Jordskott Season 2 Trailer Released
One of my TV highlights of last year is back this autumn with more eerie fairy folklore driven drama. This article from The Killing Times dissects the new 2 minute preview to see what we might expect from Henrik Björn's mystical masterpiece.
Although Swedish series Jordskott was broadcast here in the UK on ITV Encore, it did fantastically well internationally, and was sold and played out in 50 countries. It was an insane, bonkers series that told the story of Detective Inspector Eva Thörnblad (Moa Gammel), who returns to Silver Height seven years after her daughter Josefine disappeared by a lake in the woods. The body was never found and the girl was believed to have drowned. Then a boy vanished without a trace and Eva was intent on finding out if there was a link to her daughter’s disappearance. That was just the start of things: add in some ancestral weirdness with her dad, timber empire man Johan Thörnblad, witches, woodland folk and strange black liquid and Jordskott was like your traditional Scandi Noir mixed with a fairytale. Finally we have confirmation of a second series and a trailer to go with it.
Let’s check in with creator, Henrik Björn:
The teaser begins with an exclusive and complete small scene in a way that overlaps season one and two. This scene happens right now in Silver Height. It’s Jörgen Olsson, the surviving brother Olsson, who will find a car in the woods. Harry Storms car. Storm was the man who caused so much [trouble] in Silver Height in pursuit of who kidnapped the children. In the car there was the whole of Storm’s investigation and Jorgen realises that Storm has gathered information on Esmeralda (Happy Jankell). She is the same girl who Jorgen accused of killing his brother Eddie. It felt great to give the fans a little taste of jordskott-candy for Christmas.
You can see the trailer below, but what’s interesting is that the city is being framed as a major location in this second series, rather than the pretty much exclusive woodland setting of series one.
It is partly familiar and partly new. There are some places that we like to see again. At the same time, I did not stand still in season one, we’re going forward. It happens new things that need to be managed. Events of season one obviously affects the runner-up, but the new stands on its own and it is necessary.
There’s also a shot of the witch, Ylva, who seemingly died in series one. Intriguing. Anyway, filming begins in January (well, at least continues) and carries on until the summer, and Björn says that the action will pick up two years after all the drama of series one. What’s more, my favourite character – police chief Göran Wass (the brilliant Göran Ragnerstam, who was also in the equally bonkers Ängelby this year, returns).
The big question is: will we see Muns and find out who he is (I realise that to non-Jordskott watchers, this will make no sense whatsoever). More news as I get it…
If you're a Jordskott fan you may also be interested in my latest book project 'Fairy Rings & Monstrous Things' which is currently being supported via kindred spirits on Patreon.
Pan’s Labyrinth: A Decade of Fairy Tales & Fascism
It's 10 years since the release of Guillermo del Toro's compelling and deeply involving masterpiece. This terrifying and visually wondrous fairy tale for adults blends fantasy and dark drama into one of the most magical films that is still as refreshingly different today as it was back in 2006.
A celebrate this cinematic classic I share here with you a great article by Gary Shannon from TheYoungFolks.com and for you movie geeks, 15 things you may or may not know about Pan's Labyrinth.
Pan’s Labyrinth opens with a shot moving in a reverse: It’s night and a young girl lies on the floor as blood streaming from her nose begins to shrink back in. It’s striking, haunting, horrifying and tragic, when you see it for the first time you’re not completely sure what to make of it, or at least not yet. The young girl is Ofelia and director Guillermo del Toro indicates something crucial about her character. Ofelia is dying, but just as the light in her eyes begin to fade the camera zooms into their overwhelming blackness. From there we see, at a distance, a similar girl running through a vast array of ancient cloisters and spires. A narrator describes the scene but the image alone tells us all: A princess is trying to escape her kingdom of darkness, and as she ascends a spiral staircase her world becomes brighter. As she reaches the top of the staircase a bright flash overpowers her and, as the narrator describes, the princess is consumed by the sunlight and becomes a mortal.
In the next shot we see Spain in 1944. Pan’s Labyrinth takes place after the Spanish Civil War, just as dictator Francisco Franco ascends to power and, for over the next 30 years, becomes one of the country’s most maligned rulers. In a considerably less abstruse establishing shot we see a caravan of well heeled cars (for rich people), inside one of them is Ofelia, an inspirited young girl, and her pregnant mother. The two are traveling to meet Ofelia’s stepfather, Captain Vidal, the despotic head of a backwoods military compound. There he reigns over the area’s inhabitants with a rigid (and evil) authority indicating that he’s the compound’s veritable dictator. Guillermo del Toro’s world is oppressive, scary and real. So where does the fantasy come into play?
Ofelia is a bookworm who relishes in her space and freedom. So much so that when all the cars stop (to relieve her mother of a debilitating morning sickness) Ofelia veers from the caravan’s path. Deep in the woods she encounters a strange insect which, in fact, happens to be a fairy. One night the fairy visits Ofelia and, urging her to come with it, she follows it to a stone labyrinth hidden in the wooded outskirts of the compound. There she meets a weird being dubbed the Faun, he’s made of earthy skin, boasts a dubious affability and wears an off-putting, cat-like smile. The Faun’s words are elongated and grandiose, he lures Ofelia with the promise of riches of eternity inside a fairytale kingdom, and refers to her as its long lost princess who had run away from the kingdom. Ofelia, an idealist, accepts the Faun’s terms. To obtain her immortality Ofelia must complete 3 separate tasks, each one strange and terrifying. Guillermo del Toro’s world is magical, mysterious and make-believe. So where does the realism come into play?
Pan’s Labyrinth is a film of two vastly contrasting textual layouts. Since its release they’ve spawned several theories and perspectives of what the binary concept of fantasy & reality in the film actually means. A more pessimistic perspective assigns Pan’s Labyrinth two worlds as a eulogy on the power of escapism, how Ofelia’s entrenched journey through mystical realms are products of childish delusions created to help the girl come to grips with a harsher reality. Guillermo del Toro, however, despite encouraging people to make-up their own assumptions of the film, believes that the fairy tale kingdom in Pan’s Labyrinth was real. Which means it has to be, right? Since its release 10 years ago ideas have swelled into even more convoluted arguments, all of which are theoretical and, unfortunately irrelevant. Films, like Pan’s Labyrinth, can show us reality and fantasy, but neither description consigns the film to be either real or fake. As the fantasy novelist Lloyd Alexander is quoted to have said, “Fantasy is hardly an escape from reality. It’s a way of understanding it.”
Reading a good book, as Ofelia does, doesn’t offer any sort of escape from her stepfather’s reign of terror but broadens her mind to life’s endless possibilities, outside of consigned oppression, militaristic fascism and psychological totalitarianism. There is a character in Pan’s Labyrinth, Doctor Ferreiro, a physician and a pacifist, who secretly sympathizes with the rebels fighting Captain Vidal. He questions the Captain, something the Captain hates, and at times the Doctor even undermines him. The Doctor’s deciding moment comes in the form of an insult, aimed toward the Captain, which in essence reflects the film in its entirety: “But Captain, to obey, just like that, for obedience’s sake . . . without questioning . . . that’s something only people like you do.” Ofelia’s mother, on the other hand, acts as an antithesis to everything the Doctor stands for, the woman is confined to the security of her abusive husband’s autocracy. In a heartbreaking sequence the woman literally casting her life (manifesting as a mandrake root) into the fireplace and says to Ofelia, in a tragic rejection of life itself, “Magic does not exist. Not for you, me or anyone else.”
Then we have characters like Mercedes and Ofelia, two people who seem to exist on the polarizing center of obedient confinement and rebellious liberation. Both Mercedes and Ofelia seem to be the respective protagonists of their own stories. Mercedes is an insider for the rebel battalion her brother commands. She acts as a maid, working undercover to learn of Captain Vidal’s battle strategies, as well as smuggling things out of the compound to supply his men with food, medicine and other kinds of sustenance. Ofelia, on the other hand, seems cut-off from the conflict despite being very much in the midst of it. Her mind, instead, seems intent on completing her 3 tasks where she must remain unquestioningly obedient to the Faun’s stringent terms. We know where their hearts lie, Guillermo del Toro likes these characters, but their choices and actions are fraught with complex moral dilemmas. Not even the fairy tale aspect of Pan’s Labyrinth comes with easy answers . . .
In Pan’s Labyrinth’s climax we see Ofelia with her infant brother running toward the labyrinth. It’s in the midst of a decisive battle where the rebels begin outnumber the compound’s soldiers. Captain Vidal is hot on her trail, carrying in his hand a pistol. As Ofelia arrives to the labyrinth’s center the Faun is there to greet her. This time though he feels oddly unwelcoming, carrying the knife she obtained during her second task. The Faun presents her with a third task: To procure a small drop of blood from her brother. Ofelia backs away, hesitant to listen to the Faun, and outright refuses to harm her brother. By this point Vidal arrives, and much like the Faun, he too wants Ofelia’s brother. Vidal can’t see the Faun but sees Ofelia and her brother clearly. He delicately takes the brother from Ofelia’s arms and, with striking visual reserve, he shoots the girl.
Pan’s Labyrinth ends the same way it begins, but this time it’s not in reverse: It’s night and a young girl lies on the floor as blood streaming out of her nose. This time we know who she is. This time the moment, instead of being played for mystery, is played for a devastatingly tragic grandeur. Dying, Ofelia sees the kingdom she was promised. Is it a delusion? Did she pass the Faun’s test? We don’t completely know but it’s happy and resolute. Ofelia is congratulated by the Faun, but for what? She refused to complete the third task. Well, not exactly. The Faun reveals that by refusing to take the blood of the innocent and, ultimately, for thinking for herself she had won her reward. It’s almost too happy of an ending. The shot dissolves back to the dying Ofelia. What is del Toro saying about Ofelia, or the Spanish Civil War, or about people in general? In a satisfying closing note, Captain Vidal surrenders the son and dies at the hands of Mercedes and the remaining rebel battalion, but not before Mercedes shows one last act of defiance:
Vidal: “Tell my son the time that his father died. Tell him—”
Mercedes: “No. He won’t even know your name.”
In the world of fairies, fauns and eternity, Ofelia’s goodness earned her a happily ever after. In the world of dictators, wars and tragedies Ofelia’s goodness earned her a sad, lonely death. Whether Ofelia’s dying visions were illusory or real we can’t deny del Toro’s simple truths. Happy endings don’t exist in the real world, the good are punished and the wicked are rewarded. And like those who sought to liberate their country in the Spanish civil war Ofelia’s self-determinism came at the cost of her life. As she lays dying, Mercedes grieves over her lifeless body. A strange image follows, Ofelia smiles. Why? Because like the runaway princess in the opening Ofelia is too finally escaping her kingdom of darkness.
14 Fantastical Facts About 'Pan's Labyrinth'
Between his modest comic book hits Hellboy and Hellboy II: The Golden Army, imaginative Mexican filmmaker Guillermo del Toro made a film that was darker and more in Spanish: Pan's Labyrinth, a horror-tinged fairy tale set in 1944 Spain, under fascist rule. Like many of del Toro's films, it's a political allegory as well as a gothic fantasy. The heady mix of whimsy and violence wasn't everyone's cup of tea, but it won enough fans to make $83.25 million worldwide and receive six Oscar nominations (it won three). On the tenth anniversary of the film's release, here are some details to help you separate fantasy from reality the next time you take a walk in El Laberinto del Fauno.
1. IT'S A COMPANION PIECE TO THE DEVIL'S BACKBONE
Del Toro intended Pan's Labyrinth to be a thematic complement to The Devil's Backbone, his 2001 film set in Spain in 1939. The movies have a lot of similarities in their structure and setup, but del Toro says on the Pan's Labyrinth DVD commentary that the events of September 11, 2001—which occurred five months after The Devil's Backbone opened in Spain, and two months before it opened in the U.S.—changed his perspective. "The world changed," del Toro said. "Everything I had to say about brutality and innocence changed."
2. IT HAS A CHARLES DICKENS REFERENCE
When Ofelia (Ivana Baquero) arrives at Captain Vidal's house, goes to shake his hand, and is gruffly told, "It's the other hand," that's a near-quotation from Charles Dickens' David Copperfield, when the young lad of the title meets his mother's soon-to-be-husband. Davey's stepfather turns out to be a cruel man, too, just like Captain Vidal (Sergi López).
3. DUE TO A DROUGHT, THERE ARE VERY FEW ACTUAL FLAMES OR SPARKS IN THE MOVIE
The region of Segovia, Spain was experiencing its worst drought in 30 years when del Toro filmed his movie there, so his team had to get creative. For the shootout in the forest about 70 minutes into the movie, they put fake moss on everything to hide the brownness, and didn't use squibs (explosive blood packs) or gunfire because of the increased fire risk. In fact del Toro said that, except for the exploding truck in another scene, the film uses almost no real flames, sparks, or fires. Those elements were added digitally in post-production.4. IT CEMENTED DEL TORO'S HATRED OF HORSES.
The director is fond of all manner of strange, terrifying monsters, but real live horses? He hates 'em. "They are absolutely nasty motherf*ckers," he says on the DVD commentary. His antipathy toward our equine friends predated Pan's Labyrinth, but the particular horses he worked with here—ill-tempered and difficult, apparently—intensified those feelings. "I never liked horses," he says, "but after this, I hate them."
5. THE FAUN'S IMAGE IS INCORPORATED INTO THE ARCHITECTURE
If you look closely at the banister in the Captain's mansion, you'll see the Faun's head in the design. It's a subtle reinforcement of the idea that the fantasy world is bleeding into the real one.
6. IT MADE STEPHEN KING SQUIRM
Del Toro reports that he had the pleasure of sitting next to the esteemed horror novelist at a screening in New England, and that King squirmed mightily during the Pale Man scene. "It was the best thing that ever happened to me in my life," del Toro said.
7. IT REFLECTS DEL TORO'S NEGATIVE FEELINGS TOWARD THE CATHOLIC CHURCH
Del Toro told an interviewer that he was appalled by the Catholic church's complicity with fascism during the Spanish Civil War. He said the priest's comment at the banquet table, regarding the dead rebels—"God has already saved their souls; what happens to their bodies, well, it hardly matters to him"—was taken from a real speech that a priest used to give to rebel prisoners in the fascist camps. Furthermore, "the Pale Man represents the church for me," Del Toro said. "He represents fascism and the church eating the children when they have a perversely abundant banquet in front of them."
8. THERE'S A CORRECT ANSWER TO THE QUESTION OF WHETHER IT'S REAL OR ALL IN OFELIA'S HEAD
Del Toro has reiterated many times that while a story can mean different things to different people, "objectively, the way I structured it, there are clues that tell you ... that it's real." Specifically: the flower blooming on the dead tree at the end; the chalk ending up on Vidal's desk (as there's no way it could have gotten there); and Ofelia's escape through a dead end of the labyrinth.
9. THE PLOT WAS ORIGINALLY EVEN DARKER
In del Toro's first conception of the story, it was about a married pregnant woman who meets the Faun in the labyrinth, falls in love with him, and lets him sacrifice her baby on faith that she, the baby, and the Faun will all be together in the afterlife and the labyrinth will thrive again. "It was a shocking tale," Del Toro said.
10. THE SHAPES AND COLORS ARE THEMATICALLY RELEVANT
Del Toro points out in the DVD commentary that scenes with Ofelia tend to have circles and curves and use warm colors, while scenes with Vidal and the war have more straight lines and use cold colors. Over the course of the film, the two opposites gradually intrude on one another.
11. THAT VICIOUS BOTTLE ATTACK COMES FROM AN INCIDENT IN DEL TORO'S LIFE
Del Toro and a friend were once in a fight during which his friend was beaten in the face with a bottle, and the detail that stuck in the director's memory was that the bottle didn't break. That scene is also based on a real occurrence in Spain, when a fascist smashed a citizen's face with the butt of a pistol and took his groceries, all because the man didn't take off his hat.
12. DOUG JONES LEARNED SPANISH TO PLAY THE FAUN
The Indiana-born actor, best known for working under heavy prosthetics and makeup, had worked with del Toro on Hellboy and Mimic and was the director's first choice to play the Faun and the Pale Man. The only problem: Jones didn't speak Spanish. Del Toro said they could dub his voice, but Jones wanted to give a full performance. Then del Toro said he could learn his Spanish lines phonetically, but Jones thought that would be harder to memorize than the actual words. Fortunately, he had five hours in the makeup chair every day, giving him plenty of time to practice. And then? Turns out it still wasn't good enough. Del Toro replaced Jones's voice with that of a Spanish theater actor, who was able to make his delivery match Jones's facial expressions and lip movements.
13. NEVER MIND THE (ENGLISH) TITLE, THAT ISN'T PAN
The faun is a mythological creature, half man and half goat, who represents nature (it's where the word "fauna" comes from) and is neutral toward humans. Pan is a specific Greek god, also goat-like, who's generally depicted as mischievous, harmful, and overly sexual—not a creature you'd be comfortable seeing earn the trust of a little girl. In Spanish, the film is called El Laberinto del Fauno, which translates to The Faun's Labyrinth. "Pan" was used for English-speaking audiences because that figure is more familiar than the faun, but you'll notice he's never called Pan in the film itself. "If he was Pan, the girl would be in deep sh*t," del Toro told one interviewer.
14. DEL TORO WROTE THE ENGLISH SUBTITLES HIMSELF
After being disappointed by the way the translators handled The Devil's Backbone ("subtitles for the thinking impaired"), the Mexican filmmaker, who speaks fluent English, did the job himself for Pan's Labyrinth. "I took about a month with a friend and an assistant working on them, measuring them, so that it doesn't feel like you're watching a subtitled film," he said.
The Krampus Box - the demonic origins of the elf on the shelf.
I've got one and I'm sure that if you have children you may have one too, but let's face it, the Elf on the Shelf is nothing more than Christmas cash grab dressed up as a faux tradition of epic proportions. This grinning plastic monstrosity has been heavily criticised for potentially bullying your child into thinking good behaviour equals gifts. While this might be true, the concept of scaring the pre-Christmas bejesus out of your children in order to make them behave has much darker roots. The Krampus has seen a revival over the last few years and the popularity of this festive demon has shed light on some long forgotten traditions from deep within Europe. One slightly bizarre practice which could be considered the demonic older brother of the Elf of the Shelf is 'The Krampus Box', a simple but terrifying way to keep your children in check before the big day.
The idea was very simple; during the build up to St Nicholas Day on the 6th December, the box would be placed on the fireplace next to the stockings. If a child was naughty they would have their name written on paper or their photograph placed inside the box where it would remain until the next sunrise. In the dark frozen winters of Europe the next sunrise could be days, so once you were in the box there was no telling when you would get out. If you were unfortunate to still be in the box on the 5th December, also known as Krampusnacht, you would be punished and The Krampus would come for you. During Krampusnacht the Krampus would visit each home and look in each box to see if any photographs or names had been left. If there was he would snatch the named naughty child as they slept and drag them to hell in his sack. As you can imagine, the box was so effective that there was never any need to place anything inside it! It’s an ingenious idea and much more palatable than having a grinning pink plastic elf ‘checking up on you’ every day.
As far as I'm aware there are no surviving examples of original Krampus boxes, so in an attempt to revive some real festive fear I made my own. I took the description from an Austrian version of the Krampus Box tale. In typical Brothers Grimm style the outcome of the story is far from pleasant so it's not surprising that this horrific tale almost vanished from the folk records. It appears at first glance to take some typical Germanic story elements of naughty children but then adds a cruel 'Wasp Factory' twist that is pretty disturbing. Anyway, grab a mince pie and a glass of sherry and we'll begin.
Picture if you will a festive family gathering full of rosy cheeked children gathered around a fire. As the howling wind and snow storm batters the ramshackle log cabin a mysterious box is removed from small chained hessian bag and placed on the mantle. The cloven hoofed box centred with a grinning demon knob glints in the winter firelight as a wave of silence sweeps over the children. The story begins...
Deep in the forest bordering Austria and Bavaria there lived a carpenter with seven children, two horses, three goats and his wife. Of the seven children one child named Max was particularly naughty and no punishment would deter Max from behaving badly. He would repent for a day or two and then revert back to his mischievous ways and increasingly worse than before. During a summer of terror he had tied the horse's tails together, set the neighbours orchard ablaze and slit all of the grain bags at the village mill. Then, as winter came and the days grew shorter Max could not play outside and boredom set in. His pranks within the home became worse and his family were at a loss at what to do with him.
Max hadn't always been terrible. He was once a content and well behaved child, but then something changed. His younger brother Lukas was born and Max was no longer the apple of his mother's eye and so to seek attention he slowly transformed into the most vindictive child imaginable. This cry for attention had the opposite effect and his mother started to ignore him. His older brothers and sisters also wanted nothing to do with the little monster he had become. Even the villagers would avoid Max in fear that they would fall victim to one of his terrible pranks.
The one person who felt pity for the child was his own father, the carpenter. He had an idea, one that he hoped would scare Max into behaving; until the end of winter at least. He built a small wooden box and carefully painted it with holly wreaths and decorated it with bells although this was not your normal festive trinket box. Painted on the lid were the words “Greetings from Krampus’ and either side of a demon headed brass knob were the pictures of a black, goat-legged creature stuffing crying children into a sack.
When it was complete the carpenter sat Max down and told him about the mysterious box. He opened the lid and took out a small postcard of the Krampus riding a broomstick. On the broomstick were eight naughty children. He told Max that if he misbehaved he would also join the ill fated children on the broomstick. His photograph would be placed in the box along with the postcard and it would remain there until the next day The photograph could only be removed from the box in the light of the following day and only good behaviour would allow the photograph to be removed from the box. If Max continued to be naughty and his photograph was still in it on Krampusnacht he would be taken by the Krampus and never seen again. The carpenter placed the box on the mantle above the fire and once again warned Max that his photograph would end up in the Krampus Box should his bad behaviour continue.
Max listened to his father's tale and pretended to absorb every word with wide eyed innocence although, as the second youngest sibling he really didn't believe in St Nicholas and especially not the Krampus. His eldest brother had told him long ago that they were nothing but fairy tales for little children. Max scoffed at his father's tall tale and rather than take heed, Max continued to terrorise his family and fellow villagers. He placed hedgehogs inside the blankets at the foot of every bed, he let the goats into the house where they ate his sister's best dress and finally he put gunpowder in his grandfather's pipe. The blast knocked him stone cold unconscious and very nearly killed him. On every occasion his photograph would be placed in the box and every sunrise, on the promise of good behaviour, it would be taken out again. And so the battle continued, until the big day finally came...
The eve of St Nicholas day had arrived and the family were busy baking, cleaning and preparing for the celebrations ahead. The carpenter was busy in the workshop finishing last minute orders for customers and everyone was involved in the festive preparations. Everyone that is apart from Max. There was only a few hours of sunlight left and Max had been particularly naughty the previous day and his photograph was still inside the Krampus Box on the fireplace. In the festive hustle and bustle nobody had remembered to remove Max's photograph from the box, in fact nobody had even acknowledged Max was there. In an opportunistic moment Max took it upon himself to remove his own photograph from the box. In the Christmas chaos and calamity nobody saw Max take the box, nor did they see him remove his own photograph and more to the matter, nobody saw him replace the photograph with one of his baby brother, Lukas. Max knew that the Krampus did not exist, that's what he kept telling himself, but a constant nagging in his curious mind kept wondering “what if?”. True or not, either way he was not prepared to be the one with his photograph in the box on Krampusnacht. So he did what any devious wretch would do, he swapped his photograph for one of Lukas, the darling little brother who had stolen his mothers heart. Max closed the box with an evil glint in his eye and placed it back on the mantle. The sun set, the box locked and Max went to bed.
By the time his father had returned from the workshop it had long been dark and everyone including Max was safely tucked up in bed fast asleep. He remembered that Max had been naughty the day before so he went to remove the photograph from the Krampus Box. To his surprise, just as the tale foretold, the box would not open. It was firmly locked and no amount of prising and shaking would make it open. Just as he had told Max, the box could only be opened in daylight and the sun had set hours ago. Could the old wives tale be true? What if the Krampus really was coming for Max? Regardless of how naughty Max was, he loved his son and didn't want to risk the possible consequences. He hurriedly gathered the box, wrapped it in a cloth and hid it in his workshop under a pile of wood, well away from the house and Max.
The night passed peacefully and the morning St Nicholas Day sun streamed through the windows of the cottage. The carpenter and his wife sat by the fire and waited for the impending tide of excited children to come crashing down the stairs. One by one the children poured into the room, all of them that is apart from Max and Lukas. In a blind panic the carpenter raced upstairs to find Lukas' bed empty. He tore back the sheets to find nothing but the still warm imprint of his son covered in black sooty hand prints. He then raced into Max's room who was still fast asleep and shook him awake hysterically shouting Lukas' name over and over. Suspecting Max's resentment of Lukas he know that he must have something to do with his disappearance.
“Where is Lukas? Have you seen Lukas? What have you done with Lukas?”
Max stared at his father, his eyes still blurred with sleep. Lukas? What could possibly have hap... And then it struck him. The box, Max had put his photograph in the box. Max started back at his father in fear and disbelief; he could only mutter two words.
“The b-b-b-box, the b-b-b-box...”
The carpenter threw Max back into the bed and raced to the workshop to retrieve the hidden box. The worst of his fears were true and a feeling of dread began well in the pit of his stomach. The box was not there. He searched everywhere but the box had vanished. In a delirious dash of panic he charged back home as fast as his legs could carry him so raise the alarm. Yet, as he burst through the door, there it was, the box was back on the shelf above the fireplace where it had been the previous night when he had returned from the workshop. He grabbed the box and as the rays of sunlight shone though the window it opened with ease and the carpenter was faced with a disturbing discovery. The photograph of Max was no longer in the box. It had been replaced with a photograph of Lukas but where Lukas should have been was a scorched hole. With a shaking hand he removed the blackened photograph from the box and underneath he saw something that made his blood run cold. On the postcard of the Krampus, instead of eight children there was a ninth child sat on the broomstick. The carpenter squinted and looked closer and as he wiped the tears from his eyes he could see that the ninth child was his beloved Lukas.
Lukas was never seen again. In the search for the young boy the villagers found nothing but his favourite teddy bear and a track of large hoof prints that led deeper into the dark forest. The tracks stopped suddenly, as if the creature that made them had just vanished or flew away.
Max's bad behaviour came to a grinding halt. The carpenter kept him locked in his room most of the time and his photograph was placed back in the Krampus Box. Max's devilish trick was so bad that the box could never be opened again, even in the sunlight of the brightest summer day. No matter how well he behaved the box remained clamped shut and it stayed that way for a whole year.
The following Krampusnacht the creature returned. With a black clawed hand it opened the box with ease and took out the photograph of Max. The image of smiling boy began to fade and burn and Max was never seen again.
So next Christmas, as you lie in bed eagerly listening for the soft jingle of sleigh bells also listen for the bark of dogs and the rattle of chains. The Krampus is coming to town so make sure you're good or you might just be spending Christmas with Max.
For those wishing to discover more about the roots and rebirth of this folkloric devil than I can thoroughly recommend 'The Krampus and the Old Dark Christmas' by Al Ridenour available through Feral House.
The Cabinet of Curiosities Challenge Part 2
Some of you may recall my previous Cabinet of Curiosities post from way back in June. The challenge was to create a cabinet of curiosities within 3 weeks however, the year took a rather nasty turn and the death of a close friend followed by health issues hindered the creative process. I should really be grateful that I actually completed the project in 3 months, although not quite as ambitious as the original 3 weeks I feel the end result is more than worth it.
At the end of my previous post the cabinet exterior was complete as well as the self unlocking padlock mechanism. The interior was a blank canvas, four large sections of empty space ready to be filled with fantastical things. The final cabinet can be broken down into 4 distinct sections and I will cover them individually.
The Odditorium
Taking inspiration from a typical cabinet of curiosity I wanted this section to be an assortment of inconsistant nooks and crannies in which the client could hide his tools of the trade. The items that adorn the shelves each have a terrible tale or mysterious history that the owner can pluck at any point from the display to recount to his mesmerised audience. There is even a slot for a deck of cards should needs must.
Haunted Artifact Exhibition
The permanent resident of this mysterious corner of the cabinet is a haunted doll of such paranormal magnitude she has to be strapped down to prevent her from ‘wandering’. Even the padlocked box is unable to contain the power of the doll as her ghostly hands have been known to pick the lock in an attempt to escape. A selection of protective talismans and amulets dangle from the display in an endeavour to quell the evil forces than animate this bisque abomination.
Spirit Communication Module
It has long been thought that mirrors are seen as windows to the spirit world. The Spiritus Speculo Infinitum is a type of infinity mirror that opens a portal directly to the spirit realm. Once present they may communicate using traditional methods such as bells and tambourines, if you listen carefully you may even hear them speak. The drawers are filled with items once owned by the dead, these ’spirit catalysts’ are used to lure the spirits of the departed through the portal in order to communicate. Some spirits may even leave gifts known as aports and some of these are on display in the cabinet.
The Professor’s Library
A fitting repository for Prof BC’s classic Doppelgänger series, safely strapped in and protected from the inquisitive hands of the uninitiated. In anticipation of Prof BC’s 'Realm of the Fairies', the pinned and mounted specimen of a winged mummified creature resides in silent protection of the tomes below.
The Spirit Theater
Finally, the cabinet converts into a spirit theater complete with velvet curtains and gold footlight shell lights to illuminate the horrors within. Should the performer be feeling brave he may unstrap the haunted doll to give the audience a demonstration of her unearthly powers (from behind closed curtains of course!)
Thanks
A special thanks goes to the client who originally ordered this commission. Your infallible patience and friendship combined with your artistic understanding of not rushing the creative process was most welcomed. May the Cabinet of Curiosities bring you a lifetime of mystery and wonderment.
'The Curiosity', a strange new fairy tale from the Creator of Pacific Rim
If The Curiosity is as good as it looks, it will be every geek's dream. It's beautifully shot, unabashedly genre, is inspired by movies like Pan's Labyrinth and District 9, and takes place in a world with two moons (call it an inverse Tatooine)
The Curiosity is described as a "strange fairy tale" made by Travis Beacham, who is best known for writing Pacific Rim. According to his announcement of the film on his Tumblr, it will be another low-budget indie, emulating the budget tricks of Pacific Rim, and will create an entirely new world.
"Without giving too much away, it's a small-scale fantasy, somewhere in the budgetary neighborhood of indie genre fare like Pan's Labyrinth or District 9. That is to say only that it's an intimately focused, character-driven tale, nevertheless set in a world of its own (nothing as grand as Pharaonic Egypt, mind you, but still a far cry from the house next door.)"
The film is reportedly about selkies, creatures in Scottish folklore that are seals in the water but morph into humans on dry land, or essentially Scottish mermaids. According to Screen Crush, it follows a woman named Spindle, a "pointy-eared girl who has traveled across a magical ocean and ended up a long way from home, who meets a magician named Datchery Bell." There's no release date for the film yet, but it might end up in theaters very soon if it's picked up by a distributor.
The Box of Astaroth – The Snake Oil Salesman Killer Edition
The SOS (Snake Oil Salesman) killer was one of the first documented US serial killers to poison his victims. This Wild West version of Dr Harold Shipman would travel from town to town touting his dubious ointments and potions to the gullible revelers. He would then select his victim, usually an attractive saloon girl and administer a carefully concocted dose of his 'Beauty Elixir'. This potion was meant to keep women looking young and youthful however, the deadly mixture contained a time delayed dose of snake venom. The SOS killer would administer the medicine from his wagon and then retire for the evening whilst following his intended victim waiting for the venom to incapacitate them. He would then take them back to his wagon and conduct experimental medical procedures on the victim while they were still alive. His amateur attempts at surgery were so brutal and invasive that the women eventually died a slow and painful death whilst being unable to scream due to the paralysis invoked by the snake venom.
Scores of mutilated girls were discovered across the American Old West as the SOS killer wormed his was across the country until he was finally caught in 1879. He was eventually found to be Irish native Marshal Seeley, a ship builder who took his perverted interest in women and medicine and forged a new killer career. To avoid the gallows he self administered a deadly dose of heroin in jail. It was discovered that he had smuggled the suicidal dose into jail internally. He escaped an official sentencing as he died before his trial and so he vanished into the annals of history. It is rumored that Seeley had murdered more than 89 women during his 6 year killing spree although it is though by history experts to be almost double that.
Although the macabre tale of the SOS Killer has faded into history I have been fortunate enough to obtain some of Marshal Seeley's disturbing tools he used to procure his victims. Maybe if we're lucky we may even be able to talk with one of the spirits of his victims tonight who still wander the Earth in limbo waiting for real justice to be served...
This private commission was created for Paul Noffsinger of The Mystery Collection based in Colorado. He specified a Wild West theme and I had always been fascinated by Snake Oil Salesmen of the American Old West so I thought this was a perfect opportunity to create a box of delights for a devious killer cowboy.
The SOS killer's case contains an array of potions and medicines and antique anatomy diagrams. The Victorian wallpaper design is an exact reproduction of the wallpaper in The Sherlock Holmes Museum at 221b Baker Street in London. I had taken a pretty poor photograph of the original wallpaper but after a bit of tinkering in Photoshop I was able to replicate the design and create my own printable Sherlock Holmes wallpaper.
Original wallpaper in The Sherlock Holmes Museum
As with all editions of The Box of Astaroth it comes with a saloon girl doll who mysteriously moves around inside the box as well as various tools to converse with the dead such as spirit bells and music boxes.
All that's required is a few rusty surgeon's tools and some 'trophies' in specimen bottles and the next mystery for The Mystery Collection will unfold..
The Box of Astaroth – The Houdini Seance Edition
Another box leaves the studio, this time for one of my what I like to call SAS clients (stage and screen).
The design brief was a real head scratcher to the point I nearly had to say it wasn't possible but not being one to disappoint I set about trying to solve this seemingly impossible illusion.
With previous versions of The Box of Astaroth a small doll moves around the cabinet by depositing itself into a glass or cremation urn in the same way an Astro Ball cabinet works. The brief from the client had the same mechanics but included one element I didn't think was possible. The box was to be themed around Harry Houdini and a small doll styled like the man himself needed to be bound, chained and placed into a tank of water to replicate one of his signature escapism acts. The doors to the cabinet would be closed and a few moments later they are opened to reveal that Houdini has picked the lock, unbound himself from the chains AND climbed out of the tank of water! The daring escapism act would then signify that the spirit of Houdini was present and a séance would ensue using spirit bells, music boxes and tambourines to converse with Houdini.
As strange as it sounds the idea I had to engineer the escape worked first time. Maybe Houdini gave me some assistance, who knows! I plan to post a video demonstration shortly so watch this space.
The Houdini Seance Edition Box of Astaroth, when presented correctly will give the performer a 20-30 minute show incorporating trivia about the great Houdini followed by an actual escape act and a séance. Some say the box was even once owned by Houdini, how much of that rumour is true I don't know however, it appears to be the only proven way of contacting his spirit...
So Ladies and Gentlemen, may I present the world's first ever escapism act from beyond the grave!
Exploring The Upside Down
Magical realms exist in every culture, places inhabited by otherworldly beings where space and time stands still. The prolific accounts of these worlds throughout history begs the question, do they exist and if so where are the entrances to these alternate dimensions or underworlds? Fans of the recent Netflix series 'Stranger Things' will relate to the concept of 'the upside down', a mirror of our own world but dark and inhabited by demons.
This great article from Mysterious Worlds discusses such places. It has always made me wonder why these mystical realms appear easier to get to than to get back from. And even if you do return from your brief visit to find that 7 years have passed in a matter of minutes, what guarantee is there that you've returned to the right dimension?
Mysterious Worlds
Writing in his recent work, Sky Shamans of Mongolia, Kevin Turner tells us that the three worlds or realms of the Mongolian Darkhad shaman don’t consist of a traditional upper, middle and lower world but are instead overlapping dimensional realities, more in line with a holographic outlook. These places are populated by deities, spirits and ancestors. In Irish lore it is the land of Tir na Nog where a race of supernatural beings is said to reside, although this otherworld adapts itself to incorporate the afterlife, the Summerland of Wicca, as well as shamanic realms according to other interpretations.
Often these dimensions are seen to be accessed across an ocean, leading many to associate Tir na Nog with the mythical island of Hy-Brazil, an island that was said to rise from the sea every seven years and which was populated by a race of advanced antediluvian beings.
However, the realm of fairy or the crypto-terrestrial is more often encountered through places considered sacred or having an alignment of some kind in relation to auspicious days in the yearly cycle, such as solstices, equinoxes and new moons. In many legends passed down from oral traditions the liminal moments at dusk, between sunset and moonrise, are when the ethereal forms of these beings are best seen.
Trapped in Magical Realms
Perhaps one of the most famous anecdotes relating to this is that of the Rev Robert Kirk who was a Scottish scholar and clergyman. His book The Secret Commonwealth of Elves, Fauns and Fairies was published in 1691 and collected many instances of encounters with these elemental creatures and what a person could do to either avoid or come in contact with them.
At this time the Inquisition was still in full force across Europe so Kirk’s interest in what some saw as Demonic entities put him at odds with many of his religious colleagues. Some, in fact, speculated that Kirk himself might be a changeling sent by the devil in order to corrupt the faith of his parishioners and to lead them back to ancient pagan ways. Kirk was also a seventh son which lent him an aura of the otherworldly, as this was a particular sign of association with second sight and affiliation with the fairy folk.
One summer evening, Kirk, while out walking, collapsed and died upon a fairy hill. Or so it seemed.
In the days following his funeral, a cousin of Kirk’s had a strange dream in which the reverend pleaded with him to rescue him from fairyland. Kirk told his cousin in the dream that he was not dead at all but was in a magical swoon caused by his supernatural captors.
Kirk had promised his cousin that he would be able to appear for just one moment at the baptism of his child and when this occurred his cousin was to throw a ceremonial knife over his apparition. This would have the effect of releasing Kirk from the fairies’ spell.
At the baptism it is said that when Reverend Kirk appeared his cousin was so shocked that he forgot the instructions about the knife and Kirk then vanished, doomed to live in fairyland for eternity.
Altered Time and Space
This concept of eternity and that time can run faster or slower in these realms has been part of fairy myth for thousands of years. The Japanese legend of Urashima Taro is a good example. In this story a fisherman visits the supernatural undersea kingdom of Ryugu-jo and discovers that the three days he spent there had been three hundred years in his homeland.
Ryugu-jo has some specific architectural symbolism relating to the earth’s cycle in that each side of the kingdom was said to be a different season. Perhaps we are seeing an association with the solstices and equinoxes once again, which in themselves have a history of being doorways for the legendary beings like the fairies and various elementals to appear through.
The elves and fairies of Scotland and Ireland, for example, would use certain magical doorways or stone circles in which to appear depending upon the time of the year. Each magical doorway was associated with a particular season.
There is a potential connection to the Heb Sed shamanic rituals of ancient Egypt in this context as each ceremonial area would be used once then a new structure would be constructed for the following festival.
The communication with ‘star gods,’ along with offerings in return for wisdom also has parallels to folkloric interactions with the Sidhe (Irish and Scottish fairy folk) or energetic forms of various cultures. Sometimes, a ritual site would have to be left for a time in order to allow its energy to replenish and so the gods could be reached again in further ceremonies.
Another interesting connection is how the Pharaoh would be considered dead but still living during this ritual; the priests would consider him outside of time and having travelled to the Duat, the immaterial realm of spirit.
The Dreamtime
The term ‘time outside of time’ is also one of the popular translations of the Australian Aboriginal Dreamtime. Specifically, this description is better understood as ‘eternal, uncreated’ and refers to a dimension where all mythical heroes and ancestors exist and have always existed. Although there are many regional differences, all of the connotations relate to an immaterial, timeless place outside of the physical world.
Indeed, there are mythical fairy-like mediators in Aboriginal lore called the Mimi who are said to have taught the first Aboriginal tribes many skills. The Mimi were said to be so thin that a strong wind might break them and they could be contacted by approaching sacred stones or mountains in the correct manner. These places were doorways to an immaterial dimension that existed outside of the human world.
Often the Mimi would play tricks on humans if they or their magic places were not respected. There was a type of shamanistic process for contacting the Mimi properly and this was usually carried out by ‘Men of High Degree’ who were the shaman of the aboriginal tribes. In his ground-breaking work, Aboriginal Men of High Degree, A.P. Elkin describes these men as “supernormal, usually super-sensory, and are derived from two sources: first, the cult-heroes of the craft-sky and totemic heroes, spirits and ghosts, who may be all the one; second, the long line and hierarchy or order of medicine men, which leads back to the same heroes of the dreamtime.”
However, the role of women in mediating with the Mimi was also extremely important. There were certain tasks and requests that could only be asked by a woman and where the context of ‘high degree’ was outranked. Writing in Wise Women of the Dreamtime Johanna Lambert explains, “That which is subtle, ambiguous, interconnected, intangible and beyond reason or logic emerges from the realm of the Universal Feminine and is the basis of what has been called “magic or “the occult”.
The Magic Arrow
The Mimi, like fairies and elementals in all other cultures, were unpredictable and could punish a human as often as rewarding them. They were thought to steal food, trip up unsuspecting travellers, and even shoot magic darts—which is a tantalising connection to many shamanistic practices.
The magical arrow is also associated with Abaris the Hyperborean, a figure said to have emerged from a mythical land “beyond the north wind”. Abaris was said to be able to commune with spirits, heal the sick and travel through the air on a magic arrow. Other connections to Apollo and Pythagoras hint at the shamanistic journeying technique of incubation, best recently described by Peter Kingsley in his work, In the Dark Places of Wisdom.
When we look past the particular cultural interpretations, which change depending upon religious systems and societal developments, what we find beneath the many different fairy and shamanistic encounters are strong hints of a universal otherworldly experience. And although we find many accounts of strange lands with the help of fairies and spirits, it’s worth remembering that sometimes it is also at their insistence!
By David Halpin
References
Kevin Turner. ‘Sky Shamans of Mongolia’. Published by North Atlantic Books (April 12, 2016) P.71.
Hayao Kawaii. ‘Dreams, Myths and Fairy Tales in Japan’. Published by Daimon Verlag (Jan. 1 1995). p. 107.
A.P. Elkin. ‘Aboriginal Men of High Degree: Initiation and Sorcery in the World's Oldest Tradition’. Published by Inner Traditions; Original ed. edition (Nov. 1 1993). p 38.
K. Langloh Parker/ By Johanna Lambert, ed. ‘Wise Women of the Dreamtime: Aboriginal Tales of the Ancestral Powers’ Published by Park Street Press; Original ed. edition (July 1 1993). P. 89.
Penny Dreadful props are up for auction
After three years of filming in Ireland ended earlier this year, the props used in the American-British TV fantasy-horror series, Penny Dreadful, are to be auctioned at Punchestown racecourse next month.
After closely following the series since it started I'm very tempted to book a cheap flight to Ireland to see what goth swag I can acquire. I may have to book an extra seat for the return flight though for my Vanessa Ives ventriloquist doll...
Auction dates:
September 13th (Tues) -15th (Thurs) from 10am
Full online catalogue will be available at ashgroveauctions.ie from September 9th.
Viewing:
September 9th (Fri) - 12th (Mon) - 12-6pm
Scottish Mansion for sale that screams del Toro!
This newspaper article from the Scotsman has all the key ingredients for a great Guillermo del Toro movie. On the Isle of Bute you will find for sale a former residential school for children escaping a tuberculosis and rickets outbreak in Glasgow in the 40s which is said to be infested with fairies. My mind instinctively thought of 'The Devils Backbone', 'The Orphanage' and 'Don't be afraid of the Dark', all GDT classics that draw from childhood, ghosts, infant illness and of course, fairies.
The Southpark Estate is on the market for a mere £825000! Anyone with a spare million please drop me an e-mail and in return I'll write a bleak Scottish horror about childhood discovery and the unseely wee folk who haunt the grounds of Southpark (and I'll try and catch one or two while I'm at it).
A STUNNING Victorian estate believed to be full of fairies has been put on the market for £825,000. Southpark - in the quaint village of Ascog on the Isle of Bute - is proudly surrounded by 3.8 acres of greenery and offers breathtaking views of the Firth of Clyde.
In the 1940’s the B listed property became a residential school for children escaping a tuberculosis and rickets outbreak in Glasgow. To this day the original coat hooks, shoe cubby holes and cloakrooms are still in place. During their stay the children started a rumour which still persists today - that the house is infested with fairies. It is said that the rumour began when children began noting the way the house sparkled in moonlight reflected onto it from the sea. Current owner Margaret Morrison - who has lived at the estate for nine years - said she frequently gets visited by former school children of the school who share their magical memories of Southpark.
She said: “We are visited by many former pupils, who have such happy memories of coming to school here. “For them it was a chance to escape the overcrowding and difficult conditions in Glasgow. “It’s funny, but many of them tell the same story - about believing the house was full of fairies because of the way it ‘twinkled’ at night thanks to the way the light bounces off the water and hits the stones. “It’s always been a magical place and I feel glad to be part of it.”
Along with five bedrooms, five bathrooms and three reception rooms, the property even comes with its own butler pantry. And if that wasn’t enough, a cottage and two flats in the former Coach House are also included in the offers over £825,000 price tag. The one-of-a-kind residence, managed by estate agents Strutt and Parker, also boast pristine original features such as marble fireplaces, cornicing and multiple bay windows.
Margaret and her husband David have reluctantly put the estate, designed and built by esteemed Scots civil engineer Robert Thom, on the market for health reasons.
The added: “The island is very special, a beautiful place to live. I could sit for hours watching the cruise ships sailing up the Firth - and the garden is very peaceful. “Southpark is a special place - a very welcoming house, which has meant a lot to so any people. “It was certainly built with love and over the years since, it has been carefully looked after and beautifully preserved, even when it was a school. ”Bute is not just an island it is a way of life and to walk along and be smiled at or greeted by almost everyone is wonderful.” The main town of Rothesay is around three miles away from Southpark with a frequent ferry service which runs to Wemyss Bay - where rail links to Glasgow can be found. Ascog is mainly a residential area but has several historic buildings including Ascog House, Ascog Hall, and the Italianate style Balmory Hall.
Jordskott Season 2 Announced
Fans of the dark Swedish fairy folklore masterpiece 'Jordskott' will be pleased to hear that Palladium is in development for a second season. Henrik Bjorn, if you're reading this I'm kneeling in front of my Mac as I write this begging for a production role!
Sony Pictures Television has taken a minority stake in Swedish production company Palladium Fiction, which is led by the creators of mystery-noir drama “Jordskott,” Henrik Bjorn, Filip Hammarstrom and Johan Rudolphie. Palladium will focus on high-end international dramas, with SPT distributing around the globe.
Andrea Wong, president, international production, SPT, said: “Palladium is a great complement to our growing portfolio of high-quality drama production companies. Collectively, Henrik, Filip and Johan have a distinctive voice that is edgy, thought-provoking and entertaining. Their talents are evident in their ambitious development slate and we look forward to helping them build on their success.”
Palladium is in development on a second season of “Jordskott” with Swedish broadcaster SVT. They have three other projects in development, including a new project in partnership with Jimmy Desmarais, a producer on high-profile French dramas “The Returned” and “The Last Panthers.”
Palladium, which is headquartered in Solna, Sweden, was founded in 2014 by Bjorn, Hammarstrom, Rudolphie, and the Swedish media company Strange-Dahl Jihde och Bjorn AB. “Jordskott,” its best-known show, received the Kristallen award for best TV drama last year.
In a statement, Hammarstrom said: “Sony is outstanding creatively and makes a fantastic business partner with a strong international production and distribution network that will help us maximise opportunities as we expand our global reach.”
Bjorn added: “This is a really exciting time for original quality drama. We are driven by our love of storytelling and we hand-pick projects close to our heart. This collaboration with Sony gives us the tools to create compelling stories for viewers worldwide.”
The Devil Made Me Do It – Ghost in the Shell
Some projects take months, sometimes even years to come to fruition, it can seem like you're reluctantly forcing the finished piece into existence. On the other hand, some projects take on a life of their own as if they are building themselves while you sleep. This project is certainly one of those that had 'the elves and the shoemaker' syndrome as it seemed to have come together without much conscious interaction. Without sounding too 'out there' I feel like most of my art is the result of an outside influence and by outside I mean not the natural world around me but the supernatural. Something takes hold and guides my hands while my brain slips into neutral and listens to the radio or ponders menial problems like what to cook the boys for dinner. Looking at the bizarre demonic toy sat on my workshop table I can only really come to the conclusion that there's a very strong possibility that the Devil did indeed make me do it.
After 4 weeks of researching and tinkering I can finally reveal the restored version of The Devil Made Me Do It. I use the term restoration loosely though as there were hardly enough remaining components to build a quarter of what you see here. Apart from a battered head, smashed body and the original wooden box (wooden enclosure only minus the art), the rest of the project has been an educated guess influenced by the descriptions in Reverend Morrison's diary. At this stage it is, as the title suggests, a shell as there are no working elements installed at the moment. My wife's uncle has made some progress on the clockwork mechanism and I hope to install this towards the end of July.
The artwork was probably the most time consuming element as it was like a jigsaw puzzle with 60% of the pieces missing. With no chance of ever locating the missing art it was down to imagination and many hours sat at the graphic tablet with my hands working autonomously. The 'game' certainly conveys a 1950s carnie feel, the addition of the 3-card game board and lights are my own personal touches.
Aesthetically it is nothing like any of my previous work which has been solely Gothic Victoriana. Granted, it is a restoration project but when presented with so few parts and sketchy information where does restoration end and creation begin?
A demonic focal point for any serious collection, 'The Devil Made Me Do It' commands curiosity and draws in the inquisitive like flies to a corpse. The juxtaposition of the vintage toy facade coupled with satanic overtones makes it an unnerving conversation piece with strange powers that can be demonstrated to those who dare play with the Devil! In that respect it does what the original device intended to do, to temporarily tempt the righteous away from God to demonstrate how easily evil can influence behavior if you let your guard down for one moment. That is of course if you believe in all that bunkum.
'The Devil Made Me Do It' is the satanic love child of a possessed Jack in a Box and Zoltar the Fortune Teller and in a few weeks I shall hopefully be the Dr Frankenstein who gives this monster life once more. Given the unfortunate history you have to ask yourself if it is wise to mess with the unknown? To which I say “Yes!”
Check back soon to see what happens when the lights and working mechanism are installed in a few weeks.
Crookes' Residual Ectometron - The Ouija Electric Edition
The Ectometron has officially been out of production for well over a year due to difficulty in finding parts. Some of the vital components had become obsolete and no longer in production which had a knock on effect with my production of this iconic piece.
So what do you do when one of your best clients requests an Ectometron and won't take no for an answer? You say OK and start the arduous task of sourcing alternative parts.
Seven months later a complete Ectometron emerged from the studio like no other. Mounted on a Victorian chest of drawers and with a detachable Ouija board this looks more like an occult switchboard to the spirit world.
This version is designed to be used by one person. A 'Spirit Catalyst' is placed in the metal sphere and the machine is started. This can be a person item once owned by the deceased such as a ring or lock of hair. The use of the catalyst allows the user to contact specific spirits rather than random ones. The combination of the catalyst and the Ouija board and then used to channel thespirit which materialises in the Ectoplasmic Chamber. Once the spirit has manifested the user may then communicate with the Ouija board and relieved audible spirit responses via the bell, visual responses by electrostatic discharge in the chamber or even vocally via the spirit trumpet.
Once the communication is complete the lid can be removed from the Ectoplasmic Chamber and the residual ectoplasm from the apparition will escape into the ether in the form of a vortex which can reach over 7 feet.
Even when not in use this particular Ectometron can be used to play gramophone music through.
All of the pictures can be seen here in my portfolio gallery.
The Devil Made Me Do It, pick a sin, any sin...
The great thing about a blog is that you're never sure who is reading it. Sometimes you wonder if anyone is actually reading it at all but every now and again your receive some form of reassurance that your posts don't just vanish into the electronic ether.
Last week I received a response to my 'The Devil Made Me Do It' blog post from 10th June. The reader kindly pointed me in the direction of a well known History Channel antiques hunting show based in the US. He recalled that in a very early episode of season 2 the team came across a barn in South Carolina owned by a crazy old hoarder who collected religious items.
One of the items the team found was a deck of cards that depicted sins. This sounded awfully familiar to the cards that accompanied the strange game I had acquired. So I set about trying to trace the exact episode through various channels, some legitimate and some not so. I eventually found the episode on a Russian site that hosted nearly every History & Discovery Channel program and their associates episodes as well as numerous other shows. I had strong doubts that the site was legal but armed with good virus protection and a fast internet connection I found what I wanted. For legal reasons I'm unable to upload the clip to YouTube but I will do my best to describe it and I have provided some screen shots.
I found the part of the show where the team tried with all of their persuasion and charm to get the serial spiritual hoarder to part with some of his loot which was proving easier said than done. Then from behind a rusty Coca Cola sign one of the show presenters pulled out an old box containing various standard church items, an old bible, a crucifix, order of service leaflets and a mysterious deck of cards.
The presenter remarked on the odd find and jokingly asked his partner in crime to "pick a card, any card!". He picks a card and reads it aloud, "Your Sin is blaspheming". He then briefly holds the card up so the back can be seen and there it was, the back of the card had The Devil Made Me Do It logo! The card was an exact match for the few I had in the studio and to know that there was another complete set in existence was unbelievable.
The most remarkable thing was that when the show presenter asked the old chap how much he wanted for the cards he replied "nah, you can have 'em, maybe they'll help you stay on the righteous path".
I then jumped straight to Google to source a contact number or address for the business featured in the show and minutes later I was composing an e-mail asking how much they wanted for the Sin deck!
I explained that I had a number of cards and an original The Devil Made Me Do It 'game' in various bits. I asked firstly if they still had the deck and secondly how much they were willing to sell it for.
They replied a few days later saying the deck wasn't for sale. They did however, offer to scan all of the cards and send me a pdf copy in return for keeping them in the loop on how the restoration of the original machine was developing.
So I now have a full deck of all 48 Sin cards from The Devil Made Me Do It. My personal favourite has to be the 'Eating Blood' card. It's almost incomprehensible to think that vampirism was still feared in 1950s America!
The actual card dimensions are a little larger than standard business cards so I cleaned up the pdf scans and combined them with artwork from the few card I had to produce a replica deck.
The restoration of the game is coming along nicely and I'll be blogging some images soon. The actual exterior is almost complete but the internal workings are way beyond my technical level. As ironic as it sounds, the mechanism is so odd it could've been designed by the Devil himself!
The Mummified Fairy Workshop Review
The past weekend will remain memorable for two momentous reasons. I will always remember that when the UK decided to leave the EU I was in Germany giving my first overseas workshop.
I can honestly say that it is quite difficult to convey my disappointment at leaving the EU. Although my political stance has always dressed to the right I voted to remain as I was thinking about the impact of leaving for the future generations, namely my children. It was a sad day but I have optimism in my heart and the room I was given at Hotel zum Zauberkabinett in Bad Heilbrunn echoed my positivity.
All of the rooms at the hotel were themed on tarot cards from the major arcana and I had been given The Sun. This card symbolises finding sense behind chaos, attaining a new levels of insight, having an intellectual breakthrough and getting to the heart of the matter. Ultimately all the things I hope to do in the coming months and years in the shadow of Brexit. But most of all the card represents the most positive oracle in the tarot deck and I took this as a good omen of the times ahead.
After a delayed flight due the closure of Belgian airspace, Alex Roemer, long time friend and proprietor of Hotel zum Zauberkabinett took me for a much welcomed beer and Bavarian meal in the scorching sun. Many ideas were hatched and secrets exchanged before we headed back to the hotel to prepare for the forthcoming weekend. This was to be my first Mummified Fairy Workshop for a foreign audience.
The motley crew of attendees started to arrive on Friday afternoon. A teacher, a larper, two magicians and Switzerland's top Jack Jersey impersonator (yes, I wondered who he was also!) arrived for what sounded like the start of a bad joke. After a wonderful meal on the terrace set in the wooded hills I started with an introduction and my lecture on the mummified fairy hoax.
Saturday started bright and breezy with an early breakfast and straight to the studio. Being creative can be surprisingly tiring if you're not used to it so I decided to crack on early to maximise my time with the group. I was told that everyone had some form of artistic ability and we made a great start.
The schedule roughly followed the DVD workshop I had produced a few years earlier with the help of Kickstarter and a few hundred loyal backers. The obvious benefit of this more personal workshop was the one-to-one tuition and the fact you didn't have to watch my hands for 3 hours, unlike the DVD. As all of the group had some form of interest in magic it's not surprising that by early afternoon the fairies had ended up with magnets implanted into their rib cages. The table was alive with jumping and spinning reanimated fairy corpses. After nearly seven hours of melting, painting and sticking we placed the fairies in the drying room and retired for a rest before the evening activities. Felix thrashed me thrice at Carcassonne so I decided to head to my room and drown my sorrows in even more post referendum pessimism.
Most Saturday nights Alex hosts a dinner and evening of magical entertainment. This has been running for 19 years and many of his 50000 plus audience members keep returning for more. The dinner takes place in his impressive magic room crammed with strange artefacts, antique illusions and a mirror where you may see the grim reaper materialise during the evening. Although the whole performance was in German I understood what was happening and after a few beers it didn't really matter anyway!
Sunday morning was spent adding the finishing touches to our desiccated monsters. Hair, wings and eyes added 'life' to the dead fairies and just before lunch we arranged our creations for their first group photo. The artistic talents of the group really shone through and Andreas created possibly the deadest looking dead fairy I had ever seen. The group exhibited excellent effort all round and I'm hoping that everyone who attended had a rewarding and memorable experience.
For an experimental first the workshop was a great success and everyone walked away with something horrific to perplex their family and friends. Due to the success, on the way to the airport Alex and I started our plans for another possible workshop in 2017 so if you're interested in taking part please e-mail me for details.
Thanks once again to Alex for being such an accommodating host and of course a personal thank you goes to Felix, Roman, Manuela, Andreas and Stefan for attending the weekend course.
