Showing posts with label john wyndham. Show all posts
Showing posts with label john wyndham. Show all posts

Friday, January 23, 2026

πŸΎπŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜πŸΎ: Best of 2025 Part 2



As the new year moves forward and we say goodbye to the old, we find ourselves looking at our "Best of" lists.  So this week's Friday Film Adaptation post will feature the most viewed of 2025.  Click on the title links to take you to the original posts.  It's possible not all the original purchase links will still work, in those cases be sure to check the author's websites/links for latest purchasing details and in some cases where the original book the film was based on is an older publication, you might find better luck at your local library.
 

Part 1  /  Part 2











Friday, October 10, 2025

πŸŽƒπŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜πŸŽƒ: The Day of the Triffids by John Wyndham



Summary:

Triffids #1
The influential masterpiece of one of the twentieth century’s most brilliant—and neglected—science fiction and horror writers, whom Stephen King called “the best writer of science fiction that England has ever produced.”—now in development as a miniseries directed by Johan Renck.

“[Wyndham] avoids easy allegories and instead questions the relative values of the civilisation that has been lost, the literally blind terror of humanity in the face of dominant nature. . . . Frightening and powerful, Wyndham’s vision remains an important allegory and a gripping story.”—The Guardian

What if a meteor shower left most of the world blind—and humanity at the mercy of mysterious carnivorous plants? 

Bill Masen undergoes eye surgery and awakes the next morning in his hospital bed to find civilization collapsing. Wandering the city, he quickly realizes that surviving in this strange new world requires evading strangers and the seven-foot-tall plants known as triffids—plants that can walk and can kill a man with one quick lash of their poisonous stingers.






When a day that you happen to know is Wednesday starts off by sounding like Sunday, there is something seriously wrong somewhere.

I felt that from the moment I woke. And yet, when I started functioning a little more smartly, I became doubtful. After all, the odds were that it was I who was wrong, and not everyone else—though I did not see how that could be. I went on waiting, tinged with doubt. But presently I had my first bit of objective evidence—a distant clock struck what sounded to me just like eight. I listened hard and suspiciously. Soon another clock began, on a hard, decisive note. In a leisurely fashion it gave an indisputable eight. Then I knew things were awry.

The way I came to miss the end of the world—well, the end of the world I had known for close on thirty years—was sheer accident: like a lot of survival, when you come to think of it. In the nature of things a good many somebodies are always in hospital, and the law of averages had picked on me to be one of them a week or so before. It might just as easily have been the week before that—in which case I’d not be writing now: I’d not be here at all. But chance played it not only that I should be in hospital at that particular time, but that my eyes, and indeed my whole head, should be wreathed in bandages—and that’s why I have to be grateful to whoever orders these averages. At the time, however, I was only peevish, wondering what in thunder went on, for I had been in the place long enough to know that, next to the matron, the clock is the most sacred thing in a hospital.

Without a clock the place simply couldn’t work. Each second there’s someone consulting it on births, deaths, doses, meals, lights, talking, working, sleeping, resting, visiting, dressing, washing—and hitherto it had decreed that someone should begin to wash and tidy me up at exactly three minutes after 7 a.m. That was one of the best reasons I had for appreciating a private room. In a public ward the messy proceeding would have taken place a whole unnecessary hour earlier. But here, today, clocks of varying reliability were continuing to strike eight in all directions—and still nobody had shown up.

Much as I disliked the sponging process, and useless as it had been to suggest that the help of a guiding hand as far as the bathroom could eliminate it, its failure to occur was highly disconcerting. Besides, it was normally a close forerunner of breakfast, and I was feeling hungry.

Probably I would have been aggrieved about it any morning, but today, this Wednesday, May 8, was an occasion of particular personal importance. I was doubly anxious to get all the fuss and routine over because this was the day they were going to take off my bandages.

I groped around a bit to find the bell push and let them have a full five seconds’ clatter, just to show what I was thinking of them.

While I was waiting for the pretty short-tempered response that such a peal ought to bring, I went on listening.

The day outside, I realized now, was sounding even more wrong than I had thought. The noises it made, or failed to make, were more like Sunday than Sunday itself—and I’d come round again to being absolutely assured that it was Wednesday, whatever else had happened to it.

Why the founders of St. Merryn’s Hospital chose to erect their institution at a main-road crossing upon a valuable office site, and thus expose their patients’ nerves to constant laceration, is a foible that I never properly understood. But for those fortunate enough to be suffering from complaints unaffected by the wear and tear of continuous traffic, it did have the advantage that one could lie abed and still not be out of touch, so to speak, with the flow of life. Customarily the west-bound busses thundered along trying to beat the lights at the corner; as often as not a pig-squeal of brakes and a salvo of shots from the silencer would tell that they hadn’t. Then the released cross traffic would rev and roar as it started up the incline. And every now and then there would be an interlude: a good grinding bump, followed by a general stoppage—exceedingly tantalizing to one in my condition, where the extent of the contretemps had to be judged entirely by the degree of profanity resulting. Certainly, neither by day nor during most of the night, was there any chance of a St. Merryn patient being under the impression that the common round had stopped just because he, personally, was on the shelf for the moment.

But this morning was different. Disturbingly, because mysteriously, different. No wheels rumbled, no busses roared, no sound of a car of any kind, in fact, was to be heard; no brakes, no horns, not even the clopping of the few rare horses that still occasionally passed; nor, as there should be at such an hour, the composite tramp of work-bound feet.

The more I listened, the queerer it seemed—and the less I cared for it. In what I reckoned to be ten minutes of careful listening I heard five sets of shuffling, hesitating footsteps, three voices bawling unintelligibly in the distance, and the hysterical sobs of a woman. There was not the cooing of a pigeon, not the chirp of a sparrow. Nothing but the humming of wires in the wind. . . .

A nasty, empty feeling began to crawl up inside me. It was the same sensation I used to have sometimes as a child when I got to fancying that horrors were lurking in the shadowy corners of the bedroom; when I daren’t put a foot out for fear that something should reach from under the bed and grab my ankle; daren’ t even reach for the switch lest the movement should cause something to leap at me. I had to fight down the feeling, just as I had had to when I was a kid in the dark. And it was no easier. It’s surprising how much you don’t grow out of when it comes to the test. The elemental fears were still marching along with me, waiting their chance, and pretty nearly getting it—just because my eyes were bandaged and the traffic had stopped. . . .

When I had pulled myself together a bit, I tried the reasonable approach. Why does traffic stop? Well, usually because the road is closed for repairs. Perfectly simple. Any time now they’d be along with pneumatic drills as another touch of aural variety for the long-suffering patients. But the trouble with the reasonable line was that it went further. It pointed out that there was not even the distant hum of traffic, not the whistle of a train, not the hoot of a tugboat. Just nothing—until the clocks began chiming a quarter past eight.

The temptation to take a peep—not more than a peep, of course; just enough to get some idea of what on earth could be happening—was immense. But I restrained it. For one thing, a peep was a far less simple matter than it sounded. It wasn’t just a case of lifting a blindfold: there were a lot of pads and bandages. But, more important, I was scared to try. Over a week’s complete blindness can do a lot to frighten you out of taking chances with your sight. It was true that they intended to remove the bandages today, but that would be done in a special dim light, and they would allow them to stay off only if the inspection of my eyes were satisfactory. I did not know whether it would be. It might be that my sight was permanently impaired. Or that I would not be able to see at all. I did not know yet. . . .

I swore and laid hold of the bell push again. It helped to relieve my feelings a bit.

No one, it seemed, was interested in bells. I began to get as much sore as worried. It’s humiliating to be dependent, anyway, but it’s a still poorer pass to have no one to depend on. My patience was whittling down. Something, I decided, had got to be done about it.

If I were to bawl down the passage and generally raise hell, somebody ought to show up if only to tell me what they thought of me. I turned back the sheet and got out of bed. I’d never seen the room I was in, and though I had a fairly good idea by ear of the position of the door, it wasn’t all that easy to find. There seemed to be several puzzling and unnecessary obstacles, but I got across at the cost of a stubbed toe and minor damage to my shin. I shoved out into the passage.

“Hey!” I shouted. “I want some breakfast. Room forty-eight!”

For a moment nothing happened. Then came voices all shouting together. It sounded like hundreds of them, and not a word coming through clearly. It was as though I’d put on a record of crowd noises—and an ill-disposed crowd, at that. I had a nightmarish flash, wondering whether I had been transferred to a mental home while I was sleeping and that this was not St. Merryn’s Hospital at all. The sound of those voices simply didn’t sound normal to me. I closed the door hurriedly on the babel and groped my way back to bed. At that moment bed seemed to be the one safe, comforting thing in my whole baffling environment. As if to underline that, there came a sound which checked me in the act of pulling up the sheets. From the street below rose a scream, wildly distraught and contagiously terrifying. It came three times, and when it had died away it seemed still to tingle in the air.



A shower of meteorites produces a glow that blinds anyone that looks at it. As it was such a beautiful sight, most people were watching, and as a consequence, 99% of the population go blind. This chaos results in the escape of some Triffids: experimental plants that are capable of moving themselves around and attacking people.

Release Date: April 25, 1963
Release Time: 93 minutes

Director: Steve Sekely
Freddie Francis (additional scenes - uncredited)

Cast:
Howard Keel as Bill Masen
Nicole Maurey as Christine Durant
Janina Faye as Susan
Janette Scott as Karen Goodwin
Kieron Moore as Tom Goodwin
Mervyn Johns as Mr Coker
Ewan Roberts as Dr Soames
Alison Leggatt as Miss Coker
Geoffrey Matthews as Luis de la Vega
Gilgi Hauser as Teresa de la Vega
John Tate as Captain — S.S. Midland
Carole Ann Ford as Bettina
Arthur Gross as Flight 356 radioman
Colette Wilde as Nurse Jamieson
Ian Wilson as greenhouse watchman
Victor Brooks as Poiret
Peter Dyneley as the narrator's voice (uncredited)






John Wyndham
John Wyndham Parkes Lucas Benyon Harris was born in 1903, the son of a barrister. He tried a number of careers including farming, law, commercial art and advertising, and started writing short stories, intended for sale, in 1925. From 1930 to 1939 he wrote stories of various kinds under different names, almost exclusively for American publications, while also writing detective novels. During the war he was in the Civil Service and then the Army. In 1946 he went back to writing stories for publication in the USA and decided to try a modified form of science fiction, a form he called 'logical fantasy'. As John Wyndham he wrote The Day of the Triffids and The Kraken Wakes (both widely translated), The Chrysalids, The Midwich Cuckoos (filmed as Village of the Damned), The Seeds of Time, Trouble with Lichen, The Outward Urge (with Lucas Parkes) and Chocky. He died in March 1969.


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Friday, October 22, 2021

πŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜: The Midwich Cuckoos by John Wyndham


Summary:
John Wyndham's 1957 book The Midwich Cuckoos is better known by the more sensational title of its two film adaptations, Village of the Damned. The story begins with Richard and Janet Gayford who have spent the night of September 26 in London, returning to their home in Midwich the following day. Then, in ways that are difficult to pin down, the village seems changed--not quite the same place that it was before. The nightmare that descends on Midwich has dire implications for the rest of the world; whatever dwells there is sowing the seeds for a master race of ruthless and inhumane creatures who are bent on nothing less than absolute and total domination.

In Wyndam's classically elegant, calm style, this novel explores the arrival of a collective intelligence on earth that threatens to eliminate mankind. The quiet, eerie changes that befall Midwich manifest in strange ways; on the surface, everything seems normal, but scratch a little deeper and there is a clear sense of dread. After the night of September 26, every woman of childbearing age is pregnant, all to give birth at the same time, to children who are all alike--their eyes mesmerizing, void of emotion. These children are innately possessed with unimaginable mental powers and a formidable intelligence. It is these children who develop into an unstoppable force, capable of anything and far out-reaching other humans in cunning.

The London Evening Standard called The Midwich Cuckoos "humane and urbane with a lightly sophisticated wit putting the ideas into shape." Wyndham skillfully heightens the terror by making his narrative so rational and matter-of-fact. In such a nuclear and technological age, Wyndam's story is rich in irony in that it is set in the picturesque, bucolic English Village and the "enemy", the threat, are seeming cherubim.



CHAPTER 1
No Entry to Midwich
One of the luckiest accidents in my wife's life is that she happened to marry a man who was born on the 26th of September. But for that, we should both of us undoubtedly have been at home in Midwich on the night of the 26th–27th, with consequences which, I have never ceased to be thankful, she was spared.

Because it was my birthday, however, and also to some extent because I had the day before received and signed a contract with an American publisher, we set off on the morning of the 26th for London, and a mild celebration. Very pleasant, too. A few satisfactory calls, lobster and Chablis at Wheeler's, Ustinov's latest extravaganza, a little supper, and so back to the hotel where Janet enjoyed the bathroom with that fascination which other people's plumbing always arouses in her.

Next morning, a leisurely departure on the way back to Midwich. A pause in Trayne, which is our nearest shopping town, for a few groceries; then on along the main road, through the village of Stouch, then the right-hand turn on to the secondary road for — But, no. Half the road is blocked by a pole from which dangles a notice 'ROAD CLOSED', and in the gap beside it stands a policeman who holds up his hand. ...

So I stop. The policeman advances to the offside of the car, I recognize him as a man from Trayne.

'Sorry, sir, but the road is closed.'

'You mean I'll have to go round by the Oppley Road?'

' 'Fraid that's closed, too, sir.'

'But —'

There is the sound of a horn behind.

' 'F you wouldn't mind backing off a bit to the left, sir.'

Rather bewildered, I do as he asks, and past us and past him goes an army three-ton lorry with khaki-clad youths leaning over the sides.

'Revolution in Midwich?' I inquire.

'Manoeuvres,' he tells me. 'The road's impassable.'

'Not both roads surely? We live in Midwich, you know, Constable.'

'I know, sir. But there's no way there just now. 'F I was you, sir, I'd go back to Trayne till we get it clear. Can't have parking here, 'cause of getting things through.'

Janet opens the door on her side and picks up her shopping-bag.

'I'll walk on, and you come along when the road's clear,' she tells me.

The constable hesitates. Then he lowers his voice.

'Seein' as you live there, ma'am, I'll tell you — but it's confidential like. 'Tisn't no use tryin', ma'am. Nobody can't get into Midwich, an' that's a fact.'

We stare at him.

'But why on earth not?' says Janet.

'That's just what they're tryin' to find out, ma'am. Now, 'fyou was to go to the Eagle in Trayne, I'll see you're informed as soon as the road's clear.'

Janet and I looked at one another.

'Well,' she said to the constable, 'it seems very queer, but if you're quite sure we can't get through. ...'

'I am that, ma'am. It's orders, too. We'll let you know, as soon as maybe.'

If one wanted to make a fuss, it was no good making it with him; the man was only doing his duty, and as amiably as possible.

'Very well,' I agreed. 'Gayford's my name, Richard Gayford. I'll tell the Eagle to take a message for me in case I'm not there when it comes.'

I backed the car further until we were on the main road, and, taking his word for it that the other Midwich road was similarly closed, turned back the way we had come. Once we were the other side of Stouch village I pulled off the road into a field gateway.

'This,' I said, 'has a very odd smell about it. Shall we cut across the fields, and see what's going on?'

'That policeman's manner was sort of queer, too. Let's,' Janet agreed, opening her door.

* * * * *

What made it the more odd was that Midwich was, almost notoriously, a place where things did not happen.

Janet and I had lived there just over a year then, and found this to be almost its leading feature. Indeed, had there been posts at the entrances to the village bearing a red triangle and below them a notice:

MIDWICH DO NOT DISTURB

they would have seemed not inappropriate. And why Midwich should have been singled out in preference to any one of a thousand other villages for the curious event of the 26th of September seems likely to remain a mystery for ever.

For consider the simple ordinariness of the place.

Midwich lies roughly eight miles west-north-west of Trayne. The main road westward out of Trayne runs through the neighbouring villages of Stouch and Oppley, from each of which secondary roads lead to Midwich. The village itself is therefore at the apex of a road triangle which has Oppley and Stouch at its lower corners; its only other highway being a lane which rolls in a Chestertonian fashion some five miles to reach Hickham which is three miles north.

At the heart of Midwich is a triangular Green ornamented by five fine elms and a white-railed pond. The war memorial stands in the churchward corner of the Green, and spaced out round the sides are the church itself, the vicarage, the inn, the smithy, the post office, Mrs Welt's shop, and a number of cottages. Altogether, the village comprises some sixty cottages and small houses, a village hall, Kyle Manor, and The Grange.

The church is mostly perp. and dec., but with a Norman west doorway and font. The vicarage is Georgian; The Grange Victorian; Kyle Manor has Tudor roots with numerous later graftings. The cottages show most of the styles which have existed between the two Elizabeths, but even more recent than the two latest County Council cottages are the utilitarian wings that were added to The Grange when the Ministry took it over for Research.

The existence of Midwich has never been convincingly accounted for. It was not in a strategic position to hold a market, not even across a packway of any importance. It appears, at some unknown time, simply to have occurred; the Domesday survey notes it as a hamlet, and it has continued as little more, for the railway age ignored it, as had the coach roads, and even the navigation canals.

So far as is known, it rests upon no desirable minerals: no official eye ever saw it as a likely site for an aerodrome, or a bombing-range, or a battle school; only the Ministry intruded, and the reconditioning of The Grange had little effect upon the village life. Midwich has — or rather, had — lived and drowsed upon its good soil in Arcadian undistinction for a thousand years; and there seemed, until the late evening of the 26th of September, no reason why it should not so to do for the next millennium, too.

This must not be taken, however, to mean that Midwich is altogether without history. It has had its moments. In 1931 it was the centre of an untraced outbreak of foot-and-mouth disease. And in 1916 an off-course Zeppelin unloaded a bomb which fell in a ploughed field and fortunately failed to explode. And before that it hit the headlines — well, anyway, the broadsheets — when Black Ned, a second-class highwayman, was shot on the steps of The Scythe and Stone Inn by Sweet Polly Parker, and although this gesture of reproof appears to have been of a more personal than social nature, she was, nevertheless, much lauded for it in the ballads of 1768.

Then, too, there was the sensational closure of the nearby St Accius' Abbey, and the redistribution of the brethren for reasons which have been a subject of intermittent local speculation ever since it took place, in 1493.

Other events include the stabling of Cromwell's horses in the church, and a visit by William Wordsworth, who was inspired by the Abbey ruins to the production of one of his more routine commendatory sonnets.

With these exceptions, however, recorded time seems to have flowed over Midwich without a ripple.

Nor would the inhabitants — save, perhaps, some of the youthful in their brief pre-marital restlessness — have it otherwise. Indeed, but for the Vicar and his wife, the Zellabys at Kyle Manor, the doctor, the district-nurse, ourselves, and, of course, the Researchers, they had most of them lived there for numerous generations in a placid continuity which had become a right.

During the day of the 26th of September there seems to have been no trace of a foreshadow. Possibly Mrs Brant, the blacksmith's wife, did feel a trace of uneasiness at the sight of nine magpies in one field, as she afterwards claimed; and Miss Ogle, the postmistress, may have been perturbed on the previous night by a dream of singularly large vampire bats; but, if so, it is unfortunate that Mrs Brant's omens and Miss Ogle's dreams should have been so frequent as to nullify their alarm value. No other evidence has been produced to suggest that on that Monday, until late in the evening, Midwich was anything but normal. Just, in fact, as it had appeared to be when Janet and I set off for London. And yet, on Tuesday the 27th. ...

* * * * *

We locked the car, climbed the gate, and started over the field of stubble keeping well in to the hedge. At the end of that we came to another field of stubble and bore leftwards across it, slightly uphill. It was a big field with a good hedge on the far side, and we had to go further left to find a gate we could climb. Half-way across the pasture beyond brought us to the top of the rise, and we were able to look out across Midwich — not that much of it was visible for trees, but we could see a couple of wisps of greyish smoke lazily rising, and the church spire sticking up by the elms. Also, in the middle of the next field I could see four or five cows lying down, apparently asleep.

I am not a countryman, I only live there, but I remember thinking rather far back in my mind that there was something not quite right about that. Cows folded up, chewing cud, yes, commonly enough; but cows lying down fast asleep, well, no. But it did not do more at the time than give me a vague feeling of something out of true. We went on.

We climbed the fence of the field where the cows were and started across that, too.

A voice hallooed at us, away on the left. I looked round and made out a khaki-clad figure in the middle of the next field. He was calling something unintelligible, but the way he was waving his stick was without doubt a sign for us to go back. I stopped.

'Oh, come on, Richard. He's miles away,' said Janet impatiently, and began to run on ahead.

I still hesitated, looking at the figure who was now waving his stick more energetically than ever, and shouting more loudly, though no more intelligibly. I decided to follow Janet. She had perhaps twenty yards start of me by now, and then, just as I started off, she staggered, collapsed without a sound, and lay quite still. ...

I stopped dead. That was involuntary. If she had gone down with a twisted ankle, or had simply tripped I should have run on, to her. But this was so sudden and so complete that for a moment I thought, idiotically, that she had been shot.

The stop was only momentary. Then I went on again. Dimly I was aware of the man away on the left still shouting, but I did not bother about him. I hurried towards her. ...

But I did not reach her.

I went out so completely that I never even saw the ground come up to hit me. ...

CHAPTER 2
All Quiet in Midwich
As I said, all was normal in Midwich on the 26th. I have looked into the matter extensively, and can tell you where practically everyone was, and what they were doing that evening.

The Scythe and Stone, for instance, was entertaining its regulars in their usual numbers. Some of the younger villagers had gone to the pictures in Trayne — mostly the same ones who had gone there the previous Monday. In the post office Miss Ogle was knitting beside her switchboard, and finding, as usual, that real life conversation was more interesting than the wireless. Mr Tapper, who used to be a jobbing gardener before he won something fabulous in a football pool, was in a bad temper with his prized colour-television set which had gone on the blink again in its red circuit, and was abusing it in language that had already driven his wife to bed. Lights still burnt in one or two of the new laboratories shouldered on to The Grange, but there was nothing unusual in that; it was common for one or two Researchers to conduct their mysterious pursuits late into the night.

But although all was so normal, even the most ordinary-seeming day is special for someone. For instance, it was, as I have said, my birthday, so it happened that our cottage was closed and dark. And up at Kyle Manor it happened, also, to be the day when Miss Ferrelyn Zellaby put it to Mr Alan (temporarily Second-Lieutenant) Hughes that, in practice, it takes more than two to make an engagement; that it would be a friendly gesture to tell her father about it.

Alan, after some hesitation and demur, allowed himself to be persuaded into Gordon Zellaby's study to make him acquainted with the situation.

He found the master of Kyle Manor spread comfortably about a large armchair, his eyes closed, and his elegantly white head leaning against the chair's right wing, so that at first sight he appeared to have been lulled to sleep by the excellently reproduced music that pervaded the room. Without speaking, or opening his eyes, however, he dispelled this impression by waving his left hand at another easy chair and then putting his finger to his lips for silence.

Alan tiptoed to the indicated chair, and sat down. There then followed an interlude during which all the phrases that he had summoned to the tip of his tongue drained back somewhere beyond its root, and for the next ten minutes or so he occupied himself by a survey of the room.

One wall was covered from floor to ceiling by books which broke off only to allow the door by which he had entered. More books, in lower bookcases, ran round most of the room, halting in places to accommodate the french-windows, the chimney-piece, where flickered a pleasant though not quite necessary fire, and the record player. One of the several glass-fronted cases was devoted to the Zellaby Works in various editions and languages, with room on the bottom shelf for a few more.

Above this case hung a sketch in red chalk of a handsome young man who could, after some forty years, still be seen in Gordon Zellaby. On another case a vigorous bronze recorded the impression he had made on Epstein some twenty-five years later. A few signed portraits of other notable persons hung here and there on the walls. The space above and about the fireplace was reserved for more domestic mementoes. Along with portraits of Gordon Zellaby's father, mother, brother, and two sisters, hung likenesses of Ferrelyn, and her mother (Mrs Zellaby Number 1).

A portrait of Angela, the present Mrs Gordon Zellaby, stood upon the centre piece and focus of the room, the large, leather-topped desk where the Works were written.

Reminder of the Works caused Alan to wonder whether his timing might not have been more propitious, for a new Work was in process of gestation. This was made manifest by a certain distraitness in Mr Zellaby at present.

'It always happens when he's brewing,' Ferrelyn had explained. 'Part of him seems to get lost. He goes off on long walks and can't make out where he is and rings up to be brought home, and so on. It's a bit trying while it lasts, but it gets all right again once he eventually starts to write the book. While it's on, we just have to be firm with him, and see he has his meals, and all that.'

The room in general, with its comfortable chairs, convenient lights, and thick carpet, struck Alan as a practical result of its owner's views on the balanced life. He recalled that in While We Last, the only one of the Works he had read as yet, Zellaby had treated ascetism and over-indulgence as similar evidences of maladjustment. It had been an interesting, but, he thought, gloomy book; the author had not seemed to him to give proper weight to the fact that the new generation was more dynamic, and rather more clearsighted than those that had preceded it. ...

At last the music tied itself up with a neat bow, and ceased. Zellaby stopped the machine by a switch on the arm of his chair, opened his eyes, and regarded Alan.

'I hope you don't mind,' he apologized. 'One feels that once Bach has started his pattern he should be allowed to finish it. Besides,' he added, glancing at the playing-cabinet, 'we still lack a code for dealing with these innovations. Is the art of the musician less worthy of respect simply because he is not present in person? What is the gracious thing? — For me to defer to you, for you to defer to me, or for both of us to defer to genius — even genius at second-hand? Nobody can tell us. We shall never know.

'We don't seem to be good at integrating novelties with our social lives, do we? The world of the etiquette book fell to pieces at the end of the last century, and there has been no code of manners to tell us how to deal with anything invented since. Not even rules for an individualist to break, which is itself another blow at freedom. Rather a pity, don't you think?'

'Er, yes,' said Alan. 'I — er —'


After a mysterious blackout, the inhabitants of a British village give birth to emotionless, super-powered offspring.

Release Date: December 7, 1960
Release Time: 78 minutes

Director: Wolf Rilla

Cast:
George Sanders as Gordon Zellaby
Barbara Shelley as Anthea Zellaby
Martin Stephens as David Zellaby
Michael Gwynn as Alan Bernard
Laurence Naismith as Doctor Willers
Richard Warner as Mr. Harrington
Jenny Laird as Mrs. Harrington
Sarah Long as Evelyn Harrington
Denis Gilmore as Keith Harrington (uncredited)
Thomas Heathcote as James Pawle
Charlotte Mitchell as Janet Pawle
Pamela Buck as Milly Hughes
Rosamund Greenwood as Miss Ogle
Susan Richards as Mrs. Plumpton
Bernard Archard as Vicar
Peter Vaughan as P.C. Gobby
John Phillips as General Leighton
Richard Vernon as Sir Edgar Hargraves
John Stuart as Professor Smith
Keith Pyott as Dr. Carlisle




Author Bio:
John Wyndham Parkes Lucas Benyon Harris was born in 1903, the son of a barrister. He tried a number of careers including farming, law, commercial art and advertising, and started writing short stories, intended for sale, in 1925. From 1930 to 1939 he wrote stories of various kinds under different names, almost exclusively for American publications, while also writing detective novels. During the war he was in the Civil Service and then the Army. In 1946 he went back to writing stories for publication in the USA and decided to try a modified form of science fiction, a form he called 'logical fantasy'. As John Wyndham he wrote The Day of the Triffids and The Kraken Wakes (both widely translated), The Chrysalids, The Midwich Cuckoos (filmed as Village of the Damned), The Seeds of Time, Trouble with Lichen, The Outward Urge (with Lucas Parkes) and Chocky. He died in March 1969.



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Friday, October 2, 2020

πŸ“˜πŸŽ₯Friday's Film AdaptationπŸŽ₯πŸ“˜: The Midwich Cuckoos by John Wyndham


Summary:
John Wyndham's 1957 book The Midwich Cuckoos is better known by the more sensational title of its two film adaptations, Village of the Damned. The story begins with Richard and Janet Gayford who have spent the night of September 26 in London, returning to their home in Midwich the following day. Then, in ways that are difficult to pin down, the village seems changed--not quite the same place that it was before. The nightmare that descends on Midwich has dire implications for the rest of the world; whatever dwells there is sowing the seeds for a master race of ruthless and inhumane creatures who are bent on nothing less than absolute and total domination.

In Wyndam's classically elegant, calm style, this novel explores the arrival of a collective intelligence on earth that threatens to eliminate mankind. The quiet, eerie changes that befall Midwich manifest in strange ways; on the surface, everything seems normal, but scratch a little deeper and there is a clear sense of dread. After the night of September 26, every woman of childbearing age is pregnant, all to give birth at the same time, to children who are all alike--their eyes mesmerizing, void of emotion. These children are innately possessed with unimaginable mental powers and a formidable intelligence. It is these children who develop into an unstoppable force, capable of anything and far out-reaching other humans in cunning.

The London Evening Standard called The Midwich Cuckoos "humane and urbane with a lightly sophisticated wit putting the ideas into shape." Wyndham skillfully heightens the terror by making his narrative so rational and matter-of-fact. In such a nuclear and technological age, Wyndam's story is rich in irony in that it is set in the picturesque, bucolic English Village and the "enemy", the threat, are seeming cherubim.


CHAPTER 1
No Entry to Midwich
One of the luckiest accidents in my wife's life is that she happened to marry a man who was born on the 26th of September. But for that, we should both of us undoubtedly have been at home in Midwich on the night of the 26th–27th, with consequences which, I have never ceased to be thankful, she was spared.

Because it was my birthday, however, and also to some extent because I had the day before received and signed a contract with an American publisher, we set off on the morning of the 26th for London, and a mild celebration. Very pleasant, too. A few satisfactory calls, lobster and Chablis at Wheeler's, Ustinov's latest extravaganza, a little supper, and so back to the hotel where Janet enjoyed the bathroom with that fascination which other people's plumbing always arouses in her.

Next morning, a leisurely departure on the way back to Midwich. A pause in Trayne, which is our nearest shopping town, for a few groceries; then on along the main road, through the village of Stouch, then the right-hand turn on to the secondary road for — But, no. Half the road is blocked by a pole from which dangles a notice 'ROAD CLOSED', and in the gap beside it stands a policeman who holds up his hand. ...

So I stop. The policeman advances to the offside of the car, I recognize him as a man from Trayne.

'Sorry, sir, but the road is closed.'

'You mean I'll have to go round by the Oppley Road?'

' 'Fraid that's closed, too, sir.'

'But —'

There is the sound of a horn behind.

' 'F you wouldn't mind backing off a bit to the left, sir.'

Rather bewildered, I do as he asks, and past us and past him goes an army three-ton lorry with khaki-clad youths leaning over the sides.

'Revolution in Midwich?' I inquire.

'Manoeuvres,' he tells me. 'The road's impassable.'

'Not both roads surely? We live in Midwich, you know, Constable.'

'I know, sir. But there's no way there just now. 'F I was you, sir, I'd go back to Trayne till we get it clear. Can't have parking here, 'cause of getting things through.'

Janet opens the door on her side and picks up her shopping-bag.

'I'll walk on, and you come along when the road's clear,' she tells me.

The constable hesitates. Then he lowers his voice.

'Seein' as you live there, ma'am, I'll tell you — but it's confidential like. 'Tisn't no use tryin', ma'am. Nobody can't get into Midwich, an' that's a fact.'

We stare at him.

'But why on earth not?' says Janet.

'That's just what they're tryin' to find out, ma'am. Now, 'fyou was to go to the Eagle in Trayne, I'll see you're informed as soon as the road's clear.'

Janet and I looked at one another.

'Well,' she said to the constable, 'it seems very queer, but if you're quite sure we can't get through. ...'

'I am that, ma'am. It's orders, too. We'll let you know, as soon as maybe.'

If one wanted to make a fuss, it was no good making it with him; the man was only doing his duty, and as amiably as possible.

'Very well,' I agreed. 'Gayford's my name, Richard Gayford. I'll tell the Eagle to take a message for me in case I'm not there when it comes.'

I backed the car further until we were on the main road, and, taking his word for it that the other Midwich road was similarly closed, turned back the way we had come. Once we were the other side of Stouch village I pulled off the road into a field gateway.

'This,' I said, 'has a very odd smell about it. Shall we cut across the fields, and see what's going on?'

'That policeman's manner was sort of queer, too. Let's,' Janet agreed, opening her door.

* * * * *

What made it the more odd was that Midwich was, almost notoriously, a place where things did not happen.

Janet and I had lived there just over a year then, and found this to be almost its leading feature. Indeed, had there been posts at the entrances to the village bearing a red triangle and below them a notice:

MIDWICH DO NOT DISTURB

they would have seemed not inappropriate. And why Midwich should have been singled out in preference to any one of a thousand other villages for the curious event of the 26th of September seems likely to remain a mystery for ever.

For consider the simple ordinariness of the place.

Midwich lies roughly eight miles west-north-west of Trayne. The main road westward out of Trayne runs through the neighbouring villages of Stouch and Oppley, from each of which secondary roads lead to Midwich. The village itself is therefore at the apex of a road triangle which has Oppley and Stouch at its lower corners; its only other highway being a lane which rolls in a Chestertonian fashion some five miles to reach Hickham which is three miles north.

At the heart of Midwich is a triangular Green ornamented by five fine elms and a white-railed pond. The war memorial stands in the churchward corner of the Green, and spaced out round the sides are the church itself, the vicarage, the inn, the smithy, the post office, Mrs Welt's shop, and a number of cottages. Altogether, the village comprises some sixty cottages and small houses, a village hall, Kyle Manor, and The Grange.

The church is mostly perp. and dec., but with a Norman west doorway and font. The vicarage is Georgian; The Grange Victorian; Kyle Manor has Tudor roots with numerous later graftings. The cottages show most of the styles which have existed between the two Elizabeths, but even more recent than the two latest County Council cottages are the utilitarian wings that were added to The Grange when the Ministry took it over for Research.

The existence of Midwich has never been convincingly accounted for. It was not in a strategic position to hold a market, not even across a packway of any importance. It appears, at some unknown time, simply to have occurred; the Domesday survey notes it as a hamlet, and it has continued as little more, for the railway age ignored it, as had the coach roads, and even the navigation canals.

So far as is known, it rests upon no desirable minerals: no official eye ever saw it as a likely site for an aerodrome, or a bombing-range, or a battle school; only the Ministry intruded, and the reconditioning of The Grange had little effect upon the village life. Midwich has — or rather, had — lived and drowsed upon its good soil in Arcadian undistinction for a thousand years; and there seemed, until the late evening of the 26th of September, no reason why it should not so to do for the next millennium, too.

This must not be taken, however, to mean that Midwich is altogether without history. It has had its moments. In 1931 it was the centre of an untraced outbreak of foot-and-mouth disease. And in 1916 an off-course Zeppelin unloaded a bomb which fell in a ploughed field and fortunately failed to explode. And before that it hit the headlines — well, anyway, the broadsheets — when Black Ned, a second-class highwayman, was shot on the steps of The Scythe and Stone Inn by Sweet Polly Parker, and although this gesture of reproof appears to have been of a more personal than social nature, she was, nevertheless, much lauded for it in the ballads of 1768.

Then, too, there was the sensational closure of the nearby St Accius' Abbey, and the redistribution of the brethren for reasons which have been a subject of intermittent local speculation ever since it took place, in 1493.

Other events include the stabling of Cromwell's horses in the church, and a visit by William Wordsworth, who was inspired by the Abbey ruins to the production of one of his more routine commendatory sonnets.

With these exceptions, however, recorded time seems to have flowed over Midwich without a ripple.

Nor would the inhabitants — save, perhaps, some of the youthful in their brief pre-marital restlessness — have it otherwise. Indeed, but for the Vicar and his wife, the Zellabys at Kyle Manor, the doctor, the district-nurse, ourselves, and, of course, the Researchers, they had most of them lived there for numerous generations in a placid continuity which had become a right.

During the day of the 26th of September there seems to have been no trace of a foreshadow. Possibly Mrs Brant, the blacksmith's wife, did feel a trace of uneasiness at the sight of nine magpies in one field, as she afterwards claimed; and Miss Ogle, the postmistress, may have been perturbed on the previous night by a dream of singularly large vampire bats; but, if so, it is unfortunate that Mrs Brant's omens and Miss Ogle's dreams should have been so frequent as to nullify their alarm value. No other evidence has been produced to suggest that on that Monday, until late in the evening, Midwich was anything but normal. Just, in fact, as it had appeared to be when Janet and I set off for London. And yet, on Tuesday the 27th. ...

* * * * *

We locked the car, climbed the gate, and started over the field of stubble keeping well in to the hedge. At the end of that we came to another field of stubble and bore leftwards across it, slightly uphill. It was a big field with a good hedge on the far side, and we had to go further left to find a gate we could climb. Half-way across the pasture beyond brought us to the top of the rise, and we were able to look out across Midwich — not that much of it was visible for trees, but we could see a couple of wisps of greyish smoke lazily rising, and the church spire sticking up by the elms. Also, in the middle of the next field I could see four or five cows lying down, apparently asleep.

I am not a countryman, I only live there, but I remember thinking rather far back in my mind that there was something not quite right about that. Cows folded up, chewing cud, yes, commonly enough; but cows lying down fast asleep, well, no. But it did not do more at the time than give me a vague feeling of something out of true. We went on.

We climbed the fence of the field where the cows were and started across that, too.

A voice hallooed at us, away on the left. I looked round and made out a khaki-clad figure in the middle of the next field. He was calling something unintelligible, but the way he was waving his stick was without doubt a sign for us to go back. I stopped.

'Oh, come on, Richard. He's miles away,' said Janet impatiently, and began to run on ahead.

I still hesitated, looking at the figure who was now waving his stick more energetically than ever, and shouting more loudly, though no more intelligibly. I decided to follow Janet. She had perhaps twenty yards start of me by now, and then, just as I started off, she staggered, collapsed without a sound, and lay quite still. ...

I stopped dead. That was involuntary. If she had gone down with a twisted ankle, or had simply tripped I should have run on, to her. But this was so sudden and so complete that for a moment I thought, idiotically, that she had been shot.

The stop was only momentary. Then I went on again. Dimly I was aware of the man away on the left still shouting, but I did not bother about him. I hurried towards her. ...

But I did not reach her.

I went out so completely that I never even saw the ground come up to hit me. ...

CHAPTER 2
All Quiet in Midwich
As I said, all was normal in Midwich on the 26th. I have looked into the matter extensively, and can tell you where practically everyone was, and what they were doing that evening.

The Scythe and Stone, for instance, was entertaining its regulars in their usual numbers. Some of the younger villagers had gone to the pictures in Trayne — mostly the same ones who had gone there the previous Monday. In the post office Miss Ogle was knitting beside her switchboard, and finding, as usual, that real life conversation was more interesting than the wireless. Mr Tapper, who used to be a jobbing gardener before he won something fabulous in a football pool, was in a bad temper with his prized colour-television set which had gone on the blink again in its red circuit, and was abusing it in language that had already driven his wife to bed. Lights still burnt in one or two of the new laboratories shouldered on to The Grange, but there was nothing unusual in that; it was common for one or two Researchers to conduct their mysterious pursuits late into the night.

But although all was so normal, even the most ordinary-seeming day is special for someone. For instance, it was, as I have said, my birthday, so it happened that our cottage was closed and dark. And up at Kyle Manor it happened, also, to be the day when Miss Ferrelyn Zellaby put it to Mr Alan (temporarily Second-Lieutenant) Hughes that, in practice, it takes more than two to make an engagement; that it would be a friendly gesture to tell her father about it.

Alan, after some hesitation and demur, allowed himself to be persuaded into Gordon Zellaby's study to make him acquainted with the situation.

He found the master of Kyle Manor spread comfortably about a large armchair, his eyes closed, and his elegantly white head leaning against the chair's right wing, so that at first sight he appeared to have been lulled to sleep by the excellently reproduced music that pervaded the room. Without speaking, or opening his eyes, however, he dispelled this impression by waving his left hand at another easy chair and then putting his finger to his lips for silence.

Alan tiptoed to the indicated chair, and sat down. There then followed an interlude during which all the phrases that he had summoned to the tip of his tongue drained back somewhere beyond its root, and for the next ten minutes or so he occupied himself by a survey of the room.

One wall was covered from floor to ceiling by books which broke off only to allow the door by which he had entered. More books, in lower bookcases, ran round most of the room, halting in places to accommodate the french-windows, the chimney-piece, where flickered a pleasant though not quite necessary fire, and the record player. One of the several glass-fronted cases was devoted to the Zellaby Works in various editions and languages, with room on the bottom shelf for a few more.

Above this case hung a sketch in red chalk of a handsome young man who could, after some forty years, still be seen in Gordon Zellaby. On another case a vigorous bronze recorded the impression he had made on Epstein some twenty-five years later. A few signed portraits of other notable persons hung here and there on the walls. The space above and about the fireplace was reserved for more domestic mementoes. Along with portraits of Gordon Zellaby's father, mother, brother, and two sisters, hung likenesses of Ferrelyn, and her mother (Mrs Zellaby Number 1).

A portrait of Angela, the present Mrs Gordon Zellaby, stood upon the centre piece and focus of the room, the large, leather-topped desk where the Works were written.

Reminder of the Works caused Alan to wonder whether his timing might not have been more propitious, for a new Work was in process of gestation. This was made manifest by a certain distraitness in Mr Zellaby at present.

'It always happens when he's brewing,' Ferrelyn had explained. 'Part of him seems to get lost. He goes off on long walks and can't make out where he is and rings up to be brought home, and so on. It's a bit trying while it lasts, but it gets all right again once he eventually starts to write the book. While it's on, we just have to be firm with him, and see he has his meals, and all that.'

The room in general, with its comfortable chairs, convenient lights, and thick carpet, struck Alan as a practical result of its owner's views on the balanced life. He recalled that in While We Last, the only one of the Works he had read as yet, Zellaby had treated ascetism and over-indulgence as similar evidences of maladjustment. It had been an interesting, but, he thought, gloomy book; the author had not seemed to him to give proper weight to the fact that the new generation was more dynamic, and rather more clearsighted than those that had preceded it. ...

At last the music tied itself up with a neat bow, and ceased. Zellaby stopped the machine by a switch on the arm of his chair, opened his eyes, and regarded Alan.

'I hope you don't mind,' he apologized. 'One feels that once Bach has started his pattern he should be allowed to finish it. Besides,' he added, glancing at the playing-cabinet, 'we still lack a code for dealing with these innovations. Is the art of the musician less worthy of respect simply because he is not present in person? What is the gracious thing? — For me to defer to you, for you to defer to me, or for both of us to defer to genius — even genius at second-hand? Nobody can tell us. We shall never know.

'We don't seem to be good at integrating novelties with our social lives, do we? The world of the etiquette book fell to pieces at the end of the last century, and there has been no code of manners to tell us how to deal with anything invented since. Not even rules for an individualist to break, which is itself another blow at freedom. Rather a pity, don't you think?'

'Er, yes,' said Alan. 'I — er —'


After a mysterious blackout, the inhabitants of a British village give birth to emotionless, super-powered offspring.

Release Date: December 7, 1960
Release Time: 78 minutes

Cast:
George Sanders as Gordon Zellaby
Barbara Shelley as Anthea Zellaby
Martin Stephens as David Zellaby
Michael Gwynn as Alan Bernard
Laurence Naismith as Doctor Willers
Richard Warner as Mr. Harrington
Jenny Laird as Mrs. Harrington
Sarah Long as Evelyn Harrington
Denis Gilmore as Keith Harrington (uncredited)
Thomas Heathcote as James Pawle
Charlotte Mitchell as Janet Pawle
Pamela Buck as Milly Hughes
Rosamund Greenwood as Miss Ogle
Susan Richards as Mrs. Plumpton
Bernard Archard as Vicar
Peter Vaughan as P.C. Gobby
John Phillips as General Leighton
Richard Vernon as Sir Edgar Hargraves
John Stuart as Professor Smith
Keith Pyott as Dr. Carlisle



Author Bio:
John Wyndham Parkes Lucas Benyon Harris was born in 1903, the son of a barrister. He tried a number of careers including farming, law, commercial art and advertising, and started writing short stories, intended for sale, in 1925. From 1930 to 1939 he wrote stories of various kinds under different names, almost exclusively for American publications, while also writing detective novels. During the war he was in the Civil Service and then the Army. In 1946 he went back to writing stories for publication in the USA and decided to try a modified form of science fiction, a form he called 'logical fantasy'. As John Wyndham he wrote The Day of the Triffids and The Kraken Wakes (both widely translated), The Chrysalids, The Midwich Cuckoos (filmed as Village of the Damned), The Seeds of Time, Trouble with Lichen, The Outward Urge (with Lucas Parkes) and Chocky. He died in March 1969.


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