Tag: Edgar Bergen

It’s easy from the comfort of our 21^st century recliners to dismiss the mass hysteria of an earlier generation as so many Chicken Littles or Turkey Lurkeys, afraid of their own shadows. We’ve seen it all, any horror one can imagine, right there on the screen in front of us, and should it become too squirmy, well we can always just hit a button. The remote is there to protect us.

But what if you were at home, alone perhaps, on that October night back in 1938. It’s dark out; Halloween and all its spookiness is just a day away. But there’s the radio to keep you company. Like millions of other Americans, you’ll tune in to Edgar Bergen and Charlie McCarthy. That should lighten up a dark night. They finish their comedy routine at ten after eight. A singer you’ve never heard of follows so, like millions of Americans, you surf the radio stations (Wasn’t there supposed to be a dramatic program on?) pausing to hear an unenthusiastic announcer: “. . . the Meridian Room in the Hotel Park Plaza in downtown New York, where you will be entertained by the music of Ramon Raquello and his orchestra.” You listen for a minute; it’s not that great. You’re all set to surf again when the announcer interrupts, reporting that a Professor Farrell of the Mount Jenning Observatory has detected explosions on the planet Mars. The music returns, but only for a minute. The announcer is back with the news that a large meteor has crashed into a farmer’s field in Grovers Mills, New Jersey.

Now your ears are glued to the radio, as announcement after announcement confirms the impossible – a Martian invasion. “Good heavens, something’s wriggling out of the shadow like a gray snake. Now here’s another and another one and another one. They look like tentacles to me … I can see the thing’s body now. It’s large, large as a bear. It glistens like wet leather. But that face, it… it … ladies and gentlemen, it’s indescribable. I can hardly force myself to keep looking at it, it’s so awful. The eyes are black and gleam like a serpent. The mouth is kind of V-shaped with saliva dripping from its rimless lips that seem to quiver and pulsate.”

Now’s the time to surf the radio. If you do, you’ll quickly realize that everything is normal on other radio stations, that you’ve been listening to a realistic but fictional radio drama. But if you don’t, chances are you’ll join the thousands of people jamming highways, trying to flee the alien invasion.

Orson Welles was just 23 years old when his Mercury Theater company broadcast its update of H.G. Wells’ War of the Worlds with no idea of the uproar it would cause. He employed sophisticated sound effects and top notch acting to make the story believable.

And believed it was. In Indianapolis, a woman ran into a church where evening services were being held, yelling: “New York has been destroyed! It’s the end of the world! Go home and prepare to die!”

When the actors got wind of the panic, Welles went on the air as himself to remind listeners that it was just fiction. Afterward, he feared that the incident would ruin his career, but three years later he was in Hollywood working on Citizen Kane.

It’s easy from the comfort of our 21^st century recliners to dismiss the mass hysteria of an earlier generation as so many Chicken Littles or Turkey Lurkeys, afraid of their own shadows. We’ve seen it all, any horror one can imagine, right there on the screen in front of us, and should it become too squirmy, well we can always just hit a button. The remote is there to protect us.

But what if you were at home, alone perhaps, on that October night back in 1938. It’s dark out; Halloween and all its spookiness is just a day away. But there’s the radio to keep you company. Like millions of other Americans, you’ll tune in to Edgar Bergen and Charlie McCarthy. That should lighten up a dark night. They finish their comedy routine at ten after eight. A singer you’ve never heard of follows so, like millions of Americans, you surf the radio stations (Wasn’t there supposed to be a dramatic program on?) pausing to hear an unenthusiastic announcer: “. . . the Meridian Room in the Hotel Park Plaza in downtown New York, where you will be entertained by the music of Ramon Raquello and his orchestra.” You listen for a minute; it’s not that great. You’re all set to surf again when the announcer interrupts, reporting that a Professor Farrell of the Mount Jenning Observatory has detected explosions on the planet Mars. The music returns, but only for a minute. The announcer is back with the news that a large meteor has crashed into a farmer’s field in Grovers Mills, New Jersey.

Now your ears are glued to the radio, as announcement after announcement confirms the impossible – a Martian invasion. “Good heavens, something’s wriggling out of the shadow like a gray snake. Now here’s another and another one and another one. They look like tentacles to me … I can see the thing’s body now. It’s large, large as a bear. It glistens like wet leather. But that face, it… it … ladies and gentlemen, it’s indescribable. I can hardly force myself to keep looking at it, it’s so awful. The eyes are black and gleam like a serpent. The mouth is kind of V-shaped with saliva dripping from its rimless lips that seem to quiver and pulsate.”

Now’s the time to surf the radio. If you do, you’ll quickly realize that everything is normal on other radio stations, that you’ve been listening to a realistic but fictional radio drama. But if you don’t, chances are you’ll join the thousands of people jamming highways, trying to flee the alien invasion.

Orson Welles was just 23 years old when his Mercury Theater company broadcast its update of H.G. Wells’ War of the Worlds with no idea of the uproar it would cause. He employed sophisticated sound effects and top notch acting to make the story believable.

And believed it was. In Indianapolis, a woman ran into a church where evening services were being held, yelling: “New York has been destroyed! It’s the end of the world! Go home and prepare to die!”

When the actors got wind of the panic, Welles went on the air as himself to remind listeners that it was just fiction. Afterward, he feared that the incident would ruin his career, but three years later he was in Hollywood working on Citizen Kane.