University of Cincinnati

Home , Quill (Grimm), The Slipper and the Rose, The Wedding Banquet

UNIVERSITY OF CINCINNATI

______, 20 _____

I,______, hereby submit this as part of the requirements for the degree of:

______in: ______It is entitled: ______

Approved by: ______

UNIVERSITY OF CINCINNATI

GRIMM REALITY:

A DIGITAL VIDEO FEATURE PRESENTATION

DOCUMENTATION OF THESIS PROJECT SUBMITTED TO THE FACULTY OF THE SCHOOL OF DESIGN IN CANDIDACY FOR THE DEGREE OF MASTER OF DESIGN FROM THE COLLEGE OF DESIGN, ARCHITECTURE, ART & PLANNING

ERIC CHATTERJEE, BA Psychology

CINCINNATI, OHIO

2002

Committee Chair: J. Chewning

iii ABSTRACT

The entertainment industry may be on the verge of a major change. For more than a century, celluloid film has been the artistic medium for the motion picture industry- the third largest industry in the United States. However, recent advances in video technology may allow this visual media, once thought suitable only for broadcast television, to become the new industry standard. Although, at the time of this writing, only one Hollywood feature (The Anniversary Party) entirely shot on digital video has been released, in the coming years many more are sure to follow. Even more remarkable are the number of amateur filmmakers that have taken advantage of the medium of digital video to produce highly polished short films and displayed them on the Internet. In the following project, digital video and related technologies were used to produce a program that can be viewed as a series of shorts or as a feature length adaptation of some of the Grimm’s Fairy Tales, in a manner faithful to the original tales, some of which have never been adapted to the screen before.

To Jakob and Wilhelm who spent sixteen long years on the first edition.

PREFACE

My first movie memory is of seeing The 7th Voyage of Sinbad with my father at the movie theater up the street from where we lived. From that time onward I had a love for both movies, and for mythology and fairy tales. When digital video made moviemaking affordable enough to do fantasy type stories with little or no budget, I began work on an independent “film” that would break away from the mold of the dressed-up-stage-play, “Generation X”, Slacker-type comedies that characterized much of the domestic independent films of the 1990s. Drawing inspiration from a diverse range of genre producers (Roger Corman, Lloyd Kaufman, Sam Raimi), independent filmmakers (Kevin Smith, Julie Taymor), studio auteurs (Francis Coppola, Alfred Hitchcock) and foreign directors (Tsui Hark, Jean Jeunet), I set out to create a movie that would be equally at home in both the art house theatre and the drive-in, the two traditional (albeit shrinking) venues for independent movies, as well as perhaps on the Internet, the growing new forum for “indies”. Beginning in the mid 1990s I began working at the world’s largest publisher of books on writing and thereby acquired about two dozen of the best books on writing for the screen.

After sharpening my skills at writing screenplays, adapting novels, and a few years of working on independent feature films, vii I met Dennis Puhalla, then the director of the graduate program in digital design at the University of Cincinnati who upon hearing my conviction that digital video was poised to transform the film industry, encouraged me to apply to U.C.’s digital design program. After writing two scripts that were undoable (one for budgetary reasons, the other because it was based on a location that was demolished) I wrote Grimm Reality (GR), an unflinching look at the violent, lurid and salacious fireside tales of the middle ages which make up the foundation of children’s literature to this day. Grimm Reality immediately set itself apart from the other scripts on my shelf and, at least in my mind, from other no-budget independents in both unique subject matter, and fertile possibilities to emphasize production design – an oft overlooked area in shoestring budget movie making. So, with script in hand, I began to study yet another field on the road to making the one-man movie-show: design. The process of creating a well-designed featurette is the undertaking concerned herein. However, before plunging into a detailed account of the process behind the project, I must take time to acknowledge the help of one Eric Smith who, in addition to lending administrative help, had me watch Jim Henson’s The Storyteller, and whose influence, by loaning me a copy of the book Grimm’s Grimmest when I was looking for inspiration, cannot be overlooked.

viii Along similar lines was the help of Kevin Grace in the Archives and Rare Books department of the University of Cincinnati’s Classics Library for his help in my study of the history of book illustration. Many images that were incorporated directly or indirectly into the final project were the result of his ability to retrieve material based solely on my descriptions of “look” rather than by specific call numbers or titles. Finally, the movie itself couldn’t have been completed without the help of a great number of people who believed in the value of the project. A complete list of acknowledgements can be found in the credits of the movie.

The iron tongue of midnight hath told twelve; Lovers, to bed; ‘tis almost fairy time.

- Shakespeare, A Midsummer Night’s Dream

CONTENTS

ABSTRACT ...... iv PREFACE ...... vi LIST OF ILLUSTRATIONS ...... 3 LIST OF ABBREVIATIONS ...... 4 GLOSSARY ...... 6 EDITORIAL METHOD ...... 10 Chapter INTRODUCTION ...... 12 1. BACKGROUND ...... 16 2. SURVEY OF THE LITERATURE ...... 22 3. SYMBOL, MOTIF AND MEANING IN FAIRY TALES 33 4. DECONSTRUCTING SYMBOLISM: “Little Red Riding Hood”. 39 5. ANALYZING MOTIF: "Fitcher's Bird" . . . . 54 6. ADAPTING THE TALES ...... 61 7. VISUAL STYLE ...... 75 8. CREATION OF A NEW FONT ...... 84 9. TECHNICAL SPECIFICATIONS ...... 90 10. THESIS COMITTEE ...... 93 Appendix 1. SCRIPT ...... 94

BIBLIOGRAPHY ...... 139 Design reference ...... 139 1 Source material ...... 141 Technical reference pre-production ...... 143 Technical reference production ...... 144 Technical reference postproduction ...... 145 Theory / inspiration ...... 146 FILMOGRAPHY ...... 149 INTERNET RESOURCES ...... 151

ILLUSTRATIONS

Figure Page

1. Mezco Toys "Little Red Riding Hood" & "Wolf" figures 32

2. Grimm Reality shaky cam shot, "Red Cap" sequence . . . 76 3. Grimm Reality hand held shot sped up, flashback . . . 76 4. Grimm Reality montage, "Robber Bridegroom" sequence . 76 5. Grimm Reality stylized lighting ...... 77 6. "Luftwaffe", a public domain font ...... 86 7. Side by side comparisons of letter modifications . . . 88 8. "Grimm Luftwaffe" font ...... 88

ABBREVIATIONS

ADR Additional Dialogue Recording, AKA Automatic Dialogue Replacement

AIFF An .aif file

AT Aarne-Thompson index

AVI Audio Video Interleaved (.avi) files

CD-DA Compact Disc Digital Audio format

CDTP Histoires ou contes du tempes passé (1697), Perrault, Charles

CFTBG The Complete Fairy Tales of the Brothers Grimm (1987), Zipes, Jack (trans.)

CSS Cascading Style Sheet

D-cinema Digital Cinema DV Digital video DVD Digital Video Disc format, AKA Digital Versatile Disc format

EFX see F/X F/X Special effects FB Fitcher’s Bird, AKA Fitchers Vogel, Fitcher’s Fowl, Fowler’s Fowl, Fowler’s Bird, etc.

FW FireWire®, AKA iLink®, IEEE1394 GFT (The) Grimms’ Fairy Tale(s)

GR Grimm Reality

JPEG Joint Photographic Experts Group, or a .jpg file employing that group’s standards.

Kbps Kilobits per second

4 KUH (Die) Kinder- und Hausmärchen (1812), Grimm, Jakob Ludwig Karl and Grimm, Wilhelm Karl

LRRH Little Red Riding Hood, AKA: All About Little Red Riding Hood, Le petit Chaperon Rouge, Lil’ Red Riding Hood, Little Golden-Hood, Little Red Ridinghood, Little Red Cap, Little Red-Cap, Little Riding Hood, Rotkäppchen, Very Red Riding Hood, etc.

Mbps Millions of bits per second, AKA megabits per second miniDV mini digital video format NAB The National Association of Broadcasters also the name for that organization's annual convention

NLE Nonlinear editing OM Ölenberg Manuscript OTC Opening Title Card PPD Postproduction RB The Robber Bridegroom

SFX Sound effects USB Universal Serial Bus W3C World Wide Web Consortium WAV A .wav file

GLOSSARY

24P. High end DV format wherein tape is spooled at 24 frames per second with each frame stored and displayed progressively rather than by scanned fields as in traditional analogue video.

Aarne-Thompson index. An international categorization table for folklore, which classifies all traditional tales by a type number between 1 and 1,000.

Acquisition. see Principal photography.

AIFF file. Audio Interchange File Format AKA Apple Interchange File Format. A computer audio file format which contains raw audio data, channel information, bit depth, sample rate, and application-specific data. The extension for this file type is .aif .

Auteur. A filmmaker- generally a director- who creates a body of work with a unified sensibility that reveals, through the interplay of themes and styles, a personal worldview. Sometimes used to describe any filmmaker who is intimately involved in all aspects of the moviemaking process (writing, directing, producing, editing, etc.).

AVI file. Audio Video Interleaved files are sound and motion picture files that conform to the Microsoft Windows Resource Interchange File Format (RIFF) specification. AVI files (which end with an .avi extension) require a special player that may be included with a Web browser or may require downloading.

Cascading style sheet. W3C standard that allows a web page designer to define the order of preference among stylistic elements that may be drawn from various sources.

Digital Cinema. Projection of a digital print of a movie regardless of the means of capture (analogue or digital) a digital print can be made for theatrical projection.

6 Emphasis font. The font used in connection with a movie, other than for the title. Often this font may be used with the opening title cards of a movie and/or in promotional materials.

FireWire. Data transfer Serial Bus developed by Apple Computers for connecting peripheral devices to a computer. Allows a single plug-and-socket connection on which up to 63 devices can be attached with data transfer speeds up to 400 Mbps. Technical designation is IEEE 1394. IEEE 1394 can also act as a peer-to-peer interface without being connected to a computer. IEEE 1394 operates with both asynchronous and isochronous data transfer modes simultaneously making it ideal for the transmission of multimedia files.

Folkloristics. The comparative study of folk knowledge and culture. Originally and still commonly called “folklore”, the term folkloristics is used to distinguish the study of the subject of folklore from the subject itself (which is also known as folklore).

General font. A font used in movie marketing materials other than the title or emphasis fonts. A general font is selected for clarity and is usually in widespread use and standard on most home PCs (also known as web safe).

IEEE 1394. Institute of Electrical and Electronics Engineers, Inc.’s designation for FireWire. see FireWire.

Interactive. Media that reveals content based on user actions such as a videogame.

JPEG. (Joint Photographic Experts Group) is an international group of experts that develops and maintains standards for a suite of compression algorithms for computer image files. JPEG (pronounced JAY-pehg) also refers to any image file that employs a JPEG standard, typically with the file suffix ".jpg". JPEG images suit a wide range of uses since they can be scaled in size and quality and are compatible with the World Wide Web.

Looping. ADR work. Acquiring clean dialogue tracks in a studio during postproduction.

Opening Title Cards. The credits at the beginning of a movie or video presentation.

7 Optioning. Paying a sum for the rights to adapt a copyrighted work to the screen. Not to be confused with the actual purchase price of the material.

Post. see Postproduction.

Post-production. see Postproduction.

Postproduction. All work done on a movie after principal photography is complete.

Pre. see Preproduction.

Pre-production. see Preproduction.

Preproduction. All preparations made before principal photography begins on a movie.

Principal. see Principal photography.

Principal filming. see Principal photography.

Principal photography. Phase during which the majority of filming is done on a movie.

Production. The overall process of making a movie. Sometimes used to refer to the phase of Principal photography.

Shoot. see Principal photography.

Streaming. Media transmitted across a computer network (usually the Internet) via a continuous flow of data packets, which are uncompressed and displayed as they are received.

Time-based. Media that reveals content to an audience over time such as audio or video recordings.

Title font. The font used for the movie’s title. Often this may not be a font at all, but actually a piece of artwork (usually a vector graphic) with only the characters of the movie’s title. It usually appears wherever the movie title needs to appear, such as the movie poster, video box, etc.

Universal Serial Bus. Data transfer standard for connecting peripheral devices to a computer. Allows 12 Mbps.

World Wide Web Consortium. An organization founded by CERN, DARPA and the European Commission to promote standards for the World Wide Web and products that interface with it.

WAV file. Standard PC audio file format created by the Microsoft™ Corporation which stores uncompressed raw audio data as well

8 as data on number of tracks, sample rate, and bit depth. A Wave file is identified by the file name extension .wav .

EDITORIAL METHOD

Whenever a specific story from a collection of Grimm’s Fairy Tales is mentioned, the title appearing in that edition is the one that is used. If the tale comes from a translated version, the appropriate English title is used. When referring to an un- translated edition, the German title is used. “Grimm’s Fairy Tales”, “Grimm’s Tales” and sometimes-just “the tales” are used to refer to the complete body of work, regardless of publication date or location. When these terms appear in the singular case (e.g. “Grimm’s Tale”), they refer to any story that has appeared in any of the various publications by the Grimm’s or abridged from their work. In some cases, indicated in the text, the names of German texts have been translated for purposes of clarity. Additionally for simplicity, abbreviations for these works may be used; please see the list of abbreviations above. Some characters are known by various names, (e.g. Little Red Riding Hood/Little Red-Cap or The Wolf/The Big Bad Wolf etc.) in such cases, the names are used interchangeably and no specific version is implied unless specified in the text. In many cases, a fairy tale shares its title with an element from the story. In cases such as this, the title is enclosed in quotation marks. For example: “Bluebeard” -refers to the tale, 10 whereas: Bluebeard -refers to the character. The same is true when objects appear as a title: “The Juniper Tree” –refers to a story, the juniper tree –refers to an object. Finally, the bibliography section (including the filmography and Internet resources subsections) is comprised of a fairly complete list of sources utilized in both the thesis research, as well as the production of the visual work. It is divided into categorical subsections. As per tradition, standard reference materials such as dictionaries, style manuals, etc. as well as manuals and guidebooks to the hardware and software used to produce this work have been omitted.

Introduction

The motion picture medium has an extraordinary range of expression. It has in common with the plastic arts the fact that it is a visual composition projected on a two- dimensional surface; with dance, that it can deal in the arrangement of movement; with theatre, that it can create a dramatic intensity of events; with music, that it can compose in the rhythms and phrases of time and can be attended by song and by instrument; with poetry, that it can juxtapose images; with literature generally, that it can encompass in its sound track the abstractions available only to language.

-Maya Deren, “Cinematography: The Creative Use of Reality”

Recent advances in technology are changing the way the entertainment industry operates. From conception through distribution, computerization has dramatically changed the way most time-based media are produced. Film and theatre are perhaps the most collaborative art forms there are, calling upon the skills of artists and designers of many different disciplines, and each of these component disciplines have themselves been affected to some degree by the digital revolution. The evolution of the art director into production designer is a reflection of this change. Where once, they were primarily responsible for managing a team of carpenters and set dressers,

12 art department heads now find themselves responsible for the entire "look and feel" of a given film project, and its related materials. They're now auteurs in their own right, nearly the equal of the director in all stages of production. Paralleling the changes the rise of desktop publishing has made in the periodical industry over the past two decades, the development of digital video (DV) media, and nonlinear1 (NLE), ‘desktop’ editing is beginning to change the way “films” are made. The word “film” itself is becoming an inadequate or at least inaccurate term for today’s movies, which may or may not be entirely shot, edited and/or displayed with actual celluloid. While analog film media still predominates throughout the world, as of this writing, digital media is rapidly gaining in popularity.2 Even the Star Wars franchise, perhaps the most successful movie series in cinematic history, is now being shot and edited entirely digitally.3 Although there are no doubt strong financial motivations for Hollywood directors embracing the DV format, the high picture quality it offers, is certainly a factor. For example, of his intention to use DV as the acquisition media for Star Wars: Episode II- Attack of the Clones, director George Lucas is quoted

1 It is worth noting that The Internet Movie Database, defines Non-linear editing as "…the visual equivalent of word processing…", http://us.imdb.com/Glossary/N

2 Although Star Wars: Episode II- Attack of the Clones, was the first Hollywood feature to begin shooting digitally, as of this writing, at least one other digital production (The Anniversary Party dir. Alan Cumming and Jennifer Jason Leigh) has already been released.

3 http://www.starwars.com/episode-ii/news/2000/04/news20000409.html 13 as saying, “The tests have convinced me that the familiar look an feel of motion picture film are fully present in this digital 24P system, and that the picture quality between the two is indistinguishable on the large screen,” at the NAB 2000.4 While exaggerated attention to technical developments might be expected at an industry event such as NAB, the significance of Star Wars' digital photography as well as its simultaneous analogue and digital print release, has not escaped the notice of the popular press. In Entertainment Weekly, May 11, 2001, the move was compared to such cinematic landmarks as the introduction of sound, “…Episode II could conceivably become a watershed in

movie production, the Jazz Singer of digital cinema,”5 and “like the beginning of color [movies]”.6 The project documented herein was the creation of a feature film7 conceived, executed, and presented by digital means. While not all components of the "film" derived solely from the digital realm (for example, the presentation was performed by live actors wearing handmade costumes rather than computer animations textured with graphic "skins") however, every aspect of the creative process incorporated some degree of computation from word-processed script through final distribution. The

4 http://www.sel.sony.com/SEL/corpcomm/news/bandp/618.html

5 Ty Burr, “Reel Gone?” Entertainment Weekly, May 11, 2001, 595.

6 George Lucas, “Industrious Light & Magic” Entertainment Weekly, May 11, 2001, 595.

7 As defined by the Internet Movie Database, a feature film is "A movie at least 60 minutes long intended for theatrical release", http://us.imdb.com/Glossary/F#feature

14 documentation of the production process of the movie, entitled Grimm Reality, is the subject of this monograph, and the World

Wide Website http://www.grimmreality.com .

Chapter 1

Background

Myth is an attempt to narrate a whole human experience, of which the purpose is too deep, going too deep in the blood and soul, for mental explanation or description.

-D.H. Lawrence, Introduction to The Dragon of Revelation by Frederick Carter

In general, movie preproduction (assuming the odd script- less experimental film or video project is more properly classified as ‘electronic art production’ rather than ‘movie production’) begins with script selection. Movie scripts can be broken into two general categories: original scripts, that is scripts that are written with the intent of being shot; and adapted screenplays, which are scripts that are written to bring a story from another medium to the screen. For this project, funds, and personal choice ruled out the purchase or commission of an original script outright from a screenwriter. Similarly, a self penned original script was deemed too lengthy an undertaking, leaving only the choice of adapting a screenplay. Since budget constraints precluded the optioning of an existing novel or other work of fiction, the search was narrowed to stories existing in the public domain. This process 16 began with an in depth examination of the media itself to assess what could be most successfully adapted to the medium. In order to explore a new narrative media, it is necessary to examine the very basics of narrative storytelling. Stories are, first and foremost, a means of communication. All stories (as opposed to essays or other forms of speech) involve one or more characters in conflict. It has become common practice to discuss these tales in terms of their universal conflict; “A boy- meets-girl, boy-loses-girl, boy-gets-girl story”, or “A fish-out- of-water tale”. These conflicts may be expressed as threats to a character’s hierarchy of needs in the Maslow model. For example the “A boy-meets-girl, boy-loses-girl, boy-gets-girl story” could be expressed as a conflict that threatens a character’s “social/love” level in the hierarchy, while the “A fish-out-of- water tale” could be viewed as a conflict arising from the threat to the protagonist’s “safety/security” level. Since these basic needs are universal, they find expression across cultures through what C.G. Jung refers to as Archetypes.8 According to Jung, "Archetypes are irrepresentable in themselves but their effects are discernible in archetypal images and motifs…”9 In subsequent writings, Jung variously stated, "Archetypes… present themselves as ideas and images, like everything else that becomes a content of consciousness… Archetypes are, by definition, factors and motifs that arrange

8 q.v. On the Nature of the Psyche. Jung, Carl Gustav. (bibliog.)

9 q.v. The Jung Lexicon. Sharp, Daryl http://www.cgjungpage.org/ . 17 the psychic elements into certain images, characterized as archetypal, but in such a way that they can be recognized only from the effects they produce… the archetype as an image of instinct is a spiritual goal toward which the whole nature of man strives; it is the sea to which all rivers wend their way, the prize which the hero wrests from the fight with the dragon".10 According to C.G. Jung, “In addition to the purely personal unconscious hypothesized by Freud, a deeper unconscious level is felt to exist. This deeper level manifests itself in universal archaic images expressed in dreams, religious beliefs, myths, and fairytales."11 Mythologists such as Joseph Campbell believe that there are perhaps less than a dozen stories that have ever been told. When stripped of names and incidental details, most stories can be reduced to the expression of one of a handful of Jungian archetypes.12 This is not to say that two different cultures tales expressing the same archetype and pattern are interchangeable. As Professor Tolkien has stated “It is precisely the colouring, the atmosphere, the unclassifiable details of a story, and above all the general purport that informs with life, the undissected bones of the plot, that really count. Shakespeare’s King Lear is not the same as Layamon’s story in his Brut. Or to take the extreme

10 Ibid (note 5).

11 Jung, C., Collected Works of C. G. Jung, Vol. 9, Part 1. 2nd ed., Princeton University Press, 1968. (p. 3- 41).

12 Hero With a Thousand Faces. Campbell, Joseph. (bibliog.)

18 case of Red Riding Hood: it is merely of secondary interest that the retold versions of this story, in which the little girl is saved by woodcutters, is directly derived from Perrault’s story in which she was eaten by the wolf. The really important thing is that the later version has a happy ending (more or less, and if we do not mourn the grandmother overmuch), and that Perrault’s version had not. And that is a very profound difference…"13 Nevertheless, the prevalence of archetypes in the oral and written tradition of cultures around the world is undeniable, and nowhere are these archetypes more prominent or effective than in the Grimm’s Fairy tales. The folk tales of Eurasia were passed down from generation to generation orally until first collected in print by Jacob and Wilhelm Grimm in two volumes, in 1812 and 1815 respectively, under the title Kinder- und Hausmärchen (KUH). KUH, and a second edition, containing all the tales collected in one volume, published in 1822, continuously grew in popularity and were reprinted and exported to many nations. Their publication sparked a growing inquiry into the tales origins, as it hadn’t passed everyone’s notice that the tales bore a striking similarity to the traditional folktales of nearly every country the books found their way into. The first theory that arose was that there was a vast Indo- Germanic clan from which all Eurasian cultures descended along

13 q.v. “Tree and Leaf” in The Tolkien Reader. J.R.R. Tolkien (bibliog.)

19 with their folk traditions,14 though this theory of historical inheritance was soon discredited at least as the sole source. A second theory: that the tales passed overland from mouth to mouth like the game of telephone changing in details across cultures, this theory of geographical diffusion was later discarded as unlikely given the remoteness of some cultures, however it has recently been revived. While there is no doubt that both inheritance and diffusion have played a role in the evolution of existing folktales, Wilhelm Grimm himself postulated the theory of polygenesis of the fairy tale. In 1856, in the annotated notes to KHM, Wilhelm wrote, “There are situations so simple and natural that they reappear everywhere, just as there are thoughts that seem to invent themselves. It is possible that the same or strikingly similar fairy tales might have originated quite independently of one another in different countries.” It is little wonder that some of these stories have been adapted to the screen so often. Cinderella, for example has been filmed more times than any other story in history. Long before Walt Disney produced the best known, animated version in 1950, the tale had already been adapted scores of times, going back to the very earliest years of the medium itself.15 And, still,

14 q.v. The German Library Volume 29: Jakob and Wilhelm Grimm and Others, German Fairy Tales. Brackert and Sander. (bibliog.)

15 The Internet Movie Database lists no less than 97 movie and TV versions of the tale between 1898-2001 with the name "Cinderella" in the title, alone. If one were to include versions under the tales' original Germanic title, Aschenputtel, as well as adaptations of other ethnic versions of the same archetype; relatively "straight" adaptations (with such titles as The Glass Slipper, The Slipper and the Rose and Ever After), and "loose" adaptations as diverse as Jerry Lewis' Cinderfella and the blockbuster Pretty Woman; the grand total would certainly number in the thousands. 20 Cinderella's popularity endures both in period form and in modern adaptations such as Pretty Woman (one of the highest grossing movies of all time). Perhaps, the very immortality of the Grimm's Tales may be the reason Walt Disney chose to make his directorial debut with a version of Little Red Riding Hood. Close examination of the subject matter, reveals that, the popularity of the Grimm’s Fairy Tales notwithstanding, the stories as they were originally told - adult tales generally reserved for late at night, not unlike fireside ‘ghost stories’ - have never been literally adapted to the screen. There is, for example, no filmic version where Aschenputtel’s sisters mutilate their feet to fit in a crystal slipper, or where a man uses an axe to make his daughter "The Girl With No Hands", at the Devil’s behest. The pandemic appeal of the Grimm’s Fairy Tales, owing to the purity of their archetypal nature, along with the absence of faithful adaptations of their original versions and their widespread free accessibility, led to the decision to select them as the subject for adaptation to DV in this project. The surname of the archivists Jakob and Wilhelm, a homophone for the word grim, combined with the word ‘reality’- chosen to connote the ghastly truth behind the Fairy Tales original renditions- provided the project’s title: Grimm Reality.

http://us.imdb.com/Tsearch?title=cinderella&.x=13&.y=14&type=substring&from_year=1890&to_year=2010&sort =chrono&tv=both

Chapter 2

Survey of the Literature

This fairy tale book was by no means written for children.

- Jakob Grimm, Kinder- und Hausmärchen

The phrase “Grimm Fairy Tale” (GFT) has come to be a catchall term used to refer to any of the folktales of Eurasia that can be found (in one form or another) in any of the various collections of the Brothers Grimm, or their abridgements, but might also be found in the collections of Lang, Perrault or a number of other folktale anthologists. This is because the Grimm’s Fairy Tales were stories collected, not invented by German philologists Jakob and Wilhelm Grimm. Thus, there is an inherent problem in trying to find the original version of any of these fairy tales, namely, the first versions fixed in print by the brothers do not necessarily represent the “original” versions of the “Grimm’s Fairy Tales” so much as the original Grimm’s version of “The Grimm’s Fairy Tales”. Most fairy tales, including all the ones collected by the

Grimms, were long transmitted orally from generation to generation, much like, say, Homer’s Iliad. However, unlike that 22 work, the fairy tales of central Europe were from a much less literate culture, and were not fixed in any quasi-definitive form in print for quite some time, and even when they were, they were often altered and embellished to suit the needs of the archivist. As one source put it, “When any attention was paid to these tales, it was only after they had been changed beyond recognition, after their original themes had been trivialized and adapted to what was the current style of polite literature…they all felt the need to edit them in polite language and as if they contained only lofty ideas.”16 The popularity of “Grimm’s Fairy Tale” as a descriptor notwithstanding, the Grimms were by no means the first to collect the folktales of Europe. “At the end of the seventeenth century Charles Perrault published a number of French tales, and so did Mme. D’Aulnoy in her Contes nouvelles ou les fees à la mode. Both authors, while basing their stories on well-known French tales, did indeed rework them à la mode. They moralized and prettified them and in doing so did tort to their true spirit.”17 The notes of translator Jack Zipes, in The Complete Fairy Tales of the Brothers Grimm, maintain that many of the tales that the Grimms recorded had French origins because the Hassenpflugs – one of the Grimms’ primary storytelling sources - were of Huguenot ancestry and spoke French at home.

16 Foreword to The German Library Volume 29: Fairy Tales. Bettelheim. (bibliog.)

17 Ibid. (Note 16.)

23 The Grimm brothers said in the preface to the 1815 volume of Kinder- und Hausmärchen (KUH), that the tales shouldn’t be censored,18 and initially they edited very little out – as they wrote in the introduction to KUH, “We have taken pains to record these tales as untouched as possible… No situation has been added, prettified or altered…”19 However, the tales were already beginning to be “prettified” by that point. In addition to any modifications that had crept into the tales from the above-mentioned French collections, many of the tellers were reluctant to tell the tales at all. They were “…simple people, accustomed to telling their tales at intimate family gatherings…and were ashamed to do so in front of two

cultured gentlemen”.20 It is therefore difficult to believe that they were delivered in all their raw power. It must be remembered that “‘In the past, fairy tales were told both to bolster the spirit, during work hours, and to entertain after work. At basket making, charcoal burning, tobacco bolting, quill splitting, corn husking, chestnut peeling, fishnet repair and weaving – any collective work effort was a fitting occasion. Fairy tales were also told at wakes, and during leisure hours at harvest time. Soldiers liked to tell them, as did lumberjacks and journeymen. It was a favorite pastime on walking

18 Grimms' Fairy Tales: A History of Criticism on a Popular Classic. McGlathery, James M. Columbia, South Carolina: Camden House Inc. 1993.

19 Ibid. (Note 18.)

20 q.v. The German Library Volume 29: Jakob and Wilhelm Grimm and Others, German Fairy Tales. Brackert and Sander. (bibliog.)

24 trips to market, on pilgrimages, on ocean voyages, and at country fairs’ (Max Luethi). Thus it is clear that fairy tales were by no means conceived as mere children’s stories.” 21 This is spelled out more clearly in the introduction to Grimm’s Grimmest22 where Harvard German professor Maria Tatar points out that, “For peasants who sat around the fire on long winter evenings repairing tools, mending clothing, and spinning yarn, it must have been a real relief to find distraction in the bawdy humor, blood-curdling melodrama, and table-turning pranks of the folktale.” According to Tatar, even though the brothers had great reverence for the material, “…when faced with the realities of folk culture, the Grimms had no reservations about censoring, revising, and reworking tales so they would conform with the notion of positive cultural values. The stories that appear in the first edition of the collection were to a great extent sanitized, homogenized, and dressed up by the Grimms, who wanted to create a volume that would meet with popular approval, if not necessarily commercial success. In doing so, however, they were also surprisingly tolerant, allowing all kinds of not-so-innocent episodes to remain in the collection, at least in the first edition.”23

21 Ibid (note 20).

22 q.v. Grimm’s Grimmest. Grimm, Grimm and Dockray. (bibliog.)

23 Ibid. (Note 22). 25 Additionally, the Grimm’s were firmly nationalist, and tried to exclusively present tales, which they believed to be, wholly Germanic in origin. Although the futility of trying to define the point of origin of anything arising from the oral tradition and dating to an era where national borders were ill defined at best, seems never to have deterred them. It has been speculated that one of the reasons the first edition of KUH didn’t enjoy the kind of popularity of subsequent editions, was because of its content. The Grimm’s were not unaware of KUH’s commercial potential if altered, and they went about doing just that over the next several years, with Wilhelm taking on editorial responsibility. 24 It is under Wilhelm’s editorial administration that the GFT underwent a dramatic shift in language, content and tone. While editing the first edition, he was primarily concerned with changing the stories “…to make the tales more proper and prudent for bourgeois audiences”25, for the subsequent editions he strived for “…less open mention of sexual matters, elimination of vulgar expressions, and a greater role for prayer and piety.”26 Zipes claims, “…the Grimms made major changes while editing the tales. They eliminated erotic and sexual elements that might be offensive to middle-class morality, added numerous Christian

24 Ibid (note 22).

25 q.v. “Once There Were Two Brothers Named Grimm”, introduction to Complete Fairy Tales of the Brothers Grimm, The. Grimm, Grimm and Zipes. (bibliog.)

26 Grimms' Fairy Tales: A History of Criticism on a Popular Classic. McGlathery, James M. Columbia, South Carolina: Camden House Inc. 1993. 26 expressions and references, emphasized specific role models for male and female protagonists according to the dominant patriarchal code of that time, and endowed many of the tales with a ‘homey’ or biedermeier flavor by the use of diminutives, quaint expressions, and cute descriptions. Moreover, though the collection was not originally printed with children in mind as the primary audience – the first two volumes had scholarly annotations, which were later published separately – Wilhelm made all the editions from 1819 on more appropriate for children, or rather, to what he thought would be proper for children to learn.”27 This is because both Grimm brothers thought the GFT should take on the role of an Erziehungsbuch – an educational manual. Thus, by the time even the first English translation of KUH was available, the tales we’ve come to know as “Grimm’s Fairy Tales” had been greatly distorted from the stories that were told by the medieval peasantry. The fact that the Grimm’s themselves censored the tales, makes locating original versions very difficult indeed. In fact, it is possible that still, no truly faithful English translation exists. Even the least expurgated versions currently in print might have been lost were it not for an accident of history. The Grimms did not, in fact, originally collect the Grimms’ Fairy Tales for the express purpose of their collection and publication as KUH.

27 Ibid. (Note 25.) 27 The two brothers were more interested in language (Jakob Grimm is considered to be the father of comparative philology) and they initially gathered the tales as a favor to a colleague, Clemens Brentano, who was interested in publishing a collection of his own. Jakob and Wilhelm saw this as a way to further their own studies of German language and culture and, to that end, hand copied the manuscript prior to sending it to Brentano to preserve an unedited original version for their own future reference. “As it happened, after the Grimms sent their collected texts to Brentano, who was unreliable and was going through great personal difficulties, they decided to publish the tales themselves and began changing them and preparing them for publication.” 28 In producing the work, the Grimms were in agreement on editing style: “A comparison of the way Jacob and Wilhelm worked both before and after 1815 does not reveal major differences, except that Wilhelm did take more care to refine the style and make the contents of the tales more acceptable for a children’s audience, or, really, for adults who wanted the tales censored for children.”29 From 1819 onward, Wilhelm took charge of subsequent revisions, slowly refining the tales to a less affronting, less prosaic style. More than a century later, the Tales had become quite diluted when in 1920, the original handwritten manuscript

28 Ibid. (Note 25.)

29 Ibid. (Note 26.)

28 the Grimms had sent to Brentano was discovered in the Ölenberg

Monastery in Alsace.30 These renditions have since seen print three times (twice in the years immediately following its discovery, and again in 1974). Ever since the release of the second edition of KUH, the GFT have been continuously remolded into more and more edentate children’s stories, a trend which persists in the form of saccharine Disney movie adaptations. However, since the 1974 reprinting of the Ölenberg Manuscript (OM), a counter trend has begun, toward the primary versions. First came Angela Carter’s The Bloody Chamber in 1979, which restored for modern audiences, in storytelling tradition, some of the elements that over the years had been masked, subtly implied, reduced to obtuse symbols, or omitted entirely. Though maybe not entirely faithful to the Grimms’ versions of the tales, they were much more faithful to the original spirit of the tales. Thee Renaissance of the original GFT really took wing in 1987 when German language Professor Jack Zipes published a comprehensive and well-annotated new English translation entitled, The Complete Fairy Tales of the Brothers Grimm (CFTBG). This is perhaps the most scholarly version of GFT to see print since Jacob and Wilhelm’s own original first edition. Though most of the stories came from the seventh edition of the tales, Zipes did restore 32 tales that had been excised, including such

30 Ibid. (Note 26.)

29 gruesome stories as “How Some Children Played at Slaughtering” and “The Crows”. The same year saw the release of Tatar’s critical evaluation, The Hard Facts of the Grimms’ Fairy Tales, which built upon Zipes’ own evaluation, The Trials & Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context, released in 1983 and updated in 1993. In 1997, children’s book illustrator Tracy Arah Dockray collected a hodgepodge of shocking tales from the first three editions (translated by Professor Tatar) with only minor embellishments under the title, Grimm’s Grimmest. Though designed as a child’s picture book, this version was clearly marketed to an adult audience, with faux gilt and blood spatters on the front cover, and a back cover caption reading, “Gruesome and ghastly tales for grown-ups!” Shortly thereafter, in 1999, appeared The Big Book of Grimm, a similarly marketed (blood spattered cover and all) collection from the tales, this time adapted into comic book form by more than 50 artists. While The Big Book of Grimm contains more stories and more shocking illustrations than Grimm’s Grimmest, it is even more varied in the sources, including Zipes, Dockray/Tatar, and several others, resulting in an uneven work far more adulterated than it’s cover caption, “The original, uncensored bedtime stories in all their grim glory!” suggests. The demand for the restoration of the long suppressed

authenticity of GFT has further manifest itself in the appearance

30 of a line of “Scary Tales” action figures from Mezco Toys31 including a “…mouthwatering Lil’ Red Riding Hood…” figure, and a Wolf figure with “…rich, red blood upon his jowls…” (Figure 1).

31 http://www.mezco.net 31

Fig. 1. Mezco Toys®. 32

Chapter 3

Symbol, Motif and Meaning in Fairy Tales

Fairy-stories banished in this way, cut off from a full adult art, would in the end be ruined; indeed in so far as they have been so banished, they have been ruined.

- J.R.R. Tolkien, The Tolkien Reader

Folktales do not reveal even their surface meanings easily. One must work to get at the meat of the story. Since fairy tales have been rewritten à la mode in each age, one must cut through the dross of generations. Such is the case with the Grimm’s Fairy Tales (GFT). In some cases this may mean looking beneath the impositions of overlaying morality plays, in others it might mean translating symbols that have long since lost their meaning, and for which there are no Rosetta Stones. Even with all symbols deciphered, one must still interpolate to some degree, doing so however, can be a very rewarding experience. As Carl-Heinz Mallet puts it in Fairy Tales and Children, “Once you’ve learned to read between the lines and detect the subliminal truths beneath the surface plot, you are amazed at what lies concealed in the fairy- tale characters”.

In the Russian film Bronenosets Potyomkin, there is a scene where a woman is shot just above her swan shaped belt buckle. 33 Where western audiences saw just another victim of the Cossack police, Russian audiences, familiar with the swan as fertility symbol, subconsciously interpreted it as an attack against a pregnant woman, and so by extension an attack against children, and the way of life of an entire class of people. Such is the power of symbolism. Symbols can present complex ideas with an economy of space. They can convey forbidden ideas in acceptable guise. But, they only work if the audience can interpret them. Often with the GFT, contemporary audiences are exposed to images that have ceased to be symbolic for them, and are they are therefore deprived from grasping the full meaning of a story. Symbols take many forms in the GFT. They include such things as, “…the preference for formulaic repetition, the significance of the number three, and the importance of passwords in plot structure and for the presentation of character.”32 In some cases, symbols have been used in place of passages considered unmentionable in retellings, especially those geared toward children. Sigmund Freud commented on this practice in religious writings, but his statements are equally applicable to mythology (which is really just ancient religion) and folklore (which is really just microcosmic mythology). Freud writes: The truths contained in religious doctrines are after all so distorted and systematically disguised, that the mass

32 q.v. The German Library Volume 29: Jakob and Wilhelm Grimm and Others, German Fairy Tales. Brackert and Sander. (bibliog.)

34 of humanity cannot recognize them as truth. The case is similar to what happens when we tell a child that new-born babies are brought by the stork. Here too, we are telling the truth in symbolic clothing, for we know what the large bird signifies. But the child does not know it. He hears only the distorted part of what we say, and feels that he has been deceived; and we know how often his distrust of the grown-ups and his refractoriness actually take their start from this impression. We have become convinced that it is better to avoid such symbolic disguisings of the truth in what we tell children and not to withhold from them a knowledge of the true state of affairs commensurate with their intellectual level. (Freud, 1927)33

The point is not that the tradition of using symbols to disguise material in the GFT deemed unsuitable for children has done a disservice to both children and to the tales themselves (which may be true), but that such arcane symbolism has over time dulled the meaning of the tales for the mass of humanity as well. Not all symbolism in GFT have been added or removed through the process of retelling and revision. Some remain fragmented in the tails as relics from earlier versions, while others have existed as integral parts of the tales since their inception. For example, all versions of the tale “The Juniper Tree” obviously contain a juniper tree. To the contemporary reader, there is no obvious reason the tree in the story need be a juniper; it could just as well have been a birch, oak or spruce. However, every known version of the tales stipulates that it is, in fact, a juniper. There is little doubt that some symbolic meaning was attached to the juniper, but what exactly it symbolizes is a matter of debate.

33 Sigmund Freud, The Future of an Illusion (translated by James Strachey et al., Standard Edition, XXI; London: The Hogarth Press, 1961), pp. 44-45. (Orig. 1927.) from The Hero with a Thousand Faces (q.v. bibliog..) 35 Legends about junipers dating at least to the Dark Ages suggest that planting such a tree beside the front door will protect against witches. In “The Juniper Tree”, the tree is planted in front of the house. But, there is no witch in the story. Or is there? At the start of the tale, the father takes a second wife. This stepmother (a standard villain type of in GFT)34 bears a striking resemblance to other GFT witches. She is an evil miserly woman who hates children, particularly the beautiful pale skinned type, and she uses food, particularly apples – history’s most maligned fruit - as a device of attack. The stepmother also follows witch tradition by cooking a stew of the little boy. In the story, the tree is what ultimately empowers the good to exact justice upon this evil woman. The juniper tree throughout folk belief is seen as a masculine plant associated with the Sun and the element of Fire. It holds legendary powers of protection, anti-theft, love, exorcism, and good health. It was burned during the Middle Ages to ward off the plague. These folk beliefs may be rooted in scientific fact. For example, the Juniper does produce combustible oil, and the pharmacological uses of the plant have been well documented. Many of these attributes appear in the story. When the boy’s bones are buried beneath the Juniper Tree the tree moves, and with attendant smoke and flame, the boy is resurrected as a bird.

34 As Jonathan Vankin writes in The Big Book of Grimm, “…the only thing worse than being a cruel natural parent is to be – a stepmother.” Emphasis Vankin’s (bibliog..) 36 Later, just before her comeuppance, the stepmother feels as if fire were running through her veins, fears that the house is about to catch fire, and her hair spontaneously combusts. She is ultimately crushed to death by a millstone, and smoke and fire rise from the spot; Crushing and burning being traditional punishments for witchcraft. “The Juniper Tree” illustrates the problem in analyzing symbolism in the GFT. There is no doubt that the tale is laden with symbolism, but the meaning of the symbols is lost in the shroud of history. The juniper tree may exist in the story to signal the stepmother as a witch, or the story itself might exist to extol the virtues of the juniper. While one or both of these may be the case, it’s hard to believe that there isn’t something more to the story. As fairy tales have been transmitted from person to person, the symbols can change, resulting in the same story with a completely different meaning. Motifs, which are story elements that are common to more than one tale (e.g. wicked stepmothers) that may or may not be symbols, can also change. This is a dilemma for folklorists who classify tales by motif. For instance, the tale “The Companionship of the Cat and the Mouse” (KUH) exists in another form where the cat and the mouse are instead a rooster and a hen, which significantly changes the meaning of the tale.35 In the pages that follow, attention is

35 Grimms' Fairy Tales: A History of Criticism on a Popular Classic. McGlathery, James M. Columbia, South Carolina: Camden House Inc. 1993. 37 given to critical analysis of symbolism and motifs in “Little Red Riding Hood”, “Fitcher’s Bird” and “The Robber Bridegroom”, the three tales that were ultimately selected for adaptation to the screen as “Grimm Reality”. An explanation of why these particular tales were selected can be found in Chapter 6: Adapting the Tales.

Chapter 4

Deconstructing symbolism: “Little Red Riding Hood”

She was my first love. I felt that if I could have married Little Red Riding-Hood, I should have known perfect bliss. But, it was not to be.

- Charles Dickens, “A Christmas Tree”

One of the most symbol-laden stories in GFT is “Rotkäppchen” (KUH, vol. 1, 1812), better known to English speakers as “Little Red Ridinghood” (LRRH). “Rotkäppchen” was related to the Grimms by Jeanette and Marie Hassenpflug and was derived from similar tales found all across the Eurasian continent, particularly the French tale “Le petit chaperon rouge,” found in Charles Perrault’s Contes du Tempes passé (CDTP), which was published in 1697. However, the version of the tale that is best known today, was influenced by Ludwig Tiek’s drama Leben und Tod des kleinen

Rotkäppchens (1800).36 Tiek’s drama, which made its theatrical debut only a few years before the Grimms began collecting the stories that would comprise KUH, significantly changed the character of the fairy

36 q.v. The Complete Fairy Tales of the Brothers Grimm. (bibliog.)

39 tale. Until that time, there were no hunters or woodcutters to rescue Little Red, let alone Grandma; there was no “happily ever after”. Nevertheless, it was an adaptation of Tiek’s drama that made it into KUH, marking perhaps one of the greatest errors the Grimms made in their attempt to collect the traditional versions of German folktales. One need not dig far to find symbolism in “Rotkäppchen”. “Little Red Riding Hood” stands out in the GFT, because it is one of the few tales where the title is simultaneously the name of the story’s protagonist, as well as the story’s central symbol. By immediately broadcasting a symbol as its title, LRRH succeeds in alerting the reader to its metaphoric nature so when the mother sends her daughter alone into wolf-ridden woods, the reader is not left immediately incredulous. The girl, for her part is given no proper name in the story - she is named after the hood – which makes her a symbol as well, a representation of every girl. Furthermore, the resulting vagueness of identity between the girl and the hood allows the adjectives “little” and “red” to be applied to girl, clothing or both. In other words, LRRH can be a story about a little girl with a red hood, or one about a girl with a little red hood. The title of some earlier versions of the story, (Rotkäppchen, Le Petit Chaperon Rouge) translates literally as “Little Red Cap”. And, it should be noted, that in some versions of the story, the headgear is not red at all, but gold

(suggesting among other things something of great value)

40 moreover, in some of the earliest versions of the story, including non-western versions (e.g. “The Tiger Bride”, “Grandmother Wolf”, etc.) there is no mention of a hood or hat at all. All this only seems to strengthen the idea that in stories where Ridinghood’s red hood does appear, its inclusion can be attributed in whole or at least in part to its symbolic content. In stories where the hat appears as red, the overwhelming majority of written criticism seems to concur that there is some sexual characteristic to the coloration. Bettleheim, for example, points out that, “Red is the color symbolizing violent emotions, very much including sexual ones”37, leading some to suggest a parallel to a woman’s clitoral hood. While others, such as Fromm, “claimed the girl’s red cap is ‘a symbol of menstruating,’ and that therefore ‘The little girl of whose adventures we hear has become a mature woman and is now confronted with the problem of sex…’ and when the girl is warned by her mother not to stray from the path so that she will not fall and break the bottle, the warning secretly concerns ‘…the danger of sex and losing her virginity.’”38 Others concur with this reading, German psychologist Carl-Heinz Mallet writes, “...the adult reader will not understand why such a big girl has to be warned about falling, as if she were a three-year-old… a trained psychologist… can translate her words into plain language… Stay on the right

37 q.v. Grimms' Fairy Tales: A History of Criticism on a Popular Classic. McGlathery. (bibliog..)

38 Ibid (Note 36.)

41 path, or you’ll lose your innocence and you’ll be a fallen girl.”39 While the warning against breaking the bottle doesn’t appear in all versions, the essential thematic content does. In some versions there is a pot of butter, in others no receptacle at all, not even a basket. There is, however, one object present in nearly all versions: the cap. In such cases, it is the red cap, rather than the bottle, which symbolizes the girl’s hymen. This becomes particularly evident when one considers that the Middle English and French terms for the hymen (maidenhed, maidenhud, etc.) literally translate to ‘maidenhead’ and ‘maidenhood’, ‘maidhood’ or ‘maid’s hood’. Some of the language in the German tale supports this idea as well. In KUH, we are told that the wolf wants to “erschnappen” (snap her) little red cap. And, in one version desires to “crack her” open.40

Ever since Perrault turned the folk tale into a cautionary one, complete with the following post script:

Moral: Children, especially attractive, well bred young ladies, should never talk to strangers, for if they should do so, they may well provide dinner for a wolf. I say "wolf," but there are various kinds of wolves. There are also those who are charming, quiet, polite, unassuming, complacent, and sweet, who pursue young women at home and in the streets. And unfortunately, it is these gentle wolves who are the most dangerous ones of all. (Perrault 1697 trans. Lang, 1889, 51-53)

39 q.v. Fairy Tales and Children, Mallet (bibliog..)

40 q.v. Fairy Tales and Children, Mallet (bibliog..)

42 critics have been interpreting the Red Riding Hood tale as warning against rapists. However, “Zipes emphasized that ‘In the folk tale the little girl displays a natural, relaxed attitude toward her body and sex and meets the challenge of the would-be seducer,’ whereas in Perrault’s literary version the girl ‘is chastised because she is innocently disposed toward nature in the form of the wolf and the woods, and she is raped or punished because she is guilty of not controlling her natural inclinations’ (29;

Zipes’ emphasis)”41

Issues of virginity and consent aside, the suggestion of some sort of sexual activity has never been fully removed from the tale. For instance, even though in the Grimm versions the wolf says the better to hold you with rather than to hug or embrace you with, as in Perrault, the implication is still there. In addition, while the Grimm version states merely, “she went to the bed and pulled back the curtains”, the Perrault version bluntly reads, “Little Red Riding Hood took off her clothes and got into bed.” Perrault’s description, however, seems perfunctory in comparison to the oral versions from which it was derived. Around 1885, in Nièvre, France, Paul Delarue recorded a version, which had been passed down in oral form, called “The Story of Grandmother”. “Delarue contended that Perrault adapted such a

41 Ibid (note 37). 43 version in accord with the tastes of his time and audience, notably through avoiding crudities and improprieties in the oral versions, like the girl’s eating of her grandmother’s flesh and blood, at the wolf’s invitation…”42 “The Story of Grandmother” captures the tale as it existed before Perrault’s revisions. The Delarue tale contains no bottle or red cap at all, but takes a different tack to convey the same message: "Undress yourself, my child," the werewolf said, "and come lie down beside me." "Where should I put my apron?" "Throw it into the fire, my child, you won’t be needing it anymore." And each time she asked where she should put all her other clothes, the bodice, the dress, the petticoat, and the long stockings, the wolf responded: "Throw them into the fire, my child, you won’t be needing them any more." (Delarue c.1885)

Of this passage, Chase and Teasley write, “Red Riding Hood has burned her bridges: the clothes, like her virginity, are

unrecoverable”.43 Even the latest Grimm versions suggest a coital situation: After the wolf had satisfied his desires he lay down in bed again, fell asleep, and began to snore very loudly… …“So I’ve found you at last, you old sinner,” said the huntsman. (Grimm, Grimm, Zipes, 1987, 104)

Coloration of the hood aside, the title “Little Red Riding Hood” begs the question, to what does she ride, surely not a horse, a rare and expensive animal not likely to be owned by a

42 Ibid (note 37).

43 “Little Riding Hood: Werewolf and Prostitute”, Chase, and Teasley (q.v. Internet Resources.)

44 peasant girl. Besides, there is no mention of a horse, and the story specifies that the girl walks the trail through the woods. Even the most sanitized versions are loaded with sexual innuendo. In the version in Andrew Lang’s Blue Fairy Book, “The Wolf fell upon” Little Red Cap. Mallet also points to lines that are easy to gloss over, but even in the original German, make little sense taken at face value. For example, the Wolf’s query, “What are you carrying under your apron?” is present in nearly all the versions. Mallet states, “It is quite obvious that the basket of cake and wine cannot be hidden under the girl’s little apron. Nor is the wolf interested in this. He’s after what’s really under the apron.”44 It’s no wonder that some scholars have maintained that “Little Red Riding Hood” was never intended for children at all, “And as early as the seventeenth century, adults at the French court were already enjoying this story, for it was no children’s tale; indeed, a number of its versions could not exactly be considered suitable for minors.”45 The red cap and the girl’s basket of goodies aren’t the only symbols in the story, though. Another symbol, one that has led to a great deal of speculation, is the trail through the woods. This is not surprising since woods and wilderness have long been established as a symbol of the primeval without, and within, and here we have a trail through it, or at least into it.

44 Ibid (Note 42.)

45 q.v. Fairy Tales and Children, Mallet (bibliog..) 45 Some have suggested that choosing the right path was far more important in the original tale. Inspired in part by Robert Darnton’s The Great Cat Massacre and Other Episodes in French Cultural History, Richard Chase, PhD. and David Tasley, PhD. wrote, “As the original tale opens, a dominant concern is the path to be chosen.”46 The path of “Little Red Riding Hood” is, of course, symbolic of the journey that all girls make from childhood to womanhood. The path begins at Mother's house and ends at Grandmother's house, and goes through woods fraught with beauty and peril along the way. As Luisa Valenzuela succinctly puts it in her update of the tale, "I am Red Riding Hood. I am my own mother, I am walking toward my grandmother, the wolf is

stalking me."47 Like Red-Cap and the wolf, the grandmother is also a symbol. Many interpret this character as a manifestation of secret knowledge. She is an elder, which immediately suggests knowledge, wisdom or experience. Additionally, she lives in the dark woods, and she may have allowed herself to be consumed by the wolf. In one rendition of the story, “the girl ate from her grandmother's flesh… [And] …drank from her grandmother's blood” before she “climbed into bed with the wolf.”48 Since this was all done at the wolf’s urging, the most obvious conclusion to be drawn here is

46 “Little Riding Hood: Werewolf and Prostitute”, Chase, and Teasley (q.v. Internet Resources.)

47 q.v. Symmetries, Valenzuela, 1993. (bibliog..)

48 Retold from A. Millien, Mélusine, v. 3 (1886-1887), col. 428-429. http://www.pitt.edu/~dash/type0333.html#perrault 46 that the beast is trying to “fatten her up” before he eats her. However, there may be a hidden meaning here too. In many primitive cultures, there is a belief that if one eats the flesh of an animal, he will acquire the memories and abilities of the animal, Bison meat was consumed for strength, tiger meat for speed, etc. Ritual cannibalism was often practiced for the same reason. Even the Christian Eucharist has as its underlying tenet that consuming the flesh and blood of another imparts properties of the consumed unto the consumer. Ergo, the question becomes, if Red Cap cannibalizes Grandmother, what properties has she gained? The obvious implication is that she has become like her grandmother, she has gained wisdom, and the only thing the audience knows that Grandmother surely knows, is Knowledge of the Wolf. Seen in this light, LRRH becomes a fable like that of Adam and Eve, where a priori knowledge is gained by the ingestion of food.49 As stated earlier, even after the symbols have been deciphered, there is a fair amount of room for interpretation of the story as a whole. It may be that LRRH is one of the most enduring of GFT precisely because so many interpretations can exist. Some claim it is a warning against sexual predators, while other say it was a feminist liberation tale passed on by womenfolk.

49 It is interesting to note that when wolves did exist in Europe, one of their chief food sources would have been hare; there are still some places in Europe and the British Isles in particular where people will not eat hare meat because of an ancient belief that to eat hare was to eat the flesh of one’s own grandmother. 47 In Mallet’s psychoanalytic interpretation of the story, Little Red Cap is an expression of the Elektra complex. Mallet believes there is evidence which suggests that the Wolf is actually the husband: “He thinks of her [grandmother] as ‘the old woman,’ and [that expression] in German, die Alte is a common

expression for one’s wife.”50 Mallet believes the story is an allegory of a girl walking in on her parents engaged in a sex act: “Her grandmother has changed in an almost eerie way and seems totally unfamiliar. Her image is bizarrely mingled with that of the wolf, and… …looks quite awful – because of the hairy hand, for instance. It was not necessarily the hand. In fairy tales as in dreams, any organ can be represented by any other. This holds, of course, even for the

ears, eyes, and mouth.”51 All of this, Mallet points out, leads to Red Cap’s ‘petit mort’, the ‘little death’ at least in the French version – Le Petit Chaperon Rouge where the girl does die at the hands of the wolf. An entirely different interpretation was put forth by Richard Chase, PhD. and David Teasley, PhD. in the journal Historian. “The origins of the famous folktale, Little Red Riding Hood,” they said, “can be traced to an oral tradition during the

50Ibid (Note 42.)

51 q.v. Fairy Tales and Children, Mallet (bibliog..)

48 witch persecutions of France in the sixteenth and seventeenth centuries.”52 Focusing in particular on the works of Robert Darnton and Paul Delarue, Chase and Teasley suggest that the underlying moral of the story is not that women should beware of men (as the addendum to the Perrault version implies), rather it is that men- and society in general- should be wary of women who, without male guidance, are likely to threaten the social order through sin and witchcraft. The Delarue tale refers to the wolf character as “bzou”, which according to Chase and Teasley was related to the word loup-brou or loup-garou, French for werewolf. At the time, werewolves were closely associated with witchcraft and Satanism. Satan himself was sometimes believed to appear in the guise of a

wolf.53 Chase and Teasley cite a correlation between the areas of greatest consistency in French tales and areas where the greatest number of werewolf trials occurred during the period of witch persecution. Furthermore, they claim three symbolic features of the tale were most frequently repeated: the choice of the paths selected by wolf and girl, the cannibalism, and the ending where the girl is eaten. As far as the paths go, the tale offers two choices, “the path of pins or the path of needles”. The girl opts for the path

52 “Little Riding Hood: Werewolf and Prostitute”, Chase, and Teasley (q.v. Internet Resources.)

53 Chase and Teasley reference La conte populaire francais. Delarue, Paul. 49 of needles, which Chase and Teasley claim represents a decision to become a prostitute citing evidence that women of doubtful virtue struck bargains on a package of needles which were worn as a badge for identification."54 The wolf on the other hand chooses the path of pins to beat the girl to Grandmother’s. Since pins were used by witch hunters to discover the devil's mark upon a practitioner’s body Chase and Teasley maintain that the Wolf’s choice of the path of the pins reveals him as practicing witchcraft.55 Once the wolf reaches Grandmother’s house the original version says: He killed grandmother, poured her blood into a bottle, and sliced her flesh onto a platter. Then he got into her nightclothes and waited in bed. ‘Knock, knock.’ ‘Come in, my dear.’ ‘Hello, grandmother. I've brought you some bread and milk.’ ‘Have something yourself, my dear. There is meat and wine in the pantry.’ So the little girl ate what was offered; and as she did, a little cat said, ‘Slut! To eat the flesh and drink the blood of your grandmother!’ (Delarue c.1885)

The talking cat they propose is the young witch’s demon familiar. Chase and Teasley also state, “To a Catholic, the body and blood of Christ insured that true believers would inherit the kingdom of heaven Red Riding Hood's inheritance was similar: by eating

54 Chase and Teasley reference Medical Economy During the Middle Ages: A Contribution to the History of European Morals From the Time of the Roman Empire to the Close of the Fourteenth Century. George F. Fort. (London, 1883; reprint edition, New York, 1970), 337-8.

55 Ibid. (Note 50.)

50 the body and blood of her grandmother, the girl inherited death and damnation.”56 Whether one accepts Chase and Teasley’s position or not, it seems clear that audiences of the period would not be unaware of the parallels to the Mass in “Little Red Riding Hood”. In the conclusion of the Delarue version the girl undresses, throws her garments into the fire, and is ultimately eaten by the wolf. Chase and Teasley compare this to two roles, the first a witch’s sabbat with the Red Riding Hood character performing an “alluring dance before the flames” and the wolf acting as “devil-

lover, deceiver, and trickster”57 and the second an act of prostitution where the girl does a striptease for a customer. As they astutely point out, “One does not strip for one's grandmother, nor does one's grandmother urge the impractical and bizarre act of burning one's clothes…” And further, “The sexual connotations suggested in the act of eating the girl would have implied an oral sex act that most likely would have been considered so unnatural and filthy as to be fit only for devilish enjoyment.”58 Finally, there is an indisputable intergenerational thread running through the various Red-Cap stories. In her book Symmetries, Luisa Valenzuela reflects on the similarities between

56 “Little Riding Hood: Werewolf And Prostitute”, Chase, and Teasley (q.v. Internet Resources.)

57 Ibid (Note 54.)

58 Ibid (Note 50.)

51 her maternal relations and herself in a story called “If this is life, I’m Red Riding Hood”.59 This same intergenerational journey is addressed in the Chase/Teasley paper as well, “…sixteenth- and seventeenth-century audiences were likely to see a hereditary connection, including witchcraft, between the grandmother and the girl.”60 According to Chase and Teasley, after witch hysteria waned, the story was modified to keep with social values of Perrault and the Grimms, but the essential theme remains. The Chase/Teasley position that LRRH is a tale of witchcraft may not be far off base. Another French tale “The True Story of Little Golden Hood” from Lang’s Red Fairy Book reads, “[the] old woman was considered something of a witch, everyone thought the little hood rather bewitched too”.61 Although this statement alone is enough to connect the LRRH legend with witchcraft, one should also bear in mind that there are several ways this could be interpreted to mean the girl was a witch. The girl is associated to witchcraft by blood relation, by possession of an enchanted artifact, and, as stated before, since there is ambiguity between the separate identities of the girl and the hood, any adjective applied to one can be applied to the other. In this case, the phrase could literally mean, “everyone thought the girl was a witch too.”

59 q.v. Symmetries. Valenzuela, Luisa (bibliog..) 60 Chase and Teasley reference Emmanuel Le Roy Ladurie, Jasmin's Witch, trans B. Pearce (New York, 1987).

61 q.v. The Red Fairy Book, Lang. (bibliog..)

52 Regardless of the story’s origin, or its messages, initial or later imposed, the LRRH story continues to survive in print form as well as in film adaptations such as “Freeway” (1996) and “Jin-Roh” (1998).

Chapter 5

Analyzing Motif: “Fitcher’s Bird”

I will set down a tale as it was told to me by one who had it of his father, which latter had it of his father, this last having in like manner had it of his father- and so on, back and still back, three hundred years and more, the fathers transmitting it to the sons and so preserving it. It may be history, it may be only legend, a tradition. It may have happened, it may not have happened: but it could have happened. It may be that the wise and the learned believed it in the old days; it may be that only the unlearned and the simple loved it and credited it.

- Mark Twain, The Prince and the Pauper

Psychologist Bruno Bettelheim said there are, “…certain formal hallmarks of the fairy tale, characteristic of its typology: the preference for formulaic repetition, the significance of the number three, and the importance of passwords in plot structure and for the presentation of character”.62 The hallmarks Bettelheim refers to- details of action, characters, setting or other story elements repeated across more than one GFT- are referred to as motifs by folklorists. Antti Aarne, a folklorist who supported the aforementioned geographical diffusion theory of folk tale distribution, believed

62 q.v. The German Library Volume 29: Fairy Tales. Bettelheim. (bibliog.) 54 that similar motifs could be used to trace a given folktale back to its place of origin. If a concentration of tales containing certain motifs could be tied to a certain area, Aarne believed it could be established that the tale originated from that region. He called tales that fit the region’s motif pattern “oicotypes”, a term borrowed from botanical science. To facilitate the discovery of fairy tale oicotypes, Aarne developed a classification system for folktales based on their motifs. This index, later updated by folklorist Stith Thompson and called the Aarne-Thompson (AT) Index, is the standard classification tool of folkloristics. By the Aarne-Thompson system, tales where the heroine rescues herself and sometimes her sisters from danger are classified as AT-311. One such tale in the GFT is “The Hare’s Bride” where a rabbit carries a girl off to be his bride, but she escapes by making a straw decoy of herself. Another similar tale is known variously as “Fowler’s Fowl”, “Fitcher’s Fowl” and “Fitcher’s Bird” or as “Fitcher’s Vogel” in German. “Fitchers Vogel” (KUH, vol. 1, 1812) concerns an evil wizard named Fitcher who one at a time entrances and abducts three sisters who he takes to his castle, where they are to live in luxury as Fitcher’s fiancé, provided they do not enter one particular room, though they have the key. The first two sisters each disobey him and are discovered when they drop an egg they have been told to care for in the bloody carnage they find in the forbidden room. The third fiancé, however, avoids the same fate

55 by securing the egg before entering the forbidden room. There she finds and resurrects her sisters. She then strips naked and covers herself in honey and feathers, and is taken for a giant bird by Fitcher and the guests he has invited for the wedding. After directing them all into the castle, she burns it down. The story “Fitchers Vogel”, as it was told to the Grimms by Friederike Mannel and Dortchen Wild, was probably derived from various sources including Charles Perrault’s “La barbe bleue,”

(“Bluebeard”, CDTP).63 It also bears a striking resemblance to other folktales such as the Italian tale “How the Devil Married Three Sisters”. “Bluebeard” follows a plotline akin to “Fitcher’s Bird”; again, there is a wealthy man who takes a woman to his opulent home and leaves her with a key to a room she is forbidden to enter. Once again, she enters the room, and gets an object (this

time the key) stained with the blood of the dead bodies within.64 The heroine of “Bluebeard” would have met her fate in the forbidden room as well were it not for the timely intervention of her brothers. This final difference is why in the Aarne-Thompson index “Bluebeard” is grouped with a different set of tales- those about women whose brothers rescue them from their ruthless husbands or abductors. The similarity between the tales was noted by Stith Thompson, who classified it and tales of its ilk as AT-312, just

63 q.v. Complete Fairy Tales of the Brothers Grimm, The. Grimm, Grimm and Zipes. (bibliog.) 64 Still another variant of the tale, “The Forbidden Room”, puts special emphasis on both the key, and the egg, illustrating the tight connection between “La barbe bleue” and “Fitcher’s Vogel”. 56 one number higher than the “Fitcher’s Bird” type (AT-311). It was also noted by the Grimm brothers who had included a German version of the tale, “Blaubart” in the first edition of KUH. “Blaubart”, which was related to the Grimms by the Hassenpflug sisters, was removed prior to 1819 for a number of reasons, one being its similarity to “Fitcher’s Bird”.65 Why the German tale is sometimes known as “Fowler’s Bird” is unknown. According to Jack Zipes, “the word Fitcher is taken from the Icelandic Fitfuglar, which is a kind of web-footed bird.66 However, there is nothing to suggest that the story’s antagonist had anything to do with birds, except that the heroine dresses like one to defeat him.67 It has been suggested that “Bluebeard” is a sensationalized peasant version of the story of King Henry VIII, who married six times and had two wives executed.68 It is at least clear that the tale at some point became associated with Henry VIII. If so, it may be that through diffusion of the tale, Henry VIII became confused with the earlier German king, Henry I, who was also known as “Henry the Fowler”, though this is purely speculation on my own part. Another tale excised from KUH after the 1812 edition is “Das Mordschloss” (“Castle of Murder”) which was omitted in part due

65 The other reasons were probably its strong content, and perceived French origins due to the previously published “La barbe bleue” in Charles Perrault’s CDTP (bibliog…)

66 Ibid (note 62).

67 This actually contradicts the title, since fowling is the sport of dispatching birds.

68 Brewer. Dictionary of Phrase and Fable. 1898, among others.

57 to its possible Dutch origins, and its similarity to

“Bluebeard”,69 as evidenced in the following excerpt: The next day he said to her that he had to leave her for a few days because he had to take care of some important and urgent business. However, he wanted to leave all the keys with her so she could see the whole castle and what treasures she, as mistress, now possessed. When he was gone, she went through the entire castle and found that everything was beautiful. She was completely satisfied until she came to the cellar, where an old woman was sitting and scraping out intestines. “My goodness, granny, what are you doing there?” “I’m scraping intestines, my child. Tomorrow I’ll be scraping yours too!” The maiden was so terrified by her words that she dropped the key she was holding into a basin of blood, and she could not wash the blood off the key. “Now your death is certain,” said the old woman, “because my master will be able to see you were in the chamber, and no one is allowed to enter here except him and me.” (One must indeed know that this was the way her two sisters had lost their lives before her.) (Grimm, Grimm and Zipes. CFTBG)

“Castle of Murder” is indeed similar to “Bluebeard”, but it also contains a number of motifs (including the old woman in the cellar who assists the heroine’s escape and the revelation of the truth at a tale telling feast) that bridge the gap between the Bluebeard/Fitcher stories and another GFT, “The Robber Bridegroom” (RB). “The Robber Bridegroom”, a story about a maid who visits her husband to be, only to discover he is a murder and cannibal, was related to the Grimms by Marie Hassenpflug as “Der

Räuberbräutigam”.70 Its classification is AT- 955. Tales of this

69 Ibid (note 62)

58 type are described as stories of “Women Threatened with Murder by Wicked Suitor”. The Romanian tale, “The Cannibal Innkeeper” is another story of type 955. A version of RB called “Mr. Fox” has been circulating in England for centuries, and is quoted from in William Shakespeare’s Much Ado About Nothing (c.1599), where it

is referred to as “the old tale”.71 However, “Castle of Murder’s” similarity to “The Robber Bridegroom” points out the inadequacy and somewhat arbitrary nature of the AT index. Furthermore, the remarkable similarities between “Bluebeard”, “Fitcher’s Bird” and “The Forbidden Room”, not to mention “Castle of Murder”, “Mr. Fox” and “The Robber Bridegroom”, are too manifest to deny at least the possibility that they go beyond polygenesis; that they are all, in fact, retellings of the same actual tale. The variations on the “Bluebeard” legend may support the postulation that at least some of the GFT were the medieval equivalent of our “urban legends” (a phenomenon involving the proliferation of a tales fantastic enough to endure, but detailed enough to be believed and passed on again as truth, though often altered in their details in the process). At least one scholar has already proposed as much. Maria Tatar writes, “In many ways, [the GFT] can be seen as the ancestors of our urban legends about

70 Ibid (note 33).

71 Much Ado About Nothing from Complete Works of William Shakespeare, The. Shakespeare. (bibliog..).

59 vanishing hitchhikers and cats accidentally caught in the dryer…”72 As with urban legends, the GFT are rife with motifs. While some linguists and folklorists maintain that it is the details that are important for distinguishing tales as separate,73 anthologists like the Grimms recognized that a coherent collection necessitated the elimination of some tales that had too many motifs in common. Usually this occurred in the revision process where they often opted to keep the tamest of similar stories, or in some cases amalgamate one or more similar tales.

72 q.v. Tatar’s “Introduction” to Grimm’s Grimmest. Grimm, Grimm and Dockray. (bibliog.)

73 q.v. “Tree and Leaf” in The Tolkien Reader. J.R.R. Tolkien (bibliog.) 60

Chapter 6

Adapting the Tales

I will a round unvarnish’d tale deliver.

-Shakespeare, Othello

In searching out a story to adapt for a digital video project, two criteria were used. For numerous reasons, including legal and financial ones, the story needed to be in the public domain. Equally important was locating a story with broad appeal, but little exposure. The Grimm’s Fairy Tales - archetypal stories that have been passed down through the ages - fit both criteria quite well. While archetypal stories from the GFT have been presented in movie format countless times before, very few unadulterated versions of the tales exist outside the print medium. This presented a challenging opportunity, the ability to present a new take on the GFT in the video medium that would allow me to take advantage of the skills and contacts I had made working in the low budget horror film community. The GFT as horror stories is an intriguing concept. Urban legends have provided fertile material for horror movies ever since the late 1970s when a wave of films loosely based on the

“escaped lunatic” motif became top box office draws. And, as

61 stated before, the GFT in many ways resemble urban legends.74 As Maria Tatar writes, In many ways, it is the horror film to which the matter and manner of these folktales has most conspicuously migrated, Like horror films, folktales trade in the sensational-breaking taboos and enacting the forbidden with uninhibited energy. The plots of both folktales and horror films, as folklorist and cultural critic Carol Clover has pointed out, are driven by a stock cast of characters, one that often frames the central conflict so empathically polarized that we appear to be in a clear-cut world of good versus evil. Each genre addresses the desires of sensation seekers, of an audience that has a vested personal and cultural stake in the psychodynamics and sexual politics of its represented world. (Tatar, 1997)

Nevertheless, film adaptations in this vein are extremely rare, Michael Cohn’s Snow White, A Tale of Terror, ranks as one of the very few. The next step was choosing which tales to adapt. The entire Grimm cannon was examined – that is every tale that appears in every edition of all the various Grimm collections - but especially the primary collection Kinder und Hausmärchen. The majority of GFT are little more than a few pages in length, which made it apparent early on, that a faithful rendering from them, would have to be an anthology of at least three tales in order to approach feature length. The decision was made that the three tales to be adapted should have a common element so that they would not only stand alone, but also integrate well into an overall storyline, and the recurring motifs in the GFT made this possible. In particular, the motif of

74 q.v. Tatar’s “Introduction” to Grimm’s Grimmest. Grimm, Grimm and Dockray. (bibliog.)

62 the Black Forest as a literal and physical symbol of the primeval stood out. Another concept for the script structure was to roughly follow what Joseph Campbell called “the hero’s journey”75 across the tales; in other words, using three different stories with three different protagonists to symbolize the journey of one hero. An artistic decision was also made to make the hero female. These decisions helped narrow the choices down to three tales, “Little Red-Cap”, “Fitcher’s Bird” and “The Robber Bridegroom”. In each of these stories, a young girl enters the black forest, where she encounters an evil force. There she is either overcome by the evil, or subjugates it. The structure that emerged with the LRRH story first - where the girl encounters evil, and it consumes her, FB second, wherein the girl meets and defeats the evil but at a terrible cost, and RB third, where the girl emerges triumphant - approximates a sort of hero’s journey. Furthermore, by “wrapping” the third tale around the first two, as a sort of backdrop for the other stories, a sort of mythic coherence could be achieved, representing the adventure of one particular young woman. “The Robber Bridegroom”, seemed to be a logical choice for the “wraparound” story that would make an anthology a single coherent feature. In that story, a young woman discovers her husband-to-be is a cannibal/murderer and reveals that startling fact at a tale-telling during the wedding celebration banquet. It

75 Hero With a Thousand Faces. Campbell, Joseph. (bibliog.) 63 made the perfect vehicle for introducing the other individual stories (as stories within the story) while allowing for the advancement of an overall plot. Little Red Riding Hood was included largely to provide at least one tale that would already be familiar to North American audiences (though maybe not in its original form). As far as can be determined, LRRH is the only one of the three to have been previously adapted to the screen. It exists in numerous screen adaptations, from the two earliest versions released in 1911 down to such recent updates as the 1996 film Freeway. It is only in later versions of the tales that Red Cap is “reborn”; cut from the belly of the wolf, and vowing never again to stray from the path and to do only as her mother says. While in earlier versions, there was no turning back once she had lain with the wolf. This is a version of the tale that is rarely, if ever, seen on the screen. Since the Journey of Little Red Riding Hood is one of transition into adulthood, rather than a Hero’s Journey it was the obvious choice for the “losing battle” story. Moreover, to play on audience misexpectations, LRRH was presented first. The last tale chosen was “Fitcher’s Bird” (FB). In FB, an evil wizard abducts three daughters takes them to his castle, and beheads the first two when they enter a forbidden room. The third sister defeats him. Since the events, befalling two of the three sisters are identical the second sister is summarized as follows

in the GFT:

64 Once again he went to the house in the guise of a poor man and begged. When the second daughter brought him a piece of bread, he caught her as he had the first, just by touching her. Then he carried her away, and she fared no better than her sister, for she succumbed to her own curiosity, She opened the door to the bloody chamber, looked inside, and had to pay for this with her life when the sorcerer returned from his journey. (Grimm, Grimm, Zipes, 1987, 168)

For the purposes of video, dramatizing all three sisters would be superfluous and possibly tedious, so it was decided to show only two sisters, one who meets her fate, and one who defeats the villain. However, since the other sister is important for impact, and since three is an important motif in both the tale, and in the overall Grimm Reality story, the existence of the first sister is handled through a quick montage, and the character is referred to by the other characters. An issue that had to be addressed early in the adaptation process is that of the dozen or so characters that appear in these three stories, only two have proper names (assuming one includes “Red Cap” as a proper name). However, with the addition of dialogue, the characters would need to address each other. Therefore, even before writing the screenplay, the characters had to be given names. In GR, the characters at the wedding tell tales wherein fantasy versions of themselves act as protagonists. Wherever possible, these sets of alter egos were given similar sounding names. Furthermore, as the setting for the movie is central

Europe, prior to the Renaissance, the names were chosen to be appropriate to the locale.

65 Since the story of LRRH is so well known, the symbolic label-type names in the story “Little Red Cap” were preserved. The character of the girl is called “Red Cap”, the grandmother is “grandmother” and the wolf is named “Wolf”. Red Cap and Wolf (along with Peter Pan, Snow White and a handful of others) are some of the most obvious symbolic names in literature. Names in fiction - good fiction at least - is always symbolic. Every name is chosen for a definite reason, though this may not always be readily apparent to the audience. Many writers however, believe that names color everything about a character, there are inherent associations people make with all names, ancestral meanings, modern contexts, and famous people are all conjured up in a reader or viewer’s mind. Thus, great care has been taken in naming the characters in Grimm Reality. There is a definite gender conflict in the chosen tales. All three feature female protagonists, and male antagonists. To further enhance this dynamic, a subtext was borrowed from a real central European conflict of the Middle Ages. During that time, the older Teutonic tribes were being supplanted by the Germanic ones. Teutonic tribes were similar to the matriarchal Celts and more steeped in goddess worship. They also believed in a supernatural world ruled by a fairy queen. Conversely, the Germanic tribes were more patriarchal, worshipping gods led by an “All-father”, and believed in a supernatural world of elves and gnomes, ruled by a king. Using this as a springboard to “color”

66 the story by names, Teutonic names were chosen for the female characters, and Germanic names for the males. The hero of GR is the bride of the RB story. Therefore, her name’s meaning needed to imply heroism. The choice was “Rikka” which is the female form of the Finnish Rikkard, meaning “strong ruler”, and means “mistress of all” in German, and “tranquil leader” in Teutonic. This was a name as strong sounding as the Germanic names, and was in fact adopted by the Germanic tribes. Its long historical use makes it epic sounding. The age-old axiom that writers should “write what they know” goes hand in hand with another that suggests a writer “get in the head of his character”. Whether it is some application of this advice, or perhaps some expression of ego, I find myself frequently naming the heroes I create after myself in some vague way. The name Rikka sounds similar to my own name, Eric; both derive from the name Richard. The character Rikka, in her supposedly made up tale of cannibalism and murder goes by the name “Regan” a similar sounding name which, like Richard, suggests nobility. The two other female leads from the LRRH and FB would be cousins of Rikka, telling tales at the wedding to assist Rikka in a plan to expose the cannibal groomsmen. The younger one, more self-centered, and less mature tells the story of “Little Red Cap”. For her name, “Kendra” an Anglo-Saxon (closely related to the Teutons) name meaning “prophetess” was chosen. For the older sister, who tells the story FB, and is the second victim in that

67 story, the chosen name was “Audrey”, meaning strength in Teutonic and “noble strength” in Anglo-Saxon. For her alter ego in the FB tale, the name was Brigit, which is derived from Birgit, Brigid and a number of other Celtic and Norse names also connoting strength. For the robber bridegroom himself, the selection was “Karl”, which in the Germanic tongue means manly or masculine. According to RB, the bridegroom is the leader of a gang of cannibals. While there is nothing in the text that says the rest of the gang were present at the wedding, it does say that when presented with the evidence of one of his victim’s severed fingers, he attempts to flee, and is seized by the guests and turned over to the magistrate. Thereafter he and his whole band are executed. It made sense that members of the band would be his groomsmen, and all would be seized at once. The two groomsmen are the alter-egos of the villains in the other stories. This is because, in a roundabout way, Kendra, Brigit and Rikka are using stories to reveal the band’s villainy. The villain of the first one, told by Kendra, is Wolf, so the logical Germanic name for his character in the wraparound story was “Wolfgang” meaning “advancing wolf”. The villain of the second one is Fitcher, who is also referred to as “Fitze Fitcher” in FB. The logical choice for his alter-ego, mostly for its sound, was “Fritz”, a nickname for a German soldier (though the literal meaning is peaceful ruler).

68 For the Rikka’s father, the name “Manfred” was used, meaning “peaceful”, “hero’s peace” or “mighty peace” in various northern and western European tongues. For Audrey and Kendra’s father, the choice was “Archard” which meant “strong” amongst the Germanic tribes, and “sacred” and “powerful” in various 39other languages. A minor character was named “Mina” (meaning “love”), though her name was never spoken in the film. What may help to account for the GFT timelessness is their near complete lack of dialogue that could become antiquated. This presented another challenge in adapting the tales to the screen. Aside from the third daughter’s bird rhyme “I come from Fitcher’s house…” etc., the warning from the bird in RB – also in rhyme, and the infamous “Oh, grandmother, what big ears you have!” dialogue in LRRH, almost all the movie’s dialogue had to be written from scratch. The dialogue of course needed to reflect the setting; however, since the tales were written in German, an English model representative of German medieval speech was used. The chosen model was Chaucer’s The Canterbury Tales.76 Not only do The Canterbury Tales provide a model for the dialogue, some of the supporting characters in GR are loosely based on the pilgrims in this book. Manfred, for example is like the Miller, and the monk referred to simply as “Father” is copied from Chaucer’s Monk. Additionally, the characters make references to some of the Canterbury Tales themselves, so the GR itself is something of an

76 q.v. The Canterbury Tales. Chaucer, Geoffrey (bibliog..) 69 homage to Chaucer as well as the Brothers Grimm. The so-called “voice” of GR then, is an approximation of Chaucer’s Middle English, somewhat mitigated for a modern audience and a largely non classically trained cast. Once the tales were chosen, the characters named, and the voice established, the task of adapting the action and central conflicts began in earnest. The adaptation of Little Red Riding Hood presented its own set of challenges. As previously shown, most of the GFT are laden with symbolism, and for “Rotkäppchen” this is especially true. Grimm Reality was designed to be an unvarnished presentation of the tales, yet one that had to visually depict events described primarily through metaphorical language. For example, how should one adapt a passage like the following, “whoever laid eyes upon her could not help but love her”? One such primarily non-empirical concept, which needed to be conveyed, was that LRRH, by getting in bed with the wolf is sacrificing something. To help express the “red cap” of the story as a virginity metaphor, the character was not shown literally wearing red headgear, thus forcing the viewer to speculate about the title’s meaning. However, since the absence of this red garment is consistent with some of the earlier tales where there was no mention of the hood at all, the point had to be addressed more directly. Therefore, the concept of red cap as virginity metaphor was further reinforced by showing Red Cap’s crimson underwear in Wolf’s jaws.

70 Adapting a written work to the screen always involves a certain amount of reading-between-the-lines. And, as stated in Chapter 3 above, Mallet and others have suggested that the GFT as they exist in print, already require the reader to “read between the lines” for a more complete comprehension. Such a case occurred in adapting FB. According to the story, the third sister, Regan, defeats Fitcher by dressing a skeleton in a wedding gown so that, seen from the window, it would appear to be her. Then she masquerades as a bird to trick all the sorcerer’s guests into entering the castle to be burned alive. At first, this seems like the kind of strange mix of story elements that distance fairy tales so far from the realm of believability. Why should anyone behave in such a strange manner? The solution was based on inferences made from the story. The GFT reads, “Alas! what did she see! Her two dear sisters lying murdered and cut to pieces.”77 The actress was instructed to perform as if this sight caused the kind of break with sanity that might lead to such strange behavior. Sometimes, however, changes must be made to make a story “read” right on the screen. The original FB never tells why the girls are supposed to care for an egg, what the egg is, or why Fitcher has it. Things a reader of the book might accept, but one a movie audience would probably not. Therefore, in GR, a flashback was added (one of the few liberties taken with the story) to clarify these things, as well as make the story more

77 Grimm and Grimm, KUH. 71 coherent. It was believed that witches and warlocks had animal companions called familiars. By having a witch bestow upon Fitcher an un-hatched bird familiar, I created a plausible reason for the sorcerer to have an egg that needed protecting, as well as a reason he might not be taken aback by a heretofore-unseen bird creature telling him details about his bride-to-be’s actions in his own house. Another minor deviation between GR and the story as written, concerns the place where the egg is dropped. In the GFT, two of the sisters drop the egg in the body pit of the forbidden room. Not only does it seem highly unlikely that the very same misfortune would befall them both, the fact that they would carry such a fragile item around with them in the first place seems strange. For the screen version, the second sister (the first one never appears) drops the egg when startled by a cat while examining it. The cat, which was sleeping peacefully until the girl picks the egg up, worked well visually, conveying a creepy Fitcher presence, even in that characters absence. In some cases, the mere sparseness of detail in the GFT gave rise to challenges in adaptation. Character motivations, for one, are largely undefined in the GFT. Take “Rotkäppchen”; a growing number of scholars (including the majority of those quoted in Chapter 4) make the case that Ridinghood is not terribly innocent. The tale implies that she knew how attractive she was, and that she desired to wear nothing more than her red cap.

However, since she is the first “victim” of the evil in the

72 overall structure of Grimm Reality, it was felt that she should seem as innocent as possible, at least for most of her story. As stated earlier, the grandmother is a personification of secret knowledge. Red Cap gains some of this knowledge when she is induced into cannibalizing her by Wolf. Thus, the innocence of Red Cap is lost, or at least jeopardized from the point she eats the flesh of Grandmother. She does nothing else in the story after that until she undresses in front of Wolf, gets in bed with him, and has the infamous “What big ears you have” dialogue. Nevertheless, for most of the story, Red Cap was an innocent. Kendra, the character that tells the story of Little Red Cap, however, is anything but innocent. She makes rude comments, tries to steal attention, and chooses the somewhat lewd LRRH story as her contribution to the proceedings. Thus, since Red Cap is in effect a fantasy version of Kendra, the storyteller, the dichotomy of Red Riding Hood is established. In fairy tales, supernatural forces operate almost seamlessly with natural ones. Separating the natural from the supernatural and the supernatural event from the metaphorical one presents another unique challenge in adapting this type of folklore. For the “Fitcher’s Bird” story we had to address the issue of Fitcher’s magic. According to the GFT, Fitcher is a sorcerer. However, other than somehow enchanting the sisters to get into his basket to be borne away, he never makes any magic. This begs

the question, why do the sisters stay with him at all. Either

73 they are still under the effects of that initial enchantment, or they are staying of their own accord. The character of the story seems to indicate the latter situation. According to the GFT Fitcher says “I’m sure you’ll like it here, for there’s everything your heart desires.” And later, “If you disobey me, you shall be punished by death”78 This suggested an abusive relationship, so that is how it was portrayed in GR. However, since Fitcher is a sorcerer, and this is largely a project in digital design, an artistic decision was made to show him casting spells with subtle visual effects. Another example of supernatural forces occurs when Regan discovers the dismembered bodies of her sisters, which she sews together thereby resurrecting them. Originally, there were no plans to shoot this scene, however, since such an adaptation would not be faithful to the Grimm Reality concept (accurately adapting the original versions) it was shot. The resulting sequence is perhaps one of the most compelling in the movie. It is evocative of both Frankenstein, and the Osiris myth.

78 q.v. CFTBG, Grimm, Grimm, Zipes (bibliog..) 74

Chapter 7

Visual style

Art doesn’t transform. It just plain forms.

-Roy Lichtenstein

The storytelling tradition, from which the Grimm’s Fairy Tales derive, continued in the early German cinema. The use of symbolism, iconic and metaphoric imagery, ethereal fantasy unhappy endings and psychologically dark subjects found in the GFT, were the hallmarks of the German cinema during the Weimar and Expressionist periods. Despite the fact that the tales readily lend themselves to expressionist photography, it was felt that a fresh approach was necessary. As the title indicates, Grimm Reality takes a realist, rather than expressionist approach to filming the Tales. GR attempts to connect with a modern, western audience in a way that only a realistic approach can achieve. For this reason, most of the shots are stable, tripod shots, with little hand-held or dolly shots. A primarily static, master shot approach was also taken for compatibility with streaming technology, where extensive camera movement frequently yields poor results.

Drawing inspiration from Fantasy Realist artists such as Boris Vallejo and Christos Achilleos, and Magic realist authors 75 such as Angela Carter, GR employs an amalgamation of elements suggestive of both the period in which the tales are set, as well as that of the contemporary world in the "look and feel" of the film, the accompanying website and other related materials, to capture the attention of modern audiences. The notable exceptions to this are scenes where the story enters (or sometimes leaves) the evil or supernatural realms. Some examples include: a high speed shaky cam ala The Evil Dead used to provide a Wolf’s eye approach to grandmother’s cabin in the Red Cap story (Fig. 2.), a high speed hand held shot to flashback to the Crone’s cave in FB (Fig. 3.), and an ethereal double exposure montage of Rikka’s walk through the Black Forest (Fig. 4).

Fig. 2. Shaky Cam shot.

Fig. 3. High speed hand held shot.

Fig. 4. Layered “Double exposure” technique.

While most lighting also follows a realist approach, there are some scenes, usually involving elements of horror, where a self consciously artificial style of garish coloring was used in the tradition of the French Cinéma du Look movement as well as such foreign horror films such as Sinnui yauman and Suspiria. This is particularly evident in the “Fitcher’s Bird” execution

scene (Fig. 5.).

Fig. 5. Stylized lighting.

Another departure from the master shot realist tradition occurs in “The Robber Bridegroom”. Since the RB is the “real” story in GR to which all the other tales are leading up to, and because the horror here – serial murderer – is a real world horror, unlike the wizard and werewolf of the previous two tales, the intent was to give this segment an even greater degree of realism. To suggest that the bridegroom’s band was akin to real world cannibal murders like the Beane Clan, a handheld camera and low, below-key lighting was used to infuse a stark, almost documentary feel similar to that used by Tobe Hooper in The Texas Chainsaw Massacre. There is also a subtle stylistic homage to the horror films of previous decades in the visual presentation of the three tales. The “Little Red Cap” tale bears a slight resemblance to the werewolf films of the 1950s, the “Fitcher’s Bird” story mimics some of the Vincent Price wizard/madman films of the 1960s, especially the Edgar Allen Poe adaptations he made with Roger Corman. In “The Robber Bridegroom”, the leader of the cannibals wears a purple sash, and hooded robe so the evisceration scene evokes not only the 70s gore films like the aforementioned The Texas Chainsaw Massacre, but also the Satanic cult-themed horror movies that were so popular at that time.

77 It is interesting to note, that the ritualistic, “breaking bread” feel of that scene was accomplished solely by using the hood and sash costume. This is just one way costumes were used to convey story concepts in GR. Louis D. Giannetti wrote, “…costumes [in film] aren’t merely frills added to enhance an illusion, but aspects of character and theme.”79 For Grimm Reality, accurate period costuming proved impractical and uninteresting since all but the nobility dressed mostly in rags. Like the woodcut illustrations of fantasy author and Arts and Crafts artisan William Morris, GR takes a fantasy approach to the period. The movie uses a mix of period costumes with pieces from later eras inspired by Pre-Raphaelite art and modern Gothic Revival fetish wear. The approach is similar to the one used in such films as Bram Stoker’s Dracula (1992) which mixed Art Nouveau, and Symbolist designs with period costumes and Titus (1999) which employed a pastiche of fetish wear and costumes of various eras. Costumes were made for the movie, or acquired from local theatre collections and period clothiers. A local retailer of underground gothic and fetish attire also donated a number of items in exchange for placement in the credits.

Since the script calls for a certain amount of abrupt changes of setting, it became important to distinguish the three female protagonists, even when they were portrayed by multiple actors, so it was decided that each should have a different hair

color: one black, one brown and one blonde. This also served to

79 q.v. Understanding Movies, Giannetti (bibliog..) 78 further symbolically generalize the trio as “every woman” characters. Each of the three also had a color associated with them, which would help tie their individual tales to the wraparound story, and express dimensions of their character.

Rikka has raven black hair, and her color is green, symbolic of vitality and summer. So as not to spoil the surprise revelation at the end, the “fantasy” version of Rikka, called Regan, is played by another completely different actress, a redhead. She dresses in a plain coarse stained dress. Her gown at the wedding is green and flowing, with a long train. The transformation of Regan into Bird was tricky, though. According to the story, she covers herself in honey and feathers and the guests take her for a “wonderful bird”. It was known that while we would have to shoot this sequence, it wouldn’t suffice to have a girl with feathers just stuck to her represent some wonderful bird. A tar-and-feathered look was at best nothing like a giant bird, and definitely inappropriate in tone. Even in some of the illustrated books, the girl dressed as a bird inspires more laughter than awe. Nor was a bird suit an option. I didn’t want the character to come across looking like a professional sports mascot. Ultimately we decided to outfit the actress with feather wings, and a brief outfit accented in feathers including a feather headdress for a light-hearted, but still believable in a fairy tale-esque sort of way.

Audrey/Brigit has brown hair and her color is purple. At the wedding she is dressed in cool lavender, and she is loosely 79 associated with the cooler seasons. She is level headed, and proposes the plan to expose the villains.

Kendra/Red Cap is blonde (a hair color chosen for its associations with youth, purity, scarcity and value) and her color is, of course, red. As Mallet suggests, there is a case to be made that Ridinghood is not that innocent, it is implied that she knew how attractive she was, and that she desires to “wear nothing more than her red cap”.80 Many agree with Mallet that Little Red Cap is far more aggressive than she seems. However, it was decided not to portray her this way in the tale proper, but the teller of the tale who identifies with Red is anything but innocent. Thus the character is associated with ripeness, and her dualistic innocent and experienced character was associated with red in both the blossoming of spring, and the brilliant colors and fruition of fall.

From the moment she is seen, Kendra seems less prim than the others do. Her hair is worn loosely, and her red dress is off the shoulder. As Red Cap she is deliberately shown without a red hat or hood. Instead, she wears a black cape with red lining, a red leather bodice a white skirt and bare feet. The lightweight skirt and the cape flow out in all directions, reflecting the character’s unrestrained, youthful exuberance, the white skirt symbolizes innocence, and the red cape lining, tight red corset and undergarments represent the blossoming womanhood beneath a

still slightly girlish exterior.

80 The character of Wolf, of course, presents some different problems. A large breed Siberian husky named “Wolf” was used for a few brief shots. Animatronics and digital effects were of course not possible, which left a human actor the only option. As with the Regan “Bird” character, a full body costume seemed somehow unbelievable and too comical. The remaining option was to create a wolf-human hybrid using special effects makeup. Even had other means been feasible, this decision still would have been made since it was determined to portray Wolf as a werewolf since there is a lot of evidence to suggest that the tale was originally a werewolf story. According to one source, Rumpf put forth the thesis that Red Riding Hood’s adversary was originally a werewolf, which she argued seemed “the more probable as soon as one is able to look into the court records according to which, in French cities in the sixteenth and seventeenth centuries, men presumed to be werewolves were accused and convicted” (1955,5) She found in some court records that these supposed werewolves, considered male counterparts of witches as ogresses, appear to have been attracted by the color red. (McGlathery. 1993)

Furthermore, as shown in Chapter 4, Chase and Teasley have based their analysis of the tales upon similar suppositions derived from the language of the stories. Zipes also concurs, "Perrault's audience still identified the wolf with the bloody werewolf".81 The Grimms themselves were at least known to have taken an interest in werewolf legends. In fact, it is likely that Jakob was acquainted with the presumed real accounts of “La Bête du

80 q.v. Fairy Tales and Children, Mallet (bibliog..) 81 "Little Red Riding Hood as Male Creation and Projection," Jack Zipes, in Little Red Riding Hood: A Casebook, 122.

81 Gévaudan”, while working as King Jérôme Bonaparte’s private librarian in Kassel during the French occupation. “La Bête du Gévaudan” (The Bite of Gévaudan), was believed to be a werewolf documented with killing about 100 people in the Auvergne and South Dordogne areas of France during the years 1764 to 1767. The case was probably the inspiration for Sir Arthur Conan Doyle’s The Hound of the Baskervilles, and has recently been dramatized in the French film, Le Pacte des loups.82 The records of one attack attributed to this beast, from September 26, 1764, state that all that was left of a little girl was her bonnet and clogs which is very similar to some of the LRRH tales. In any case, both Grimms were still working as librarians in Kassel when they published the two volumes of Deutsche Sagen, a collection of German legends which includes “Der Werwolf”, “Der Werwolfstein”,

“Die Werwölfe ziehen aus,”83 all supposed to have been true accounts of werewolves in Germany. Period detail is followed in many of the locations. For example, the Historic Loveland Castle museum was used for Fitcher’s lair, this entirely manmade structure is one of the most authentic recreations of a medieval castle in the entire United States, and perhaps even the world. It is very akin to the castles of the GFT era. Set design was also geared toward conveying thematic content. As Bettleheim points out in his analysis of the LRRH

82 q.v. Pacte des loups, Le Gans, Christophe (bibliog..)

83 q.v. Deutsche Sagen. Grimm, Jakob and Grimm, Wilhelm. (bibliog..) 82 story, “Red is the color symbolizing violent emotions, very much including sexual ones.”84 GR makes similar thematic use of the color red in the Red Cap tale. For example, the door to Grandma’s cottage is red, foreshadowing the events that will occur within. Later, after Grandma is killed, there is a greater amount of obvious red in the cottage, the drawn red curtains for example.

84 q.v. Grimms' Fairy Tales: A History of Criticism on a Popular Classic. McGlathery. (bibliog..)

Chapter 8

Creation of a new font

A written word is the choicest of relics. It is something at once more intimate with us and more universal than any other work of art. It is the work of art nearest to life itself. It may be translated into every language, and not only be read but actually breathed from all human lips;--not be represented on canvas or in marble only, but be carved out of the breath of life itself.

- Thoreau, Walden

Production Design does not stop with the production stage of movie making. Getting a film distributed and shown, whether in festivals, commercial theatres, or in home entertainment centers requires a host of marketing materials like movie posters, press kits, and packaging materials. Good production design requires attention to these things as well. Many productions have titles designed specifically for that movie. Largely due to the work of pioneers such as Saul Bass, these titles have helped established an identity for the film for potential distributors, theatre owners, festival administrators, and possible moviegoers, who may not even see a movie trailer. For Grimm Reality, we wanted to create a unique font to use for the title, as it would appear in print materials, as well as establish some design guidelines for marketing the movie.

84 It should be noted that the font used in film titles, is not used with all printed words associated with the film, which would be difficult to read, and have less impact than were the font reserved just for the title. Thus, a minimum of three font types are generally required, a visually dynamic, artistic one for the movie’s title, an unusual one for printed words other than the title which need to be emphasized (e.g. the text in the navigation menus of websites and DVDs), and a widely used standard font for clear printed material (e.g. the liner notes on a DVD box and other sources of general information). These are hereafter referred to as “title font”, “emphasis font” and “general font” respectively. For GR’s general font, it was decided to use a serif font. The reasons for this was because, first of all, GR is a period piece, and serif fonts have a traditional feel, whilst sans-serif ones are frequently associated with modernism. Secondly, sans- serif fonts have long been (and still are) the standard in the printing industry, making it easier to obtain proper layouts from printers, etc. - not to mention the obvious connections between GR and books and printing. The chosen serif font was “Georgia”. It is one of only two truly web safe fonts; that is it is installed with all versions of all major web browsers (“Times New Roman” is the other).85 Therefore, the CSS for the GR website defines the fonts in order of preference as: Georgia, Times New

85 q.v. Microsoft Typography Website (internet resources) 85 Roman, Times, serif – so that standard text will be displayed in a serif font. In choosing an emphasis font, the choice was made to use only a public domain font, for much the same reasons the public domain material was chosen in other aspects of GR. The emphasis font also needed to be one that is artistically compatible with the GR concept, while being legible enough for heavy usage. The font selected was “Viner Hand ITC” designed in 1995 by John Viner, best known for the font “Bodoni Brush”. Most handwriting fonts have elongated, flowing cursive letters, Viner Hand ITC, however, is a script with the legibility of print, and was believed to convey the creepy, archaic mood of GR, and the CSS of the Grimm Reality Web site specifies it as the preferred font for html header type text. For the title font, an appropriate model was found in the public domain font “Luftwaffe” (Fig. 6.).

Fig. 6. Luftwaffe character set.

According to the University of Oregon’s Yamada Language

Center, “A Version of this letter-type was used in German books and periodicals until about 1940. The Amish in the US use it 86 still today in their German printed works.”86 Many versions of KUH both in German and English have been published in this font. It is a Fraktur font, that is one consisting of angular, fractured lined glyphs. In German it is referred to as a fette (boldface) font. For the title, all uppercase letters were to be used, for stronger emphasis. While the lowercase letters of Luftwaffe seem to be immediately legible, some of the uppercase letters were deemed too difficult for American viewers to grasp at a glance, if at all. To rectify that, a new font was developed, reducing the excessive ornamentation of some of the Luftwaffe capitals, and bringing them more in line with recognizable western letterforms (Fig. 7.)

86 q.v. Yamada Language Center: German WWW Guide, Helmut Plant (internet resources.) 87

Fig. 7. Side by side comparisons of letter modifications.

The modified characters of the new font, “Grimm Luftwaffe”, can be seen in figure 8. The version of this font, named after the parent font Luftwaffe, and “Grimm”, from the movie’s title, would ordinarily be “Luftwaffe Grimm”, by traditional font naming convention; however, it was decided to transpose the name to “Grimm Luftwaffe” to avoid confusion with other Luftwaffe fonts, including some non-Fractur fonts based on WWII German airplane markings.

Fig. 8. "Grimm Luftwaffe" font.

88 Eventually, all the fonts associated with Grimm Reality will be available for download in both TrueType and PostScript form from the movie’s website, http://www.grimmreality.com .

Chapter 9

Technical Specifications

To do good work, one must first have good tools.

- Chinese proverb, Confucian Analects

The first major choice in producing any work of art is the medium that will be used. For the movie project “Grimm Reality”, a few different audio and video media were used, but the primary video media was miniDV tape, and the primary audio one was DAT. Early on it was determined that the relatively inexpensive digital video tape format would facilitate the production of an escapist fantasy better than the more budget expensive traditional film media. Additionally, miniDV provides an ease of use and compatibility with emerging technologies, specifically DVD and the Internet, which allow for inexpensive widespread distribution, and the ability to add interactive features. Other visual media incorporated in the project include AVI files, JPEG files and 8mm film. DAT audio was chosen because it was believed there would be a need for a cleaner audio track than could be achieved using miniDV tape and the built in microphones on current miniDV camcorders. Additional audio came in the form of WAV files, AIFF files and CD-DA.

90 While digital tools were used during all stages of the Production. During Preproduction, the script was created using a custom designed screenwriting macro for the MS-Word processor (screenwriting programs such as Final Draft® and Movie Magic® were not yet widely available). And, a website was invaluable in coordinating the efforts of the movie’s production team during the preproduction and production stages. Most of the principal photography was done on a Sony TRV-900 camcorder, with 530 lines of resolution, 60 fields per second NTSC, 16-bit stereo, 3CCDs with 380,000 pixels, with a 4.3-51.6mm lens, shooting miniDV tape at 18.81 mm/s (SP mode). Occasionally a wider lens was used. Some exteriors were shot with a Cannon XL1 camcorder, with 525 lines of resolution, 60 fields per second NTSC, 16-bit stereo, 3CCDs with 270,000 pixels, with an f/1.6-2.6, 5.5-88mm lens, shooting miniDV tape at 18.81 mm/s (SP mode) Some interiors were shot wit a Cannon GL1 camcorder, with 525 lines of resolution, 60 fields per second NTSC, 16-bit stereo, 3CCDs with 410,000 pixels, with an F/1.6-2.9, 20x power zoom, 4.2-84mm lens, shooting miniDV tape at 18.81 mm/s (SP mode) Some effects and stunt work required rolling two cameras at once, in such cases, a Sony DCR-VX2000 camcorder, with 530 lines of resolution, 60 fields per second NTSC, 16-bit stereo, 3CCDs with 380,000 pixels, with a 58mm lens, shooting miniDV tape at 18.81 mm/s (SP mode) was used as well.

91 Another digital tool used during the acquisition stage was a Cannon ELPH digital still camera for instant pictures of dressed sets to help maintain continuity. The analogue film footage was captured using a Bolex 155. Kodak Plus-X 40 ASA, fine grain Super8 film was used at a frame rate of 18fps. This pistol grip Macrozoom camera made it easy to get moving Wolf POV shots in the underbrush of the woods easier than most other cameras. NLE was done on Apple’s Final Cut Pro™ editing system, with certain sequences created in Adobe Premiere™. During Postproduction, special visual effects were created in Maxon Cinema4D™ and composited in Final Cut Pro™. The DVD rough cut was produced in iDVD™ and final DVD authoring was done in DVD Studio Pro™.

Chapter 10

Thesis Committee

Look not to legislatures and churches for your guidance, nor to any soulless incorporated bodies, but to inspirited or inspired ones.

- Thoreau, “The Last Days of John Brown”

Chewning, Ph.D., Committee chair, professor of design University of Cincinnati, College of DAAP. Dennis Puhalla, M.F.A., Director of Digital Design University of Cincinnati, College of DAAP. Christopher Strobel, Acting Dean, Director of Film and Video, AEC Southern Ohio College, Professor of Film and Video at Northern Kentucky University.

APPENDIX 1: SCRIPT

Grimm Reality

by Eric Chatterjee

94 FADE IN:

1. INTERIOR. BOUDOIR. DAY. 1.

We see a young woman, RIKKA, in a wedding chemise sitting at a dressing table. Her cousin, AUDREY is helping to ready her. As we move closer, we catch sight of Rikka’s face in the mirror. She is crying.

1.1 MONTAGE. EXTERIOR. COURTYARD. DAY. 1.1

A) Someone needlessly fusses over the wedding decorations. B) KARL, the groom, stands around joking with his GROOMSMEN. C) A bored looking Benedictine MONK conspicuously drinks from a personal liquor bottle.

2. EXTERIOR. COURTYARD. DAY. 2.

The father of the bride, MANFRED, speaks quietly to his brother and his niece KENDRA.

MANFRED The sun is nearly at apex. What could possibly keep that daughter of mine? UNCLE

95 Manfred, surely thou knowst, the vanity of women forever forestalls them. Have you forgotten Heddie at your own wedding. MANFRED True. Still, in sixteen years, Rikka has scarcely left home. I fear it may be her resolution wavering. UNCLE Kendra, go see what’s taking your silly cousin so long. KENDRA Yes, father. Kendra hurries off. UNCLE Stop worrying. Surely the family luck is improving. The mill has flourished this year, and now Rikka is dowered to a wealthy and charitable man. You’ll no longer need worry about supporting her.

MANFRED A good match, yes, but you know what it’s like without a wife. With Rikka gone, who will tend the kitchen? Believe me, you are just as fortunate not to be wedding off Audrey and Kendra.

3. INTERIOR. BOUDOIR. DAY. 3.

Enter Kendra.

KENDRA Audrey, Rikka, everybody’s waiting! AUDREY We’re coming. RIKKA We are not! KENDRA What’s wrong? AUDREY Rikka is bemoaning the ceremony. KENDRA Think not of the ceremony! Tonight, after the feast when he doth possesses her again and again… then she’ll truly be married! RIKKA Uuugh! AUDREY Kendra, you wicked girl! You’ve the mouth of a harlot! RIKKA I cannot bear it, but it’s been planned for a year. Surely we cannot thwart the ceremony now. AUDREY Perhaps not, but Kendra is right, your father’s consent and a ceremony alone, do not a marriage vow make. The

97 union is not sealed till you return to Karl’s home. We have the duration of the feast to prevent that. RIKKA But we are mere girls, they will not believe us. They will dismiss them as silly feminine flights of fancy. AUDREY If truth can be held as fantasy, perhaps fantasy can hold the truth…

4. OPENING CREDIT SEQUENCE. 4.

5. EXTERIOR. COURTYARD. DAY. 5.

The wedding banquet is set with the Bride and Groom at the head of the table and the rest of the guests surrounding.

UNCLE …Pheasant! Bring out the pheasant! MONK …so Croesus’ daughter said, ‘Father, you have prospered as King of Lydia; you’ve made alliances with the mighty nations of Egypt and Babylon, and when sentenced to death by fire, the heavens sent rain to extinguish the flame. Still, thou art mortal, and as you have dreamt, so shalt thou perish - at the end of the hangman’s

rope!’

98 MANFRED Well told, Father! Samson, Hercules, Holofrenes, these are all fine tales, but, know you the story of the Carpenter’s daughter? UNCLE Dear brother, this is hardly the place for bawdy tavern tales. MANFRED It is a time of feasting and celebration. A time of uniting. What better time for storytelling? UNCLE No time is better for spinning tales, but any place is better for the one about the carpenter’s daughter… KENDRA I know a story. AUDREY (under her breath) No doubt as bawdy. FRITZ In lieu of the story of the Carpenter’s daughter, we shall have a story of the Plowman’s daughter! WOLFGANG Do share! KENDRA (looking at Wolfgang)

99 Very well, it is the tale of a young girl who ventured into the Black Forest, and the evil she found there.

Many of the guests, particularly the Groom’s party look keenly interested. KENDRA It is called Little Red Cap.

DISSOLVE TO:

6.1 MONTAGE - FOREST 6.1 Wild berries — birds — wildflowers — butterflies floating along between broad oak trees.

6.2 EXT. BLACK FOREST TRAIL. DAY. 6.2

LITTLE RED-CAP, a young lady resembling Kendra, scantily clad except for a red velvet hood, strolls through the woods carrying a large basket. The dapples of sun play across her skin. The beauty and serenity of the forest is reflected in the angelic innocence of her face.

6.3 EXT. BLACK FOREST. DAY. UNKNOWN POV [HAND HELD 8MM]6.3

Someone is stalking Little Red-Cap from a distance.

100 6.4 EXT. BLACK FOREST TRAIL. DAY. MED SHOT. 6.4

Little Red-Cap drops the basket and stoops down to inspect the integrity of its contents. 6.5 EXT.BLACK FOREST TRAIL. DAY. UNKNOWN POV [HAND HELD 8MM] 6.5

The stalker rapidly closes in on Little Red-Cap.

6.6 EXT. BLACK FOREST TRAIL. DAY. 6.6

WOLF, a dark handsome stranger reminiscent of Wolfgang with canine features, stoops down to help Little Red-Cap gather up her things. She smiles at him, a little embarrassed, but grateful for the help.

WOLF Good-day. LITTLE RED-CAP Thank you kindly. WOLF Whither away so early, Little Red-Cap? LITTLE RED-CAP To my grandmother’s. WOLF And what have we here?

LITTLE RED-CAP

101 Bread and wine. Yesterday was baking-day, so my poor sick grandmother is to have something good, to make her stronger. WOLF Where does your grandmother live, Little Red-Cap?

LITTLE RED-CAP A good quarter of a league farther on in the wood. Her house stands upon the knoll above the pines, surely you must know it.

6.7 EXT. BLACK FOREST TRAIL. DAY. WIDE ANGLE 6.7

We see Little Red-Cap and Wolf walking down the trail winding away from us.

6.8 EXT. BLACK FOREST TRAIL. DAY. 6.8

WOLF …see how pretty the flowers are about here? Just look about, the little birds are sweetly singing in the trees. You walk much too gravely along, while everything else out here in the wood is merry. LITTLE RED-CAP But I must hurry along.

WOLF

102 There is no hurry; dinnertime is still long off. Feel the breeze, hear the birds in the trees and take time to see the colors the forest has to offer. LITTLE RED-CAP Wow, the flowers around here are beautiful. I could bring grandma a fresh nosegay!

6.8 EXT. BLACK FOREST. DAY. 6.8

Wolf watches Little Red-cap wander off the trail and start picking flowers. After a moment or two, he skulks off.

7.0 EXT. GRANDMOTHER’S HOUSE. EARLY EVENING. WIDE. WOLF'S POV [HAND HELD 8MM]7.0

Wolf approaches the isolated house and knocks on the door.

7.1 INT. GRANDMOTHER’S HOUSE. 7.1

Little Red-Cap’s GRANDMOTHER is in bed, and appears very frail. Nearby a table is set for two. There is a KNOCKING at the door.

GRANDMOTHER Who’s there? WOLF

(imitating Little Red-Cap)

103 Little Red-Cap, I’ve brought you some wine and bread. GRANDMOTHER Press the latch to let yourself in, I’m too weak to get up.

7.2 INT. GRANDMOTHER’S HOUSE. LOW ANGLE ON DOOR. 7.2

The door swings open, and silhouetted there is Wolf in a half-man half-wolf werewolf state. He leaps toward us in attack, landing out of frame behind us.

GRANDMOTHER (gurgled scream) There is a splash of blood.

8.0 MONTAGE — OUTSIDE GRANDMOTHER’S HOUSE 8.0

Sound of WOLF eating Grandmother over:

8.1 GRANDMOTHER’S HOUSE MEDIUM — PINE TREES — GRANDMOTHER’S HOUSE LONG — WOODS. 8.1

9.0 EXT. BLACK FOREST. EVENING. 9.0

Little Red-Cap, carrying a bundle of flowers, hustles back onto the trail.

104 9.1 EXT. GRANDMOTHER’S HOUSE. TWILIGHT. 9.1

Grandmother’s house looks dark and foreboding. Swish pan around to see Little Red-Cap emerging from the woods. She goes up to find the door is ajar. Slowly she enters.

9.2 INT. GRANDMOTHER’S HOUSE. 9.2 Wolf is in bed dressed in Grandmother’s clothes looking more wolfish than ever. The light is low. On the table is a bloody hunk of meat, and a pitcher of blood red liquid.

LITTLE RED-CAP Grandmother? I brought you some things.

WOLF (Imitating Grandmother)

What a sweet thing you are, put those in the vase my dear and help yourself to dinner, I’ve already eaten.

Little Red-Cap eats a bite then pours a glass of blood, and carries it to the nightstand, there she gets undressed, and crawls into bed with Wolf, seeing up close his strange features.

LITTLE RED-CAP

Grandma, what big ears you have.

105 WOLF The better to hear you with, my child.

LITTLE RED-CAP But, grandma, what big hands you have!

Wolf rolls Little Red-Cap onto her back and perches above her under the covers. WOLF The better to hold you with, my child.

He kisses his way down her body dragging the blanket away from her nude form. LITTLE RED-CAP What a big…um…mouth you have!

He rips her crimson panties off in his teeth and shakes his head violently, till they fly from his jaws.

WOLF The better to eat you with!

He lunges forward.

SHOCK CUT TO:

10.0 EXTERIOR. COURTYARD. DAY. 10.0

KENDRA

106 (excitedly) …and still hungry after Grandma, the ravenous wolf didn’t stop until he had eaten away her little red cap! AUDREY ‘Dra-a! OLD WOMAN Fie, child- and in front of the Father! MONK (pouring the old woman some wine) Worry not, m’lady, I am here to bless the marriage bed and feast as any other guest; hold no one to a higher sense of propriety on my account. Come, join me in a bit of ‘sblood! OLD WOMAN Well, I must say, a repast such as this is truly a rarity in these parts! UNCLE On the contrary, I am told by Wolfgang, that he and his brothers often dine like baronry.

Karl and Fritz shoot Wolfgang harsh looks, but no one notices as the uncle begins banging his goblet with a spoon.

UNCLE To Karl and Rikka, wishing a prosperous wife for a

prosperous husband. Blessed be!

107 ALL (toasting) Blessed be!

Audrey and Rikka secretly exchange glances. Audrey winks to Rikka. AUDREY My cousin is fortunate; some couples never make it as far as the wedding ceremony.

Karl looks concerned.

MANFRED What do you mean?

AUDREY I too know the tale of the girl who found evil in the Black Forest, but this is how I heard it: There was a man who lived with his three beautiful daughters by the edge of the forest…

Fritz and Wolfgang look at each other curiously.

DISSOLVE TO:

11.0 EXTERIOR. ARCHARD’S HOUSE. DAY. 11.0

108

An attractive young woman, ALYSSA, works in a field not far from the woods edge. In the background we see a rustic house with a large yard, ringed by woods. A middle aged man, ARCHARD (who resembles Manfred) and two other young women, REGAN (who looks like Audrey) and BRIGIT are in the distance. AUDREY (VO) Once whilst working in the yard, a beggar approached from out of the forest.

A man looking like Fritz dressed in rags with a large basket on his back emerges from the woods begging for alms. AUDREY(VO) She gave him a piece of bread, and he did but touch her and she willingly got into his basket.

As if in a trance, the young woman gets into the beggar’s basket, and he carries it back into the woods, unseen by the young woman’s family.

12.0 EXTERIOR. COURTYARD. DAY. 12.0

AUDREY And he carried her away never to be seen again.

109 A beat. Karl looks concerned. Everyone else is confused or surprised by the abrupt ending. KENDRA Mine was better than that. KARL Perhaps it is time we… AUDREY Oh, the story doesn’t end there. The sorcerer returned, the following summer, again dressed as a beggar…

DISSOLVE TO:

13.0 EXTERIOR. ARCHARD’S HOUSE. EVENING. 13.0

FITCHER the sorcerer again dressed as a beggar approaches the house. This time he knocks on the door. After a moment, Brigit answers the door.

BRIGIT Guten tag. FITCHER Fraulien, I’m but a lowly beggar seeking alms. Can you help me? BRIGIT Why of course…

110 Fitcher strokes her face and she becomes entranced. He then leads her to his basket and carries her off.

14.0 EXT. FITCHER’S CASTLE. NIGHT. 14.0

Fitcher carries the basket into a dark sinister looking castle beneath a full moon.

15.0 INT. FITCHER’S CASTLE. 15.0

Fitcher’s castle is opulently decorated in a manner befitting a storybook sorcerer. Fitcher faces the camera, the basket before him. The basket opens, and Brigit emerges facing Fitcher. We see her from behind as her clothes drop away into the basket she’s standing in.

FADE TO:

16.0 INT. CASTLE DINING ROOM. 16.0

Fitcher and Brigit are well-dressed and sitting at opposite ends of a long banquet table. A lavish breakfast is set before them.

BRIGIT Such splendor! I thought witches lived in caves.

FITCHER

111 I am a warlock, precisely. It’s true that some witches did indeed live in caves at one time. The mother of my coven in fact lived in one.

DISSOLVE TO:

16.1 INT. WITCH’S LAIR. - FLASHBACK 16.1

Fitcher dressed in Wizard’s robes enters a spooky cave. As he turns a corner, we see an old crone, stirring a bubbling cauldron over an open flame. She speaks without looking up.

CRONE Fitcher, you have performed your duty. FITCHER I have. CRONE Good. I grow weaker everyday. You will soon be a coven of one. FITCHER You have taught me well.

The crone holds out her hand, in it is an egg.

CRONE

112 Take care of this. You may be on your own, but you shan’t be alone. FITCHER (looking at it skeptically) An egg? CRONE When it hatches, you will need no scrying pools nor crystal balls. It will be a bird. A bird with the gift of speech and of prophecy. Your familiar, Fitcher’s bird! Farewell, last of circle. Leave now, and do not look back.

BACK TO PRESENT:

16.1 INT. CASTLE DINING ROOM. 16.1

BRIGIT And that is this egg you have brought me here to care for? FITCHER Yes. The utmost care must be taken with that egg. BRIGIT The Black Arts have made you fabulously wealthy; surely you could find a woman to be your wife, and care for the egg.

FITCHER

113 First I must find a woman I can trust. If you prove trustworthy, I shall marry you. BRIGIT Me? You would marry me, a poor girl, and I could live in such splendor. FITCHER Aye, if you prove trustworthy, you will want for nothing here.

16.2 INT. FITCHER’S CASTLE. 16.2

Brigit walks down castle hallway. She stops outside the lab, curious. She’s clearly debating whether or not to enter. After a moment she decides the better of it and continues on down the hall.

17.0 INT. FITCHER’S CASTLE. 17.0

Brigit, alone in the castle’s great hall, picks up the egg, and stares at it. When the cat startles her, she drops the egg. Inspecting it she sees that it is okay except a slight mark on the shell. She replaces it in the holder so that the mark is hidden.

17.1 INT. CASTLE WINDOW. DAY. 17.1

114 Brigit looks out the castle window. Through it we see Fitcher ride up and dismount from a horse.

17.2 INT. FITCHER’S CASTLE. 17.2

Brigit is at the far end of the room when Fitcher enters. BRIGIT And how was your journey? FITCHER Very well. I trust nothing out of sorts happened in my absence?

Fitcher moves toward the egg.

BRIGIT The rain water is coming in the tower.

Fitcher looks directly at the egg and moves closer to it.

FITCHER I shall have Otto the stonecutter here tomorrow to repair it.

Fitcher stares at the egg.

Anything else you wish to tell me?

115

BRIGIT No.

Fitcher turns around, brightening.

FITCHER I have brought back a pair of game hen. Stoke up the fire for dinner.

17.3 CASTLE DINING ROOM. 17.3

Fitcher and Brigit eat dinner. The tension is palpable.

BRIGIT (salting her food) Marvelous on the palate, this salt. FITCHER Foreign delicacies are one of the benefits of the new Mercantile League. It’s indispensable in alchemy. I do, however reserve a small amount as a table spice. BRIGIT It must cost you a king’s ransom to buy it in such quantity. FITCHER

116 Actually a Duke’s, if you must know. Barbarossa pays me in salt — a salary if you will — to run errands for him. BRIGIT Oh, pray where did he send you this time? FITCHER Barbarossa is concerned with the Lion of Saxony. Right now he can ill afford trouble from Lombardy, so he sent me to incite the Lombards against the British dog Hadrian to keep them out of his hair. BRIGIT I knew you were a master of wizardry, but I didn’t know you worked the art of deception as well. FITCHER Oh, I know far more of deception than I’m afraid you realize. BRIGIT What do you mean? FITCHER The wedding’s off. BRIGIT What are you talking about? FITCHER Silence! Did you think I wouldn’t find out about the egg?

BRIGIT

117 But…it’s merely a mark upon the shell; the egg is still safe. FITCHER A mark? You had only to safeguard one solitary item! Fitcher jumps up and grabs her by the hair, dragging her off. 18.0 INT. FITCHER’S LAB. 18.0

Brigit screams and pleads for her life. She has her head on the chopping block. Camera pans up to Fitcher, axe in hand. The axe swings down. As we hear her final scream echo through the castle we…

CUT TO:

18.9 EXT. FITCHER’S CASTLE. NIGHT. 18.9

Brigit’s scream is cut short by a CHUNKING sound. Everything in the world is momentarily silent.

19. INT. ARCHARD’S HOUSE. 19.

Fitcher and Archard sit in the kitchen talking.

FITCHER For all my tonics and elixirs could not save her.

118 ARCHARD It is tragic indeed, that women lack the constitution of men. My own wife left me a widower, when she perished giving birth to Regan.

Regan (who resembles Audrey) enters.

FITCHER But what a wondrous creature she begot! ARCHARD Regan, it is your former brother-in-law come to visit. Won’t you fetch some ale? REGAN (eyeing Fitcher suspiciously) As you wish, papa. ARCHARD Yes, other than Regan, you are the only family I’ve left. After Ada died, I raised three daughters on my own, however my eldest, Alyssa mysteriously disappeared only two years past, and the following winter we both lost Brigit to the plague. Regan sets down the drinking jacks.

FITCHER (toasting)

Here’s hoping this marriage last many prosperous years.

119

Regan avoids Fitcher’s touch, but joins the toast.

REGAN If we are to wed, I would like to go to your home as soon as possible, so I could learn to live there. FITCHER And so you shall! You may return with me tonight.

19.1 INT. FITCHER’S CASTLE. 19.1

It is night and the castle is dark. Regan creeps through the halls with a candle. She is evidently looking for something. There is a light coming from under the laboratory door. She goes to peek at the keyhole, but the noise of someone opening the door sends her fleeing for cover. She hides in a corner as Fitcher emerges and locks the door with the large key ring.

19.2-19.9 SCENES UNKNOWN. 19.2-19.9

20.0 INT. FITCHER’S CASTLE. 20.0

Regan is sewing. The cat sleeps at her feet. Fitcher stands on the balcony visually surveying the land and sky, then he turns and walks into the room.

120 FITCHER I must journey forth on business. Will you manage alone for a few days? REGAN Worry not, I and my sisters were but girls, when every maid in the Fatherland was alone for a year during the Crusade for Edessa; to that, a few days will be as no time at all. FITCHER Very well, here are the keys of the house. You may go anywhere save my laboratory, which I forbid you from entering on pain of death. REGAN Yes, m’lord. FITCHER Feed the kine, and don’t venture outside the castle walls. And above all, care for the egg.

Fitcher leaves. Regan puts down her sewing, and watches him from the balcony, until he has ridden from view. Then she turns and begins moving very quickly. First she cushions the egg in her sewing cloth, and then secures it where it cannot be disturbed. She begins searching the room with a deliberate intensity.

21.0 INT. FITCHER’S CASTLE. 21.0

121 Regan climbs a winding stair toward us. She unlocks a door.

21.1 INT. FITCHER’S CASTLE. 21.1

Regan searches a room containing Brigit’s stuff. Hanging nearby is a wedding gown. In the bottom of a drawer, she finds a journal with the name "Alyssa" on the cover.

21.2 INT. FITCHER’S CASTLE. 21.2

Regan hesitates a moment outside the great laboratory door.

INSERT SHOT OF DOOR.

Regan tries a key or two before finding the right one and opening the door.

21.3 INT. FITCHER’S LAB. 21.3

Regan enters a lab containing all manner of alchemical equipment. From her POV we see, in the center of the room is a large basin (cauldron?) set in the floor. As we approach it we see it is filled with the dismembered bodies of Alyssa and Brigit in a bloody human stew. Regan flees the room.

21.4 INT. CASTLE REGAN’S BEDROOM. 21.4

122

Regan runs in, in despair, and buries her face in the bed.

FADE OUT.

22.0 INT. FITCHER’S LAB. 22.0

Regan, a glint of madness in her eyes, cleans and sews together the corpse of Brigit talking to it as she sorts through her siblings’ parts.

REGAN Don’t worry, Brigit, I’m here now. Regan’s going to fix everything. Now give me your hand.

When the body is intact, she dresses it in the wedding gown, pretending to hold a dialogue with it. REAGAN Brigit, I missed you and Alyssa so much. REAGAN (Holding up the corpses head) I miss you to Regan. REAGAN You’ll look so beautiful for your special day… There is a pounding at the front door. Reagan looks up with a start.

123 FITCHER (VO) Reagan…?

She hurriedly drags the body behind the bench banging her head in the process.

FITCHER (VO) Reagan, where are you?

23.0 INT. FITCHER’S CASTLE. FRONT ROOM. 23.0

Regan opens the door, trying to compose herself. FITCHER Regan, I’ve returned, is everything all right? REGAN Yes, blessed be. It’s just you’ve been gone so long, I was beginning to worry. FITCHER (inspecting the egg) You have cared for things well I see. I’ve reflected on it, and I believe the time to announce our marriage is at hand. REGAN Oh, I can’t wait, but there is so much to do. First you must take a basket of gold to my father, and announce

124 the good news. I’ll be making preparations while you’re gone. FITCHER Yes, and while in town I’ll invite my friends; they will have arrived by my return.

23.1 INT. CASTLE KITCHEN 23.1

Regan rummages through the kitchen until she finds a pot of honey, and a large carving knife.

24. INT. CASTLE BEDROOM 24.

Regan positions Brigit’s body by the window. Then she strips naked and covers herself with the honey. When she is glistening with honey, she takes the knife and savagely slashes open her mattress and rolls in the feathers.

25. ext. castle grounds 25.

A party of wedding guests approaches the castle. The door stands wide open, with lit torches on either side. Regan looking like a giant bird stands upon a rampart.

WEDDING GUEST 1

125 Old Fitcher has been quite busy lately. Working in matters of sorcery, state, and now his marriage. WEDDING GUEST 2 He said he would return, forthwith, but where do you suppose is his bride to be to greet us? WEDDING GUEST 3 Oh, Fitcher’s bird, how com’st thou here? REGAN I come from Fitcher’s house quite near. WEDDING GUEST 1 And what may the young bride be doing? REGAN From cellar to garret she’s swept all clean, and now from the window she’s peeping I ween. WEDDING GUEST 2 (pointing to the corpse in the upstairs window) So she is! We shall trouble her not, while she dons her nuptial raiment.

The party enters the castle.

25.1-25.9 SCENES UNKNOWN 25.1-25.9

26. EXT. CASTLE GROUNDS 26.

126 Fitcher returns. When he sees Regan covered in feathers, he takes her for his familiar.

FITCHER Hark, is this my familiar born? REGAN I hatched in the hall, just this morn. FITCHER And, what hast thou to relate? REGAN Inside, your wedding guests await. FITCHER And what may the young bride be doing? REGAN From cellar to garret she’s swept all clean, and now from the window she’s peeping I ween.

Fitcher looks up and sees the corpse dressed in wedding attire in the upper window, and assumes it is Regan. When he enters the house, Regan takes the key ring, and locks the door behind him.

REGAN (shouting in) Fitcher! Not even your conjuring can save you now!

127 A commotion arises as Fitcher and his guests realize they are trapped. Regan takes the torches and casts them through the windows, setting the place ablaze.

27. EXTERIOR. COURTYARD. DAY. 27.

AUDREY …and, all died in the blaze. MONK (Jokingly) Sayeth Paul to the Corinthians; ‘tis better to marry than to burn’. AUDREY Methinks the bride should take a turn! KENDRA Yes, yes Rikka! RIKKA Well, actually… KARL (Interrupting) …it has been a long day; I’m quite sure Rikka isn’t up to tale telling, are you dear? MANFRED Nonsense, you’ll see, how expert she is expert at spinning a yarn.

AUDREY

128 Rikka, do go on! RIKKA Very well, I once had a dream of a maid that found evil in the Black Forest…

28. INT. MILLER’S HOUSE 28.

Rikka and Manfred are cleaning the house.

MANFRED (Holding up a hair comb) Rikka is this yours? RIKKA Yes. MANFRED Well, you mustn’t leave it in the middle of the room. Remember, husbands like a wife who keeps things tidy. RIKKA Of course. MANFRED Are you excited to see your husband-to-be? RIKKA Yes, father. MANFRED Good, he should arrive any time now.

129 There is a knock at the door. Manfred opens it, and Karl enters.

MANFRED Karl, we’ve been expecting you. Please sit down, have some grog…Rikka… RIKKA Yes, father.

Rikka pours them drinking jacks of ale.

KARL Manfred, have you a hound now guarding the mill? MANFRED You mean a shabby grey and black creature? KARL Yes it let loose the most vicious bellows as I approached. MANFRED ‘Tis a mongrel that has taken to hanging about the place, I’ve run it off once already today. KARL Will it bite? MANFRED It seems to make a racket, but keep its distance. RIKKA

130 I have passed it several times, on my way to and from the mill, and never has it drawn near enough for concern.

Pause.

KARL Rikka, here you are to be my wife, but you haven’t been to my home yet. You must come and visit me tomorrow. MANFRED That is a splendid idea! RIKKA I only leave here to go to the mill or down to the lake…I…I’m afraid I don’t know my way around the forest. KARL Then I will mark the route with an ash trail. MANFRED Rikka, you really must go. RIKKA Yes, father.

29. EXT. BLACK FOREST. EVENING. 29.

Rikka walks ponderously down a forest trail. Wherever there is a fork in the trail, ash markers indicate the way. As she

131 progresses, things around her take on an increasingly ominous quality. We see her growing sense of dread, till she is nearly running. Eventually she comes across a foreboding looking house. The door is ajar, and she knocks upon it.

RIKKA Hello…is anyone there?

30. INT. KARL’S. 30.

Rikka cautiously enters through the front door. The room is well kept, but rather creepy looking. She steps inside. BIRD(VO) Turn back pretty bride! In this house you must not abide! For here evil things betide!

Rikka finds the source of the sound is from a birdcage.

RIKKA Hello…? BIRD Turn back pretty bride! In this house you must not abide! For here evil things betide! RIKKA Horrible thing! Hello, is anyone home?

132 Rikka sees light coming from the basement, and goes down.

31.0 INT KARL’S BASEMENT. 31.0

We see Rikka round a corner to where an old woman stirs an enormous kettle over a wood stove.

RIKKA Oh, pardon me. OLD WOMAN Come closer. Now, who might you be? RIKKA I’m Rikka, I do hope I have the right house. I’m looking for my husband-to-be, Karl. OLD WOMAN So, you are the latest fiancé? You poor dear. RIKKA The latest fiancé! Whatever do you mean? OLD WOMAN Shh, it is fortunate that you arrived when Karl and his gang were out. But they will return any minute. RIKKA His gang? What are you talking about? OLD WOMAN

133 This house is a den or killers who lure victims here, and…well, they intend to murder you next! They’ve ordered me prepare a pot for long pig stew! RIKKA Long what? OLD WOMAN It is what they do with their victims. They rob them, or in the case of brides, acquire a dowry, then they eat them… Karl and his friends are cannibals! But now that you know, you may be able…

A noise upstairs grabs startles them.

OLD WOMAN Quickly, hide!

Karl, Wolfgang and Fritz enter, dragging MINA, a struggling captive with them. Fritz removes her gag.

MINA Let me go! Please, please let me go! FRITZ We’re home! KARL Hast thou prepared the kettle, wench?

OLD WOMAN

134 Aye. KARL (turning on Mina) Then we shall prepare the meal. MINA No! Karl grabs a bottle off the mantle as Wolfgang forces open Mina’s mouth. WOLFGANG Drink up. MINA (Screaming) Let me go! No!

Karl forces the liquid down her throat. Soon her struggling drops off as she passes out.

KARL O.K., hurry now.

They tear the clothes from her body and lie her prostrate on a table.

KARL Is everybody ready?

135 They all take up cleavers or knives. Rikka moves, but is warned back by the old woman.

MONTAGE OF SHOTS OF THE CANNIBALS FRENZIEDLY BUTCHERING HER BODY.

In their fervor they do not see a ringed finger fly from the carcass. It lands near Rikka’s hiding place. She sees it, but grabbing it would mean exposing herself. Slowly she stretches out her arm until she can almost reach it. When Wolfgang turns around, she has to pull back, but when he is again subsumed in his butchery, she darts out and grabs the finger, then darts back.

32.0 INSERT. SLEEPING POTION. 32.0

The old woman dumps some of the drug from the bottle into each of three wineglasses.

32.1 INTERIOR. KARL’S BASEMENT. 32.1

OLD WOMAN Here, lads, wine for you. WOLFGANG See, Fritz, I told you keeping the old one as kitchen help would be better than eating her atrophied flesh.

136 Within minutes, all the cannibals are asleep. The Old Woman motions for Rikka to come out, and they both flee.

32. EXTERIOR. KARL’S. NIGHT. 32.

The Old Woman and Rikka flee from the house.

32. EXTERIOR. COURTYARD. DAY. 32.

RIKKA And that is my nightmare.

There is stunned silence. The groomsmen look terrified.

KARL …What a terrible dream. RIKKA All the more terrible that every word is true. UNCLE What?!? MANFRED Child, you jest! RIKKA Not a bit.

RIKKA produces Mina’s ring finger, to the astonishment of all.

137

FRITZ Run!

As Wolfgang jumps to his feet, the monk clobbers him with a bottle of wine. Fritz and Karl take off running, with the wedding party in hot pursuit but Fritz is taken down by a mass of people. Karl makes it to the open field, before Manfred fells him with a tackle.

33. EXTERIOR. COURTYARD. EVENING. 33.

The sun sets across the courtyard. There are no longer any wedding decorations or furnishings. The camera angles up on Karl, Fritz and Wolfgang, hanging by nooses. Still in wedding attire, Audrey, Kendra and Rikka are joking and playing with each other nearby. Together, they stroll off into the Black Forest.

FADE OUT.

138

BIBLIOGRAPHY

(* Indicates a title discussed in the text, used heavily in the project, or otherwise deemed particularly noteworthy.)

Design Reference

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140

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142

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Formatting and Selling Your Script. Trottier, David. Beverly Hills, CA: Silman-James Press. 1995.

Making a Good Script Great, 2nd ed. Seger, Linda. Hollywood, CA: Samuel French Trade. 1987, 1994.

The Screenwriter’s Bible: A Complete Guide to Writing,

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The Beginning Filmmaker’s Guide to Directing. Harmon, Renée. New York, New York: Walker and Company. 1993.

The Film Director’s Team: A Practical Guide for Production Managers, Assistant Directors, and All Filmmakers. Silver, Alain and Ward, Elizabeth. Los Angeles, CA: Silman-James Press. 1983.

The Filmmaker’s Handbook. Pincus, Edward and Ascher, Steven. New York, New York: The Penguin Group. 1984.

Guide To Filmmaking. Pincus, Edward . New York, New York: Signet Books. 1969.

How To Make Movies: A Practical Guide to Group Film- Making. Ferguson, Robert. Studio Vista Publishers. 1969.

Independent Filmmaking By Lenny Lipton. Lipton, Lenny. New York, New York: Simon & Schuster, Inc. 1972.

John Hedgecoe’s Camcorder Basics: A Quick and Easy Guide To Making Better Videos. Hedgecoe, John. London: Collins & Brown. 1995.

Lipton On Filmmaking. Lipton, Lenny. New York, New York: Simon & Schuster, Inc. 1979.

Movie Making: A Guide to Film Production. Glimcher, Sumner and Johnson, Warren. New York, New York: Simon & Schuster, Inc. 1975.

Sight, Sound, Motion: Applied Media Aesthetics, 3rd ed. Zettl, Herbert. Wadsworth Publishing Company. 1998.

The Single-Camera Director, 2nd ed. Herlinger, Mark. Denver, CO: Western Media Products. 2000.

The Television PA’s Handbook 2nd ed. Rowlands, Avril. Oxford; Boston : Focal Press, 1993.

TV Lighting Methods. Millerson, Gerald. London, England: Dennis Dobson Ltd., 1948.

144

Technical Reference Postproduction

The Digital Videomaker’s Guide. Whitver, Kathryn Shaw. Studio City, CA: Michael Wiese Productions. 1995.

The Movie Business Book. Squire, Jason E. New York, New York: Simon & Schuster, Inc. 1983.

145

Theory / Inspiration

All I Need To Know About Filmmaking I Learned From The Toxic Avenger. Kaufman, Lloyd and Gunn, James. New York, New York: Berkley Boulevard Books, 1998.

Breaking Through, Selling Out, Dropping Dead and Other Notes on Filmmaking. Bayer II, William S. New York, New York: Dell Publishing Co., Inc. 1971.

Brewer's Dictionary of Phrase & Fable, 16th Ed, Brewer, Ebenezer Cobham. et al. HarperCollins, 2000.

Brothers Grimm and Folktale, The. McGlathery, James M. Chicago, Illinois: University of Illinois Press. 1988.

Complete Works of William Shakespeare, The. Shakespeare, William. New York, New York: Avenel Books. 1975.

Directors On Directing. Cole, Toby and Chinoy, Helen Krich. New York, New York: Macmillan Publishing Company. 1953.

Deutsche Sagen, Grimm, Jakob and Grimm, Wilhelm. 2 volumes, 1816, 1818.

*The Encyclopedia of European Cinema. Vincendeau, Ginette. New York, New York: Facts on File, Inc. 1995.

*Fairy Tales and Children: The Psychology of Children Revealed Through Four of Grimm’s Fairy Tales. Mallet, Carl-Heinz. transl. Neugroschel, Joachim. New York, New York: Schocken Books. 1984. (original title, Kennen Sie Kinder?)

Feature Filmmaking at Used Car Prices. Schmidt, Rick. New York, New York: Penguin Group. 1988.

Film Art, 5th ed. Bordwell, David and Thompson, Kristin. The McGraw-Hill Companies, Inc. 1997.

The Film Sense. Eisenstein, Sergei. trans. Leyda, Jay. New York, New York: Harcourt Brace and Company, Inc. 1947.

146 Four Screenplays: Studies in the American Screenplay. Field, Syd. New York, New York: Bantam Doubleday Dell Publishing Group, Inc. 1994.

Grimms' Fairy Tales: A History of Criticism on a Popular Classic. McGlathery, James M. Columbia, South Carolina: Camden House Inc. 1993.

The Hard Facts of the Grimms' Fairy Tales. Tatar, Maria. Princeton, New Jersey: Princeton University Press. 1987.

*Hero With a Thousand Faces. Campbell, Joseph. Princeton: Princeton University Press, 1949.

*Hitchcock’s Notebooks. Aulier, Dan and Hitchcock, Alfred. New York, New York: Avon Books Inc., 1999.

How I Made a Hundred Movies in Hollywood and Never Lost a Dime. Corman, Roger with Jerome, Jim. New York, New York: Random House, Inc. 1990.

*Illuminating Shadows: The Mythic Power of Film. Hill, Geoffrey. Boston, Massachusetts: Shambhala Publications, Inc. 1992.

”Little Red Riding Hood: Werewolf and prostitute”. Chase Jr., Richard; Teasley, David. Historian, Vol. 57 Issue 4, p769, 8p. 1995.

*Man and His Symbols. Jung, Carl Gustav and Von Franz, Marie-Luise C. G. Jung. New York, New York: Dell Publishing Company, Inc. 1970.

The Movie Book. London, England: Phaidon Press Limited. 1999.

Movies and Methods vol 1. ed. Nichols, Bill. Berkeley, CA: University of California Press Ltd. 1976.

*On the Nature of the Psyche. Jung, Carl Gustav. Adler, G. ed. Hull, R. F.C. transl. Princeton: Princeton University Press, 1970.

*Power of Myth,The. Campbell, Joseph. New York, New York: Doubleday, 1988.

Rebel Without a Crew, Or How a 23-Year-Old Filmmaker with $7,000 Became A Hollywood Player. Rodriguez, Robert (Robert Anthony) Dutton/Penguin, New York, New York, 1995.

147 *Tolkien Reader, The. Tolkien, J. R. R. New York, New York: Ballantine Books, 1966.

*Toward a Psychology of Being. Maslow, Abraham H. Lowry, Richard ed. New York, New York: Wiley, John & Sons, Incorporated, 1998.

*Types of the Folktale. Aarne, Antti and Thompson, Stith. 2nd Rev. edition. Indiana University Press, 1995.

Understanding Movies 2nd ed. Giannetti, Louis. Englewood Cliffs, New Jersey: Prentice-Hall, Inc. 1972.

Women Who Run with the Wolves. Estes, Clarissa Pinkola. Ballantine, 1992.

148 FILMOGRAPHY

Bluebeard (1944). Directed by Ulmer, Edgar G.

Cinderella (1950). Directed by Geronimi, Clyde and Jackson, Wilfred.

*Company of Wolves, The (1984). Directed by Jordan, Neil.

*Ever After (1998). Directed by Tennant, Andy.

*Evil Dead, The (1982). Directed by Raimi, Sam.

*Freeway (1996). Directed by Bright, Matthew.

*Jin-Roh (1998). Directed by Okiura, Hiroyuki.

Joseph Campbell & the Power of Myth with Bill Moyers (1989). Various directors.

*Little Red Riding Hood (1922). Directed by Disney, Walt.

Monsieur Verdoux (1947). Directed by Chaplin, Charles.

*Pacte des loups, Le (2001). Directed by Gans, Christophe.

*Pretty Woman (1990). Directed by Marshall, Garry.

Red Hot Riding Hood (1943). Directed by Avery, Tex.

Secret Beyond the Door (1948). Directed by Lang, Fritz.

*Sinnui yauman (1987). Directed by Ching, Siu-tung.

Sleeping With the Enemy (1991). Drected by Ruben, Joseph.

*Snow White, A Tale of Terror (1997). Directed by Cohn, Michael.

Snow White and the Seven Dwarves (1937). Directed by Hand, David.

Storyteller, The (1987). Directed by Henson, Jim (et al.)

Suspicion (1941). Directed by Hitchcock, Alfred.

*Suspiria (1977). Directed by Argento, Dario.

149 Tales from the Crypt (1971). Directed by Francis, Freddie.

*Texas Chainsaw Massacre, The (1974). Directed by Hooper, Tobe.

Vault of Horror, The (1973). Directed by Baker, Roy Ward.

What Lies Beneath (2000). Directed by Zemeckis, Robert.

150

INTERNET RESOURCES (Note: due to the transient nature of the Internet, the following hyperlinks may become invalid)

The C.G. Jung Page, http://www.cgjungpage.org/

D.L. Ashliman’s Home Page, http://www.pitt.edu/~dash/ashliman.html

The Fairy Tale Project, http://mld.ursinus.edu/Maerchen/

The Grimm Brothers @ nationalgeographic.com, http://www.nationalgeographic.com/grimm/

The Internet Movie Database, http://imdb.com/

The Little Red Riding Hood Project, http://www- dept.usm.edu/~engdept/lrrh/lrrhhome.htm

“Little Riding Hood: Werewolf And Prostitute” by Chase, Richard Jr., Ph.D. and Teasley, David, Ph.D. http://www.davidson.edu/personal/nidonowitz/Werewolf_Pros titute.asp

The Joseph Campbell Foundation, http://www.jcf.org/

Microsoft Typography Web site, http://www.microsoft.com/typography/default.asp

Myths and Legends, http://members.bellatlantic.net/~vze33gpz/myth.html

National Public Radio interview with Catherine Orenstein about her book, Little Red Riding Hood Uncloaked: Sex, Morality, and the Evolution of a Fairy Tale. http://www.npr.org/ramfiles/atc/20020828.atc.12.ram

The Official Grimm Reality Web Site, http://www.grimmreality.com/

The official Star Wars web site, http://www.starwars.com

Sony Electronics, http://www.sel.sony.com/

SurLaLune Fairy Tales, http://www.surlalunefairytales.com/index.html

151 The Telling Tales Homepage, History Dept. University of Wales Swansea, http://www.swan.ac.uk/history/teaching/teaching%20resourc es/Telling%20Tales/homepage.htm

Yamada Language Center: German WWW Guide, http://babel.uoregon.edu/yamada/guides/german.html

152