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A View to a Kill
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This article is about the 1985 James Bond film. For other uses, see A View to a Kill (disambiguation).
For the made for TV thriller, see A Vow to Kill.
A View to a Kill
British cinema poster for A View to a Kill, illustrated by Dan Gouzee
Directed by
John Glen
Produced by
Albert R. Broccoli
Michael G. Wilson
Screenplay by
Michael G. Wilson
Richard Maibaum
Based on
James Bond
by Ian Fleming
Starring
Roger Moore
Tanya Roberts
Grace Jones
Patrick Macnee
Christopher Walken
Music by
John Barry
Cinematography
Alan Hume
Edited by
Peter Davies
Production
company
Eon Productions
Distributed by
MGM/UA Entertainment Company (US)
United International Pictures (International)[1]
Release date
22 May 1985 (1985-05-22) (San Francisco, premiere)
13 June 1985 (1985-06-13) (United Kingdom)
Running time
131 minutes
Country
United Kingdom
Language
English
Budget
$30 million
Box office
$152.4 million
A View to a Kill (1985) is the fourteenth spy film of the James Bond series, and the seventh and last to star Roger Moore as the fictional MI6 agent James Bond. Although the title is adapted from Ian Fleming's short story "From a View to a Kill", the film has an entirely original screenplay. In A View to a Kill, Bond is pitted against Max Zorin, who plans to destroy California's Silicon Valley.
The film was produced by Albert R. Broccoli and Michael G. Wilson, who also wrote the screenplay with Richard Maibaum. It was the third James Bond film to be directed by John Glen, and the last to feature Lois Maxwell as Miss Moneypenny.
Despite receiving mixed to negative reviews from critics, it was a commercial success, with the Duran Duran theme song "A View to a Kill" performing well in the charts and earning a Golden Globe nomination for Best Song. Christopher Walken was also praised for portraying a "classic Bond villain".[2]
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Casting
3.2 Filming
3.3 Music
4 Release and reception
5 Appearances in other media
6 See also
7 References
8 External links
Plot[edit]
MI6 agent James Bond is sent to Siberia to locate the body of 003 and recover a microchip originating from the Soviet Union. Upon his return, Q analyses the microchip and establishes that it is a copy of one designed to withstand an electromagnetic pulse and made by government contractor Zorin Industries.
Bond visits Ascot Racecourse to observe the company's owner, Max Zorin. Zorin's horse wins a race but proves hard to control. Sir Godfrey Tibbett, a racehorse trainer and MI6 agent, believes that Zorin's horse was drugged, although tests proved negative. Through Tibbett, Bond meets with French private detective Achille Aubergine who informs Bond that Zorin is holding a horse sale later in the month. During their dinner at the Eiffel Tower, Aubergine is assassinated by Zorin's bodyguard May Day, who subsequently escapes after being chased by Bond.
Bond and Tibbett travel to Zorin's estate for the horse sale. Bond is puzzled by a woman who rebuffs him and finds out that Zorin has written her a cheque for $5 million. At night, Bond and Tibbett break into Zorin's laboratory and learn that he is implanting adrenaline-releasing devices in the horses. Zorin identifies Bond as an agent, has May Day assassinate Tibbett, and believes that his attempt to assassinate Bond has been successful. Afterwards, General Gogol of the KGB confronts Zorin for killing Bond without permission and reveals that Zorin was initially trained and financed by the KGB but has now gone rogue. Later, Zorin unveils to a group of investors his plan to destroy Silicon Valley which will give him—and the potential investors—a monopoly over the microchip industry.
Bond goes to San Francisco where he learns from CIA agent Chuck Lee that Zorin could be the product of medical experimentation with steroids performed by a Nazi scientist who is now Zorin's physician, Dr. Carl Mortner. Bond then investigates a nearby oil rig owned by Zorin and while there finds KGB agent Pola Ivanova recording Zorin's conversation. Ivanova's partner Klolktoff is captured and killed while trying to place limpet mines on the rig, but Ivanova and Bond escape. They go to her place where Bond is able to steal the recording. Bond tracks down the woman that Zorin attempted to pay off, State Geologist Stacey Sutton, and discovers that Zorin is trying to purchase her family's oil business.
The two travel to San Francisco City Hall to review Zorin's submitted plan. However, Zorin is alerted to their presence and arrives together with May Day, who murders Chuck. When Bond and Sutton try to procure the plans, Zorin kills chief geologist W. G. Howe with Bond's gun and sets fire to the building to frame Bond for the murder and kill him and Sutton at the same time. Bond and Sutton survive the fire, but when the police prepare to arrest Bond for the murders of Howe and Chuck, he and Sutton escape in a fire truck.
Bond and Sutton infiltrate Zorin's mine and discover his plot to detonate explosives beneath the lakes along the Hayward and San Andreas faults, which would cause them to flood, causing the Silicon Valley area to be permanently submerged underwater. A larger bomb is also in the mine to destroy a "geological lock" that prevents the two faults from moving at the same time. Once the bombs are in place, Zorin and his security chief Scarpine flood the mines, killing the mine workers. Sutton escapes, while Bond and May Day are stranded in the mine. When May Day realizes that Zorin has abandoned her, she helps Bond remove the larger bomb by putting the device onto a handcar and pushing it out of the mine. When the handcar's brakes block their attempt, May Day stays on it to make it roll clear of the mine; once outside, the bomb explodes, killing her.
Zorin, who had escaped in his airship with Scarpine and Mortner, abducts Sutton, but Bond grabs hold of the airship's mooring rope. Zorin tries to knock Bond off the rope, but Bond manages to moor the airship to the framework of the Golden Gate Bridge. Sutton attacks Zorin, and in the fracas, Mortner and Scarpine are temporarily knocked out. Sutton flees and joins Bond out on the bridge, but Zorin pursues them with an axe. The ensuing fight between Zorin and Bond culminates with Zorin falling to his death in the waters of San Francisco Bay. An enraged Mortner attacks Bond using sticks of dynamite, but Bond cuts the airship cable free, which causes Mortner to drop the dynamite in the cabin. The dynamite explodes, killing Mortner and Scarpine and destroying the airship. General Gogol awards Bond the Order of Lenin for foiling Zorin's strategy. Afterwards, Bond and Sutton make love in the shower of the Sutton home.
Cast[edit]
Roger Moore as James Bond, MI6 agent 007.
Christopher Walken as Max Zorin: a psychopathic industrialist, the product of a Nazi genetic experiment, planning to destroy the Silicon Valley to gain a monopoly in the microchip market.
Tanya Roberts as Stacey Sutton: The granddaughter of an oil tycoon whose company is taken over by Zorin.
Grace Jones as May Day: Zorin's lover and chief henchwoman. She seemingly possesses superhuman strength.
Patrick Macnee as Sir Godfrey Tibbett: Bond's ally, a horse trainer who helps him infiltrate Zorin's chateau and stables.
Patrick Bauchau as Scarpine: Zorin's murderous loyal associate.
David Yip as Chuck Lee: a CIA agent who assists Bond and Sutton in San Francisco.
Willoughby Gray as Dr. Carl Mortner: formally Hans Glaub, a Nazi scientist and father figure to Zorin (in the German release version, he is a Polish communist).
Fiona Fullerton as Pola Ivanova; a KGB agent known to Bond, sent by Gogol to spy on Zorin.
Manning Redwood as Bob Conley: Zorin's chief mining engineer who handles his oil interests on the East Bay.
Alison Doody as Jenny Flex: One of May Day's assistants who is often seen with Pan Ho.
Robert Brown as M: The head of MI6
Desmond Llewelyn as Q: An MI6 officer in charge of the research and development branch. He supplies 007 with his equipment for his mission.
Lois Maxwell as Miss Moneypenny: M's secretary (Maxwell's 14th and final appearance in the role).
Geoffrey Keen as Fredrick Gray: The British Minister of Defence.
Walter Gotell as General Gogol: The head of the KGB.
Papillon Soo Soo as Pan Ho: One of May Day's assistants.
Daniel Benzali as W. G. Howe: A city official working at San Francisco City Hall.
Mary Stavin as Kimberley Jones: British agent who assists Bond in the pre-credit sequence.
Bogdan Kominowski as Klotkoff: one of General Gogol's KGB agents who is killed while infiltrating Zorin's oil rig.
Dolph Lundgren in an early, minor role as Venz, one of General Gogol's KGB agents.
Jean Rougerie as French private detective Achille Aubergine.
Maud Adams appears as an extra in one of the Fisherman's Wharf scenes, making it her third Bond film appearance.[3][4]
Production[edit]
A View to a Kill was produced by Albert R. Broccoli and Michael G. Wilson. Wilson also co-authored the screenplay along with Richard Maibaum. At the end of Octopussy during the "James Bond Will Return" sequence, it listed the next film as "From a View to a Kill", the name of the original short story; however, the title was later changed.[5] When a company with a name similar to Zorin (the Zoran Corporation) was discovered in the United States, a disclaimer was added to the start of the film affirming that Zorin was not related to any real-life company. This is the first Bond film to have a disclaimer (The Living Daylights had a disclaimer about the use of the Red Cross).[6]
Casting[edit]
Early publicity for the film in 1984 included an announcement that David Bowie would play Zorin. He later decided to turn down the role, saying, "I didn't want to spend five months watching my stunt double fall off cliffs." The role was offered to Sting and finally to Christopher Walken.[7]
Dolph Lundgren has a brief appearance as one of General Gogol's KGB agents. Lundgren, who was dating Grace Jones at the time, was visiting her on set when one day an extra was missing so the director John Glen then asked him if he wanted to get a shot at it. Lundgren appears during the confrontation between Gogol and Zorin at the racetrack, standing several steps below Gogol.[8]
Filming[edit]
The film was shot at Pinewood Studios in London, Iceland, Switzerland, France and the United States. Several French landmarks such as the Eiffel Tower, its Jules Verne Restaurant and the Château de Chantilly were filmed. The rest of the major filming was done at Fisherman's Wharf, Dunsmuir House, San Francisco City Hall and the Golden Gate Bridge in San Francisco. The Lefty O'Doul Bridge was featured in the fire engine chase scene. The horse racing scenes were shot at Ascot Racecourse.[9]
Production of the film began on 23 June 1984 in Iceland, where the second unit filmed the pre-title sequence.[10] On 27 June 1984, several leftover canisters of petrol used during filming of Ridley Scott's Legend caused Pinewood Studios' "007 Stage" to burn to the ground. The stage was rebuilt, and reopened in January 1985[11] (renamed as "Albert R. Broccoli's 007 Stage") for filming of A View to a Kill. Work had continued on other stages at Pinewood when Roger Moore rejoined the main unit there on 1 August 1984. The crew then departed for shooting the horse-racing scenes at Royal Ascot Racecourse. The scene in which Bond and Sutton enter the mineshaft was then filmed in a waterlogged quarry near Staines and the Amberley Chalk Pits Museum in West Sussex.[12]
Tanya Roberts, Roger Moore and Grace Jones in a promotional still.
On 6 October 1984, the fourth unit, headed by special effects supervisor John Richardson, began its work on the climactic fight sequence. At first, only a few plates constructed to resemble the Golden Gate Bridge were used. Later that night, shooting of the burning San Francisco City Hall commenced. The first actual scenes atop the bridge were filmed on 7 October 1984.[13]
In Paris it was planned that two stunt men, B.J. Worth and Don Caldvedt, would help film two takes of a parachute drop off a (clearly visible) platform that extended from a top edge of the Eiffel Tower. However, sufficient footage was obtained from Worth's jump, so Caldvedt was told he would not be performing his own jump. Caldvedt, unhappy at not being able to perform the jump, parachuted off the tower without authorisation from the City of Paris. He was subsequently sacked by the production team for jeopardising the continuation of filming in the city.[3]
Airship Industries managed a major marketing coup with the inclusion of their Skyship 500 series blimp in the film. At the time Airship Industries were producing a fleet of blimps which were recognisable over many capitals of the world offering tours, or advertising sponsorship deals. As all Bond films have included the most current technology, this included the lighter than air interest.[14]
The blimp seen in the climax, was then on a promotional tour of Los Angeles after its participation in the opening ceremony of the 1984 Olympic Games. At that time, it had "WELCOME" painted across the side of the gasbag, but was replaced by "ZORIN INDUSTRIES" for the film. During the summer of 1984, the blimp was used to advertise Fujifilm. In real life, inflating the airship would take up to 24 hours, but during the film it was shown to take two minutes.[14]
Music[edit]
Main article: A View to a Kill (soundtrack)
The soundtrack was composed by John Barry, and published by EMI/Capitol.[15] The theme song, "A View to a Kill", was written by Barry and Duran Duran, and performed by the band. "May Day Jumps" is the only track that uses the "James Bond Theme". Barry's composition from On Her Majesty's Secret Service was modified for use in the songs "Snow Job", "He's Dangerous" and "Golden Gate Fight" of A View to a Kill.[16] "A View to a Kill" reached number two on the UK Singles Chart and number one on the Billboard Hot 100 in the United States, thus becoming the peak song in the James Bond series.[17] The 2015 track Writing's On The Wall later out performed the song in the UK by reaching number one.[18]
Duran Duran was chosen to do the song after bassist John Taylor (a lifelong Bond fan) approached producer Cubby Broccoli at a party, and somewhat drunkenly asked "When are you going to get someone decent to do one of your theme songs?"[19][20]
During the opening sequence, a cover version of the 1965 Beach Boys song "California Girls", performed by Gidea Park with Adrian Baker (a tribute band), is used during a chase in which Bond snowboards; it has been suggested that this sequence helped initiate interest in snowboarding.[21]
Release and reception[edit]
This was the first Bond film with a premiere outside the UK, opening on 22 May 1985 at San Francisco’s Palace of Fine Arts.[22] The British premiere was held on 12 June 1985 at the Odeon Leicester Square Cinema in London.[10] It achieved a box office collection of US$152.4 million worldwide with $50.3 million in the United States alone.[23][24] On its opening weekend in the US it earned $10.6 million.[24] Although its box office reception was excellent, the film's critical response was mostly negative. Rotten Tomatoes currently gives A View to a Kill a 36% approval rating,[25] which is the lowest rating for the Eon-produced Bond films on the website.[26] The film was first broadcast on British television on 31 January 1990.
One of the most common criticisms was that Roger Moore was 57 at the time of filming – and had visibly aged in the two years that had passed since Octopussy. The Washington Post critic said "Moore isn't just long in the tooth – he's got tusks, and what looks like an eye job has given him the pie-eyed blankness of a zombie. He's not believable anymore in the action sequences, even less so in the romantic scenes – it's like watching women fall all over Gabby Hayes."[27] Sean Connery declared that "Bond should be played by an actor 35, 33 years old. I'm too old. Roger's too old, too!"[28] In a December 2007 interview, Roger Moore remarked, "I was only about four hundred years too old for the part."[29]
Moore also stated that, at the time, A View to a Kill was his least favourite Bond film, and mentioned that he was mortified to find out that he was older than his female co-star's mother. He was quoted saying "I was horrified on the last Bond I did. Whole slews of sequences where Christopher Walken was machine-gunning hundreds of people. I said 'That wasn't Bond, those weren't Bond films.' It stopped being what they were all about. You didn't dwell on the blood and the brains spewing all over the place".[30]
Pauline Kael of The New Yorker said "The James Bond series has had its bummers, but nothing before in the class of A View to a Kill. You go to a Bond picture expecting some style or, at least, some flash, some lift; you don't expect the dumb police-car crashes you get here. You do see some ingenious daredevil feats, but they're crowded together and, the way they're set up, they don't give you the irresponsible, giddy tingle you're hoping for." Kael also singled out the dispirited direction and the hopeless script. "Director John Glen stages the slaughter scenes so apathetically that the picture itself seems dissociated. (I don't think I've ever seen another movie in which race horses were mistreated and the director failed to work up any indignation. If Glen has any emotions about what he puts on the screen, he keeps them to himself.)"[31]
Lawrence O'Toole of Maclean's believed it was one of the series' best entries. "Of all the modern formulas in the movie industry, the James Bond series is among the most pleasurable and durable. Lavish with their budgets, the producers also bring a great deal of craft, wit and a sense of fun to the films. Agent 007 is like an old friend who an audience meets for drinks every two years or so; he regales them with tall tales, winking all the time. The 14th and newest Bond epic, A View to a Kill, is an especially satisfying encounter. Opening with a breathtaking ski chase in Siberia, A View to a Kill is the fastest Bond picture yet. Its pace has the precision of a Swiss watch and the momentum of a greyhound on the track. There is a spectacular chase up and down the Eiffel Tower and through Paris streets, which Bond finishes in a severed car on just two wheels. But none of the action prepares the viewer for the heart-stopping climax with Zorin's dirigible tangled in the cables on top of San Francisco's Golden Gate Bridge." And although O'Toole believed that Moore was showing his age in the role, "there are plenty of tunes left in his violin. James Bond is still a virtuoso, with a licence to thrill."[32]
Brian J. Arthurs of The Beach Reporter said it was the worst film of the Bond series.[25] Chris Peachment of the Time Out Film Guide said, "Grace Jones is badly wasted."[33] Norman Wilner of MSN chose it as the worst Bond film,[34] while IGN picked as the fourth worst,[35] and Entertainment Weekly as the fifth worst.[36]
Bond historian John Brosnan believed A View to a Kill was Moore's best Bond entry. He said Moore looked in better shape than the previous Bond film, Octopussy. Brosnan especially admired the dirigible finale.[37]
Danny Peary had mixed feelings about A View to a Kill but was generally complimentary: "Despite what reviewers automatically reported, [Moore] looks trimmer and more energetic than in some of the previous efforts ... I wish Bond had a few more of his famous gadgets on hand, but his actions scenes are exciting and some of the stunt work is spectacular. Walken's the first Bond villain who is not so much an evil person as a crazed neurotic. I find him more memorable than some of the more recent Bond foes ... Unfortunately, the filmmakers – who ruined villain Jaws by making him a nice guy in Moonraker – make the mistake of switching May Day at the end from Bond's nemesis to his accomplice, depriving us of a slam-bang fight to the finish between the two (I suppose gentleman Bond isn't allowed to kill women, even a monster like May Day) ... [The film] lacks the flamboyance of earlier Bond films, and has a terrible slapstick chase sequence in San Francisco, but overall it's fast-paced, fairly enjoyable, and a worthy entry in the series.".[38]
Also among the more positive reviews was Movie Freaks 365's Kyle Bell: "Good ol' Roger gave it his best. ... Whether you can get past the absurdity of the storyline, you can't really deny that it has stunning stunt work and lots of action. It's an entertaining movie that could have been better."[39]
Roberts was nominated for a Golden Raspberry Award as Worst Actress, but she lost the trophy to Linda Blair, who appeared in Night Patrol, Savage Island and Savage Streets.[40]
Appearances in other media[edit]
This film was adapted into two video games in 1985. The first, titled A View to a Kill, was published by Domark. It was available for the ZX Spectrum, Amstrad CPC, Commodore 64, Oric 1 and Oric Atmos, and MSX. The second, titled James Bond 007: A View to a Kill was a text-based video game for DOS and Apple II computers. It was developed by Angelsoft, Inc. and published by Mindscape Inc.
The film was loosely adapted into a series of four Find Your Fate adventure game books, Win, Place, or Die, Strike it Deadly, Programmed for Danger, and Barracuda Run, which were released in 1985.[41]
May Day was a playable multiplayer character in the 1997 and 2000 video games GoldenEye 007 and 007: The World Is Not Enough for the Nintendo 64. In the 2002 game Nightfire, May Day and Max Zorin also appears as bots.[42] Other references include Nikolai Diavolo, a character in the 2004 game James Bond 007: Everything or Nothing, claiming Zorin to be his mentor and friend.[43] In GoldenEye: Rogue Agent, a multiplayer level is the summit of the Golden Gate Bridge, including the Zorin blimp, which would fire on players when activated. Players are also able to climb the suspension cables (similar to the events of the film).[44]
See also[edit]
James Bond portal
1980s portal
Film portal
Outline of James Bond
List of films shot in Iceland
References[edit]
Jump up ^ "Credits – A View to a Kill". Film & TV Database. British Film Institute. Retrieved 1 January 2012.
Jump up ^ "A View to a Kill: A film review by Christopher Null". Archived from the original on 17 October 2007. Retrieved 2 October 2007.
^ Jump up to: a b Maud Adams. Inside A View to a Kill (VCD/DVD). MGM Home Entertainment Inc.
Jump up ^ CommanderBond.net Maud Adams Found in "A View to a Kill", June 2004
Jump up ^ Burlingame, Jon (2012). The Music of James Bond. Oxford University Press. p. 174. ISBN 9780199863303.
Jump up ^ Smith, Jim; Lavington, Stephen (2002). Bond Films. London: Virgin Books. p. 219. ISBN 978-0-7535-0709-4.
Jump up ^ Nicholas Pegg (2004). The Complete David Bowie. Reynolds & Hearn Ltd. p. 561.
Jump up ^ "Notes on A View to a Kill". Retrieved 7 September 2007.
Jump up ^ "A View to a Kill filming locations". Archived from the original on 17 August 2007. Retrieved 7 September 2007.
^ Jump up to: a b "June: This Month in Bond History". Archived from the original on 26 September 2007. Retrieved 7 September 2007.
Jump up ^ "Fire wrecks James Bond film stage". BBC News. 30 July 2006. Retrieved 5 August 2012.
Jump up ^ "Production of A View to a Kill". Retrieved 7 September 2007.
Jump up ^ "October: This Month in Bond History". Archived from the original on 26 September 2007. Retrieved 7 September 2007.
^ Jump up to: a b "Movie Airship : SkyShip 500 "Zorin Industries"". The Airship Heritage Trust. Retrieved 2 October 2007.
Jump up ^ "A View to a Kill: Soundtrack". Retrieved 8 September 2007.
Jump up ^ "A View to a Kill". Filmtracks.com. Archived from the original on 5 September 2007. Retrieved 7 September 2007.
Jump up ^ "A View to a Kill". MI6-HQ.com. Retrieved 7 September 2007.
Jump up ^ http://www.officialcharts.com/search/singles/writing's%20on%20the%20wall/
Jump up ^ Malins, Steve. (2005) Notorious: The Unauthorized Biography, André Deutsch/Carlton Publishing, UK (ISBN 0-233-00137-9). pp 161–162
Jump up ^ Paul Gambaccini Interview with John Taylor, 1985, Greatest DVD extras.
Jump up ^ "Snowboard Club UK FAQs". Archived from the original on 27 September 2007. Retrieved 2 October 2007.
Jump up ^ Barnes, Alan; Hearn, Marcu (1997). Kiss Kiss Bang! Bang!: the Unofficial James Bond Film Companion. Batsford Books. p. 155. ISBN 978-0-7134-8182-2.
Jump up ^ "A View to a Kill: MI6 Profile". Retrieved 6 September 2007.
^ Jump up to: a b "A View to a Kill at Box Office Mojo". Archived from the original on 1 October 2007. Retrieved 2 September 2007.
^ Jump up to: a b "A View to a Kill". Rotten Tomatoes. Archived from the original on 6 September 2007. Retrieved 6 September 2007.
Jump up ^ "Total Recall: James Bond Countdown – Find Out Where Quantum of Solace Fits In!". Rotten Tomatoes. 18 November 2008. Retrieved 22 July 2011.
Jump up ^ Attanasio, Paul (24 May 1985). "As Bond, Moore Is Less". The Washington Post. Washington, DC. p. B47.
Jump up ^ Barnes, Alan; Hearn, Marcu (1997). Kiss Kiss Bang! Bang!: the Unofficial James Bond Film Companion. Batsford Books. p. 154. ISBN 978-0-7134-8182-2.
Jump up ^ "Roger Moore admits stretching Bond stint too long".
Jump up ^ Barnes and Hearn 1997, p 169
Jump up ^ Kael, Pauline (3 June 1985). "Slaphappy and Not So Happy". The New Yorker. Available online.
Jump up ^ O'Toole, Lawrence (10 June 1985). "A View to a Kill". Maclean's.
Jump up ^ "A View to a Kill". Timeout.com. Archived from the original on 29 September 2007. Retrieved 6 September 2007.
Jump up ^ Norman Wilner. "Rating the Spy Game". MSN. Archived from the original on 19 January 2008. Retrieved 4 March 2008.
Jump up ^ "James Bond's Top 20". IGN. 17 November 2006. Retrieved 21 September 2007.
Jump up ^ Benjamin Svetkey, Joshua Rich (15 November 2006). "Ranking the Bond Films". Entertainment Weekly. Retrieved 5 April 2008.
Jump up ^ Brosnan, John (1985). "It's Only a Movie". Starburst.
Jump up ^ Danny Peary, Guide for the Film Fanatic (Simon & Schuster, 1986) p.457
Jump up ^ Kyle Bell. "A View to a Kill Review". Movie Freaks 365. Archived from the original on 11 April 2009. Retrieved 27 March 2009.
Jump up ^ Wilson, John (2005). The Official Razzie Movie Guide: Enjoying the Best of Hollywood's Worst. Grand Central Publishing. ISBN 0-446-69334-0.
Jump up ^ Gamebooks.org – Find Your Date
Jump up ^ Eurocom. 007: Nightfire.
Jump up ^ EA Games. James Bond 007: Everything or Nothing. Game Boy Advance. Electronic Arts.
Jump up ^ Electronic Arts. GoldenEye: Rogue Agent. Electronic Arts.
External links[edit]
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Africa (Toto song)
From Wikipedia, the free encyclopedia
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"Africa"
US 7-inch (180 mm) shaped picture disc edition
Single by Toto
from the album Toto IV
B-side
"Good for You" (The Americas)[1]
"We Made It" (international)[1]
Released
May 10, 1982 (1982-05-10) (Europe)
October 30, 1982 (1982-10-30) (US)
Format
7", 12", CD single
Recorded
October 18, 1981 (1981-10-18)
Genre
Soft rock[2][3]
Length
4:55 (album version)
4:21 (radio edit)
Label
Columbia
Songwriter(s)
David Paich, Jeff Porcaro
Producer(s)
Toto
Toto singles chronology
"Make Believe"
(1982) "Africa"
(1982) "I Won't Hold You Back"
(1982)
"Make Believe"
(1982) "Africa"
(1982) "I Won't Hold You Back"
(1982)
Music video
Toto - Africa on YouTube
Audio sample
file
help
"Africa" is a song by the American rock band Toto. It was included on their fourth studio album Toto IV, and released as a single on September 30, 1982. It reached number one on the US Billboard Hot 100 chart on February 5, 1983 (the band's only number one there), and number three on the UK Singles Chart the same month. The song was written and composed by the band members David Paich and Jeff Porcaro.
The song had a surprise revival in 2017, being named "The Internet’s Favorite Song" that year.[4] In response to this resurgence and the repeated requests of a fan, the band Weezer recorded a cover version in 2018 that peaked at #68 on the Billboard Hot 100 and #1 on the Billboard Alternative Songs chart.[5]
Contents
1 Background
2 Music video
3 Reception
4 Personnel
4.1 Guest musicians
5 Charts and certifications
5.1 Weekly charts
5.2 Year-end charts
5.3 Sales and certifications
6 Weezer version
6.1 Chart positions
7 Other covers
8 Samples
9 See also
10 References
11 Further reading
12 External links
Background[edit]
The initial idea and words for the song came from David Paich. Jeff Porcaro explains the idea behind the song: "A white boy is trying to write a song on Africa, but since he's never been there, he can only tell what he's seen on TV or remembers in the past."[6]
Paich said:
At the beginning of the '80s I watched a late night documentary on TV about all the terrible death and suffering of the people in Africa. It both moved and appalled me, and the pictures just wouldn't leave my head. I tried to imagine how I'd feel about if I was there and what I'd do.[7]
In 2015, Paich explained that the song is about a man's love of a continent, Africa, rather than just a personal romance.[8] In 2018, Paich explained the song is about a person flying in to meet a lonely missionary.[9] As a child, Paich attended a Catholic school. Several of the teachers had done missionary work in Africa, and this became the inspiration behind the line "I bless the rains down in Africa."[9]
Paich was playing around with a new keyboard and found the brassy sound that became the opening riff. He started humming a melody and by the chorus, the words just came to him.[9]
Musically, the song took quite some time to assemble, as Paich and Porcaro explain:
On "Africa" you hear a combination of marimba with GS 1. The kalimba is all done with the GS 1; it's six tracks of GS 1 playing different rhythms. I wrote the song on CS-80, so that plays the main part of the entire tune.[10]
So when we were doing "Africa" I set up a bass drum, snare drum and a hi-hat, and Lenny Castro set up right in front of me with a conga. We looked at each other and just started playing the basic groove. [...] The backbeat is on 3, so it's a half-time feel, and it's 16th notes on the hi-hat. Lenny started playing a conga pattern. We played for five minutes on tape, no click, no nothing. We just played. And I was singing the bass line for 'Africa' in my mind, so we had a relative tempo. Lenny and I went into the booth and listened back to the five minutes of that same boring pattern. We picked out the best two bars that we thought were grooving, and we marked those two bars on tape. [...] Maybe it would have taken two minutes to program that in the Linn, and it took about half an hour to do this. But a Linn machine doesn't feel like that!
Porcaro also acknowledged that he was influenced by the sounds created by fellow Los Angeles session musicians Milt Holland and Emil Richards. He also described the influence of the drummers at the Africa pavilion at the 1964 New York World's Fair and a National Geographic Special.[11][12]
I was about 11 when the New York World's Fair took place, and I went to the African pavilion with my family. I saw the real thing ... It was the first time I witnessed somebody playing one beat and not straying from it, like a religious experience, where it gets loud, and everyone goes into a trance.
During an appearance on the radio station KROQ-FM, Porcaro and Steve Lukather described the song as "dumb" and "an experiment" and some of the lyrics as "goofy" that were just placeholders.[13] The band was more focused on the album's lead single "Rosanna" instead.
Music video[edit]
The music video was directed by Steve Barron.[14] In the video, a researcher in a library (portrayed by band member David Paich) tries to match a scrap of a picture of a shield to the book from which it was torn out. As he continues his search, a librarian (Jenny Douglas-McRae) working at a nearby desk takes occasional notice of him, while natives in the surrounding jungle begin to close in on the library. When the researcher finds a book titled Africa, the native throws a spear (the shield the native carries is the same as the one in the picture), toppling stacks of books. Africa falls open to the page from which the scrap was torn, but a lantern lands on it and sets it on fire, after which the librarian's eyeglasses are shown falling to the floor. The scenes are intercut with shots of a spinning globe and the band performing atop a stack of giant hardcover books, in which Africa is the topmost.
This video also features Mike Porcaro on bass, replacing David Hungate, who had already left the band before the video was made. Lenny Castro is also featured in the video on percussion.
Reception[edit]
In 2012, "Africa" was listed by music magazine NME in 32nd place on its list of "50 Most Explosive Choruses."[15]
Personnel[edit]
David Paich – lead vocals (verses), backing vocals, synthesizer, piano
Bobby Kimball – backing vocals, lead vocals (chorus)
Steve Lukather – electric guitar, backing vocals
Steve Porcaro – synthesizers
David Hungate – bass guitar
Jeff Porcaro – drums, cowbell, gong, additional percussion
Guest musicians[edit]
Lenny Castro – congas, shakers, additional percussion
Timothy B. Schmit – backing vocals, acoustic rhythm guitar
Joe Porcaro – percussion, marimba
Jim Horn – recorders
Charts and certifications[edit]
Weekly charts[edit]
Chart (1982–83)
Peak
position
Australian Kent Music Report[16] 5
Austria (Ö3 Austria Top 40)[17] 7
Belgium (Ultratop 50 Flanders)[18] 8
Canadian RPM Adult Contemporary Tracks 8
Canadian RPM Top Singles 1
Europarade 17
Finnish Singles Chart 18
French Singles Chart 27
Germany (Official German Charts)[19] 14
Ireland (IRMA)[20] 2
Italian Singles Chart 22
Netherlands (Single Top 100)[21] 4
New Zealand (Recorded Music NZ)[22] 5
South African Singles Chart 18
Spanish Radio Chart 18
Switzerland (Schweizer Hitparade)[23] 6
UK Singles (Official Charts Company)[24] 3
US Billboard Hot 100[25] 1
US Adult Contemporary (Billboard)[26] 5
Chart (2013)
Peak
position
New Zealand RMNZ Singles Chart[27] 5
Slovenia (SloTop50)[28] 16
Chart (2018)
Peak
position
Poland (Polish Airplay Top 100)[29] 88
Year-end charts[edit]
Chart (1982)
Rank
Belgian VRT Top 30 85
Dutch Top 40 18
German Media Control Chart 88
Chart (1983)
Rank
Australian Kent Music Report 25
Canadian RPM Top Singles 16
Italian Singles Chart 75
UK Singles Chart 38
US Billboard Hot 100[30] 24
Sales and certifications[edit]
Region
Certification
Certified units/Sales
Canada (Music Canada)[31]
Gold 50,000^
Denmark (IFPI Denmark)[32]
Gold 45,000^
Italy (FIMI)[33]
Platinum 50,000*
New Zealand (RMNZ)[34]
Gold 5,000*
United Kingdom (BPI)[35]
Platinum 600,000
United States (RIAA)[36]
Platinum 1,000,000^
*sales figures based on certification alone
^shipments figures based on certification alone
sales+streaming figures based on certification alone
Weezer version[edit]
"Africa"
Single by Weezer
B-side
"Rosanna"
Released
May 29, 2018
Recorded
2018
Genre
Alternative rock
Length
3:58
Label
Atlantic
Songwriter(s)
David Paich, Jeff Porcaro
Producer(s)
Weezer
Weezer singles chronology
"Happy Hour"
(2017) "Africa"
(2018)
"Happy Hour"
(2017) "Africa"
(2018)
Weezer covered the song, following a fan-initiated social media campaign, it was released on May 29, 2018. [37][38]
In December 2017, Twitter user "@WeezerAfrica," run by a 14-year-old Cleveland, Ohio resident Mary Klym,[39] tweeted, "@RiversCuomo it's about time you bless the rains down in Africa." After much back-and-forth between Mary and Weezer drummer, Patrick Wilson, the band released a cover of "Rosanna" to "troll" the meme.[40][41] Weezer released "Africa" on May 29, 2018. It was the band's first Hot 100 hit since 2010.[42] "Africa" peaked at number-one on the Billboard Alternative Songs chart in August 2018, becoming the band's first number-one single since "Pork and Beans" in 2008.[43]
A limited edition 7-inch vinyl pressing was released by Weezer in July, 2018 and sold exclusively through Urban Outfitters. The pressing was limited to 1500 copies, with Africa as the A-side and Rosanna as the B-side. The cover artwork features a background of palm fronds with the tweet that inspired the song in the center of the cover.[44][45]
Shortly after the song's release, Weezer appeared on Jimmy Kimmel Live! along with keyboardist Steve Porcaro of Toto to promote the single.[45] On August 11, 2018, Toto responded by releasing a cover of Weezer's 2001 single "Hash Pipe", after debuting it in concert a week prior.[citation needed]
Chart positions[edit]
Chart (2018)
Peak
Position
US Billboard Hot 100[46] 68
US Alternative Songs (Billboard)[47] 1
US Adult Top 40 (Billboard)[48] 11
Other covers[edit]
In the 2010s, "Africa" has found a resurgence in popularity in internet culture and is used as a meme.[49] When referenced online, "Africa" is sincerely praised for its musical quality and the warm nostalgic feelings it evokes.[50]
2011: Pop Punk band Quietdrive featured a cover version on their album Your Record / Our Spin.[51]
2011: Pop punk band Relient K released a cover version on their covers album Is for Karaoke.[52]
2012: Progressive metal band Chaos Divine released a cover version as a single.[53]
2016: Metalcore band Affiance released a cover version as a single.[54]
2017: Ninja Sex Party covered the song on their album Under the Covers, Vol. II.[55]
Samples[edit]
2002: Ja Rule sampled the song on his song "Murder Reigns" taken from his fourth studio album The Last Temptation.[56]
2006: American pop singer JoJo sampled "Africa" in her song "Anything", which served as the third single from her 2006 second studio album, The High Road.[57]
2007: Lebanese-Canadian pop/R&B singer Karl Wolf sampled "Africa" in his own remake, also called "Africa", with added lyrics and musical composition and arrangement. The Karl Wolf song featured a rap section by the Canadian-Bahamian rapper Culture. The track served as the first single from his 2007 second studio album, Bite the Bullet, and reached number 2 on the Billboard Canadian Hot 100.[58]
2010: American experimental artist Daniel Lopatin heavily sampled "Africa" in the song "A1", a song featured in Chuck Person's Eccojams Vol. 1.[59]
2016: Swedish production duo Bacall & Malo sampled "Africa" in their remake, also called "Africa", with added lyrics and musical composition and arrangement. The Bacall & Malo music video also featured vocals by UK-based Nigerian singer Prince Osito. The track was the debut charting single of the Swedish duo peaking at number 18 on Sverigetopplistan, the official Swedish Singles Chart.[60]
See also[edit]
List of RPM number-one singles of 1983
List of Billboard Hot 100 number-one singles of 1983
References[edit]
^ Jump up to: a b "Toto - Africa at Discogs. [ONLINE]". Archived from the original on October 27, 2016. Retrieved May 1, 2016.
Jump up ^ Deggans, Eric (August 20, 2014). "Review: Toto, Michael McDonald showcase stellar '70s chops at Ruth Eckerd Hall in Clearwater". Tampa Bay Times. Archived from the original on September 9, 2017. Retrieved September 15, 2017.
Jump up ^ Monger, James Christopher. "Toto – Hold the Line: The Best of Toto". AllMusic. Retrieved September 15, 2017.
Jump up ^ "How 'Africa' by Toto Became the Internet's Favorite Song". Motherboard. Retrieved 10 August 2018.
Jump up ^ Zellner, Xander (2018-06-13). "Weezer Returns to Hot 100 With Fan-Inspired Cover of Toto's 'Africa'". Billboard. Retrieved 2018-06-15.
Jump up ^ "Official TOTO Website - Encyclopedia". www.toto99.com. April 18, 2007. Archived from the original on July 14, 2012. Retrieved December 2, 2015.
Jump up ^ "Official TOTO Website - Releases". www.toto99.com. Archived from the original on September 28, 2011. Retrieved November 3, 2011.
Jump up ^ Melissa Locker (May 5, 2015). "Q&'80s: Toto's Dave Paich on Writing and Recording 'Africa'". Grantland.com. (end paragraph 2 and 8). Archived from the original on June 25, 2016. Retrieved June 4, 2016.
^ Jump up to: a b c Simpson, Dave (January 30, 2018). "Toto: how we made Africa". the Guardian.
Jump up ^ Keyboard, 09/1995
Jump up ^ "Archived copy". Archived from the original on July 1, 2015. Retrieved July 1, 2015.
Jump up ^ Flans, Robyn (November 1988). "Jeff Porcaro: the feel of the music". Modern Drummer. Archived from the original on 2018.
Jump up ^ "Stryker Chats with Toto About Weezer 'Hash Pipe' Cover" (Podcast). KROQFM: On-Demand. 28 July 2018. Retrieved 9 August 2018.
Jump up ^ "Toto - "Africa"". mvdbase.com. Archived from the original on June 6, 2011. Retrieved November 3, 2011.
Jump up ^ "50 Most Explosive Choruses - #32 Toto - Africa - NME.COM". NME. Archived from the original on April 2, 2015.
Jump up ^ Kent, David (1993). Australian Chart Book 1970–1992. Australian Chart Book. ISBN 0-646-11917-6.
Jump up ^ "Austriancharts.at – Toto – Africa" (in German). Ö3 Austria Top 40.
Jump up ^ "Ultratop.be – Toto – Africa" (in Dutch). Ultratop 50.
Jump up ^ "Musicline.de – Toto Single-Chartverfolgung" (in German). Media Control Charts. PhonoNet GmbH.
Jump up ^ "The Irish Charts – Search Results – Toto". Irish Singles Chart.
Jump up ^ "Dutchcharts.nl – Toto – Africa" (in Dutch). Single Top 100.
Jump up ^ "Charts.nz – Toto – Africa". Top 40 Singles.
Jump up ^ "Swisscharts.com – Toto – Africa". Swiss Singles Chart.
Jump up ^ "Toto: Artist Chart History". Official Charts Company.
Jump up ^ "Toto Chart History (Hot 100)". Billboard.
Jump up ^ "Toto Chart History (Adult Contemporary)". Billboard.
Jump up ^ "NZ Top 40 Singles Chart | The Official New Zealand Music Chart". Nztop40.co.nz. May 20, 2013. Archived from the original on May 7, 2017. Retrieved October 25, 2016.
Jump up ^ "SloTop50: Slovenian official singles weekly chart" (in Slovenian). SloTop50. Retrieved 12 May 2013.
Jump up ^ "Listy bestsellerów, wyróżnienia :: Związek Producentów Audio-Video". Polish Airplay Top 100. Retrieved February 12, 2018.
Jump up ^ "Talent Almanac 1984" (PDF). Billboard. 95 (52). Billboard Publications, Inc. December 24, 1983. p. TA-18. ISSN 0006-2510. Retrieved February 25, 2017.
Jump up ^ "Canadian single certifications – Toto – Africa". Music Canada.
Jump up ^ "Toto "Africa"". IFPI Denmark. Retrieved January 23, 2018.
Jump up ^ "Italian single certifications – Toto – Africa" (in Italian). Federazione Industria Musicale Italiana. Retrieved December 27, 2017.
Jump up ^ "New Zealand single certifications – Toto – Africa". Recorded Music NZ.
Jump up ^ "British single certifications – Toto – Africa". British Phonographic Industry. Select singles in the Format field. Select Platinum in the Certification field. Enter Africa in the search field and then press Enter.
Jump up ^ "American single certifications – Toto – Africa". Recording Industry Association of America. If necessary, click Advanced, then click Format, then select Single, then click SEARCH
Jump up ^ weezer (2018-05-29), Weezer - Africa, retrieved 2018-05-29
Jump up ^ Petrusich, Amanda (2018-05-30). "Hurry, Boy, It's Waiting There for You: Weezer Covers "Africa"". The New Yorker. Retrieved 2018-06-02.
Jump up ^ McKinstry, Lee. "Teen Tweets Weezer Into Covering "Africa"". Cleveland Magazine. Retrieved 13 August 2018.
Jump up ^ weezer (2018-05-24). Weezer - Rosanna. Retrieved 2018-06-02.
Jump up ^ Monroe, Jazz (2018-05-24). "Weezer Cover Toto's "Rosanna," Trolling Viral Campaign for "Africa" Cover". Pitchfork. Retrieved 2018-06-02.
Jump up ^ Goldberg, Benjamin. "Weezer's Toto cover is the band's biggest hit in a decade". The A.V. Club. Onion, Inc. Retrieved 10 August 2018.
Jump up ^ "Alternative Songs: Top Alternative Songs Chart". Billboard. Retrieved August 11, 2018.
Jump up ^ Trapp, Phillip. "Weezer Announce Limited Africa Vinyl, But Good Luck Getting One". Altpress. Retrieved 10 August 2018.
^ Jump up to: a b "Weezer's "Africa" Cover Gets Vinyl Release". Pitchfork Media. Retrieved 10 August 2018.
Jump up ^ "Weezer Chart History (Hot 100)". Billboard.
Jump up ^ "Weezer Chart History (Alternative Songs)". Billboard.
Jump up ^ "Weezer Chart History (Adult Pop Songs)". Billboard.
Jump up ^ ""Africa" by Toto". Know Your Meme. Literally Media Ltd. 2017-10-01. Retrieved 2018-06-15.
Jump up ^ Furseth, Jessica (2017-11-22). "How 'Africa' by Toto Became the Internet's Favorite Song". Vice UK. Retrieved 2018-06-15.
Jump up ^ "Spotify".
Jump up ^ "Spotify".
Jump up ^ "Metal Music Archives".
Jump up ^ "Song Premiere: Affiance Cover Toto's "Africa"". Newnoisemagazine.com. August 19, 2016. Archived from the original on October 23, 2016. Retrieved October 25, 2016.
Jump up ^ "Under the Covers, Vol. II by Ninja Sex Party on Apple Music". itunes.apple.com. Retrieved 2017-11-05.
Jump up ^ Joel Whitburn's music yearbook 2003. Whitburn, Joel. Menomonee Falls, Wis.: Record Research. 2004. p. 91. ISBN 9780898201598. OCLC 57662663.
Jump up ^ "Singles". Billboard. March 31, 2007. p. 52.
Jump up ^ "Karl Wolf". billboard.com. Archived from the original on August 15, 2015.
Jump up ^ "Chuck Person: Chuck Person's Eccojams Vol. 1". Spectrum Culture. December 4, 2016. Retrieved August 1, 2017.
Jump up ^ "Bacall & Malo - Africa". swedishcharts.com.
Further reading[edit]
Jeff Porcaro reminisces about how the song's percussion tracks took shape at Mix
External links[edit]
Billboard Chart Listing - Allmusic.com
Lyrics of this song at MetroLyrics
Africa official video on YouTube
show
v
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e
Toto
Steve Lukather
David Paich
Steve Porcaro
Joseph Williams
David Hungate
Bobby Kimball
Jeff Porcaro
Mike Porcaro
Fergie Frederiksen
Jean-Michel Byron
Simon Phillips
Greg Phillinganes
Keith Carlock
Studio albums
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Mindfields
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Notable songs
"Hold the Line"
"I'll Supply the Love"
"Georgy Porgy"
"99"
"Rosanna"
"Make Believe"
"Africa"
"I Won't Hold You Back"
"Stranger in Town"
"I'll Be Over You"
"Stop Loving You"
"Pamela"
"2 Hearts"
"I Will Remember"
"Bottom of Your Soul"
Related people
Lenny Castro
Nathan East
Boz Scaggs
Tony Spinner
Leland Sklar
Shannon Forrest
Related articles
Discography
Members
Book:Toto
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e
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Everything Will Be Alright in the End
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Walter de la Mare
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Walter de la Mare
Walter de la Mare in 1924
(photo by Lady Ottoline Morrell)
Born
Walter John de la Mare
(1873-04-25)25 April 1873
Charlton, Kent, England, UK
Died
22 June 1956(1956-06-22) (aged 83)
Twickenham, Middlesex, England, UK
Occupation
Writer
Genre
Poetry, supernatural fiction, children's literature
Notable awards
James Tait Black Memorial Prize
1921
Carnegie Medal
1947
Walter John de la Mare OM CH (/ˈdɛləˌmɛər/;[1] 25 April 1873 – 22 June 1956) was a British poet, short story writer and novelist. He is probably best remembered for his works for children, for his poem "The Listeners",[2] and for a highly acclaimed selection of subtle psychological horror stories, amongst them "Seaton's Aunt" and "All Hallows".
His 1921 novel Memoirs of a Midget won the James Tait Black Memorial Prize for fiction,[3] and his post-war Collected Stories for Children won the 1947 Carnegie Medal for British children's books.[4]
Contents
[hide]
1 Life
2 The imagination
3 Come Hither
4 Supernaturalism
5 Works
5.1 Novels
5.2 Short story collections
5.3 Poetry collections
5.4 Plays
5.5 Nonfiction
5.6 Anthologies edited
6 References in other works
7 See also
8 Notes
9 References
10 Bibliography
10.1 Works by de la Mare
11 External links
Life[edit]
De la Mare was born in Kent at 83 Maryon Road, Charlton[5] (now part of the Royal Borough of Greenwich), partly descended from a family of French Huguenots, and was educated at St Paul's Cathedral School. He was born to James Edward de la Mare, a principal at the Bank of England, and Lucy Sophia Browning (James's second wife), daughter of Scottish naval surgeon and author Dr Colin Arrott Browning. The suggestion that Lucy was related to poet Robert Browning has been found to be incorrect. He had two brothers, Francis Arthur Edward and James Herbert, and four sisters Florence Mary, Constance Eliza, Ethel (who died in infancy), and Ada Mary. De la Mare preferred to be known as 'Jack' by his family and friends as he disliked the name Walter.
He worked from 1890 in the statistics department of the London office of Standard Oil for eighteen years to support his family, but nevertheless found time to write. In 1908, through the efforts of Sir Henry Newbolt he received a Civil List pension which enabled him to concentrate on writing.
In 1892 de la Mare joined the Esperanza Amateur Dramatics Club where he met and fell in love with Elfrida Ingpen, the leading lady, who was ten years older than he. They were married on 4 August 1899 and they went on to have four children: Richard Herbert Ingpen, Colin, Florence and Lucy Elfrida de la Mare. The new family lived in Beckenham and Anerley from 1899 till 1924.[6] It was in Beckenham at Mackenzie Road that the children were born, his first book of poems Songs of Childhood published (under the name Walter Ramal), and Henry Brocken written. Their house at Anerley in south London was the scene of many parties, notable for imaginative games of charades.[7]
In 1940, his wife Elfrida was diagnosed with Parkinson's disease and spent the rest of her life as an invalid, eventually dying in 1943. From 1940 until his death, de la Mare lived in South End House, Montpelier Row, Twickenham, the same street on which Alfred, Lord Tennyson had lived a century earlier. For the Collected Stories for Children (Faber & Faber, 1947), he won the annual Carnegie Medal from the Library Association, recognising the year's best children's book by a British subject.[4] It was the first collection to win the award.
De la Mare suffered from a coronary thrombosis in 1947 and died of another in 1956. He spent his final year mostly bed-ridden, being cared for by a nurse whom he loved but never had a physical relationship with.[8] His ashes are buried in the crypt of St Paul's Cathedral, where he had once been a choirboy.
The imagination[edit]
De la Mare described two distinct "types" of imagination – although "aspects" might be a better term: the childlike and the boylike. It was at the border between the two that Shakespeare, Dante, and the rest of the great poets lay.
De la Mare claimed that all children fall into the category of having a childlike imagination at first, which is usually replaced at some point in their lives. He explained in the lecture "Rupert Brooke and the Intellectual Imagination"[9][a] that children "are not bound in by their groping senses. Facts to them are the liveliest of chameleons. ... They are contemplatives, solitaries, fakirs, who sink again and again out of the noise and fever of existence and into a waking vision." His biographer Doris Ross McCrosson summarises this passage, "Children are, in short, visionaries." This visionary view of life can be seen as either vital creativity and ingenuity, or fatal disconnection from reality (or, in a limited sense, both).
The increasing intrusions of the external world upon the mind, however, frighten the childlike imagination, which "retires like a shocked snail into its shell". From then onward the boyish imagination flourishes, the "intellectual, analytical type".
By adulthood (de la Mare proposed), the childlike imagination has either retreated for ever or grown bold enough to face the real world. Thus emerge the two extremes of the spectrum of adult minds: the mind moulded by the boylike is "logical" and "deductive". That shaped by the childlike becomes "intuitive, inductive". For de la Mare, "The one knows that beauty is truth, the other reveals that truth is beauty." Yet another way he puts it is that the visionary's source of poetry is within, while the intellectual's sources are without – external – in "action, knowledge of things, and experience" (McCrosson's terms). De la Mare hastens to add that this does not make the intellectual's poetry any less good, but it is clear where his own preference lies.[a]
Come Hither[edit]
Come Hither was an anthology, edited by de la Mare, mostly of poetry with some prose. It has a frame story, and can be read on several levels. It was first published in 1923, and was a success; further editions followed. Alongside children's literature it includes a selection of the leading Georgian poets (from de la Mare's perspective).
Supernaturalism[edit]
Walter de la Mare was also a notable writer of ghost stories. Although de la Mare wrote a number of them, only a select few are considered to aspire to elicit terror in the reader, with most instead essaying a type of dream-like melancholy and mystery. His collections Eight Tales, The Riddle and Other Stories, The Connoisseur and Other Stories, On the Edge and The Wind Blows Over all contain a few ghost stories each.
De la Mare's supernatural horror writings were a favourite of H. P. Lovecraft, who in his classic study Supernatural Horror in Literature remarked that "he is able to put into his occasional fear-studies a keen potency which only a rare master can achieve",[10] especially praising de la Mare's novel The Return and his stories "Seaton's Aunt", "The Tree", "Out of the Deep", "Mr Kempe", "A Recluse" and "All Hallows". On the shortage of de la Mare horror stories, Lovecraft wrote: "De la Mare can be exceedingly powerful when he chooses, and I only wish he'd choose oftener." Gary William Crawford has described de la Mare's supernatural fiction for adults as being "among the finest to appear in the first half of this century", whilst again noting the disparity between the high quality and low quantity of de la Mare's mature horror stories.[11] Other notable de la Mare ghost stories are "A:B:O", "Crewe", "The Green Room", "Winter" and "Strangers & Pilgrims".
Several later writers of supernatural fiction, including Robert Aickman, Ramsey Campbell,[11] David A. McIntee and Reggie Oliver, have cited de la Mare's small output of ghostly horror fiction as highly inspirational. The horror scholar S. T. Joshi has said that de la Mare's supernatural fiction "should always have an audience that will shudder apprehensively at its horror and be moved to somber reflection by its pensive philosophy".[12]
For children, de la Mare wrote the fairy tale The Three Mulla Mulgars (1910, AKA The Three Royal Monkeys), praised by the literary historian Julia Briggs as a "neglected masterpiece"[13] and by the critic Brian Stableford as a "classic animal fantasy".[14] Richard Adams said it was his favorite novel.[15]
Writer Joan Aiken cited some of his short stories, such as "The Almond Tree" and "Sambo and the Snow Mountains", for their sometimes unexplained quality, which she also employed in her own work.[16][clarification needed]
De la Mare also wrote two supernatural novels, Henry Brocken (1904) and The Return (1910). His poem The Ghost Chase appeared in Punch magazine, 26 March 1941, and was illustrated by Rowland Emett.
Works[edit]
Novels[edit]
Henry Brocken (1904)
The Three Mulla Mulgars (1910) (edition illustrated by Dorothy P. Lathrop [1919]), also published as The Three Royal Monkeys (children's novel)
The Return (1910; revised edition 1922; second revised edition 1945)
Memoirs of a Midget (1921)
Mr. Bumps and His Monkey (1942) (illustrated by Dorothy P. Lathrop)
Short story collections[edit]
The Riddle and Other Stories (1923)
Ding Dong Bell (1924)
Broomsticks and Other Tales (1925) (children's stories)
The Connoisseur and Other Stories (1926)
On the Edge (1930)
The Dutch Cheese (1931) (editions illustrated by Dorothy P. Lathrop (1931) and Irene Hawkins (1947)) (children's stories)
The Lord Fish (1933), illustrated by Rex Whistler (children's stories)
The Walter de la Mare Omnibus (1933)
The Wind Blows Over (1936)
The Nap and Other Stories (1936)
Stories, Essays and Poems (1938)
The Best Stories of Walter de la Mare (1942)
Collected Stories for Children (1947) (editions illustrated by Irene Hawkins (1947) and Robin Jacques (1957))
A Beginning and Other Stories (1955)
Eight Tales (1971)
Walter de la Mare, Short Stories 1895–1926 (1996), Walter de la Mare, Short Stories 1927–1956 (2000), and Walter de la Mare, Short Stories for Children (2006) (Complete edition, ed. Giles de la Mare)
Poetry collections[edit]
Songs of Childhood (1902)
The Listeners (1912)
Peacock Pie (1913) (editions illustrated by W. Heath Robinson [1916], Claud Lovat Fraser [1924], Rowland Emett [1941] and Edward Ardizzone [1946])
The Sunken Garden and Other Poems (1917)
The Marionettes (1918)
The Veil and Other Poems (1921)
Down-Adown-Derry: A Book of Fairy Poems (1922) (illustrated by Dorothy P. Lathrop)
Selected Poems by Walter de la Mare (1927, 1931)
Stuff and Nonsense and So On (1927) (editions illustrated by Bold [1927] and Margaret Wolpe [1946])
Bells and Grass (1941) (editions illustrated by Rowland Emett [1941] and Dorothy P. Lathrop [1942])
Time Passes and Other Poems (1942)
Inward Companion (1950)[17]
O Lovely England (1952)
Walter de la Mare: The Complete Poems, ed. Giles de la Mare (1969)
Ariel Poems
Five poems were published by Faber and Faber as the Ariel Poems.
Alone (1927)
Self to Self (1928)
The Snowdrop (1929)[18]
News (1930)
To Lucy (1931)
Plays[edit]
Crossings: A Fairy Play (1921) (edition illustrated by Dorothy P. Lathrop (1923))
Nonfiction[edit]
Some Women Novelists of the 'Seventies (1929)
Desert Islands and Robinson Crusoe (1930)
"The Early Novels of Wilkie Collins" (1932)
Anthologies edited[edit]
Come Hither (1923; new and revised edition, 1928; third edition, reset and printed from new plates, 1957)
Early One Morning, in the Spring: Chapters on Children and on Childhood As It Is Revealed in Particular in Early Memories and in Early Writings (1935)
Behold, This Dreamer!: Of Reverie, Night, Sleep, Dream, Love-Dreams, Nightmare, Death, the Unconscious, the Imagination, Divination, the Artist, and Kindred Subjects (1939)
Love (1943)
References in other works[edit]
De la Mare's play Crossings has an important role in Robertson Davies' novel The Manticore. In 1944, when the protagonist David Staunton is sixteen, de la Mare's play is produced by the pupils of his sister's school in Toronto, Canada. Staunton falls deeply in love with the girl playing the main role – a first love which would have a profound effect on the rest of his life.
See also[edit]
List of horror fiction authors
The Queen's Book of the Red Cross
Notes[edit]
^ Jump up to: a b In the lecture "Rupert Brooke and the Intellectual Imagination", de la Mare used the term "imagination" for both the intellectual and the visionary. To simplify and clarify his language, de la Mare generally used the more conventional "reason" and "imagination" when discussing the same idea elsewhere.
References[edit]
Jump up ^ Alec Guinness, Blessings in Disguise, p. 93.
Jump up ^ Reid-Walsh, Jacqueline (1988). The Burning-Glass: A Developmental Study of Walter de la Mare's Poetry (PDF) (PhD). Montreal: McGill University. pp. 51–56. Includes the poem itself and analysis.
Jump up ^ "Fiction winners". James Tait Black Prizes: Previous Winners. The University of Edinburgh. Retrieved 11 November 2012.
^ Jump up to: a b (Carnegie Winner 1947). Living Archive: Celebrating the Carnegie and Greenaway Winners. CILIP. Retrieved 15 August 2012.
Jump up ^ Theresa Whistler, "Mare, Walter John de la (1873–1956)", Oxford Dictionary of National Biography, Oxford University Press, 2004; online edn, Oct. 2006. Retrieved 2 April 2013.
Jump up ^ Beckenham heritage, "Beckenham period"
Jump up ^ Norwood Society, "Norwood period"
Jump up ^ James Campbell, A kind of magic, The Guardian, 10 June 2006.
Jump up ^ de la Mare, Walter (1919). Rupert Brooke and the Intellectual Imagination. London: Sidgwick & Jackson. Archived from the original on 29 November 2006. Retrieved 29 January 2014.
Jump up ^ essays at hplovecraft.com
^ Jump up to: a b Gary William Crawford, "On the Edge: the Ghost Stories of Walter de la Mare" in Darrell Schweitzer, ed., Discovering Classic Horror Fiction I, Wildside Press, 1992, pp. 53–56. ISBN 1-58715-002-6.
Jump up ^ The Return, Walter De la Mare, at books.google.co.uk
Jump up ^ Julia Briggs, "Transitions", in Peter Hunt, ed., Children's literature: an illustrated history, Oxford University Press, 1995, p. 181. ISBN 0-19-212320-3.
Jump up ^ "De la Mare, Walter" in Brian Stableford, The A to Z of Fantasy Literature. Scarecrow Press, 2005, pp. 104–05.
Jump up ^ Reddit AMA, Sept. 25, 2013.
Jump up ^ Joan Aiken (1976). Geoff Fox; Graham Hammond; Terry Jones; Frederic Smith; Kenneth Sterck, eds. Writers, Critics, and Children. New York: Agathon Press. p. 24. ISBN 0-87586-054-0.
Jump up ^ de la Mare 1950.
Jump up ^ de la Mare 1929.
Bibliography[edit]
Bleiler, Everett (1948). The Checklist of Fantastic Literature. Chicago: Shasta Publishers. pp. 96–97.
Willison, I. R., ed. (1972). "Water John De La Mare". The New Cambridge Bibliography of English Literature. Volume 4: 1900–1950. Cambridge University Press. pp. 256–262. ISBN 0-521-08535-7.
McCrosson, Doris Ross (1966). Walter de la Mare. Twayne.
Whistler, Theresa (1993). Imagination of the Heart:The Life of Walter de la Mare.
Edward Wagenknecht, "Walter de la Mare", in Wagenknecht, Seven Masters of Supernatural Fiction. New York: Greenwood, 1991. ISBN 0313279608.
Jack Adrian, "De la Mare, Walter", in David Pringle (ed), St. James Guide to Horror, Ghost and Gothic Writers. London: St. James Press, 1998. ISBN 1558622063
Blackmore, Leigh (2017). S. T. Joshi, ed. "In Pursuit of the Transcendent: The Weird Verse of Walter de la Mare". Spectral Realms (6).
Works by de la Mare[edit]
de la Mare, Walter (1950). Inward Companion. London: Faber and Faber. Retrieved 15 October 2016.
de la Mare, Walter (1929). "The Snowdrop". Poetry Nook. Drawings by Claudia Guercio. London: Faber and Faber. Retrieved 14 October 2016.
External links[edit]
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Works by or about Walter de la Mare at Internet Archive
Works by Walter de la Mare at LibriVox (public domain audiobooks)
Walter de la Mare: A Database – a secondary bibliography
"de La Mare, Walter" in The Encyclopedia of Fantasy
Song: The Listeners (Walter de la Mare) on YouTube — the famous poem recorded as a song (2009)
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WorldCat Identities
BIBSYS: 90275066
BNE: XX1723910
BNF: cb12109977v (data)
GND: 119099128
ISNI: 0000 0003 6866 1713
LCCN: n80057178
MusicBrainz: a4453b4d-53c2-4e5f-aaf1-fe6fa99a3dd3
NDL: 00437463
NKC: jn19990001665
NLA: 36137933
SELIBR: 183546
SNAC: w6542nbv
SUDOC: 029481708
VIAF: 2502254
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