CHESTER SPRINGS—Starting this June, Henrietta Hankin Branch Library is partnering with PBS Books to offer free screenings and discussions of recent and forth-coming PBS documentaries. The community is welcome to participate in the events either virtually or in-person in the Henrietta Hankin Library’s Annex where we will view various clips from the documentaries on our large screen and discuss the content with local experts.
On Wednesday, June 29th, from 6:00-7:30 pm, join us along with local historian and living history interpreter, Mike Kochan, for a screening of Benjamin Franklin: a film by Ken Burns. The two-part documentary originally aired on PBS stations on April 4-5, 2022, bringing to life this iconic historical figure whose work and words helped shape our nation. Mike has been portraying and studying the life of Benjamin Franklin for years and will bring incredible knowledge to our discussion. He will be dressed as Ben and also plans to bring in some reproductions of Mr. Franklin’s machines used in his experiments in the documentary. This interactive event should prove enlightening and entertaining for all!
In August, Henrietta Hankin Branch Library is planning to present a Screener & Discussion on the Ken Burns documentary Hiding in Plain Sight: Youth Mental Illness, which airs on PBS on June 27-28. There will be a panel of experts from local agencies at the library to direct the discussion of this very important topic. Other documentaries that have been approved for screeners and discussions later in the year include America and the Holocaust, and Making Black America. Stay tuned for more details!
We hope you will join us at one or more of these events. Register here. This event supports PA Forward Civic and Social Literacy.
Due to the easing of COVID restrictions, the Board of Trustees of the Chester County Library System/Chester County Library will now be hosting their monthly board meeting as a hybrid offering. If you have always wanted to attend a meeting but haven’t had the time, this is your opportunity. Please click on this link at 8:30 a.m. on Tuesday June 21 to join the Chester County Library System Board Meeting virtually; or attend in person at the Spring City Library, 245 Broad Street, Spring City, PA 19475. The Chester County Library Board Meeting will immediately follow. Find the Chester County Library Board Packet here.
If you are a person with a disability and wish to attend this meeting and require an auxiliary aid, service, or other accommodation to observe or participate in the proceedings, please call Chester County Library’s Administration Office at 610-344-5600 or email mcrawford@ccls.org to discuss how we may best accommodate your needs.
Join us for this ticketed event! We will host Mary Alice Monroe at the bookshop to celebrate the release of her new book (a sequel to The Islanders) Search For Treasure. Both books are listed on this page and can be purchased separately if desired. Note: We will have copies of the books in the store during the event.
Tickets are required to attend the event on June 20th. Register here for event tickets – $10 per ticket (without the book) and $25 per ticket (with book). Email angella@wellingtonsquarebooks.com with questions. Monday, June 20, 2022 – 11:00am to 1:30pm 549 Wellington Square Exton, PA 19341
A must watch film for those interested in queer history, focusing on NYC ball culture in the 80s and tackling issues faced by Queer POC at the time.
Giovanni’s Room
A fantastic modern classic focused on the relationship between our narrator, David, and his unpredictable lover Giovanni. While this novel isn’t exactly a “feel-good” read, it is a fantastic work by one of America’s best authors.
Jessie’s Picks
The Good Thief’s Guide to Amsterdam
Charlie Howard is a writer by day and cat burglar by night. He gets hired to steal two figurines, but ends up having to prove his innocence of a murder. Simon Vance, an Audiofile Magazine Golden Voice Narrator, is the perfect narrator for this witty caper.
Downton Abbey
This movie reunites the entire cast of the TV show for a visit from the King and Queen. To fully understand the backstories, watch the TV show first. Fans of the TV show will enjoy revisiting Downton Abbey.
Kim’s Picks
Aguirre, the Wrath of God
After Pizarro subdues the Incan empire, a troop of his men and two women descend into the Amazon rainforest and search for the fabled El Dorado, or City of Gold. The adventure does not go well.
In Which We Serve
Iconic playwright Noel Coward and fledgling director David Lean collaborated on this 1942 tribute to British sailors and their destroyer, the HMS Torrin. John Mills and Richard Attenborough make an impact. Coward is perfect as “Captain D.”
Eric’s Picks
Wet Hot American Summer
One of the absolute FUNNIEST movies featuring a murderer’s row of comedic talent before they became huge stars. The cast includes: Paul Rudd, Amy Pholer, Bradley Cooper, Molly Shannon, Janine Garofalo, Michael Ian Black, Christopher Meloni, and Elizabeth Banks in a sensational satire of summer camp films of the 70s! To this day there is nothing quite like the brand of humor director David Wain and this stacked cast cultivate in this movie. Take a trip this month to Summer Camp with this quotable summer time classic!
The Pixies/Doolittle
The Pixies defined a whole generation of music while simultaneously created a sound that has often been imitated but never replicated. To this day, there is no band that manages to cut straight to your ear and heart quite like the raw, emotional power of their music and there is perhaps no better example of the band than their sophomore album Doolittle. No matter how many times I hear the song “Debaser”, it remains so different, so uniquely raw, that it always manages to feel like the first time.
Superhero films have become such an omnipresent part of our culture that it feels like there is a new one hitting theatres every month. That feeling may be warranted by the fact that in this year alone there is a total of NINE superhero movies set to hit the big screen. Most recently among 2022’s batch of superhero features was Marvel Studios’ newest entry in their shared cinematic universe: Doctor Strange in the Multiverse of Madness. The film serves as a sequel to 2016’s Doctor Strange, but much more noteworthy for many film buffs, it marks the return of cult-film icon Sam Raimi.
Raimi, who had not directed a feature film since 2013’s Oz: The Great and Powerful, is no stranger to superheroes. In fact, the current status of superhero films can be traced directly back to Raimi’s first bonafide mega hit: 2002’s Spider-Man and its two subsequent sequels. Though Sam Raimi has always had a die-hard, cult following thanks to his beloved Evil Dead trilogy, his films before Spider-Man were all moderate financial successes at best. Even the Evil Dead films, arguably Raimi’s most popular movies before Spider-Man, remained as more of a niche item, never quite reaching mainstream success outside of its devoted community of fans. Spider-Man, on the other hand, was the film that finally broke him into the mainstream. It was so successful that it proved to major studios that there was a rabid fanbase for this genre, causing the wave of superhero, comic book adaptations that still grows to this day.
Tobey Maguire as Peter Parker Sam Raimi’s Spider-Man (2002)
This cultural impact made the idea of Raimi returning to this genre to an exciting proposition, but what many fans don’t realize is that this will not be the first time Raimi had returned to the superhero genre, but rather, the second. Before he dropped audiences into “the Multiverse of Madness”, before dazzling the world with the high flying action of the Spider-Man films, Sam Raimi made another another superhero movie; one you may never have seen or even heard of, but one that is well worth discussing. In 1990, Sam Raimi followed up Evil Dead II with what would be his fourth major motion picture, a scrappy little superhero movie called Darkman. You may be asking yourself, “Who is Darkman?” If you were, then the marketing for this movie was way ahead of you, asking audiences that very question, offering only one cryptive response: “Find out this August”.
Official Darkman Teaser Poster, 1990
This marketing approach, effective as it was, was also one born out of necessity. Nobody had ever heard of him. Nobody read any of the Darkman comic books or listened to the old Darkman radio drama. This was because none of those things ever existed. In fact, before the 1990 film, Darkman didn’t exist anywhere but in the mind of director Sam Raimi. To understand how the film Darkman came to be, it is critical to understand the context of the time in which the movie was produced.
One year prior to this film, the blockbuster phenomenon of Tim Burton’s 1989 Batman hit theatres and sent out a pop culture shockwave that left people in a true state of “Batmania”. This is not hyperbole. The impact of Tim Burton’s original Batman film is practically unparalleled to this day, outside of other blockbuster successes like that of Titanic or Jaws. Not only was it “the biggest movie of 1989 — it remains one of the top 60 films ever in domestic gross, when adjusting for inflation — as well as the only major superhero release that year” (Canva, 2019, para. 28).
Before its release, most studios had balked at the idea of making a superhero film, viewing the success of the Richard Donner Superman films as something of its own separate anomaly. As someone who grew up as a child and teenager in this era, I remember the feeling that the general public considered the notion of a superhero movie as silly, cheesy, and embarrassing; all buzz words that seemed to scare off most major studios from even considering the cost of adapting one. However, once Batman hit theatres and shattered Hollywood’s preconceived notions about what the genre could be or, more importantly, how much money they could make, a flood of films about costumed crimefighters went into production. One of the oddest things about this wave of trend chasers was how deeply they seemed to misunderstand what made the 1989 Batman a huge success. Instead of making the arguably more logical conclusion, seeking out other popular characters from DC or Marvel Comics to acquire the rights from, studios seemed to interpret that audiences wanted more period-piece adaptations of pulp, noir heroes from the 30s. So instead of more movies based on DC comic book heroes like The Flash or Wonder Woman, what audiences got were film adaptations of The Phantom, Dick Tracy, The Rocketeer, and most notable for this retrospective, The Shadow.
If Hollywood did not see the difference between these pulp crime fighters and the popular superheroes most audiences were familiar with, ticket sales would certainly point it out for them. With the one possible exception of 1990’s Dick Tracy, no movie among these pulp crime fighter films was successful at the box office. Even in the case of Dick Tracy, which made a strong showing at the box office, primarily due to its star-studded cast featuring the likes of Warren Beatty, Al Pacino, and Madonna, it was still regarded as a failure in the eyes of Walt Disney Studios who were hoping for Batman-level hit.
The reason that The Shadow, which hit theatres in the summer of 1994, is paramount to this discussion is that it was the film which Sam Raimi had originally wanted to make. Raimi, already a self-professed comic book fan, was well-aware that Batman‘s success would draw interest to similar comic heroes and took great pains to make a live-action adaptation of The Shadow. Unfortunately for Raimi, at this point in his career, he was still seen by Hollywood producers as a relative nobody and didn’t get the job. Nevertheless, Raimi redirected all of his excitement toward making a Shadow adaptation into creating his own superhero. As chronicled by film journalist, Sergio Pereira, the influences of The Shadow are well on display, noting that “his 1990 hit film Darkman, starring Liam Neeson, was born as a homage when Raimi was unable to secure the film rights for The Shadow or Batman” (Pereira, 2020, para. 3). Pereira goes as far to state that “Anyone who has ever watched the film can attest to the obvious influence of the character in both Darkman’s look and traits” (Pereira, 2020, para. 3) On looks alone, the similarities are clear, as you can attest in the comparison below.
Baldwin’s Shadow (left) vs Raimi and Neeson’s Darkman (right)
However, while the appearance of Darkman is heavily inspired by The Shadow, the traits of the character are cobbled together from a multitude of Sam Raimi’s other personal influences. In particular, Raimi’s Darkman is a character who shares much more DNA with the tragic characters from the Universal Monster movies than he does with any superhero. In fact, Liam Neeson cites his childhood love for the Universal Monster films of the 40’s and 50’s as not only inspiration for his portrayal of Darkman, but as a large incentive for wanting to do the film.
For those who have never seen the film, Darkman tells the story of scientist Peyton Westlake (Liam Neeson), who is on the verge of a scientific breakthrough as he develops a new type of synthetic skin to help burn victims retain their original faces. Unfortunately Westlake’s experimental synthetic skin cannot get past one glitch that causes the skin to disintegrate after 100 minutes of exposure to light. Before he can perfect this experimental technology, Westlake is attacked by mobsters who are after an incriminating document which his criminal attorney girlfriend Julie (Frances McDormand) is in possession of. The gangsters beat up Peyton, burn his entire body to a crisp, and blow up his lab, destroying all of his research. Though assumed dead to the world, an unconscious Peyton is taken into a hospital as a “John Doe”, having no visible identification. The medical doctors have saved Peyton’s life through an experimental new procedure that renders him unable to feel pain, leaving him able to push himself further than before but also making him prone to violent outbursts. Now horribly disfigured, Peyton takes up residence in an abandoned laboratory where he uses his synthetic skin technology to make masks of the the same men who attacked him to infiltrate their mob and pull it apart from the inside. Meanwhile, Peyton uses a mask of his original face to show his grieving girlfriend Julie that he is still alive, but must keep their meetings short as the disguise still dissolves in sunlight after 100 minutes.
This plotline may make it sound like the film is at both times overly convenient in its structure and unnecessarily convoluted. However, the film wears the specificity of these details with pride, which truly feels like an homage to silver age origin stories that crammed as much exposition as they could into the limited page count that was afforded to them from their publishers. Truly, many of the first appearances of such beloved, classic characters as The Incredible Hulk, or The Amazing Spider-Man, were short, rapidly-paced stories that made huge leaps in time to fit the number of pages they could afford. Many of these origin stories were not even afforded a full issue to explore a new character and would often be told as a short story included in the back end of another comic.
In 3 short pages, The Fantastic Four discover their powers, name themselves, and decide to become superheroes. How’s that for economic storytelling?
This was a necessity for the comics industry as it was how they tested out the popularity of a new character with their readers before committing to publishing their own comic book. Like many forms of art, much of the trademark style was often born from the restrictions that were placed upon the medium. It is especially interesting to note the similarities between this style of the Marvel method of story telling and Raimi’s own style of film-making, which was greatly informed by the lack of resources at his disposal. In its structure, Darkman very closely adheres to the spirit of these pulp origin stories, embracing the heightened melodrama at every moment possible, cramming a love story, a mob story, a monster story, and a superhero story all into one package. It is this aspect that makes the film feel most closely aligned with comic publishers of the silver age who, desperate for a new break out character, would throw in everything and the kitchen sink to grab young reader’s attentions.
In reappraisingthis movieafter over two whole decades of superhero films to compare to, there is a lot to love about Darkman. In particular, if you are a fan of Sam Raimi’s other films, then Darkman is a must-watch movie. From the first frame of film, Darkman is packed to the brim with Raimi’s trademark style and flourishes. Raimi has made a career out of squeezing a dollar out of a dime, often using creative solutions to solve issues that come with low budgets. Fans of Raimi’s filmography know that this approach has defined much of the filmmaker’s trademark camera techniques. Darkman is a wonderful showcase of Raimi’s first foray into getting a bigger budget to flex with. The result is a movie that truly takes Raimi’s kinetic camera movements and gives them a new playground to explore, truly feeling like comic book compositions come to life. In its best moments the film feels like it is torn from the pages of the earliest days of Marvel Comics; the days of “Tales to Astonish” and “Amazing Fantasy” that featured such tragic heroes born of the atomic age as The Thing, The Hulk, the X-Men, and Man-Thing. Just look at the clip below to see how Raimi shatters the background into flames and zooms into Peyton Westlake’s eye to symbolize his descent into madness! (All using practical, in-camera effects mind you)
A clip of Peyton Westlake having a meltdown on a Carnival date as shot by Raimi
It is choices like this that bring classic comic book panels to mind, where artists were not hindered by anything but their imagination to convey the emotional state of their characters. In comics, artists must deal with a static medium to portray a fluid series of events. Being a huge fan of comics as a child (Spider-Man being his favorite), Sam Raimi admits to having been influenced by the art compositions in many of the silver age Marvel comics in how he frames his shots. This is evident from his earliest of films, but is truly on full-display for the first time in Darkman.
Raimi’s evocative composition evokes some of the earliest Marvel Comics works such as this series of panels from Stan Lee and Jack Kirby’s Incredible Hulk
In addition to this, Darkman is a film that offers Sam Raimi’s trademark brand of humor that you will not find anywhere else. If you consider yourself a fan of the Evil Dead films, it is highly likely that you enjoy a healthy heaping dose of “camp”. Never one to shy from a sight gag or slapstick beat, Sam Raimi finds moments in even the darkest corners of Darkman to wring laughs out of. In fact, I would argue that it is this special ingredient that makes the film more than another entry in a forgotten era of genre films. While many of its contemporaries have not held up with time, Darkman has survived largely due to the fact that so much of the film was injected with Raimi’s quirks and style. In contrast, movies like The Shadow or The Phantom come across as authorless works, feeling devoid of personality or signature. While that signature is undeniably Raimi’s, Darkman is a film that would not work as well as it does without the incredible performance of Liam Neeson at the center.
At that point in his career, actor Liam Neeson was not yet the household name that he is today. Before Darkman, Neeson had been working steadily in film and television for 12 years. Just three short years later, he would star in Steven Speilberg’s Schindler’s List which would forever change his career and set him off toward stardom. Watching Darkman, is a true testament to the level of craft and commitment which Neeson approaches the material. He truly seems to understand the exact tone, the exact flavor of pulp that Raimi is pulling from. His performance as Dr. Peyton Westlake/Darkman is genuinely operatic, expressing melodramatic levels of emotion that may make other actors feel silly or uncomfortable. You feel his love for Julie, you feel his torture and pain when he is transformed into Darkman, and you feel the boundless rage that incites him to exact his revenge. All of these extremes are portrayed by Neeson in a way that is both highly entertaining and totally authentic and, to top it all off, he manages to do so behind layers of prosthetics and bandages, often restricting him to expressing through only his eyes and his voice. It is a performance that is a worthy successor to the likes of such legendary monster men as Claude Raines, Lon Cheney, and Boris Karloff.
In addition to the cinematography and the performances, the film’s score is crafted by the greatest composer in all of superhero films: Danny Elfman. Elfman, who created the now iconic Batman theme used in the Tim Burton Batman films and even echoed in Batman the Animated series would later go on to write the score for many superhero films including Ang Lee’s Hulk and most famously Sam Raimi’s Spider-Man films. Elfman’s score for Darkman is appropriately tragic, moody and bombastic, elevating the story to a grandiose scale.
All in all, Darkman is a charming Frankenstein of a film; part monster movie, part tragic love story, part gangster film, part superhero comic, all lovingly stitched together by a director who truly felt like this would be his only shot to make a superhero film. With time and distance, Darkman has far more grit and personality than most superhero films of the modern era, save for Raimi’s own Spider-Man films which continue to stand above the rest as truly exceptional and timeless. As Doctor Strange in the Multiverse of Madness hits theatres this month, Raimi once again returns to a genre that feels like a true match made in heaven for his filmmaking sensibilities. But before going to theatres to see the new Doctor Strange, go back to see where it all began with Sam Raimi’s Darkman, now officially available at the Chester County Library!
The Chester County Library Evening and Afternoon Book Discussion groups have returned to in person meetings. The other groups are remaining virtual. Please see our June titles and dates below. The online groups are being held via Zoom. We are requiring registration for these online book groups in order to send out the Zoom meeting information. Click on the date below to register. Information on our adult book groups can also be found on our website: https://bit.ly/chescolibs-bookgroups.
Registration is required for all book groups. Registration will close at least 2 hours prior to the scheduled start time of the book group. A Zoom link will be emailed to registrants 2 hours before the book group starts. Make sure to check the email address you registered with to receive the link. You do not need a Zoom account to attend the virtual book group.
These programs support the PA Forward Civic and Social Literacy Initiative.
My top contender for the most overlooked, great film of 2019! This is a movie that builds its tension and scares entirely on the shoulders of its two leads, both of whom deliver incredible performances (Moretz and Huppert). Directed by master film-maker Neil Jordan (The Crying Game, Interview with The Vampire), this film explores the horror and ugliness that resides within us all. Acting legend of French Cinema Isabelle Huppert, who plays the titular Greta, delivers a powerhouse performance that was truly robbed of an Oscar nomination. This movie will have you holding your breath until the credits roll.
From their unique style of collaboration with a wide variety of musical acts, to their ongoing fictional storyline following animated characters who are treated as the real band members of the group, there is no band quite like the Gorillaz. While the Gorillaz have steadily built a strong discography ever since their self-titled debut album (Gorillaz) hit airwaves in 2001, their 2010 album Plastic Beach remains a true high-mark for the band’s career. Considered by many fans to still be their greatest album, Plastic Beach is a smorgasboard of catchy songs and high profile collaborations! Featured musical artists include: Snoop Dogg, Bobby Womack, Paul Simon, Mos Def, and Lou Reed.
As is common with BBC Earth, this is a state of the art, brilliantly-filmed, NOVA documentary. With our entire cosmos as the subject of this 5-part series, the specific topics are Age of Stars, Milky Way, Alien Worlds, Black Holes, Big Bang. It’s 275 minutes long but holds the interest throughout.
The author of outstanding nonfiction books (The Devil in the White City, Thunderstruck) constructs and deconstructs the events leading to the sinking of the fast and state-of-the-art steamship Lusitania on its way from New York to Liverpool in 1915. The disaster was one of several incidents that propelled the United States into World War I.
One of my favorite novels of the last year. This auto-fiction spans the bridge between poetry and prose throughout two parts; one focusing on life on the internet and another spent with the narrator’s real life, all told through brief snippets of her experiences.
One of the weirdest recent horror movies following two men completely isolated in a lighthouse by director Robert Eggers. A super tense film, with a surprising amount of fart jokes.
This classic comedy is number 1 on AFI’s 100 Years … 100 Laughs list. It has a great cast (Marilyn Monroe, Tony Curtis, Jack Lemmon) and a great director (Billy Wilder). Two musicians have to flee from the mob while disguised as women, and hilarity ensues.
This album deserves its #1 spot on WXPN’s All Time Greatest Albums list. There are so many great songs on it – “Something,” “Come Together,” “I Want You,” etc.
Due to the easing of COVID restrictions, the Board of Trustees of the Chester County Library System/Chester County Library will now be hosting their monthly board meeting as a hybrid offering. If you have always wanted to attend a meeting but haven’t had the time, this is your opportunity. Please click on this link at 8:30 a.m. on Tuesday May 24 to join the Chester County Library System Board Meeting virtually; or attend in person at the Henrietta Hankin Branch, 215 Windgate Drive, Chester Springs, PA 19425. The Chester County Library Board Meeting will immediately follow. Find the Chester County Library Board Packet here.
If you are a person with a disability and wish to attend this meeting and require an auxiliary aid, service, or other accommodation to observe or participate in the proceedings, please call Chester County Library’s Administration Office at 610-344-5600 or email mcrawford@ccls.org to discuss how we may best accommodate your needs.
It now seems fitting that on May 26, 2012 The Whitby Dracula Society initiated World Dracula Day to commemorate the publication in 1897 of Bram Stoker’s extremely influential novel. Whitby, on the east coast of England, was the site of the running aground of the schooner Demeter, on which the Transylvanian vampire had made his way to Britain.
A first edition of the novel can go for up to $45,000.
World Dracula Day has gained in popularity worldwide. It’s now “a thing.”
“You would play your brains against mine? Against me who has commanded nations!”
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