Posted: Fri Oct 06, 2006 1:22 pm
I have listened to "The Moat farm Murder" and I find it pretty good. Hermann's score is appropiately disquieting and preludes "Psycho" by two decades). Laughton's hypnotic delivery really gets you inside the skull of the murderer.
The funny thing about "The Moat Farm Murder" is that it wasn't an original script. Corwin found himself unable to cope with one script deadline, and Laughton suggested the story of the Moat farm Murder. It was a real-life case, consisting in the lenghty and verbatim confession od Samuel Herbert Dougall, which Laughton recalled having read from a magazine in an Underground travel early in his stage career. Corwin was amazed at the literary potential of the confession, and adapted it into a radio script without much modification (This is referred by R. LeRoy Bannerman in the book "On A Note of Triumph. Norman Corwin and the Golden Years of Radio")
I think this anecdote illustrates the good entente between Corwin and Laughton (two great creative minds with a great love for good literature in common) and also Laughton's concern and involvement with his work.
Gloria
The funny thing about "The Moat Farm Murder" is that it wasn't an original script. Corwin found himself unable to cope with one script deadline, and Laughton suggested the story of the Moat farm Murder. It was a real-life case, consisting in the lenghty and verbatim confession od Samuel Herbert Dougall, which Laughton recalled having read from a magazine in an Underground travel early in his stage career. Corwin was amazed at the literary potential of the confession, and adapted it into a radio script without much modification (This is referred by R. LeRoy Bannerman in the book "On A Note of Triumph. Norman Corwin and the Golden Years of Radio")
I think this anecdote illustrates the good entente between Corwin and Laughton (two great creative minds with a great love for good literature in common) and also Laughton's concern and involvement with his work.
Gloria