Tag Archives: halloween

Halloween, Newspapers, and Mid-19th Century America

Pouring over newspapers, and no mention of Halloween? A 1910 illustration by Charles Mills Sheldon shows Edgar Allan Poe at work. Photo: Look and Learn/Bridgeman Images

Among writers associated with Halloween, Edgar Allan Poe is arguably the one whose prose and poems are most often read this time of year. Yet Poe himself was unlikely aware of the holiday. If he were, he certainly would have noted in his letters awareness of the Robert Burns poem of 1785, or reading about Halloween and its traditions in periodicals of his time. Newspapers and magazines, after all, were his bread and butter. But there’s no mention at all of Halloween in his works. Poe died in 1849, and a brief study of American newspapers of the period would support a theory that he didn’t know much if anything about Halloween because observance of the holiday didn’t really take off in America until after 1850.

What, still no mention of Halloween? “An extensively read News paper” by
David Claypoole Johnston, 1834. Source: AAS Archive.

The Library of Congress’ “Chronicling America” service is a great resource for finding answers. At first only referenced in stories about the crimes of Burke and Hare occurring on October 31, the words “Halloween,” “Hallowe’en” and even “All Hallow’s Eve,” appear infrequently in American newspapers of the eighteen twenties and thirties. Other than Burns’ poem being referenced in a story about Christmas in Virginia’s Phenix Gazette in late 1832, it’s not until a brief mention in an 1836 issue of “Ladey Book” (aka Godey’s Magazine) that festivities of the day are given more than a passing reference [note: the author mistakenly credits “Ladey’s Book” as the earliest mention, which, as shown previously with Phenix Gazette, is not the case].

But in November of 1848, in a story in New Orleans’ Daily Crescent Gazette, Halloween is finally discussed by a journalist in some detail:

A future husband’s face revealed on Halloween. Postcard from 1904. Wikimedia Commons.

“The Eve of All Hallows, or Hallow E’en, is a memorable day throughout all Scotland ; but it is regarded more as a festival, which is consecrated to the interests of lads and lassies, and the revelation of the future destinies of loves, than a commemoration of the virtues of the saints. Many a foolish rite is performed more for amusement than from any real expectations of lifting up the veil of futurity and discovering things to come.”

There’s no mention of ghosts and witches, however. Nothing of the supernatural we have come to associate with Halloween. More in line with Burns’ poem, really.

It wouldn’t be until 1850 that one negative aspect of the holiday — as Americans have come to know it at least — is mentioned: mischief. One writer in The New York Daily Tribune of November first that year, makes it clear his or her disdain for the day.

“HALLOWE’EN — Last night, the closing night of the month, was an anniversary which is now almost entirely disregarded in these parts — the old festival of Hallowe’en or All Hallow’s Eve, still duly reverenced in England and Scotland, as well as in some portions of our own country. Its celebration here, however, has regenerated into the practice of all sorts of mischief; the only spirits abroad are imps of fun and fancy…”

It’s the first reference (that I could find at least) that mentions “spirits” of any kind (human as they are). The article ends:

“The sober sense of our community, however, is making way against these relics of ancestral customs and the Eve, with all its more innocent rites of maids that practice mysterious spells to get sight of their future husbands faces, will soon pass out of all memory except such as lives forever in the hale, warm and homely fireside pictures of Burns.”

Oh, was this author wrong.

By 1852, references to Halloween pick up in periodicals. Virginia’s Staunton Spectator of October 27 that year has a whole article devoted to “Rites of the Scottish Halloween.”

By the time of Civil War, was Halloween known to most? Here, President of the Confederacy Jefferson Davis is depicted as a reaper with all of the trappings of Halloween. Harper’s Weekly magazine, October 26, 1861.

In 1853, The Washington Sentinel on November 2nd notes vandalism on the day. A handful of other papers through 1859 make note of the holiday (mostly in passing). Then comes 1860, and an explosion of mentions.

Dozens of publications start to make note of the holiday in 1860, most notably a work of fiction called “Not a Spectre” by Mary Kyle Dallas in California’s Mountain Democrat of August 11 of that year. It could very well be the first true American Halloween-related ghost story… or is it? While the answer may be obvious from the title, the story nonetheless cements the association of the holiday with the supernatural.

A starving boy and girl rake the ground for potatoes during the Irish Potato Famine, which began in the 1840s. Illustration by James Mahoney, 1847.

But why did it take until the 1850s and (more so) the 1860s before Halloween became a more pervasive topic for mid-19th century journalists? Many posit the theory that the potato famine in Ireland (and later, Scotland) from roughly 1845 to 1852, saw Irish immigrants bring with them Celtic holidays and traditions, including Halloween. It would make sense that, as these immigrants settled into their communities — and made their way East to West across the United States — that periodicals of the time reflected the influence of this immigrant wave.

The timing is certainly right.

To be clear, Halloween is mentioned in many a work of fiction in the British Isles prior to the mid-19th century. An excellent overview is provided by Halloween expert Lesley Bannatyne. And Bannatyne also points out that what may be the first American Opera, “The Disappointment” of 1767, features a conjurer claiming possession of a diving rod cut on Halloween. Yet it’s a quick reference and not a major plot device; it is doubtful it made much of an impression on audiences of the time

Even Bannatyne — having done extensive research (for which she deserves so much recognition) — doesn’t seem to mention another instance of Halloween and American fiction until the publication of “By Cupid’s Trick” in 1885; in another article, however, she cites periodicals of the 1870s as referencing Halloween. She’s right, but as has been seen in this article, those mentions actually start as early as 1850.

Regardless, it’s clear from a search of 19th-century American periodicals that the 1850s and 1860s were the years that awareness of Halloween gained momentum.

Into the 1870s and up until the close of the century, more and more papers cover the events of October 31 — even making it all the way to The Hawaiian Gazette in 1895, where a journalist noted that

“A Scotch writer who contributed an article to an American newspaper about Halloween last year declared himself ‘very much impressed by the almost universal observance of Halloween and its old customes in America.'”

By 1900 and into the twentieth century, Halloween truly began to take shape as more of what we know today (with its witches, ghosts, and jack-o’-lanterns). But American journalists prior to 1850? Like Poe, they definitely knew little, if much at all, about the folklore and traditions of All Hallow’s Eve.

 

 

All in The Timing: Halloween and Horror FIlms

DRACULA (1931) Poster Style C
Poster style C for DRACULA (1931)

As hard as it is to believe in our era of Halloween holiday mania, horror films timed for release in October is a relatively recent phenomena. Arguably one of the biggest of the early classic horror films, Universal Studios’ DRACULA was released on February 14, 1931* — timed to be in theaters for Valentine’s Day. Billed as “The Strangest Passion the World Has Ever Known,” DRACULA was sold as a bizarre love story. Lugosi’s vampire was promoted more as a ladies’ man than boogeyman. FRANKENSTEIN would follow later in 1931 — in late November. The trend would continue for Universal into the forties. SON OF DRACULA missed the Halloween mark by 6 days in 1943 (released November 5th). Even Hammer’s House of Horror a little over a decade later failed to take advantage of the Halloween holiday. CURSE OF FRANKENSTEIN? It was released in June of 1957. Roughly a year later, Hammer’s HORROR OF DRACULA (U.S. title) hit theaters in May of 1958. Indeed, the trend for horror films seemed to be release when the weather got warm.

SUMMER SCARES
In a “release reversal” of sorts, I Know What You Did Last Summer hit theaters on October 17, 1997 — just in time for Halloween.

Summer seemed to suit William Castle. Though his gimmicky flics were released at all times of the year,**  summer was by far the season when his films were most commonly in wide release.  Younger audiences craving air-conditioned respite during the stifling months of summer vacation were treated to films like Castle’s TINGLER in the summer of 1959, and 13 GHOSTS in 1960.

Roger Corman’s “Poe cycle” of films were similarly summer releases. HOUSE OF USHER in June, 1960. THE MASQUE OF THE RED DEATH, released in 1964, was another June release. While the concept of the Blockbuster had yet to be conceived and given a label, studios must have realized by the mid fifties that May through July were peak times for releasing movies.

Take 1955 as an example. Two very different and quite successful movies, THE SEVEN-YEAR ITCH and LADY AND THE TRAMP were both released in June. MISTER ROBERTS, a comedy-drama that would be among the most popular movies of the year, would follow in July. Hollywood, it seemed, was learning that audiences were primed for the moving pictures when the weather got warmer. Kids were home from school, families took vacations, and drive-ins were at peak capacity. Certainly, there seemed to be some seasonal strategy at play.

‘TIS THE SEASONAL RELEASE

Even Christmas would become a prime movie season strategically. Many point to the success of Bob Hope and Bing Crosby’s comedy ROAD TO RIO , released to theaters on Christmas Day, 1947, as the first to prove it.*** The film was a hit, and the theory was that, with everything else closed, the movie theater was a place to go for those not celebrating the holiday in the traditionally Christian religious way.

THE “DUMP MONTHS” COME

On the flip side to summer was the dead of winter — a time of year that has since come to be known as the “dump months.” January and February became the time when studios would release films not anticipated to be Academy Award worthy, (or big earners… or feared to be torn apart by critics). Even late August into September would become a time when movies thought to be less than successfull were relegated to a late summer release.****

OCTOBER RUSH

But Halloween? Both 1968’s NIGHT OF THE LIVING DEAD and 1974’s TEXAS CHAINSAW MASSACRE — two classics of the genre — premiered on the first of October of their respective years. In plenty of time for the Halloween season. Still, the reasons for October releases for each of those pillars of the genre don’t appear to have been strategic.

CHAINSAW reached a distribution deal in late August, making late September or early October the soonest it could be released. Otherwise, there’s no evidence from Tobe Hooper or any associated with the film realizing an October release was the perfect time.

NIGHT, which premiered on October first in Pittsburgh (the city in which it was filmed) was widely released to theaters on October 14, 1968. But Joe Kane’s Night of the Living Dead: Behind the Scenes of the Most Terrifying Zombie Movie Ever makes no mention of a strategy for its October release date either. Beyond local television horror host Bill Cardille promoting it on his Chiller Theater show, there appears to have been no Halloween holiday connection at all. No extant quotes from George Romero, his cast, or crew, reveal any reason why the film was released in relative proximity to the holiday. It’s highly unlikely anyone planned much of anything by way of timing and promotion for such a low budget, independent film.

Then came 1978. And everything changed with the release of HALLOWEEN on October 25.

Reputedly first conceived by Executive Producer Irvin Yablans on a flight taken one Halloween night — the idea was given to John Carpenter and Debra Hill who produced a script called “The Babysitter Murders.” Yablans soon thereafter had the idea to call the project “Halloween,” and the rest is history (history that can be read here). It was also Yablans who apparently wanted to get the movie into theaters in time for the titular holiday. Carpenter apparently agreed to this plan, and he has even been quoted as saying “Halloween night. It has never been the theme in a film [before].” So the entire production worked backwards from a pre-determined deadline.

Ad from the first time HALLOWEEN was shown on television (click to see text of ad).

HALLOWEEN II and HALLOWEEN III follwed suit in 1981 and 1982, respectively. The original was even shown for the first time on television the night before Halloween in order to coincide with the release of the sequel (see photo at right).

From there, many studios found that releasing their horror films in October meant a bigger box office. Stephen King’s SILVER BULLET and the cult classic RE-ANIMATOR were both released in October of 1985. The holiday tie-in TRICK OR TREAT followed in October of 1986. PUMPKINHEAD in 1988. Even the remake of NIGHT OF THE LIVING DEAD (1990) made its way into theaters during the month of October.

HALLOWEEN kills, released October 15, 2021 in the U.S.

From there, dozens upon dozens of horror films to this day have been released in time for the Halloween season. Including the latest installment in the adventures of Michael Myers: HALLOWEEN KILLS (being released in the U.S. today).

In the end, it is not surprising to anyone that Halloween is prime time to watch horror movies. But it is curious that it seems to have taken until the late nineteen seventies for the holiday and the genre to be inexorably tied to the time of a film’s release.

EPILOGUE: WHAT ABOUT TV MOVIE MARATHONS?

The connection between horror films in general and showing them on TV or around Halloween definitely goes back to the early days of television. Someone may find the exact day the horror movie marathon debuted, and with whom (though I agree with one author that thinks the origin may be lost to time). But until someone finds that evidence — an episode of Vampira or Zacherle perhaps with those hosts of horror showing a string of films on or near October 31 and tying the holiday to the event? — the first time it was done will remain a topic for another blogger to address.

But I will leave you with something of a substitute for pinpointing early television’s first Halloween movie marathon, and give you a bit of good old host-of-horror-from-my-hometown (Philadelphia). It’s Zacherle — after he moved on to NYC — on All Hallow’s Eve, 1967. Enjoy the dance party.

 

* The NY premiere of Dracula technically happened two days before Valentine’s Day, which stirred up interest in the film for its romantic release

**HOUSE ON HAUNTED HILL for example came to theaters in February in 1959. (curiously, it’s 1999 remake was released two days before Halloween!).

*** One year earlier, IT’S A WONDERFUL LIFE missed a (wide) Christmas release.  It was planned for January, 1947. It’s premiere, however, was pushed up to December 20th of 1946 — not because of Christmas, but to meet the deadlines for consideration for the Academy Awards. But the film was not widely released  to theaters until January 7, 1947. Also in 1946? MIRACLE ON 34TH STREET. Released in May.

*** In a 2015 New Yorker article, James Surowiecki suggested that the lack of interest in going to the movies during the “dump months” may be the result from moviegoers’ lowered expectations — caused by the studios themselves (a self-fulfilled prophecy of sorts).