John Rothman as Roger Delicore, the nervous library administrator.
As Venkman, Stantz and Spengler walk and talk, the library administrator hurriedly walks up behind them, interrupting, he nervously introduces himself…
Roger:“I’m Roger Delicore. Are you the men from the university?”
Venkman assumes the position of leader of the group, introducing the three men…
Venkman:“Yes. I’m Dr. Venkman. Dr. Stantz, Egon.”
In another subtle poke, Venkman doesn’t introduce Dr. Spengler with his full title. As a result, Roger only shakes hands with Venkman and Stantz. Roger goes on to say…
Roger:“Thank you for coming. I hope we can clear this up quickly and quietly.”
Roger is anxious in both his speech and body language. Clearly, the strange events of the day have unsettled him, and he has no clue what Venkman & co have in mind, or for that matter, who they are. As library administrator, he’s in the business of ‘calm and quiet’. Venkman senses the man’s anxiety and chooses to add to it.
Venkman: “Let’s not rush things. We don’t even know what you have yet.”
Venkman can’t help himself. He looks straight at Roger, adopting the most serious tone. It’s funny, not only because Bill Murray is a master of this kind of wry humour, but because we know Venkman is playing further mind games, sensing the man’s stress levels and using them to amuse himself. Venkman walks away.
We’re back inside the Rose Main Reading Room of the New York Public Library as Ray Stantz and Peter Venkman enter the busy hall, continuing their conversation from outside. In response to Venkman’s question, Stantz responds…
Stantz:“Of course you forget, Peter, I was present at an undersea, unexplained, mass sponge migration.”
The mind boggles. It’s another line of joyfully quirky dialogue from Ray. Dan Ackroyd’s delivery has a childlike quality to it. He’s like an excited kid at Christmas – perfect breeding ground for Bill Murray’s sarcastic cynicism.
Venkman:“Ooh, Ray, those sponges migrated about a foot and a half.”
In the foreground, sitting cross-legged on the library floor next to a table, we see the bespectacled figure of Dr. Egon Spengler at work with some kind of listening device. Venkman notices Spengler and quickly creeps up behind to where he’s sat. Venkman grabs a heavy book and starts making moaning-groaning noises that sound likes he’s saying “Egon“. At the same time, he drums with his knuckles on the wooden table. We cut to a close-up of Spengler’s (Harold Ramis) face looking alarmed, tricked into thinking he’s made a discovery. Then suddenly, Venkman slams the book down hard on the table top, causing a jump-scare for Spengler as the noise overloads his ears. Venkman enjoys taunting people. It’s his only amusement amid the ridiculous pursuits he finds himself caught up in.
There’s a quick cut to a shot of the library administrator (John Rothman) and another man, who are distracted by Venkman’s noise. Of course, the library administrator will be part-responsible for the continued observation of quiet inside the study area of the library. Venkman’s disruption will be bothersome.
The camera cuts back to Egon Spengler as he quickly gathers himself. Standing up, joined by Ray Stantz the three men begin to walk and talk. Spengler says to Venkman…
The three amigos, Venkman, Stantz and Spengler.
Spengler:“Oh, you’re here.”
Venkman:“Yeah, what have you got?”
Spengler:“This is big, Peter. This is very big. There is definitely something here.”
It’s hard to see why Stantz and Spengler would be so anxious for Venkman to be present. Are they so caught up in their work that they’ve failed to notice his utter apathy? Maybe his apathy is why they want him present? Maybe, they’re so convinced of a paranormal encounter, that they want the most hardened sceptic present, to confirm the reality of what they think they will find. This is their chance to finally win him over.
It’s immediately noticeable that Spengler’s character is vastly different to Ray Stantz. He’s much more focused and matter-of-fact, to the point that he’s seemingly oblivious to Venkman’s practical joke. He just stands up and starts talking without the faintest recognition of anger or amusement at Venkman’s trick. Venkman’s mocking continues…
Venkman:“Egon, this reminds me of the time you tried to drill a hole through your head. You remember that?”
As he speaks, Venkman touches his temple in recollection, amused by the memory. Spengler responds in a straight tone, pointing a finger toward Venkman…
Spengler:“That would have worked if you hadn’t stopped me.”
It’s a very funny exchange between the two, and quickly establishes Spengler as the serious thinker of the group. He’s seemingly impervious the Venkman’s jibes, or possibly, he’s so used to them, that he’s stopped acknowledging them. From a comedy angle, it plays as dry-on-dry banter, which makes for another fun nuance between the three men.
This scene begins with another establishing shot of the New York Public Library, accompanied by playful, haunted house style piano-led music. Part of the entrance is blocked by scaffolding – something the director would have preferred not to be there. We then cut to Venkman and Stantz walking side-by-side up the library steps. Venkman is berating Stantz over his belief in the paranormal.
Venkman:“As a friend I have to tell you: you’ve finally gone round the bend on this ghost business. You guys have been running your ass off meeting and greeting every schizo in the five boroughs who says he has a paranormal experience. What have you seen?”
So our assumptions are correct. Venkman confirms that he has no belief in the paranormal. Clearly, Stantz & Spengler have spent much time investigating potential leads, whereas Venkman has not. We learn here (though we already guessed it from the opening scene), that Venkman is a casual backseat passenger in Stantz and Spengler’s drive for ghost research. He doesn’t take it or them seriously, yet, it somehow suits him to play along…possibly it allows him other opportunities, like the one he took with Jennifer in the previous scene.
Trivia: Venkman’s referral to “the five boroughs” covers Manhattan, the Bronx, Queens, Brooklyn, and Staten Island.
Dr. Raymond Stantz, the excitable puppy of the Ghostbusters.
Just as Peter Venkman is getting close to an intimate moment with Jennifer, Dr. Raymond Stantz (Dan Ackroyd) bursts excitedly into the room announcing…
Ray Stantz:“This is it! This is definitely it! Did those UV lenses come in for the video camera? And that blank tape? I need it. The one you erased yesterday.”
The mood is ruined. Such is Stantz’s enthusiasm, he doesn’t apologise for bursting in or even seem to care that he might be interrupting Venkman. As Stantz begins to grab equipment from shelves in the lab, Venkman appears unexcited, remaining seated next to Jennifer before eventually saying to her…
Venkman: “Can you excuse me for a second?”
Jennifer:“Sure”
Venkman gingerly gets up from his seat, sneaking up to Ray, and with a jump, air-slaps him over the the top of the head while saying in with a half-suppressed shout…
Venkman: “I’m right in the middle of something, Ray!”
As he does this, Venkman looks back at Jennifer, suddenly aware that he might have looked too animated in his annoyance of being so rudely interrupted, in the eyes of Jennifer. He retreats somewhat by saying more calmly to Ray…
Venkman: “Ah, I need a little more time with this subject. Could you come back in an hour, hour and a half?”
Venkman stands closely to Stantz as she says this, giving him an intense look with his eyes, as if to communicate the hidden reason behind the reason. Ignoring Venkman’s direct request, Stantz launches excitedly into explaining himself…
Ray Stantz:“Peter, at 1:40 PM at the main branch of the New York Public Library on Fifth Avenue, ten people witnessed a free floating, full torso, vaporous apparition. It blew books off shelves from twenty feet away and scared the socks off some poor librarian!”
Ghostbusters is co-written and conceived by Dan Ackroyd and his co-star Harold Ramis. Ackroyd, a talented comedy actor, plays the role of the tactless geek with genuine understanding. He’s the excited puppy of the team, as his introduction demonstrates.
Dr. Stantz is referring to the librarian, form this we learn that she is still alive, despite her frightening encounter. We also learn there have been numerous other witnesses. The line – “free floating, full torso, vaporous apparition” has become one of the many classic quotes among fans of the film. It’s funny that the men have two opposing agendas here. Venkman responds…
Venkman:“I’m very excited. I’m very pleased. I want you to get right down there, check it out and get back to me.”
So far, Venkman hasn’t said a genuine thing to anyone. As he says the line in his distinctively dry, deadpan tone, his response reveals how little investment he has in his work. Ray’s revelations mean nothing to Venkman. He doesn’t seem to believe or care. It’s like he’s heard it all before from Ray.
Ray Stantz:“No, no.”
Venkman:“Get right back to me…”
Ray Stantz: “You’re coming with us on this one! Spengler went down there and took PKE valances. Went right off the top of the scale. Buried the needle! We’re close on this one. I can feel it!
Venkman appears to be fighting a losing battle against Ray’s determined enthusiasm. Ray mentions Spengler, the third member of the team who has already found his way to the library to take readings on his P.K.E meter (Psychokinetic Energy Meter). Ray Stantz’s belief in the paranormal is complete, and for now, it has brought an end to Venkman’s fraudulent pursuit of Jennifer. The audience feel it’s the least he deserves.
Ray brushes past Venkman, certain in his mind. Venkman stands for a second and says to himself…
Venkman: “I can feel it. We’re very, very close.”
We surmise that Venkman’s meaning of “we’re very, close” alludes to his encounter with Jennifer, as opposed to anything Ray has said.
Peter steps back to Jennifer who is still seated, sitting down to face her saying…
Venkman:“I have to go now, Jennifer, but I’d like to work with you some more. Perhaps you could come back this evening, say at -“
Before Venkman can say anymore…Jennifer finishes his sentence by saying…
Jennifer:“Eight o’clock?
Venkman: “I was just about to say eight o’clock! You are a legitimate phenomenon!”
Jennifer plays right into Venkman’s quick-witted hands. This man doesn’t miss a trick. Bill Murray’s timing is brilliantly sharp. From this scene, we discover how well-honed and knowing Ramis & Ackroyd’s script is.
As the male students marches angrily out of the lab, soft music begins to play as Peter Venkman, seating himself beside Jennifer, places one hand across her back and another on her forearm in an attempt to comfort her.
Venkman:“You may as well get used to that, that’s the kind of resentment that your ability is going to provoke in some people.”
Venkman is closing in for the kill, using kindness as a foil to groom his prey. Like I’ve mentioned already, Ghostbusters has unusual ingredients for a film widely perceived as one for all the family. Still, it’s funny black humour, though clearly targeting a younger male-demographic.
Jennifer:“Do you think I have it, Dr. Venkman?”
Asks Jennifer, with sincerity. She seems all-the-more vulnerable to us now that she is alone with Venkman. In his response, Venkman briefly pauses before he says…
Inside the laboratory, Dr. Venkman is conducting an ESP (extra-sensory- perception) test on two young students, both of who are wired up to electrodes. One of the students is a young, attractive blonde-haired woman called Jennifer, the other is a male student whose name we don’t learn. The first thing we see is a star symbol on a card. The male student looks very nervous before he pauses and stutters his answer.
Male student: “S-square?”
Turning the card to show the student, Dr. Venkman immediately responds with a subtle, dry sense of satisfaction.
Dr. Venkman: “Good guess, but wrong.”
For guessing incorrectly, Venkman proceeds to give the male student a sharp electric shock, forcing the young man to wriggle comically in his seat. Venkman then gives him a brief look of disdain before looking down to write something. With the deadpan delivery of Bill Murray as its spearhead, the film is already funny. Then, with his head still, Murray’s subtle comic ability comes to the fore as his eyes shift from a look of disappointment in the male student, to a look of encouraging warmth toward Jennifer. A reassuring smile appears as Venkman says…
Dr. Venkman: “Clear your head. All right, tell me what you think it is.”
Venkman holds up a new card for Jennifer, as she asks in a soft, calm voice…
Jennifer: “Is it a star?”
The male student sniggers at her answer and the camera cuts back to Dr. Venkman who says with a hint of false sincerity…
Dr. Venkman: “It is a star! Very good, that’s great.”
We then see a camera angle from behind Venkman that reveals the card was in-fact a circle. Jennifer is delighted to think she has guessed correctly, while the male student wears a look of disbelief. It’s immediately funny, while at the same time, shows us that Peter Venkman is a con man. A man with no reverence for his work, willing to abuse his position for a chance romantic encounter with a young student half his age. What ought to be alarming is brilliantly amusing, thanks to Bill Murray’s screen reputation and sardonic mannerisms.
‘Male Student’ and Jennifer during the ESP test.
Dr. Venkman then reaches for another card, (we see that the symbol is a square) – addressing the male student…
Dr. Venkman:“All right. Think hard. What is it?”
The male student, more nervous this time, but quicker in his response goes for broke…
Male Student: “Circle!”
Dr Venkman sucks air into his cheeks and says in a thinly-veiled, patronising way…
Dr Venkman:“Close…but definitely wrong”
The answers are black or white, meaning there is no such thing as “close”, only right or wrong. Venkman enjoys taunting the hapless young student, in an attempt to make Jennifer feel good about herself, thus grooming her to be more receptive to his eventual advances.
Venkman leans forward to push the switch to administer yet another electric shock to the male student. This time, when he does, the resulting jolt forces the young man to comically spit out his chewing gum onto the desk. The male student puts the chewing gum back into his mouth before the next round of tests begin. Steven Tash, the young actor playing the ‘male student’ deserves much credit for his own comic performance in this scene – his anxiety being a key part of what makes it funny.
Steven Tash nervously awaits another jolt.
Venkman holds up another card, this time with a plus (+) symbol printed on it, adopting a more friendly demeanour to help Jennifer relax. It’s clear he has no intention of giving her an electric shock.
Dr. Venkman: “Okay. All right. Ready? What is it?”
As Venkman says this, he points a pencil at his his temple as Jennifer hesitates with her answer. Making light of her uncertainty, he pulls a goofy face as he whispers in a faux-inpatient way…
Dr. Venkman:“Cmooon”
Jennifer suddenly gains some confidence as guesses…
Jennifer:“Figure eight”
Bill Murray’s reaction here is hilarious, as he understands the key to great comedy often stems from so-called pregnant pauses. He stalls for a long moment, playing along with his own twisted game of being astonished by Jennifer’s psychic abilities. He sits still, holding the card up, his eyes darting from it to Jennifer before he says…
Dr. Venkman:“Incredible. That’s five for five. You can’t see these, can you?”
Venkman pretends to be amazed, holding the card at different angles.
Jennifer:“No, no”
Dr. Venkman:“You’re not cheating me, are you?”
The double bluff is funny, as Venkman pretends to be in awe of Jennifer’s abilities.
Jennifer:“No, I swear, they’re just coming to me.”
He now has Jennifer in the palm of his hand, having given her the belief that she has ability. This scene is an early signpost of how risky Ghostbusters is for a film certified PG. The girl in question is being portrayed as the stereotypical dumb blonde, being preyed upon by her mentor…all in the name of comedy.
Jennifer being won over by Dr. Venkman.
Venkman turns to address the male student for round three of the tests…
Dr. Venkman: “Okay. Nervous?”
Venkman gives a smug smile as he speaks. Considering Venkman is the heroic centre of the piece, it’s a bold choice to introduce him as such an unlikable character.
Male Student: “Yes… I don’t like this.”
The male student becomes emotional, prompting us to feel sympathy for him. We have been made to feel complicit in his ordeal. How much more will he take before he blows??…we don’t need ESP abilities to know he won’t last much longer.
Dr. Venkman:“You only have seventy-five more to go. Okay, what’s this one?”
You male student pauses briefly, in the face of yet another smug grin from Venkman. He makes a small wavy gesture with his hand and asks…
Male Student: “A couple of wavy lines?”
As the student gives his answer, the camera angle switches to behind Venkman. We clearly see that the male student has guessed correctly. Venkman quickly puts the card down, at the same time saying…
Dr. Venkman: “Sorry! This isn’t your lucky day!”
Venkman’s cruelty is complete. He gives a half-exasperated laugh as he says the word “day”.
Male Student: “I know…er”
The male student’s agitation is reaching explosion-point. We hear some mock-suspenseful piano-tinkling as Venkman reaches for the switch to give another electric shock. The camera cuts to the face of Jennifer, who looks concerned. Venkman slightly raises his eyebrows as he looks at the male student. This moment is vaguely akin to a ‘Mexican standoff’, famously found in the Spaghetti Western genre.
Male Student:“Wai..erm…erm”
In his most audacious moment yet, Venkman moves his glance to Jennifer, giving her a look that suggests he’s enjoying the moment and that she should too. Jennifer smiles back, which suggests she’s now happy to play along with whatever Venkman has in mind. Venkman then winks at her before pushing the switch to give the male student another zap. The male student has had enough as he gets a final shock and begins to yell…
Male Student:“Hey! I’m getting a little tired of this!”
Dr. Venkman:“You volunteered, didn’t you? We’re paying you, aren’t we?”
Bill Murray’s delivery is often so subtle, that small moments can easily slip by. As he says “aren’t we?”, his intonation and gestures reveal that he isn’t sure if the student is being paid.
Male Student:“Yeah, but I didn’t know you were giving me electric shocks! What are you trying to prove here anyway?”
This reveals that the male student has no interest in the studies, and that he only volunteered for a quick buck. He most likely wouldn’t have bothered, had he been aware of the electric shocks. Venkman answers by pressing together the palms of his hands in an attempt to appear wise…
Dr. Venkman:“I’m studying the effect of negative reinforcement on ESP ability.”
Dr. Venkman seems to have an answer for everything. He’s trying to suggest the male student’s negativity is hindering any ESP ability, whereas Jennifer, who is calm, is performing well. Standing up and uncoupling himself from the electrodes, the male student responds angrily…
Male Student: “The effect?! I’ll tell you what the effect is! It’s pissing me off!”
The male student rounds the table and begins to walk out of the room. At the same time, Venkman stands and says…
Dr. Venkman:“Well, then maybe my theory is correct!”
As a parting shot, the male student says..
Male Student: “You can keep the five bucks, I’ve had it!”
It’s funny that he only got paid $5 for so much trauma.
Dr Venkman:“I will mister!”
We get the feeling that Venkman always has to have the last word.
The male student is seen hurriedly leaving the laboratory. On the wall by the door, there is a large black & white poster of Marylin Monroe wearing a bathing suit. This tells us three things – the laboratory is a ‘man cave’, they are unprofessional, yet, they have high taste in pin-ups.
Steven Tash and Jennifer Runyon in the 1984 film, and a reunion years later.
Trivia: This scene was filmed in a basement area of Columbia University.
Lighting and music continue an atmosphere of unease as the librarian stands at a small desk to complete an entry in a log book. Still, she is alone. The music pauses before a lone whistle is heard as she makes her way down another aisle. Coincidentally (or not?), the lone whistle is similar to the theme music to The X-Files, a mid-1990’s TV-show about paranormal investigators. As the librarian continues about her work, on one side there are tall, heavy book shelves, on the other, smaller wooden filing drawers. Suddenly, one of the drawers of the smaller cabinet begins to open by itself, revealing a tray full of library index cards. The music becomes more urgent as the cards begin to blow out and scatter. Almost in unison, another drawer opens and the same happens again, until a third and a fourth…
The angle switches to face Alice Drummond’s librarian, whose expression quickly morphs from worry to fear as she turns to witness the unusual activity. Frightened, she lets out a weakened scream and begins to run away.
Once again, the invention of in-camera, practical illusions contribute to a feeling of more organic movie-making, something that is celebrated and pined-for in the today’s ‘more advanced’ digital age.
Trivia: The bank of smaller cabinets is a false wall. Behind the cabinets, special effects technicians pushed the drawers open and blew air through to disperse the cards.
We cut to the Rose Main Reading Room, the grand interior of the New York Public Library, as a female employee gathers books left by the public, placing them on a cart to be transported to the basement archives. Actress Alice Drummond is the archetypal librarian – a small-boned, cardigan-wearing woman in her mid-to-late-50’s, diligently pushing the wooden book cart. Elmer Bernstien’s musical arrangement of theremin and wispy strings continues to intrigue us as to an unknown threat.
Words by Gareth Rhodes.
The Rose Main Reading Room in the New York Public Library.
The stone lion ‘Fortitude’, guarding the steps to The New York Public Library. The first image seen in Ghostbusters.
The first shot of the movie is of the main entrance to the New York Public Library at daytime. There’s foreboding in Elmer Bernstien’s music as the camera pans down and settles underneath one of the dominant stone lions guarding the library entrance. A flock of pigeons are disturbed and flap wildly, landing atop one of the lions. We’re flooded with information in this single establishing shot, with a gothic flavour and hints of mystery afoot. It’s also a visual signpost to the horror of witnessing the dog-like creatures coming-to-life from their beastly stone casing, much later in the movie.
Trivia: The lions at the entrance of the New York Public Library are called Fortitude and Patience – qualities you’ll need to get through this analysis.
Our introduction to Ghostbusters begins with the ‘Torch Lady’ of the Columbia Pictures ident, but with the traditional accompanying score replaced by U.S composer Elmer Bernstien’s original music. Listed as ‘Library and Title‘ on the original soundtrack, it promises a spooky flavour, utilising the unearthly sound of the theremin, an instrument used so effectively for horror & sci-fi throughout the 1940’s and ’50’s in screen classics such as Spellbound and The Day the Earth Stood Still. I’m a fan of idents being used in a way that overlaps with the film (Raiders of the Lost Ark cleverly used the Paramount ident), as it gives the viewer a feeling of watching something unique. As we will see, statues form a part of the overall iconography of the film.
Ghostbusters: Scene by Scene 