Dr. Egon Spengler

Dr. Egon Spengler (Harold Ramis) at work.

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…

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Stantz: “Of course you forget, Peter, I was present at an undersea, unexplained, mass sponge migration.”

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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.

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Venkman: “Ooh, Ray, those sponges migrated about a foot and a half.”

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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.

 

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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.”

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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…

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Venkman: “Egon, this reminds me of the time you tried to drill a hole through your head. You remember that?”

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As he speaks, Venkman touches his temple in recollection, amused by the memory. Spengler responds in a straight tone, pointing a finger toward Venkman…

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Spengler: “That would have worked if you hadn’t stopped me.”

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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.

Words by Gareth Rhodes.

Back to the Library

The New York Public Library entrance.

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.

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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?”

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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.

Words by Gareth Rhodes.

Flying Cards

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.

Words by Gareth Rhodes.

Floating Books

As the librarian enters the dimly downlit basement with an armful of books, an ominous oboe gives way to the sound of the theremin as the camera prowls behind a lone Alice Drummond. This gives us the unsettling sense of her being followed to an isolated place, which increases her vulnerability and heightens tension. The corridors of the basement are maze-like and there are no other people around. As she turns one of the many tight corners to return a book, the camera halts as she moves further down the aisle. Then, unknown to her but witnessed by the audience, two or three books begin to float from shelf-to-shelf. At once, she glances to her side, seemingly having caught half-sight of something in her peripherial field of vision, but returns to her work. It’s a simple, but effective use of practical effects to thicken the sense of danger and intrigue.

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Trivia: The library basement scenes were filmed at the Los Angeles public library.

Words by Gareth Rhodes.

Alice Drummond

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.