Pneumatic Tube Mail Services in Europe: The Express Delivery of the Nineteenth Century

Commerce & Business, Media & Communications, Old technology, Regional History, Science and society

In this modern world of 24/7 online global communications and instant messaging systems, it is interesting to take a look at an earlier age’s emerging technology which had the objective of fast-tracking communications between people in different parts of rapidly modernising cities. This novel way of moving mail around drew on the subterranean reaches of urban centres to create channels for transporting them.

Wm Murdoch

It started with the London Stock Exchange in the 1850s…traders trying to buy and sell at the most propitious times of the trading day relied on telegraphs to communicate quickly with their people. The problem at the time was that telegraphs were regularly subjected to delays and hold-ups. A swifter way to communicate was needed for business success, and the technology to do so already existed in Scottish engineer William Murdoch‘s invention of the pneumatic tube in the 1830s.

Enter J Latimer Clark, an electrical engineer, with a patent “for conveying letters or parcels between places by the pressure of air and vacuum”. Clark’s delivery system powered by compressed and depressed air was implemented to connect the London Stock Exchange with the HQs of the Electrical Telegraph Company through a 660-foot long pneumatic tube. By the 1860s the stock exchanges in Berlin and Paris had followed London’s lead. Postal services for both commercial and personal transmittances were a natural fit for the pneumatic tube. Liverpool, Manchester, Birmingham and Dublin got their own networks, whilst on the Continent, Berlin’s Rohrpost was introduced in 1865 and Paris went public with Poste Pneumatique in 1879. Other cities got in on pneumatic post and the practice spread to places as far away as Melbourne and Buenos Aires, and most anywhere in between.

The London pneumatic tube mail train at its formative stage!

London Pneumatic Despatch Company
In 1859 Latimer Clark with Thomas Webster Rammell put forward a proposal for an underground tube network in Central London. The city’s General Post Office was chosen as the nucleus of the network because it was “the routing hub of the whole country’s” transport system [Julian Stray]. The two engineers with cashed-up and influential backers formed the London Pneumatic Despatch Company to build a large-scale, underground pneumatic railway✱ with the purpose of transporting mail bags and small parcels on railcars through tunnels. At first LPDC’s prospects of success looked promising, but several developments and reversals (a financial crisis in 1866, logistics problems, technical drawbacks, and the Post Office getting cold feet over the project) saw the Company fold and its operations close in the 1870s [‘London’s Lost Pneumatic Railway: The World’s 2nd Oldest Underground’, (Long Branch Mike, 12-Apr-2015), Reconnections London Transport and Beyond, www.londonreconnections.com].

(Photo: Science Photo Library)

Despite its failures LPDC’s underground railway did capture the public’s imagination and inspired other imitators. There were experiments elsewhere in the 1860s to try to establish a viable pneumatic train network – at Croydon, Devon and Dublin. Ultimately though, for a variety of reasons, these came to nothing [‘London’s Victorian Hyperloop: the forgotten pneumatic railway beneath the capital’s streets’, New Statesman, 18-Dec-2013, www.newstatesman.com].

Capsule [National Postal Museum (Smithsonian)

The principles of “blow and suck”
The pneumatic post services of the day used pressure and air vacuums to transmit mail through a network of tubes. The process went like this: people wanting to expedite the delivery of an important document would take it to the post office where it would be rolled up and placed inside a metal or aluminium capsule. A postal clerk (in New York these employees were known as ‘rocketeers’) would drop the capsule into a hatch which corresponded to the marked lane for its intended destination…by pressing a button the capsule was transported by compressed air through a network of tubes beneath the pavement. Air from the transmitting end blew the capsule in a forward direction along the tubes. At the receiving end of the line a machine would suck the propelled capsule towards it (in the same way the suction of a vacuum cleaner functions!).

A cutting edge over conventional 19th century delivery modes
Using pneumatic power to transport letters (subterranean mail) and other items had readily apparent advantages in its unfettered immediacy…the reliance on horse-drawn vehicles and messengers on bicycles meant that delivery was impeded by the ever-increasingly congested streets of burgeoning cities, pneumatic post transported underground had no such obstacles and delivery was infinitely faster!

Parisian Poste Pneumatique network (Musée de La Poste)

Paris: Poste Pneumatique
Paris, as much as any modern metropolis, wholeheartedly embraced pneumatic tube transportation from the get-go! By the 1930s, when the service was at its peak, Paris had some 466 kilometres of pneumatic tubes. Cost was and remained an issue though…in 1975 the cost of sending one pneu☯ in Paris was eight-times that of having a posted letter delivered. As the 20th century rolled on patronage of the pneumatic post system dwindled, in 1984 Poste Pneumatique closed down for good! It’s inevitable demise was a combination of the service’s high cost and the superiority of newer communications technology (fax, telex) which made it obsolete [‘Pneumatic tubes and how mail was moved in Paris for more than a century’, Larry Rosenblum, (World Stamps), 02-Oct-2016, www.linns.com]

Prague PTT engine room

Bohemian Express Post: Prague’s pneumatic post system
Prague’s pneumatic post is the only surviving post system of this kind still intact in the world. It entered service in the Czech capital in 1889, the fifth in the world to be connected, after London, Vienna, Berlin and Paris. The Prague system operated from a central point, the main post office in Wenceslas Námêstí, and conveyed letters, documents and information to other post offices in the city, to government offices, to banks and to other important institutions. It started with the despatch of mainly telegrams, later telexes were sent through this medium. The city network of tubes covered a radius of 60km. Around 1970 a test was done of its speed of service vis-vís an on-road messenger delivery service. The pneumatic tubes won, delivering a capsule of 50 telegrams to Prague Castle in eight minutes✾ [‘Pneumatic Post System in Prague’ (Jakob Serÿch, June 2004), http://www.capsu.org/features/pneumatic_tube_system_in_prague.html]. In the 1990s Prague pneumatic post was despatching up to 10,000 documents a day! Unfortunately the European floods of 2002 put paid to the Czech pneumatic postal service, Telefonica decided the repairs needed to the tubes was too costly and in 2012 sold the system to Czech software entrepreneur Zsenêk Dražil, an enthusiast of old technologies. Dražil’s ultimate plans for the service are still unclear, but he has hinted at the tourism possibility of it being opened up to the public as a “national technical monument” [‘Radio Praha ❘ in English’, (Daniela Lazarová, Czech Radio, 11-Oct-2003 and Jan Richer, ‘New Owner Promises Bright Future for World’s Largest Pneumatic Post System’ Czech Radio, 08-Aug-2012)].

PostScript: A sample of anecdotal stories associated with pneumatic tube systems
Stories abound about the unauthorised and unorthodox uses of the pneumatic tube networks in different countries by postal workers. Its a trait of human nature that employees in the familiarity of their work environs are known to “push the envelope” and try to get away with things wherever they possibly can, and this sphere of work was no different. Staff of the Prague pneumatic tube system for instance (according to some of the stories told) were known to use it to send sausages and bread rolls to each other! Similarly in New York it was an open secret that post office workers on Manhattan used the system to receive their daily lunch orders from a well-known Bronx sandwich shop…the shop would dispatch the lunches via the tubes from the Bronx PO to the Manhattan PO! The pneumatic tubes were also sometimes utilised to play jokes on staff at another PO, eg, live mice sent through the tubes to get a predictable reaction from the startled female employees receiving the canisters at the other end; a live tortoise-shell cat returned in the same mail bag in which it had been sent, and so on.

Receiving point with collection trays

⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸⊸
✱ the world’s second underground railway after the limited line from Paddington to Farringdon opened in 1863
☯ an item sent by pneumatic post in France was known as a pneu
✾ a similar test was conducted earlier on the New York PTT system where the underground tube delivery easily eclipsed a motor vehicle delivery which had to contend with heavy Manhattan traffic

Grawlixes/Obscenicons – Unutterable Graphics and the Universal Interjection!

Literary & Linguistics, Media & Communications, Popular Culture

Grawlixes or Obscenicons

Grawlix: a spiral-shaped graphic used to indicate swearing in comic strips (comprising typographical symbols, non-letter graphic characters which are encased in a word-free balloon)

~ Wiktionary, http://wiktionary.org

Etymology of the Grawlix
The term Grawlix itself comes from veteran American cartoonist Addison Morton Walker. The sprightly nonagenarian better known to the world as Mort Walker has gleaned lifelong fame in the US (and elsewhere where his comics are treasured) from two of his creations, Beetle Bailey and a spin-off of sorts, Hi and Lois. Beetle Bailey is especially beloved of seriously rusted-on US comic aficionados. Beetle, a private (zero-class!) in an unnamed US Army military post, has been described as “a feckless, shirking, perpetual goof-off and straggler known for his chronic laziness and generally insubordinate attitude”. Debuting in September 1950 Beetle Bailey is among the oldest comic strips still being produced by the original creator [‘Beetle Bailey’, Wikipedia, http://en.m.wikipedia.org].

Copycat grawlixing!

Walker apparently coined the term ‘grawlix’ around 1964…it appears in a tongue-in-cheek article he penned called “Let’s Get Down to Grawlixes”. A nonsense word, grawlix is the descriptor that Walker came up with to depict a cartoonist’s standard device: to show that one of his or her’s characters was uttering a “four-letter” word or words in the strip without infringing any moral codes, the cartoonist would draw a combination of typographical symbols and insert them in the dialogue balloon in place of the actual profane words. Commonly but not uniformly, the symbols used are @#$%&! or slight variations on this (whichever typographics are used, the grawlix always ends with an exclamation mark [Nordquist]). And as a way of expressing powerful, earthy emotions without having to call in the censors, it caught on within the realm of popular graphic art!”❉

Mort Walker’s catalogue of neologisms
In his Lexicon of Comicana (1980) Walker in his jocular fashion elaborates on his personal vocabulary of neologisms from the world of the cartoonist (with mock grandness he called these his Symbolia)…so in addition to grawlix the Lexicon contains many of Walker’s trademark neologisms, words coined for his own amusement, some with strange-sounding onomatopoeic names – a few of which are listed below.

In addition to grawlix, Walker devised and named three other sets of symbols and squiggles representing graphic euphemisms for the unspeakable and very taboo swear words – Quimps, Jarns and Nittles (basically hard to distinguish from grawlixes but something very similar by another name!) [World Wide Words].

Moving away the topic of obscenities Mort came up with other words to describe some of the graphics representing the range of feelings and emotions experienced by his comic personae – such as squean – squeans are starbursts and little circles above the character’s head to indicate a state of intoxication, dizziness or unwellness¤.

Other logo-inventions in the idiosyncratic Walker Lexicon are variations on the same theme – such as:
Emanate – lines drawn around the head to show shock or surprise
Plewds – flying sweat droplets that appear around a character’s head to indicate working hard, stressed, etc.

An indotherm – as opposed to a wafteron!

Another neologism in Walker’s ‘cartoonucopia’ is Indotherm – wavy, rising lines used to represent steam or heat; when the same shape is used to denote smell, it is called a wafteron.

Before the grawlix was the unnamed ‘grawlix’
Mort Walker gave the world a recognisable name to identify what is today a standard cartoonist’s device for representing profanity in a non-verbal way, but the use of @#$%&! wrapped in a speech bubble far predates modern comic strip practitioners like Walker. Ben Zimmer has researched early US comic strip history to find that the device features in comics goes as far back as 1902 – the work of Rudolph Dirks employed the grawlix in his strip (he just didn’t it that, or anything!). In Dirk”s “Katzenjammer Kids” for the New York Journal… the pioneering cartoonist “initiat(ed) the use of both speech balloons and…symbolic swearing”. This was emulated by a contemporary cartoonist of Dirks, Gene Carr, at about the same time (1903). Zimmer himself eschews the random ‘Grawlix’, preferring the term Obscenicon💢[Zimmer].

Grawlixes and other such graphic devices are the indispensable tools of cartoonists and comic artists looking for a way to economise with words and convey an emotion succinctly. They are non-verbal and thus all about visual cues…they can convey obscenities without recourse to the offending words themselves, or they can summarise an action or reaction instantly with an image that obviates the need for words and a lengthy explanatory sentence.

❆∺❆∺❆∺❆∺❆∺❆ ❆∺❆∺❆∺❆∺❆∺❆ ❆∺❆

Interjections

Interjection: is a part of speech using words solely designed to convey (often strong) emotions (reinforcing meaning or feeling). It conveys the emotion, sentiment or feelings of its speaker [‘What is An Interjection?’, (Your Dictionary), www.grammar.yourdictionary.com].

Another way of characterising the interjection is through its syntactic position. It is “an exclamation inserted into an utterance without grammatical connection to it” [ibid.]. Interjections are the tools of casual or creative communication, they have an informality to them, and in many cases an outright ‘slanginess’ to them (eg, ‘Jeez’, ‘Holy cow!’ (or ‘mackerel’), ‘Fiddlesticks!’, ‘Baloney!’, ‘Bingo!’, ‘Mama-Mia!’).

All contemporary engagers in social media are (over)familiar with exclamations like ‘LOL’ and ‘OMG’ (case optional) or ‘Ha-ha’ which infest the online world of communications like locusts at harvest season⊛. Interjections are exhaustive in number and heterogeneous in nature. They can be used to communicate a broad spectrum of different feelings – from anger and frustration (Argh) to sadness or sentimentality (Aw) to confusion (Huh!) to disgust (Yuck!) to mockery (Whoop-de-doo⊡) to indifference (Meh) to surprise (Wow!) to excitement (Woo-hoo!) to triumph (Yay!) not to be confused with the affirmative ‘Yea!’ [Fleming].

Interjections are usually positioned at the start of the sentence, occasionally at the end (the purpose being to maximise the message’s impact or effect). And like the sound themselves, most interjections can be strengthened by elongating them [Vidarholen] – adding one or more extra w’s to Aw gives weight to the degree of empathy you want to convey to your interlocutor; similarly using more than one Ha-ha is interjector code for turning up the laughter gauge! Putting an exclamation mark after the interjection is not mandatory but is often employed in the spirit of the lack of restraint that characterises this part of speech. After all, interjections are at their core exclamations – the appended ! goes with the territory!(Image credit: www.7esl.com)

PostScript 1: “Onomatopoeic interjections”
Onomatopoeic words or phrases are ones that imitate the sound of a thing or action, splash! is therefore onomatopoeic, it is also an interjection. Interjections represent emotion and can usually be distinguished from onomatopoeia which represents sounds, although there is clearly some overlap between the two. Another point of difference is that an interjection is syntactically isolated, it has no grammatical connection with the rest of the sentence⌽.

PostScript 2: Batman – Holy interjections with graphics!
The cult 1960s television series Batman is a veritable feast of interjections…in just about every episode Boy Wonder Robin, with excruciating monotony, specialises in uttering interjections of the “Holy ……” kind. Robin would pick the opportune moment to breathlessly interject with “Holy Switch-a-Roo”, “Holy Superlatives”, “Holy Cliche” or whatever other topical word pertaining to the “Dynamic Duo’s” particular predicament de jour [Oxford Dictionaries Blog].

The sublimely ridiculous Bat Fight scenes in the TV show are replete with interjections…as Batman and the arch-villains land thunderous blows on each other, corny graphics flash up with words representing the pugilistic action (SOCK! AIMEE! BIFF! WHAMM! KAPOW! THUNK! BANG!). Interestingly Batman’s art department incorporated some comic strip style graphics into the flashing word cards (eg, stars within the word SOCK! signifying the effects of being ‘socked’, ie, dazed, dizzy – akin to a kind of squean? KAPOW! with a bulls-eye target inside the O)

←←←←←←←←←←←←←←←←←←→→

❉ placed in dialogue boxes above the characters’ heads (Walker calls these “Maledicta balloons”)
¤ a character with both a squean and a spurl (a vertical upward-spiralling coil) above his or her head is more than a little drunk, they’ve had a ‘skinful’ in fact! [Brownlee]
⊛ its unquantifiable definitively, but an empirical survey of the various avenues of social media would confirm an upsurge in interjection usage in everyday communications
💢 Urban Dictionary describes ‘oscenicons’ as “like a emoticon, but for profane words”
⊡ especially mocking someone who is trying to impress
⌽ the Onomatopoeia Dictionary lists a number of words that can represent both forms of expression, eg, wham, phew, shoo, shush, ha-ha, geez

╰☆╮ ╰☆╮ ╰☆╮

References:
J Brownlee, ‘Quimps, Plewds, And Grawlixes: The Secret Language Of Comic Strips’, (Co. Design), 15-Jul-2013, www.fastcodesign.com
Grace Fleming, ‘Interjections’, Thought Co, 23-Apr-2015, www.thoughtco.com
Richard Nordquist, ‘What the @#$%&! Is a Grawlix?’ (Thought Co), 02-May-2017, www.thoughtco.com
B Zimmer, ‘How did @#$%&! come to represent profanity?’, Slate, 09-Oct-2013, www.slate.com
‘Grawlixes’, (World Wide Words), www.worldwidewords.org
The lexicon of comicana’, Wikipedia, http://en.m.wikipedia.org
‘Dictionary of Interjections’, www.vidarholen.net
‘From “Gadzooks” to “Cowabunga”: some episodes in the life of the interjection’, Oxford Dictionaries, www.blog.oxforddictionaries.com
Onomatopoeia Dictionary A-Z, (Written Sound), www.writtensound.com
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Cursed Movies II: ’The Conqueror’ Film’s Catastrophic Afterlife

Cinema, Media & Communications, Popular Culture

The Conqueror (1956) was a doomed film, both cinematically and in terms of its devastating human cost. Its reception critically was abysmal and its performance at the box office was less than mediocre. Reviews for the movie disaster have been consistent in assigning it an unenviable position as one of cinema’s worst ever pictures, one of Hollywood’s greatest “turkeys”¹.

Yahoo!Movies described The Conqueror as “the most toxic movie ever made”…tarnishing the careers of those who appeared in this egregious stinker, especially its star John Wayne, effectively bankrupting RKO Pictures (costing a blown-out $6 million) and contributing to the deaths of an inordinate number of its cast and crew².

John Wayne, faced with the need to fulfil the third and final picture of his contract with RKO, apparently fished the discarded script out of the rubbish bin and convinced the assigned director Dick Powell (who in turn convinced RKO’s owner Howard Hughes) to make the film with Wayne playing the role as Mongol warlord Genghis Khan (a role intended apparently for Marlon Brando). By all accounts Wayne was grossly miscast⋇, interpreting the great Mongol leader as a cowboy (probably an entirely natural notion for the Duke!). The script (by Oscar Millard) was terrible and vacuous as the following inane, awkward samples of the dialogue illustrate:

Temujin: I feel this Tartar wo-man is for me, and my blood says, take her. There are moments for wisdom and moments when I listen to my blood; my blood says, take this Tartar wo-man.
૱…………૱…………૱

Temujin: She is wo-man, Jamuga…MUCH wo-man!

૱…………૱…………૱

Snow Canyon, radioactive movie set

The Conqueror was a patently absurd vehicle by any standard – as an attempt at film art or as a plausible historical reconstruction…but as disastrous as the movie was, it was to have far more serious and far-reaching tragic consequences. Most of the filming took place at Snow Canyon¤ near Saint George in Utah, 130 odd miles from a nuclear test site where the US Government detonated 11 above-ground nuclear explosions in 1953. By the time location filming took place, June-August 1954, winds had shifted the still highly radioactive soil downwind to Snow Canyon. The shooting of the action sequences (in an adventure movie this was most of the film!) necessitated that the performers wallowed in the carcinogenic dust day after day.

The film’s producers (Hughes and Powell) were aware of the proximity of the atomic testing before shooting started but had been assured by the government that the atomic tests posed no risks to public health, a gross deception (self-deception?). Compounding the dilemma, at the end of the location work Hughes ordered that 60 tons of the radioactive reddy-brown dirt from the Snow Canyon site in Utah be carted back to the RKO film set at Culver City for re-takes!

Human Fallout
Consequently, by about 1980 it could be shown that 91 of the 220 individuals who made up the film’s location staff had contracted cancer including its stars Wayne, Susan Haywood, Agnes Moorehead and Pedro Armendáriz (one of Wayne’s sons who had a small part in the movie later also died of cancer). There is no definitive way of proving that the contaminated soil was 100% to blame for the cancer deaths…Wayne had a heavy smoking habit (up to seven packs a day!), as did others in the cast, which could have been a contributing factor to the malignancies⍔. The harmful effects of the area’s radiation however is undeniably part of the explanation for such an aberrant outbreak of disease. Robert Pendleton, professor of biology at the University of Utah, concluded that the toxic fallout of Saint George was of epidemic proportions, that the toll was about three times what might be expected³. In addition it is well documented that health checks on ordinary residents of Saint George similarly revealed higher incidences of cancer than other comparable areas⁴.

PostScript: Howard Hughes’ own private purgatory
As is well-known, The Conqueror’s Producer Hughes lived as a recluse, (literally) hermetically sealed off from the rest of humanity, for his last years. It is believed that he deeply regretted his decision to go ahead with The Conqueror project. Hughes delayed the film’s theatrical release and attempted to purchase every single print to try to keep it out of the public eye. Part of his penance in his hermit mode of existence, it has been claimed, was to watch and re-watch the disastrous movie every day (along with Ice Station Zebra⁵).

╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼╾╼
⋇ Wayne as a 13th century Asiatic warrior was a ludicrous choice, as the casting was overall – only two of the entire performers were of Asian descent. Many of the doomed extras were undisguised Navajo Indians
¤ Howard Hughes thought the rolling red hills would be similar in appearance to the steppes of Mongolia
⍔ although ‘Duke’ Wayne did not die from his lung cancer (which went into remission) but from the subsequent stomach cancer he contracted [Gaggiano, below]

¹ included in H & M Medved & R Dreyfuss’ 1978 The Fifty Worst Films of All Time
² ‘The Conqueror: The story of the most toxic movie in Hollywood history’, (Yahoo!Movies, 09-Nov-2016), www.uk.movies.yahoo.com
³ Pendleton: “…in a group this size you’d expect only 30-some cancers to develop. With 91, I think the tie-in to their exposure on the set of The Conqueror would hold up even in a court of law” – Karen G Jackovich & Mark Sennet, ‘The Children of John Wayne, Susan Hayward and Dick Powell Fear That Fallout Killed Their Parents’, People, originally posted 10-Nov-1980, www.people.com
⁴ Rory Carroll, ‘Hollywood and the downwinders still grapple with nuclear fallout’, The Guardian,, 06-Jun-2015, www.guardian.com
⁵ Greg Caggiano, ‘The Conqueror (1956): The Film That Killed John Wayne … Literally’, Reel to Real, 26-Jul-2010, https://gcaggiano.wordpress.com/2010/07/26/the-conqueror-1956-the-film-that-killed-john-wayne-literally/

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Cursed Movies I: Health Hazards of Oz

Cinema, Media & Communications, Popular Culture

The 1939 cinema classic The Wizard of Oz, the movie that launched teenage singer/actress Judy Garland into stardom, has long had a reputation as one of Hollywood’s most ‘cursed’ films.

Book of the iconic 1939 film

Many, many things did go wrong on the set, including costs…the MGM musical/fantasy came in over budget at a cost of $2.8 million. This in part reflects The Wizard of Oz’s disjointed trajectory – going through five directors including King Vidor, George Cukor and Richard Thorpe and 14 screenwriters in the course of the production. The movie’s ultimate director Victor Fleming (who also directed the other great Hollywood film of 1939 Gone With The Wind) was widely suspected of Nazi sympathies.

Judy as Kansas Dot in Oz

The staggeringly appalling treatment of 17-year-old Judy Garland (Dorothy) would today be seen as out-and-out child abuse, irrespective of whether it was within or without the celebrity world. The film-makers half-starved Judy, limiting her to only one square meal per day, fed her on barbiturates and got her fixed on an 80-a-day cigarette habit. Garland eventually spiralled into a tragic pattern of drug dependency and suicide attempts. [E Power, ‘The Wizard of Oz – Dark side of the rainbow’, Irish Examiner, 15-Sept-2014, www.irishexaminer.com].

Equally alarmingly was the casual disregard of the health and well-being of other cast members as well. Buddy Ebsen (later famous as Jed Clampett in TV’s Beverly Hillbillies), to achieve the silver make-up of his character “The Tinman” was coated in aluminium powder which gave him an allergy and got into his lungs, after two weeks he became seriously unwell and was hospitalised and out of the film✳. His replacement Jack Haley was less exposed to deadly toxins but still contracted a troublesome eye-infection.

Fitting out supporting actress Margaret Hamilton for the role as the “The Wicked Witch of the West” meant painting her skin with green copper, exposing her to a clear carcinogenic risk. Even more perilous, in one hazardous scene Hamilton was nearly burned to death when a pyrotechnics feature went horribly wrong…requiring the actress to be hospitalised for a couple of weeks.

The film’s jinx extended to minor players like the munchkins (small colourfully-garmented characters portrayed predominantly by people with the condition dwarfism). The vertically challenged actors were grossly underpaid (‘Toto’, Dorothy’s dog in the movie was paid more than them!) and consequently they got drunk every night and reportedly ran riot on the set. Even Toto didn’t escape a mishap – one of the supporting actors accidentally stepped on him in a scene breaking the mutt’s paw and necessitating a canine replacement.

In the celebrated poppy field scene Dorothy and other characters get saturated in snow flakes, the only problem was the substitute snow comprised sheets of lethal asbestos![Power] Hollywood regularly used 100 percent industrial-grade chrysotile (white asbestos) in films, in White Christmas (1954) Bing Crosby got it poured all over him! Ray Bolger’s “Scarecrow” straw-filled costume was also lined in asbestos in order to be flame-proof [S Kazan, ‘The Wizard of Oz or The Wizard of Lethal Asbestos Exposure?’, (Kazan, McLaine, Satterley &’Greenwood], www.kazanlaw.com].

The curse for a time seemed to continue post-release. Although The Wizard of Oz is universally celebrated today as a classic of the cinema, it did not meet with immediate acclaim from either the public or critics. These reservations did not start to turn around until the CBS television network reintroduced the movie to the wider public in 1956. In 1989 the US Library of Congress nominated The Wizard of Oz as “the most-viewed motion picture on television syndication” [‘The Wizard of Oz (1939 film)’, Wikipedia, http://en.m.wikipedia.org]. Countless scores of viewers of the joyous spectacle of ‘Oz’ over the years would have been blissfully unaware of the unhappy, off-screen events that relentlessly dogged the production.

PostScript: Judy a victim of MGM’s mogul monster
MGM’s systematic abuse and exploitation of Judy Garland emanated from the very top of the studio – MGM head Louis B Mayer. To get the absolute most out of the studio’s new star Garland, Mayer maintained tyrannical control over all aspects of the Wizard of Oz star’s life⌖.

Mayer hooked Garland on a cocktail of drugs, having her fed alternating courses of amphetamines, adrenaline shots and downers like Seconal. And Mayer, to ensure that Judy, away from the studio, kept to the strict diet of coffee, chicken soup and cigs, had a battery of spies reporting back to him on the beleaguered actress’s behaviour [Neil Norman, ‘Dark side of Oz: The exploitation of Judy Garland’, Express, 05-Apr-2010, www.express.co.uk]]

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✳ Ebsen as a result of exposure to the deleterious materials was required to use a respirator for the remainder of his life (he lived to 95)
⌖ a mistreatment aided and abetted by Judy’s own mother Ethel who mercilessly drove the early show business career of Garland and her sisters, thinking nothing of feeding the three sisters pep pills to cope with the brutal workload she had burdened them with! [Norman]