The sound-richness of this piece, alone, is enough to recommend it. There’s the music, Dengue Fever’s unsettling “March of the Balloon Animals”; there are raindrops dripping in sync with the ex-husband’s reference to wet weather; there’s the thump-thump of a heart beating when the ex mentions to his former wife Catherine that he may have just had a heart attack.
Skillfully edited into creepy sound bites, this five-a.m. phone call from Brian, recorded on Catherine’s voice mail, has all the suspenseful noir quality of the 1948 movie, “Sorry, Wrong Number.” Although there’s no murder plot unfolding here, Brian’s rambling monologue is sinister to the max. As affectionate as he tries to sound, he’s audibly stalking her, using an unknown phone number.
Whether you’re divorced, single or shacked up happily with a partner, this drop-in is devastating right up to its final voice-mail robot voice asking Catherine whether she wants to keep this message or delete it. The last click you hear is Catherine dialing seven to delete. But Brian’s depiction as all but psychopathic is something you won’t be able to delete from your memory.
Congratulations to Catherine Spangler for turning a living nightmare into a little-shop-of-horrors haunting work of art. What an offbeat drop-in to include as a tidbit during a Terri Gross program about divorce.
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James Reiss
Posted on July 15, 2009 at 01:12 PM | Permalink
How to Be Haunted
The sound-richness of this piece, alone, is enough to recommend it. There’s the music, Dengue Fever’s unsettling “March of the Balloon Animals”; there are raindrops dripping in sync with the ex-husband’s reference to wet weather; there’s the thump-thump of a heart beating when the ex mentions to his former wife Catherine that he may have just had a heart attack.
Skillfully edited into creepy sound bites, this five-a.m. phone call from Brian, recorded on Catherine’s voice mail, has all the suspenseful noir quality of the 1948 movie, “Sorry, Wrong Number.” Although there’s no murder plot unfolding here, Brian’s rambling monologue is sinister to the max. As affectionate as he tries to sound, he’s audibly stalking her, using an unknown phone number.
Whether you’re divorced, single or shacked up happily with a partner, this drop-in is devastating right up to its final voice-mail robot voice asking Catherine whether she wants to keep this message or delete it. The last click you hear is Catherine dialing seven to delete. But Brian’s depiction as all but psychopathic is something you won’t be able to delete from your memory.
Congratulations to Catherine Spangler for turning a living nightmare into a little-shop-of-horrors haunting work of art. What an offbeat drop-in to include as a tidbit during a Terri Gross program about divorce.