[insert map]

Montgomery was delighted with Muskoka. She writes

Sunday, July 30, 1922

“The situation here is very lovely. The lawn runs down to the river where the bank is fringed by trees. It is beautiful at all times but especially at night when the river silvers under the moon, the lights of the cottages twinkle out in the woods along the opposite bank, bonfires blaze with all the old allure of the camp fire, and music and laughter drift across from the innumerable cones and launches on the river.

“Bala is a dear spot - somehow I love it. It has the flavor of home - perhaps because of tis pines which are plentiful hereabout…

[insert photo Bala]

Touring Lake Muskoka and Lake Rosseau one day, LMM wove a daydream about a carefree life on a Muskoka island. Her idyllic dream must have factored into the plot for Valancy’s escapist island on Lake Mistawis.

Monday, July 31, 1922

Today we spent in making a boat trip over Lakes Muskoka and Rosseau. It was very lovely. the continuous panorama of lake and river and island made me think of Stevenson’s lines,

“Where all the ways on every hand
Lead onwards into fairyland.”

I had a very lovely forenoon. The boys were with Ewan so I sat alone - and - dreamed. I picked out an island that just suited me. I built thereon a summer cottage and furnished it de luxe. I set up a boat-house and a motor launch. I peopeld it with summer guests… We spent a whole idyllic summer there together. Youth - mystery - delight, were all ours once more. I lived it all out in every detail; we swam and sailed and fished and read and built camp fires under the pines - I saw to it that I had an island with pines - and dined gloriously at sunset al fresco, and then sat out on mooonlit porches (well-screend from Muskoka mosquitoes!) - and always we talked - the soul-satisfying talk of kindred spirits, asking all the old, unanswered quesitons, caring not though there were no answers so long as we were ignorant together.

Sometimes we varied it by going out to dinners and dances … at neighboring islands, enjoying them tremendously but always glad to skim back home over moonlit wonder-ways of soft, mysterious, dim silver, to our own dear bit of an island.

Some of us slept in the porches at night and some of us slpet in the open, with the dark pines all about us, their crest in communion with the stars. (I don’t know how we managed about the mosquitoes there but in a fairy dream one does not have to bother about things like that.) And what a perennial fascination there is in the thought of sleeping in the open under the stars for the heart of mankind.

I dreamed it all out to the end of September. Then one night a storm came. Our men and boys and Frede and Bertie had gone to the mainland in the motor-launch early in the day. Aunt Annie and Stella and I waited in alarm for their return through the wild night while the hurricane shrieked through the channels and the waves dashed over the rocks to our very doors. At last, after anxious hours, they came, drenched and cold, but safe. And we joyfully pulled them in and shut the door on the storm; and we all sat down to a hot supper before the blazing fire in our big, timbered living-room, made all the cosier by the baffled, raging wind outside. And we talked - and dank of laughter - and were happy and triumphant, surrounded by the black legions of the storm. But under all our gayety we knew that our summer was over.”

[insert photo]

In addition to boating on Lake Muskoka and Rosseau, LMM visited Dudley, where a friend had a cottage on the lake, and toured a garden in Port Sandfield.

The principal locations in The Blue Castle are the small town Deerwood, the large town Port Lawrence, Lake Mistawis with Valancy’s island, the upback and Chidley Corners. The Bala Museum with Memories of L. M. Montgomery have a well-researched publication, “Lucy Maud Montgomery and Bala: A Love Story of the North Woods” where they have matched novel locations to the area around Bala. They even have a guess on what might be LMM/Valancy’s dream island.

Unfortunately I don’t have a copy of their publication, so I will do my own guesswork.

Here are descriptions of each of the areas in The Blue Castle, and what little geographic data can be gleaned from them, if LMM did have a precise mental map of her fictional Mistawis area in mind.

Mistawis

Valancy has her island on Lake Mistawis, and Deerwood and Port Lawrence both lie on the banks of the lake.

Lake Mistawis is probably Lake Muskoka, on whose banks LMM spent her holiday. However, Mistawis is also an area where Cousin Herbert lives, so perhaps this is a situation like Lake Rosseau and Rosseau, both of which LMM toured.

Here is a description of Lake Mistawis from Valancy’s island.

After the meal was over they would sit there and talk for hours–or sit and say nothing, in all the languages of the world, Barney pulling away at his pipe, Valancy dreaming idly and deliciously, gazing at the far-off hills beyond Mistawis where the spires of firs came out against the sunset. The moonlight would begin to silver the Mistawis. Bats would begin to swoop darkly against the pale, western gold. The little waterfall that came down on the high bank not far away would, by some whim of the wildwood gods, begin to look like a wonderful white woman beckoning through the spicy, fragrant evergreens. And Leander would begin to chuckle diabolically on the mainland shore. How sweet it was to sit there and do nothing in the beautiful silence, with Barney at the other side of the table, smoking!

There were plenty of other islands in sight, though none were near enough to be troublesome as neighbours. There was one little group of islets far off to the west which they called the Fortunate Isles. At sunrise they looked like a cluster of emeralds, at sunset like a cluster of amethysts. They were too small for houses; but the lights on the larger islands would bloom out all over the lake, and bonfires would be lighted on their shores, streaming up into the wood shadows and throwing great, blood-red ribbons over the waters. Music would drift to them alluringly from boats here and there, or from the verandahs on the big house of the millionaire on the biggest island. (ch. xxix)

Deerwood

Valancy Stirling lives with her mother and Cousin Stickles in an “ugly red brick box of a home, on Elm Street,” Deerwood. Many of her relatives, the Stirlings, also live in Deerwood.

Deerwood has a public library (ch. i), a grocery store owned by Uncle Benjamin (ch. xxvii) and a clothing store (Valancy went into Deerwood and … got a pretty green crêpe dress with a girdle of crimson beads, at a bargain sale, a pair of silk stockings, to match, and a little crinkled green hat with a crimson rose in it. )

It seems reasonable to assume that small-town Deerwood is small-town Bala, as a starting point. However, Valancy has no love lost for Deerwood, unlike LMM’s fond description of the place.

[insert photo]

Port Lawrence

Port Lawrence is a larger town with a movie theatre and Chinese restaurant (ch. xxii), a beauty parlour, and a police department which served Deerwood (ch. xi). It lies between Deerwood (”They tore into and through Deerwood.” ch. xxii) and Chidley Corners, and is fifteen miles away from Deerwood. (ch. i)

Port Lawrence may have borrowed its name from “Port Sandfield,” which lies north of Bala at the cusp of three lakes. However, I have always personally imagined Port Lawrence as south of Deerwood. Port Lawrence also lies on the banks of Lake Mistawis (Muskoka), since the Free Methodist minister “lived in Port Lawrence and came out by the lake in a little disappearing propeller boat to give a free service to the people of the small, stony farms back of the hills, who would otherwise never have heard any gospel message.” (ch. xx)

I would guess that Port Lawrence is drawn from Gravenhurst, a large town at the southermost tip of Lake Muskoka, 15 miles from Bala. Driving from Leaskdale, LMM would have passed through this southern “gateway to Muskoka.” A railroad runs through it, which seems suited to the incidents in The Blue Castle.

[insert photo]

Chidley Corners and the up-back

Valancy had walked out to Roaring Abel’s house on the Mistawis road under a sky of purple and amber, with a queer exhilaration and expectancy in her heart….. Roaring Abel’s rambling, tumble-down old house was situated about three miles from the village, on the very edge of “up back,” as the sparsely settled, hilly, wooded country around Mistawis was called vernacularly. It did not, it must be confessed, look much like a Blue Castle. (ch. xvi)

Every Sunday evening Valancy went to the little Free Methodist church in a valley on the edge of “up back”–a spireless little grey building among the pines, with a few sunken graves and mossy gravestones in the small, paling-encircled, grass-grown square beside it. She liked the minister who preached there. He was so simple and sincere. An old man, who lived in Port Lawrence and came out by the lake in a little disappearing propeller boat to give a free service to the people of the small, stony farms back of the hills, who would otherwise never have heard any gospel message. (ch. xx)

It was twelve miles to Chidley Corners, and they had to go in Abel’s old, ragged top-buggy. The road was rough and rocky, like most Muskoka roads, but full of the austere charm of northern woods. It wound through beautiful, purring pines that were ranks of enchantment in the June sunset, and over the curious jade-green rivers of Muskoka, fringed by aspens that were always quivering with some supernal joy. (ch. xx)

I imagine this area to be generally north of Bala (Deerwood). Bala Museum has once pinpointed to me where they believed the building where Valancy’s dance was held.

—

After all, the descriptions in The Blue Castle focus on the loveliness and glamour of Lake Mistawis and its surrounding woods. Deerwood and Port Lawrence are stereotypical towns, barely described. Given LMM’s imagination and her tendency to make composite landscapes, it is unlkely that Deerwood, Port Lawrence and Chidley Corners are based very specifically on any place. Even in her descriptions of Valancy’s blue castle, LMM probably drew from both her impressions of Muskoka and her memories of the beauty of Prince Edward Island.

Blair Water and The New Moon House

Emily of New Moon is associated with the Malpeque area of PEI, although like most of LMM’s fictional landscapes, it is likely a composite of places she knew well in her childhood. LMM’s Aunt Emily lived in Malpeque and her home is allegedly prototype for New Moon. The Emily of New Moon TV series was also filmed in Cabot Beach Provincial Park in Malpeque, perhaps inspired by this rumour.

Aunt Emily and Uncle John Montgomery’s farm in Malpeque

(insert google map)

I first learned of a connection between Aunt Emily Montgomery’s Malpeque home and New Moon on Prince Edward Island: A Journey Home. The website shares the information that Ruth Campbell of the Anne of Green Gables Museum at Silver Bush grew up on the Malpeque farm, which family tradition called the “original” of New Moon. On my trip to PEI in 2004, I received directions from the staff at the Site of Montgomery’s Cavendish Home to find Aunt Emily’s old home.

[insert my photos]

The house was empty and “for sale” when I came upon it, standing starkly on a barren headland with the sea on two sides. The fields ended in red sandstone cliffs falling sharply onto sand beaches. It was very near, and very open to the sea.

New Moon and its surroundings are described fully in chapter 7 of Emily of New Moon. It has orchards, “old and new,” a delightful dairy and cookhouse, and a splendid front garden with a vine-hung summer house. “Lofty John”’s spruce grove shelters the garden from the north sea winds. The pasture runs down to “the famous Blair Water–an almost perfectly round pond, with grassy, sloping, treeless margins. Beyond it was the Blair Water valley, filled with homesteads, and further out the great sweep of the white-capped gulf.”

As A Journey Home points out, there was an orchard, pine trees, and a white outbuilding in LMM’s photograph of her Aunt’s home; throughout time, the shore may have eroded, and LMM’s imagination may have made modifications.

[insert LMM Uncle John’s house photo]

LMM spent a few months with her Aunt Emily in Malpeque when she was 11 years old, and enjoyed her visit. But there is no indication of any great attachment to Malpeque or to Aunt Emily’s home in her journal entries, neither in her youth nor adulthood. Nowhere does LMM write that Malpeque was the setting for New Moon. In fact, she writes:

New Moon is in some respects but not all my own old home [in Cavendish] and “Emily’s” inner life was my own, though outwardly most of the events and incidents were fictitious.

– Wednesday, August 29, 1923 Leaksdale, Ont.

The old Macneill Homestead where LMM grew up was embowered in an apple orchard, and the atmosphere of the farm lanes and outbuildings and interiors seem to correspond. Emily’s Monarch of the Forest in Lofty John’s bush was drawn from LMM’s life, where “On the southern edge of the Haunted Wood grew a most magnificent old birch. This was the tree of trees to me. I worshipped it, and called it “The Monarch of The Forest.” One of my earliest “poems” – the third I wrote – was written on it, when I was nine.” LMM’s Haunted Wood (not to be confused with the Haunted Wood on the grounds of the Green Gables museum) “was a harmless, pretty spruce grove in the field below the orchard,” and was eventually cut down, a fate echoed for Lofty John’s bush.

[insert photo of old home, barn, ‘view from window’]

Emily’s first glimpse of Blair Water is not unlike Anne’s arrival in Avonlea; there is a vista of a pond with the sea beyond, and a white house on a forested hill. Perhaps this is a landscape very common throughout PEI, where there are rolling hills and countless gem-like lakes. But on approaching Cavendish, which LMM had already claimed to be Avonlea, one passes by the Cavendish pond and can likely see LMM’s home/ Green Gables on a hill. Passing the “Lake of Shining Waters” at Park Corner, there is a similar effect: a gleaming body of water, coastlines close by, and the two LMM museums on higher ground.

It was sunset when they came to Blair Water–a rosy sunset that flooded the long, sandy sea-coast with colour and brought red road and fir-darkened hill out in fleeting clearness of outline. Emily looked about her on her new environment and found it good. She saw a big house peering whitely through a veil of tall old trees–no mushroom growth of yesterday’s birches but trees that had loved and been loved by three generations–a glimpse of silver water glistening through the dark spruces–that was the Blair Water itself, she knew–and a tall, golden-white church spire shooting up above the maple woods in the valley below. But it was none of these that brought her the flash–that came with the sudden glimpse of the dear, friendly, little dormer window peeping through vines on the roof–and right over it, in the opalescent sky, a real new moon, golden and slender. — EoNM, ch. 6

[insert view of house outside, lookout room, staircase]

The New Moon house is noted for its elegant “big front porch with Grecian columns.” (EoNM, ch. 7) The Macneill homestead in Cavendish appears, from photographs, to be a low white house, with a back porch but not a front. I wonder if Grandfather Montgomery’s house at Park Corner isn’t a candidate for New Moon, with its notable porch and air of grandeur. A woodland path leads to “The Lake of Shining Waters” nearby, with a little family graveyard on its banks. The house is now The L. M. Montgomery Heritage Museum. It has a long black staircase inside and upstairs there is a room called the “lookout” which LMM inhabited on her visits, recalling Emily’s “lookout” room.

Very likely many of LMM’s ancestral homes figured into her imagination.

—

Wyther Grange

Emily had a burning curiosity to see Great-Aunt Nancy and Wyther Grange, her quaint, old house at Priest Pond with the famous stone dogs on the gate-posts.
(EoNM ch. 22)

They went through the spacious hall, catching glimpses on either side of large, dim, splendid rooms, then through the kitchen end out of it into an odd little back hall. It was long and narrow and dark. On one side was a row of four, square, small-paned windows, on the other were cupboards, reaching from floor to ceiling, with doors of black shining wood. Emily felt like one of the heroines in Gothic romance, wandering at midnight through a subterranean dungeon, with some unholy guide…

The back parlour was a pretty, quaint old room where a table was laid for supper. Caroline led Emily through it and knocked at another door, using a quaint old brass knocker that was fashioned like a chessy-cat, with such an irresistible grin that you wanted to grin, too, when you saw it. Somebody said, “Come in,” and they went down another four steps–was there ever such a funny house?–into a bedroom. And here at last was Great-Aunt Nancy Priest, sitting in her arm-chair, with her black stick leaning against her knee, and her tiny white hands, still pretty, and sparkling with fine rings, lying on her purple silk apron.

(EoNM ch. 23)

Wyther Grange is LMM’s Grandfather Montgomery’s old home, which LMM has early childhood memories of. The “old house” was later torn down and replaced by the house that is currently the L. M. Montgomery Heritage Museum.

Friday January 7, 1910

“The first six of my life are very hazy. I do not seem to have any connected memories of them. Here and there a picture-like scene stands out in vivid colors. Many of these are connected with visits to Grandfather Montgomery’s place at Park Corner. They lived in the “old house” then - a most quaint and delightful old place as I remember it. I recall in particular a certain long “back hall”, with cupboards on one side and a window on the other. At the end of this was a short flight of steps going up to a little private sitting room of grandmother Montgomery’s. Out of this another flight of steps led down to Grandmother’s bedroom.”

—

Priest Pond and Malvern Bay

Driving with Old Kelly to Priest Pond, Emily takes in the geography of Blair Water and its neighbouring lakelets:

“The road from Blair Water to, Priest Pond was a very lovely one, winding along the gulf shore, crossing fir-fringed rivers and inlets, and coming ever and anon on one of the ponds for which that part of the north shore was noted–Blair Water, Derry Pond, Long Pond, Three Ponds where three blue lakelets were strung together like three great sapphires held by a silver thread; and then Priest Pond, the largest of all, almost as round as Blair Water. As they drove down towards it Emily drank the scene in with avid eyes–as soon as possible she must write a description of it; she had packed the Jimmy blank book in her box for just such purposes.

The air seemed to be filled with opal dust over the great pond and the bowery summer homesteads around it. A western sky of smoky red was arched over the big Malvern Bay beyond. Little grey sails were drifting along by the fir-fringed shores. A sequestered side road, fringed thickly with young maples and birches, led down to Wyther Grange.”

Looking at a map of the north shore of PEI, it is hard to find three distinct lakelets “strung together” with a large round pond at its end. But driving from Cavendish to Park Corner and Malpeque, a drive LMM would have known well, one comes “ever and anon” upon countless. There is a a conglomeration of water bodies at New London Bay, and there is a series of lakes that end at sea-dunes from the Lake of Shining Waters at Park Corner to Malpeque.

[insert google map]

It is my belief that “the big Malvern Bay” is really Malpeque Bay, undoubtedly the largest bay on the north shore. LMM could have easily changed the name Malpeque to Malvern.

[insert photographs]

New Moon and Surroundings: Descriptions from the novels

New Moon Farm

There was a certain charm about the old house which Emily felt keenly and responded to, although she was too young to understand it. It was a house which aforetime had had vivid brides and mothers and wives, and the atmosphere of their loves and lives still hung around it, not yet banished by the old-maidishness of the regime of Elizabeth and Laura.

.. the scene before her was too interesting to worry long about Aunt Elizabeth. Delicious smells were coming from the cook-house–a little, slant-roofed building at the corner where the big cooking-stove was placed in summer. It was thickly overgrown with hop vines, as most of the New Moon buildings were. To the right was the “new” orchard, very wonderful now in blossom, but a rather commonplace spot after all, since Cousin Jimmy cultivated it in most up-to-date fashion and had grain growing in the wide spaces between the straight rows of trees that looked all alike. But on the other side of the barn lane, just behind the well, was the “old orchard,” where Cousin Jimmy said the columbines grew and which seemed to be a delightful place where trees had come up at their own sweet will, and grown into individual shapes and sizes, where blue-eyed ivy twined about their roots and wild-briar roses rioted over the grey paling fence. Straight ahead, closing the vista between the orchards, was a little slope covered with huge white birches, among which were the big New Moon barns, and beyond the new orchard a little, lovable red road looped lightly up and up, over a hill, until it seemed to touch the vivid blue of the sky.

Cousin Jimmy came down from the barns, carrying brimming pails of milk, and Emily ran with him to the dairy behind the cook-house. Such a delightful spot she had never seen or imagined. It was a snow-white little building in a clump of tall balm-of-gileads. Its grey roof was dotted over with cushions of moss like fat green-velvet mice. You went down six sand-stone steps with ferns crowding about them, and opened a white door with a glass panel in it, and went down three more steps. And then you were in a clean, earthy-smelling, damp, cool place with an earthen floor and windows screened by the delicate emerald of young hop vines, and broad wooden shelves all around, whereon stood wide, shallow pans of glossy brown ware, full of milk coated over with cream so rich that it was positively yellow.

Aunt Laura was waiting for them and she strained the milk into empty pans and then skimmed some of the full ones. Emily thought skimming was a lovely occupation and longed to try her hand at it. She also longed to sit right down and write a description of that dear dairy; but alas, there was no account-book; still, she could write it in her head. She squatted down on a little three-legged stool in a dim corner and proceeded to do it, sitting so still that Jimmy and Laura forgot her and went away and later had to hunt for her a quarter of an hour. This delayed breakfast and made Aunt Elizabeth very cross. But Emily had found just the right sentence to define the clear yet dim green light that filled the dairy and was so happy over it that she didn’t mind Aunt Elizabeth’s black looks a bit.

…They went gravely on ahead and she had only to follow, through the old orchard and then through the scrub maple growth beyond, along a twisted ferny path where the Wind Woman was purring and peeping around the maple clumps.

Emily loitered by the pasture gate until her eager eyes had taken in all the geography of the landscape. The old pasture ran before her in a succession of little green bosoms right down to the famous Blair Water–an almost perfectly round pond, with grassy, sloping, treeless margins. Beyond it was the Blair Water valley, filled with homesteads, and further out the great sweep of the white-capped gulf. It seemed to Emily’s eyes a charming land of green shadows, and blue waters. Down in one corner of the pasture, walled off by an old stone dyke, was the little private graveyard where the dead-and-gone Murrays were buried. Emily wanted to go and explore it, but was afraid to trust herself in the pasture…

Off to the right, on the crest of a steep little hill, covered with young birches and firs, was a house that puzzled and intrigued Emily. It was grey and weather-worn, but it didn’t look old. It had never been finished; the roof was shingled but the sides were not, and the windows were boarded over. Why had it never been finished? And it was meant to be such a pretty little house–a house you could love–a house where there would be nice chairs and cosy fires and bookcases and lovely, fat, purry cats and unexpected corners; then and there she named it the Disappointed House, and many an hour thereafter did she spend finishing that house, furnishing it as it should be furnished, and inventing the proper people and animals to live in it.

To the left of the pasture-field was another house of a quite different type–a big, old house, tangled over with vines, flat-roofed, with mansard windows, and a general air of indifference and neglect about it. A large, untidy lawn, overgrown with unpruned shrubs and trees, straggled right down to the pond, where enormous willows drooped over the water. Emily decided that she would ask Cousin Jimmy about these houses when she got a good chance.

She felt that, before she went back, she must slip along the pasture fence and explore a certain path which she saw entering the grove of spruce and maple further down. She did–and found that it led straight into Fairyland–along the bank of a wide, lovely brook–a wild, dear, little path with lady-ferns beckoning and blowing along it, the shyest of elfin June-bells under the firs, and little whims of loveliness at every curve. She breathed in the tang of fir-balsam and saw the shimmer of gossamers high up in the boughs, and everywhere the frolic of elfin lights and shadows. Here and there the young maple branches interlaced as if to make a screen for dryad faces–Emily knew all about dryads, thanks to her father–and the great sheets of moss under the trees were meet for Titania’s couch.

.. She wished the path might go on forever, but presently it veered away from the brook, and when she had scrambled over a mossy, old board fence she found herself in the “front garden” of New Moon, where Cousin Jimmy was pruning some spirea bushes.

… The garden was a beautiful place, well worthy Cousin Jimmy’s pride. It seemed like a garden where no frost could wither or rough wind blow–a garden remembering a hundred vanished summers. There was a high hedge of clipped spruce all around it, spaced at intervals by tall Lombardies. The north side was closed in by a thick grove of spruce against which a long row of peonies grew, their great red blossoms splendid against its darkness. One big spruce grew in the centre of the garden and underneath it was a stone bench, made of flat shore stones worn smooth by long polish of wind and wave. In the south-east corner was an enormous clump of lilacs, trimmed into the semblance of one large drooping-boughed tree, gloried over with purple. An old summer-house, covered with vines, filled the south-west corner. And in the north-west corner there was a sundial of grey stone, placed just where the broad red walk that was bordered with striped grass, and picked out with pink conchs, ran off into Lofty John’s bush. Emily had never seen a sundial before and hung over it enraptured.

—Emily looked about her with delight. The garden was lovely and the house quite splendid to her childish eyes. It had a big front porch with Grecian columns. These were thought very elegant in Blair Water, and went far to justify the Murray pride. A schoolmaster had said they gave the house a classical air. To be sure, the classical effect was just now rather smothered in hop-vines that rioted over the whole porch and hung in pale-green festoons above the rows of potted scarlet geraniums that flanked the steps.

- EoNM ch. 6

The Tansy Patch

The Tansy Patch was east of the Disappointed House, between the Blair Water and the sand-dunes. Most people considered it a bare, lonely, neglected place, but Emily thought it was fascinating. The little clap-boarded house topped a small hill, over which tansy grew in a hard, flaunting, aromatic luxuriance, rising steeply and abruptly from a main road. A straggling rail fence, almost smothered in wild rosebushes, bounded the domain, and a sagging, ill-used little gate gave ingress from the road. Stones were let into the side of the hill for steps up to the front door. Behind the house was a tumbledown little barn, and a field of flowering buckwheat, creamy green, sloping down to the Blair Water. In front was a crazy veranda around which a brilliant band of red poppies held up their enchanted cups. (EoNM ch. 12)

Lofty John’s Bush

We have three paths in it. We call them the To-day Road, the Yesterday Road and the To-morrow Road. The To-day Road is by the brook and we call it that because it is lovely now. The Yesterday Road is out in the stumps where Lofty John cut some trees down and we call it that because it used to be lovely. The To-morrow Road is just a tiny path in the maple clearing and we call it that because it is going to be lovely some day, when the maples grow bigger. (EoNM ch. 12)

Stovepipe Town

Stovepipe Town is a poor herring fishing village by the harbour, so-called because “because the houses have no chimneys, only pipes sticking out of the roof.” (EoNM ch. 15) Sailing vessels such as the Mira Lee (EQ ch. VI) are “anchor by the wharf at Stovepipe Town.”

“Everything was so beautiful in this magical moment before sunrise. The wild blue irises around the pond, the violet shadows in the curves of the dunes, the white filmy mist hanging over the buttercup valley across the pond, the cloth of gold and silver that was called a field of daisies, the cool, delicious gulf breeze, the blue of far lands beyond the harbour, plumes of purple and mauve smoke going up on the still, golden air from the chimneys of Stovepipe Town where the fishermen rose early. ” EQ ch. XIV

Shrewsbury

It looked south into the fir grove and its balsam blew in to her like a caress. To the left there was an opening in the trees like a green, arched window, and one saw an enchanting little moonlit landscape through it. And it would let in the splendour of sunset. To the right was a view of the hill-side along which West Shrewsbury straggled: the hill was dotted with lights in the autumn dusk, and had a fairy-like loveliness. Somewhere near by there was a drowsy twittering, as of little, sleepy birds swinging on a shadowy bough. EC. ch. 6

But if the house is ugly and my room unfriendly, the Land of Uprightness is beautiful and saves my soul alive. The Land of Uprightness is the fir grove behind the house. I call it that because the firs are all so exceedingly tall and slender and straight. There is a pool in it, veiled with ferns, with a big grey boulder beside it. It is reached by a little, winding, capricious path so narrow that only one can walk in it. When I’m tired or lonely or angry or too ambitious I go there and sit for a few minutes. Nobody can keep an upset mind looking at those slender, crossed tips against the sky. I go there to study on fine evenings, though Aunt Ruth is suspicious and thinks it is just another manifestation of my slyness. Soon it will be dark too early to study there and I’ll be so sorry. Somehow, my books have a meaning there they never have anywhere else. EC. ch. 7

“There are so many dear, green corners in the Land of Uprightness, full of the aroma of sun-steeped ferns, and grassy, open spaces where pale asters feather the grass, swaying gently towards each other when the Wind Woman runs among them. And just to the left of my window there is a group of tall old firs that look, in moonlight or twilight, like a group of witches weaving spells of sorcery. When I first saw them, one windy night against the red sunset, with the reflection of my candle, like a weird, signal flame, suspended in the air among their boughs, the flash came–for the first time in Shrewsbury–and I felt so happy that nothing else mattered. I have written a poem about them. EC. ch. 7

I climbed the steep little wooded hill in the Land of Uprightness to-night and had an exultation on its crest. There’s always something satisfying in climbing to the top of a hill. There was a fine tang of frost in the air, the view over Shrewsbury Harbour was very wonderful, and the woods all about me were expecting something to happen soon–at least that is the only way I can describe the effect they had on me.

EC. ch. 7

Interior of New Moon House

Interior

Emily had never seen a kitchen like this before. It had dark wooden walls and low ceiling, with black rafters crossing it, from which hung hams and sides of bacon and bunches of herbs and new socks and mittens, and many other things, the names and uses of which Emily could not imagine. The sanded floor was spotlessly white, but the boards had been scrubbed away through the years until the knots in them stuck up all over in funny little bosses, and in front of the stove they had sagged, making a queer, shallow little hollow. In one corner of the ceiling was a large square hole which looked black and spookish in the candlelight, and made her feel creepy. Something might pop down out of a hole like that if one hadn’t behaved just right, you know. And candles cast such queer wavering shadows. Emily didn’t know whether she liked the New Moon kitchen or not. It was an interesting place–and she rather thought she would like to describe it in the old account-book, if it hadn’t been burned…

Emily…went into the sitting-room. It was much more cheerful than the kitchen. The floor was covered with gay-striped homespun, the table had a bright crimson cloth, the walls were hung with pretty, diamond-patterned paper, the curtains were of wonderful pale-red damask with a design of white ferns scattered all over them. They looked very rich and imposing and Murray-like. Emily had never seen such curtains before. But best of all were the friendly gleams and flickers from the jolly hardwood fire in the open stove that mellowed the ghostly candlelight with something warm and rosy-golden. Emily toasted her toes before it and felt reviving interest in her surroundings. What lovely little leaded glass doors closed the china closets on either side of the high, black, polished mantel! What a funny, delightful shadow the carved ornament on the sideboard cast on the wall behind it–just like a negro’s side-face, Emily decided. What mysteries might lurk behind the chintz-lined glass doors of the bookcase! Books were Emily’s friends wherever she found them. She flew over to the bookcase and opened the door. But before she could see more than the backs of rather ponderous volumes, Aunt Elizabeth came in, with a mug of milk and a plate whereon lay two little oatmeal cakes.

- EoNM ch. 6

Left alone in her lookout, lighted dimly by the one small candle, Emily gazed about her with keen and thrilling interest. She could not get into bed until she had explored every bit of it. The room was very old-fashioned, like all New Moon rooms. The walls were papered with a design of slender gilt diamonds enclosing golden stars and hung with worked woollen mottoes and pictures that had been “supplements” in the girlhood of her aunts. One of them, hanging over the head of the bed, represented two guardian angels. In its day this had been much admired but Emily looked at it with distaste.

“I don’t like feather wings on angels,” she said decidedly. “Angels should have rainbowy wings.”

On the floor was a pretty homespun carpet and round braided rugs. There was a high black bedstead with carved posts, a fat feather-bed, and an Irish chain quilt, but, as Emily was glad to see, no curtains. A little table, with funny claw-feet and brass-knobbed drawers, stood by the window, which was curtained with muslin frills; one of the window-panes contorted the landscape funnily, making a hill where no hill was. Emily liked this–she couldn’t have told why, but it was really because it gave the pane an individuality of its own. An oval mirror in a tarnished gilt frame hung above the table; Emily was delighted to find she could see herself in it–”all but my boots”–without craning or tipping it. “And it doesn’t twist my face or turn my complexion green,” she thought happily. Two high-backed, black chairs with horsehair seats, a little washstand with a blue basin and pitcher, and a faded ottoman with woollen roses cross-stitched on it, completed the furnishing. On the little mantel were vases full of dried and coloured grasses and a fascinating pot-bellied bottle filled with West Indian shells. On either side were lovable little cupboards with leaded-glass doors like those in the sitting-room. Underneath was a small fireplace.

“I wonder if Aunt Elizabeth will ever let me have a little fire here,” thought Emily.

The room was full of that indefinable charm found in all rooms where the pieces of furniture, whether old or new, are well acquainted with each other and the walls and floors are on good terms. Emily felt it all over her as she flitted about examining everything. This was her room–she loved it already–she felt perfectly at home.

- EoNM ch. 27

The episodes follow the novel closely for the most part.
Each chapter is translated into an episode, sometimes themes
are grafted from other L. M. Montgomery stories. A few extra
“filler” episodes are added to make a 50 episode
series; sometimes two chapters are combined. Great emphasis
is placed on Anne and Diana’s friendship.

Crew

| Executive Producer | Motohashi Koichi
| Producer | Nakajima Junzo & Endo Shigeo
| Directed by | Takahata Isao
| Episode Directors | Takahata Isao (all), Yokota Kazuyoshi (22, 25, 29, 33, 36, 40, 44, 48), Kuzuha Kozo (41, 45, 49), Baba Ken’ichi (42, 46, 50), Koshi Shigeo (43, 47)
| Animation Director | Kondo Yoshifumi
| Storyboards | Kuzuha Kozo (10, 21, 24, 34, 37, 41, 45, 49), Yokota Kazuyoshi (19, 22, 25, 29, 33, 36, 40, 44, 48), Koshi Shigeo (20, 23, 27, 32, 35, 39, 43), Okuta Seiji (7, 11, 13, 14, 16, 18, 26), Tomino Yoshiyuki (8, 9, 12, 15, 17), Baba Ken’ichi (38, 42, 46, 50), Ikeno Fumio (5, 6), Saito Hiroshi (31), Mitsunobu Hiroyoshi (28), Takahata Isao (29)
| Written by | Takahata Isao (1, 2, 3, 4, 6, 8, 10, 12, 13, 17, 18, 20, 23, 25-42, 44, 47-50), Chiba Shigeki (1, 2, 21, 22, 23, 24, 26, 32, 33, 34, 38, 39, 45, 46), Isomura Aiko (3, 6), Takano Takekuni (16, 19, 20, 25, 27, 28, 30, 36, 37), Araki Yoshihisa (31, 35, 40, 41, 42, 47, 48, 49, 50), Kamiyama Seijiro (5, 7-15, 17, 18, 43, 44)
| Character Design | Kondo Yoshifumi
| Art Director | Ioka Masahiro
| Music | Mori Shigeto & Miyoshi Akira
| Layout | Miyazaki Hayao (1-15), Sakurai Michiyo (16-50)
| Director’s helpers | Baba Ken’ichi, Koshi Shigeo, Kuzuha Kozo, Inami Kunihiro
| Animators | Shinohara Masako, Tomizawa Nobuo, Arakawa Nobumasa, Saida Toshitsugu, Tomonaga Kazuhide, Murata Koichi, Oka Yutaka, Sakurai Michiyo, Goto Kiko, Oshima Hidenori, Hashimoto Jun’ichi, Ushigoe Kazuo, Akiyama Noboru, Hoda Natsuyo, Takano Noboru, Kimura Masao, Nakagawa Toshiko, Yonegawa Koshin, Kosako Yoshishige, Mieno Yoichi, Takasaki Katsuo, Shibuya Sanae, Koyama Takumi, Kato Masahiro, Iwasaki Seiko, Sato Masaru, Ishino Hirokazu, Ioka Mariko, Sugawara Toshio, Takemoto Tomoaki, Moritomo Noriko, Terada Yukiko
| Backgrounds | Yamamoto Nizo, Abe Taisaburo, Nishihara Shigeo, Ishibashi Ken’ichi, Yokoyama Yukihiro, Sugawara Seiji, Tamari Kazuhiko, Kato Tomie, Nozaki Toshio, Shohei Akira, Kobayashi Keiichi
| Art assistance | (for Studio Aqua) Abe Taisaburo & Yamamoto Nizo
| Audio director | Uragami Yasuo
| Photography director | Kuroki Keishichi

The other day I sat and watched the ‘talkie’ with mingled feelings. On the whole I liked it it much better than the silent picture. Naturally, no picture can, in the very nature of things, reflect the characters and setting just as the author has conceived them. So at times I had the sensation of watching a story written by somebody else.

The little girl who played the part of Anne — whom we must call Anne Shirley, since she has taken taht name for the screen — is a good Anne. There were many moments when she tricked even me into feeling that she was Anne. I loved the rick-rack braid on her pinafore. It was just what I wore myself oncee. Matthew, whom I have always seen with a long grey beard, seemed a stranger to me at first, but he was so good that I finally forgave him his clean-shaven face. Oddly enough both Matthew and Gilbert Blythe were exceedingly like the Matthew and Gilbert of the silent pictures, though entirely different people. Marilla was not the tall, thin, auster Marilla of my conception, but it was impossible to help liking her. I had, for the time being, the convictoin that although Marilla was not the least like that, she should have been.

Of all the cast I liked Mrs. Barry the least. They tried to make a composite fo Mrs. Barry and Rachel Lynde, and the hybrid result was not satisfactory. Diana was a washout.

There were no American flags in the picture. Canada and the Island were given some credit for the story. Prince of Wales College was even mentioned by name. Which indicates some faint glimmerings of a sense of geography on the part of hollywood which seemed entirely lacking in the silent version. The opening views are real Island pictures but the rest of the setting is California, not PRince Edward Island; and ‘Green Gables’ is New England colonial and not an Island farmhouse. The river where Anen was nearly drowned, while dramatizing Elaine, is not my blue Lake of Shining Waters. But how could it be? One must not be unreasonable.

Naturally, the introduction of dialogue to the picture adds to the versimilitude and is a distinct asset to stories which, like mine, owe much of their interest to the ‘talk.’ The producers sent me a copy of the script, but I had no ’say’ in it in any way or in any features of the story which was bought outright from the publishers. For two-thirs of the film my story was followed with reasonable fidelity. in teh remaining third the producers ‘produced’ a narrative of their own for the purpose of providing Anne with a love story. They dragged in the old Montague- Capulet motif and everything ended bee-yew-tifully, with Matthew — who died in teh book —scued from the brink of the grave. But I am devoutly thankful that they did not end the story with a lingering kiss between Anne and Giblert. Had they done so I would have risen up and shrieked.

On the whole, the ‘talkie’ gave me a much greater sense of reality than the silent picture. And I looked back to the evening of long ago, when I began the story of Anne with a smile and a sigh. For it is a ‘far cry’ from those days to these, and the creation of the story and its characters and atmosphere gave to em a delight that Hollywood cannot give or take away.

Excerpt from letter to pen-pal G. B. MacMillan, December 27, 1936

“I saw it… four times. Yes, I think ‘Anne Shirley’ was a very good Anne, all things considered, lacking some of what I trtied to convey as delicate elfin charm. Her eyes were good and in the scene where she ‘floated down to Camelot’ she was Anne completely and satisfyingly. Despite the newspaper I consider her beautiful, though not with the sugary prettiness of so many ‘film’ stars. She and I correpsond occasionally. And it does give me the oddest thrill to be walking along a Toronto street and suddenly see a neon sign flaming out ‘Anne Shirley in So-and-So.” I have the weirdest sensation that Anne has really come to life.

I forget if I told you my reactions to the characters too. I agree with you in all your statements except one. Helen Westley would have been perfect as Mrs. Lynde. Why they blended Mrs. Barry and Mrs. Lynde is ‘one of thoth thingth no fellow can understand.’ But I don’t think as you do that Gertrude Messenger was a good Diana. She was too fair and babyish. My Diana was a dark lady with sloe-black hair and flashing black eyes. I didn’t like Gilbert at all and I haven’t come across anybody who did. So you are certainly “with the multitude.” The indignant letters I’ve got from girls about it!!

As for the scenery two scenes in the picture were photographed on the Island. one was the opening one and the other as the background of the scene where Anne is talking to Matthew while he was fencing. All the rest is pure California. The house shown, both interiro and exterior is no house in P. E. Island, and does not resemble any farmhouse with which I am acquainted. The real house they photographed is somewhere in California. Mr. Webb, who is married to a cousin of mine, lives on the farm where Lover’s Lane is and this place is often referred to as Green Gables although in realtiy Green Gables was practically imaginary.”

Matthew gives Anne a dress with puffed sleeves for the hay-ride; but Anne can’t go until she makes up a confession about losing Marilla’s brooch, which Matthew then finds. Anne boasts she will twist Gilbert around her finger, so at the hay-ride he ignores her. She refuses to walk with Gilbert and claims she is corresponding with famous essay-winner Herbert Root. When Root speaks to their class, Anne is embarrassed over her fib. Matthew pacfies Anne when she worries about her excessive imagination.

Gilbert rescues Anne when her boat sinks, and they reconcile, and date throughout the next three years. Rachel Barry cataches them kissing. Marilla forbids the relationship. Gilbert departs for medical school, and Marilla and Matthew strive to find money to send Anne to normal school. When she kisses them both good-bye, they both realize their love for her.

Diana gets married and visits Anne to tell her Matthew is ill. Anne is greeted by the doctor at Green Gables who demands a specialist. The Cuthberts cannot afford one, but Gilbert brings Dr. Terry. Matthew commends Gilbert, saying he “might have been his son,” and Marilla allows the lovers to reunite.

Crew
| Director | George Nicholls Jr.
| Producer | Kenneth MacGowan
| Screenwriter | Sam Mintz
| Composer (Music Score), Musical Direction/Supervision | Max Steiner
| Cinematographer | Lucien Andriot
| Art Director | Albert Herman, Van Nest Polglase
| Book Author | Lucy Maud Montgomery
| Costume Designer | Walter Plunkett
| Editor | Arthur P. Schmidt
| Special Effects | Vernon Walker

Anne of Windy Poplars (1940)
(Anne of Windy Willows, U. K.)

Cast
(partial list)
James Ellison
Patric Knowles
Anne Shirley
Slim Summerville
Henry Travers

Crew
| Director | Jack B. Hively
| Producer | Cliff Reid
| Director of Photography | Fred Redman
| Editor | George Hively
| Screenwriter | Jerry Cady, Michael Kanin

(From http://www.anneofgreengables.com/)

http://link.brightcove.com/services/link/bcpid1632702548/bclid1740033310/bctid1683828308

http://link.brightcove.com/services/link/bcpid1632702548/bclid1740033310/bctid1747213373

http://link.brightcove.com/services/link/bcpid1632702548/bclid1740033310/bctid1747213374

Guest Stars:
Episode 1.1 “The Journey Begins”
| Mister Stewart | Eric Fink
| Maid | Jennifer Inch
| Chauffeur | Paul LaRocque
| Mister Heinrich | Rex Southgate
Episode 1.2 “The Story Girl Earns Her Name”
| Mister Beatty | Tom Bishop
| Maitre d’ | Jim Feather
| Hotel Manager | Robert Galbraith
| Misses Sloane | Sandra Scott
Episode 1.3 “The Quarantine at Alexander Abraham’s”
| Alexander Abraham | W.O. Mitchell
| Mister Riley | Bodie Newcomb
Episode 1.5 “Old Lady Lloyd” Episode
| Andrew Cameron | Lloyd Bochner
| Sylvia Gray | Rebecca Jenkins
Episode 1.9 “Malcolm and the Baby”
| Margie Purdie | Alyson Court
| Theodore Simpkin | Paul Haddad
Episode 1.10 “ The Witch of Avonlea”
| Nelly Shatford | Amy Stewart
Episode 1.11 “Felicity’s Challenge”
| Nelly Shatford | Amy Stewart
Episode 2.2 “How Kissing was Discovered”

| David Hawes | Greg Spottiswood
Episode 2.5 “Old Quarrels, Old Love”
| Romney Penhallow | Peter Coyote
Episode 2.7 “Family Rivalry”
| Roger King | Andrew Gillies
| Amos Spry | Wayne Robson
Episode 2.8 “Sea Ghost”
| Captain Ezekiel Crane | Michael York
Episode 2.9 “All That Glitters”
| Captain Borden | Tom Butler
| Captain Ezekiel Crane | Michael York
Episode 2.11 “It’s Just a Stage”
| Pigeon Plumtree | Madeline Kahn
Episode 3.2 “When She Was Bad, She Was Horrid: Part 1″
| Rat | Gordon Michael Woolvett
Episode 3.5 “Another Point of View”
| Alistair Dimple | Christopher Lloyd
Episode 3.6 “Aunt Janet Rebels”
| Katie | Alexa Gilmour
Episode 3.7 “A Dark and Stormy Night”
| Percy Methley | John Neville
| Robert Rutherford | Christopher Reeve
| Amanda Stone | Louise Vallance
Episode 3.10 “After the Honeymoon”
| Sidney Carver | Kate Nelligan
| Amos Spry | Wayne Robson
Episode 3.11 “High Society”
| Miss Cavendish | Shirley Douglas
| Unknown | Mia Kirshner
Episode 3.12 “The Calamitious Courting of Hetty King”
| Wally Higgins | Ned Beatty
Episode 3.13 “Old Friends, Old Wounds”
| Gilbert Blythe | Jonathan Crombie
Episode 4.1 “Tug of War”
| Galelo Dale | Colin Fox
| Olympia Dale | Vanessa Harwood
Episode 4.2 “The Lady and the Blade”
| Miss Langley | Gail Webster
Episode 4.4 “Boys Will Be Boys”
| Blacksmith | Ron Payne
Episode 4.5 “Moving On”
| Travis Riley | Tom Bishop
| Calvin Murphy | Chuck Campbell
| Kitty Riley | C.J. Fidler
| Sara Rider Double | Amanda Hughes
| Alphie Bugle | Tyler Labine
| Simon Redfox | August Schellenberg
| Zak Morgan | Treat Williams
Episode 4.6 “Evelyn”
| Rev. Fitzsimmons | Keith Knight
| Emmett Grier | Peter MacNeill
| Evelyn Grier | Meg Tilly
Episode 4.7 “The Dinner”
| School Boy | Nial Lancaster
Episode 4.8 “Heirs and Graces”
| Rusty | Steven Andrade
| Mrs. Campbell | Domini Blythe
| Man Addressing Haggis | Peter Glen
| Footman | Joe Matheson
| Sous Chef | Colin O’Meara
| Waiter | Bob Piedalve
| Duke of Arrangh | Damon Redfern
Episode 4.9 “Hearts and Flowers”
| Guest | Durward Allen
| Mr. Packet | Rummy Bishop
| Man | David Brown
| Suzette Moreau | Cecile Clermont
| Workman | Julian Peters
| Driver | Julian Reed
| Gully Gogarty | Ed Sahely
Episode 4.11 “The Disappearance”
| Jonathan Blackwell | Robby Benson
| Clerk | Glen Peloso
| Carriage Driver | Julian Peters
| Lady Blackwell | Diana Rigg
Episode 4.12 “Home Movie”
| Mr. Harrison | Bruce Boa
| Mr. Dunn | Michael Hogan
| Fisherman | Andrew Lewarne

Episode 5.1 “Fathers and Sons”
| Man | Claude Bede
| Clerk | Glen Peloso
| Mr. Boddin | Paul Soles
| Mrs. Trilby | Colleen Williams
Episode 2.5 “Memento Mori”
| Young Hetty | Mairon Bennett
| Young Muriel | Renessa Blitz
| Mother | Heather Hodgson
| Young Girl | Melody Johnson
| Young Hetty | Megan Kitchen
| Hetty’s Mother | Seana McKenna
| Publisher | Les Porter
Episode 5.3 “Modern Times”
| Mr. Blakey | Damir Andrei
| Emmet Horn | Bob Dermer
| Mr. Ambrose | Ray Jewers
| Rackham | Heath Lamberts
| Ferguson | Cliff Saunders
| Mr. Duncan | Philip Williams
Episode 5.4 “A Friend in Need”
| Alice Greene | Samantha Chemerika
| Milty Boulton | Phillip Nicoll
Episode 5.5 “Stranger in the Night”
| Caleb Stokes | Bruce Greenwood
| Arthur McMillan | Bryan Renfro
Episode 5.7 “Someone to Believe In”
| Adeline Hodgson | Laura Bertram
| Bigwig | Bob Clout, Lew Lehman
| Mrs. Millings | Araby Lockhart
| John Hodgson | Gordon Pinsent
Episode 5.8 “Strictly Melodrama”
| Judge | Rodger Barton
| Eleanor McHugh | Corinne Conley
| Mrs. Tweed | Carolyn Hay
| Isabelle Carrington | Linda Sorenson
Episode 5.9 “Thursday’s Child”
| Dr. Jones | Brenda Bazinet
| Mr. Simpson | Charles Hayter
| Mother | Mary Pirie
Episode 5.10 “Best Laid Plans”
| Patent Clerk | Paul Brown
| Hotel Guest | Marion Gilsenan
| Miss Gordon | Shannon Lawson
Episode 5.11 “Otherwise Engaged”
| Mr. Wakefield| Yank Azman
| Dr. Jones | Brenda Bazinet
| Mrs. Macrae | Susan Coyne
| Mrs. Kennedy | Claire Crawford
| Ezra Macrae | John Dolan
| Mrs. Wigmore | Joan Heney
| Mr. Moseworth | Howard Jerome
| Matt O’Donnell | Jeffrey Max Nicholls
Episode 5.12 “Enter Prince Charming”
| Viola Elliot | Stockard Channing
| Mrs. Tweed | Carolyn Hay
| Grandmere Robichaud | Susan Kottman
| Clement Paquette | Christian Laurin
| Stage Driver | Blair Purcell
| Boothe Elliot | Jaimz Woolvett
Episode 5.13 “The Minister’s Wife”
| Viola Elliot | Stockard Channing
| Mr. Simpson | Charles Hayter
| Booth Elliot | Jaimz Woolvett
Episode 6.1 “The Return of Gus Pike”
| Sea Salt | Robert Buck
| Abe Pike | Don Francks
| Eliza Pike | Janet-Laine Green
| Captain Ames | Nigel Hamer
| Charlotte Ames | Terri Hawkes
| Chemistry Professor | Desmond Scott
Episode 6.2 “Lonely Hearts”
| Emma Bradley | Stefanie Gnys
| Nat Lester | Kevin Jubinville
| Guest | Derek Keurvorst
| Velma Bugle | Sarena Paton
Episode 6.3 “Christmas in June”
| Rich Boy | Robin Dunne
| Miss Marsden | Marion Gilsenan
| Dr. Sparrow | Gordon Jocelyn
| Old Layd | Joan Massiah
| Louie | Shane Meier
| Nurse Darlington | Hayley Tyson
Episode 6.4 “Comings and Goings”
| Greta Stieg | Chandra West
Episode 6.5 “The Trouble with Davey”
| Wellington Campbell | John Gilbert
Episode 6.6 “Great Expectations”
| Velma Bugle | Sarena Paton
Episode 6.7 “A Fox Tale”
| Mr. Cain | Nigel Bennett
| Becky Lester | Kristin Fairlie
| Miss Barlow | Henriette Ivanans
| Nat Lester | Kevin Jubinville
| Mr. Barlow | James Millington
Episode 6.8 “Fools and Kings”
| Eleanor McHugh | Corinne Conley
| Mrs. McDougall | Louisa Martin
| Eagan Frane | Peter Millard
| Man | Julian Peters
| Heath Hymus | Leon Pownall
| Driver | Blair Purcell
| Waiter | Bryan Renfro
Episode 6.9 “The More Things Change”
| Hawk | Christopher Redman
| Quint | David Roemmele
Episode 6.10 “Home Is Where the Heart Is”
| Billy Lynde | Richard Blackburn
| Lady on Train | Patricia Carroll Brown
| Elanor McHugh | Corinne Conley
| Doctor | Jerry Franken
| Orderly | Bill Lake
| Conductor | Larry Mannell
| Baggage Man | Guy Sanvido
Episode 6.11 “What a Tangled Web We Weave”
| Menuskin | James B. Douglas
| Countess Polenska | Faye Dunaway
| Mr. Radcliffe | Robert Latimer
| Guest | Tedde Moore
| Count Marek | Peter Outerbridge
| Maggie MacPhee | Maureen Stapleton
Episode 6.12 “A Time to Every Purpose”
| Colleen Pritchard | Mairon Bennett
| Emma Bradley | Stefanie Gnys
| Mrs. MacDougall | Louisa Martin
| Gordon Bradley | Kevin Zegers
Episode 6.13 “Homecoming”
| Miss Marsden | Marion Gilsenan
| Dr. Sparrow | Gordon Jocelyn
Episode 7.1 “Out of the Ashes”
| Matron | Jacqueline McLeod
| Mavis Pritchard | Cara Pifko
Episode 7.2 “Love May Be Blind…But the Neighbours Ain’t”
| Hannah Hubble | Andrea Morris
Episode 7.3 “Davey and the Mermaid”
| Melusina | Sally Cahill
| Lemuel Snibb | David Hemblen
| Goliath | Andrew Jackson
| Hannah Hubble | Andrea Morris
| Mavis Pritchard | Cara Pifko
Episode 7.4 “Woman of Importance”
| Man with Mail | John Boylan
| Laura | Karyn Dwyer
| Station Master | Jack Jessop
| Morgan Pettibone | Toby Proctor
| Colonel | David Schurmann
| Lillian Hepworht | Dianne Wiest
Episode 7.5 “Secrets and Sacrifices”
| Hnery Archibald | Adam Bramble
| Knight | Alan Clifton
Episode 7.6 “King of the Great White Way”
| Rudy Blaine | Eugene Levy
| Betty Blaine | Sheila McCarthy
Episode 7.7 “Total Eclipse”
| Hans | Gary Allan
| Mrs. Sandborn Ellis | Carolyn Heatherington
| Professor Rizelli | Frank Pellegrino
Episode 7.8 “Ah…Sweet Mystery of Life”
| Edward Osborne | Matthew Bennett
| Carmody Principal | Gerry Quigley
| Mr. Tombridge | Michael Tait
Episode 7.9 “From Away”
| Jim McNulty | Patrick Chilvers, Ryan Gosling
| Ian McNulty | Ben Cook
| Policeman | Ray Doucette
| Jailer | Craig Gardner
| Mr. Skinner | Géza Kovács
| Mrs. Skinner | Jackie Laidlaw
| Quint | David Roemmele
Episode 7.10 “After the Ball Is Over”
| Winnifred Ward | Frances Bay
Episode 7.11 “Return to Me”
| Horace Beck | David Gardner
| Odelia | Karen Glave
| Mission Matron | Joan Gregson
| Crewman | Robert Hollinger
| Police Constable | Barry Kennedy
| Ticket Agent | Robert King
| Jimmy | Shawn Mathieson
| Megget Lydie | Jackie Richardson
| Waiter | Lloyd White
Episode 7.12 “The Last Hurrah”
| Lottie Cooper | Katherine Ashby
| Carmody Mayor | Dick Grant
| Mrs. Tweed | Carolyn Hay
| Railway Official | Alan Jordan
Episode 7.13 “So Dear to My Heart”
| Surgeon | Michael Fawkes
| Conductor | Larry Mannell
| Mavis Pritchard | Cara Pifko
| Frederick | Bob Tennent
| Cannery Woker | Adrian Truss

Crew

Produced by
| Producer | Trudy Grant
| Producer | Nicholas J. Gray
| Associate Producer | James Lahti, Deborah Nathan
| Supervising Producer | Noella Nesdoly
| Line Producer | Brian Leslie Parker
| Producer | Paul Quigley, John Ryan, Kevin Sullivan, Mairin Wilkinson

| Original Music |
Michael Conway Baker, Mychael Danna, Christopher Dedrick, Don Gillis, Hagood Hardy, John Welsman

| Cinematography | Manfred Guthe, Peter Luxford, Robert Saad

| Film Editing | Pia Di Ciaula, James Lahti, Gordon McClellan, Michael Todd, Ben Wilkinson, Mairin Wilkinson

| Casting | Elizabeth Ritchie, Anne Tait

| Art Direction | Perri Gorrara, James Oswald, Nancey Pankiw, Marian Wihak

| Set Decoration | Dan Conley, Jaro Dick (first season),

| Costume Design | Martha Mann, Ruth Secord, Madeleine Stewart, Delphine White,

| Makeup Department |
| Assistant Hair Department Head (season 4) | Janice Miller
| Hair Department Head (season 2) | Janice Miller
| Make Up Department Head | Janice Miller

| First Assistant Director (season 6) | Bruce Speyer
| Second Assistant Director | David Vaughan

| Art Department |
| Assistant Property Master | Tory Bellingham
| Assistant Decorator | Wayne Jacques
| Assistant Art Director | Kim Karon

| Sound Department |
| ADR Mixer | Christian T. Cooke
| Sound Re-recording Mixer | Andy Koyama
| Sound Mixer | Owen Langevin
| Boom Operator | John Motyer
| Music Editor | Donald Quan
| Foley Artist (various episodes) | Virginia Storey
| Boom Operator | Steve Switzer
| Sound re-recording Mixer | Andrew Tay
| Dialogue Editor | David Drainie Taylor

| Special Effects |
| Special Effects Coordinator | Jason Board
| Special Effects Coordinator | Arthur Langevin
| Special Effects Technician | Troy Rundle

| Visual Effects |
| Motion Control Operator | Kennedy Shah
| Visual Effects Supervisor | Tom Turnbull

| Stunts |
| Stunt Coordinator | Dennis Lundin
| Stunt Performer | Dan Belley, C.J. Fidler, Jamie Jones, Rick Parker, Sue Parker, Aleksandra Perenic, Alison Reid, Bryan Renfro, Paul Rutledge, Suzi Stingl (Davy’s stunt double), John Stoneham Jr.

| Story Editor | Helen Asimakis, Lucy Hall, Avrum Jacobson, Marlene Matthews, Yan Moore, Deborah Nathan, Laurie Pearson, Raymond Storey, Mairin Wilkinson
| First Assistant Camera | Stewart Aziz
| Network Executive | Deborah Bernstein
| Orchestrator | Christopher Dedrick
| Gaffer | Gary Deneault (season 1,3) , Robert McRae
| Network Executive | Catherine Denson
| Extras Casting | Donna Dupere
| First Assistant Accountant | Greg Eby
| Production Coordinator (season 4) | Kristine M. Gilbert
| Production Accountant | Ronald Gilbert
| Story Department Coordinator (season 5) | Katharine Gray
| Camera Operator | Brian Harper
| First Accountant | Sara Holmes
| Post-Production Supervisor (season 1,2) | Gregor Hutchison
| Network Executive | Cathy Johnson, Jude Schneider
| Production Driver | Dave Marwick
| Series Developer | Fiona McHugh
| Still Photograher | John Medland (season 4)
| Location Manager | Mark Moore
| Music Supervisor | Daniel Pellerin
| Assistant Editor | Dov Samuel
| Dolly Grip | Tracy Shaw
| Executive Consultant | Diane Messina Stanley (Dianne Massock), James Stanley

Sources
“”Road to Avonlea” (1989) [TV-Series 1989-1996].” The Internet Movie Database. Online. Internet. Available: http://www.imdb.com/title/tt0098900/

Season Two
2.1: Sara’s Homecoming
2.2: How Kissing Was Discovered
2.3: Aunt Hetty’s Ordeal
2.4: Of Corsets, Secrets and True True Love
2.5: Old Quarrels, Old Love
2.6: May the Best Man Win
2.7: Family Rivalry
2.8: Sea Ghost
2.9: All That Glitters
2.10: Dreamer of Dreams
2.11: It’s Just A Stage
2.12: A Mother’s Love
2.13: Misfits and Miracles

Season Three
3.1: The Ties That Bind (Sister of the Bride)
3.2: But When She Was Bad… She Was Horrid (Part 1)
3.3: But When she Was Bad… She Was Horrid (Part 2)
3.4: Felix and Blackie
3.5: Another Point of View (Facts and Fictions)
3.6: Aunt Janet Rebels (Aunt Janet’s Rebellion)
3.7: A Dark and Stormy Night
3.8: Friends and Relations
3.9: Vows of Silence (Facts and Fictions)
3.10: After the Honeymoon
3.11: High Society
3.12: The Calamitious Courting of Hetty King
3.13: Old Friends, Old Wounds

Season Four
4.1: Tug of War
4.2: Lady and the Blade
4.3: Incident At Vernon River
4.4: Boys Will Be Boys
4.5: Moving On (Sara and the Marshall)
4.6: Evelyn
4.7: The Dinner (Felicity’s Grand Design)
4.8: Heirs and Graces
4.9: Hearts and Flowers
4.10: Felicity’s Perfect Beau
4.11: The Disappearance
4.12: Home Movie
4.13: Hearth and Home

Season Five
5.1: Fathers and Sons
5.2: Memento Mori
5.3: Modern Times
5.4: A Friend in Need
5.5: Stranger in the Night
5.6: The Great Race
5.7: Someone to Believe in
5.8: Strictly Melodrama
5.9: Thursdays Child
5.10: Best Laid Plans
5.11: Otherwise Engaged
5.12: Enter Prince Charming
5.13: The Minister’s Wife

Season Six
6.1: The Return of Gus Pike
6.2: Lonely Hearts
6.3: Christmas in June
6.4: Comings and Goings
6.5: The Trouble With Davey
6.6: Great Expectations
6.7: A Fox Tale
6.8: Fools and Kings
6.9: The More Things Change
6.10: Home is Where the Heart is
6.11: What A Tangled Web We Weave
6.12: A Time to Every Purpose
6.13: Homecoming

Season Seven
7.1: Out of the Ashes
7.2: Love May Be Blind… But the Neighbors Ain’t
7.3: Davey and the Mermaid
7.4: Woman of Importance
7.5: Secrets and Sacrifices
7.6: King of the Great White Way
7.7: Total Eclipse
7.8: Ah… Sweet Mystery of Life
7.9: From Away
7.10: After the Ball is Over
7.11: Return to Me
7.12: The Last Hurrah
7.13: So Dear to My Heart

Movies/Specials
Happy Christmas Miss King

Mrs. Pye (to Mrs. Barry): Did you hear? Did you hear?
Mrs. Barry: Tell me ev’rything, my dear, And I promise you I’ll never tell a soul.
( Mrs. Pye whispers)
Mrs. Barry: I would thrash her when she’s caught!
Mrs. Pye: That’s exactly what I thought!
Mrs. Pye: you say the doctor had to take a stitch?
Josie: Three or four, maybe more
Mrs. Pye: Iwas watching from the door
Mrs. Barry: She’s a monster, she’s a fury, she’s a witch!
Josie: She has set her cap for Gilbert Blythe, It’s as plain can be, But if she wants him she will have to deal with me!

Mrs. Barry: Did you hear? Did you hear?
Lucille (the store clerk): Tell me ev’ry-thing, my dear, You can trust me, and you know my lips are sealed.
Lucille: (To Farmer and Mailman) Did you hear? Did you hear?
Farmer and Mailman: Tell us ev’ry-thing my dear, And we promise it will never be revealed.
Lucille: They should put the girl away,
Mrs. Barry: That’s exactly what I say.
Mailman: You mean she went and split his skull in two?
Josie: I was there, and I swear there was blood just ev’rywhere
Mrs. Barry: She’s a vixen
Mrs. Pye: She’s a hussy
Mrs. Lynde (entering): Who?
Josie: We don’t want her kind in Avonlea, And I hope she leaves tonight. If they expel her, Then I’ll tell her, Serves you right!

Dialogue

Mrs. Lynde: Did you hear? Did you hear?
Marilla: I will never fear, You always have a bit of news.
Mrs. Lynde: Did you hear? Did you hear?
Marilla: Tell me ev’rything my dear.
Background: Well I never, did you ever? I suppose she thinks she’s clever. He’ll be marked for life with such an awful bruise!
Marilla: In the schoolroom? Split his head?
Josie: I think Gilbert’s good as dead!
Marilla: He was took by motor car to Cahrlottetown?
All: She’s a piece of Satan’s finest handiwork! She’s a vixen!
Mrs. Pye: She’s a hussy!
Lucille: She’s a terror!
Mrs. Barry: She’s a tartar!
Josie: We don’t want her kind in Avonlea!
All: Terrible tempered Turk!

Watch movie on youtube

| Writing credits | Lucy Maud Montgomery (novel), Kevin Sullivan, Joe Wiesenfeld
Cast
| Anne Shirley | Megan Follows
| Marilla Cuthbert | Colleen Dewhurst
| Matthew Cuthbert | Richard Farnsworth
| Rachel Lynde | Patricia Hamilton
| Miss Stacy | Marilyn Lightstone
| Diana Barry | Schuyler Grant
| Gilbert Blythe | Jonathan Crombie
| Aunt Josephine | Charmion King
| Mrs. Amelia Evans | Jackie Burroughs
| Mrs. Barry | Rosemary Radcliffe
| John Sadler | Joachim Hansen
| Mrs. Allan | Christiane Krüger
| Rev. Allan | Cedric Smith
| Mr. Philips | Paul Brown
| Josie Pye | Miranda de Pencier
| Jane Andrews | Trish Nettleton
} Ruby Gillis | Jennifer Inch
| Mrs. Hammond | Jayne Eastwood
| Mrs. Cadbury | Dawn Greenhalgh
| Station Master | Jack Mather
| Mrs. Blewett | Samantha Langevin
| Mrs. Spencer | Vivan Reis
| Alice Lawson | Mag Ruffman
| Dr. O’Reilly | Sean McCann
| Madame Selitsky | Roxolana Roslak
| Professor | Robert Haley
| Mr. Barry | Robert Collins
| Minnie May Barry | Morgan Chapman
| Tom | David Roberts
| Essie | Nancy Beatty
| Thomas Lynde | David Hughes
| Prissy Andrews | Wendy Lyon
| Moody Spurgeon MacPherson | Zack Ward
| Punch Woman | Anna Ferguson
| Section Head | Rex Southgate
| Pink Woman | Julianna Saxton
| Lace Woman | Molly Thom
| Student | Jennifer Irwin
| Mrs. Harrington | Sandra Scott
| Porter | Peter Sturgess
| Mr. Hammond | Ray Ireland
| Fairview Nurse | Martha Maloney
| Mme. Selitsky’s Accompanist | Stuart Hamilton
Uncredited
| Girl Folding Clothes | Christine Forsyth

Crew
| Coordinating Producer | Ellen Freyer
| Producer | Kevin Sullivan, Ian McDougall
| Music | Hagood Hardy
| Cinematography | René Ohashi
| Film Editing | James Lahti,| Mairin Wilkinson
| Casting | Diane Polley
| Production Design | Carol Spier
| Set Decoration | Elinor Rose Galbraith
| Costume Design | Martha Mann
| Makeup Artist | Shonagh Jabour
| Assistant Makeup Artist (uncredited) | Donald Mowat
| Construction Manager | Kirk Cheney
| Buyer | Danielle Fleury
| Set dresser | Danielle Fleury
| Production Sound Mixer | Stuart French
| Sound Mixer | Daniel Pellerin
| Sound re-recording mixer | The Stunt Team
| Co-color timer | Vaughan Killin
| Stand-in for Matthew Cuthbert | Gord Newsome
| Assistant camera | Rob McEwan

Sources

“Full Cast and Crew for Anne of Green Gables (1985) TV.” The Internet Movie Database. Online. Internet. Available: http://www.imdb.com/title/tt0088727/

Gilbert:
Wond’rin’
All at once I’m wond’rin’
What it’s like to grow up
And have someone show up

All:
There is a golden summer waiting for you,
Spinning a dream by sunset, Till it comes true.

All:
If it hadn’t been for you,
If it hadn’t been for me,
If it hadn’t been for all of us
I wonder where she’d be?
Why we wouldn’t have had all this fuss
If it hadn’t been for us!

Mrs. Lynde:
Well, I took a liking to her from the very start!
She was so polite and bashful that she won my very heart!
And I’m glad that all those books
Haven’t spoiled the beauty of her looks!

All:
If it hadn’t been for you,
If it hadn’t been for me,
If it hadn’t been for all of us
I wonder where she’d be?
Why we wouldn’t have had all this fuss
If it hadn’t been for us!

Mr. Philips:
It was destiny that chose me
To cultivate this pearl,
By devoting my attention
To the needs of ev’ry girl.
For in the field of knowledge
When you plant a tiny seed,
The results can be tremendous,
Tremendous, yes indeed!

All:
If it hadn’t been for you,
If it hadn’t been for me,
If it hadn’t been for all of us
I wonder where she’d be?
Why we wouldn’t have had all this fuss
If it hadn’t been for us!

All:
If it hadn’t been for you
If it hadn’t been for me,
If it had’t been for —

Miss Stacy:
Anne
So if it hadn’t been for you,
If it hadn’t been for me,
I’ve a hunch she’d still have made it as the pride of Avonlea.

Gilbert:
She’s the girl at the head of the corwd
And I’m feeling mighty, mighty proud.

All:
Feeling mighty, mighty,
Oh so mighty, might,
Feeling mighty proud!

All:
They call it
Prince Edward Island
The heart of the world
Set in the corssroads of the sea!
All of the nations have their banners unfurled,
Now that they know that this is the place to be!
Prince Edward Island
The heart of the world
Set in the corssroads of the sea!
All of the nations have their banners unfurled,
Now that they know that this is the place to be!
They call it … (dialogue)

I can’t find the words,
Can ‘t get out the phrases.
Just when she needs love
I can’t sing her praises.
Where do the words go
When I am before her?
Oh, if I could show what I feel in my heart.
I’d implore her.
I adore her
I’d die for her
But I can’t find the words!

Cecil:
It pulls at your mouth
And fits under your tail
And gives you a real smart jog!

Mrs. MacPherson:
You got a garment
That’s offer’d for sale,
In the new Spring Almanac?

Mrs. Pye:
It takes all the flesh
That you have in front
And movies it around in back!

Lucilla:
What can I do for you today?

Mrs. MacPherson:
Have —

Dialogue

Lucilla:
Step over here,
I’m at your service,
What can I do for you?

Matthew (spoken)
Well… I… I…

Lucilla:
Please don’t be nervous
I’ve nothing else to do!

Matthew:
I was some puff..puff…

(Lucila: Puff-puff?
Cecil: How’s that again, Matthew?)

Matthew:
Have you got puff-puff

(Karl: Pipe tobacco!)

Lucilla:
I’ll wrap a tin of “Old Chum.”

Matthew:
No, I want P… P… P…

(Mrs. Pye: Paraffin Oil!)

Lucilla:
Coming right up — one drum!

Matthew:
Have you got puff puff

(Cecil: Paris perfume?)

Lucilla:
Right now we’re all out of stock

Matthew:
No! I want P… P… P…

(Mrs. Pye: Pickled Preserves!)

Lucilla:
Pickled preserves! One crock!
My only aim in life is but to please you,
A general store is just the place to meet the needs of the human race.

Matthew:
What I really came for, I really can’t say,
It’s more like — Oops!

(Dialogue)

All:
Our only aim in life is just to please you,
A General store is just the placec
To meet the needs of the human race

Lucilla:
Put down six and carry two,
Is there anything else I can do for you?

Dialogue

Matthew: Puffed Sleves!

Gilbert: Though other boys are having fun,
By climbing trees and skipping school,
Except for me, the only one,
I’ll show her!
I know her!
I know behind that freckled face
There’s just a stuck up snob, who always has to win each race!

Both:
I know him/her

Anne:
I know that great big show off boy
Who thinks he’s oh so extra smart because he’s Josie’s pride and joy,
I know him!

Both
I’ll compete wit hhim/her!
Make mincemeat of him/her!
And I’ never will give in!
No retreat from him/her!
Wipe the street wit him/her
Yet I know that he/she will win!

Anne:
I know it!
I know what Giblert Blythe will do!
He’ll close his books right after school and never fuss or fret or stew
I know it!

Gilbert:
I know that when it comes the day
I’ll lose my nerve and not show up and run away!
I’ll throw it!

Both:
Won’t compete wit him/her1
I’ll be beat by him/her!
Please just free me from his/her grip.
I’ll retrteat from him/her
Crow I’ll eat wit hhim/her.
He/She can keep the scholarship!
No I’ll show him/her,
I’ll show that awful schoolroom scab!

Anne: The stuck up snob!
Gilbert: That freckled frouch!
Anne: That teacher’s pet!
Gilbert: That redhaired crab!

Both:
I’ll throw him/her!
The day will come when we will write the big exam,
Anne: And I’ll be calm
Gilbert:The bell will rign and wham!

Both:
I’ll show him/her!
I’ll show him/her!

Matthew:
I can get up phrases just as good as any poet,
Then I stumble on my tongue and – and – and — I throw it!
Can’t I say the things I mean?
Can’t I say the things inside me?
What a day
When I say my say.

I can make up fancy talk just like a great orator,
When I’m staring straight into the eye of a potater!
But with people I’m struck dumb.
But with people I go speechless!
What a day
When I say my say!

Though I’ve never taken courses
I know how to sweet talk horses
You can bet they know when I holler Whoaaaa!
I can chat wit heifers and it’s never a disaster
I can facee a chicken and we really know who’s master!
And they don’t talk back at me,
I can get a word in edgewise.
What a day When I say my say!

Dialogue

In the pigsty I’m a winner
When I call the sows to dinner
I don’t beat a drm
When I call

All my life I’ve stood around while women chitter chatter.
Now the time has come to take a stand upon the matter,
And I’m going to speak my mind,
And I swear I won’t be tongue-tied!
What a day! What a thing!
Bells will ding, dong, ding, what a day
When I say my
What a day When I say my say!

Open your hands! Reach for the skies!
Gilbert: How does a lobster (Miss Stacy:“yes”) fertilize?
Miss Stacey: Look all around you!
Life will astound you!
What makes the yellow warbler sing?
Open your heart, too.
Now we weill start to
Learn everything!

(Dialogue)

Miss Stacy: Open the window!
All: Open the window!
Miss Stacy: Sweep out the cobwebs!
All: Sweep out the cobwebs!
Miss Stacy: Open your mind to what is going on all around.

Miss Stacy: Look at the sunlight!
All: Look at the sunlight!
Miss Stacy: What is it made of?
Miss Stacy: How can it make the flowers jump right out of the ground?

Miss Stacy: Take off the blinkers!
All: Take off the blinkers!
Miss Stacy: Let in the daylight!
All: Let in the daylight!
Miss Stacy: Tear down the fences!
All: Tear down the fences!
Miss Stacy: Use your five senses!
All: Use your five senses!
Learn ev’rything!

Miss Stacy: Open the window,
Roll up the blind there,
And you will find there is a paradise all a-blaze!
Listen to music.
Look at a statue,
Beauty comes at you in a thousand different ways.
Dream up a dream.
Make it come true.
Man made an airplane,
And it flew!
Open the tap now,
Take off the cap now.
Let your imagination swing!
Tear down the fences!
Use all your senses!
Learn ev’rything!