‘Woof!’ Beware of librarian

“Remember getting trapped in that library? I still have nightmares about that!”

The 1989 film Woof! details the comic adventures of an English boy, Eric (played by Edward Fidoe), who turns into a dog — a Norfolk terrier, to be exact — whenever his nose starts twitching. The movie, although a bit dull and hokey to me, is connected to a long-running (!) British TV series.

Stereotypes abound in this movie. There is the stuffy, child-hating teacher who yells at students to keep off the grass; the absent-minded and slightly buffoonish father; and, of course, the glasses-wearing, sour-faced librarian. This movie seems harmless enough, but I got an overwhelming sense of rules, rules, RULES. There are rules about not walking on the school lawn, no toys in the pool, no dogs allowed, no talking, and so on. Perhaps the boy (subconsciously) simply wants to escape!

The boy becomes determined to figure out why he keeps turning into a dog and tells his parents he’ll be going to the library later. His mother’s reaction? To feel his forehead and ask if he’s all right. It seems in this household, going to the library is odd behavior and cause for concern. Brushing away his mom’s concern, he tells his not-so-bright friend, Roy, at school that they must start by collecting data. Roy sees a light bulb, “Oh, that’s why you asked about the library tickets!”

Their first stop is the school library, a small room with few books available. There doesn’t appear to be any school librarian. The room is filled with older wood-and-metal tables and chairs, a chalkboard, a bulletin board covered with pictures, and a few low bookcases. From one angle, we see a large window along the back wall with a view of trees. There are a few books haphazardly stacked up on one bookcase, and a small 6-drawer card catalog on top of another. Overall, the look is very cluttered and disorganized.

Screenshot from 'Woof!' movie
The school library from the Woof! movie – no school librarian to be seen
Screenshot from the 'Woof!" TV series
The school library in the TV series seems to be better stocked – did they finally get a librarian?

Although the scene is only two minutes long, the message of RULES gets hammered again. Two girls come in and immediately ask, “Have you got permission to be in here?” Then a teacher — the same one who had yelled at them about walking on the grass — bursts in and yells again. “What are you up to?!” The fact that he’s holding a gun in his hand is commented on but never explained. Decidedly odd.

“It’s not easy is it, research?” Eric muses, on their way to the public library. This five-minute scene takes place toward the end of the first hour of the movie. The public library looks cheerful from the outside, with its traditional red brick and gold lettering; it seems quite busy and popular with lots of people going in and out. No “beware of librarian” signs to be seen.

The next shot showcases the main librarian (Sheila Steafel), checking out books with a scanner at the Circulation desk. She appears to be middle-aged, with short blondish hair, glasses perched low on her nose. She wears a tan cardigan and a light blue/grey blouse with an undone bow at the neckline. She wags her finger at two girls, who promptly move to the other side of the librarian’s right side (again, RULES alert!). After the girls have moved to the proper place, the librarian then motions for their library card. There is another librarian, uncredited, with her back to the camera. We see glimpses of her later on; she is of African descent, and she also wears rather conservative clothing (a black cardigan, white button-up shirt, long black-and-white polka-dotted skirt).

We get to see more of the public library, which has many bookcases, light-colored walls, and several informational signs. A character even mentions a second floor. There are several dark wood tables and comfy chairs visible.

Librarian rings a bell in Woof!
Actions speak louder than words

The boys apparently find more books, judging by the stack on their table, but their research is cut short. Next, we see the librarian standing in the middle of the floor, in a light tan, calf-length skirt and brown flats, but without her glasses. She’s waving a large bell, a not-so-subtle way to signify closing time. Seeing no reaction from two kids right beside her, she waves the bell right in their faces (see above). Still no words, just crude gestures. After putting the bell back on the desk, she turns to a book cart, then taps impatiently to the man standing on the other side of the cart. He moves quickly (fearing worse her bite or her bark?), and she hurriedly pushes the cart in front of him.

Disaster strikes! Eric turns into a dog at the library. Roy leaves his duffel bag of the library table, where it catches the ire of the librarian, who is busy pushing the cart and clearing up books. When she spies the offensive bag, she rolls her eyes, gives it a glare, huffs, and throws the bag on the cart. While Eric’s friend is trying to figure out a way to get them out of the library without the librarian seeing, the director cuts to the librarian back at the Circulation desk. (Side note: we see the electronic scanner, but no computer. Hmmmm…..)  Up to this point, the librarian has been more of the “Actions speak louder than words” type, but she finally speaks up — albeit in a whispering tone — in the presence of an adult (her perceived equal?), a schoolteacher. The teacher, who is also the cricket coach, invites the librarian — and even calls her by her first name, Marjorie, although she is listed only as “Librarian” in the credits — out to the cricket match. The librarian seems horrified at this idea. The teacher, giving no notice to the librarian’s obvious social discomfort, leaves by trilling, “Till this evening.” This prompts the librarian to finally raise her voice, shouting out, “NO! I — ” before breaking off. She seems quite embarrassed at her outburst — breaking her own rules, tsk tsk — and looks around guiltily while biting her nails (see below).

Librarian bites her nails in Woof!
Librarian bites her nails in Woof!

When Roy braves his life to ask the librarian about the missing duffel bag, we see the librarian glare at the boy with pursed lips. She shows no concern, airily telling him that the teacher took the bag. She shows much more concern about getting out of there, as she is in the process of putting her glasses up in a case. The boy, not getting the message from the librarian’s first dismissive smile, earns a scathing warning, “We are CLOSED now, actually” and another dismissive nod. Roy then walks slowly away, carrying out Eric-turned-dog in his other bag. Eric lets out a bark — what a mischief-maker! — which causes a look of confusion on the librarian’s face (in yet another close-up). She purses her lips again, raises her eyebrows, and looks around in confusion, as if she’s hearing things. She puts on her wide-brimmed black hat (which is NOT shaped like a witch’s hat), and that is that.

So what’s the point of the library scenes? Eric thinks of the library first when it comes to research — yay! — and seems to find more info at the public library than at the woefully understocked school library. But the kids are definitely on their own, either way. No help from this librarian. She appears quite dowdy, with a dismissive attitude when it comes to children or library users in general. She is not social — the idea of going out in public to a cricket match scares her into a shout! — and her mannerisms betray this social awkwardness. The only library tasks depicted are checking out books, pushing a cart, picking up books, and telling people to go home.

The public librarian serves as yet another authority figure who presents obstacles for the kids and delivers more rules. She is another guard dog — mirroring the big, scary black dog the boys have to confront every morning on their paper route. But her bark — or glare, in this case — is decidedly worse than her bite. Not a flattering portrait. She serves as both a Spinster Librarian (an uptight rule-monger) and Comic Relief (the target of derision and laughter in socially awkward situations).

Eric succinctly sums up his experience with the public librarian. At the end of the movie, he says, “Anyway, I’m glad it’s over. Remember the swimming baths, the telephone box, getting trapped in that library? Tell you, Roy, I still have nightmares about that!”


Sources used:


  • Woof! Dir. David Cobham. Perf. Liza Goddard, John Ringham, Edward Fidoe. Miramax, 1989.

The horror of an unethical librarian in ‘The Seventh Victim’

The librarian sells her soul for a few cheap compliments

In honor of Halloween, I’m exploring the first horror film (at least, the first one I have been able to find) that features a librarian. The Seventh Victim (1943) is a creepy thriller about a woman, Mary Gibson (Kim Hunter), who is desperate to find out more about her sister’s (Jean Brooks) disappearance and mysterious involvement with a cult. For me, the scariest thing is probably Jean Brook’s hairstyle in the film (which you can see in the image, at left, and in the trailer below).

Jason Hoag (Erford Gage) is a book clerk by day, poet by night. He wrote a bestseller 10 years ago, but now has nothing much to his name. Following a lead in an effort to impress Mary, he tries to gather clues from the circulation records of suspected cult members. (By the way, do NOT try this at home. This is highly unethical and illegal behavior. Library circulation records are private, even concerning members of a mysterious cult.)

Reel librarian in The Seventh Victim
Reel librarian in The Seventh Victim

The librarian, Miss Gottschalk (Sarah Shelby in an uncredited role), is only in this scene, which lasts just under a minute. She is white, late 30s or early 40s, with her hair rolled up in an unflattering style. She is wearing makeup and seems to be attempting a modern style in her dress — she’s even wearing nail polish! — but the end result is an ill-fitting suit that comes off as conservative when combined with her old-fashioned updo. Ultimately, she seems a bit desperate.

In mild Naughty Librarian fashion, she quickly responds to Hoag’s flirting, who shamelessly seizes the opportunity to obtain the books the cult members have checked out. He uses the pretense of giving gifts because “nothing nicer than a book for a gift” and gets on her good side by complimenting her hands as “so slim and capable” (such flattery!).

At first, she demurs, “I’ll have to get permission” to look at the closed-shelf books, but soon breaks out an attempt at a coquettish smile. But “since [Hoag] is over 21”, she gets the books he’s looking for, after first flipping through her card catalog files to find the names and titles he’s seeking. Basically, Miss Gottschalk sells her soul — in less than a minute! — for a few cheap compliments, breaking the rules to provide him restricted books taken from the private records of library patrons (aarrggghhhh — again, totally unethical and illegal behavior). As Ray & Brenda Tevis sum up this scene in The Image of Librarians in Cinema 1917-1999, “the extent to which filmgoers believe Gottschalk’s behavior is transferable to working librarians depends upon whether they believe that reel librarians accurately reflect the ethics of working librarians” (46). In this case, let’s hope they don’t!

She is a less extreme version of the Naughty Librarian — you can tell she wants to let her hair down after work and is seeking opportunities to do just that, with her (sadly inept) flirting. And she does engage in illegal behavior — for shame! — but it’s not to the extremes of violence as other Naughty Librarians (see Personals).  She also serves the role of the Information Provider, providing Hoag with the clues he uses to follow the cult’s trail.

The Seventh Victim (1943)” video uploaded by KmanCosmo is licensed under a Standard YouTube license

Sources used:


  • The Seventh Victim. Dir. Mark Robson. Perf. Kim Hunter, Jean Brooks, Tom Conway, Isabel Jewell, Erford Gage. RKO, 1943.
  • Tevis, Ray, and Brenda Tevis. The Image of Librarians in Cinema 1917-1999. McFarland, 2005.

Librarian as nightmare

One image I keep seeing, in different forms, is the librarian as nightmare.

Certain reel librarian characterizations, I believe, can transcend their stereotypes and become something more — a pop culture representation we can recognize, consciously or not. Film is an excellent medium for this; as the librarian becomes a literal image, the significance of that image can become strongly linked in our brains to deeper meanings. One image I keep seeing, in different forms, is the librarian as nightmare. Or maybe it’s the influence of Halloween. You decide.

Take, for example, the Spinster Librarian that Mary (Donna Reed) becomes in It’s a Wonderful Life (1946). As I’ve said before, it’s amazing how much this 30-second scene haunts the reel librarian image!

Mary as the Spinster Librarian in the second half of ‘It’s a Wonderful Life’ (1946). This screenshot from the film is in the public domain.
Mary as the Spinster Librarian in the second half of ‘It’s a Wonderful Life’ (1946). This screenshot from the film is in the public domain.

The second half of the film explores how the town and certain characters’ lives would have changed if George Bailey (James Stewart) had never been born. Mary becomes a drawn, reclusive, and unattractive old maid who works in the library, and her failure to recognize her husband finally sends George over the edge and causes him to beg for his life back. She is literally the last straw for George, but she also acts as the last straw for US, the audience. In this frightening vision of a town without George, the horrible realization that Mary becomes (gasp!) a Spinster Librarian rings the final death gong for the nightmarish hell we have witnessed on screen. We want, as much as George, to escape from Pottersville and return to Bedford Falls. In the first half of the film, Mary represents the virtuous mother, but in the second half, she represents a nightmare — a cinematic journey of opposites and extremes. In her reincarnation as the Spinster Librarian, Mary reinforces the horrifying twist of reality that we seem to have no control over our lives.

There is also a significant sub-genre of horror films featuring librarians. Why? Personally, I suspect a deeper link to the obsession over the idea of control, or fear of losing control in our lives — and librarianship is a perfect profession to play off of that. It’s true, librarianship is inextricably linked to the ideals of organization (or control, if you’re feeling cynical). As a librarian, I see patterns of organization everywhere. It would be tempting indeed to extend that organizational tendency and tip it over the edge into obsession — or even insanity — to create cinematic drama and tension. Horror films are ripe for showcasing the librarian-turned-nightmare. Let’s look at some, shall we?

Chainsaw Sally (2004) features a “a calm librarian by day, and a brutal serial killer by night” — a nightmare come to life. In this case of extremes, it’s the librarian side of Sally — the “timid and harmless” side — that is the costume; the nightmare she becomes at night has become her true self. It seems her killer tendencies stem from traumatic childhood experiences, and her desperate attempts to exert control over her life manifest in both areas of her life, the librarian and serial killer.

The TV movie Wilderness (1996) treads familiar ground, but presents a twist on the librarian-as-nightmare image. “Mild-mannered librarian” Alice turns into a different kind of nightmare every month — a werewolf! Her daily life as librarian represents her obsession over control. Her secret life where she “is free to satiate her most personal and sometimes shocking desires” represents the wild break and loss of that controlling obsession.

Although a librarian is NOT the main character — thank goodness — in The Killing Kind (1973), the librarian in that film fantasizes about nightmares — or as she calls them “hallucinations, they’re so real.” One of her hallucinations includes a rape fantasy, a secret for which she immediately feels shame for sharing. Her sexual repression is represented in the seemingly constrictive binds of her profession. I’m not personally agreeing with that view, merely calling ’em as I see ’em.

The plotline in All About Evil (2010) may ring familiar: A “mousey librarian” discovers her inner serial killer — in this case, after she inherits a movie house. The obsession over control rears again; in the high-pressure situation of saving the family business, she resorts to churning our her own brand of “snuff films” of her own killings. Naturally, as according to a DVD Verdict review, she also “chastis[es] an indie film audience to do things like keep quiet and silence their cell phones.” Once a librarian, always a librarian!

Hopefully, these librarian characters will not haunt YOUR nightmares… Happy Halloween!


Sources used:


  • All About Evil. Dir. Joshua Grannell. Perf. Natasha Lyonne, Jack Donner, Julie Caitlin Brown. Backlash Films, 2010.
  • Chainsaw Sally. Dir. Jimmyo Burril. Perf. April Monique Burril, Mark Redfield, Alec Joseph. Shock-O-Rama Cinema, 2004.
  • It’s a Wonderful Life. Dir. Frank Capra. Perf. James Stewart, Donna Reed, Lionel Barrymore, Thomas Mitchell, Henry Travers. RKO, 1946.
  • The Killing Kind. Dir. Curtis Harrington. Perf. John Savage, Ann Sothern, Ruth Roman, Luana Anders, Cindy Williams. Media Cinema Group, 1973.
  • Wilderness (TV miniseries). Dir. Ben Bolt Perf. Amanda Ooms, Gemma Jones, Michael Kitchen. UK, 1996.