Harold's story

Thomas and Alfred, who take their cows to a mountain pasture named Grace. This annual tradition occurs during the hot summer months when the heat in the valley becomes unbearable. Typically, they remain in the pasture for approximately two months. Although the work is relatively simple, it often becomes exceedingly monotonous.

This year, however, Thomas proposed an innovative idea to alleviate their boredom: they should embark on a project that would be both enjoyable and practical. He suggested constructing a scarecrow using the old straw sacks they had lying around.

This scarecrow would serve to deter birds from the field, and they could unleash their creativity in its design. Alfred then proposed that they model the scarecrow after Harold, a farmer they both despised, which Thomas found to be quite amusing. Consequently, they fashioned the scarecrow with Harold's beady eyes, a frowning expression, a pointed nose, and, of course, they named him Harold.

Each morning, they would secure Harold to a pole in the field, and every evening, they would bring him indoors to protect him from the rain. Occasionally, they would humorously engage with Harold, joking that his job was even more tedious than their own. However, on particularly frustrating days, they would take out their grievances on him, resorting to punching and kicking.

Whenever they grew weary of their monotonous stew, they would smear it on Harold's face, as if to mock him. One night, after Thomas had smeared food on Harold's face, he emitted a grunt, and although Alfred was reluctant to accept it, Thomas insisted it was indeed the case.

Regardless, this situation resulted in a reprieve for old Harold from the mistreatment he had endured, allowing him to remain indoors throughout the day rather than being tethered in the field. Occasionally, he would grunt or twitch, but the farmers attributed these movements to the presence of mice or cockroaches within him.

However, one morning, their deepest fears were confirmed when Harold stood upright before them, appearing to have grown since they last saw him. The farmers were paralyzed with fear, yet Harold did not approach them; instead, he exited the hut, ascended the roof, and began to prance about like a horse on its hind legs.

The following morning, Harold descended from the roof, made his way to a distant corner of the field, and gazed at the farmers from afar. Uncertain of Harold's next actions, the farmers collectively decided they preferred not to find out, prompting them to cut their mountain trip short and begin their descent into the valley. Just as their spirits began to lift, and they felt they had narrowly escaped danger, they realized they had left behind their milking stools, which were quite costly.

Consequently, they drew straws to determine who would return to retrieve them, and Thomas emerged as the fortunate one while Alfred continued his descent but Upon his arrival at the path, he glanced back to check if Thomas was following or if he should wait. However, instead of Thomas, he spotted Harold.

The doll was once again positioned on the roof, displaying Thomas's bloodied skin to dry in the sunlight. This scene represents one of the most unsettling conclusions in horror history, primarily due to the vast amount it leaves to the viewer's imagination. The image of a scarecrow airing out a man's skin is already deeply disturbing, but contemplating the struggle that preceded this moment and the torment Thomas experienced in his final moments amplifies the horror.

Furthermore, one must consider Alfred's reaction upon witnessing his friend in such a grotesque state. It is improbable that he would return to that hut without a flamethrower in hand and the entire squad from Predator at his side. Thus, Harold was likely left to continue his gruesome project with Thomas's remains. In the recesses of Alfred's mind, he understood that he had condemned his friend to this fate and could only wish that Harold would not pursue him next. Now, let us examine the various ingenious methods employed by the creators of the film.

that the narratives utilized by Alvin Schwarz in his series are derived from folklore, myths, and legends. For instance, the wendigo story, which is also referenced in the film, is based on the well-known tale by Algernon Blackwood, which we discussed last year. Similarly, Harold's story draws from a comparable tradition, so let us examine the twisted tale that inspired his character.

It appears that Harold is not the first malevolent scarecrow to be animated; this type of folklore has been quite prevalent in the mountainous regions surrounding the Alps, including Austria, Switzerland, and Germany, among others.

I took the initiative to explore some of these tales and discovered several intriguing elements worth sharing. Firstly, Harold is not merely a doll or scarecrow that has come to life; he is a creature known in folklore as a "senntüna", a Swiss term that I may be mispronouncing. In folklore, senntüna are deformed and grotesque dolls crafted from discarded materials, much like how Harold was fashioned from straw and old rags.

Most senntüna tales follow a similar narrative arc to the one we have just examined: lonely farmers in the mountains create a doll and mistreat it, leading to the doll's eventual animation and subsequent vengeance. However, there exists a notable and significantly darker distinction between the tales recounted in the mountains and the story we have just reviewed. Surprisingly, the narrative can indeed take a more sinister turn; in the folktales that Schwarz drew upon, the senntüna is typically designed to resemble a woman. There is even a Swiss film that was released in 2010 that explores this theme.

In addition to regularly defeating the sentient doll, the farmers also commit acts of sexual violence against it, which diminishes the sympathy one might feel for the character that ultimately meets a gruesome fate. Other notable differences include the portrayal of the farmers as irreverent individuals who deride Christianity in various forms.

A pivotal moment occurs when they baptize the doll, an act performed solely to mock the Christian sacrament. This act serves as a perverse imitation of the sacred ceremony that followers of Christ undergo, as they choose to perform it on a sex doll constructed from refuse. At this juncture, divine patience appears to wane; upon the doll's baptism, it is granted life and subsequently exacts vengeance on its tormentors by violently eliminating the most egregious of them. While the specifics of this act of murder remain ambiguous, it consistently concludes with the remaining farmers witnessing the aftermath, as they look back at their dwelling to find the killer displaying their companion's skin on the roof.

Another BOOK the author based it on is Once Upon a Time, authored by Swiss scholar Max Luy in 1970, delves into the essence of fairy tales. If you consider yourself an enthusiast of folklore, as I do, this book will undoubtedly captivate you.

Luy offers a comprehensive analysis of the symbolism inherent in folktales, exploring various dimensions including sociological, psychological, structural, and stylistic aspects. Chapter 6 specifically addresses narratives involving living dolls and delineates the distinction between local legends and fairy tales.

Stories about living dolls are categorized as local legends primarily because they are often recounted as if they are true events. Furthermore, local legends tend to possess darker and more violent themes compared to fairy tales, or at least the versions we are familiar with today. Nevertheless, living dolls also feature in fairy tales, as exemplified by a Greek tale that imparts similar lessons to the traditional living doll narrative, albeit with less potential for trauma.

In this story, a princess, seeking companionship, crafts a man from sugar almonds and groats—ingredients she has on hand, reminiscent of the farmers' tale. After praying for 40 days and nights, God grants life to her creation as a reward, contrasting with the farmers who faced punishment. The princess quickly falls in love with Mr. Groz, who becomes a sensation throughout the kingdom due to his miraculous origin.

but much to her dismayAn evil queen, much to her dismay, discovers the existence of a certain individual and desires him for herself, leading her to kidnap him. Consequently, the princess is compelled to embark on a quest to locate Mr. Groos throughout the realm, exhausting three pairs of iron shoes in her search.

Ultimately, she finds him seated on the throne beside the malevolent queen. Initially, he fails to recognize the princess; however, she manages to jog his memory, and together they ride a magnificent horse back to her kingdom, where they live in happiness ever after. In the meantime, the evil queen attempts to create a new companion for herself, but her selfishness and lack of love result in a failed creation that decays and must be discarded. Thus, while her fate may not be as dire as that of the farmer, she ultimately faces defeat. The narratives of Mr. Groos and Harold both impart valuable lessons regarding selflessness and piety.