Arch Oboler: The Visionary Radio Dramatist Who Pioneered Horror and Psychological Thrillers

Arch Oboler was born on December 7, 1907, in Chicago, Illinois, to Leon and Clara Oboler, Jewish immigrants from Riga, Latvia. Despite the family's modest means, Oboler grew up as a voracious reader and discerning music appreciator, developing a deep appreciation for the works of virtuoso violinist Fritz Kreisler and renowned soprano Amelita Galli-Curci.

Even from a young age, Oboler displayed a keen creative instinct and an insatiable curiosity about the world around him. As he came of age during the early 20th century, the budding dramatist recognized the untapped potential of a new and rapidly evolving medium - radio. Oboler believed that this emerging technology could transcend the limitations of traditional theater and literature, allowing him to craft stories that would captivate and unsettle listeners in unprecedented ways.

Entry Into Radio

In 1933, Oboler's vision for the future of radio took a significant step forward when he wrote a speculative script called "Futuristics." This satirical play envisioned the world of the present through the lens of a futuristic setting, offering a bold commentary on the state of society. To Oboler's delight, NBC purchased the script and broadcast it as part of a dedicatory program for the network's new headquarters in New York City, Radio City.

The success of "Futuristics" marked the beginning of Oboler's foray into radio, but it also set the stage for his future clashes with broadcasters. In the play, one of Oboler's characters lampooned the slogan of the American Tobacco Company, a taboo act at the time when making fun of commercials was still frowned upon.

Over the next few years, Oboler honed his craft, writing potboilers for programs such as "Grand Hotel" and "Welch's Presents Irene Rich." However, his big break came in 1936 when radio impresario Rudy Vallée used one of Oboler's short radio playlets, "Rich Kid," on his popular program. The success of "Rich Kid" landed Oboler a lucrative 52-week stint writing plays for Don Ameche on "The Chase and Sanborn Hour."

Pioneering Radio Drama

During this prolific period, Oboler continued to push the boundaries of radio drama, writing a number of "idea plays" that were often aired in shortened form on programs like "The Rudy Vallée Show" and "The Jack Benny Program." These experimental works showcased Oboler's talent for crafting suspenseful, thought-provoking narratives that captivated listeners.

Oboler's big break came in 1939 when NBC gave him his own series, "Lights Out," without a sponsor and with complete creative control - an almost unheard-of honor at the time. The series, which aired on Sunday evenings, pitted Oboler's dark, unsettling tales against the popular comedy of "The Jack Benny Program."

Oboler's "Lights Out" quickly gained a devoted following, thanks to his masterful use of sound effects and his ability to create an atmosphere of palpable tension and dread. He recruited an impressive roster of actors, including Bette Davis, Ronald Colman, Edmond O'Brien, Elsa Lanchester, and James Cagney, to bring his chilling scripts to life. One of the most memorable broadcasts was Oboler's adaptation of Dalton Trumbo's "Johnny Got His Gun," a harrowing story of a World War I casualty with no limbs, eyes, ears, or mouth.

Controversies and Challenges

Oboler's success with "Lights Out" was not without its controversies. In 1942, he was invited to speak at the Radio Institute at Ohio State University, where he advocated for the use of radio to instill hatred of the enemy during World War II. Some at the institute interpreted this as a call for the same kind of racial hatred being propagated by the Axis powers, and Father Edward J. Flanagan, the founder of Boys Town, publicly rebuked Oboler, stating that America did not need its own "Goebbels."

Despite this setback, Oboler continued to push the boundaries of radio drama, even as he faced resistance from broadcasters. In 1945, he enlisted the help of comedian Eddie Cantor to get another propaganda series on the air, but Cantor's efforts were ultimately unsuccessful. Undeterred, Oboler decided to find a way to "make money quickly" in order to continue writing plays with "some level of maturity and usefulness." He secured a sponsor for a revival of "Lights Out," which became one of his most iconic and enduring works.

Transition to Other Media

As Oboler's reputation as a master of radio drama grew, he began to attract the attention of Hollywood. In the 1940s, he was summoned to the West Coast, where he began churning out feature scripts for RKO Pictures, including the film "Gangway for Tomorrow."

Proving his versatility, Oboler eventually made the leap to directing, helming films such as "Bewitched" and "Five," the latter of which was set in his own Frank Lloyd Wright-designed home, "Eaglefeather." Oboler's most significant cinematic achievement, however, was the 1952 film "Bwana Devil," which is widely regarded as the first feature-length 3D movie.

Oboler's transition to television was less successful, though he did helm the short-lived anthology series "Oboler's Comedy Theatre" in 1949. The show featured episodes with quirky premises, such as "Ostrich in Bed" and "Mr. Dydee."

Legacy and Influence

Throughout his career, Arch Oboler was hailed as a visionary and a key innovator in the field of radio drama. His bold, experimental approach to storytelling and his mastery of sound effects and atmospheric tension set him apart from his contemporaries. Radio historian John Dunning described Oboler as "one of those intense personalities who are liked and disliked with equal fire," a testament to the impact he had on the medium.

Oboler's influence can be seen in the work of later radio dramatists and filmmakers who sought to push the boundaries of their respective mediums. His ability to create a sense of unease and dread through the use of sound and psychological manipulation has been cited as a precursor to the work of directors like Alfred Hitchcock.

Despite the ups and downs of his career, Arch Oboler's legacy as a pioneering force in radio drama remains secure. His innovative approach to the medium, his willingness to tackle controversial subject matter, and his enduring impact on the industry have cemented his place as one of the most influential figures in the history of old-time radio.

Works and Appearances

Radio

"Futuristics" (1933) - Satirical radio play
"Rich Kid" (1936) - Short radio playlet
"Lights Out" (1939-1942, 1944-1945) - Horror anthology series, writer and director
"The Chase and Sanborn Hour" (1936-1937) - Playwright
"The Rudy Vallée Show" (1936-1937) - Aired Oboler's "idea plays"
"The Jack Benny Program" (1936-1937) - Aired Oboler's "idea plays"

Film

"Escape" (1940) - Screenwriter
"Bewitched" (1945) - Director
"Five" (1951) - Director, featured Oboler's Frank Lloyd Wright-designed home
"Bwana Devil" (1952) - Director, first feature-length 3D movie

Television

"Oboler's Comedy Theatre" (1949) - Anthology series, creator and director

Books

"Oboler Omnibus: Radio Plays and Personalities" (1945) - Collection of Oboler's radio scripts

Arch Oboler: Radio's Master of Suspense and Innovation

Enjoys some shows