Very dark satire with a screenplay by Clifford Odets. This is a Film Noirmasterpiece directed by Alexander Mackendrick (The Lady Killers 1955)
Starring the enigmatic Burt Lancaster as J.J. Hunsecker… a power-hungry columnist whose unethical practices and megalomania make him a force to be reckoned with. Tony Curtis plays the smarmy climber– press agent always on the make–Sid Falco. He’s J.J.’s wingman who has to clean up the wake of the destruction he leaves behind with his brutal and persuasive influence. It’s a dark and sinister condemnation of the world of entertainment, publishing, nightclubs, social circles… the works!
The film also stars Martin Milner as Steve Dallas a jazz musician who wants to marry J.J.’s younger sister Susan (Susan Harrison) There’s a very strong undercurrent of incestuous fixation on the part of J.J. toward his sister, as he controls her every move and tries to destroy the young woman’s relationship with Steve. Fantastic dialogue throughout and James Wong Howe’scinematography is exquisitely framed for the dark and intriguing atmosphere of New York City’s nite life. Elmer Bernstein adds his wonderful score to this urban morality play.
I love Barbara Nichols as Rita the cigarette girl…
Always sweet here at The last Drive In-Your EverLovin’ MonsterGirl!
Anne Bancroft is a lady who lunches and listens to gossip in The Pumpkin Eater – being held hostage by the intensely neurotic Yootha Joyce a lonely housewife sitting next to her while trapped under the hair dryer of life… The woman at the hairdresser-“It’s like I told you, my life is an empty place!” Jo-“Well what do you want me to do about it?”
"The question isn't who's going to let me; it's who is going to stop me."– Ayn Rand
Cognition–ËŒkägˈniSHÉ™n| (noun) the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses. "¢ a result of this; a perception, sensation, notion, or intuition.
These 4 particular films seem to be part of a trend of films that deal with either women’s brewing emotional turmoil or in the case of Jean Seberg’s Lilith- a creeping organic madness, perhaps from childhood trauma that is not delved into.Â
Let’s consider women either in distress or the oft-used “hysterical’ trademark that summons every neurotic ill associated with women. With these 4 films it's the same root problem: Why should society determine what counts as an emotional problem? This is especially true for women as if she was the engendering source of a specific kind of female mayhem, the creator of the tumult itself… Capable of giving birth, does she also give birth to a certain kind of madness directed inwardly or aimed outward at society and its unyielding ethical questions?
It’s not that I think Barbara Barrie is troubled because she falls in love with a black man. It's that the world is troubled by her decision. Because of her choice -a society inherently cruelly punishes her by taking away the one thing she had personal power over, to remove her child from her life. Although, she has a wonderful relationship with Frank both are being judged and condemned.
The judge awards custody of her little girl to the biological father even though he is not the better parent. Not too long ago, women could be hospitalized just for being menopausal, based on what their husbands said.
Women were at the mercy of white male society's judgment. So if a white woman loves and marries a black man in the volatile climate of the civil rights 60s it would absolutely cause turmoil and quite the commotion.
All these women experience cognitive commotion but are not necessarily crazy. One Potato Two Potato is about the societal impositions forced upon an interracial couple and the strain of a child custody battle forcing her to qualify herself as a good mother. The sentiments of the time, the courts, and society, in general, are disempowering Julie through her motherhood.
This inflicts an agonizing torture on Barbara Barrie’s character Julie. Barrie’s performance as well as Bernie Hamilton as a man whose own masculinity is tested, tears me up inside…
A white woman, Julie Cullen falls in love with Frank Richards, a black man, against the will of everyone around them, including his parents who think he should stick with his own kind. Eventually, Frank’s mother and father come around and embrace Julie and her daughter who considers Martha and William her grandparents.
Julie has a son with Frank…and suddenly is being faced with a white judge deciding on who will gain custody of her little girl from a previous marriage to a man Joe Cullen who abandoned them years ago. Not til he finds out that she is being raised by a black man does he rise to take action and gain custody of his daughter.
This is a courageous story to relate to in 1964. Barrie’s anguish is one that is not self-inflicted, there is no mental disorder or neurotic dilemma yet it would challenge anyone who dares to be truthful and follow their heart in a world where many people must hide who they are. A beautiful love story that becomes tainted by the stain of ingrained hatred and ignorance. And causes ruination to a happy family.
Barbara Barrie’s performance as Julie Cullen Richards is nothing short of intuitively astounding.
Just for funzies, I wanted to paint some contrast into the mix, therefore pointing to films that truly deal with women and mental illness.More than cognitive commotion, they’re unstable, noncompos mentis, deranged, knife-wielding, murderous femmes, traumatized, delusional dames… or all out CRAZY NUTS!!!!!!!!!
And…
I’ll probably write about all these films mentioned–the women on the verge of a nervous breakdown or already on the shoulder of the weary road of life with all four tires flat at some point. I’ll Consider Charles Vidor’sLadies in Retirement 1941where Ida Lupino has to take care of her two dotty sisters Elsa Lanchester and Edith Barrett as the Creed sisters… They’re wonderfully Cukoo!!! I did a little piece on this gem a while back…
Robert Siodmak’sThe Dark Mirror 1946 with Olivia de Havilland playing twins Terry & Ruth Collins, Gene Tierney gorgeous yet cunningly homicidal in Leave her To Heaven 1945, Laraine Day is totally unhinged in The Locket 1946, Joan Crawford as Louise Howell has a nightmare filled flashback in Curtis Burnhardt’sPossessed 1947.
“she is shown as alienated and stricken with psychological torture”– {source Marlisa Santos The Dark Mirror; Psychiatry and Film NoirÂ
Then again in Anatole Litvak’s story actually set in a mental institution with Olivia de Havilland stuck in The Snake Pit 1948, Vivien Leigh is the consummate delusional Blanche Dubois in Tennessee Williams’A Streetcar Named Desire 1951… Marilyn Monroe gives a riveting performance as the deranged babysitter–(oh god kid just be quiet for Nell) in Roy Ward Baker’sDon’t Bother to Knock 1952, Joanne Woodward is in emotional conflict with three different personalities all herself…in The Three Faces of Eve 1957.
Eleanor Parker gives a stunning portrayal of multiple personality disorder in Hugo Haas’Lizzie 1957, I’ve written about Liz Taylor almost getting her frontal lobe sucked out at the request of her domineering Aunt -(Katherine Hepburn) just to hide her son’s sordid secret life in Suddenly, Last Summer 1959, Jean Simmons tries to find happiness in a loveless marriage that isn’t her fault in the engrossing Home Before Dark 1958, Ingmar Bergman’s Striking minimalist piece about mental turmoil in his beautifully photographed Through a Glass Darkly 1961, William Castle’s groundbreaking gender-bending Homicidal 1961.
Woodward in The Three Faces of Eve 1957.
Joan Marshall is Homicidal in 1961 in William Castle’s answer to Psycho.
Carroll Baker is a traumatized rape survivor in Something Wild 1961 and what I found to be a misogynist romp wasting several wonderful actresses who were offered these humiliating roles in The Chapman Report. In particular, Clare Bloom deserved better with her talent -as a nymphomaniac struggling with her sexual desires until she ultimately commits suicide in The Chapman Report 1962 and good old William Castle’s once again with his Strait-Jacket 1964 starring one of the ultimate Grande Dames Joan Crawford this time wielding an axe in addition to her nightmarish flashbacks.
Now… none of the 4 women I am covering here are homicidal or dangerous, all these women are experiencing a psychic struggle with issues that speak from their place in the world as women… who are defining somehow in their own way, what their identity means to them… Well, perhaps Lilith is a bit more volatile in terms of how she wields her sexuality and influences men & women! But she is a divine innocent albeit-nymphomaniac living in a dreamy world of her own –not a homicidal vamp who devours men and spits them out… She is innocent without malice. The men do the damage to themselves…
“And her eye has become accustomed to obvious ‘truths’ that actually hide what she is seeking. It is the very shadow of her gaze that must be explored”--Luce Irigaray
Max von Sydow,, Harriet Andersson, and Gunnar Bjormstrand in -(1961)-Through the Glass Darkly directed by Ingmar Bergman.
Kim Stanley gives an unnerving performance as a delusional and dangerous woman who plots to kidnap a child so she can claim her psychic powers and then locate her…
And of course the two titans of Grande Dame Guignol fêtes courtesy of Robert Aldrich…
Roman Polanski’s very post-modern almost Brechtian/Picassoesque ode to insanity starring Catherine Deneuve in his Repulsion 1965 –
There’s always Hitchcock’s Marnie (1964) showcasing an unstable female in distress brought on by childhood trauma. Considering Hitch’s lavish colors, and overt psychological embellishments that have created a pulpy romanticized landscape, that at times obfuscates the mental turbulence rather than letting it surface on its own. I chose to set this film aside and instead include the more off-the-beaten-path of psychological leaning-‘women’s pictures.’ 1964 seemed to be one hell of a year for Women in Distress by virtue of the female psychological crisis, once again to reiterate -not the ‘hysteria’ kind, mind you.”
Tippie Hedren and Louise Latham in Hitchcock’s Marnie (1964)
“From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood's post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965),Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman's behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health
profession that define "appropriate" female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films' ideologies with regard to mental illness and femininity.”
— from FRAMING FEMININITY AS INSANITY: RE PRESENTATIONS OF MENTAL ILLNESS IN WOMEN IN POST-CLASSICAL HOLLYWOOD by Kelly Kretschmar
WOMEN ON THE VERGE… OF A BREAKTHROUGH!
Curt Jurgens carries Samantha Eggar after she has fallen off her horse. There is more going on than Patricia Neal’s blind eye can see.
Ann Bancroft and Peter Finch are a married couple in crisis. Having perpetually popped out a myriad of children she is yet again pregnant. Will this keep him home this time…? The Pumpkin Eater (1964).
Barbara Barrie falls in love and marries Bernie Hamilton. Once her ex-husband realizes that his child is being brought up by a black man, times get even tougher for the couple.
Alison Crawford (Patricia Neal) –“Love has to stop somewhere along the line otherwise it's almost like"¦ like committing suicide “
PSYCHE 59 (1964) –Alexander Singer (A Cold Wind in August 1961 with Lola Albright and Scott Marlowe) directs the remarkable Patricia Nealas Alison Crawford, a woman struck down with a form of psychosomatic or hysterical blindness. Alison is aware that the affliction is all in her mind since the doctors can’t find anything organically wrong with her sight. Her ‘hysterical blindness’and memory loss of the events leading up to her accident follows a fall down the stairs while she is pregnant. When she awakens she is unable to see.
Alison “My Brain won't accept the images that my eyes make.”
What is happening for Alison is that she is subconsciously blocking out the truth about her husband and her younger, coquettish sister Robin.
She is now living a very quaint life with her husband played by the austere Curd Jürgens(I love him as the devilishly urbane concert pianist Duncan Mowbray Ely in The Mephisto Waltz 1971).
Aside from her intense husband Eric, Alison’s very sexually charged sister Robin (Samantha Eggar) has now come to live with the couple after a divorce. Robin hovers very close to Eric like a carrion bird waiting to pick the bones of Alison’s troubled marriage. While Alison doesn’t have any cognitive memory of what led up to her fall, it’s obvious to us that she can sense the strong attraction between her husband and younger sister. At one time, her younger sister Robin and Eric and been involved before Alison caught and married him. Robin hasn’t stopped lusting after him. Slowly Alison’s memory comes back as the flashes and images of what she experienced right before she lost her sight literally come into view.
Singer builds the tension in the air slowly, methodically until it all comes to a headset against the skillfully contained cinematography by Walter Lassally(The Loneliness of the Long Distance Runner 1962, Zorba the Greek 1964, To Kill a Clown 1972).
IMDb tidbit-Patricia Neal was offered the lead in The Pumpkin Eater, but it was not 100% confirmed she would get the role. She then opted, to her later regret, to make Psyche 59 (1964) instead, since it was an official offer.
Neal gives a restrained yet powerful performance of a woman who is trapped in self-imposed darkness by her fear of the truth…
There is very subtle theme of self-brutality that exists for each of the characters, Alison’s self-imposed sightlessness, Eric’s indignant stoicism is palpable as he walks through the story like a trapped stray dog, He is agitated by Robin’s presence because he can not resist her.
Robin, her younger sister who must have been quite young at the time of her relationship with Eric begs the question of appropriate behavior on his part. Robin is constantly asserting a seductive influence on Eric right in front of the disadvantaged Alison.
She is both a hyper-sexual narcissist and a bit self-destructive at the same time, either way, she gets off on playing the seductress torturing Eric, right in front of her sister, dark sunglasses and delicate pout. Although Alison suffers from blindness, she maintains a certain dignity that although as all three characters seem like she is, one of the trapped animals in a psycho-melodramatic forest, we get a sense that she will one day regain her freedom and spread her wings and fly away from it all truth in hand.
Alison “We must be near the marshes” Robin “We just passed it "¦ Coming to the old windmill soon"¦ it’s still turning.. nothing's changed” Alison “There's a factory there now, Don't protect me, Robby. Don't makeup windmills.”
Based on the novel by Françoise des Ligneris, with a screenplay by Julian Zimet (who wrote Horror Express 1972 and one of the best atmospheric little horror obscurities The Death Wheelers 1973 formally called Psychomaniaabout a group of British motorcycle thugs and their pretty birds who dabble in the occult. Beryl Reid and George Sanders being one of their relatives, learn the secret of immortality. But you have to die first to obtain it.)
Psyche 59 is an interesting psychological mood piece, almost post-modernly impressionistic with its stark and polished black and white photo work. And Patricia Neal who had just won an Oscar for her role as Alma Brown in Hud 1963and gave a command performance in 1957 as Marcia Jeffries in A Face in the Crowdis just exceptional as Alison who is trying to navigate the dark world surrounding her.
The film is strange and at times subtly cruel yet Neal’s character relies on our visual journey which becomes quite painful at times yet beautiful as she begins to emerge. In the film, PatriciaNeal’srelationship with Curd Jürgens has an eerie parallel to real-life marriage to writer/spy Roald Dahl, but I don’t want to get into the sensationalized tidbits of public people’s wreckage.
The Film also stars Ian Bannen as Robin’s poor befuddled boyfriend, Elspeth March, and Beatrix Lehmann plays Alison’s staunch and science fiction reading grandmother-wish I had one of those!
"Noir exploits the oddness of odd settings, as it transforms the mundane quality of familiar ones, in order to create an environment that pulses with intimations of nightmare." – Foster Hirsch, The Dark Side of the Screen
You can read more about this iconic noir masterpiece in The Dark Pages feature issue.
Here’s the link below to order a copy of The Dark Pages for yourself or subscribe all year round… so you’ll always get your fill of everything Noir from this sensational publication!
Produced by Mark Hellinger (The Naked City, Brute Force, and The Two Mrs. Carrolls Music by Miklós Rózsa; Cinematography by Elwood Bredell (Ghost of Frankenstein 1942, Phantom Lady 1944). Boldly directed by the great Robert Siodmak. The Screenplay is by Anthony Veiller and uncredited co-writers John Huston and Richard Brooks.
The Killers (1946), with its doomed hero, flashbacks, and seedy characters is one of the finest in the film noir canon. The film is a gritty dream with carnal fluidity and monochromatic beauty. The Killers is a neo-gangster noir film with a liminal and evocative intensity. Director Robert Siodmak gives the film a violently surreal tone"” it's a stylishly slick, richly colorful black and white film where the players live in a world condemned by shadow. Burt Lancaster plays out the obsession theme with ‘unfaithful women’ leading to his ultimate demise.
The evocative opening scene is one of the most powerfully ferocious in film noir. It is faithful to Ernest Hemingway's short story. The determined thrust of the first twelve minutes mesmerizes. It has a villainous and cynical rhythm, paced like shadowy poetry in a dark room with no open windows. The film opens with Miklos Rozsa's ominous brassy jazz that later becomes the killer’s motif. Two men drive into a small town, Anywhere, USA. We see them from behind in the darkest black silhouette inside the car.
While cars and trains are iconographic means of escape in noir films, the opening sequence of The Killersoffers no escape. The two gunmen enter the screen in their vehicle veiled by the darkness of the highway road. The vision is more like one of bringing the means of death to this ordinary environment. The peculiar, unsettling gunmen Al and Max (Charles McGraw and William Conrad) are two dark forces invading an ordinary landscape with their malicious and aggressive presence. The dark highway is a typical Hemingway metaphor for the eternal strife, of ‘going nowhere’ and his cycle of ‘heroic fatalism.' The road is an unfinished trajectory, unpredictable and unknown with no way out but "˜the end.'
We see the two walking onto the street silhouetted in shadow. We know they are trouble. They enter a diner reminiscent of Edward Hopper's 1942 painting "˜Nighthawks.' Perhaps this American Diner scene influenced scavenger-hunting director Quentin Tarantino for his Pulp Fiction in 1994.
The men ask about a man they're looking for, "˜the Swede.' They make no effort to hide their malevolence. They revel in belligerence as they demean and degrade the men in the small-town diner. Al and Max begin to psychologically torture George (Harry Hayden) who works the counter and Nick the boy at the end of the counter. They exude an offensive egotism and a cruel antisocial spirit as they barrage the men with perverse assaults.
George: "What'll it be, gentlemen?""¨Max: "I don't know. What you want to eat, Al?""¨Al: "I don't know what I want to eat.""¨ Max: "I'll have the roast pork tenderloin with apple sauce and mashed potatoes.""¨ George: "That's not ready yet.""¨ Max: "Then what's it on the card for?""¨ George: "Well, that's on the dinner. You can have that at six o'clock. That clock is ten minutes fast. The dinner isn't ready yet.""¨ Max: "Never mind the clock. What have you got to eat?"
The conversation is absurd and meaningless. It is just a mechanism to bully these townsmen. They continue to harass George asking "You got anything to drink?" George tells them "I can give you beer, soda, or ginger ale." Al: "I said you got anything to drink?" George submits a quiet "no." Max says "This is a hot town, whatta you call it?"George: "Brentwood." Al turns to Max "You ever hear of Brentwood?"Max shakes his head no. Al asks George "What do you do for nights?"
Max takes a deep breath and groans "They eat the dinner, they all come here and eat The Big Dinner."The outsider mocks the small-town conformity of eating whatever is served. George looks downward murmuring "That's right"and Al says "You're a pretty bright boy aren't you?"He uses "boy" to demean. George mutters "Sure" and Al snaps back "Well you're not!"
Al now shouts to the young man at the end of the counter "Hey you, what's your name?" he looks earnestly at Al and says "Adams. Nick Adams." Al says, "Another bright boy." There is sadism at work here, almost subconsciously homophobic/homoerotic in the way they are using the term "boy" to subvert these bystanders' manhood. Max says, "town's full of bright boys."
The cook comes out from the kitchen bringing the plates. "One ham and one bacon and" George starts to serve the men the food and asks "Which one is yours?"Al says "Don't you remember bright boy?" the continued use of this phrase truly begins to tear at the layers of our nerve endings. George starts laughing and Max says "What are you laughing at?" "nothing."
"You see something funny?" "No.""Then don't laugh." "Alright."Again Max says "He thinks it's alright." Al says "Oh, he's a thinker." It's an antisocial backlash to an intellectual society that would perceive Al and Max as outcasts. This is where a noir film begins to break the molds of Hollywood’s civilized society. The two intruders have trespassed into an ordinarily quiet community to shatter its sense of security. It is the death of humanism in film language.
Max and Al tie up Nick and the cook in the kitchen. "I'll tell ya what's gonna happen, we're gonna kill the Swede, you know big Swede, works over at the filling station." He lights a cigarette. George says, "You mean Pete Lund?"Max takes the cigarette out of his mouth and the smoke enervates George's face, "If that's what he calls himself"¦ Comes in every night at 6 o'clock don't he?"
Georges asks "What are you gonna kill him for? What did Pete Lund ever do to you?" Max replies," He never had a chance to do anything to us he never even seen us." The conversation is so matter-of-fact that it's chillingly absurd. Again George asks, "What are you gonna kill him for?" Max smirks "We're killing him for a friend."Al pokes his head through the sliding window to the kitchen "Shut up you talk too much" but Max says "I gotta keep bright boy amused don't I?"
When George explains that "˜the Swede' never comes in after 6 pm, the killers head to the station where he works. George unties the men in the kitchen. Nick leaves to warn "˜Swedes,' jumping fences on his way to the rooming house.
At the rooming house, Pete (Lancaster) is on his bed in almost complete darkness, face hidden in the shadows, his body's repose in stark contrast to the backdrop of the frenetic orchestration by Rozsa. Nick enters and urgently warns him about the two dangerous men. Nick asks, "Why'd do they want to kill ya?"He replies: "There’s nothing I can do about it. I did something wrong. Once. Thanks for coming.” His tone is soft and fatalistic.
Nick offers "I can tell you what they're like?" Swede replies "I don't wanna know what they're like… thanks for coming.""Don't you wanna go and see the police?""No that wouldn't do any good." Nick asks "Isn't there something I could do?""There ain't anything to do.""Couldn't you get out of town?" He answers "No… I'm through with all that running around."
A merciful violin plays while Swede remains resigned to the dark bed. His large hands rub his face. We hear the squeaking of a door downstairs as it opens slowly and then shuts. The Swede turns his head looking slightly worried for the first time. He leans up in the bed, the light from outside hitting his face, as Al and Max mount the staircase that leads to his room.
The Swede listens like a trapped animal. He does not betray any fear, only a gloomy resignation that his life is about to end. It is not death that he ponders, but memories and another enemy. Cinematographer Elwood Bredellswitches between close-ups of Lancaster's face and the door, then suddenly the two men come in blasting. From pitch black begins a light show, arcing like electricity striking a void. The canon fire gunshots pour into a field of blackness. The killers walking up the stairs acts as foreplay and the gunfire is like violent intercourse"¦ White hot flashes of light break grave blackness. The last image we see as it fades to black is Lancaster's hand falling limp by the bedpost. The last words we hear are Swede uttering "Charleston was right, Charleston was right."
This is where the powerful prologue ends and Hemingway's story leaves us with no explanation as to the reason for Swede's murder, nor insight into why he acquiesces to his death by not trying to elude the killers and his fate. From this moment on Veiller's screenplay starts to expose the back story of the killing.
Look at the killer chemistry between Lancaster & Gardner… I’d get shot up in the dark for either one…!
Though I appreciate Paulette Goddard’s work in the 1949 version, the re-filming of Anna Lucastain 1958 again written and scripted by Phillip Yordan with an all black cast is powerful good. Arnold Laven’s direction brings to life a more visually potent assemblage of splendid characters. I go through little bursts of adoration and nostalgia, a while ago it was for Paul Williams… lately I’ve been loving Sammy Davis Jr. Both he and the sensuous depth of Eartha Kittcreate an atmosphere of volatile romanticism.
The story is an engaging and moral tale about young Anna (Eartha Kitt) who is rejected by her sanctimonious father Joe played to the hilt by Rex Ingram (God’s Little Acre 1958, Desire in the Dust 1960) While the rest of the family wants Anna to come home, her self-righteous father can’t resist demonizing his daughter, with an underlying incestuous desire that he is battling. She takes the road of the fallen woman and becomes a good time gal who meets Danny (Sammy Davis Jr.) a cab driving sailor who is as smooth as silk and as fiery as molten lead. Here they are in a surreal sequence that showcases the versatile beauty and ease both performers possess- set against the stirring Elmer Bernstein modern jazz score!
Who can make the sunshine? Sammy Davis Jr can!… Cheers Your Everlovin’ Joey
WELCOME TO JO GABRIEL & THE LAST DRIVEIN’S –500th POST!
“Ghosts are the outward sign of an inward fear”-Ambrose Bierce
“Everything is worse…if you think something is looking at you.” ” — Shirley Jackson
From- Cinematic Hauntings edited by Gary J. and Susan Svehla chapter The Haunting by Bryan Senn.
“Adult in concept and wide in scope. The Haunting is designed not only to appeal to those who approach the supernatural from an intellectual level, but also to the legions of movie patrons who delight in a genuine ghost story.”-The Haunting press book
Halloween is around the corner, I hear the rusty gates creaking, the rattling of skeletons, the flapping wings of jolly bats, smell the candy corn and Hershey’s kisses and the owls are hooting, the spooks are spooking, and I sense the chill of night seeping through the curtains as the best holiday of the year is upon us!
What better way to honor such a ghoulishly ghostly and creepy eve than to explore one of the all-time great movies, ghost story notwithstanding, in honor of my 500th post? Yes, long-winded me has finally reached a milestone.
How do you begin to write about a film that continues to share the spot of the favorite movie in my world alongside Rosemary’s Baby?What can I say that hasn’t already been said about Robert Wise’s masterwork, The Haunting,from 1963? How do you even give suitable tribute to a timeless masterpiece that defies genre and deserves to be upheld as un-remarkable?
Incidentally, I was reading Pam Keesey’s terrific essay, The Haunting and the Power of Suggestion: Why Robert Wise’s Film Continues to ‘Deliver the Goods’ to Modern Audiences.Keesey points to a comment that Stephen King makes while admiring Wise’s film. He remarks, “Something is scratching at the ornate, paneled door… Something horrible… but it is a door Wise elects never to open.” Once again, Pam Keesey cites Wise’s influence as written about in Edmund G. Bansak’s wonderful Fearing the Dark: The Val Lewton Career, one of my favorite books in my library. Wise finally found a film that could pay homage to his mentor, Val Lewton.
“Lewton trademarks–the reverence for the underdog, the focus upon humanist concerns, the alliance between danger and darkness, the depiction of fate as an unstoppable force, and, of course the preoccupation with things unseen.”-Bansak
Sorry, Stephen King, but we don’t always need to see the monster– Val Lewton understood that well, and managed to create some of the most compelling moments of terror for us, just by suggesting and triggering our own innate fears of the unknown. This is one of the most essential working mechanisms of Wise’sThe Hauntingthat has withstood the perils of time.
Robert Wise worked as an editor among Val Lewton’s magic team of artists.
He learned the secret to any good work of fantasy/horror/suspense/noir is to suggest BUT not reveal what is the heart of the narrative on the screen itself but allow our own subconscious fears and anxieties to do their work. Much credit has to be given to Nelson Gidding’s (I Want to Live! 1958, The Andromeda Strain 1971) remarkable screenplay.
While working on West Side Story, Robert Wise picked up a copy of Shirley Jackson’s ghost story. In an interview in Midnight Marquee #37, Wise recalled, “I was reading one of the scary passages–hackles were going up and down my neck–when Nelson Gidding (screenwriter)… burst through the door to ask me a question, I literally jumped about three feet out of my chair. I said, ‘If it can do that to me sitting and reading, it ought to be something I want to make a picture out of.”
Wise wasn’t sure he’d get to direct the film, noted in Bright Lights #11–“I called nervously to see if it might be available…{…}because usually by the time a book comes out in New York, the big movie companies have scouts back there, story departments, and they grab it up and it’s gone. I found out this one hadn’t been picked up.”
According to Bryan Senn in an interview in 1995, “I persuaded United Artists to buy the book rights for me and finance a screenplay. And I got Nelson Gidding, who did I Want to Live! (1958) for me to do the screenplay. When we got it done however United Artists got a little cold on it and didn’t want to proceed with it. So I talked to my agent about it. I had left a contract with MGM a few years before; I got out of the contract early but I had to promise to give them another film.
THE HAUNTING, Claire Bloom, Russ Tamblyn, Julie Harris, Richard Johnson, 1963.
The studio wasn’t keen on a supernatural horror thriller, nor of the idea of not using big named stars for the picture.Wise wanted to use classically trained actors like both British Shakespearean actors Richard Johnson and Claire Bloom and American actress Julie Harris.Wise also wanted to work with Russ Tamblyn again whom he worked with in 1961 on West Side Story. Tamblyn was reluctant to do the part after reading the script but threat of suspension from the studio urged him to take the role. Years later he recounts it being one of his favorite roles.
Luck will out and Wise needing to go over to England for a command performance of West Side Story, was able to use MGM’s little studio outside London called Boreham Wood Studios which gave him a bigger budget to work with.
And I can say without any doubts, that I’m with Robert Wise- when I was little, watching The Haunting even during the day, sun shining outside, my heart would pound and I would feel a restless shudder as I sat quietly watching what I consider to still be one of the scariest films of all time. And though I’ve seen it again and again, I still feel said hackles up the back of my neck. The shivers of fear and dread, and a true sense of terror that grips you every single time!
The confluence of artistry, Robert Wise’s sensibility that he synthesized from working with ValLewton, Jackson’s incredible ghost story, Gidding’s compelling script, the collective ensemble performances by all the great actors involved, the effective score by Humphrey Searle, and idiosyncratic and visually disorienting cinematography by Davis Boulton (Stage Fright 1950, I Thank A Fool 1962) The sense of place and the incredible performances that inhabited that uncanny space.
Photo of Richard Johnson, Claire Bloom, Russ Tamblyn, and Julie Harris in the movie The Haunting, 1963. Photo/Art by: anon
All these elements went into creating one masterfully crafted visual narrative, a psychological maneuver, a tale of terror, and one memorable landscape of uncanny dread and paranoia.
The house itself was set in England and not the story’s old-money New England territory. While there are numerous tales of haunting in England, Jackson’s story was set in New England, and Wise wanted to stay close to the novel’s reality. It wasn’t hard to find the right house in England. However, the more daunting task was getting the roads closed off so Julie Harris could drive her car on the wrong side of the road for the scene where she travels to Hill House. Robert Wise explained in Fantastic Films, that “We wanted a house that basically had an evil look about it” He finally found the perfect house in Warwickshire, a 200-year-old manor house called Ettington Park, Wise felt that its, “facing of mottled stone with gothic windows and turrets” was exactly what they needed.
The house possessed an “unexpected, even frightening, authenticity” According to Russ Tamblyn, “It was definitely a strange place, especially the grounds. The house itself, had a history… oh, children who had been murdered, and a twelve year old who had committed suicide, some other woman who had fell out of a window.” Not to mention the little cemetery out in the back which was supposedly haunted. People had seen ghosts there.
Dr. John Markway: [voice-over narration] “An evil old house, the kind some people call haunted, is like an undiscovered country waiting to be explored. Hill House had stood for 90 years and might stand for 90 more. Silence lay steadily against the wood and stone of Hill House, and whatever walked there… walked alone.”
The film is powerful in the way it brings us into its mystifying grasp. We hear the velvet tones of Richard Johnson narrating to us, greeting us if you will join the haunting. His voice-over is the visual montage of past events that reveals to us the menacing house. The inception of its evil roots, a domineering man, Hugh Crain, had built Hill House for his wife and daughter, “in the most remote part of New England he could find.” In a freak or strange accident, the wife had “died seconds before she was to set eyes on the house.” Her carriage crashed against a tree, her lifeless arm hanging out of the carriage in close-up. Crain’s second wife floats down the dark Victorian-style hall (Wise was the editor of The Magnificent Ambersons (1942), and the figure of the wife moving swiftly through the darkness reminds us of that film-This impression is also confirmed in More Things Than Are Dreamt of edited by Alain Silver & James Ursini ) then tumbles down a flight of stairs breaking her neck.
“The audience is thrown into the point of view of the second Mrs. Crain as she stumbles down the stairs and blurred, twisted shots approximate the last things she saw in life. Finally a grim but striking deep focus wide angle captures her sprawled at the foot of the main stairs, eyes wide in fright and her corpse in the lower foreground of the frame and behind her shadowy killer, the house itself.”–source More Things Than Are Dreamt Of -edited by Silver & Ursini
After Crain dies in England, his only daughter Abigail “grew up and grew old” In Hill House, eventually hiring a village girl to be a paid companion, “it’s with this young companion the evil reputation of Hill House really begins” When the companion took a farmhand out onto the veranda while her mistress banged on the wall with her cane and died calling for help. The companion inherited Hill House only to be driven to suicide by the unseen, menacing atmosphere of the place. She walked up to the top of the spiral staircase in the library and hanged herself. “They say that whatever there was–and still is–in the house eventually drove the companion mad.”
For Dr. John Markway (Richard Johnson), Hill House is a chance to prove himself. Eleanor has been chosen to be part of the research team because of the shower of stones that had fallen on her house when she was a little girl. Possibly possessing the powers of psychokinesis, the ability to materialize her inner demons, anger, and nightmares. Pointedly, when Eleanor says, “Suppose the haunting is all in my mind?”
From Silver & Ursini’s edited chapter Modern Classics- in More Things Than Are Dreamt Of- “The harp, the knockings, the writing on the wall-all these have a visual and aural presence in film which contradicts any inclination of the viewer to believe that Eleanor is doing this herself; and yet the word on Markway’s questionnaire which Luke doesn’t understand ‘psychokinesis’, makes it possible that she is. Even the interruption of her most flirtatious moment with Markway permits two readings. The house, her possessive, predestined lover, strikes at the harp strings out of jealousy and the need to control her. Or, like Henry James’ repressed governess in Edmund Wilson’s reading, Eleanor does it herself out of fear of sex. Both are possible.”
Having read an interesting essay that touches on Robert Wise’s 1963 ghost story from Hidden Horror, the chapter on Carnival of Souls by Prof. Shelly Jarenski- makes a few interesting comparisons to Carnival of Souls 1962
Such as the prelude –“And we who walk here, walk alone.” in my malleable childhood mind, both the prelude and the coda stayed with me like a creepy lullaby or maudlin soliloquy. Jarenski asserts, “The film’s core themes are encapsulated in that line uttered by the misfit heroine Eleanor Lance.” I would totally agree with her assessment. The Haunting is not merely a ghost story; it is a story about an alienated loner, a ‘misfit heroine’ who is in dire search for relief or release, possibly from this world. We, too, are witnesses to a lonely, disillusioned woman (I loathe to use the word: spinster), most likely a virgin, who is longing to make a connection.
Jarenski writes, “Words like “˜we’ or “˜walking’ does create an “ominous ambiguity.” That Eleanor will either join the collection of lost souls in Hill House or be doomed to walk alone for all eternity in “˜isolation and despair.’
Asserting that Carnival of Souls can be understood as a corollary to the more ceremonious and celebrated The Haunting because“It portrays what being part of the community of the dead, while simultaneously feeling utterly alone, looks like.”
In More Things Than are Dreamt Of-Silver and Ursini point out the idea thatThe Hauntingis much more than just a ghost story. As Shirley Jackson wrote in her novel, “During the whole underside of her life, ever since her first memory Eleanor had been waiting for something”¦”
Theodora, affectionately known as Theo, has been recruited to help in the research because of her extremely honed powers of ESP. This becomes established before Dr. Markway introduces everyone around the breakfast table. While Mrs. Dudley regurgitates her soliloquy of fear & gloom, Theodora takes a mental inventory of Eleanor’s psychic bag, and when Eleanor asks how she knew what she was thinking, Theo cheekily replies, “You wear your thoughts on your sleeve.”
The Haunting(1963)could be said to be the penultimate example of ‘nothing up that proverbial sleeve’ and ‘it’s what you don’t see’ cinematography. The visual narrative is what makes it timelessly heart-pounding to watch and what gives it an artistic atmosphere of misdirection, anxiety, hysteria, dread, romanticism, and well, yes, that “haunting’ feeling.
Memorable scenes of veiled terror lurking in the corners or beyond the massive wooden door frames. The allusion to the various cold spots is underscored by trilling piano keys. Stark frames capture a portion of the house as if it is a live entity. Dr. Markway refers to the house as being ‘born bad. The manifestation of the angry and tyrannical Hugh Crane who built an evil house. There are so many moments of The Haunting that have stayed with me for years. And I must admit that I usually watch it several times a year, like one makes pot roast because the craving strikes you at that moment. “It’s time to watch The Haunting again,” is heard in our house. I can never forget the moment when Julie Harris as Nell awakens from a frightening moment where we hear a child’s muffled laughter swiftly turning to a menacing scream. She tells Theo that she’s breaking her hand, she’s holding it so tight. The camera only focuses on Nell and her outstretched arm in the darkness, swallowed up in her ornate room, like a fly in a spider’s web. When she can no longer bear Theo’s tight grip, she screams, “Stop it!” and turns the light on, only to find in horror that she’s been holding a ghostly hand. “Whose hand was I holding?” Theo is shown across the room, still lying in bed, unaware that Nell had been going through any nightmarish ordeal.
In other moments, the visual perspective seems to warp all we see, pulling us into the dis-ease of Hill House. From the moment Eleanor pulls up to Hill House, the point of view is skewed so that we are watching Eleanor, who is also being watched by the house. It’s a startling moment as she realizes, “It’s staring at me.”
And of course, there’s the eerie and otherworldly invisible assault on the two women as something unseen pounds on the doors with a ‘cannonball’ Disembodied laughter, scratching, growling, and Baroque-style brass doorknobs with Medusa’s face that turn ever so slowly, as if something trying to gain entry into the room.
Eleanor ‘Nell’s’ name has been scripted on the wall in ‘something like chalk.’
And then the ghostly message written on the ostentatious wallpaper in ‘something like chalk’ outside the dining room-“Help Eleanor -Come Home!”
Hill House’s expression of love, the seduction by way of written message in ‘something like chalk’ both frightens Eleanor yet stimulates her because someone or something was finally paying attention to her. as Alain Silver and James Ursini point out the house’s dark secrets, “represent the intimacy which Eleanor has never had with any other being…”
There’s also the emphasis on the powerfully imposing use of matrix work utilizing the inherent designs of the interiors itself, textiles and wallpaper, and wood carvings to create diabolical faces watching back at us. The stone and bronze cherubs and gargoyles that inhabit Hill House, the myriad of mirrors and long winding hallways mixed with the turbulent sky outside the towering Hill House.
The iconic scene where the door seems to expand as if breathing was actually two technical people who used 2x4s to push into the middle to create the effect. It’s that simple, and yet it is one of the most lasting scenes in film history.
The book by Shirley Jackson, The Haunting of Hill House, is a hell of a read, but as a rarity, the film invokes the uncanny of the story even better than the novel.
“SCREAM…no one will hear you! RUN…and the silent footsteps will follow, for in Hill House, the dead are restless!”
I’ve had any number of people over the years say to me, ‘You know, Mr. Wise, you made the scariest picture I’ve ever seen and you never showed anything. How’d you do it?” And it goes back to Val Lewton, by the powers of suggestions”–Robert Wise in Fearing the Dark: The Val Lewton Career
Robert Wisemade The Haunting in 1963 as a way of paying homage to his mentor, Val Lewton, who had died 12 years earlier.
The always-poised Richard Johnson plays the very earnest Dr. John Markway, a researcher in the paranormal who wants to use Hill House, an imposing Gothic New England house, as the main epicenter for his studies in the supernatural. Based on the legend of all the ghostly goings-on surrounding said place, Markway gets Mrs Sanderson (Fay Compton) to agree to lease the house to him for one year. Though she is the voice of caution
– Mrs. Sanderson: “The dead are not quiet in Hill House.”
The great Fay Compton as the crusty waspy Mrs. Sanderson warns Markway that the dead are not restful at Hill House.
Markway initially amasses a collection of names of potential participants in his experiment, and as we see, he chalks their names on his blackboard. Eventually, the names drop off and there are only two women who arrive to help him uncover the truth behind the legend of Hill House… is it truly haunted?
Theodora: “Haven’t you noticed how nothing in this house seems to move until you look away, and then you just… catch something out of the corner of your eye?”
Theo, sensing a presence, says, “It wants you, Nell… the house is calling you.”
Mrs. Sanderson sends along her cocky nephew out of the Midwest, Luke (Russ Tamblyn) to accompany Dr. Markway since one day Luke hopes to inherit Hill House. The exterior of Hill House is an actual Hotel called the Ettington Park Hall Hotel in Stratford-upon-Avon in England. The interior sets were brilliantly designed by John Jarvis.
We meet Eleanor ‘Nell’ Lance (Julie Harris) in her sister’s living room, which doubles as her bedroom. The very hypersensitive Nell is being tortured by her sister, brother-in-law, and their precocious brat of a child who insists on playing a child’s record march consisting of inane flutes and snare rattles, causing a pervasive tenor of chaos, madness, and dysfunction. Like nails on a blackboard, the little tune serves not only to cause psychic aural conflict and irritate Nell but also pulls us into her sense of being trapped in a claustrophobic world where she must break free. Nell steals the family car and hits the road with all her belongings in a box, driving out of Boston out into the light of the New England air toward something, anything, even the unknown, which would be better than the captivity she’s been experiencing. She is one of the people Dr. Markway has invited to participate in exploring Hill House.
More Things Than Are Dreamt Of edited by Alain Silver & James Ursini- The Haunting of Hill House is a third-person novel with a lot of interior monologues and other first person aspects…{…}Eleanor is neither a para-psychologist nor a believer, but a disheartened spinster yearning for escape and adventure; or as Jackson puts it, ‘During the whole underside of her life, ever since her first memory, Eleanor had been waiting for something…’
Eleanor is the first person to see the ‘vile’ house. Silver & Ursini frame it by Jackson’s occult vision, that Hill House is the cause of Eleanor’s ‘deliverance and destruction’. How Eleanor’s religious discourse becomes an ironic fate that turns inward on itself for in the end, “journeys end in lovers meeting” Eleanor’s volatile relationship with Hill House is absolutely one of love/hate.
Upon her arrival, she is confronted by two of the locals who harbor a maniacal animosity toward city people. The Dudleys played by Rosalie Crutchleyand Valentine Dyall ( Who was perfectly sinister as Jethrow Keane in Horror Hotel 1960, yet another favorite classic horror film of mine.)
Rosalie Crutchley attributes the films power to Robert Wise’s skillful direction and David Boulton’s sinister cinematography that transformed the benign Ettington Park into the malevolent manor of Hill House. “It was a strange house” the actress told Bryan Senn. Crutchley continues, “which looked threatening from the outside but which wasn’t actually at all. But it was brilliantly shot you see, so that it looked very, very threatening.”
Mr. Dudley: “You’ll be sorry I ever opened the gate.”“Get away from here; get away at once. It’s my chance. I’ve been given a last chance. I could turn my car around and go away from here, and no one would blame me. Anyone has a right to run away. But you are running away, Eleanor. And there’s nowhere else to go.”
Mrs. Dudley takes care of the interior of Hill House as no one else in the village dares come near the place, setting out the meals but being very clear about leaving before it gets dark. The sardonic grin on her face as she divulges to Nell and Theo her little creepy-intoned soliloquy… “No one will come any further than town…”
No one will hear you scream… Mrs. Dudley’s expression is somewhat a combination of that intense little fellow, the prairie dog from the viral YouTube video where he turns around and stares, and Lewis Caroll’s Chesire Cat.
Anyhoo… Markway leads the other three on a journey of discovery of the unknown. He chose Eleanor ‘Nell’ because of her poltergeist experience that occurred when rocks pelted her family home for a week. Eleanor suffered from a tremendous guilt complex shortly after losing her chronically ill mother, whom she cared for and who passed away, and this puts Nell on the edge of a breakdown. Theodora is known quite well for her powers of ESP. Luke Sanderson is the skeptical playboy of the foursome…
Markway is filled with glee as they have stumbled onto the proverbial ‘cold spot.’Luke-“There’s got to be a draft!”Dr. Markway tells Luke-“Look I know the supernatural is something that isn’t supposed to happen but it does happen… and if it happens to you your liable to have that shut door in your mind ripped right off its hinges!”
The ‘Adventurous All’ get together, trading small conversations and observations, while Hill House begins to reveal its cold heart. Or is the house truly a bad place? Built by a man who used odd angles and macabre embellishments, he created one “distortion as a whole,”as Nell comments. Hugh Crane, a man who was a religious zealot, entrapped his daughter in the foul house until her death as an old maid. She grew up and grew old in the house, where a series of mysterious accidents, suicides, and deaths ensued… Hill House is the epitome of Dark spaces or Bad spaces.
The nurse is too busy out on the veranda with the farm hand to hear Abigail pound on the door with her cane, and eventually hangs herself after inheriting Hill House.
Eleanor Lance: “Can’t you feel it? It’s alive… watching.”
Hill House does begin to show particular attention toward the vulnerable, fragile, and bedeviled Nell. But…
That begs a larger question. Can a house be born bad, or have Nell’s neurotic fixations and need to belong caused her to unravel the mysteries of the place much quicker? Is it just her longing and alienation that has created a certain madness, or is it both a ghost story and a story of abject loneliness and psychosis? Much like a Lewton story, there is the feeling of intense loneliness, an imbalance in the environment that is either mental or perceived to be a reality, and ambiguity that links these elements to the supernatural world.
There are definitely themes of repressed sexuality exhibited by the presence of the very stylish Mary Quant sporting Theo (Claire Bloom), who it is heavily suggested is a sophisticated Greenwich Village Sapphic who toys with the uptight Nell. When asked what frightens Theo, she glumly replies, “Of knowing what I want.”
Something that begins to cause friction between the ensemble because Nell has fallen into the well of deep delusion and longing, for Dr. Markway not realizing that he is not just only interested in her as a test subject but he is already married.
Theodora, dressed like a black widow, spins her web of jealousy yet reveals the truth about Markway and Nell’s unrequited love.Theo-“You’re making a fool of yourself over him.” Nell-“I’d rather be innocent than like you.”Theo-“Meaning what?” Nell-“Now who’s being stupid and innocent? You know perfectly well what I mean.” Theo- “Is this another of your crazy hallucinations?”Nell- “I’m not crazy.”Theo-“Crazy as a loon. You really expect me to believe you’re sane and the rest of the world is mad.” Nell-“Well, why not? The world is filled with inconsistencies, unnatural things, nature’s mistakes they’re called you for instance!”Nell tells Theodora that “she’s the monster of Hill House.”Markway sees that Nell is unraveling and threatens to send her packing.
Poor Nell is a tragic Gothic figure whose famous inner monologues might slightly touch the third rail of hysterical camp yet somehow manage to become a restrained performance of inner turmoil and madness that perfectly co-exists parallel to the odd and uncanny manifestations escalating in Hill House. With a rainstorm of inner monologues to guide us through the treacherous darkness.
Mrs. Markway shows up unexpectedly and asks to sleep in the most rotten heart of the house… Nell obliges by telling her about the nursery, which, until now, has been sealed.
“Now I know where I’m going–I’m disappearing inch by inch into this house.”
In Scarlet Street Magazine, Julie Harris stated that she would have played Nell differently. “Well, I would’ve been odder looking as Eleanor,” Harris said. “I think she was too ordinary. I just wanted to be — odder.” That’s okay, Julie Harris, whom we sadly lost on August 24th of last year. No one could have done a better job of bringing Eleanor Lance to life than you did… Your Eleanor Lance will eternally remain the central tragic figure of the play, as Pam Keesey calls her the ‘persecuted innocent.’
By the end of the film, Luke who is the cynic of the bunch, tells us…” It ought to be burned down… and the ground sowed with salt.”
The poor bedeviled Nell dances with the statue of Hugh Crane, believing that both he and she have killed Grace Markway.Grace Markway ( Lois Maxwell) doesn’t go untouched by the dark forces that lay behind the stone and silent standing wood… well, maybe not so silent!
–Happy Halloween, gang… and thanks for making all 500 posts a whirling experience! – Your Everlovin’ MonsterGirl
As much as I am passionate about Boris Karloff’s anthology television show THRILLER, I throw my enthusiasm to all things science fiction & fantasy toward the 60s series that brought to life some of the most memorable monsters and thought provoking story lines that was The Outer Limits.
As a kid I remember how the shivers of excitement ran through my veins as soon as the control voice began to usher in a new segment as the wavy white lines trembled on the screen. The voice was odd, yet familiar like an intimate stranger who could read your thoughts and knew your deepest fears.
I knew I was in for something majestic and beyond the realm of belief. While THRILLERtapped into my core fears of things that lurked in the shadows of this earthly domain, somehow The Outer Limits managed to propel my fears into the outer reaches of the universe. Still the things that go bump in the night, but more like the night sky.
And so I fondly assign a few of my favorite stories here at The Last Drive In, with follow ups to some more down that unknowing wavy road of life. If you’re not already a fan of this uniquely mind broadening show, then do yourself a favor and a try and catch an episode or two. You’ll see some favorite actors I’m sure, and I bet a Zantiunder your bed… if you’re not even moved just a little by it’s poignant– strange and at times grotesquely whimsical way of painting a fantastical moral with some gorgeous visual cues and dynamic acting style to drive the message home and articulate thought provoking & philosophical themes.
The ground breaking postmodern metaphysical world of science fiction & fantasy from the brilliant mind of executive producers Leslie Stevensand Joseph Stefanowas far ahead of it’s time. Created by Leslie Stevens. Story consultant Lou Morheim and transcendent musical score by Dominic Frontiere(first season from 1963-64 ) The heavenly awe inspiring music never fails to make my chest heave, as the celestial melody creates the mood of a living breathing universe expanding, a near religious experience of the magnitude of awe that Science Fiction evokes in the hearts of dreamers.
The music for the second season was scored by Harry Lubin. There were 49 episodes in total….
Perhaps the first television show that was truly pioneering, unprecedentedly radical, inventive and even sociological in it’s contribution to the genre. It boasted some remarkable visual effects, and still remains a memorable collection of thoughtful plays that stretch the boundaries of imagination.
The Outer Limits could be considered Science Fiction/Fantasy genre, An anthology series created by Leslie Stevens and narrated by Vic Perrin who was the voice behind the Control Voice. Similar somewhat to The Twilight Zonewith more of an earnest tone given rise to more Science Fiction oriented stories
A Daystar Productions–Villa DiStefano. United Artists Television originally aired on ABC with a run from September 16, 1963 "“ January 16, 1965
The show used writers like Leslie Stevens, Donald S Sanford, Lou Morheim, (The Beast From 20,000 Fathoms 1953) Harlan Ellison, and Seeleg Lester.
With cinematography by Conrad L.Hall, (American Beauty 1999, Marathon Man 1976, In Cold Blood 1967, Cool Hand Luke 1967, Butch Cassidy and The Sundance Kid 1969) You can imagine the vision that framed the stories behind the camera from the genius of Hall’s cinematic eye. John M Nickolaus (House of the Damned and The Day Mars Invaded Earth 1963 both very unique films partly due to the way they were lensed by Nickolaus) and Kenneth Peach.
Utilizing some of the greatest directors like Byron Haskins (Arsenic and Old Lace 1944, War of the Worlds 1953, Robinson Crusoe on Mars 1964)John Brahm (The Lodger 1944, The Twilight Zone, Boris Karloff’s Thriller) Laslo Benedek(The Wild One 1953), Leslie Stevens, Gerd Oswald, Paul Stanley, John Erman, Robert Flory, James Goldstone, Leonard Horn, Felix Feist, Charles Haas, Alan Crosland Jr. and Abner Biberman
Featuring some of the greatest character actors like Martin Landau, Sally Kellerman, William Shatner, Cliff Robertson, Jacqueline Scott, Sidney Blackmer, Robert Culp, Geraldine Brooks, Donald Pleasence, David McCallum, Jill Hayworth, John Considine, Shirley Knight, Jeff Corey, Harry Townes, Harry Guardino, Gary Merrill, Salome Jens, Ed Nelson, Martin Sheen, James Shigeta, John Anderson, Scott Marlowe, Ed Asner, Kent Smith, Joan Camden, Mark Richman, Nina Foch, Phillip Abbott, Gladys Cooper, Ralph Meeker, Jay Novello, Michael Tolan, Bruce Dern, Olive Deering, Henry Silva, Carroll O’ Connor, Barry Morse, Miriam Hopkins, John Hoyt, Marsha Hunt, Don Gordon, George Macready, Neil Hamilton, Walter Burke, Simon Oakland, Ruth Roman, Alex Nicol, Tim O’Connor, Warren Oates, Luane Anders, Gloria Grahame, Nellie Burt, Russell Johnson, Nick Adams, Nancy Malone, Marion Ross, Macdonald Carey, Sam Wanamaker, David Opatoshu, Joyce Van Patten, Signe Hasso, Allyson Ames, Leonard Nimoy, Robert Duvall, Vera Miles, Barbara Rush, Cedric Hardwicke, Malachi Throne, Peter Lind Hayes, Joan Freeman, Abraham Sofaer, Eddie Albert, June Havor, Howard DaSilva, Marianna Hill, Warren Stevens, Robert Webber, Michael Constantine, Crahan Denton, Grant Williams, and Peggy Ann Garner to name some of the acting highlights.
Cliff Robertson appears in the shows first The Galaxy Being…
The Control Voice: There is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We can reduce the focus to a soft blur, or sharpen it to crystal clarity. We will control the horizontal. We will control the vertical. For the next hour, sit quietly and we will control all that you see and hear. You are about to experience the awe and mystery which reaches from the inner mind to… The Outer Limits.
Much of the episodes could be considered stagey and theatrical, with the acting a bit dramaturgical or heavy-handed for a science fiction/ fantasy television drama, but as writers David J Schow and Jeffrey Frentzen say in THE OUTER LIMITS: The Official Companion “… the embroidered quality of their performances. At times the dialogue seems hammy and intemperate, but since good theatre is not a reflection of the world, but a mirror distortion of its exaggerated for-point-making purposes, the bigger-than-life nature of the players is fitting.
First, let me say that I’m a huge fan of Robert Culp! So naturally this episode is very special to me. Culp appeared in a few more episodes of the series, this one being my favorite. At times his performance went beyond sublime. Directed by Byron Haskin with Conrad Hall as director of photography. Dominic Frontiere’s gorgeous score.
One of the most compelling of all The Outer Limitsepisodes. Allen’s dilemma is torn between his love and devotion to his wife Yvette and the scientific ideals he adheres to. Out of hubris –These misguided scientists trying to do a good thing for humanity, make huge mistakes and wind up destroying one of the blessed things about the world… a family (Yvette finds out she is pregnant right before Allen fakes his death) who has a right to life and love.
The Cast- Robert Culp as Allen Leighton, Geraldine Brooks as his wife Yvette, Leonard Stone as Dr. Phillip Gainer, Martin Wolfosn as Dr. Herschel
Is this the day? Is this the beginning of the end? There is no time to wonder, not time to ask, “Why is it happening, why is it finally happening?” There is time only for fear, for the piercing pain of panic. Do we pray? Or do we merely run now, and pray later? Will there be a later? Or is this the day?
An altruistic group of scientists theorizes that in order to unite all the people of the earth, there must be a common enemy! Sounds feasible right… So they re-configure in larger size an alien being called a ‘Thetan’ rhymes with Cretan…
To unify all the nations around the world against a frightening invasion of extraterrestrials. Essentially, they design to manufacture a ‘scarecrow.’ After pulling names out of a bowl to see which one of the scientists will undergo the grueling intensive physiological transformation by surgical transplantation, reassignment, and exposure to environmental conditions similar to that of the planet Theta so he can be turned into a larger version of the little Thetan they keep in a cage. Although the creature is mostly seen in shadow, the sound it makes is hilarious and yet compelling at the same time. Somewhat as if you put a gag on a nasty muppet…
Physicist Allen Leighton (Robert Culp) gets to be the lucky guy. Once transmogrified into an alien, he will pilot a spaceship that will land in front of the UN while in session to confront the General Assembly with a laser gun…
Allen-“You know what we really need to stop fighting among ourselves. Something else to fight, Somebody else. Really something else has to come along that will scare us all out of our skins!” Yvette–“We stop fighting each other, we start fighting a scarecrow"¦ that's a gorgeous solution" Allen-"Well we don't exactly fight it, but we fear it"¦ So we unite against it. And if the threat continues long enough we gradually become used to being united. We actually grow to like it. Yvette-"Some scarecrows don't even scare"¦ crows!" Allen-"One might."“Mark against Evil.”
Allen goes off on a tangential soliloquy induced by the wrong reaction to the drugs he’s been given. He mentions Prometheus… how fitting that these mad scientists are creating a modern-day monster by playing God..."Listen there's more to this levitation than just the physical. I'm really able to fly. Are you aware of that? No, you're no Phil Gainer, Professor Gainer, Dr Gainer. Hello Dr. Gainer, allow me to present (in a german accent) these mad doctors here. Constant as you are of the space-time continuum. There's globules of solid (cackles in a whisper) propellant To send me on my long journey"¦. through the underworld or the "”listen you gotta put pegs on my eyes Phil tells him to lye down According to ?'s law ( makes like his hands like ray guns and shoots"¦) laughing “I see you all, you got fat faces you know that. Baby eyes over baby pouts. Come on. Skidder along on your little rats’ feet. I am Callahan, Callaban.(he chuckles to himself) with a Ph.D. Ba Ba Black Sheep Have you any krell upstairs, downstairs in my baby's nightshade? All around the town crying through the lochs how the children in their beds know it's 8'O'Clock Stay back, stay back you think your putty little hands can hold Prometheus Odysseus Tycho Star…”
Of course, the idea is that every nation will band together to fight this one enemy, but ahhh often the best-laid plans of mice and men often go astray… Allen’s ship accidentally lands by the United Labs facility, and as he moves through the woods, with his oversized scaly arms, giant head, bug eyes, and backward -jointed bird-like clawed feet he is a lumbering monstrosity with a tube up its mouth breathing in nitrogen. He uses his laser gun to disintegrate a station wagon to scare a pack of hunters and their dogs. The men wind up mortally shooting him.
First, the group fakes Allen’s death, whose wife is not only a little psychic but deservingly cynical about the facts surrounding her husband’s plane crash. Yvette insists on hanging around the research lab. She has a special psychic link with Allen and feels sympathetic pangs when he is near. In a touching scene in the beginning the two have a gesture they share where Allen uses his fingers to mark her forehead “Mark against evil”
In the end when Allen finds his way back to the lab, Yvette again feels her husband’s presence and his pain. She runs to the lab where she finds him dying. Just before the monster, he makes the ‘mark against evil’ on her head. This very special ritual confirms that this was her husband.
Scarecrow and magic and other fatal fears do not bring people closer together. There is no magic substitute for soft caring and hard work, for self respect and mutual love. If we can learn this from the mistake these frightened men made, then their mistake will not have been merely grotesque. It will have been at least a lesson-a lesson at last to be learned.
The monster suit created a huge outpouring of fan mail for the show. Byron Haskin brought in a Hungarian stuntman and acrobat named Janos Prohaska to play the alien. He used stilts that raised him up nearly two feet off the ground. Within the costume, he gripped armatures inside the elbows, he balanced himself to look like a man leaning forward on his crutches. The giant head was designed by Wah Chang and included functional eyelids, pulsating veins, and a bellows mouth all propelled by air cylinders. Prohaska was literally sealed inside the rubberoid skin, then situated forward on his stilts- he was able to see out of the nose!
Everyone at Projects Unlimited contributed to the costume, though Byron Haskin designed it.
Some of these episodes have been revised and updated to more extensive overviews including biographies of the big-screen actresses who transitioned from Hollywood the television! May 14, 2023, Please visit the links below!
Hitchcock: “To be quite honest, I am not interested in content at all. I don’t give a damn what the film is about. I am more interested in how to handle the material to create an emotion in an audience.”
As a child of the 60s, as soon as the emblematic theme song and opening credits started to play, I would feel chills running up my spine. I remember the reruns were still broadcast late at night, I understood that each story had something foul afoot, a shadow of the uncanny loomed over my tiny shoulders, and the room filled up with a sinister quiver. Even with its smart-alecky delivery and Hitchcock’s well-placed tongue-in-cheek humor to offset some of the more gruesome aspects of the show, I couldn’t wait til 10 pm, and the idea of watching a dreadfully good mystery even for such a young impressionable mind as my own! The timpani is intermezzo between each thrilling scene to raise the goose bumps and keep the heart pounding!
Alfred Hitchcock transported his brand of cheeky suspense narratives from the big screen to the advent of the intimate living-room television experience of the 60s where tv stations were fertile with playhouse theater melodramas, stage play-esque stories featuring some of the most emotive and original character actors who’s careers were vibrant with possibility.
Using some of the most well-known mystery writers, seriously cutting-edge and unorthodox directors, and the best actors who could bring forth the most nuanced performances from the riveting scripts.
The show premiered on Thursday, September 20, 1962, from 10 pm-11 pm on CBS. It ran opposite Alcoa Premier Theater on ABC and The Andy Williams Showon NBC. From 1963 -1964 it moved to Friday nites and then from 1964-1965 it found its slot on Monday nites opposite Ben Casey on ABC.
The Alfred Hitchcock Hour ranks among the top fifty longest-running series in television history!
Robert Bloch talks about his years working with Hitch, starting out on the program in 1959. He was summoned to Shamley Productions’ office and offered an assignment to write a script based on Frank Mace’s story “The Cukoo Clock.” Bloch began adapting his own published stories alongside the other writers on staff. Bloch’s work was only dramatized by other writers when his commitment to the competing anthology show wasn’t calling for his time. That show was Boris Karloff’s Thriller. Bloch recalls producer and part of the creative team Joan Harrison as a remarkable lady who went from secretary to screenwriter to independent producer with a unique vision.
Norman Lloyd had a certain style of speech and mannerisms which might designate him an Englishman when in fact–he was born in Jersey City, New Jersey! Starting out as an unbelievably talented actor who worked several times with Hitchcock in film. Lloyd played Fry in Hitch’sSaboteur 1942,& Mr. Garmes in Spellbound 1945.Â
Lloyd had been blacklisted and hadn’t been able to work in television for four or five years.
“Around 1955 they got Hitchcock to say he'd do television which was a big thing. And in '57 the order for the half hour show was amplified, with a new series called Suspicion. I think Suspicion had many shows. Hour shows. And MCA took ten of them. New York took ten and so forth. And with the ten he was adding on they used to do 39 half hour shows a series. It was his producer Joan Harrison, is how I really learned how to be a producer. Divine. She was beautiful, exquisitely dressed, in perfect taste for the set. She was divine. She was a writer for him, and she was now his producer. And they needed someone else to come in an help her because of the quantity of the work not for the half hours, but now the hour. So she and Hitch decided, they wanted me to do it. Cause I also knew Joan very well. And so they presented my name"¦ however"¦ And this was told to me by Alan Miller who headed television at MCA, he came back, Alan Miller from the network and says ‘there seems to be a problem about Lloyd' and Hitch said, "˜I want him!' that was the end of the blacklist!" -Norman Lloyd
“Hitch was a world-figure. He was a man of great humor, had a very definite view of the world. He saw the world a certain way and we have as a result what is known as the Hitchcock film. It became the Hitchcock story, so to speak, almost like an Edgar Allen Poe story." Directors try to imitate him but they never get the mixture right. Only Hitch had the mixture of the romance, the suspense, the humor, the twists" -Norman Lloyd
Joan Harrison started out as Hitchcock’s secretary, and began reading scripts, writing synopses, and actually contributing to the scripts. She followed Hitchcock to Hollywood in 1939 working as his assistant and then was hired by MGM in 1941 as a scriptwriter. In 1943 she became a producer for Universal Studios. To her film credits, she produced some of the most compelling film noir/ mysteries. One of my personal favorites is Phantom Lady 1944, and then… The Strange Affair of Uncle Harry 1945, Nocturne 1946 They Won't Believe Me 1947, Ride the Pink Horse 1947, Eye Witness 1950, and Circle of Danger 1951.
Director Robert Siodmak, producer Joan Harrison, Ella Raines and Franchot Tone on the set of Phantom Lady 1944
The cinematographers who worked on various episodes included Stanley Cortez, Benjamin Kline, Lionel Linden, WilliamMargulies, Richard Rawlings, John L. Russell, and John F. Warren. With art direction by John J Lloyd and Martin Obzina.
The magnificent musical contributions were offered by Hitchcock veteranBernard Herrmannand a personal favorite of mine,Lyn Murray, whose stirring melodies recycle themselves in several of the most poignant episodes. The brilliant and prolific Pete Rugolo can be heard as well as Stanley Wilson.
Florence Bush was the hairstylist for the show, and she was very active during the 60s! You’ll spot her name listed in the credits on so many television programs of that era. Including Leave it to Beaver and Hitchcock’s film Psycho!
THE DIRECTORS-Â Bernard Girard, John Brahm, Alan Crosland Jr., Alf Kjellin, Norman Lloyd, Sydney Pollack, Jerry Hopper, Joseph Pevney, Leonard Horn, Jack Smight, Charles F. Haas, David Lowell Rich, James Sheldon, Herschel Daugherty, Robert Douglas, Joseph Newman, Harvey Hart, Laslo Benedek, William Whitney, Leo Penn, Harry Morgan, Philip Leacock, Lewis Teague, Arnold Laven, David Friedkin, James H. Brown, Alex March, Herbert Coleman, William Friedkin, and Alfred Hitchcock…
Writer Robert Bloch- was a contributor to many of the shows spine chilling narratives!
Hitchcock first managed to develop an anthology series that drew from his magazine and radio stories of the macabre, suspenseful, crime drama and cheeky thriller, often lensed with a noir style. This show was of course Alfred Hitchcock Presents. Eventually in order to compete with the growing market of 50-minute teleplays, like Playhouse 90, Boris Karloff’s Thriller, The Twilight Zone etc, Hitchcock changed his format to meet an hour’s worth of programming, still employing Hitch’s classic introductory droll prologue. And where Karloff’s Thriller painted the stories with a more macabre brush stroke, Hitchcock’s anthology show presented these criminal acts in two parts in a most ironic and irreverent manner…
According to John McCarty, Hitchcock made the shift from half hour show to an hour format without much issue. “When we had a half-hour show, we could do short stories…{…} Now, in an hour, we have to go to novels.”His staff read through thousands of crime novels to find the right script. Yet frequently it became necessary to utilize a short story and expand it, in order to fill out the hour.
While Boris Karloff’s Thriller was pervasive with its stories of the macabre and the uncanny, Rod Serling’s The Twilight Zone with its more sociological morality with a heavy science fiction spin, Alfred Hitchcock maintained an ironic lens on very suspense/crime-oriented material that kept the focus on human nature as perilous. He always provided the same sort of ‘twist’ at the end as in its pithy precedent Alfred Hitchcock Presents!
While Alfred Hitchcock Presents might have provided a shorter more enlivened ride to the turn of the plot because it had to deliver the lightning in a more synoptic amount of time, the hour format allowed for more psychological background, with room to build the character study of the players involved.
Alfred Hitchcock is still the larger-than-life, Aesopsian voice of modern crime-infused with foul deeds springing from human nature and the darker sides of the mortal mind and how far it can reach when working under a compulsion, obsession or pathology. His vision created some of the most compelling little dramas for a ’60s audience to digest, still relevant after all these years.
Hitchcock’s brand of humor was dry and witty, ironic and fablist. Drawing from some of the finest mystery writers of the day, his little tour-de-force dramatizations showcased some of the best examples of theatre and acting even on the small screen. His first show which gave us a 25-minute sequence that the series featured premiered on October 2, 1955, after Alfred Hitchcock had been directing mesmerizing films for over three decades!
“GOOD EVENING…..”
The iconic opening title sequence for the show has become unforgettably imposed in our psyches and in popular culture, as the simplistic yet mirthful intro possesses the camera fading upon an easily recognizable caricature of Hitchcock’s porcine yet endearing profile. Set against one of the most memorable musical themes written by Charles Gounod’s– the piece is called Funeral March of a Marionette. A type of adult nursery song that tickles the funny bone’s comparable curious bone… the one that gets triggered when there’s a marvelous mystery afoot! The theme– suggested by Hitchcock’s musical collaborator, the brilliant Bernard Hermann.
As if it couldn’t get any more smashingly wicked and alluring, Hitchcock himself takes shape behind the silhouette from the right of screen, then in grand theatrical style walks center stage to eclipse the drawing. He commences with his nightly, “Good evening…” and we are in for an irresistibly gripping treat!
The opening set of each episode, Hitchcock is given props against an empty stage. At times he himself becomes the prop, or main focal point where he imparts either sage elucidation, comical warning or sardonic advice. A witty prelude to the evening’s tale or just a frivolous bit of shenanigans to put one in the mood for the evening’s program. As he drolly introduces the night’s story, his monologues were conceived of by James B Allardice. Many of his missives took shots at the sponsors, spoofing the popular American fixation on commercials and commercialism.
Always at the end of the show, Hitchcock would re-appear to lead the audience out of the evening’s events. To either enlighten them on the aftermath of a story, the scenes they did not see, and to reassure us that the criminals featured did get their comeuppance. To tie up any loose ends within the question of morality’s swift hand.
Originally 25 minutes per episode, the series was expanded to 50 minutes in 1962. The show was then renamed The Alfred Hitchcock Hour. Hitchcock directed 17 of the 268 filmed episodes of Alfred Hitchcock Presents.
Hitchcock did direct one of the hour long episodes called “I Saw the Whole Thing” starring John Forsyth who is accused of hit and run, while several witnesses swear they saw him leave the scene of the accident.
Here is how the show was syndicated back in the 60s:
Sunday at 9:30-10 p.m. on CBS: October 2, 1955"”September 1960
Tuesday at 8:30-9 p.m. on NBC: September 1960"”September 1962
Thursday at 10-11 p.m. on CBS: September"”December 1962
Friday at 9:30-10:30 p.m.on CBS: January"” September 1963
Friday at 10-11 p.m. on CBS: September 1963"”September 1964
Monday at 10-11 p.m. on NBC: October 1964"”September 1965
The Alfred Hitchcock Hour, lasted three seasons from September 1962 to June 1965, There were 93 episodes in total. Alfred Hitchcock Presents had a total of 268 episodes.
Hitchcock directed two episodes of Presents that were nominated for Emmy Awards–“The Case of Mr. Pelham (1955) and one of the most popular stories with it’s fabulous dark humor, “Lamb to the Slaughter” (1958) starring Barbara Bel Geddes.
The episode that won an Emmy Award was one of my particular favorites as it is both poignant and eerie, “The Glass Eye” (1957) starring Jessica Tandy, Tom Conway and Billy Barty.Robert Stevens won for his direction.
Cinematographer John L. Russell’s incredible shots of Jessica Tandy in The Glass Eye
“An Unlocked Window” (1965) is one of the most starkly intense and transgressive in nature of The Alfred Hitchcock Hour and won an Edgar Award for James Bridges writing in 1966. The episode stars Dana Wynter and Louise Latham, both wonderful unsung actresses!
Dana Wynter and T.C. Jones in An Unlocked Window–nurses in peril oh my!Louise Latham in An Unlocked Window
THE ACTRESSES–Â Martha Hyer, Vera Miles, Patricia Breslin, Angie Dickinson, Carol Lynley, Carmen Phillips, Isobel Elsom, Charity Grace, Susan Oliver, Kathleen Nolan, Peggy McCay, Adele Mara, Lola Albright, Dee Hartford, Gena Rowlands, Jayne Mansfield, Dina Merrill, Patricia Collinge, Jan Sterling, Elizabeth Allen, Anne Francis, Ruth Roman, Gladys Cooper, Inger Stevens, Zohra Lampert, Diana Hyland, Joan Fontaine, Irene Tedrow, Sarah Marshall, Nancy Kelly, Betty Field, Katherine Squire, Martine Bartlett, Phyllis Thaxter, Natalie Trundy, Linda Christian, Laraine Day, Anna Lee, Lois Nettleton, Madlyn Rhue, Patricia Donahue, Diana Dors, Claire Griswold, Mary LaRoche, Virginia Gregg, Anne Baxter, Jacqueline Scott, Sondra Blake, Ruth McDevitt, Katharine Ross, Patricia Barry, Jane Withers, Joyce Jameson, Teresa Wright, Linda Lawson, Jean Hale, Mildred Dunnock, Felicia Farr, Kim Hunter, Collin Wilcox, Jane Darwell, Jocelyn Brando, Joan Hackett, Gloria Swanson, Lynn Loring, Pat Crowley, Juanita Moore, Naomi Stevens, Marjorie Bennett, Jessica Walter, Gia Scala, Joanna Moore, Kathie Browne, Ethel Griffies, Sharon Farrell, Nancy Kovack, Barbara Barrie, Doris Lloyd, Lillian Gish, Maggie McNamara, Josie Lloyd, Tisha Sterling, Ann Sothern, Patricia Medina, Elsa Lanchester, Jeannette Nolan, Ellen Corby, Julie London, Margaret Leighton, Lilia Skala, Olive Deering, Kathryn Hays, Dana Wynter, Louise Latham, Sally Kellerman, Geraldine Fitzgerald, Fay Bainter, Jane Wyatt, June Lockhart, Colleen Dewhurst…
MY SELECTED EPISODES THAT FEATURE THE HITCHCOCK LADIES OF THE EVENING!….
Vera Miles as Daphne and devilishly handsome Jeff Hunter in Don’t Look Behind YouFear grips the campus and Vera Miles… Abraham Sofaer watches Daphne go out into the dangerous night woods
Actors Ed Nelson and Arnold Moss listen to the recordings sent by the plagued Warren Barrow. Is he a murderer? Angie Dickinson is the seductress and James Mason the tormented man
This episode is directed by actor turned director Alf Kjellin, based on the teleplay by Richard Levinson andWilliam Link of Columbo! from a story by John Bingham.
James Mason plays mystery writer Warren Barrow a pseudonym he uses to contact his publisher with a series of tape recordings describing what is either the outline for his latest murder mystery or the details of an actual murder he himself is planning to commit. Barrow describes a relationship with an alluring woman named Janet West (the sexyAngie Dickinson) who wants Warren to kill her husband so they can be together. Ed Nelsonplays another writer Tom Keller whom the publisher Victor Hartman (Arnold Moss) asks to review the tapes with him in order to help determine whether the impending murder is real or fictional. Angie Dickinson is so perfect as Janet West, the femme fatale Warren Barrow can’t resist.
Janet West- "You know there's one part of the Bible I know by heart. I saw unto the sun, that the race is not too swift nor the battle too strong, but time and chance happen to them all. Means you can be as clever as you like but you gotta have luck. You gotta work for it and grab it when it comes. I was very poor when I was young. Very poor"¦”
“Oh sister not tears again… you’ve cried a whole river these past weeks”-Sister Jem
Directed by Norman Lloyd, story and teleplay by mystery writer Henry Slesar (Alfred Hitchcock Presents, The Twilight Zone, Two on a Guillotine 1965, The Man From U.N.C.L.E. 1966, Batman 1966, Run For Your Life ’66-67 Circle of Fear 1972, McMillan & Wife 1974, Tales of the Unexpected 1981-1984) co-starring Clu Gulager  Isobel Elsom Carmine Phillips, Charity Grace.
Carol Lynley is Sister Pamela who on the eve of taking her final vows has a crisis of faith. Sister Pamela fears that she might just be hiding from the world. The Reverend Mother (Isobel Elsom) sends Pamela and Sister Jem (Charity Grace) on a mission to collect a valuable statue of Saint Francis that is being donated to the convent by reformed gangster William Downey (R.G. Armstrong).
On the way back to the convent, the lovely young novice is fooled by slick hoodlum/loser Jimmy Bresson (Clu Galager who is terrific at being smarmy) who stalks train stations stealing bags. Pamela is filled with guilt having let down her dying mentor Sister Lydia (Sara Taft) She leaves the order and submerges herself in the sleazy jungle where Jimmy works and socializes in order to find the statue and redeem herself. Lynley is another underrated actress who delivers an extremely poignant performance as a girl at the crossroads of her life. She has an endearing innocent beauty that is genuine and charismatic.
Sister Pamela-“Sorry Sister Jem, I have only myself to blame.”
Sister Jem-“You’re not thinking of… what we spoke of the other day?”
Sister Pamela-“I haven’t been thinking of anything Sister. I’ve tried not to think.”
Sister Jem-“Have you prayed?”
Sister Pamela-“Sister… I’ve prayed for humility and obedience. But there was no answer in my heart Sister Jem… only silence!
Dense browed Dean Stockwell plays research chemist David Kelsey who is hopelessly in love and obsessively fixated on Annabel (the wonderfulSusan Oliver). But Annabel is married Gerald Delaney (Hank Brandt) Kelsey assumes a phony identity William Newmaster and pursues Annabel with a blind devotion that is downright creepy. He purchases a beautiful home that he has filled like a shrine to his great love, a place tucked away in the country where they can sojourn in their own private world. Trouble is Annabel isn’t in on the romance. But David isn’t taking no for an answer. Added to the web of obsessive love is the fact that Linda Brennan (Kathleen Nolan) is as fixated on David as he is on Annabel. What a mess!
Directed by Joseph PevneyteleplayWilliam D Gordonand Alfred Hayesbased on a story by V.S.Pritchett as published in The New Yorker and co-starring Peter Falk in one of his most impressive roles as the psychotic revivalist Robert Evans.
Falk plays a fire and brimstone fanatic who yearns for his own church and will kill in order to achieve his life’s dream. First he woos Patricia Collinge(The Little Foxes 1941, Shadow of a Doubt 1943, The Nuns Story 1959)Â as the wealthy Naomi Freshwater, murdering her one night in order to take over her large house he claims she promised to him in order to help him build his tabernacle. The scene is quite disturbing and fierce. a well done scene that predates many psycho-sexual narratives to follow.
When her niece, the world traveling Laura (Dina Merrill) comes to get her aunts things in order, Robert begins to romance her with the same bombastic fervor as he did her aunt Naomi. As Robert discloses his past to Laura, she discovers that he might have killed his first wife as well and that he has visions of his calling to be a great evangelist. Evans is a deranged ego-maniacal woman hater who mistakes his visions of glory for the need to be in control!
Robbie-“Sure the whole world is filled with problems Miss Naomi. We’ve all got to puzzle over what we’re supposed to think. None of us. There’s nobody that’s gotta puzzle over what we’re supposed to do!”
Naomi-“Oh that’s so clear to me Robbie, you know what to do and you do it… I feel so free! No more aches and pains.”
Robert- "Burn it… burn it. Take your whole past and burn it out there in that fire pit. Start a new life with me" Laura- "I don't have your faith in new lives Robert." Robert-"But I told you once… I've got the faith."
Mrs Raydon (Gladys Cooper) " I think he's dead you've always wanted this to happen. You've done this to him. You've killed him!”
Directed by Jack Smightwith a teleplay by Henry Slesar, based on the story byMary Belloc Lowndes who wrote the novelette The Lodger, which was the inspiration for Hitchcock’s first suspense film in 1927 and of course the version with Jack Palance in 1953 called The Man in the Attic.Â
One of my favorite episodes due to the presence of Ann Francisas Eve Raydon and Ruth Roman as her companion Adelaide ‘Addie’ Strain. Eve is framed as a jezebel by her nasty vicious old mother in law.The storyline has a definite undertone of lesbian desire, akin to Lillian Hellman’sA Children’s Hour. Eve is married to a stuffed shirt named Howard ( Gene Lyons–the commissioner -Ironside) who resents Addie’s presence and is still tied to his mommy’s (the great Gladys Cooper Rebecca 1940, Now, Voyager 1942, The Song of Bernadette 1943) apron strings. Howard fires Addie who has been hanging around Eve in the position as ‘maid’ who also happens to have a little boy name Gilly who breaks a valuable antique sending Howard into a rage and prompting him to fire her. Addie who is desperate to stay with her mistress, poisons Howard’s night time glass of milk by spiking it with some K9 liniment. But Eve is accused of the murder instead and her intolerable mother-in-law is all too happy to see her pay for the crime. co-starring Michael Strong as defense attorney Malloy, Stephen Dunn as Jack Wentworth, Tim O’Connor as Prosecutor Halstead.
Addy talks to Eve about Howard finally firing her-“He means it this time… things could have been so different!”
Addy Strain to Molloy- "I can't believe that all this is happening it's all that woman's fault. That awful old woman"¦ Mrs Raydon. She hates Eve. She's always hated her. She hates Eve just because she married her son. That's why she accused Eve of killing him.”
Gertrude Flynn as Ethel Chesterman “I heard you David. You’re going to marry the maid. At least this afternoon you’re going to marry the maid. My wedding present to you will be my absence.”
Marie-“Your eyes shine in the dark David. I think you are part Cat”. David –“A tiger a leopard ready to pounce.”Marie-“I'm going to have to get a wonderful cage to put you in.” David-“Nobody is going to put me in a cage!! Marie-“Stop David you’re hurting me…”
Directed by Alf Kjellin, with a teleplay by writer/director James Bridges (When Michael Calls 1972, The China Syndrome 1979) based on a story by Nicholas Blake.
Zohra Lampertplays Marie a naÃve french maid who runs off with the wealthy son David (Robert Redford) who is actually a compulsive cat burgler/jewel thief. David’s wealthy mother throws a few coins at them to buy a toaster, goes to Europe and changes the locks on the door. And so for money David runs to his partner in crime Karl.And so begins a queer struggle with David’s odd accomplice, a flamboyant wig designer Karl Gault played to the hilt by Barry Morse.
David cannot change the way he is, although he is truly in love with Marie he only knows how to steal and scheme. Karl falls in love with Marie creating the immortal triangle. In order to get his rival out of the way, Karl creates an elaborate ruse in order to trap David in a robbery gone wrong and have him arrested for the murder of a guard. Co-starring Gertrude Flynn as David’s mother Ethel Chesterman.
Marie-“Your eyes shine in the dark David… I think you are part cat.”
John-"Alice have you ever read any fairy tales? There's one about a princess. She was very beautiful. She lived in a beautiful castle. Had a beautiful garden. But her fairy godmother warned her not to do one thing. There was a particular flower in that garden that she wasn't to pick. If she did"¦ she'd lose everything. Her beauty, her castle"¦ everything. Alice– "I don't get the point”. John –"Alice princess"¦ don't touch that flower please” Alice- "oh please don't be silly they only write fairy stories to keep children out of mischief.”
Directed by Jack Smight with a teleplay by Alfred Hayes and a story by Rebecca West.The Paragon allows screen legend Joan Fontaine to give what I feel is perhaps one of the most extraordinary performances of her career. As the infuriating perfectionist who meddles in everyone’s lives Alice Pemberton married to the beaten down John Pemberton played by the always wonderful Gary Merrill.
John loves his wife but is beginning to feel the strain from years of Alice’s intruding and dictating moral codes and her ideals to anyone within reach even the maid Ethel played with fabulous scorn byIrene Tedrow. All her friends and relatives cringe at the sight of Alice, for they know she will inject some sort of righteous advice and admonition. Alice is like a child who cannot see the damage she has done, or how she hurts the people around her. She believes that she is helping to improve themselves, though she alienates herself instead. John urges with a tender yet firm clue that she must stop her behavior before it’s too late. Even relating a fairy tale to her with a warning… Alice is very much like a character in a fable who does not heed the warnings or the signs that she is tempting the shadows to converge upon her!
Vera-"Michael and I are leaving now Mrs Henderson, I'm taking him home with me. Oh I am sorry for you because I think in your own way, you've grown really fond of my baby. But you see Michael is my child. I've known that from the very beginning"¦.”
Directed by Jack Smight with a teleplay by William D Gordon based on a story by Celia Fremlin.
Louise (Gena Rowlands) is a busy mother of two precocious young girls Jennifer Gillespie (What Ever Happened to Baby Jane? young Jane) and a small infant boy. She rents the room upstairs to the mysterious Vera Bradley (Nancy Kelly) who is supposedly working on her thesis paper, but in fact has her eyes on Louise’s baby boy. She secrets him off each day to another room she is renting, that she has decorated for the little guy. She also calls him Michael. The child looks more like Vera as he has dark curly hair and both Louise and her husband are blonde. Is Vera there to steal the boy and claim him as her own? This is an extremely taut and well acted little story. The performances by both Kelly and Rowlands are stellar. The interplay between the two women brought me to tears, it was so poignantly played without being melodramatic or contrived. A truly heart wrenching experience, especially for fans of these fine actresses as well as one of the most effectively dramatic of all the episodes. Also watch for an appearance by the wonderful Juanita Moore as Mrs. McFarland and Joyce Van Patten as best friend Grace.
Dean Jagger tries to quiet Jennifer West after he tries to steal more than a kiss from the town hussy Alice.Betty Field plays George’s flakey nagging wife.Slamming the fridge door and shuffling her feet. Jenny confronts George’s peculiar behavior on the jury Jenny – "Would the star juror care to give me some justification for his behavior? George- “What behavior?” Jenny-" What behavior! The behavior that has brought down ridicule and scandal over our heads!" George-" What you talkin' bout Jenny? Jenny- "Have you gone deaf and blind?… Unplug your ears… open your eyes! George Davies the most respected highly thought-of citizen in this town protecting this infidel, this murderer… No wonder you get indigestion."
Although this is very much Dean Jagger’svehicle, Betty Fieldwho is a wonderful actress stands out as the blowsy, whiney wife to George Davies, who becomes so aroused by the town hussy Alice (Jennifer West) while out at the lake during a picnic. When she rebuffs his advances he strangles her and allows her boyfriend JJ Fenton (Will Hutchins) to take the rap for her murder. JJ has been known to knock Alice around, and soon the town is out for his blood. But the guilt of what he has done drives George to try and defend JJ to exasperating results. This is a quirky dark comedic episode that just seems to want to be kind to George. The show also co-stars Martine Bartlett as Flossie and the wonderful Crahan Denton as Sheriff Walter Watson who just won’t take George’s confessions seriously.
Nora’s inner monologue- “In heaven's name Jean, don't leave us here alone.”
Directed by Robert Douglas with a teleplay by William D. Gordon & Charles Beaumont based on a story by Hilda Lawrence.
Michael Rennie plays a con man Ralph Manson who marries Nora, (Phyllis Thaxter) for her money. When he screws up an elaborate scheme to embezzle funds from the bank, trying to pin it on her eldest son, he accidentally kills the boy. While trying to make it look like the young man hangs himself, Nora stumbles into this horrific deed she winds up taking a fall down the stairs that paralyzes her and leaves her in an apparent catatonic state. Which is good for Ralph, as he needs this witness to be silent. But Nora, might not stay silent for long… The well-crafted suspense yarn utilizes Nora’s inner monologue to help guide us through the tense narrative cues. This is such a tautly played suspense piece as Nora is conscious of her husband’s murderous nature, and his desperation to keep Nora quiet. It’s only a matter of time before he finds of way of making it look like she dies of natural causes. Enter the pretty Natalie Trundy as her attending nurse Jean Dekker who senses something is wrong and stays close by! This one’s a nail-biter!
Dianne-"Oh Nanny it's wrong, I didn't think he'd blame you" Nanny-"The important thing is that he isn't blaming you"Â Dianne–Â "Oh I'm letting you be hurt and I can't do that.. I didn't think he'd react this way. Nanny I"m going to tell him the truth” Nanny-"What are ya going to tell him. That you were with the baby holding a drink!"Â Dianne-“But you're not the guilty one, he mustn't blame you Nanny-“Dear in the past when things went badly you know what happened. You don't want that now You promised him that you'd give it up. Oh, when the baby was here it was better"¦ but better's not what you promised!”Lois Nettleton as Dianne and Doris Lloyd as Nurse Andrina Gibbs
Consuela- "She feels guilty, she feels responsible for the baby's death. and the drinking helps her to forget. so we'll see that she continues to drink. And when the bottle is all gone. We'll get more Vodka. Or whiskey or whatever she likes. She can hide it from Victor for a while I suppose. But he will find out and then he'll be terribly hurt. and disappointed in her. He'll need help and sympathy from someone else!"
Directed by Jack Smight with a teleplay by Alec Coppel and William D. Gordon, based on a story by William D. Gordon.
Lois Nettleton plays Dianne Castillejo who adopts a little boy, who drowns in their swimming pool while she is sitting out in the sun with a cocktail. Dianne is a recovering alcoholic and there is a question as to whether she was intoxicated when the tragic accident occurred. Dianne is visited by a mysterious woman, (Madlyn Rhue)Â Consuela Sandino who claims to be the little boy’s birth mother. She proceeds to blackmail Dianne about the circumstances of the little boy’s death. She convinces Dianne to allow to her stay in the house as a guest being an old-school friend. Here she plans on helping Dianne submerge herself in booze so she’ll pay out loads of money and eventually have to be taken away to a sanatorium where she can then work on the handsome (Anthony George) Victor. Co-starringDoris Lloyd as Nanny.Â
John Gavin as Dr. Don Reed and Tom Skerritt as friend Dr. Frank Farmer… Don is just smitten.Scott Brady as Nickie’s stands by her boyfriend BillNickie-singing Just One of Those Things-"So goodbye dear and amen"¦ Bill- “Where you going?" Nickie-“Maybe California. You know I came back just to have a look at you. You got really weak eyes Bill. Here's hoping we meet now and then.” Bill- "But you haven't asked me to come along “Nickie-“Well I came here thinking I'd have to, but I don't need you anymore the boomerang's broken baby' Bill-"You wanna bet!" Nickie “Uhuh, It was great fun, but it was just one of those things.”
Directed by Bernard Girard with a teleplay by James Bridges and a story by Henry Kane.
Doctor Don Reed (John Gavin) falls head over heels for a sexy nightclub singer, the slinky Nickie Carole,(Diana Dors) who is just no good. Both his father and Nickie’s own band leader boyfriend try to warn Don. Nickie accepts Don’s proposal of marriage, and then his father drops dead after hearing the news. The newlyweds use the inheritance money to take a honeymoon cruise, in which Don stumbles upon his bride getting all snuggly with another passenger. In a rage, Don causes the man to fall overboard. Of course, Nickie urges Don to keep his mouth shut. And he is now a murderer. Soon after Nickie grows tired of Don, as her old lover Bill warned would happen, and this hard-edged old boyfriend (Scott Brady) Bill Floyd of the Bill Floyd Trio shows up in the picture again… What will happen to this dangerous triangle of lust and obsession…
Natalie-"I understand, they're patients aren't they? Permissive therapy?” Dr. Fennick-“Yes that's it exactly. A new method, an experiment. I wanted to prove that my patients would act normally if treated like normal human beings."
Sarah-“Oh I feel fine doctor just fine. I always feel fine talking to you.”  Dr. Fennick-“That's what I'm here for' Sarah-“Yes I know but… what am I here for? Beatrice Kay as Sarah Sanders the aging film star.inmates Virginia Gregg as Miss Gibson and Ronald Long as The MajorThe real doctors are locked up in the attic!the deranged Ray Milland as Dr. Fennick who menaces Natalie (Claire Griswold ) in Home Away from Home- The Alfred Hitchcock Hour
Virginia Gregg as Miss Gibson-“The doctors told everyone about you. I know they’re just CRAZY to meet you!!!”
Directed by Herschel Daugherty with a teleplay based on his story by Robert Bloch from Alfred Hitchcock’s Mystery Magazine.
This is one of those great ‘the inmates have taken over the Asylum’ narratives starring Ray Milland. Milland plays Dr. Fenwick a mentally disturbed doctor who believes in role-playing as a therapeutic means to unlocking a patient’s identity crisis and finding happiness. After he kills the director of the sanitarium, he assumes his identity! of course. He locks away the staff in the attic and allows the inmates to pick roles that would suit their desires. Things are going pretty well until the director’s niece Claire shows up to visit her uncle. At least she has never seen her uncle before so she quickly assumes that Milland is who he says he is. Unfortunately, Claire discovers the dead body of her real uncle and urges Fennick to call the police. Uh oh! What mayhem will ensue.
There are great little parts by Virginia Gregg as Miss Gibson roleplaying the nurse, Connie Gilchrist as Martha, Mary La Roche as Ruth… and Beatrice Kay as Sarah Sanders!
That’s actor Harry Townes lying dead under that shiny star pillow…
Janice referring to Larry (George Segal) –“He’s the kind of man who could make you do anything… anything at all…”
This episode is directed by Joseph Pevney with a teleplay by Mann Rubin
George Segal plays the young ambitious actor who wins over casting agent Anne Baxteras Janice Brandt. Janice falls deeply in love with Larry the cocky and short-tempered actor with whom she gets a screen test in Hollywood and turns him into an upcoming male lead.
She has given up everything for this strong-willed actor, including her career, and even sacrificed her marriage.
While back in New York, Janice calls Larry desperately telling him that her ex-husband Ed (Harry Townes) has tracked her down completely drunk and is now unconscious on the floor. Larry calming coaches Janice into finishing off the job by smothering him with a pillow, so she can finally be free and join him in Hollywood… But is that all there is to it?
Sheriff Will- "You can't think of anyone at all who might have had a grudge against Frenchie?” Katherine Squire as Mrs. La Font- "Only one person Will, Myself. He was my son, I loved him "¦ there was no harm in him he never hurt anyone but he was lazy. He would not accept responsibility. That's why he wanted me at the restaurant so I could do all the work of running it, while he'd play Frenchie La Font for the public. I used to get so angry with him. So angry… (crying)The creepy custodian of the library terrorized poor Susan with his tales of working the slaughterhouses
In Northfield, a rural community in northern California a teenage boy Tommy Cooley is found brutally murdered. His father R.G. Armstrong, who is a religious fanatic goes on a mission to avenge his boy’s murder. There is only one piece of evidence, a broken-off part of the car’s headlight found a the murder scene. First, believing that he is getting signs from God, he murders Frenchie La Font (Dennis Patrick) the person who owned the car. Then the car falls into the hands of an elderly librarian who considered purchasing the car and might have had access to it. The residents of Northfield become terrorized by the events and demand that (Dick York) Sheriff Will Pearce do something about it. Jacqueline Scott who plays Susan March a librarian and the Sheriff’s girlfriend is now the one who wound up with La Font’s car. Cooley now suspects her. He is on a mission from the lord to avenge his son’s death. Will Susan be next? Co-stars Katherine Squire as Mrs.La Font who turns out a tremendous performance as the mother of a good-for-nothing son who winds up being the victim of Cooley’s wrath.
Carol-“You don't talk much do you?” Terry-“I guess not” Carol –“Is the rest of your family like that? Quiet I mean? Terry- I don't know. I don't even know who they were. I was raised in a county home” Carol- “You mean like an Orphanage? Terry “Now what else could it mean? I'm sorry maybe we oughta start back, it's a long way” Carol -“We can take the subway Terry –“I wanna walk-you wanna take the subway go ahead if that's the way you feel about it “Carol-“Why did you come with me?” Terry– “I didn't mean it like that. It's just that it's the rush hour now"¦. Look I gotta thing about being closed up in places is all.” Carol- “Claustrophobia?” Terry- “Yeah” Carol- “So does Mr. Calucci"¦ He was a prisoner of war” Terry– “I was a prisoner once… No war though.” Carol –“You mean the home.” “Terry- “Home reformatory, state prison, take your pick. Anything else you'd like to know? Carol– “Some date huh?” Terry-Bet you don't have any boyfriends like me.” Carol-“ I don't have any boyfriends”Terry– “Come on” Carol- “I haven't dated since high school.” Terry- “Girl like you why not? Carol-“What do you know about me?” Terry– “I could learn.”
Three paroled ex-convicts stage a heist but inadvertently unleash radioactive cobalt on a small urban city street. Actors Chris Robinson,Norman Fell, and James Gregorywho are now garage mechanics decide to rob the payroll office. When they can’t crack open the safe, they take it to their garage, which is adjoined to the little shop next store run by Carol.
Terry who is acutely claustrophobic (Chris Robinson) begins a romance with Carol, as he struggles between self-preservation and his sense of humanity and love for this beautiful young woman. Katherine Rossis a particularly seductive pixie in this episode. Ross’s presence brings an element of realism and humanist equilibrium to the very nihilist tone of the story.
Lana/Peaches-"You and Snakebite are among the very few things that fail me in that respect.”
Directed by Robert Stevens with a teleplay byWilliam Fayand a story by Robert Arthur.
This is one of the cheeky mystery installments of the show, and Patricia Barryis just superb as the brassy dame with a secret past who’s looking out for number one. The night she wins the Oscar, movie star Lana Layne is visited by her old ex-convict husband George (Stubby Kaye), who, she thought had died in a prison fight. Rosemary ‘Peaches’ Cassidy had married the bum when she was only seventeen and didn’t know any better. But George has plans of letting Lana remain his wife since she’s so successful and wealthy, and if they did get divorced she’d owe him half of anything that was hers. She wants to marry handsome manager Harry Lawrence (Robert Culp). Lana clocks George on the head and accidentally kills him. Now Lana and Harry must try to hide the body while finding a place to have their honeymoon, assailed by gossip columnist Baila French (Alice Pearce- Bewitched’s neurotic neighbor Gladys Kravitz). It’s a comedy of errors!
Rosie "You've had a narrow escape. Well, life's given you another chance. And you should take it"¦ You should free yourself. When something's over it's over” The always delightful Joyce Jameson as Rosie Feather the ‘dancer’
Directed by Alf Kjellin story and teleplay by Robert Gould
Withers plays Edith Swinney the consummate nagging harpy who dominates her husband Gerald’s (Bob Newhart) mundane life. Gerald concocts a very elaborate plan to drive Edith mad using paranoia as he digs a grave-like hole for a fish tank, leaving empty boxes of rat poison around the kitchen. Edith is so convinced that Gerald is out to kill her that she shares her fears with her friends and neighbors. Gerald purchases a pair of rats from a pet shop and plants them in the kitchen. She falls for the bait and puts rat poisoning in his cocoa making it look like murder made to look like suicide. She calls the police the next morning, but they find a very alive Gerald. Edith is arrested for attempted murder… but is that the end of the story. Joyce Jameson stars as dancer Rosie Feather, always fabulous, perhaps playing the featherbrained blonde bombshell –but always endearing!
Marion Brown tells her husband- “You have been a bigamist 4 times. Now you can stay alive with me or be dead away from me!”
Directed by Joseph Newman with a teleplay by Arthur Ross and a story by Kenneth Fearing.
Dan Duryeais a gambler and a proud bigamist name Raymond Brown. He truly loves his wife… I mean all four of them. But something is going quite wrong. One by one his wealthy meal tickets are all turning up dead. At first, it appears that they are suicides. But the police start to suspect Brown of murder. Marion, (Teresa Wright) has been the long-time dutiful wife who has waited and suffered through heartache to finally have her philandering husband all to herself. Could she be the one who is bumping off all of Ray’s wives? Wright takes a much different approach from the gentle farm wife Stella and shows herself off to be quite resourceful when holding onto a cheating husband!
Grace Renford- “All men are rotten aren't they Minnie, as soon as they're interested in me they're no good!
Aunt Minnie-“If he’s a doctor at all he should be giving out pills not talking to dead people!”
Directed by Alf Kjellin with a teleplay by Alfred Hayes and William Gordon. Story by Miriam Allen de Ford.
Grace Renford (the haunting Diana Hyland) plays a wealthy and beautiful socialite who longs to meet the man of her dreams. Someone who will love her for who she is and not the money and status that is her legacy. The lonely Grace answers an ad in a spiritualist magazine where she begins to correspond with a young man named Keith Holloway (Jeremy Slate).
He is an engineer who does his work in Bolivia, or so he says. When he comes to the States to meet Grace for the first time, she has rented a modest apartment and pretends that she is just an ordinary working-class girl. Minnie (Mildred Dunnock) acts as guardian to the lost waif and knows something isn’t quite right with this man. But when Grace and Keith get engaged, she tells him about her true identity. Keith insists that he is not interested in her money and that he has his own business ventures in Bolivia. Keith returns to South America, planning on having Grace join him soon. But Grace gets a telegram saying that he has been killed in a mining accident.
Sent into the world of spreading grief, Grace turns to spiritualism and mysticism to find a way to contact her lost love. Thus appears Dr.Shankara (Abraham Sofaer) who can connect Grace with her dead love. Wanting to shed her worldly goods, she gives away her possessions to the Dr and his temple. But Minnie suspects that Keith is very much alive and that a scam has been going on with the doctor for years. Minnie tries to intervene with disastrous results!
Roy- "A string of men friends all the time Mrs. Fowler, a string of men friends, a string of men friends all the time ssh don't tell anybody Roy this is your Uncle Joe from Kokomo Roy, why don't you go outside in the yard for a little Roy huh!"¦ {"¦} There's a smell of death around women like you. Death and corruption. You corrupt people the way you go on all the time. So you better cut it out you understand that" Marcia Fowler-"Get away from me you're out of your mind. Nobody would blame me now if I shot you now with your filthy phone calls, breaking in here like this. How exciting am I now with a gun pointing at you?”
Felicia Farr plays the sexy Marcia Fowler who accuses the neighborhood thug Roy Bullock (Bruce Dern) of not only playing peeping tom but sexually harassing her. Roy is a tightly wound teen filled with angst and rage and could possibly be a psychopath while we’re at it. He denies it when confronted by Marcia’s husband. (David White)
Marcia does appear to be self-absorbed, neglecting to pay enough attention to her stepson. But when the obscene phone calls begin, Marcia convinces her hubby to confront Roy about it, who tells him she’s just looking for attention. When Roy Fowler goes away on a business trip he challenges Marcia calling her a tease and a lousy wife and mother, the way his own mother had failed. Okay, so the angry boy has mother issues. Things get out of hand when Marcia begins to feel threatened and takes out a gun. But is everything as it seems!
Kim Hunter is stunning as a ruthless woman who has no conscience and borders on the sociopathic. At the end of WWII, Adelaide exploits the grief and loss of surviving members of the family to act as a spiritual medium. She earns a nice living by taking money from these grieving people, claiming to ease their suffering by connecting them with their lost loved ones. Gene Lyons plays Adelaide’s bunko buddy Robert who helps set up the patsies for the taking.
The is nothing more heinous than bilking grieving families of soldiers killed in battle out of their money pretending that she can communicate with them.
Robert (Gene Lyons)-Â "I taught you everything there is to know about this racket.." Adelaide "Profession Robert.” Robert – "That's what you'd like to pretend, but it is a racket, a swindle a con game as any I ever did." Adelaide-" I only obtain the more crude aspects of the profession from you." Robert-"Everything and I want you to stop pushing me around." Adelaide-"You taught me a series of Halloween tricks. Carnival mumbo jumbo… I made it pay." Robert –“They’re still carny tricks.” Adelaide-“Science!” Robert- ‘And you took them from me…”
Directed by Joseph Newman with a teleplay by James Bridges and a story byMargaret Millar (Rose’s Last Summer-Boris Karloff’s Thriller starring Mary Astor).
Joan Hackett, (The Group 1966) a very underrated actress of the 60s & 70s plays Helen Clarvoe a woman who is being tormented by phone calls from a menacing woman named Dorothy who is threatening her life. Kevin McCarthyis lawyer Paul Blackshear who agrees to investigate and track the maniacal Dorothy down. The crazy woman blames Helen for the break up of her wedding engagement. Paul finds a photographer for whom Dorothy recently posed, though she has destroyed any negatives and photos of herself. Then the photographer is murdered! While in the midst of his investigation, Paul receives a frantic call from Helen that Dorothy has broken into her apartment and is holding her at gunpoint!
Directed by Robert Douglas with a teleplay by Henry Slesar and Joel Murcott. Story by Slesar.
When Dave Snowden (James MacArthur) and his new bride Bonnie (the lovely and underrated Lynn Loring) visit the estate owned by Bonnie’s late father, Dave finds a mysterious locked door and surmises that there must be something of value hidden there. Bonnie tells her mother (Gloria Swanson) that they’ve just been married, who instantly assumes that Dave is after her inheritance. Mrs.Daniels tries to give the young man money to go away and annul the marriage. Dave is hungry for money and gets Bonnie to go along with a plan for her to fake a suicide attempt by overdosing on sleeping pills. This they hope will get the mother’s sympathy. Things go badly when a childhood illness leaves Bonnie allergic to sleeping pills. The climax is stunning as the great ironic natural law of justice is served. Swanson is marvelous as always as the elegant and protective Mrs. Daniels!
Miss Emmy Rice –“I was just thinking of how awful it is when people are so mean to each other. That's one thing when you get to be seventy five, you see clearer than anything else. How mean people are to each other.”
Directed by Joseph Newman with a teleplay by James Bridges and a story by Veronica Johns.
The delightfulRuth McDevittplays Miss Emmy Wright, an elderly lady who sits in the park and is befriended by Gerald Musgrove (Roddy McDowall) who with his wife has just successfully robbed $100,000 but needs a good place to hide the doe ’til the heat is off.
Emmy is a known pack rat, who invites the couple over to her cluttered and quirky place for many social dinners. Gerald gets the bright idea of stashing the loot inside the old dust-covered magazines that Emmy has collected over the years. Gerald also convinces Emmy to draw up a will leaving him the beneficiary so that they can later kill her off and claim the clutter that holds their stolen cash. This is a dark comedic episode with stellar performances by both McDevitt playing off McDowell’s usual droll manner. Co-starring Juanita Moore as Mrs. Jones and Naomi Stevens as Mrs. Goldy.
Directed by Robert Stevens with a teleplay byAlvin Sargent and a story by Patrick Quentin.
Patricia Collingeis one of my favorite character actors. Here she turns in quite a moving performance as a woman trapped in a safe with time running out. And in this episode I’m particularly fond of her doting on her two Siamese cats, being a staunch advocate for cats, and someone who shares their home with let’s say a variety of pussycats, a Siamese rescue being just one of them!
In The Ordeal of Mrs. Snow Aunt Adelaide Snow is at the mercy of her scheming niece’s husband Bruce (Don Chastain) who is afraid that Auntie will go to the police about his check forging. While away on a weekend vacation, he locks Mrs. Snow inside the bank vault in her house, hoping she’ll suffocate and it will look like an accident. But he has also locked one of her cats inside as well. Thank god, because these little felines are very smart indeed. Mrs. Snow’s niece Lorna, (Jessica Walter) tries to call her aunt, worried that something is wrong, not realizing what her sneaky murderous husband has done… Don’t worry, the cats come to the rescue! Also co-staring George Macready as Adelaide’s dear friend Hillary Prine.
Sharon Farrell plays the seductive Melanie Rydell who doesn’t intentionally get men chasing after her. But her psychotic husband Lew Rydell (Frank Gorshin) gets off on a murder charge after Ned Murray (Martin Landau) successfully gets him an innocent verdict. To Ned’s horror, he learns that Lew is in fact a hot-headed jealous nutcase who was guilty of murder and is now accusing him of going after his sexy wife. Ned is conflicted by law, but wants to bring this loaded canon to justice but can’t get him prosecuted for the same crime twice. He solicits the help of an old gangster friend who owes him one but realizes that he has inadvertently put a hit out on the unstable Lew.
Directed by Alf Kjellin Teleplay by William Fay and Henry Slesar, from a story by S.B. Hough.
Again, the highly underrated Barbara Barrie, who has always given her all in any performance, notably several of The Naked City. Here she plays a very timid and unstable single woman, (I will not use the word spinster here, though most analysis makes use of the word, I find it offensive) Isabel wrongly accuses Howard Clemens (Bradford Dillman) of sexual assault. Howard Clemens is sentenced to two years in prison for a crime he didn’t commit. Once he is released, the first thing he does is steal a large amount of money. $13,000 which is the amount he would have drawn as a salary had he not been thrown in jail.
He comes back to the same town where Isabel teaches, and opens up a record shop. He purposefully manages to bump into Isabel until he finally gains her confidence. Eventually, the pair become engaged. While on their honeymoon, Howard tampers with the fuel ignition switch on the boat which will cause the boat to explode. He tells Isabel to take the boat out alone. A bit later he hears the blast and is finally satisfied that he has gotten his revenge on her at last.
Directed by Joseph Newman (The Outcasts of Poker Flats 1952, The Human Jungle 1954, This Island Earth 1955, The Twilight Zone ’63-’64) with a teleplay byHarold Swantonand story by Margaret Manners.
I’ve written about this marvelous episode for Movie Silently’s The Gish Sisters Blogathon! Here Lillian Gishplays the sassy Bessie who lives with her daughter Camilla (Maggie McNamara) Bessie is a staple of the town, and when her handyman falls to his death because of the arrogance of her neighbor Samantha Wilkins (Patricia Cutts-The Tingler 1959) and her whipped husband Henry (Peter Lind Hayes) Bessie goes on a mission to try and bridge the feud with the couple by inviting them over for supper.
Samantha refuses to break bread with the Carnbys, but Henry starts to insinuate himself into Bessie and Camilla’s life. One night Henry disappears and Bessie sees Samantha digging a hole in the barn. She accuses the woman of murder and eventually, Samantha is executed for killing her husband. But… Henry unexpectedly returns, claiming to have been on a long sea voyage not able to hear about his wife’s trial. Bessie suspects that Henry has staged the whole thing and begins to feel terrible guilt about what she has done. Will she be able to rectify the awful mistake she has made and bring Henry to justice?
Bessie-"To bring to the light of day the two lies that together make a truth. "
Elsa –“There's something wrong with this house, I lye awake at night and I can feel it. There's is something wrong with this house Something we don't know about.”Elsa-“That's the girl I saw at the beach, she's lovely” Keith- “What I want, what I really want. What I'm sure as sitting here want"¦ uh." Elsa –“Keith it may be, it just very well maybe I want the same thing”. Keith- “What are you talking about baby? What you were talking about"¦ Elsa-“How we rid ourselves of each other"¦ and when! Me of you and you of me.”
Michael Blodgett and Tisha Sterling do some mod dancing in Change of AddressElsa… do you really need to go down to the basement to see what your adolescent husband wants to show you? Can’t you guess!!!!
Elsa Hollands (Phyllis Thaxter) hates the new beach house. Keith Hollands (Arthur Kennedy) refuses to grow older and chases after the local beach hottie Tisha Sterling. The house gives Elsa the chills, and it doesn’t help that Keith starts digging a hole in the basement floor that he claims is for the new boiler. Elsa and Keith keep clashing over the strain in their marriage. She just wants to go back to her old apartment and senses something terribly wrong with the damp place.
While Keith is playing around with the young blonde beauty, Elsa contacts the ex-owners wife to discourage her from selling and perhaps finds out the truth about the place. When Keith can’t take Elsa’s complaints anymore, finding her an obstruction into his world of newfound vitamins, jumping jacks, young beach bunnies, hair dye, turtle necks, late nites out at the disco dancing alongside the dreamy blued-eyed Michael Blodgett, he kills her and buries her in that nice big hole he’s been digging. But will Elsa’s investigation come back to bite Keith in those awfully ugly jogging shorts?
Helen-“Funny you dreaming' about me and here we are. Life's a big surprise.”
Directed by Bernard Girardwith a teleplay by Alfred Hayes and a story by the great Robert Bloch!
Rusty Connors (John Cassavetes) is newly released from prison. While in prison his mate Mike Krause (Rayford Barnes) talks incessantly about the perfect blonde he left behind. Krause dies in prison, and so while Rusty gets out he decides to look up this gorgeous dish that was married to his former cellmate. Krause had been in prison for robbery and murder, but neither the money nor the body of his partner have ever been found. Could Krause’s wife Helen know where the loot is stashed?
Rusty comes to find Helen (Ann Sothern) slinging hash at a greasy spoon, but she is far from the pin-up that Mike Krause crooned about. Still Rusty plays up to her, thinking that she can lead him to the stolen money. The pair form a tumultuous sexual relationship, greedy to find the hidden cash. They stumble onto an abandoned boat house infested with starving rats. The two might just turn on each other, but you’ll have to see the episode and find out for yourself! This is a macabre and gritty story by the master of the suspense genre Robert Bloch author of Psycho…
Stella “I"m scared of Jesse… You scared of him too. You scared too. talking don't help Emery I heard you talking to Jessie in the orchard. You told him you married me to have someone to feed ya. Is that why we ain't ever have any children?”
Teresa Wrightis outstanding as poor Stella married to a horrible dolt of a husband who doesn’t appreciate her. Emory (Pat Buttram is a weak and unloving bumpkin who owns a peach farm. This is a dark Americana tale about a quiet woman named Stella who suffers in silence but has a few joys, like the love of animals, in particular her little pet squirrel. One day an ominous drifter asks if he can work the farm for a bit. Bruce Dernplays Jesse, in a role that surpasses so many of the psychopaths he’s had the opportunity to play. Jesse has a particular viciousness that is spine-tingling. While he helps harvest the peach crop, he secretly torments Stella with his fondness for his sharp knife. Stella feels threatened but her husband acts clueless, while at times we see that he is very aware of what is going on, he just chooses not to intervene out of cowardice. The episode is perhaps one of the most psychologically enthralling, and its climax will leave you breathless. The performances are absolutely stunning. Just as frightening as any modern thriller on the screen today! And Wright turns in a performance that tugs at your heart with so many levels of emotional reflection as a woman trapped by her circumstances. John F. Warren’s cinematography portrays a rural hinterland that is otherworldly and melancholy.
Eva-“You crying? You are crying Ha! What do you’ve got to cry about? If anybody’s gonna cry it should be me. Although I must say… You are a most unusual gasman!”
Directed by Joseph Newman with a story and teleplay by Lewis Davidson.
Eva (Lola Albright) is an adulterous wife to an unsuspecting businessman (George Kennedy) who is a penny pincher though he is quite well-to-do. One day a mysterious stranger (Barry Nelson) manages to work his way into the house by claiming to be the gas man. He acts very peculiarly, until finally, he gets her into bed. Colin convinces Eva that it would be easy to kill her husband… This zany and interesting episode has a lot of twists so I won’t give anything away! Just watch for great performances by Nelson and in particular the lovely Lola Albright who can do comedic mystery thrillers with ease!
Mary-"You are a vain man.” Brother Thomas-  "A minor vice." Mary-"There is no such thing as a minor vice." Brother Thomas "trimming a mustache harms no one." Mary-"It's so difficult for you to be the kind of missionary you should be." Brother Thomas- "I have a good reputation." Mary-"Because I have made sure of it." Brother Thomas–"Yes you have." Mary-"You begrudge me that recognition.” Brother Thomas-"I'm the first to admit it." Mary-“I have loved you.”
Mary- “I don't know if I still do. I've had to forget my needs and devote myself to your work.”
Directed by Harvey Hart with a teleplay by Arthur Ross and a story by Robert Branson.
This is a particularly intense addition to The Alfred Hitchcock Hour due to the fine performances by Ed Begley and one of my favorites Jeanette Nolan.Nolan plays Mary the enigmatic wife of a missionary medical man (Begley). The strong woman behind the man so to speak. Begley plays Brother Thomas Fitzgibbons who in actuality is an incompetent surgeon living in a primal world in the rugged terrain of India. Mary is ambitious and wants all the glory for her and her weak husband. When Tom Simcoxand Maggie Pierce –Brother John Sprague and his wife Lucy come to help the mission, Mary fears they will expose the truth about Brother Thomas’ work, as well as usurp their position there. Oh, what a tangled web we weave. Nolan almost reignites her Lady Macbeth with her role as the conniving and treacherous Mary Fitzgibbons– Her silver-tongued laments as always put her at the top of my favorite character actors!
“would you like to meet Mingo when she comes? She’s not very big. She’s big enough to live in a bird cage and big enough to have a frog for a horse!”“Do you believe me about Mingo?”
Eva-"Is it dark where daddy is?"-Nell " I hope not"¦ I don't know."Â -Eva "Numa knows"¦ Mingo says it's brighter than day!"¦ they have bumble bees there too."-Nell-Â "Who's Mingo honey?"-Eva-Â "My best friend!"
This is one of Alfred Hitchcock Hour’s most supernatural tales that breaks the mold of the crime/suspense drama. Along with The Sign of Satan, The Monkey’s Paw, and The Magic Shop by H.G Wells. Where the Woodbine Twineth could have fit nicely into Boris Karloff’sThriller anthology series. A haunting tale that will stay with you for a long time. Margaret Leighton is mesmerizing as Aunt Nell, a woman who just cant embrace her little niece’s wild imaginative tales. I’ve recently become acquainted with Leighton’s work and have fallen in love with the actress!
Directed by Alf Kjellin with a teleplay by James Bridges and a story by Davis Grubb (who wrote Night of the Hunter, The Cheyenne Social Club, and a few short stories for Rod Serling’s Night Gallery 1971.
Leighton is marvelous as she coldly, rigidly lacks understanding of her recently orphaned niece who talks about fey people who live under the Davenport and visit her at night. When Eva comes to live with the elderly Mississippi riverboat Captain Snyder, her grandfather, her aunt Nell just can’t break through.
Nell just believes the child to be willful and lazy trying to blame things on her imaginary friends like Mr. Peppercorn and Mingo… Aunt Nell just can’t handle the role of caretaker to a wily and free-spirited child and begins to crack under pressure. The conflict becomes very real when Nell challenges Eva at every turn.
When Eva (Eileen Baral) gets a wonderful Creole doll she names Numa from her riverboat King grandfather, tensions ignite and Nell comes face to face with the mystical world where the woodbine twineth. A nether region between life, death, and the realms you cannot see with the naked eye. To balance out the constant struggle between the suffering Nell and the precocious Eva is the calming and level-headed presence of Juanita Moore as Suse, who understands Eva and is more like a mother to the young girl than Nell can possibly manifest from her rigid identity.
Nell is obsessed with controlling Eva and catching her in lies. She fears the child’s freedom and resents how happy she can be. When she hears Eva chatting and playing with Numa, the doll her grandfather had given Nell suspects that it is a child from the neighborhood.
Eva warns that if Nell takes Numa away, Eva will have to trade places with Numa and go to dwell in “Where the Woodbine Twineth.”
But obstinate Aunt Nell defies Eva and puts Numa on top of the player piano, Eva steals Numa away and runs into the woods. Suddenly in an eerie haunting manner the player piano mysteriously starts up by itself. Nell desperately stumbles onto Eva in the backyard playing with a little black girl –they are dancing.
Nell chases the girl away, warning her to stay away but then Eva disappears. When Nell finds a doll in Numa’s box it looks exactly like a porcelain version of little Eva, Nell realizes that the magic was real and that she has lost her little niece forever to the ether world beyond the trees… A changeling in her place, never to return.
One of my all-time favorite episodes. Just effectively creepy yet magical stuff… with a haunting quality that lingers…
This piece was directed byJohn Brahmfrom a teleplay byClyde Ware& Lee Kalcheim. (Let’s Scare Jessica To Death 1971, All in the Family 1972) is a story based on Robert Bloch.
Roger Perryplays Cliff Allen a television writer on his way to Hollywood who picks up a pretty hitchhiker named Rosie. (Sharon Farrell) Later Rosie accuses Cliff of abducting her when he is stopped by the local police. Of course, Cliff denies the charges but the sheriff orders him to come back to town with him. Cliff’s car breaks down, and so he is forced to stay over in a very run-down motel.
Off-the-beaten-path Motels already smack of creepy so as you can imagine when it turns out that it is run by a washed-up vaudeville actor name Rudolph Bitzner or Rudolph the Great ( great –for what you’ll find out! )
Rudolph is played by the wonderful Franchot Tone, who dreams of a comeback someday, and Rosie is the daughter of his dead wife who used to be his partner. Now Rosie not only works at the cafe/motel but she’s being groomed to be part of the comeback act.
Rosie sneaks off to apologize to Cliff for lying but she is terrified of Rudolph who is forcing her to marry him once she turns 18 which is in a few days. Cliff agrees to help Rosie escape once his car is fixed. But when he goes to her cabin she is not there. Rudolph convinces him to sit out in the audience and watch his great comeback act with Rosie before he leaves for Hollywood.
One of the most subtly grotesque and atmospheric relics of the early 60s before psycho-sexual cinema hit the proverbial fan!
I won’t give it away, you must see this macabre and eerie installation in The Alfred Hitchcock Hour collection.
Dexter and Joyce Daily (Jeremy Slate and Kathryn Hays) hire Dexter’s old German nanny named Frieda (the inimitableLilia Skala) to come and take care of their newborn baby boy. She did such a good job with Dexter when he was just a tot. But Joyce becomes suspicious when she hears a radio broadcast about a nurse who is wanted in the poisoning death of an infant in San Francisco. Frieda does have some peculiar ways, but Joyce goes as far as to contact the murdered baby’s aunt played byOlive Deering. Christine Callendar only confirms Joyce’s greatest fears that Frieda is the one the police are looking for and that she is a dangerous baby killer!
As Maude’s husband reads the newspaper about the recent strangulation murders –she comments-“I read a book about a man who only killed trombone players, he beat them to death with their own trombones.”
Directed by Joseph Newman with a teleplay by James Bridges and a story by Ethel Lina White
Stella Crosson (Dana Wynter) is the nurse to an invalid heart patient (John Kerr) Stella needs help and is very happy to get some relief when Nurse Betty Ames (T.C. Jones) shows up to help. The large house is also inhabited by an alcoholic housekeeper Maude played by the wonderful Louise Latham. The night is fret-filled with storms and the news has reported that a maniacal nurse killer is on the loose! Oh, and the power has gone out, so they’re all in the dark.
Maude sends her husband out in the storm to get some medicine, and Stella goes around the house locking all the windows and doors. Except she fails to secure one that is in the creepy basement. The shocking ending will catch you off guard.
Directed by David Friedkin with a teleplay by Morton Fine and David Friedkin and a story by Avram Davidson
American Sally Benner is soon to marry London policeman Tommy Bonn (Ron Randall) While on a transatlantic cruise, they announce their engagement, but four hours before they are to be wed, Sally has pangs of doubt and goes out into the London fog. Â There have been a series of murders and her family grows weary for her safety. Tommy and his partner Stephen Leslie (Michael Pate) go in search of Sally.
They eventually stumble on an odd young man named Edward Clarke (David Carradine) who they suspect might be the strangler, and with the description of the woman he confesses to murdering they fear Sally’s fate. The episode also stars Kent Smith and Edith Atwater as Sally’s parents. This episode is very atmospheric andKellermanas usual does a wonderful job of manifesting a languid sensuality and longing that hangs like dew on the petal.
Directed by Harvey Hart with a teleplay by James Bridges and a story by Selwyn Jepson (Stage Fright! 1950)
Richard Johnsonis a smooth con artist Jarvis Smith posing as a stock expert who insinuates himself into the lives of the wealthy Mary Caulfield and her suspicious companion Agatha. It’s always wonderful to see Geraldine Fitzgeraldin any performance, and here is no exception. She has an elegant and stayed sensibility that can be as poignant as it is sophisticated. She works well againstFay Bainterwho is always enigmatic like a fine bit of silverware that is timeless and sturdy. Johnson sheds his kindly Dr. Marquay (The Haunting) persona here and plays the perfect cad. Jarvis eventually romances Agatha and takes over the handling of Mary’s sizable fortune, pretending that he is investing it for her. When it comes to light what Jarvis has done, the drama becomes a taut little mystery melodrama.
Directed by Joseph Newman with a teleplay by Robert Bloch from a story by Richard Deming
June Lockhartplays Martha Peters. Martha has answered a lonely hearts and becomes a mail-order bride she finally meets Luke Hunter (John Anderson) a miserly reserved sort of man who seems to have no joy in his life. Married once before, his first wife was a mail-order bride as well who died under mysterious circumstances. When Luke goes to visit his relatives, Martha’s fears begin to build when she finds a coffin-shaped box hidden in the garage. She also hears her husband digging all night down in the locked cellar.
Suddenly Luke insists that they go on vacation for the Christmas Holidays, and urges her to start packing so they can go visit his relatives. Before they leave the house, Luke unlocks the cellar door and insists that Martha go downstairs and see what he’s been working on!
Directed by Herbert Coleman with a teleplay by Gilbert Ralston and a story by Clark Howard, this is a stand-out story, with a sublime performance by the always-compelling Dewhurst.
Here Dewhurst plays a very compassionate nurse Ellen Hatch who is taking care of a cop-killer Jerry Walsh (Tom Simcox) on his way to death row. Jerry manages to melt Ellen’s tough yet kind exterior and lure her into believing that he’s fallen in love with her so that she can help engineer his escape.
“She was very badly raped, you see! We were assaulted by a gang of vicious, young, hoodlums in this house! In this very room, you are sitting in now! I was left a helpless cripple, but for her, the agony was too great! The doctor said it was pneumonia; because it happened some months later! During a flu epidemic! The doctors told me it was pneumonia, but I knew what it was! A VICTIM OF THE MODERN AGE! Poor, poor girl!”-quote from Stanley Kubrick’s A Clockwork Orange (1971)
Lady in a Cage is a nasty and vicious piece of work.
James Caan- is the violent anti-social ruffian Randall Simpson O’Connell and a good choice for ‘The Great Villain Blogathon’ Since I’ve covered two sympathetic antagonists, I thought it was necessary to write about a true villain in every sense of the word. He’s an *animal* as he calls himself. He is not an anti-hero, he is a sadistic, and violently wired punk, a vicious hoodlum, a product of a modern age.
Randall is a misogynist brute who beats his girlfriend Elaine (we hear the blows from behind the door as she both screams and exults in sexual excitement), and would have probably sexually harassed Mrs. Hilyard but for the fact that he mentions how he hates his grandmother, an older and sexless figure. He is physically rough with her, feeling that she is an ‘old crow’ who is controlling and manipulative and has pushed her son to threaten suicide. Undertones of an Oedipal nature run through the plot line as Randall is raging against the devouring mother, that Hilyard represents in the story, which truly plays like a modern mythic tragedy. Randall traumatizes Hilyard until she is almost insane with fear.
Lady in a Cageis a grimy urban ordeal drenched in taboo and inhabited by drunken derelicts, boozy dames, doped-up delinquents, and menacing cruelty that escalates until it is almost unbearable.Â
de Havilland’s lovely face distorts in the reflected mirrored panel of the elevator as she begins to unravel from the brutality and captivity she confronts, all within the vanilla-white tonality of her quiet house. The interior shots alternate with the outer rat race, the urban grime, and modern desolation.
Randall leers at Hilyard from under the stocking like a vicious hobgoblin.
As Tony Williams writes in his chapter Trying to Survive on the Darker Side in The Dread of Difference-edited by Barry Keith Grant-where he cites Grauman’s film “The monstrous adult child product of a traumatic family situation existed in Earlier Decades, as works such as Curse of the Cat People 1944, Psycho, The Strangler 1963, Lady in a Cage 1964, Marnie 1964, I Dismember Mama 1972, The Killing Kind 1973.” James Caan made an appearance as a soldier with radio in Billy Wilder’s Irma La Douce (1963)
Randall was James Caan’s first credited feature film role after getting his start with small television parts such as The Alfred Hitchcock Hour, “Memo from Purgatory” where he plays a writer who goes undercover in a street gang so he can get inspiration for his book. Kraft Suspense Theatre in 1963, Dr. Kildare, Death Valley Days, Combat!, and the ruthless Marty Feketi in ‘Bullets Cost Too Much’ episode of The Naked City 1961 extraordinary social commentary police procedural tv series that ran from 1958-1963. I’m still working through my new DVD box set, and let me tell you, there ain’t nothing like this show with its incredible cast of character actors, dramatic storytelling, and on-location cinematography in New York City in the 60s.
A snippet of the exchange between Hilyard and Randall…
Mrs.Hilyard-“You’re from an asylum?”
Randall-“Asylum? Oh no, you don’t. Reformatory. Work farm. I have been inside every way there is to be inside. I have been some kind of inside since I was nine years old.“
Mrs. Hilyard-“Oh I see. You’re one of the many bits of offal produced by the welfare state. You’re what so much of my tax dollars goes for the care and feeding of.”
Caan, with his very ‘masculine’ hairy chest, was a much more subtle psychopath in Curtis Harrington’s psychological thriller Games 1967 where he gaslights the beautiful but emotionally delicate Katherine Ross with the help of sensual goddess Simone Signoret. BTW, I’ll be doing a special feature on the works of Curtis Harrington hopefully by the summer.
James Caan in Curtis Harrington’s Games 1967 with Katherine Ross
Randall even takes off on Marlon Brando’s Stanley Kowalski from Tennessee William’s A Streetcar Named Desire, as he belches, shirtless (most of the film), and leers and smirks in his outre tight jeans.
This evokes “I think I’m going to be sick” from the respectable Mrs. Hilyard who voices her scorn. Randall is in control and enjoys the power struggle, sadistically amused by her indignation and repulsion, “Watch the human being be sick in a cage.” He’s looking for any excuse to lash out.
Randall says [to George Brady the bum] “We’re gonna kill you. First you, then the pig (Sade)… and then, the human being!”
It is suggested that Randall also likes to beat up on his girlfriend Elaine, as she has a black eye. As I stated earlier, off camera while up in the master bathroom behind closed doors, it is implied that she actually vocalizes pleasure when he hits her. Elaine herself is an angry and hyper-sexual oddity, perhaps even a sociopath as well, as she moves her body provocatively, quite aware of her seductive maneuvering. She enjoys watching violent acts and she dances to a small music box in a very sexually inappropriate way. Obviously, she is wired to believe that sexuality and violence go together.
Olivia de Havilland as Mrs. Cornelia Hilyard is terrorized by James Caan as the violent Randall Simpson O’Connell and his gang of sociopathic miscreants.
de Havilland’s Cornelia Hilyard suffers from delusions toward the climax –that Randall is her son Malcolm. First when she faints after she speaks to Randall thinking he is Malcolm and then again when he reads the letter and uses the words ‘release’ – as the screen becomes all wavy, as she self-accuses that she is a ‘monster.’
de Havilland having taken the role after Joan Crawford turned down the part of Cornelia Hilyard, and then ironically stepping in a little later that year to fill Joan’s high heels in Hush Hush… Sweet Charlotte when personalities clashed on the set with Bette Davis and Robert Aldrich.
Walter Grauman(his first film obscure B cult classic- The Disembodied 1957, writing for television Peter Gunn, Matinee Theatre, Perry Mason, The New Breed, The Untouchables, Naked City, Twilight Zone (Miniature) Route 66, Burke’s Law, Kraft Suspense Theatre, Honey West, The Fugitive, The Streets of San Fransisco and Barnaby Jones- Directing tv movie horrors like Daughter of the Mind, The Man Who Cried Wolf, Crowhaven Farm, Paper Man, They Call it Murder and The Golden Gate Murders ’79, a terrific hard to find a film with David Janssen and Susannah York.
I just love Grauman’s realist style– it’s raw and captivating mise en scène and here he directs this very taut thriller, that somehow seems to elude a definitive genre category as it falls into place amongst the transgressive noir-hybrids of the 60s, its been linked with Grande Dame Guignol cinema, and it’s every bit a suspense crime drama but there is little written about it in any of my books on the THRILLER or NOIR film genres. Film historian Kim Newman points out that the sub-genre that was a popular psycho trend of the 1960s where “the aging actress as *monster* was inaugurated” by Aldrich’s Whatever Happened to Baby Jane? (1962)
It also showcases elements of the horror style rampant in the 60s and yet again, I’ve found it difficult to locate it in any index, and I’ve got a full library on that subject as you can imagine. The idea of home invasion and torture isn’t a subject that’s been missed this side of the 21st Century. It’s been a featured narrative on shows like Law and Order, Dexter, and Criminal Minds comes to mind.
Gregory A Waller writes in the introduction in American Horrors: Essays on the Modern American Horror Film- “The 60’s provided a number of noteworthy horror films -still disturbing oddities like What Ever Happened to Baby Jane? (1962), Lady in a Cage (1964), and The Haunting (1964) with its restrained ‘adult’ major studio, quasi-Victorian terror.”
The idea of the home being invaded in an era that was coming off of the industrial age of suburban comforts, ice maker refrigerators, frozen dinners, air conditioners, and appliances for an easier way to be a homemaker. the notion of this once safe, comfortable, and innocent lifestyle is thus shattered by the intrusion of a doomed and violent world out of control. Even more stunning is that the action happens in broad daylight.
Martin Rubin sums it up in his book Thrillers-Lady in a Cage“epitomizes modern day social decay through the predicament of a cut-off shut-in Olivia de Havilland terrorized by lowlifes and juvenile delinquents.”
The shots of exteriors, interiors, and certain objects are key to framing a visual atmosphere of entrapment.
The script was written by writer/producer Luther Davis The Hucksters 1047, B.F.’s Daughter 1948, Kismet 1965, Across 110th Street (1972, tv movies Daughter of the Mind 1969 with Ray Milland and Gene Tierney, The Old Man Who Cried Wolf 1970 with Edgar G. Robinson.
co-starring as Caan’s female sidekick is Jennifer Billingsly as Elaine, Rafael Campos is Essie (a very hard-working character actor in the sixties and seventies, I especially loved him as Little Emanuel with one leg shorter than the other in All in the Family), William Swan as Malcolm Hilyard, Scatman Crothers as the junkman’s assistant,
Lady in a Cage also includes Ann Sothern as the weary and wanton Sade, Jeff Corey as the derelict George L Brady/ who decries, “Repent, repent”the two outliers of society, taking advantage of Mrs. Hilyard’s predicament instead of helping her.
With art direction and production design by Hal Pereira who worked on such great Hitchcock thrillers as Rear Window ’54, Vertigo ’58, and Capote’sBreakfast at Tiffany’s ’61
The evocative soundtrack of beat jazz and experimental nuances by composerPaul Glass (Bunny Lake is Missing 1965, Five Desperate Women 1971 tv movie, To the Devil a Daughter 1976)
At times Glass underscores the world gone awry with sounds akin to the mechanism of social order having just snapped a spring, and becoming uncoiled and shorted out!
The opening credits are framed with the use of bar-like graphics symbolic of not only the literal plot entrapment but the atmosphere of being caged in as well. The linear graphics that interplay with the rolling list of credits remind me of the work of title designer Saul Bass.
The titles are reminiscent of Saul Bass.
Leon Barsha takes care of the tense editing. Barsha knows how to create claustrophobic chaos as he did with Joan Crawford in Sudden Fear 1952, Midnight Lace 1960, editing a few of the most outstanding episodes of The Twilight Zone– A Penny For Your Thoughts ’61, The Grave ’61 and Will the Real Martian Please Stand Up ’61.
Rudolph Sternadproduction designer/art director-died a year before the film was released. Just to mention a few of his credits-(Dead Reckoning 1947, Walk a Crooked Mile 1948, The Member of the Wedding 1952, High Noon 1952, The Wild One 1953, The Defiant Ones 1958, Inherit the Wind 1960, It’s a Mad Mad Mad Mad World 1963) Set designers were Sam Comer and Joseph Kish.
Cinematographer Lee Garmes has a list of credits, having started as a painter’s assistant and prop boy. He lensed some of the most beautifully visual films, The Garden of Allah 1927, Lilies of the Field 1930, Scarface 1932, Call Her Savage 1932, Strange Interlude 1932 then later uncredited for Gone With the Wind, Guest in the House 1944, and of course some of my favorite films, Nightmare Alley 1947, The Paradine Case 1947 and Portrait of Jennie 1948 onto noirs, Detective Story and The Captive City.
Garmes sets up certain shots that give the impression of a brutally grotesque modern masquerade fête of social misfits on a rampage in a woman-in-peril film.
With various close-ups on the players’ faces, in particular, de Havilland as she begins to lose it. Often the trio are framed at angles where they look over Mrs. Hilyard who appears like a trapped animal in a cage, as they taunt her from above. She seems smaller and helpless. de Havilland begins to lose her coiffed appearance as she devolves, her hair becomes unkempt and she is drenched in perspiration. It’s quite visually disturbing and graphically unnerving. As these good shockers often are as Grauman and Garmes use extreme close-ups of de Havilland’s mouth when she screams for help. The emphasized shots of the alarm bell ringing to no avail, reminds of the detail that cinematographer Ernest Haller paid toward elements of communication and non-escape (the myriad shots of the phone, the stairs) in Aldrich’sWhat Ever Happened To Baby Jane?
Emphasis on anonymous hands blasting car horns all modern lines of communication that are chaotic and used in an audibly offensive way-dehumanizing noise. To show the indifference and cruelty of the world, a little girl runs her roller skates along a bums leg…
As voyeurs we see Malcolm through window blinds, peering through the bars of his private world- He writes a letter to his mother-“Darling.”
Malcolm is a coded gay character in the film.
Malcolm’s misadventure with the car sets off a chain reaction of horrific events to follow–fate is in the driver’s seat.throughout Lady in a Cage, Lee Garme’s camera focuses on objects of communication or the lack thereof… Modern conveniences and bourgeois trifle.
Twenty-First Century Desolation.
Lady in a Cage –Hal Pereira’s set is more modern, sterile, streamlined, inharmonious, and unwelcoming. There are many disturbing scenes with the subtle distinction of this hostility and inhumanity like the girl who runs her roller skates over the leg of an unconscious man, an evangelist spouting off about the evils of the world on the radio, a dog hit by a car that drivers keep passing by without stopping.
The date is the 4th of July, it is an extremely hot day, and people’s nerves are more sensitive and agitated during these heat waves which usually leads to more crime. There are exploding garbage cans in the street to mark the holiday.
Garmes focuses on Mrs. Hilyard through the bars of her cage and the reflections in the mirrored panel. We begin as voyeurs. Malcolm is writing his letter, addressing his mother as ‘darling.’ Perhaps a little undeveloped sub-text is to be discussed in a different kind of post. Considering that this one is in a series of ‘love notes’ he writes to her. “Darling” Hhmm???
It is made apparent though not explicitly, that Malcolm is in fact gay, and his mother’s domineering personality is at the source of his homosexuality, which is what films of the 60s & 70s would tend to illustrate.
de Havilland has a screen presence that is quite sophisticated and almost imposing with her sense of stylish intellect and decorum. This puts de Havilland’s Mrs. Hilyard in an interesting position on the graph of class struggle, as Randall and his gang aren’t just fighting amongst their own contemporaries, he is challenging an upper-class society lady and mother figure to attack back.
Ironically what sets off the sequence of actions that ensue is Malcolm whose car hits a ladder, that tears out wires that short out the power lines. He causes the accident that creates the electricity to go out leaving his mother stranded in her gilded prison. He is yet another character in the film who is distracted by his own agenda, self-absorbed carelessness, and indifference. Played out like a tragedy, it is at the chance moment when Malcolm causes the power outage that his mother wearing a sheer negligee gets into her elevated cage locking herself inside like a sitting canary. The ‘cage’ has a mirrored panel by the buttons, that allow for de Havilland/Mrs.Hilyard is to be seen from various angles and expressions.
With her in her gilded trap is a transistor radio, which is reporting about the uncovered murder victim, a woman who has been decapitated!
Mrs. Hilyard (Olivia de Havilland) is a poetess and a wealthy widow who lives in a stifling bourgeois mansion with her son Malcolm (William Swan) Cornelia, though she is never actually called by her first name, has had an elevator installed in her mansion after she breaks her hip. We see Malcolm writing a letter to his mother as he is about to go away for a weekend, leaving his mother all alone in the house. Malcolm appears to be stifled by his mother’s overbearing love, even to the point of her insisting that he drink his orange juice. As he leaves in his car, he backs into a ladder that nudges a wire that short circuits.
This subtle set of events triggering a negative chain reaction causing a power outage, only sparks the larger series of violent circumstances that begin to spiral out of control. Of course, Cornelia Hilyard is now trapped in her gilded cage of an elevator. She has an emergency alarm, which she uses while the electricity is out, but only one person is aroused by the alarm. A derelict wino named George L. Brady (Jeff Corey) hearing the alarm in the alley he ignores her cries for help, and instead helps himself to some of her things. Brady feigns muteness while he rummages around her things, as she is helpless to do anything about it. In desperation she tries to bargain with him to help her, “I will build a shrine to you.”
The use of white is so vanilla–like Mrs. Hilyard.
Repent is tattooed on Brady’s hand.
Much like Joan Crawford’s Blanche Hudson whose entrapment was because she was wheelchair-bound, the camera would often focus on the distance between the phone that was always out of reach. The lines of communication had been a constant hurdle to invoking the sense of dread and captivity.
Randall and his little band of riff-raff wonder where the old bum stumbled onto a $40 toaster and packs of cigarettes.
Brady shows up at Sade’s apartment, telling her about the house filled with so much loot!
But Brady is only the first character who will prey on the weakness and vulnerability of Mrs. Hilyard. The ferocious and unsympathetic opportunism is a theme that will carry through the film’s storytelling. And none is likable and no one is safe from harm. While we might feel slightly ambivalent toward the poor souls who are down and out on their luck, or the proper and uptight Mrs Hilyard who is the central sufferer in the piece, the narrative doesn’t allow much time for us to feel compassion which only illustrates that the message of nihilism translates with an authentic sting. Mrs. Hilyard is every bit part of the testimony of elitist apathy and arrogance that comes along with a hypocritical and so-called civilized modern society.
The film begins to escalate with a real sense of urgency and a smothering atmosphere of dread. The derelict Brady fences the goods and then pays a visit to his slovenly dame Sade (Ann Sothern). This sets off yet another ripple in the threatening current that is building in the narrative.
Following Brady from the junk dealer to Sade’s apartment the vicious trio learns about Mrs Hilyard’s house. The savage bunch of hoodlums Randall, Elaine, and Essie hang back and wait for the right time to strike. The three lowlifes follow George and Sade to the mansion wearing stockings to obscure their identities, as they start ravaging the place. Eventually, they kill the old bum George L Brady who is in a way the second catalyst for the crime of invading and tormenting the trapped Mrs. Hilyard. Hypocritical too as he decries, ‘repent’ though he not only ignores her pleadings for help, he engages the mechanism of ill-fate-he must also be the first to be disposed of. And although we do not see any of the gory details when they stab him to death, the murder is still quite gruesome, as the force of violence still permeates the screen with Paul Glass’ use of music box nuance to create contrast between the two experiences.
When the phone rings, it startles both Sade and Brady. As Mrs.Hilyard yells into the phone after it rings she knocks it off the hook, but Sade rips the wire out of the wall. Hilyard starts to lose it, calling out for help, calling out ’emergency’. Sade creeps up the stairs while Hilyard hangs in mid-air in her cage. Hilyard tells her “This is my house, my sons, and mine. I broke my hip and am somewhat incapacitated.”
Sade coldly ignores Mrs Hilyard’s pleas for help “Haven’t you ever needed help?” but Sade stops and only thinks for a split second and continues to walk away. “Perfume, is that perfume? A woman, are you a woman?… Listen, Hello my name is Hilyard. I am Mrs. Hilyard.” The bum Brady creeps around the stairs and cage. As if the house has been invaded by termites come to pick it clean. Hilyard continues to try and make contact with her intruders “What’s your name? Won’t you answer me? Please answer me” She moves around the inside confines of her gilded prison calling out for them to answer her. With no success.
“Please help me get out of this horrible cage. Please, please PLEASE!!!!” Suddenly the moment is broken with a horrifying wail, as the three hoodlums rush the stairs wearing stocking masks. It’s an immobilizing stunner in the film, that breaks the initial inertia of Hilyard’s entrapment and the circular photography that creates a whirlpool effect. At first a mind-numbing monotony and then a blitz of chaos.
Randall makes Sade his pickup truck.Hilyard soaked in sweat and crazed has already been driven half mad. Now she is terrified.Randall appears at the staircase looming down on her. His face was concealed by the stocking mask. Grinning at her he smacks his fists together. A show of brutish force. “Who, what monsters… Do you stink… get out…. steal and get out. What sort of creatures are you? Randall slithers over to her and pounds on the top of the cage. “Oh, even animals would have more civil compassion than you” Randall –“What… what you. You’re something holier than thou? Huh… You’re something ah. You ain’t no animal?” Hilyard- “I am a human being… a thinking feeling creature” He belches in her face. she winces. “Ah well me I”m an animal. Right now I am all animal. Lot of times I can’t even make animal. A lot of times I’m what do ya call, an inmate? But animal’s better.” Hilyard-“What do you mean inmate… asylum… you’re from some asylum?” He says-“Asylum…(tisk) Oh no you don’t. hahaha… reformatory. Work farm. I been inside everywhere there is to be inside. I been some kind of inside since I was a, 9 years old.” Hilyard with contempt in her voice-“Oh I see… you’re one of the many bits of offal produced by the welfare state. You’re what so much of my tax dollars go to the care and feeding of.” Randall answers her-“Well a, I don’t know from offal, but yeah… yeah. And I sure do want to thank you ma’am for all them tax dollars. The food is lousy though… belch, haha” He begins to literally rattle her cage.
This image of the ‘outside world’ gazing at us– the audience while they are confronting Hilyard creates a chilling moment that is truly indicative of a horror film– We too become voyeurs looking in on society as it implodes from violence and apathy The four intruders watch her with their masks on. As the monsters watch their prey lose control she cracks within her captivity. They study her. We study them watching her. The entire plot closes in on itself at that moment. The world turns –inside out from outside in.
She begins an inner monologue “The world must have ended. Someone on one side or the other must have pushed the button. Dropped the bomb.”She puts on her little transistor radio… She hears...”Ladies and gentlemen, here stands before us, the man of tomorrow”the radio spouts its media dogma. Modern experimental music underscores the insanity of the moment. The complete loss of rational thought. Civility and safety. Applause The sounds of haywire, slipped cogs, and shorted fuses. the noise of chaos. She laughs and drops the radio out of the elevator it lands on the floor and smashes. She begins to laugh heartily. She has lost it.
They lock Sade in the closet never to be heard from again–not before they rough her up a bit, pushing her into a mirrored dressing table, where she cuts herself. George Brady’s fate is much worse.
At this point, Randall sets his sights on Mrs.Hilyard who is trapped as the lady in said cage.
Mrs. Hilyard becomes less consequential at the moment the vicious trio arrives, as she is a symbol of the weakened society–the raw meat for the predatory wild animals, the more vulnerable of the modern jungle which will get picked off first. As Shelley so aptly notes, it’s very ‘Darwinian’ and the survival of the fittest. Mrs. Hilyard as much as refers to the city as a jungle.
Mrs. Hilyard-“I am a human being. A feeling, thinking, human being.”
Randall-mocking her- “Okay. I am *all* animal. Sure beats the hell outta being an inmate…”
Mrs. Hilyard ” … inmate?… Asylum?
Randall begins tormenting her, by playing head games. He shows her a note from her son Malcolm telling her he’s about to commit suicide because of her overbearing motherly love. “Release me from your generosity. Release me from your beauty. Release me from your love.”
The entire film’s universe is filled with deviant and transgressive characters. Sade is a self-hating woman who demeans herself because of her weight. Her ability to escape the chaos is hampered by her greed to take part in the looting of Mrs, Hilyard’s house. To add to the queasy touches, Sade wears a jeweled headband giving her an odd-ball air of eccentricity. She would again play a similar type of character as Thelma Lambert in Curtis Harrington’sThe Killing Kind 1973-another mother who loves her son too well, he becomes a lady killer…
The pawnbroker Mr. Paul only has one eye. perhaps this is symbolic of a skewed vision of the world that surrounds him. He is also an opportunistic figure. Brady and Sade are afflicted with alcoholism.Â
As Peter Shelley says in Grande Dame Guignol Cinema the film is “A disturbing indictment of the amorality of 1964 American society, as well as a nightmare for those suffering from claustrophobia and vertigo, this film introduces Olivia de Havilland to the Grande Dame Guignol subgenre.”
Walter Grauman creates an atmosphere of deafening nihilism that is so harsh and brutal it is almost hard to watch it at times. An indictment of modernity, opportunism, and the industrial age, the use of sound with the car horns blaring in clusters of traffic, the sounds from the streets that invade Mrs. Hilyard’s closed-in world is exhausting. The film delivers a sense that all of life is a furious, insensitive rhythm of hostility and discord. There is no empathy toward the individual and people are merely anonymous faces making the strident and shrill noise and disturbing the quietude of civilized life.
What makes this a suspense/noir hybrid is the environment of entrapment and flawed characters, with Lee Garmes’ camera angles and Leon Barsha’s razor-sharp editing that keeps the pacing at an uncomfortable beat. Even the graphics that follow the credits representative of the bars of a cage symbolizing the narrative’s imprisonment. Cinematic bars were deftly used in What Ever Happened to Baby Jane? as Aldrich wanted us to feel at every turn the same sense of captivity that Blanche as well as Jane’s state of mind, and the landscape of the old Gothic mansion which felt like it was desolate and decaying.
And much like What Ever Happened to Baby Jane’s use of the outer world excursions Jane would take that would constantly throw light into the closed-in universe of Hudson’s mansion, Grauman and Garmes utilize shots of the ever-turning world outside Mrs. Hilyard’s captivity to emphasize this contrast visually reinforcing the horror that is taking place within the confines of the house that is shut off. We feel that every frame has a sense of intrusion.
The film has so much cruelty in it… it’s an exercise in Nihilism.
Outside the house, the world goes on spinning, the paper boy delivers the news on an ordinary street.
Essie finds the letter. “Darling Mom… “Hey, how bout that it sounds real a …. gay,” Mrs Hilyard asks Essie-“What is that that you’re holding? Where did you get it?” Essie-“What am I holding, a letter that was on the desk upstairs, do you want to hear it?” Randall tells Essie-“Ah, let her die curious.”
Randall asks her-“Is your little boy married?”“I bet you had him at it til he was about twelve didn’t ya?… kept him sucking” She slaps him hard across the face. He grabs her violently, pushing his arm across her throat.
He begins to taunt her with the letter. “Darling Mom,”She tries to grab it away from him. He slams her hard against the wall of the cage. with his forearm pressed against her neck. His hairy sweaty chest is exposed, like he’s a pirate, his white shirt tied at the waist. Randall continues reading the letter from Malcolm -“I’ll be thirty next Wednesday, and I won’t have many more chances in life.”
Mrs Hilyard confused says-“What, what”Randall continues to read– “Every time I try to leave you, you add a room or dress up the house, or charm me…”He looks straight at her. She looks horrified. “No…” Randall says-” I thought you only had him at it til he was twelve. But you still got him at it… How do you charm him baby” He pulls her back by her hair… “I had a holier than thou old crow of a grandmother. She tried to keep me at it too. I’d a killed her if she hadn’t died… Like she was trying to kill me. Like you kill this um what’s his name… uhm Malcolm.” Mrs Hilyard begs, “No, no this is his too you know he decorated it himself. Complete freedom to come and go he wanted to stay here. Why would he write me a letter? We’re as close as…” She pauses and looks into Randall’s eyes. He smiles quietly at her as she begins to have an awareness. Randall asks her again, “He’s not married is he? Does he even have a girl?”“He has many women friends” “Oh yeah yeah yeah, all his friends are from public shower rooms I bet” She struggles but he continues to hold her up by her hair. It’s barbaric. He continues to torment her with her son’s letter. “Uhm, give me my half of what’s in the living room safe. What safe!!!!!!!” He repeats that line again…”Release me from your generosity, release me from your beauty, release me from your love.” Now she has truly begun to confuse reality and fantasy after she hears him say the word love. She says “Oh love” and touches his face as if it is Malcolm’s. “Oh love, love you could have your half any time you wanted. My half too for that matter.” Essie interrupts. “Read her the P.S. It’s got what they call some real buckshot in it… real loaded. Read it to her” Randall finishes the letter-“P.S. Think it over. I’ll call in a little while. Please make it yes or quite simply I’ll kill myself.”
The interplay between Caan and de Havilland is utterly realistic. A volatile and primal confrontation between young and old, civil society and the disillusioned masses, and paternal and maternal law. fear and compassion. She passes out and slides down the wall of the cage. Essie calls up to Randall-“You didn’t kill her?” He tells him-“No…Fainted, lying on the floor like a pile of old clothes.”
Elaine and Essie go to look for the safe. Randall is left alone in the cage with Mrs.Hilyard who has fainted. For a brief moment, it almost appears as if Randall feels sorry for her. He touches her face and neck. He looks the most thoughtful he’s been. He whispers to himself. “Old crow baby.” This is a hint at Randall’s mother’s issues which does not excuse his violent abuse of women.
The film was refused a cinema certificate in the UK by the BBFC and remained unavailable until 2000.
Reviews courtesy of Paul Shelley’s Grande Dame Guignol Cinema- The picture was released on July 8, 1964.
“Lady in a Cage adds Olivia de Havilland to the list of cinema actresses who would apparently rather be freaks than be forgotten … a grande chance to go ape. Attagirl, Ollie“- Time, June 19, 1964
“…{S}ordid, if suspenseful, exercise in aimless brutality… A discerning viewer is left curious and repelled… Olivia de Havilland as the trapped ‘Lady’ does project a sense of fear and self-appraisal … a surface, somewhat obvious portrayal.”-A. H. Weller, The New York Times, July 11, 1964
“…{A} noxious, repulsive, grueling experience… Davis’s sensationalistically vulgar screenplay is haphazardly constructed, full of holes, sometimes pretentious, and in bad taste. {de Havilland} gives one of those ranting, raving wild-eyed performances often thought of as Academy Award oriented. {She} does about as well as possible under the dire circumstances.” Variety May 25, 1964
Video Player
Media error: Format(s) not supported or source(s) not found
“All men dream, but not equally. Those who dream by night in the dusty recesses of their minds, wake in the day to find that it was vanity: but the dreamers of the day are dangerous men, for they may act on their dreams with open eyes, to make them possible.”– T.E. Lawrence
“You can’t depend on your eyes when your imagination is out of focus.”- Mark Twain
IT’S ALL IN THE EYES! -THE LEGACY OF GLORIA SWANSON/NORMA DESMOND & GLORIA HOLDEN/COUNTESS ZALESKA
Are these wicked women? Do they exemplify the monstrous feminine? I dare say NO! They are sensual yet tragic figures!
Gloria Holden’s Countess Zaleska is a victim of her bloodline (literally)–her father Dracula’s legacy, desperately seeking out redemption and’ release’ from the torture of her relentless desires. (lesbianism in the form of blood lust) And Gloria Swanson‘s enduring Norma Desmond an aging silent screen star pushed out by talkies-a victim of a punishing Hollywood institution that forces older women into self-delusion. Though her beauty did not fade, the praise and recognition have.
Both women are literally immortal!
Ironically without realizing the connection, there are two threads of synchronicity that revealed themselves after I decided to pair both Glorias. A) Both women have male servants who show a stoic undying co-dependent worship of their mistress and B) Hedda Hopper appears in both films…
“She gives you that weird feeling!” –tagline from Dracula’s Daughter
Two Glorias, two dynamic forces on screen- Written about endlessly, on the surface spider women, vamps and villainesses perhaps… but to the thoughtful observer and film fanatic like myself… they are sympathetic figures in a cruel world…
“Cast out this wicked dream that has seized my heart.”- subtitle from one of Gloria/Norma’s silent films.
First, let’s begin with our ‘close-up’- on Gloria Swanson as the eternally mesmerizing Norma Desmond in Billy Wilder’s masterpiece! Norma is in actuality the one trapped in an orbit of ambivalence about her own primacy which ultimately devolves into a vulnerable, needy, discontented, and brooding personality whose dependency upon men and (one opportunistic man in particular) is self-destructiveness turned outward.
Written and directed by auteur Billy Wilder(Double Indemnity 1944, The Lost Weekend 1945, Ace in the Hole 1951, Stalag 17 (1953), Witness for the Prosecution 1957, Some Like It Hot 1959, The Apartment 1960 which won BEST PICTURE that year, beating out ELMER GANTRY!).
Considered the last motion picture in the film noir cannon. The first is Billy Wilder’sDouble Indemnity 1944Â with his notoriously sexified femme fatale Phyllis Dietrichson who’s got a great pair of gams showcasing that diamond ankle bracelet, dark sunglasses, and Barbara Stanwyck’scool exterior. And Wilder’s last noir Sunset Boulevard unofficially marked the end of classical noir’s heyday. Sunset Boulevard truly pushes the conventions of noir to its limits.
Written for the screen by Wilder and Charles Brackett (The Lost Weekend ’45, Edge of Doom, ’50, Niagara ’53).
Music by Franz Waxman (Magnificent Obsession ’35, The Invisible Ray ’36, A Day at the Races ’37, The Man Who Cried Wolf ’37, Gone With the Wind -uncredited, Humoresque ’46 I Married a Monster From Outer Space, Home Before Dark, there’s so much more– see IMDb profile). Waxman’s score is superb, from the exhilarating opening sequence that accompanies the flurry of police and newsreel camera trucks racing to the crime scene, the vibrant strings and strident horns that accentuate modernity to the more subtle poignant moments that underscore Norma’s internal agony.
John Seitzis responsible for the evocative and quirky noir-esque cinematography (Sullivan’s Travels ‘4I, Double Indemnity ’44, The Lost Weekend ’45).
The use of light in key frames showcases Gloria Swansonas Norma Desmond who exults whenever she is either watching herself or is thrust into sudden illumination rendering her as somehow lost. The use of shadows and oddly lit spaces evoke the sense of her tragic misconstruction of reality.Â
Bruce Crowther on- Cinematographer Seitz who helped to define some of the memorable images of Sunset Boulevard– "Rarely does full light intrude upon this movie… Seitz handles the often cluttered sets using lighting to direct the eye to each scene's key areas. Even when light is used fully, as when Norma steps into the beam of her home movie projector or when a lighting technician at the studio turns the spotlight on her, it serves a dark purpose… Here it shows with appalling clarity the incipient madness that will eventually destroy Norma."
Arthur P Schmidt, the film editor, died at age 52 (worked on Ace in the Hole and Some Like it Hot with Wilder.)
Once Joe walks in from the brightly lit Los Angeles hustle and bustle, the tone turns darker, as he steps inside the confines of the mansion crowded with the serpentine wrought iron staircase, large yet dim light fixtures, and ancient-looking columns that appear to be disintegrating in small scattered parts. Set against the crispness of Max’s white gloves and Norma’s black sateen lounging pajamas, it offsets the sense of a perishing house in an odd and creepy way. Again this is where noir meets horror by the elements combined in the visual style.
Most effectively is the central character of Norma Desmond whose electrifying intensity and melodramatic flare projects an other-world style in contrast with the biting and cynical, dispassionate humor of the younger screenwriter from the age of talkies.
According to Sam Kashner and Jennifer MacNair, many of the film's props came from own Swanson's home and scrapbooks. “One shot pans across the table covered with Swanson's film stills, the photographs in old frames capturing her young face and heavily painted eyes.”
The portrait in Norma's living room was painted by Geza Kende.Wilder also borrowed a film clip of "Norma" in her prime from a Swanson film Erich Von Stroheim directed, Queen Kelly 1929.
From Foster Hirsch's The Dark Side of the Screen- he cites Amir Karimi in Toward a Definition of the American Film Noir as the true period of noir beginning with Wilder's Double Indemnity and ending with the same directors Sunset Boulevard 1950. He goes on to say that Wilder's noir drama's contain "the biting social comment, the stinging disapproval of the American way"Sunset Boulevard"transfers noir psychology to a novel setting, the decaying mansion of a once-grand film star. Wilder's portrait of the megalomaniacal Norma Desmond is etched in acid; she is the embodiment of Hollywood's rotting foundations, its terminal narcissism, it's isolation from reality."
Norma’s sensational costumes were created by prolific designer Edith Headwho resurrected Swanson’s silent era look, the exotic and exaggerated costumes and fashions of an ex-screen Goddess, which point back toward Swanson's past. She wears a hat, adorned with a peacock feather in the scene where she is reunited with Cecil B.DeMille. This is a visual homage to a headdress she wore in Male and Female 1919 one of the first films he directed her in.
The silent movie queenNorma Talmadgeis reported as “the obvious if the unacknowledged source of Norma Desmond, the grotesque, predatory silent movie queen”– Dave Kehr, “An independent woman, nobly suffering in silents”, New York Times, 11 March 2010.
Sunset Boulevard could not have been cast with anyone better than the dynamic and grande actress who in 1919 was signed to a contract by Cecil B. DeMille. With this, her come-back role Gloria Swanson ignites the screen with her eponymous Norma Desmond -star of the silent screen -Norma Desmond, the tragic central satellite of the story who herself is dreaming of a comeback. Swanson’s performance is as much transfixing as it is exquisite.
The intoxicating beauty of Gloria Swanson from the silent era.
Swanson herself was a very hard-working actress in the 1910s and 1920s with Mack Sennett before joining Paramount Studios. She started her own production company in the mid-’20s but only made a few talkies in the 1930s. She made six silent films with Cecil B. DeMille.
As Leo Braudy says in his insightful book- The World in a Frame: What We See– Aesthetically, Swanson faces into the film as the fictional character Norma Desmond and faces outward toward us as the star. He calls her role a ‘meditation’ on her screen image and the relationship between the old world of silent films and the new world of 1950s Hollywood. He refers to the other actors who were her contemporaries playing themselves as ’embalmed’ with her in the past, losing their relevance to the audience and ultimately their power.
Billy Wilder’s film is as James Naremore says in his book More Than Night- Film Noir in its Contents- is an“iconoclastic satire” and “a savage critique of modernity.” Much like Aldrich’sThe Big Knife it is a condemnation of Hollywood in the cycle of films released in the 1950s, also notable The Bad and The Beautiful 1952. Naremore points out these films coincided with the blacklist, and the decline of studio owned theater chains summoning the end of an era. Norma’s character is a casualty of changing times.
Co-starring as the ill-fated gutless unemployed screenwriter who becomes Norma’s gigolo, is smooth and sexy William Holden as Joe Gillis. Erich Von Stroheimplays Norma’s devoted butler and ex-hubby Max Von Mayerling. Erich Von Stroheim who had directed Swanson in Queen Kelly '29 is perfectly suited to play her servant/ex-husband/devotee.
The film also co-stars Nancy Olson (Union Station 1950) as Betty Schaefer, Fred Clark as Sheldrake, Lloyd Gough as Morino, Jack Webb as Artie Green, Franklyn Farnum as the undertaker, and special appearances as themselves, Cecil B. DeMille, Hedda Hopper, Buster Keaton, Anna Q Nilsson, H.B. Warner, and composers Ray Evans and Jay Livingston.
The film is a Gothic, poetic nightmare in noir that so often evinces a sympathetic lens toward the forgotten characters who engage the audience like apparitions of another time in Hollywood. The unorthodox narrative embraces a vividly unstable noir identity that dwells within the constructs of American life, pushing the limits of social and sexual convention to a dark place of obsession and excess. Although Wilder scripted this as a black comedy, the noir stylization that had by now run through its re-occurring patterns still manages to create the incessant mood of bleak cynicism and a distant vulgarity.
Bruce CrowthersReflections in a Dark Mirror- "Of the other German emigres who worked in Hollywood the most significant contributor to the film noir is Billy Wilder, whose Ace in the Hole perhaps the most cynical movie ever to come out of Hollywood, Double Indemnity with its mesmerizing manipulative spider-woman and Sunset Blvd with its atmosphere of brooding baroque insanity are classics of the genre."
"Wilder introduces a creepy atmosphere of eccentric ruin that's strange and destroys lives, yet hypnotically alluring and seductive from a lost indulgent age."– Alain Silver & James Ursini from The Encyclopedia of Film Noir-The Directors
Wilder wanted stark reality and realism to pierce the veil of illusion and fantasy that was the dream factory of Hollywood 1950s. He portrays a corrupt landscape of used-up people, conniving agents, writers hustling to get their scripts sold, and the loneliness and alienation that permeates a world of broken dreams and perpetual struggle. Andrew Dickos in Street With No Name calls Wilder’s noir films “visions are steeped in cruel and corrosive humor, distinctive in its own right and its ability to function apart from the noir universe.”
In this provocative masterpiece, Billy Wilder masterfully evokes a shudder in us, "by emphasizing its verisimilitude, though, Wilder reveals the hidden truths of the world's cruelest company town- from the isolation of forgotten celebrities to the crass efficiency of producers. Not only a thrilling and strange piece of entertainment, the film also is an indictment of Hollywood." –Kashner & MacNair
Louis B Mayer, at a private screening of Sunset Boulevard, was furious with Wilder for his cruel portrayal of the industry that supported him. At the party before the various celebrities, he reproached him, “You have disgraced the industry that made and fed you! You should be tarred and feathered and run out of Hollywood!” Wilder kept the script hush hush using the innocuous code title A Can of Beans. Wilder and Brackett feared that Hollywood would respond negatively to their damning portrayal of Hollywood.
He offers us the very typified archetypes of classical noir with his doomed anti-hero, the dangerous femme fatale, and the good girl redeemer. Also present are the familiar themes of entrapment, claustrophobia, instability, corruption, flawed character, psychological crime melodrama and even the police procedural with it’s thrilling opening sequence as the newsreel cameras and police cars, their sirens blaring, tear up the streets as they speed toward the murder scene.
The inimitable Mae West turned down the part of Norma Desmond
Originally Billy Wilder wanted the legendary & incomparably sexy and suggestive writer/actress Mae Westto play Norma. West declined because she found the story to be ‘too dark’. She also didn’t want a film that portrayed the relationship between an older woman and a younger man that reflected itself as hideous. The two approached Greta Garbo who also declined the offer. Wilder also approached Mary Pickford who was appalled by the offer, they had to apologize to her. It was George Cukor who suggested Gloria Swanson. Wilder asked Gloria Swanson to screen test for the part in 1949 and she almost said no. She had worked with Wilder who had adapted the screenplay for her film Music in the Air 1934. Norma is a larger-than-life film character though an exaggeration of reality considering Swanson wasn’t ancient she was only fifty at the time!
Wilder had contracted Montgomery Clift to play Joe Gillis. Clift left the picture finding it too uncomfortably close to his own life, because of the younger man’s relationship- he allegedly had an affair with Libby Holman a popular singer of the 20s whose career was ruined by the scandal surrounding the shooting death of her husband. Clift had spent time with Holman who also lived in a sprawling mansion much like Norma’s. Wilder worried that the age difference between Swanson and Holden wasn't big enough, Swanson was fifty and Holden was thirty-one. Wilder hadn’t been impressed with some of Holden’s more mediocre films of the ’40s, even though he had starred in Rouben Mamoulian’s Golden Boy (1939) with co-star Barbara Stanwyck. Sunset Boulevardmade William Holden's career. While I find Joe Gillis to be a dismissive smarmy ass who sort of had it coming to him, in this picture, I let it be known that I’m a huge fan of William Holden!- he did a superb job of playing it cagey, opportunistic and sarcastic as hell.
Wilder mirrors Joe Gillis’ from his own start as a shaky Hollywood writer having moved from Germany to America after Hitler's rise to power, He used to be a "˜taxi dancer' who would dance with any unattached older women who were willing to pay for his services.
One of the most iconic scenes from Sunset Boulevard,aside from the film’s fever dream climax where Norma descends the grand staircase, plunging into her gathering madness, is the scene that illustrates the withering passage of a lost era. The three fading silent film stars play bridge in the parlor of Norma’s decaying Gothic mausoleum. During the scene with the old stars playing bridge, the collectors come and take Joe’s car away, the only passport to freedom he has.
"˜The wax works'cracks-wise, struggling snarky screenwriter Joe Gillis, referring to Norma’s bridge party guests. Wilder envisioned this scene as purposefully macabre or as Kashner and MacNair call it “ghastly.” See figures gathered around the table, as the sequence unfolds, it is revealed that these actors are actually playing themselves. Silent screen actress Anna Q. Nilsson, H.B. Warner who had played Christ in Cecil B. DeMille's 1927 picture The King of Kings. And the Legendary actor of silent cinema Buster Keaton is there too. Kashner and MacNair describe “his features ravaged by alcohol abuse.” Even Gloria Swanson as Norma Desmond in a way is paying tribute to herself by recalling the bridge game in the parlor scene- “Came close to giving us all the creeps.”
Like the bridge guests, DeMille plays himself with scenes shot on the real set of his 1949 motion picture Samson and Delilah. Erich Von Stroheim himself a once great director, Wilder uses him poignantly as Max who mourns his former life. Wilder touches on the fact that Stroheim in real life had a rough time with his career often going over budget and ultimately making box office flops.
As I’ve pointed out here in this piece for The Great Villain Blogathon, I am using Norma Desmond to argue that she isn’t the psychotic spider woman or villainess that she’s been referred to and that the film neither makes fun of her, yet creates a sense of sympathetic apology to this grande dame mostly revealing her as quite a tragic figure. I neither see her as washed up nor grotesque, but beautifully powerful woman possessed of intensity. She is the one who is ‘trapped’ in the web of an unforgiving culture that demonizes women for their sexual primacy. Norma is possessed of desire. The desire to still be adored. The desire to make a ‘return’ to motion pictures. The desire to be loved as a great star. The desire to be loved by Joe.
It’s Joe Gillis that is not a very likable guy, who is uncaring, weak, too shallow, and powerless. Let’s face it he’s a self-acknowledged heel. Ironically, sadly it is Norma’s story that is being told through this guy’s voice and perspective yet another way that her character is silenced, her personae distorted and perverted through the male gaze.
Once again Silver & Ward point out eloquently-
"Norma herself as portrayed by Gloria Swanson is a tragic figure. imbued by Wilder with powerful romantic presence… A woman obsessed, she clings to her vision with a tenacity that must ultimately be granted a grudging admiration and she is the only character in the film with the possible exception of Erich Von Stroheim's fanatically loyal Max, who inspires genuine sympathy. Watching herself on screen in an old movie, she leaps into the projector's murderous blast of light and cries, ‘They don't make faces like that anymore!’ It is difficult for the viewer to favor Joe's cynicism over her fervor, however misguided or self-centered it may be…”
THERE’S A MONSTROUS FEMALE IN OUR MIDST- SOME CHARACTERIZATIONS OF NORMA:
From The Bad and the Beautiful: Hollywood in the 1950s by Sam Kashner and Jennifer MacNair-Chapter- The Waxworks: Mae West, Gloria Swanson, and Sunset Boulevard which opens with- Â "Hollywood has never been kind to older actresses…"
Here are just a few of the negative & unwarranted cursory examinations of Norma Desmond’s persona, put here -not because I agree, but to point out how cruel & misguided critics have been.
David Kehr of the New York Times refers to Norma as “predatory and grotesque.”
Alain Silver and James Ursini from The Encyclopedia of Film Noir- The Directors– refer to Norma as a "delusional eccentric, past her prime.” and a “washed-up misfit.” “femme fatale who embodies unstable noir psychosis.”
Foster Hirsch spells it out like this, "Her fate was monstrous" calling her the "ultimate spider woman hibernating behind closed shutters in a swoon of alcohol and self-deception…{…} her loss of fame and fading beauty turn her into a psychopathic recluse."
Hedda Hopper describes Norma descending the great staircase at the climax of Sunset Boulevard as her being in- " a state of complete mental shock!"
Bruce Crowther-Film Noir: Reflections in a Dark Mirror actually uses the word ‘demonic’ he says "Yet, in Sunset Boulevard (1950), she succeeded in bringing to demonic life Norma Desmond, an old-time movie star who is on the most grotesque of all femme fatales."
Janet Place chapter The Spider Woman from Women in Film Noir– “with her claw-like hands.”
Actress Mae Murray a contemporary of Swanson’s, was offended by the film and commented, “None of us floozies was that nuts.”
Forster Hirsch calls her -“megalomaniacal.”
John McCarthy-Movie Psychos and Madmen calls her “a monster”
Marjorie Rosen (Popcorn Venus 1973) & Molly Haskell ( From Reverence to Rape 1974) –“a despairingly lonely serpent…” whose predicament is “reduced and trivialized because the source of her misery is merely growing old” –cited by Brandon French, who feels they miss the point by merely reducing Norma to a victim of Wilder’s satire.
Brandon French -On the Verge of Revolt- “These fictional villainesses unable to discover or accept an autonomous creative expression of their power are made monsters by it, to one degree or another…{…} Her ludicrous existence as a middle-aged child.”Â
From Chapter –Women in Film Noir– by Janet Place- The Spider Woman
In discussing the powerful returning motifs and patterns in film noir, Place talks about the dangerous power of the sexual woman, and how it is visually expressed. She states.
"Norma Desmond in Sunset Boulevard is the most highly stylized "˜spider woman' in all of film noir as she weaves a web to trap and finally destroy her young victim, but even as she visually dominates him, she is presented as caught by the same false value system. The huge house in which she controls camera movement and is constantly center frame is also a hideous trap which requires from her the maintenance of the myth of stardom;the contradiction between the reality and the myth pull apart and finally drive her mad."
A caption that goes with the photo of Norma with a head scarf and dark glasses smoking a cigarette "emphasizes the perverse, decaying side of film noir sexuality, with her claw-like hands, dark glasses, and bizarre cigarette holder."
She goes on to add that these ‘visual cues’ are a characteristic iconography of the “dangerously explicitly sexual and often violent noir female.” Using signals like cigarettes and their trails of wispy smoke are linked with immoral feminine sensuality and the forces of darkness. The specific use of heavily defined make-up, eyebrow pencil and fully contoured lips, dark glasses, etc. Even the animal print that Norma wears. The power of these particular women is expressed in the visual style by “their dominance in composition, camera movement, and how they are lit.”
In fact like the silent cinema which was once her world, Norma is a ghost there, an empty shadow of the past. Now Norma is in a lonely place because the industry that once supported her has forgotten her completely. "Sunset Boulevard is cast with doppelgangers, fictional counterparts of actual Hollywood players, Paramount’s actual silent star Gloria Swanson plays Norma Desmond, "Paramount's Silent Star" Like Norma, Swanson's screen career did not transfer over to sound films until her remarkable performance in Sunset Boulevard.
One issue that is suggestive of lensing Norma as a monstrous female is the prevailing mood of ‘male anxiety.’ Centered around not only her age, (for crying out loud she was only 50), but threatening was also her vivid sexual impulses and desires.
Mary Beth Haralovich points to critic Sarah Street "Sunset Blvd. describes the overwhelming male anxiety about age, morality and career"-from her Mad About the Boy"; Masculinity and Career in Sunset Boulevard 1995
Haralovich points out that in Sunset Boulevard Joe works well with Betty at the studio -it's a space where creativity can flourish, after hours and is a collaborative effort with Betty for the screenplay first entitled Dark Windows but the new draft is called Untitled Love Story. It shows that energetic youth is taking over the staid and faded ways of the old world.
I defer to Brandon French once again because of his insight and compassionate stance on the character of Norma Desmond, as I also see her. He writes, “In numerous films of the fifties such as All About Eve (1950) The African Queen (1951), The Rose Tattoo (1955), All That Heaven Allows (1956) and Autumn Leaves (1956) middle-aged women are shown to be sexually attractive. What renders Norma less than desirable is her neurosis, not her age.”
So you could argue that Wilder’s film is not only a condemnation of the failed system of Hollywood but also how it marginalizes its older stars, more specifically women. As French puts it, “a protest against Hollywood’s institutional policy of human discard, Wilder put the spotlight on Swanson.”
The film showcases society’s anxiety about sexual women especially those who have aged out of their place of ‘desirability.’ It’s this repulsion against older women that turns them into screen ‘monsters.’ It only follows that Norma would fall into an orbit of madness when she had once flourished in an industry that co-nurtures narcissism, then punishes their women stars when they no longer have the advantage of claiming that egotism is an earned right. These stars are primed to be egotistical and then damned for it once they no longer serve a purpose for the industry cronies who make pictures.
Again, it invokes, Bette Davis’ performance of Baby Jane Hudson and her self-delusion caused by years of growing neglect and the cruel reversal of attentions that were once foisted on her. These accolades are taken away, creating stars that are relics left in a lonely place. Perhaps Wilder’s script did not make his import obvious or more compassionate through the narrative which would more easily coax the audience’s sympathies and not necessarily gear them toward repulsion of the central tragic figure that is Norma Desmond.Â
Norma Desmond was the prototype for the Grande Dame Guignol films that were to follow… of course, the actresses would be faced with the same dilemma– being given a script that would challenge them not to be typecast or appear monstrous.
It is then up to us to redeem Norma ourselves and see her as the victim and not the ultimate noir spider woman, psychopathic megalomaniac, deranged and deluded horror movie queen.
The story should work in a way that sheds light on the anxiety surrounding women who aren’t in their twenties or thirties, not framing the narrative or focusing the visual cues on their age as if they are uncanny and dangerous. To tell the story of alienation and madness yes but lens it in a way that doesn’t promote revulsion of the older woman’s sexuality and power. A beauty standard where women can’t grow older and be beautiful at the same time. As people describe Norma as ‘grotesque’ All I see is a very beautiful lonely woman who is yes, filled with a growing delusion. Norma’s misguided fervor is only fueled by her co-dependent side-kick Max as he shelters her from the truth instead of helping her gain awareness through his companionship.
"The attention that Norma Desmond pays to herself, as opposed to the man, is the obvious narrative transgression of Sunset Boulevard." -Haralovich
Not that Hollywood hasn't created narcissism in their stars, or that it's truly a crime for a woman to value herself above all else. Norma gazes at her own reflection in mirrors and in her old motion pictures. As Writer Place points out that the narcissistic independence that the femme fatale seeks is "˜fundamentally and irredeemably sexual' in noir. Combined with both aggressiveness and sensuality, the dangerous woman becomes the central "˜obsessive' focus of the narrative. She represents the man's own sexual freedom, which she must control, repress or ultimately destroy him.
From Brandon French’s On the Verge of Revolt-Women in American Films in the Fifties- Chapter 1 The Scarlet “A” Sunset Boulevard (1950) “Sunset Boulevard is a film about ambition and what it allegedly does to the human spirit…{…} On the other hand we harbor a gloomy suspicion that ambition corrodes the soul. America’s negative attitude toward ambition had a critical influence on the transitional woman of the fifties. An Ambitious woman not merely violated the domestic female image; she became a receptacle for America’s most distorted fantasy projections about ambition; a soulless monster of selfish manipulation without moral restraint.”
This was the type of female who film noir had manifested during the forties and fifties. French so aptly points out that ambition is ‘as deadly as the scarlet “A” that is born of our Puritan consciousness’. Sunset Boulevard is a perfect example of how a woman who has more drive and ambition, even more than Joe Gillis, evokes an image of her as a “fallen Eve seducing Adam into sin.”
In Sunset BoulevardFrench views as do I, Billy Wilder’s depiction of Norma as not a typically “just plain rotten”noir villainess. The film yields a thoughtful perspective on the ambivalence of what French calls ‘the transitional woman in the fifties.”Because Wilder complicates the issue of the typified noir evil predatory woman, misunderstood trapped man, innocent ingenue redeemer. Norma is therefore much more nuanced than a sad tragic figure.
Another sentient point that goes to the entire source of Norma’s ambivalence and state of mind begs the question… who’s responsible for her state? DeMille who doesn’t take any culpability for his own contribution to Norma’s decline-blames the press agents who worked overtime focusing on Norma, creating her goddess-like megalomania. Demille does not come to Norma’s rescue and help her ‘return’.
DeMille fondly recalls Norma’s talent in terms of her as “a lovely little girl of seventeen.” But unlike ‘men’ in the film industry who don’t have to qualify themselves by their age and appearance, they don’t have to suffer the effects of a punishing system of skin-deep values. Also, it’s this atmosphere that nurtures and places value on youth and the function of beauty that has given rise to a Norma with arrested development, living in the past obsessed with her ‘self.’
His girlfriend Betty types while he dictates the script they try to write together. Joe loves that Betty smells like a brand new car or freshly laundered handkerchiefs, and not tuberoses. Betty is ambitious too, she dreams of his career and is content to be behind the camera instead of in front of it. "Self-interest, over devotion to a man, is the original sin of the film noir woman." –Haralovich
In John McCarthy’s Movie Psychos and Madmen- Chapter- The Female Psycho, McCarthy talks about Gloria Swanson's faded movie queen in Billy Wilder's biting attack on Hollywood. He frames Norma as trapped by her delusions-“the delusion that her glamour has not yet faded.”
I disagree. I think that Gloria Swanson/Norma Desmond is STILL glamorous. Perhaps led by the majority who have profiled her as a has-been beauty queen and here again, the value judgment has been sworn against her, not just as a character trapped by self-delusion and that her career has ended, but that her desirability is an illusion as well…
Gloria Swanson is beautiful as ever as silent movie queen Norma Desmond.
Given the immense narcissism which goes along with Hollywood, Swanson in my opinion does not look like a caricature of her former self nor is she Norma Desmond’s doppelganger. To me… she just looks a little older but still quite sensual and beautiful as ever!
I suppose due to the visual cues by director Wilder and cinematographer Seitz Norma is presented or we are made to believe that she is grotesque like Bette Davis' Baby Jane whose makeup, hairstyle, and mannerism truly were an exaggeration of a farcical youth that Davis purposefully plays as campy in order to illustrate her detachment from reality and the attachment to a past life that doesn’t translate well in the modernity of Los Angeles in the 60s. Aldrich’s film pushed the boundaries of convention even further by implementing an even more claustrophobic universe in conflict with the outside world, that engenders madness.
It was a combination of fate and opportunity-
Though Norma has been referred to as having snared Joe in her web. She didn’t go out and set a trap for him, he wandered into her world, she didn’t force him to stay, he stayed because he saw a cozy setup’. and money in it for him, he was hiding and was morbidly curious about the ex-screen Goddess as if he saw her as a sideshow freak… if the house was a web, he put his own foot on the silk chord and set off the tremor that signaled the spider to pounce. Joe even remarks via voice-over while he’s being led up to his room over the garage, “I dropped the bait, and she snapped at it…”
It’s a tragedy of psychological entrapment and neurotic purgatory that she desires to be loved for herself by the down-on-his-luck screenwriter Joe Gillis whom she has turned into her kept man. Tragic that she believes her fans continue to remember and write to her, and finally that the Hollywood she helped build is still anxiously awaiting her return. McCarthy says “unlike the use of her trap of delusion as a vehicle for comedy as in Arsenic and Old Lace (1944) about two dotty women… Norma's psychological entrapment is a tragedy.”
That Norma’s entrapment is as real and not just that of Joe Gillis’ is a tragedy, I would entirely agree. But McCarthy continues by calling her a ‘monster.’ And yes through the lens of Grande Dame Guignol cinema of which Sunset Boulevard appears to be seedling the screen for the sub-genre, with the decaying mansion and dreary atmosphere, and the theme of "˜the monstrous feminine' Norma has been perceived and written about as having evolved into a monster. Though I’ll never see her that way.
And I dare say she did not create this transmogrification herself. She was created by Hollywood, the fictionalized concept that Wilder attacks, and by the actualization of the character by Wilder who framed her that way. As a result of her delusion, much like Davis' Baby Jane Hudson– her madness leads to murder. As McCarthy says, "Broken dreams leading to a broken mind" He brings up one good point. That Sunset Boulevard could almost be a horror movie/film noir hybrid. Much like Aldrich’s similar rebuke of Hollywood with his seminal What Ever Happened to Baby Jane? it is a psycho-sexual thriller that breaks apart conventional narratives. And much like Norma Desmond, I will never see Bette Davis’ role as Jane Hudson through the lens of the monstrous. They will always be sympathetic figures to me.
Plot
“A Hollywood Story…Â This is it … the most compelling dramatic story ever unfolded on the screen .. a tale of heartache and tragedy … love and ambition … told against the fabulous background of Hollywood.”
Told in flashback by a dead man set against the blaring sirens of racing police cars to the crime scene, the film opens with police cars speeding down Sunset Boulevard. They've been called to a mansion where the body of a man, Joe Gillis (William Holden) is floating face down on the surface of the swimming pool with his eyes wide open-(the camera used a mirror underneath to catch Holden’s face from underneath). The dead man begins to narrate the story of what led to his death in flashback noir style. This is truly a spin on the term, “ghost-writer.”
"Yes, this is Sunset Blvd… the homicide squad complete with detectives and newspapermen. A murder has been reported from one of those great big houses… You'll read all about it in the late editions… You'll get it over your radio, and see it on television because an old-time star is involved, one of the biggest. But before your hear it all distorted and blown out of proportion, before those Hollywood columnists get their hands on it, maybe you'd like to hear the facts, the whole truth… If so you've come to the right party."
Repo Man-“There’s gonna be fireworks” Joe Gillis- “You Say the cutest things!”
It leads us back- Six months earlier. Joe Gillis is an out-of-work screenwriter with only a few B-movies to his credit. He tries to persuade Paramount Pictures producer Sheldrake (Fred Clark) to buy one of his scripts, but reader Betty Schaefer (Olson) administers a harsh critique not realizing that Joe can hear her. Carrying a folder of papers, she puts them on Sheldrake’s desk not noticing Joe Gillis standing by the door. Referring to Joe’s script Sheldrake-“What’s wrong with it?” Betty- “It’s from hunger… just a rehash of something that wasn’t very good to begin with.” Sheldrake-“I’m sure you’ll be glad to meet Mr. Gillis. He wrote it.”
Betty is embarrassed, she would like to ‘crawl into a hole and pull it in after her.’ She says to Joe, “I’m sorry, Mr.Gillis but I just don’t think it’s any good. I find it flat and banal.” He asks “Exactly what kind of material do you recommend? James Joyce? Dostoyevsky?”She tells him, “I just think pictures should say a little something.” Gillis– “Oh, you’re one of those message kids. Just a story won’t do. You’d have turned down Gone With the Wind.”
First Joe is typing at his apartment when two collectors show up looking to repossess his car. He manages to elude them once but they spot him on the street at a traffic light. Gillis spots the men who are going to repossess his 1946 Plymouth convertible while sitting at an intersection. They begin chasing him and he gets a blowout.
the car hidden behind Rudy’s Shoeshine Joe comments about Rudy-“he’d just look at your heels and know the score.”
Trying to hide out Joe turns onto a Sunset Boulevard driveway and stumbles onto an old garage crumbling by the side of a gloomy yet grandiose deteriorating, dying mansion with a little formal garden all gone to seed.
“If ever there was a place to stash away a limping car with a hot license plate.”
When Joe starts his monologue describing Norma’s house, it’s as if he is giving us a portent, describing Norma’s state of mind as the mansion is an extension of her projected identity.
Gillis’ voice-over “It was a great big white elephant of a place. The kind crazy movie people built in the crazy twenties. A neglected house gets an unhappy look. This one had it in spades. It was like that old woman in Great Expectations –that Miss Haversham in her rotting wedding dress and her torn veil, taking it out on the world because she’d been given the go by”
Suddenly he hears, “You there!… why are you so late!”
The ever-brooding Max.
Living in this opulent ruin is the reclusive and long-forgotten silent film star, Norma Desmond. She alone inhabits this fading estate with her faithful butler Max (Erich Von Stroheim), who also happens to be her ex-husband, who was once a great director and plays a wheezing organ. Both lost relics of a bygone era. The interior shots of the grand hall, great staircase, Norma’s ‘waxworks’ parlor, her bedroom, and the Gothic baroque-style mansion, in general, evoke an atmosphere of bleak desolation and mystification.
The great hall is grandiose and grim, described in the script as exhibiting portieres that are drawn before all the windows, and“only thin slits or sunlight find their way in to fight the few electric bulbs which are always burning.”
As Norma Desmond first makes her entrance she stands like a ghostly figure down the corridor in front of a doorway that allows the intrusion of a flickering light. She is small in stature, yet she exudes an electrifying presence, wearing black house pajamas and high-heeled pumps. Like many femme fatales, she wears dark glasses, a scarf, and a turban patterned in leopard print.
The undercurrent is gloomy and dust-covered. The room is hung with white brocade which is tattered in places and has become mucky from years of neglect. Sam Comer and Ray Moyer’s set design fits the mood perfectly as the scene also showcases a great unmade gilded bed, the gold peeling off as to symbolize Norma’s decomposing love life. The curious set piece is in the shape of a swan.
The gondola bed in her boudoir is ornately carved with cherubs Norma sleeps in was actually owned by dancer Gaby Deslys who died in 1920. It had belonged to Universal’s prop department who bought it after Desly’s death. It appears in Lon Chaney’s The Phantom of the Opera (1925). Joe in one of his voice-overs describes it as a gilded row boat. “The perfect setting for a silent movie queen. Poor devil still waving proudly to a parade which has long since passed her by.”
All these little details just add to the sense of realism built into the visual narrative with its accouterments of Hollywood’s “world of illusion.” Clothes and negligees are strewn about the room, which is graced with photographs of fading stars of yesterday. There’s a baroque-style fireplace bookended by two ornate candelabras. Set out like an Egyptian prince on her massage table is the shrouded monkey in repose under a shawl.
Norma begins to direct Gillis believing him to be the undertaker (Franklin Farnum) from the funeral home. Joe plays along with a morbid fascination. She tells him, “I’ve made up my mind we’ll bury him in the garden. Any city laws against that?” Joe says, “I wouldn’t know”Norma continues, “I don’t care anyway. I want the coffin to be white. And I want it specially lined with satin. White, or deep pink.”
When she picks up the shawl, a small stiff arm falls out. Joe is a little stunned by the tiny hairy arm. “Maybe red. Bright flaming red. Gay. Let’s make it gay.” Â Â Â Â Â
When Joe looks closer at the small body under the shawl he sees the very pitiful, bearded face of a dead chimpanzee. It’s a startling scene, odd and curious. Norma seems to have made her little friend almost a surrogate child.
Joe says to her, “I know your face. You’re Norma Desmond. You used to be in silent pictures. You used to be big.” Norma replies with a stately languor, “I am big… it’s the pictures that got small…”
Gillis in his smug manner, “I knew there was something wrong with them.”
Norma begins her brusque tirade “They’re dead. They’re finished. There was a time when this business had the eyes of the whole wide world. But that wasn’t good enough. Oh, no They wanted the ears of the world, too. So they opened their big mouths, and out came talk, talk, talk…”
Joe Gillis quips, “That’s where the popcorn business comes in. You buy yourself a bag and plug up your ears.”
Norma chastised- “Look at them in the front offices — the masterminds! They took the idols and smashed them. The Fairbanks and the Chaplins and the Gilberts and the Valentinos. And who have they got now? Some nobodies….”
Joe Gillis- “Don’t get sore at me. I’m not an executive. I’m just a writer.”
Norma- “You are! Writing words, words! You’ve made a rope of words and strangled this business! But there is a microphone right there to catch the last gurgles, and Technicolor to photograph the red, swollen tongue!”Joe- “Ssh! You’ll wake up that monkey.”
Norma yells- “Get out!” as Gillis starts down the stairs, he answers her, “Next time I’ll bring my autograph album along or maybe a hunk of cement and ask for your footprints.” Halfway down the stairs, she stops him, “Just a minute you!”
Max wheels in a tea wagon with Champagne and caviar. Norma sits in her chair smoking from her curious cigarette holder which is a gold ring with a clip. She dumps another batch of pages from the script on Joe.
Joe “It was a cozy set up.”“That bundle of nerves Max… that dead monkey upstairs and the wind wheezing through that organ once in a while”
“Well- I had no pressing engagement and she’d mentioned something to drink… Sometimes it’s interesting to see just how bad, bad writing can be. This promised to go to the limit. I wondered what a handwriting expert would make of that childish scrawl of hers. Max wheeled in some champagne and some caviar. Later I found out that Max was the only other person in that Grim Sunset Castle, and I found out a few other things about him… As for her, she sat coiled up like a watch spring, her cigarette clamped in a curious holder… I could sense her eyes on me from behind those dark glasses, defying me not to like what I read, or maybe begging me in her own proud way to like it. It meant so much to her.”
Joe admits- "The place seemed to have been stricken with a kind of creeping paralysis, out of beat with the rest of the world, crumbling apart in slow motion… I knew there was something wrong… it sure was a cozy set-up."
“Salome… what a woman what a part. The princess is in love with a Holy man She dances the dance of the seven veils. He rejects her and she demands his head on a golden tray… Kissing his cold dead lips”
Okay perhaps there’s a hint of Norma having a little pent-up rage toward men… Still, she’s adorable!
Seeing that Joe is broke and a bit of a schemer, he accepts the job and moves into the guest room over the garage. Joe is weak-willed, gutless, and a cynic who wields mocking witticisms at every turn. And soon he becomes Norma’s lover, a kept man, a gigolo.
The undertaker arrives with the tiny coffin… Max greets him at the door and leads him up the long winding staircase.
Joe’s voice over-“Silly hodge podge of melodramatic plotz however I started concocting a little plot of my own”Joe tells Norma-“Maybe what it needs is a little more dialogue.”“What for I can say anything I want with my eyes!”“You know I’m pretty expensive.”
Wilder visually suggests how Joe is being drawn into Norma's world at first when he goes to his room above the garage, the camera focuses on the gnarled dead branches that invade the space as he climbs the dark stairs to his room. Joe is too smug in his new cozy set-up, having no clue of the dangerous path he's about to embark on.
“So I let him (Max) unpack my things. I wanted the dough, and I wanted to get out of there as quickly as possible. I thought if I really got going, I could toss it off in a couple of weeks. But it wasn’t so simple, getting some coherence into that wild, scrambled melodrama she’d concocted. What made it tougher was that she was around all the time–hovering over me, afraid I’d do injury to that precious brain child of hers.”Joe-“Say… She’s quite a character that Norma Desmond” Max– fixated on his mistress-“She was the greatest of them all. You wouldn’t know… you’re too young… In one week she received 17,000 fan letters. Men bribed her hairdresser to get a lock of her hair. ….there was a maharajas who came all the way from India to beg one of her silk stockings… later he strangled himself with it”Joe’s voice over-“Crumbling apart in slow motion -the whole place had a sort of creeping paralysis out of beat with the rest of the world.”
“the last rights of that hairy chimp as if she were laying to rest an only child”“it was all very queer…”“was her life really as empty as that?”
While daylight seeps through the blinds, he lies on top of the shabby quilt, the script strewn about him. As he awakens to these strange surroundings he narrates in voice-over for us once again-, “That night I had a mixed up dream. In it was an organ grinder. I couldn’t see his face, but the organ was all draped in black and a chimp was dancing for pennies. I opened my eyes the music was still there… Where was I?… Oh yes, that empty room over the garage. (the organ playing beneath his voice-over) Only it wasn’t empty anymore. Somebody had brought in all my belongings. My books, my typewriter, my clothes… What was going on?” He puts his jacket on and heads toward the pipe organ–Max (Von Stroheim, white-gloved close up is actually playing) Bach’s widely used baleful Toccata and Fugue in D-Minor.
Not too long after he finds that Norma has told Max to move his belongings into the house. Joe is weak and resents having to rely on Norma's affection to support him. Norma argues with him about him needing her financial support, that he’s a proud boy who is in difficulties.
Joe dumps a scene ‘Cut away from me?’
Joe’s voice-over-“I didn’t argue with her. You didn’t yell at a sleepwalker–he may fall and break his neck. That’s it, she was sleepwalking along the giddy heights of a lost career– plain crazy when it came to that one subject: her celluloid self, the great Norma Desmond. How could she breathe in that house, so crowded with Norma Desmonds? More Norma Desmond, and still more Norma Desmond!”
“How could she breathe in that house so crowded with Norma Desmonds.”Max lifts the painting that reveals the large movie screen.
Norma is entertaining her cynical ‘lover’ who is coasting on ennui. Trusted Max is a constant enigma of stoic devotion, as he watches from the projection booth, the light from the bulb shimmers on his somber face.
Joe finally begins to accept his role as Norma’s found boyfriend. He spends time with her, working on the script while Norma dressed in one of her lounging pajamas autographs photos of herself. Joe begins to realize just how unaware she is about how much the world has passed her by. Norma isn’t gracious about any criticism, she forces him to watch her old movies. Joe’s smug voice-over.
“She’s sat very close to me, and she’d smell of tuberoses, which is not my favorite perfume, not by a long shot. Sometimes as we watched, she’d clutch my arm or my hand forgetting she was my employer becoming just a fan, excited about that actress up there on the screen… I guess I don’t have to tell you who that actress was. They were always her pictures, that’s all she ever wanted to see.”
Swanson delivers her dialogue with an intrepid vehemence that cuts at the heart of being a forgotten silent star gazing at the clip of an actual Gloria Swanson/Norma Desmond film they made, "Still wonderful, isn't it? And no dialogue. We didn't need dialogue. We had faces…! There just aren't any faces like that anymore… Well, maybe one… Garbo."
Standing in the ghostly beam of projector light Norma avows- “Those idiot producers! Those imbeciles! Haven’t they got any eyes? Have they forgotten what a star looks like? I’ll show them. I’ll be up there again, so help me!”
“Norma is caught between challenge and panic. Her neurotic solution is to buy a man, which establishes her power and control, and then make a pretense of a girlish vulnerability. Her suicide attempt is emblematic of her ambivalence since it is both an assertion of power and an act of self-diminution.”-Brandon French-On the Verge of Revolt-Women in Films of the 1950s
As a treat I thought I’d talk about 4 really interesting films that were released amidst the slew of suspense thrillers of the 1940s. Some Gothic melodrama and a few perhaps conveying an almost hybrid sense of noir with their use of flashback, shadow, odd camera angles and elements of transgressive crime. I’ll just be giving a brief overview of the plot, but no worries there are no spoilers!
I recently had the chance to sit with each film and said to myself… Joey, these would make for a nice collection of obscure thrillers so without further adieu, I offer for your enjoyment, The Suspect, Love From A Stranger 1947, Moss Rose & The Sign of the Ram!
THE SUSPECT 1944
Directed by Robert Siodmak (The Spiral Staircase 1945, The Killers 1946,Criss Cross 1949, The Dark Mirror, Cry of the City, The File on Thelma Jordan 1950) and adapted to the screen by Bertram Millhauser and Arthur T Horman from the novel This Way Out written by James Ronald. This film, very loosely based on Dr. Hawley Harvey Crippen’s murder of his wife, was sensationalized at trial in 1910.
The Suspect stars the inimitableCharles Laughton (Dr. Moreau – Island of Lost Souls 1932, my favorite Quasimodo in William Dieterle’sThe Hunchback of Notre Dame 1939, the most lovable ghost Sir Simon in The Canterville Ghost 1944, The Paradine Case 1947, The Strange Door 1951, Witness for the Prosecution 1957, Spartacus 1960, Advise and Consent 1962 and notably–director of two films–his masterpiece Night of the Hunter and his uncredited The Man on the Eiffel Tower 1949)
The film also stars the underrated Ella Raines (Phantom Lady 1944,Impact 1949), Dean Harens, Stanley Ridges (Possessed 1949, The File on Thelma Jordan and No Way Out 1950)Henry Daniell, Rosalind Ivan and Molly Lamont (The Dark Corner 1946, Devil Bat’s Daughter 1946) Raymond Severnplays the delicious little urchin Merridew who works for Phillip as he tries to keep the little guy on the straight and narrow. Merridew would make the perfect name for a little tabby cat!
Charles Laughton gives one of his most subtle performances as a kindly man trapped by an abusive wife. Siodmak, as usual, creates a dynamic framework for this psychological thriller, lensed in shades of darkly ominous spaces that seem to shape themselves around Laugton’s comfortable face and Ella Raines’ intricate beauty.
Lux Radio Theater held broadcast of a 60-minute radio adaptation of the movie on April 9, 1945, with Charles Laughton, Ella Raines, and Rosalind Ivan reprising their film roles.
Music by Frank Skinner (Blond Alibi 1946, Johnny Stool Pigeon, The Brute Man, The Spider Woman Strikes Back, and way more ) with cinematography by Paul Ivano. Who did the camera work on director Hugo Haas’s treasures like Strange Fascination 1952, One Girl’s Confession 1953, and Hold Back Tomorrow 1955!
And marvelous gowns and hats by Vera West. (The Wolf Man 1941, Shadow of a Doubt 1943, Flesh and Fantasy 1943, Son of Dracula & The Mad Ghoul 1943, Phantom Lady 1944, Strange Confession 1944, Murder in the Blue Room ’44, House of Frankenstein ’44, The Woman in Green 1945, Terror by Night 1946, The Cat Creeps, She-Wolf of London, Dressed to Kill, Danger Woman & Slightly Scandalous 1946.)
In 1902 London, a respected middle-class Englishman but unhappily married shopkeeper Phillip Marshall (Charles Laughton) develops a loving and warm friendship with young and beautiful Mary Gray (Ella Raines), whose father has recently died, leaving her down on her luck and looking for a job. Phillip Marshall is such a kind and genteel man he stops to say a kind word about his neighbor Mrs Simmon’s garden, loves his son, and shows real affection. He is like a father to young Merridew, and beloved by the community. Even when he approaches Mary, and she hasn’t yet looked up from her tear-soaked hanky, thinking a lecherous man in the park is approaching her, “I’m not that sort,” tells her, only wanting to see if she needs help.
Mary, like Phillip, is lonely. The first night, Phillip begins to walk her home —“A cup of tea, a six-pence novel and a good cry.”
Mary- “I’m afraid you’ve been looking in my window.”
Phillip’s dreadful wife Cora (Rosalind Ivan –ideally suited to play the emasculating harpy-she had a similar role tormenting Edward G Robinson in Scarlet Street 1945) is a reprehensible shrew who humiliates and demeans both her husband and her son (Dean Harens who had more room to act in Siodmak’s terrific noir Christmas Holiday 1944 which starred a very different kind of Gene Kelly and the self-persecuting Deanna Durbin) John is shown moving out of the house because his horrible mother has burned some important papers of his. She got into one of her rages, and before he could stop her, she burned a whole week’s work.
Cora Marshall is vicious and cruel, showing no maternal feeling and caring little that her son is leaving home.
Cora-“That’s just what young hopeful did, he’s clearing out bag and baggage that selfish ungrateful good for nothing.” Phillip-“What did you do to him?” Cora- “What did I do to him… that’s right, put the blame on me. All I did was bring him into the world, nurse him, and make myself a doormat for him to walk on!… Go on, go to him and tell him from me that when he leaves this house, needn’t think he can come crawling back. Deserting his own mother!… And what do you think you’re doing now?” Phillip- “I’m moving into John’s room.” Cora- “Of all the indecent…we’re married, aren’t we?” Phillip (deep sigh)- “Oh, we’re married, all right.”Cora –“Then how dare you! I forbid it do you hear me. I forbid you to treat me like this.” Phillip says, “Now Cora, that’s all over now that John’s gone. It’s all over and done with, do you understand me?… I’m moving out of here, and there’s nothing you can do about it.” Cora- “Oh yes, there is. There’s plenty I can do!”
They wrestle with his clean, folded white shirts, which he’s busy moving out of the bedroom. She tries to grab them, but he finally loses his composure and yanks them away.
Cora- “What’s got into you? I’d like to know what’s going on in your head.”Phillip- “It’s much better that you shouldn’t, Cora, it might frighten you…”
Saddened by John’s departure, whom he loves and will miss, Phillip prompts Cora to move into his son’s room. Cora, so bent on appearances, is driven to tirades of abusiveness toward the meek and genteel Phillip, harassing him at every turn. I might have thrown her down the stairs myself or given her one of those late-night glasses of milk!
The scene with Merridew tickles me and shows how kind, compassionate, and caring Phillip is. He calls Merridew over talking to him in a quite earnest and fatherly tone, all the while you can tell he’s quite fond of the little fellow and visa versa.
Phillip- “Merridew, I have to bring a very serious matter to your attention. I regret to say there’s a shortage in your accounts there’s a penny missing from the stamp box.” Merridew- “It… it was for a sugar bun this morning, but I’ll put it back on pay day, honest Mr. Marshall.” Phillip- “And the tuppence the day before yesterday, what was that for?” Merridew- “Acid drops, sir.” Phillip- “Acid drops???Quizzically… that’s very serious. And the hay penny the day before?” Merridew- “For the monkey with the hurdy-gurdy, but I’ll put it all back Saturday every last farthing. “ Phillip- “That’s what all embezzlers plan to do.”
tears in Merridew’s voice make it quiver as the camera shows Mary listening in, she smiles and laughs at this whimsical inquisition.
Merridew- “But I’m not an embezzler.”
Phillip- “Yes, but you can get started that way. It’s the first step that counts… after that, it all becomes too easy. Six pence tomorrow, half a crown the day after… then a five-pound note… I know you’ll always mean to pay it back, but I’m afraid you’ll finish by paying it back in the Portland quarries.”
Merridew- “Don’t send me to no quarries, please, Mr. Marshall(sniffling).”
Phillip- “Well, not this time, Merridew. Now stop sniffling and wipe your eyes.” he hands him a hanky.
Mary has come into the shop looking for employment. When Phillip tells her there isn’t a position available, he later finds her crying on a park bench. He takes her to dinner, gets her a job with a colleague and the two begin a very tender friendship.
Phillip continues his platonic relationship with Mary, but once his wife finds out that he’s been seen supping with the young lady, he breaks it off, as he’s a gentleman who truly thought his wife would want out of a loveless marriage.
Still, Cora threatens him with scandal as well as making trouble for Mary. When Cora refuses to divorce him, worried that gossip will spread that she has failed to hold onto a husband, he is driven to the point of frustration and despair. She tells him the neighbors are all beginning to gossip about him coming in at all hours.
Phillip- “None of that business, Cora.”
Cora- “Ha! Married people’s lives is everyone’s business, and I’m not going to be made an object of pity in front of my friends, do you hear!…I wonder what ever possessed me to tie myself up with a poor stink like you… walked through the forest and picked a crooked tree that’s what I did. A crooked, fat, ugly tree.”
Even after she’s been so cruel, he tries to reason with her about getting a divorce and face things honestly by admitting that they’ve never been happy together. He asks her to let him go. But she wants to punish him because she is a bitter and cruel woman, calling him immoral and indecent.
Phillip is very decent; in fact, even though there’s only been friendship between him and Mary, he breaks it off with her so as to do what’s expected of him, telling Mary that he behaved badly, but he was afraid that she wouldn’t want to see him again. He was sure Cora would let him go… Phillip tells Mary, “And I couldn’t let you go once I’d met you.”
But Cora won’t be happy til she drives them both ‘into the gutter where you belong!”
Because of his gentle nature, Laughton is affable and wonderfully believable as a romantic figure.
His murderous response is more to protect Mary from Cora’s wrath, who tells him with a face like a Victorian harridan spewing poisonous vitriol.
“You better be afraid. As sure as the sun rises tomorrow, I’ll give her the Merry Christmas she’ll never forget.”Paul Ivano’s brilliant camera angle frames Laughton as somewhat diminished, seemingly trapped or rather oppressed by the space around him.
And so, Phillip murders his wife. We see him grab one of his canes and assume, though we don’t see him actually bashing her head in with it, that he has, in fact, brained her. The next morning, she is found dead at the bottom of the stairs, and it is deemed an accident.
Added to the plot’s layering of Sturm & Drang is the always wonderful scoundrel in Henry Daniell’s Gilbert Simmons, Phillip’s neighbor a stumbling drunkard who also beats his wife (Molly Lamont) Mrs Simmons and Phillip also have a very sweet relationship, one that ultimately anchors Phillip to his integrity. But I won’t reveal the outcome of the story. The miserable Gilbert Simmons also has the distinction of turning to blackmail, adding to his other earthly vices.
Amidst all these dreary, grim, and dark ideas, the film still emerges as a beautiful story, partly due to Siodmak’s ability to guide suspense along its way with an appealing cadence. As Foster Hirsch states in his must-read Film Noir-The Dark Side of the Screen, “Siodmak films like Christmas Holiday and The Killers have an extremely intricate narrative development…{…} the relative extremeness of Siodmak’s style is reflected in his obsessive characters.”
The Suspect works as a great piece of Melo-Noir mostly due to Laughton’s absolute perfection as the sympathetic, trapped gentle-man. As always, he is masterful with his intonations, sharpened wit, and ability to induce fellowship with the characters he’s playing… well, maybe not so much with Dr. Moreau, Capt. Bligh, Judge Lord Thomas Horfield or Sire Alaine de Maledroit in The Strange Door. But he’s a lovable sort most of the time, one can’t deny.
Charles Laughton and Margaret O’Brien in Jules Dassins’ The Canterville Ghost, 1944-based on the story by Oscar Wilde.
Ella Raines is just delightful as Mary. She’s such a treat to watch as you start to believe that this beautiful young woman genuinely has fallen for this older, portly, yet kind-hearted misfit. You find yourself hoping that he gets away with his wife’s murder and that the two find happiness together.
Scotland Yard Inspector Huxley (Stanley Ridges) stalks Phillip Marshall, believing he killed his wife.
Phillip is staunchly pursued by Scotland Yard Inspector Huxley (Stanley Ridges), who has the tenacity of Columbo. Speaking of which, a poster of The Suspect appears in an episode of Columbo – “How to Dial a Murder” in 1978.
LOVE FROM A STRANGER 1947
On the darker, more sinister side of these suspense yarns, we find Sylvia Sidney as Cecily Harrington at the mercy of a very deranged bluebeard in John Hodiak as Manuel Cortez.
The exquisite beauty of Sylvia Sidney.
Directed by Richard Whorf, who became more fluent in television directing. Written for the screen by Philip MacDonald(Rebecca 1940, The Body Snatcher 1945 for Val Lewton, The Dark Past 1948, Boris Karloff’s Thriller episode The Fingers of Fear 1961, The List of Adrian Messenger 1963) based on Agatha Christie’sshort story Philomel Cottage. Hair Stylist Eunice Helene King is responsible for slicking back Hodiak’s swarthy and murderously Lothario hair, he’s almost Draculian. He definitely covets his slickety hair as he shows his first sign of deranged pathology when Cecily tries to stroke his locks, and he lashes out at her, telling her not to touch it.
The marvelous costumes equipped with capes, sequins, and ostrich feathers are byMichael Woulfe(Blood on the Sun 1945, Macao 1952, Beware, My Lovely 1952).
Isobel Elsom plays Auntie Loo Loo with her usual exuberance; Ann Richards is Mavis Wilson’s faithful friend. Anita Sharp-Bolsteras Ethel the maid (wonderfully crabby Christine in The Two Mrs Carrolls)
And again, a terrific score by Hans J. Salter. This period piece is lavishly framed by Tony Gaudio(The Letter 1940, High Sierra 1941, The Man Who Came to Dinner 1942). Once the protagonist and her murderous husband honeymoon at their hideaway cottage, the lens turns the film into an almost chamber piece, becoming more claustrophobic as Manuel and Cecily begin to awaken to the revelation of his dangerous nature.
Sylvia Sidney plays Cecily Harrington, an unassuming English girl in Liverpool who has just won £50,000 in the Calcutta Sweepstakes, which was a fortune in turn-of-the-century England. Cecily meets Manuel Cortez (John Hodiak) when he sees her name in the newspaper next to the headline of his latest murder. He follows her and then arranges to make it appear as if he’s looking to rent her flat. She is taken with this mysterious stranger and suddenly breaks off her engagement to her fiancee Nigel Lawrence (John Howard), rushing into marriage with the mysterious stranger, who turns out to be a Bluebeard who is after her money.
The swarthy Manuel Cortez has already alluded the police for the murder of three women believed to have drowned while trying to escape. He has changed his appearance, with darker hair and no beard. Dr Gribble (Philip Tonge), who is a crime connoisseur, collects journals and books, one with a drawing of him showing his beard. It also mentions his earlier crimes in South America and New York (Hodiak’s character is given several Spanish aliases- Pedro Ferrara and Vasco Carrera).
The newlyweds spend the summer at their secret honeymoon cottage, where he’s been planning to kill her and bury her body in the cellar.
Isobel Elsom plays Auntie Loo Loo with her usual exuberance, Ann Richards is the faithful friend Mavis Wilson.Manuel Cortez pretends to be looking for a flat to rent, showing up at Cecily’s door; he has actually followed her from their ‘accidental’ meeting at the post.
Cortez begins to work his Bluebeard charms on Cecily.The handsome John Howard as Cecily’s fiancee, Nigel Lawrence, is crushed to find her love has gone cold, as the swarthy Manuel Cortez now entrances her.Neither Nigel nor Mavis trust this mysterious stranger with the slickety hair and cape.Everyone around Cecily knows there’s something not quite right.
Auntie Loo Loo is surprised at her niece’s impetuous behavior.
Ethel and Billings, the gardener, greet the newlyweds at the cottage they’ve spirited off to.There’s a dark cellar with a lock on the door. That never bodes well!
Digging the hole!Which poisons to use, decisions, and decisions.Manuel warns Cecily to stay away from his experiments in the cellar.Auntie Loo Loo and Mavis find out where the honeymoon cottage is and pay Cecily a visit to ensure she’s alright.The couple are going away on a long voyage soon, though Manuel hasn’t shown her the tickets.
Auntie Loo Loo is worried!Dr Gribble- Walking over to the book shelf- “Ah criminology are you interested in criminology Mr Cortez?” Cortez- “Yes, it’s a sort of hobby of mine, doctor.” Dr Gribble- “Well, we’re fellow enthusiasts” Cecily: “Yes, I think it’s a horrid morbid pastime.”Dr. Gribble “But fascinating Mrs. Cortez. Here’s a great favorite of mine. Criminals and their mentality. That’s great psychology… Bless my soul, the latest journal of Medical Jurisprudence and the Criminal. I should have thought I was the only person within a hundred-mile radius who ever so much as heard of this publication.” Manuel Cortez-“Really, I’ve subscribed to it for years” Dr Gribble: “Let’s see, did I read this issue? Ah, yes, this is the one with the account of that South American Carrera. It’s a very interesting case.” Manuel Cortez- “I don’t believe I’ve read it.” Dr Gribble- “You should have. This fellow Carrera was a professional wife murderer. They caught him after he completed his third crime. Then he was drowned trying to escape.” Manuel Cortez- “Oh yes, I remember. They never found the body, did they?” Dr Gribble- “No, as a matter of fact, they didn’t. I don’t think there’s any real doubt he’s dead!”
Manuel catches Cecily by the cellar door. Look, his hair has finally lost control!
Love From A Stranger is perhaps the more melodramatic and Gothic of all these films I’ve talked about in this post, but perhaps the most unrewarding in terms of its depth. While there are some truly terrifying scenes, the queer chemistry between Sidney and Hodiak creates a distance from the narrative. It’s still worth watching as part of the canon of 40s suspense melodramas.
Sylvia Sidney has a certain edgy sensuality to her that doesn’t make her performance thoroughly implausible for the story, but perhaps a different actress might have brought another style of vulnerability to the role. And Hodiak has an unctuous, gritty sort of sex appeal, which makes his part as a psychopath believable. He’s got intensely dark, focused eyes, sharply defined features, and an iron jawline that slams shut when he’s internally scheming. Toward the end, he brings it a bit over the top, but he’s sort of good at playing a surly mad dog.
Told to read aloud from the Journal of Criminology- “There is no doubt at all that Vasco Carrera, the last name he was known by, is a truly remarkable character. “He posed as a great world traveler; women, even those from a cultured background, succumbed very quickly to his peculiar charms, possessed of a remarkable charm of manner, Carrera exerted an extraordinary fascination over women.”
YOU AND ME 1938- Sidney, Sylvia, and George Raft- Now that’s chemistry!
Perhaps the one issue I have with the casting is the chemistry between Sidney and Hodiak, which never truly rings authentic. He’s too internally frenetic to be romantic. It’s mysterious, but he’s not convincing in his wooing of Cecily. The character of Cecily doesn’t seem to have the layers that peel innocence away, unveiling a vulnerable yet eruptive sensuality that would be unconsciously drawn to the scent of a dangerous man. That’s why Ingrid Bergman in Gaslight and Joan Bennett in Fritz Lang’s Secret Beyond the Door1947 work so well.
John Hodiak is a puzzle for me. I’ve been trying to decide whether he’s one of the most intriguingly sexy men I’ve come across in a while or if I find him completely cold and waxen in his delivery as a leading man. I’m leaning toward sexy.
John Hodiak and Tallulah Bankhead in Alfred Hitchcock’s marvelous floating chamber piece Lifeboat 1944.
He had me going in Hitchcock’sLifeboat 1944. I would have thrown my diamond Cartier bracelet over the bow to tumble under the tarp for a few hours with that sun-kissed, salt-sprayed crude adonis, sweaty, brash, unshaven -the whole deal. I just watched him in Somewhere in the Night 1946, and once again, I found Hodiak’s character of George Taylor compelling in his odd way of conveying vulnerability but faithful to the lure of the noir machismo. I felt sorry for a guy who can’t remember who he is or if he should stay forgetting- in case he was a rotten human being.
But as the cunning and psychopathic lady killer in Love From A Stranger, he sort of makes my skin crawl, which I suppose means he did a fabulous job of inhabiting the role of Manuel Cortez. Maybe he would have had better chemistry with someone like Alexis SmithorAudrey Dalton.
Now, I haven’t yet seen Basil Rathbone’s version in director Rowland V Lee’s 1937, also known as A Night of Terrorwith Ann Harding -still based on the short story by Agatha Christie but set in contemporary England, Rathbone plays the intrepid type of urbane gentleman who sweeps Ann Harding off her feet and plunges her into a sudden and dangerous marriage. Where he then plots to kill her and take her money. In the earlier version, the heroine gradually realizes that she’s in danger.
Basil Rathbone and Ann Harding in the 1937 version of Love From a Stranger.
Sylvia Sidney looks stunning as the new bride who begins to notice her husband’s strange behavior and realizes once she goes down into the cellar that Manuel is hiding something. He spends hours locked away down there, preparing for the moment he will kill Cecily, and has forbidden her to go down there, claiming that he’s doing experiments that are dangerous. Well, that’s true since he’s mixing poisons and digging her grave.
This version places it back in Victorian England, perhaps due to the success of the melodramatic thrillers that were proving to be so successful in the 40s like, Rebecca, Gaslight, The Lodger, Hangover Square, The Woman in White, Fritz Lang’s The Secret Beyond the Door 1947, and The Two Mrs Carrolls 1947.
