The alchemy of Gena Rowland’s acting style is how she integrates her craft with an indescribable beauty and presence that is reminiscent of Hollywood’s Golden Age.
Before the emotionally distilled and complex actress emerged as an icon, Gena Rowlands set out with her husband John Cassavetes to create a new naturalistic landscape of independent American movies in the 1970s, that inspired generations of filmmakers. She began showing the attractive pull of her strength in dramatic teleplays for early television programming.
Shows like Robert Montgomery Presents, Ponds Theater Armstrong Circle Theatre Studio One The United States Steel Hour Goodyear Playhouse General Electric Theater, and of course Alfred Hitchcock Presents and The Alfred Hitchcock Hour. She had a regular stint on the television police procedural series, 87th Precinct playing cop Robert Lansing’s deaf wife. In 1975 she starred alongside Peter Falk (One of Cassavete’s inner sanctum of actors along with Ben Gazzara) in Columbo’s season 4 episode Playback.
In feature films, she was cast as Jerry Bondi in Lonely Are the Brave in 1962, in Cassavetes’ A Child is Waiting in 1963, and in Gordon Douglas’ Tony Rome 1967 starring friend Frank Sinatra and Richard Conte.
Working since the mid-1950s Rowlands began to give shades of the forceful performances to come in the three episodes of Hitchcock’s series, in particular, The Lonely Hours playing off veteran stage actress Nancy Kelly.
Gena Rowlands was nominated for two Academy Awards for her performances in director/actor husband John Cassavetes’ films. In 1974 for A Woman Under the Influenceand in 1980 for her gutsy portrait of one tough broad in Gloria 1980.
She was also nominated for eight Golden Globes having won two, and eight Emmys winning three. On November 14th, Gena Rowlands was finally given an Honorary Oscar at the Governors Awards ceremony.
“With her bold bone structure and the curtain of her wheat-gold Jackie O coif, Gena Rowlands is the classic Hollywood icon that got away…. Had she been born into the Studio ear of the 1930s or 1940s, one suspects that she would have sured up a career running across the grand roles, from the tough boots molls through to the stoic others and peppery femme fatales. She has the angular hardness which typifies the best of them in that period- one can imagine her, as easily as Crawford, Davis, Stanwyck or Bacall.”-bfi.org.uk
“I’d never seen anyone that beautiful with a certain gravitas. It was particularly unique in that time, when many women were trying to be girlish, affecting a superficial, ‘I’m a pretty girl’ attitude. It seemed to be the best way to succeed, but Gena did none of that. There was a directness—not that she wasn’t fun and didn’t smolder—but it came from a place that was both genuine and deep.”– Mia Farrow
Director Sidney Lumet in an interview with critic James Grissom, said: “The highest compliment I can pay to her—to anyone—is that the talent frightens me, making me aware of the lack of it in so many and the power that accrues to those who have it and use it well. And the talent educates and illuminates. She is admirable, which can be said of only a few of us.”
In Faces 1968, nominated for 3 Oscars, Rowlands plays prostitute Jeannie with director Cassavetes with something like steel and fearlessness behind her eyes asserting a challenge to try and reach her after being crushed by men. Rowland manifests a performance ‘aching with wordless solitude’ (Ebert)
In the visual poem about loneliness and the feeling of isolation, Minnie & Moskowitz 1971 stars Rowland as the edgy blonde Minnie who perceptively flickers with co-star Seymour Cassel and displays her captivating sensuality under Cyclopean sunglasses.
Minnie works in a museum and has never forgiven the movies for selling her a bill of goods. “The movies lead you on,” she tells her friend Florence. “They make you believe in romance and love . . . and, Florence, there just aren’t any Clark Gables, not in the real world. Still, Minnie dreams, and keeps a romantic secret locked in her heart: She’s glad the movies sold her that bill of goods. (Roger Ebert)
Rowlands garnered her first Oscar nomination for her unforgettable performance as Mabel Longhetti in A Woman Under the Influence 1974 co-starring Peter Falk who is in the grips of Mabel’s mental illness.
“It left me exhausted and depressed-feeling. Some of the time, when you’re walking out there where the air is thin, you just hope you can walk back again.” -Gena Rowlands
From an interview with Matt Zoler Seitz – talking about A Woman Under the Influence-
“That was my favorite movie. I loved doing that movie. I loved it because I loved working with Peter Falk, I loved the mix of comedy in it, that was sort of real comedy.
The film was about a woman who was obsessed with the love of her husband, for her husband. And he was a regular guy, worked for the city, had to do his work at night, or in daytime when there was a call for it. She plans so heavily for a romantic night, gets her mother to take her children over to her house, gets house in tiptop shape—she was a woman who was really obsessed. Then he got a call that the water line had broken and had to call her and say that he couldn’t come home later, and then he came back the next morning with all of his friends, and she was very happy to see him to offer them all breakfast, but mostly because she wanted to please him always, and she offers to make them spaghetti. Do you remember that scene?
Yes, I remember the spaghetti scene. Everybody remembers that scene, it was a great scene.
”It’s so wonderful to do a scene like that, where it feels so true. You can tell a lot about her in that scene. You see that everything she did was to please him…
I also liked the fact that in that film, I was a little wacko, but my husband understood that and he loved me, and it didn’t bother him that I was as strange as I could be. When I have this terrible breakdown and have to go away for a while, leave him and my children, oh—that’s a hard scene. We’re showing a hard moment in a person’s life, a terribly hard moment. Then she comes back and they try to make it easy for her as possible. It’s just so good, all the scenes.”
As Myrtle Gordon, Rowlands gives another masterful performance in Cassavetes’ Opening Nightportraying a successful stage actress’s ‘final agony of bottoming out’ (Ebert), rehearsing a production of The Second Woman in New Haven, whose life is turned upside down after she witnesses a 17-year-old fan’s death outside the theater.
Gena Rowlands in Opening Night 1977.
Rowlands plays the role “At perfect pitch: She is able to suggest, even in the midst of seemingly ordinary moments, the controlled panic of a person who needs a drink, right here, right now.”(Roger Ebert)
She captures the restless energy that imbues the behind-the-scenes world of the theater and the ‘dreary perspective of Myrtle’s uninspiring production she stars in.’(Chris Wiegand- The Guardian).
“All while descending into a prolonged crack-up involving binge drinking, consultations with mediums, and a repeat hallucination of a young girl… Early on, when Myrtle is first confronted with the hallucination/girl, there’s a closeup of Rowlands’ face that is an example of her unique genius. Even very talented actors feel the need to show an audience “what a moment is about.” Not Rowlands. In that closeup, Myrtle stares at the girl, wondering if she has finally lost her mind, and then she puts an almost welcoming expression on her face, before mouthing the word, “Hello!” It’s hair-raising.” Ebert)
Nipping at booze, Myrtle trips between reality on and off stage, drenched in an alcoholic delirium – “Rowlands’ drunkenness in “Opening Night” is in the pantheon of Great Drunks onscreen.” (Roger Ebert).
Myrtle drifts in and out of character conjuring visions of two women who do not exist. Virginia the role for which she is wary of, struggles to portray an older woman for the first time, a character who is aesthetically defined by her age. And embracing the phantom of Nancy, the young girl who died, whose youthful receptiveness is what she seeks to direct, all within an oppressive environment driven by the men she works with, director (Ben Gazzara) and ex-lover co-star (Cassavetes).
How can you bring a character alive if you don’t believe in them – Myrtle asks playwright Sarah Goode played by Joan Blondell. Myrtle needs to reclaim her identity on stage and for herself.
“The scenes in which Myrtle in Opening Night consults first one and then another spiritualist are typical of Cassavetes’ genius in filming madness. He gives us characters who are clearly breaking apart inside, and then sends them hurtling around crazily in search of quick fixes and Band-Aids. (In “Love Streams,” the hard-drinking Cassavetes surrounds himself with hookers, while Sarah (Rowlands), as his sister, fills a taxicab with animals she has “rescued” from a pet store; in “A Woman Under the Influence,” a crowd of basket cases sit down to eat a big dinner that has been whipped together under the delusion that life is normal and everybody is having a great time.”Roger Ebert
Gena Rowland in Gordon Douglas’ Tony Rome 1967.
In Gloria 1980 directed by John Cassavetes, a film Rowlands considers a ‘gangster comedy’ gets to play the hard-edged gun moll she would have perfected in the best film noirs of the 1940s. The film takes an unexpected approach to motherhood- as Gloria Swenson becomes the reluctant guardian of a little boy whose family is murdered by the mob. The two go on the run in the gritty streets of New York City in possession of a book that the mob wants. Rowland is never fake while she roars and swears at the thugs chasing her on the subway, moving like the wind down the sidewalks of New York in her silk suits, handling her gun like an uncompromising pro. ‘‘I don’t want to be a victim! Victim, that’s passe, I’ve played a victim. I don’t want to be a victimized, you know, a victimized person again…This is a victimized person isn’t it?’ he assures her -‘’ No, it’s not a victimized person. A very strong person. You’re not a victim, you’re an ‘anti-victim.” ”Good, don’t get it in your mind that I’m a victim!’” (Rowlands from a conversation with husband John Cassavetes).
Cassel and Rowlands in Minnie and Moskowitz in 1971.
Gloria for Gena Rowlands is where she gives flight her roles rooted in vulnerability and deep psychological storms. In the film, she attains ascendency and puts a gun to the head of the personal victimization, and defies some of her older collaborative roles with Cassavetes interpreted by instability and downward spirals. She wouldn’t allow herself to be trapped by stereotypes of ‘eccentric, middle-aged women.’ which was a role that established her on-screen persona in the 1970s.
“Love is a stream. It is continuous. It doesn’t stop.”
In 1984’s Love Streams, directed by John Cassavetes, Gena Rowlands portrays Sarah Lawson, a character whose life has been unexpectedly upended when she finds herself in the midst of a divorce from her husband Jack, portrayed by Seymour Cassel.
Adding to her pain, her young daughter Debbie (Risa Martha Blewitt) chooses to live with her father instead. At a time when she questions whether she is worthy of love, experiencing an emotional breakdown she reaches out to her brother Robert (Cassavetes).
Rowlands objected to Cassavete’s script finding herself once again playing a ‘victimized person’, but he assured her that Sarah was truly strong.
Sarah’s divergence from the past ‘madwoman archetype’ is in her resilience from her earlier roles in the 70s – as Mabel in A Woman Under the Influence whereas her therapist in Love Streams has a similar commentary that her love is “too strong for her family,’’
And unlike Minnie who is stripped down by Cassel in Minnie and Moskowitz in 1971, and Myrtle Gordon whose mind becomes fractured during the New York premiere of her play in Opening Night, Sarah comes to a reckoning about how love flows and can be reached. And no one but Rowlands could compel heartache to emerge out of a smile.
Source Andrew Key
Source Chris Wiegand The Guardian
Source: RogerEbert.Com
Nancy Kelly Bio:
Actress of radio, stage, film, and television, Nancy Kelly with her whisky voice became a Hollywood child actress who performed alongside Gloria Swanson she was talented enough to appear on Broadway in a revival of Macbeth Macbeth in 1926 and was Tyrone Power’s leading lady in John Ford’s western Jesse James 1939. And cast in the lead role in the low-budget horror movie about a woman who claims the is the reincarnation of a witch burned at the stake 300 years ago in Woman Who Came Back 1945. Having worked on the radio on The March of Time between 1932-37 and appearing on stage drawing great reviews for her performances as Blossom in Susan of God and for Clifford Odets’s The Big Knife, and Season in the Sun 1950, her most unforgettable role was as Christine Penmark, Rhoda’s (Patty McCormack gave a delirious performance as the sociopathic Rhoda) mother in director Mervyn LeRoy’s psychological drama The Bad Seed 1956.
Nancy Kelly in John Ford’s Jesse James 1939.
Kelly’s performance is a riveting at times cringeworthy examination of a mother cornered by maternal conflict when she discovers that her seemingly innocent little blonde angel is in fact a cold-blooded psychopathic murderer.
“virtually everyone in the film becomes so fantastically abnormal that it grows ridiculous and grotesque. Little Patty McCormack, who plays the murderer, not only acts with incredible sang-froid but she also postures with such calculation that it is hard to see how anyone could mistake her show of innocence for a fraud.” – Bosley Crowther
Nancy Kelly wore the role of Rhoda’s mother in both the theatrical Broadway, 1954-55 stage production and the adaption to the big screen.
Walter Kerr of the New York Herald Tribune wrote of her Tony Award-winning stage performance:
“Though Miss Kelly has done attractive work on Broadway before, she has never really prepared us for the brilliance of the present portrait” (Walter Kerr-New York Times, January 14, 1995).
In contrast to Kerr’s take on Kelly’s performance, the often unforgiving Bosley Crowther wrote this scathing assessment of her work in the film:
“Nancy Kelly makes the mother of this child so saturnine and so foolishly fatalistic that her outbursts of frenzy toward the end when little darling coolly compounds her murders, deprive her of the sympathy she should have. This reviewer had the inhuman feeling that this poor woman oddly got what she deserved.”
In 1956, she was nominated for an Academy Award as Best Actress for her performance in The Bad Seed but lost to Ingrid Bergman in Anastasia.
Kelly dove effectively into television starting in the 1950s by appearing in episodes of Studio One, Playhouse 90, Climax!, Suspicion, Alcoa Theatre, and a particularly tense performance as Janet Willson who is daunted by an unseen manic during one dark rainy night in
The Boris Karloff’s Thriller episode The Storm. She also appeared in the Edmund O’Brien series Sam Benedict, Medical Center, and her next last appearance in Jack Palance’s underappreciated cop show Bronc. And lastly, the made-for-TV movie Murder at the World Series in 1977.
She died in 1995 of complications from diabetes at the age of 73.
NANCY KELLY DIALOGUE:
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….”
SYNOPSIS:
Amidst the chaos of family, confusion, and anxiety, Murray’s music is tragically beautiful and stretches you in deep places.
Directed by Jack Smight this is perhaps one of the most disturbing yet poignant performances for Nancy Kelly The Bad Seed 1956as Mrs. J. A. Williams/Vera Brandon alongside Gena Rowland as housewife Louise Henderson. Louise finds herself in conflict with the cryptic Vera Brandon who lives under the cloud of delusion, and despair.
Joan Harrison had envisioned a narrative that is entirely woman-centered, and the story is framed within the world of women, a tribalization of motherhood, viewed through the eyes of women and by using an all-female cast.
The episode which is driven by a sense of extreme unease was nominated for an Emmy Award for Outstanding Single Program – Drama. It is considered to be one of the best episodes of The Alfred Hitchcock Hour.
Joyce Van Patten is delightful, playing Louise’s next-door neighbor Grace, and it’s always fun to see her do anything. Juanita Moore has a bit part as Mrs. McFarland. And character actress Jesslyn Fax plays the landlady, Miss McGuiness.
Based on a novel by Celia Fremlin called The House Before Dawn with a screenplay by William Gordon, and a most extraordinary soundtrack music by composer Lyn Murray.
The Lonely Hours features the work of two masterful actresses, Rowlands who is solid and intuitively manages to tap into the wavelength that something is just not right with Kelly’s character. Nancy Kelly, while a menacing figure who threatens Rowland’s breezy yet frenetic suburban world, manages to come across as a sympathetic, damaged woman who is haunted by loss.
It is perhaps one of the most intense teleplays, the story and its performances of The Alfred Hitchcock Hour series, aside from perhaps Teresa Wright’s performance in Lonely Place, interesting that both titles include loneliness as their theme.
The Hendersons had considered renting a room upstairs to a student to bring in extra money. Louise’s husband is out of the picture for the entire episode except when Louise invokes his existence during their sparse one-sided phone calls.
When the curious Vera Brandon shows up looking for a quiet room to rent in order to finish her thesis, she spots Louise’s little boy Lonnie and the camera catches her fixating on him in his high chair. It strikes us as well, that little Lonnie has dark curly hair, looking more like he’d be the saturnine Vera Brandon’s child than the polished blonde Louise.
Once the dangerous, deranged Vera Brandon moves in the suspense begins.
but first…
The episode opens with Tchaikovsky blasting on the record player. Rowlands is on the phone trying to make arrangements and going over the minutia of life, taking care of the house and her two little girls who are a distraction running around. Nancy Kelly walks in on the din of the crazy life of an upper-middle-class housewife.
Though obviously a tireless mother and housewife, Louise Henderson is purely flawless, dashing around the kitchen serving breakfast, feeding her 7-month-old little boy named Lonnie, and keeping tabs on her girls, she still manages to look like the cover of Good Housekeeping with her chic sleeveless dress and fetchingly coifed golden hair. The telephone rings and it’s her husband calling long distance, he is away on a business trip and will be gone for another week.
The harried Louise is trying to wrangle the precocious and imaginative girls, one of them is Joyce Van Patten who comes over most days to play. All three keep her busy while her husband is away on business. We never meet him, he is a phantom on the phone to us.
Miss Vera Brandon (Kelly) enters comely, polite, tailored, and a bit more old-fashioned, she is a bit of a contrast next to Louise who is more bourgeois and chic. The girls let her in while their mom Louise is still talking on the phone. Vera Brandon already transforms the space as she begins to take control in tiny ways. She immediately turns off the record player, then she concentrates on Lonnie.
As Vera inquires about the room to let, and when Louise remarks that she and her husband had only been thinking about renting a room, Vera explains that someone at the university must have mentioned it. She explains to Louise (Rowlands) that she needs a quiet place to work on her thesis.
After seeing the room, which is a bit small and cluttered at first, Vera decides to rent the room for $30 a month.
Shortly after Vera Brandon moves in, Louise becomes very suspicious about the woman in her house and why she seems so engrossed in Lonnie.
In the next scene, Vera pulls up in front of a different house carrying a bassinet bundled up in blankets that she watchfully holds close to herself while she goes into this other secret apartment that she is renting under the name of Mrs. J.A. Williams.
Her landlady Miss McGuiness (character actress Jesslyn Fax known for Rear Window (1954), Kiss Me Deadly 1955and The Ghost and Mr. Chicken (1966) is renting it to the mysterious Miss Brandon for an extra month and has been told that it’s for her and her baby son Michael.
Something strikes us as off with the way she is holding the bassinet, we sense there is no baby. There is something tangible about Vera – she is deranged and may even be dangerous.
When Miss McGuinness knocks on Vera’s door she seems alarmed. She tells her that Michael is asleep and keeps her landlady at bay standing outside the door, but takes the toy from her that came in the mail that day. After she tells her that they’ll be staying longer and that she and the baby will be staying with a friend for a few days. Vera puts the toy next to the bassinet and the baby is revealed to be a doll.
Miss McGuiness seems curious about the baby peeking in the baby’s room just a little to try and catch sight of him. Miss Brandon takes out a brand new musical toy horse, winds it up, and places it by an almost lifelike baby doll covered in the blanket.
Later while having coffee together with Grace (Van Patton), Louise mentions that Miss Brandon knows her professor’s husband but she tells Louise that Vera Brandon’s name doesn’t mean a thing to her.
Although Miss Brandon said she knew Grace’s brilliant husband. Brandon also seemed to know both she and Mark are blondes. Vera Brandon is very dark like Lonnie who has very thick dark black hair.
Joyce Van Patten – “If this woman is going to arouse all your latent hostility why take her in?”
Rowlands “In the first place it wasn’t hostility It was idle curiosity and in the second place I need the extra money in the first place.”
Vera Brandon arrives with her suitcase, and Louise introduces her to her friend, Mrs. Grace Thorpe
in a telling moment, explains the topic of her doctoral dissertation to Grace, who looks on blankly and then turns and invites Louise to a fashion tea. Vera is portrayed as a slightly older, educated woman, who does not fit in among the vapid suburban housewives.
Grace (Joyce Van Patten)“Louise tells me that you’re writing your doctoral thesis.”
Vera “Hmm, I’m a few years behind my original schedule.”
Grace “In what field?”
Vera “Oh, I’m doing a comparative study of the effects of alien philosophy. I’m in history – Greek origins really.”
Perhaps allusions to the classical myth of Medea about the woman who murdered her children.
Grace looks completely struck dumb by Vera’s intellectual nitty gritty. She switches to a topic she’s more comfortable with and tells Louise that she really wants her to come to the fashion tea tomorrow and so Vera Brandon uses the opportunity to volunteer to watch Lonnie and Louise agrees to it.
Vera Brandon goes into Lonnie’s room while he’s fussing and she quiets him down, “I’m here now. I’m here with you and I’ll never leave you. I’ll never leave you – sshh Michael.”She holds Lonnie’s hand as he looks up smiling at her.
The next morning the girls joke that Miss Brandon is ‘a spy… a secret, atomic spy’ but Louise is used to the girls and their wild imaginations and the games they play with each other.
When Louise leaves for the fashion tea, Vera is left alone with Lonnie, and she is able to call him Michael. She drives him to her other home and now can freely show him off to her landlady, no longer a doll hidden in a blanket. Vera is thrilled when Miss McGuiness tells her that Michael is ‘just the image of you.’ Once inside, she takes Lonnie into the room she has turned into a nursery with a crib and toys. Vera’s neurotic motherly attachment to the baby only intensifies the tragic and disturbing nature of her actions.
We assume that Vera has finally taken off with Lonnie but at the end of the day she has returned to Louise’s home, Vera opens up Lonnie’s door. It is a surprise to us that she has brought him back to his mother. Louise finds Vera holding Lonnie very dearly.
The moment is a tense one and Louise seems disquieted by Vera’s attention on her son, then she sees the toy horse in the crib. “Where did this come from?” She asks the little horse. Vera Brandon tells her she bought it while she was out and that it has a music box and plays a lullaby. Louise seems visibly struck in a weird way. Her Intuition?
At night, Louise is reading in bed when she hears Lonnie crying. She goes to his room to find Vera holding him and walking back and forth, trying to comfort him. Louise gives Vera a quick lesson in parenting and Vera internalizes her antagonized by this.
cross Fade:
Late at night, Louise hears Lonnie crying. When she goes in to check on him she finds Vera Brandon holding him.
“I was awake Mrs. Henderson. I thought I might reach him before he disturbed your sleep.”
Louise seems vexed and grabs Lonnie from her arms and admonishes her.
Louise “It’s wrong to pick up a baby every time he cries, Miss Brandon. I’m trying to coax him to sleep through the night.” But she replies, “I think the baby is hungry Mrs. Henderson.”
Louise “I’m sure he is, I’ll take care of it. “
Vera Brandon looks wounded. Louise calls upon her maternal privilege to put Vera in her place.
Louise is quickly developing a more heightened sense of distrust, and drawing on her instincts that something’s off with this woman in her home.
Her girls find a little book with a few men’s names in it, including their father’s name. Louise assures her daughter that Miss Brandon is not a spy. But even her little girl notices that there’s something strange about Vera. And senses that her mother doesn’t like her.
Vera overhears that Mark will be home in a couple of days.
When Louise and Grace go out for the day and Lonnie is left with Katie, a babysitter that Louise specifically hired to watch Lonnie instead of Vera.
But Vera takes Lonnie out of the house again, telling Katie that Louise said it would be okay for her to take him out with her shopping. Vera takes Lonnie back to her secret apartment again.
When Louise returns home and finds Lonnie gone, Katie tells her, “Miss Brandon hasn’t come back yet.”
Louise “Yes I noticed her car was gone.”
Katie (Willa Pearl Curtis) “But the baby’s with her.”
Louise “What!”
Katie ”Well Lonnie was fussy and she had some shopping to do, so she thought the fresh air might do him good.”
Louise yells “Katie!”
Katie “What, What’s wrong?”
Louise “Wrong! She has Lonnie”
Katie “Well she said it would be alright with you.” Shaking her head
Louise “Katie you had no right to do this.”
Katie “Do what?”
Louise “How could you let her take him out of your sight?”
Katie “Well she said it was alright with you.”
Louise “Katie I changed your day this week so you would be here with him YOU, not HER!”
Katie “But you never told me, Mrs. Henderson.”
Louise “Oh Katie.”
Grace “Louise Louise you’re falling apart.”
Louise “You haven’t seen anything yet!”
Grace “What are you going to do?”
Louise “I’m gonna call the police.”
Grace “Louise don’t you think you should find out what happened first before you make a fool of yourself?”
Vera Brandon walks in with Lonnie.
“Mrs. Henderson.”
Louise “Where have you been?’’
Vera Brandon “Surely Katie told you we went for a little walk.”
Louise “How dare you take my baby out of this house without my permission!”
Louise grabs him away from Vera Brandon. Vera Brandon “It just never occurred to me that it would upset you. I was out shopping and I found your little bakery. Well, we’d a been home earlier but I stopped to buy you some of that coffee cake you like so much.”
Louise looks over at Grace. Feeling guilty and Grace looks back like she believes that her friend has overreacted to a very nice gesture. She has embarrassed herself momentarily but trusts that she’s right about the situation and her suspicions about Vera Brandon.
Louise is snooping through the drawers in Vera’s bedroom and finds the small black book with three names and addresses in it and tears out the page. Her husband, Mark Henderson is one of them.
As Louise does some investigating she finds out that Vera Brandon has given three different reasons including her renting the room from her, for trying to get close to each of the three families, each with a boy 7 months old.
Louise goes in search of the two other names in the book. Looking for some answers and hoping to find a connection between the three people and Vera Brandon.
Louise hunts down Sandra Mathews, (Jackie Russell who appeared on episodes of Thriller and The Night Stalker, as well as the episode with Diana Dors- Run for Doom of The Alfred Hitchcock Hour) a young mother who accomplishes looking upbeat and snapping gum in her mouth while filling Louise in about her encounter with Vera Brandon. Sandra recalls that Vera came to the house when her baby was three months old to offer him a modeling contract. Robbie is a little blonde boy.
She tells Louise –“Oh yeah did she come after you too? That one with that baby modeling pitch?”
Louise “Well she’s rather tall and dark.”
Sandra “Yeah that’s her. She came around when Robby was about 3 months old. I told her when Robbie’s six months I’ll sign, but I didn’t expect to see her again.”
Louise “Why not?”
Wife “Well I mean my little guy’s real handsome, I mean a real doll, but this Miss Brandon hardly even looked at him. Like nothing.”
Next Louise goes to the McFarland Motel. There she meets Juanita Moore. Her son Joel is 7 months too, like Robbie and Lonnie.
Louise “I’m looking for some people name McFarland.”
Louise “Oh how do you do I’m Mrs. Henderson. Your name was given to me by Vera Brandon.”
Mrs. McFarland ‘‘Oh yes, I remember her.”
Louise “Was she working with a modeling agency?”
Mrs. McFarland “No, she didn’t mention that. She read my husband’s advertisement and telephoned for part-time secretarial work We’re in insurance and real estate, we run this Motel.”
Louise “But she never worked for you?”
Mrs. McFarland “She came by to see us but then she lost interest right away.”
Louise “Oh well thank you I won’t take any more of your time. Bye-bye Joel. He sure is a healthy looking one.”
Mrs. McFarland “He really is. I had him with me from the very first. I think it makes a difference.”
Louise “So did I. That’s why I love St. Dominics.”
Mrs. McFarland “St Dominic Hospital? That’s where I had Joel.”
Suddenly Gena has a flash, “St Dominics?”
She goes to the hospital and asks about the other two mothers she finds from the book and
questions the sister if she remembers a Vera Brandon. The sister tells her, there was a Vera but, “it wasn’t Brandon, it was Williams.” She goes to look at the records. Louise finds out that Vera lost her baby named Michael.
The sister, “Oh yes I remember her now. She was one of our sad ones. Her husband had deserted her and her baby died.”
Later on the phone with her invisible husband “Oh no Marc I’m not afraid, it’s just that I don’t want her here any longer.” Louise plans on gonna asking her to find another place to live.
Vera Brandon comes into the room once Louise hangs up with her husband, and informs Louise that she’s leaving. “Actually Mrs. Henderson I’d like to talk to you about the room. I do hope you won’t be offended, but I spend almost the entire afternoon looking for another place to live.”
Louise, “Well no, we said we’d try it, and if it didn’t work out.”
Vera Brandon “Well if it weren’t for my work I’d be pleased to stay, but I did see a place this afternoon that I think will be a little better for me.”
It seems that Vera is planning something with Lonnie and it’s about to happen.
Louise seems relieved, a light comes over her she doesn’t have to deal with this problem anymore –
Louise “When would you be leaving?”
Cinematographer John F. Warren always seems to frame the two women’s faces using low-key lighting to emphasize their eyes.
Gena Rowlands sparkles and Nancy Kelly is deep and sadly hollow. The dramatic exchange between these two marvelous actors throughout the episode is remarkable as it is disquieting.
Vera Brandon “Oh tomorrow, the weekend is a good time to get settled.”
She asks for a cup of coffee, then she laces it with sleeping pills to knock Louise out so she can grab Lonnie/Michael.
In Louise’s stupor -half sleep-half woozy from the drugs she hears Vera Brandon speak to her
“Michael and I are leaving now Mrs. Henderson. I’m taking him home with me. Oh, I am sorry, I really do feel sorry for you. 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. From that first day 7 months ago. See they brought me your baby and they told me it was mine. Oh, that poor pale weak little thing. But I knew they were lying.”
Louise figures out where Vera Brandon has taken Lonnie after the girls tell her that ‘the spy lady’ left her coat behind with a piece of paper with her address on the rent receipt in the pocket. She calls the police and tells them that Vera has kidnapped Lonnie, and Grace comes over for support.
Louise confronts Vera.
Louise “If you’ve harmed that baby.”
Vera “Harmed, you think I’d harm my own son.”
Louise “That baby’s not yours.”
Vera Mrs. Henderson everybody in this neighborhood knows my son. We’ve lived here for over a month. They know him at the candy store, they know him at the drug store, at the toy store, and even my own landlady knows him. “Would you like to talk to her?”
Louise Mrs. Williams, Miss Brandon, You’re Michael is dead.”
Vera “Your Lonnie is dead. Oh, I know how hard it is for you to face it. I know but you have a beautiful home and a lovely family.”
Louise “Hospitals don’t make mistakes.”
Vera “It was deliberate they meant to do it.”
Louise “No you’re wrong.”
Vera “No I was conscious every minute when Lonnie was delivered I saw him before he took his first breath I know. Mrs. Henderson, I don’t think there’s any point in continuing this. Now I want you to go away and I want you to stop annoying us and if you still persist in coming here I’m gonna have to take steps to see that you stop.”
Finally, a policewoman arrives pretending to come help clear everything up and to take Vera to the hospital to get the birth certificate for Michael so she can prove he is hers. She convinces Vera to come with her to St. Dominics.
The turmoil wakes up Lonnie but when Vera picks him up, she cannot quiet him, becoming frustrated she begins to shake him violently. Hysterical, Vera yells at him “What’s wrong with you!”
Vera speaks not to the two women, but to herself, “That’s another terrible thing that they’ve done, they’ve let him stay with them for all these months he doesn’t even know me.”
Louise comes out of the nursery holding the doll swathed in the blanket and offers him to Vera, “He’s quiet now.’ The pain of watching Vera Brandon quietly disassemble is unbearable to watch. His pain is palpable. She is lost in a state of agonizing delusion. Nancy Kelly’s performance is absolutely heart-wrenching.
The policewoman takes Lonnie and hands him to Louise, then there is a shot of the creepy lifelike doll sitting in a playpen.
Vera walks toward the door of her apartment, accompanied by the policewoman, and Louise returns to the nursery and holds Lonnie tightly in her arms.
CREDITS:
Starting in 1960, Gordon added writing for TV to his repertoire in addition to his acting career. He went on to pen scripts for a range of shows, such as Thriller, The Fugitive, and The Alfred Hitchcock Hour, among others, until 1981. During this time, he also took on roles as story editor or consultant for various series, including The Fugitive, and directed a couple of TV shows. Moreover, Gordon produced a total of 32 episodes of The Fugitive. Among his notable writing credits are six teleplays for The Alfred Hitchcock Hour, the first being “Bonfire,” co-written with Alfred Hayes. He followed up with “The Lonely Hours,” adapted from the novel The Hours Before Dawn.
In 1958, Celia Fremlin Gollar published her debut novel, The Hours Before Dawn, which she wrote during sleepless nights spent pushing her baby around London. Inspired by her own experience with parental sleeplessness, she crafted a story exploring this theme, which became her first published work.
The Hours Before Dawn was adapted for television for the first time as a live broadcast on the U.S. Steel Hour on September 23, 1959. The cast included Colleen Dewhurst as Vera, Mark Richman as Mark, Teresa Wright as Louise, and Jack Carter as another character, with Philip Lewis credited as the teleplay writer. Unfortunately, this live broadcast is now lost.
The second TV adaptation of Fremlin’s novel, titled “The Lonely Hours,” aired on CBS as part of The Alfred Hitchcock Hour on Friday, March 8, 1963. The teleplay was written by William D. Gordon.
Joyce van Patten plays Louise’s friend, Grace; she was a busy actress in film and television from 1946 to 2018 – Her TV roles included parts on The Twilight Zone, The Outer Limits, and The Odd Couple.
Alice Backes plays the policewoman at the end of the episode. She is a familiar face on television having worked in radio and then in film from 1948 to 1978. Her busy television career lasted from 1952 to 1997 and included roles in Boris Karloff’s Thriller, The Night Stalker, and six episodes of the Hitchcock series, including one of the most eerie, The Jar.
Willa Pearl Curtis plays the babysitter, Katie, this was the only episode of the Hitchcock show in which she appeared. She had a part in The Wages of Sin 1948 as the Bordello maid. She appeared in Second Chorus 1940 with Fred Astaire and Paulette Goddard, as Mrs. Wertheim’s Assistant in The Lost Weekend with Ray Milland 1945, also a maid in The Pirate 1948, and as Hannah Thomas in Native Son 1951.
Juanita Moore (1914-2014) as Mrs. McFarland, is featured in 3 of this series starring in Where the Woodbine Twineth. She plays the second woman whom Louise visits after seeing her husband’s name and number in Vera’s little black book; she had a six-decade career on screen from 1939 to 2001 and is best remembered for co-starring in Douglas Sirk’s remake of Imitation of Life (1959). She was also in four episodes of the Hitchcock series, including Where the Woodbine Twineth.
Playing the role of Miss McGuinness, Vera’s landlady, was Jesslyn Fax (1893-1975) who appeared on screen from 1950 to 1969. She had minor roles in Alfred Hitchcock’s Rear Window(1954) and North By Northwest (1959), as well as on five episodes of Hitchcock’s TV show, including “Coming. Mama”. Fax also made an appearance on the TV show Batman.
Alice Backes plays the policewoman at the end. She had a busy career in television, including roles on Thriller, The Night Stalker, and six episodes of the Hitchcock series in particular the odd installment entitled The Jar.
“Five Characters in Search of an Exit” Season 3 Episode 14-Stars William Windom, Susan Harrison, Murray Matheson, Kelton Garwood aired December 22, 1961 Teleplay by Rod Serling.“The Sixteen Millimeter Shrine” Season 1 episode 4 aired October 23rd 1959-stars Ida Lupino and Martin Balsam, Jerome Cowan, Ted de Corsia and Alice Frost as Sally. Written by Rod Serling“Black Leather Jackets” Season 5 Episode 18 aired January 31st 1964-stars Lee Kinsolving, Shelley Fabares, Michael Forest, Denver Pyle, Tom Gilleran, Michael Conrad and Irene Hervey.“Elegy” Season 1 Episode 20 aired on February 19th, 1960 directed by Douglas Heyes and written by Charles Beaumont. Stars Cecil Kellaway, Jeff Morrow, Don Dubbins and Kevin Hagen“Eye of the Beholder” Season 2 Episode 6 aired on November 11th, 1960 directed by Douglas Heyes and written by Rod Serling. Stars Maxine Stuart, William D. Gordon, Jennifer Howard, George Keymas, Joanna Heyes, and Donna Douglas -revealedNOVEMBER 11: Twilight Zone episode ‘Eye of the Beholder’, written by Rod Serling. makeup by William Tuttle. Originally broadcast on November 11, 1960. Season 2, episode 6. (Photo by CBS via Getty Images)“Nothing in the Darkness” Season 3, Episode 16 aired January 5th, 1962. Stars Gladys Cooper Robert Redford and R.G. Armstrong“Nightmare at 20,000 Feet” Season 5 Episode 3 aired October 11th, 1963 directed by Richard Donner written by Richard Matheson, Starring William Shatner, and Christine White
“The Howling Man” Season 2 Episode 5 aired November 4, 1960 directed by Douglas Heyes written by Charles Beaumont and Rod Serling. Stars John Carradine, H.M. Wynant, and Robin Hughes
“It’s a Good Life” Season 3 Episode 8 aired aired November 3rd, 1961. teleplay by Rod Serling based on a short story by Jerome Bixby. Stars John Larch, Cloris Leachman, Don Keefer, Bill Mumy as Anthony, Alice Frost as Aunt Amy, Max Showalter, Jeanne Bates, Lenore Kingston and Tom Hatcher.
“A Most Unusual Camera” Season 2 Episode 10 aired December 16, 1960. Starring Jean Carson, Fred Clark and Adam Williams written by Rod Serling“Little Girl Lost” Season 3 Episode 26 aired March 16, 1962 directed by Paul Stewart and written by Richard Matheson. Stars Sarah Marshall, Robert Sampson and Charles Aidman“Living Doll’ Season 5 Episode 6 aired November 1, 1963 written by Charles Beaumont and Rod Serling. Stars Telly Savalas, Mary LaRoche and Tracy Stratford
“The Midnight Sun” Season 3 Episode 10 aired November 17, 1961 Written by Rod Serling. Stars Lois Nettleton, and Betty Garde“Mirror Image” Season 1 Episode 21 directed by John Brahm written by Rod Serling. Stars Vera Miles, Martin Milner, Joseph Hamilton and Naomi Stevens “Mr. Garrity and the Graves” Season 5 Episode 32. Aired May 8th, 1964 directed by Ted Post, with a teleplay by Rod Serling. Stars John Dehner, Stanley Adams, J. Pat O’Malley, Norman Leavitt, Percy Helton and John Mitchum“Mr. Denton on Doomsday” Season 1 Episode 3 aired October 16th 1959 written by Rod Serling Stars Dan Duryea, Martin Landau, Jeanne Cooper, Malcolm Atterbury, Ken Lynch, Arthur Batanides, Robert Burton and Doug McClure“A Stop at Willoughby” Season 1 Episode 30 aired May 6, 1960 directed by Robert Parrish written by Rod Serling. Stars James Daly, Howard Smith and Patricia Donahue, Jason Wingreen, and Mavis Neal Palmer. “Nick of Time” Season 2 Episode 3 aired November 18, 1960 Written by Richard Matheson and Rod Serling Stars William Shatner and Patricia Breslin“Night Call’ Season 5 Episode 19 aired February 7, 1964 Directed by Jacques Tourneur written by Richard Matheson and Rod Serling. Stars the great Gladys Cooper, Nora Marlowe and Martine Bartlett.“Nightmare as a Child” Season 1 Episode 29 aired April 29, 1960 written by Rod Serling. Stars Janice Rule, Sheppard Strudwick and Terry Burnham as Markie “Twenty Two” Season 2 Episode 17 aired February 10, 1961 Directed by Jack Smight written by Rod Serling from Famous Ghost Stories- Stars Barbara Nichols, Jonathon Harris, and Fredd Wayne“One for the Angels” Season 1 Episode 2 aired October 9, 1959 Written by Rod Serling. Stars Ed Wynn, Murray Hamilton as death, Dana Dillaway as Maggie“A Penny for your Thoughts” Season 2 Episode 16 aired February 3, 1961 Written by George Clayton Johnson and Rod Serling. Stars Dick York, June Dayton, Dan Tobin, Cyril Delevanti, and Hayden Rorke“People are Alike All Over” Season 1 Episode 25 aired March 25, 1960 Stars Roddy McDowall, Susan Oliver and Paul Comi“Long Live Walter Jameson” Season 1 Episode 24 aired March 18, 1960 Written by Charles Beaumont. Stars Kevin McCarthy, Edgar Stehli, Estelle Winwood and Dodie Heath“Queen of the Nile” Season 5 Episode 23 aired March 6, 1964 directed by John Brahm written by Charles Beaumont and Rod Serling. Starring Ann Blyth, Lee Phillips, and Celia Lovsky
“Spur of the Moment” Season 5 Episode 21 aired February 21, 1964 directed by Eliot Silverstein written by Richard Matheson. Stars Diana Hyland, Marsha Hunt, Philip Ober and Roger Davis. “The After Hours” Season 1 Episode 34 aired June 10, 1960 directed by Douglas Heyes written by Rod Serling. Stars Anne Francis and Elizabeth Allen“The Dummy” Season 3 Episode 33 aired May 4, 1962 directed by Abner Biberman teleplay by Rod Serling. Stars Cliff Robertson, Frank Sutton, George Murdock, John Harmon and Sandra Warner.“The Fear” Season 5 Episode 35 aired May 29, 1964 directed by Ted Post written by Rod Serling. Stars Hazel Court and Peter Mark Richman“The Grave” Season 3 Episode 7 aired October 27, 1961 Written and Directed by Montgomery Pittman Stars Lee Marvin, James Best, and Strother Martin, Elen Willard and Lee Van Cleef“The Hitch-Hiker” Season 1 Episode 16 aired January 22, 1960 Teleplay by Rod Serling based on a radio play by Lucille Fletcher. Stars Inger Stevens, Adam Williams, Lew Gallo and Leonard Strong as The Hitch-Hiker“The Invaders” Season 2 Episode 15 aired January 27, 1961 Directed by Douglas Heyes written by Richard Matheson. Stars Agnes Moorehead in a completely dialogue-less performance.“The Lonely” Season 1 Episode 7 aired November 13, 1959 Directed by Jack Smight written by Rod Serling. Stars Jack Warden, John Dehner, Jean Marsh and Ted Knight“The Man in the Bottle” Season 2 Episode 2 aired October 7, 1960 directed by Don Medford written by Rod Serling. Stars Luther Adler, Vivi Janiss, and Joseph Ruskin“The Masks” Season 5 Episode 25 aired March 20, 1964 Directed by Ida Lupino written by Rod Serling. Stars Robert Keith, Milton Seltzer, Virginia Gregg, Brooke Hayward and Willis Bouchey“The Monsters are Due on Maple Street” Season 1 Episode 22 aired March 4, 1960. Written by Rod Serling. Stars Claude Akins, Barry Atwater, Jack Weston, Jan Handzlik, Amzie Strickland, Burt Metcalfe, Mary Gregory, Anne Barton“The New Exhibit” Season 4 Episode 14 aired April 4 1963 Directed by John Brahm written by Charles Beaumont and Rod Serling. Stars Martin Balsam, Will Kuluva, Margaret Field William Mims“The Shelter” Season 3 Episode 3 aired September 29, 1961 directed by Lamont Johnson written by Rod Serling. Stars Larry Gates, Joseph Bernard, Jack Albertson, Peggy Stewart, Sandy Kenyon, Michael Burns, Jo Helton, Moria Turner, and Mary Gregory“Time Enough At Last” Season 1 Episode 8 aired November 20, 1959 Directed by John Brahm and teleplay by Rod Serling based on a short story by Lynn Venable. Stars Burgess Meredith as Henry Bemis“To Serve Man” Season 3 Episode 24 aired March 2, 1962 Teleplay by Rod Serling based on a short story by Damon Knight. Stars Lloyd Bochner, Susan Cummings and Richard Kiel“A Passage for Trumpet” Season 1 Episode 32 aired May 20, 1960 Directed by Don Medford written by Rod Serling. Stars Jack Klugman and John Anderson“Walking Distance” Season 1 Episode 5 aired October 30th, 1959 directed by Robert Stevens and written by Rod Serling. Stars Gig Young, Frank Overton and Irene Tedrow and a young Ronny Howard“Two” Season 3 Episode 1 aired September 15, 1961 directed by Montgomery Pittman written by Montgomery Pittman and Rod Serling. Stars Elizabeth Montgomery and Charles Bronson“Third from the Sun” Season 1 Episode 14 aired January 8, 1960 Teleplay by Rod Serling based on a story by Richard Matheson. Stars Fritz Weaver, Edward Andrews, Joe Maross, Denise Alexander and Lori March “What You Need” Season 1 Episode 12 aired Deccember 25, 1959 Stars Steve Cochran, Ernest Truex, Read Morgan and Alrene MartelSeason 1 Episode 1 aired October 2nd 1959. Written by Rod Serling. Stars Earl Holliman, James Gregory, and Paul Langton,“Will the Real Martian Please Stand Up?” Season 2 Episode 28 aired May 26, 1961. Directed by Montgomery Pittman written by Rod Serling. Stars John Hoyt, Jean Willes, Jack Elam, Barney Phillips, John Archer, William Kendis, Morgan Jones, Gertrude Flynn, Bill Irwin, Jill Ellis and Ron Kipling
Your EverLovin’ Joey saying The Last Drive In is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man’s fears and the summit of his knowledge!
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 Lloydhad 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.
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-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…
THE WRITERS–Ray Bradbury, Robert Bloch, Henry Slesar, Cornell Woolrich, Richard Matheson, Gilbert Ralston, Clark Howard, Richard Deming, Morton S. Fine, David Friedkin, Lewis Davidson, Larry M Harris, James Bridges, Selwyn Jepson, Andrew Benedict, Anthony Terpiloff, Avram Davidson, Alfred Hayes, James Holding, Helen Nielsen, Arthur A Ross, Stanley Abbott, Lee Kalcheim, Ethel Lina White, Oscar Millard, James Yaffe, Andre Maurois, Clyde Ware, Davis Grubb, Nigel Elliston, John Wyndham, Harlan Ellison, Robert Branson, C.B Gilford, Francis Gwaltney, Harold Swanton, Margaret Manners, William Fay, S.B. Hough, Emily Neff, Barré Lyndon, Jack Ritchie, Alvin Sargent, Hugh Wheeler, Veronica Parker Jones, Boris Sobelman, Joel Murcott, Margaret Millar, Richard Levinson, William Link, Thomas H Cannon Jr., Randall Hood, Gabrielle Upton, Robert Westerby, Miriam Allen DeFord, William D Gordon, John Collier, James Parish, Kenneth Fearing, Robert Gould, Robert Arthur, William Fay, George Bellak, Robert Twohy, Leigh Brackett, Frederick Dannay, Manfred Lee, Mann Rubin, Douglas Warner, Henry Kane, Alec Coppel, Amber Dean, Lou Rambeau, Edith Pargeter, Charles Beaumont, Francis Didelot, Celia Fremlin, Roland Kibbee, Lukas Heller, Elizabeth Hely, Rebecca West, Richard Fielder, Nicholas Blake, Lee Erwin, Marie Belloc Lowndes, Julian Symons, John Bingham, V.S.Pritchett, John D MacDonald, John Garden, Andrew Garve, Marc Brandell, Patricia Highsmith, Samuel Rogers, Oliver H. P. Garrett
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’sThriller 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’sThe 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— 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
A small college campus is gripped by fear when a maniac is on the loose. Two young female students are slaughtered while walking home through the surrounding nefarious night time woods. All eyes are on several members of the faculty, though the police have no clues to go on. Alf Kjellin plays Edwin Volck an intense pianist/composer who seems very tightly wound, especially around women. Handsome Jeffrey Hunter is Harold the psychology professor who dabbles in abnormal behavior. Harold convinces his fiancée Daphne (the lovely Vera Miles) to act as bait to lure the killer out. Vera Miles is always possessed of a smart and inquisitive sensuality. In this episode she’s perfect as an academic who doesn’t shy from the idea of hunting a serial killer.
Harold-“Daphne, I know this man’s secret. I’ve studied these people, I know how they think!”
Daphne-“It’s frightening sometimes… how you know people.”
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 ElsomCarmine 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) 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.
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 naÏve 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” Dianne– “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!” 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) 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.
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 Farrplays 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.
Enter the wealthy widower Edward Porter (John Larkin) who has just lost his son in the war. Adelaide convinces him to join her in a séance. Desperately lonely and longing for his son’s return Edward begins to come around and embrace Adelaide’s powers. Edward has also fallen in love with Adelaide and wishes the three of them to be together…!
Robert (Gene Lyons)- “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 Macreadyas 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.” -Eva “Numa knows… Mingo says it’s brighter than day!… they have bumble bees there too.”-Nell- “Who’s Mingo honey?”-Eva- “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. 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.
Directed by Jack Smight(Harper 1966, The Illustrated Man 1969, Airport 1975 (1974) plus various work on television dramas and anthology series) John Gaywrote the screenplay based on William Goldman’s novel (Butch Cassidy and the Sundance Kid 1969, screenplay for The Stepford Wives, Marathon Man ’76, Magic ’78, The Princess Bride. Smight shows us sensationalist traces of The Boston Strangler killings to underpin his black satire.
Lee Remick, George Segal & Eileen Heckart on the set of No Way To Treat A Lady (1968).
No Way To Treat a Lady 1968 Stars Rod Steiger, George Segal, Eileen Heckart, Lee Remick, Murray Hamilton, David Doyle, Val Bisoglio, Michael Dunn, Val Avery and the ladies… Martine Bartlett, Barbara Baxley, Irene Daily, Doris Roberts Ruth White and Kim August as Sadie the transvestite, a female impersonator who was a featured performer at a Manhattan cabaret.
The film has it’s gruesome, grotesque and transgressive set pieces of women splayed with lipstick kisses on their foreheads. Director Jack Smight’s and writer William Goldman’s vision is outrageously dark, sardonic, satirical penetrating and contemptuous of motherhood and humanity in general.
From“Ed Gein and the figure of the transgendered serial killer” by K.E. Sullivan–“NO WAY TO TREAT A LADY a story about a serial killer who was psychologically abused by his mother and kills women to get revenge upon her. The killer is most likely based on William Hierans (The Lipstick Killer),yet the narrative foregrounds cross-dressing as part of the murderer’s technique, despite the fact that Hierans did not cross-dress.”
The dynamic Rod Steigerenlivens the screen as lady killer Christopher Gill, living in the shadow of his famous theatrical mother. He impersonates different characters in order to gain access to his victim’s homes, where he then strangles them, leaving his mark a red lipstick kiss on their foreheads. Gill begins a game of cat and mouse with police detective Morris Brummel (George Segal) who lives at home with his domineering mother.
There is an aspect of the film that is rooted in the ongoing thrills of watching Rod Steiger don his disguises as a sex killer. But what evolves through the witty narrative is the moral confrontation between the antagonist and protagonist surrounding their conflicting values and class backgrounds. The one psychological thread that runs through their lives is the parallel and sexual neurosis both have because of their dominating mother figures.
The opening scene… Christopher Gill impersonating Father McDowall (Steiger) is walking down the street viewed with a long shot, he’s whistling a ‘sardonic’ tune… in the vein of “the ants go marching” alongside The East River. Present, is the activity of cars passing by on the East Side Highway.
As he comes closer into the camera’s view we can see he’s wearing a priest’s frock.
We hear the city noises, the sounds of cars honking, young children plowing into him as they run by, and a young girl in a short lime green dress greets him as he continues to walk along the sidewalk.
As Gill passes Kate Palmer (Lee Remick) descending the stairs of the apartment house, he says “Top of the morning to you young lady!”
Kate is wearing in a smart yellow dress (Theoni V Aldredge) she says “Hello father” As he continues to whistle his tune, she stops and looks up the stairs after him, the camera does a close-up on her lovely face. He stops at apt 2B knocks and calls out for Mrs. Mulloy. It’s father McDowall, asking if she can spare a moment of her time. Sounding a bit suspicious she asks if he’s new to the neighborhood, but he smiles and says that it’ll be a pleasure to serve to such as the like as herself. “I Just need a minute of your life,” he says and that’s pretty telling… since that’s true. Mrs. Mulloy sounds like she’s making a hard decision to open the door, but we hear the latch click…
Martine Bartlett (Sybil’s mother yikes!) opens the door as Alma Mulloy, the very simple Irish Catholic widow.
Alma Mulloy lets him in, after all, he’s a priest. He remarks on what a lovely place she has. She prides herself on her vocabulary. He delights in a word she uses. “habitable” She’s been taking a self-improvement course… She offers him a cup of tea. He asks for something a might bit stronger. She offers him some port. Splendid…
We don’t know what to expect in terms of how graphic the murder sequence will become. It is already quite disturbing how it begins to evolve, as the violence is simple and quite literal, it is the subtle psychological mechanisms that are turning within the narrative that make it all the more uneasy to watch.
This is his first kill. He sits back in the rocking chair contemplative. Perhaps a moment of Guilt? perhaps. Gill puts the lifeless body of Mrs. Mulloy in the bathroom –Stanley Myers’ (The Night of the Following Day ’68, The Devil’s Widow ’70 with Ava Gardner, X Y and Z ’72, House of Whipcord ’74, The Deerhunter ’78, The Watcher in the Woods ’80) soundtrack creates a layer of vocalize which is a flutter of sopranos, like Anglican chants, nuns doing canticles or vespers. The frailty and holiness of their voices underlying the freakishly morbid ritual of Gill laying out the body and adding the fetishistic red lips on their forehead is provocative. This image has stayed with me for years.
It’s a haunting backdrop to a very disturbing opening sequence… once the piano and voices are through.. Gill turns from the door frame and blows the dead woman a kiss… utterly macabre…
Switch scene to Detective Morris Brummel’s (Segal) mother yelling at him that his eggs are cooking. She starts picking at him… The banter begins, the cliched Jewish mother/ son relationship unfolds. Morris asks for toast, she pushes the Latkas- he says it’s a bit heavy for breakfast.
“So take a good look at yourself, a skeleton without a closet… hows the eggs?” she complains about people starving then adds. “So why do I feed you? Tell me…ha Tell me, how much money are you gonna make today?… Should I tell you how much your brother Franklin’s gonna make today, maybe a thousand maybe two thousand in one day.”
Morris tells her, “He deserves it mother he’s a very fine doctor.”
“Oh no not fine… THE BEST!! B.E.S.T. do you know what that means to be the best lung surgeon in all Manhattan, Queens, and the Bronx!… and he’s not even 40 yet” Her Semitic hand gestures are a vital part of the conversation.
“Well, he’s older give me time..” She answers him, “Ha you… time, a hundred years I give and you still can’t tie your shoe laces.”
I could continue with the hilarious dialogue that satirically pins down beautifully the essence of the mother/son relationship between New York Jews. Heckart does a splendid job of capturing the needling ‘pick pick pick’ nature, in the guise of love, protectiveness, worry, pride, and disappointment all rolled into a swift set of words and not-so-subtle hand gestures…
Lieutenant Dawson (David Doyle) calls Morris and asks how his mother is and tells him that he’s on the Mulloy homicide. Morris starts to leave… putting his gun on his belt.
“Look at you with that thing… a Jewish cop. When everybody knows if you’re not Irish, you’re a nobody if you’re a cop.”
His mother starts flailing her hands at him while he’s trying to tie his tie. She needles him about not getting a diploma from a city university not to mention giving her grandchildren, his brother Franklin has three grand children already… pick pick pick.
“What do I get from you… but heartbreak.” She slaps her heart. Morris says so long ma… she chases after him, “Oh that’s right, leave, leave me… don’t come back…”
He tells her she’s over doing it a bit. She calms down, her voice softens, She calls his name wistfully, Morris… He looks down at his shoes, He needs to tie them… She calls him darling… they’re having Kreplach for dinner, he should stop by for the Flanken… He kisses her on the cheek. And the dynamic comes full circle. Love through food and needling…
Scene cuts to Christopher Gill’s opulent Gothic-adorned apartment house interior. He’s humming that sardonic tune again, wearing a black silk bathrobe. He fixes a candle stick that isn’t quite straight on the side table. He is a control freak and a fastidious man. Sits down to a lovely breakfast set out for him by Miss Fitts (Irene Dailey) She gives him the morning paper. He ruffles through the newspaper looking for signs of the murder, and is angered that it isn’t on the front page. All there is, is a small paragraph under WIDOW SLAIN amidst the other news about floods and fireworks.
He calls the newspaper to ask why the story was buried, they tell him that they didn’t have time to get all the facts, when they ask who’s calling he hangs up.
“Miss Palmer, did he say anything to you?”
“Oh yeah as a matter of fact he said something kinda funny… He said Top of the morning.”Morris looks puzzled, “That’s funny?”Kate clears up the confusion, “It was afternoon.”
Morris arrives at the Mulloy crime scene. Asks the super who saw the priest. He tells Morris, 3E Katherine Palmer.
He asks for a description of the priest. Kate is still groggy from sleeping. She flirts with Morris. “That’s kind of a sweet nose you got there, it’s not handsome exactly I didn’t say handsome… just kinda sweet, especially for a cop.”
“Oh yeah as a matter of fact he said something kinda funny… He said Top of the morning.” Morris looks puzzled, “That’s funny” Kate clears up the confusion, “It was afternoon.”
Morris leaves but Kate tells him to come back some other time. A voice-over of Mrs Brummel begins…
“Lunatics, lunatics (she’s now framed sitting in a chair on the phone talking to Morris) you got now… Stranglers!!! Morris, I tell you, I’m ashamed. You know… you know. I am sickened at heart when my own son goes looking at dead women’s naked bodies. I tell you, Morris… it’s no way to treat a lady!”
Now Gill arrives at Mrs. Himmel’s (Ruth White) apartment dressed as a plumber. He looks through the old photo albums of Germany, and eats strudel. Now he’s using a German accent. After he’s killed poor Mrs. Himmel and left his lipstick mark… he calls Morris while holding the newspaper with a photo of Detective Brummel.
Morris answers, “Yeah this is Detective Morris Brummel speaking?”
“Yeah well this is Hans Schultz, at least I was Hans Schultz all day today, but a week ago last I was Father Kevin McDowall.”
Morris says, “Look I don’t have time to fool around Mister” Gill tells him, “Yeah well don’t hang up on me, just don’t hang up Mr Brummel huh.” “What do you want… What do you want?” “Well, I want to tell you that I am in the apartment of Frau Himmel and she’s quite dead.” “What?”
Gill laughs “Now you’re interested, maybe now I should hang up on you” Morris motions to Detective Monaghan (Val Bisoglio) to start a trace…
“No no don’t hang up just wait a second, hold on, please please don’t hang up.”
“Hehehe, now you say please, say please, then I don’t hang up.”
Morris pleads, “I just said it, please please don’t hang up.”
“You know what I think, I think you put a trace on the call so that’s not gonna work because there is no trace tone on this set and by the time that they check with the switchboard man at the central office and he checks the frames on the crossbar equipment and then they check “ Morris mouths to Monaghan with his hand over the receiver that Gill knows all about tracing. “But by that time Auf Wiedersehen I’m gone see, so I think it’s best I tell you, that I tell you that I am at 520 East 89th street…(Morris scrambles to get a pen to write down the address) I like what you said in the newspapers about the murder being so well planned and so well executed and I consider that high praise coming from an expert such as yourself. I thank you for that. You hear me?”
“Yeah yeah, I hear ya.”
“Now the other thing I’d like to tell you is that you should come over here and take a look because you’ll find out that I am well up to my previous standards and I would like you to put that in the newspaper. In fact, I insist on it.”
“I’ll try” Morris acts casually, as a way to piss Gill off, but it’s also part of Morris’ jaded, downtrodden personality.
“Don’t try, you do it and know that I’m smarter than you are.”
“You’re smarter than I am?”
“And there’s just one more thing. You see I don’t like I should call you Detective Morris Brummel because that’s too formal so from now on I call you Morris.”
Morris starts to answer “Fine, listen…” then Gill hangs up. Maintaining himself as the one in control…
The way the scene is framed it looks like Gill is lying on the bed making romantic overtures to Morris. Gill has found a relationship that titillates him.
Meanwhile, a relationship is developing between Kate and Morris. Kate comes down to the police station to give a description to a sketch artist of the priest. Morris escorts Kate onto the bus and back home. Unbeknownst to the couple, Gill is wearing his hairdresser disguise and watching the pair… Gill is now fixated on Morris.
The next victim up is Barbara Baxleyas the cat lady Belle Poppie. Gill plays a flaming fag hairdresser Dorian Smith with bleached blond hair and perfect lisp and hat boxes filled with bad wigs.
Belle holding one of her felines asks, “Would you like to meet my cats?”she shows him around the immaculate BTW apartment introducing him to the various cats… This scene is perhaps the most hilarious in the film as the whimsical Belle introduces every feline in the apartment. Gill follows her around, repeating the names of the cats in a manner that just made me laugh out loud, it’s a hysterical scene and Barbara Baxley is spot on in this bit role.
His plan is foiled when her sister Sylvia played by the equally hilarious character actress (Doris Roberts) comes home. He pretends that the wig isn’t free after, so he can get out there. As he’s leaving Sylvia calls him a homo, and he snaps back quickly. Sylvia Poppie- “Is that one of your own wigs you’re wearing? Gill- “You don’t look like Cleopatra, honey.” Belle Poppie-“Don’t raise your voice!” Sylvia gets mean- “You homo!”
Gill as he’s halfway out the door. “Doesn’t mean you’re a bad person.”
Back at the Brummel apartment, Mother Brummel is torturing Morris again…
Mrs. Brummel: “So, what do you, what do you do with her, go to mass?”
Morris Brummel: “No, we just… we walk and we talk.”
Mrs. Brummel: “Oh, please, please. I don’t want to hear another word. Already I won’t sleep another wink tonight. Please, don’t say another word.” she pauses.
Mrs. Brummel: “Morris…”
Morris Brummel: “I thought you didn’t want to hear anymore?”
Mrs. Brummel: “Aw, you think I want to? You think I want… I’m in agony. I… I… It’s my duty. Go on, go on.”
Morris Brummel: “Well, she… her, her name is Katherine. Katherine Palmer.”
Mrs. Brummel: “Short, blonde, beautiful?”
Morris Brummel: “No, she’s, er, she’s, she’s tall and er, she’s only got one eye right in the middle of her forehead.”
Mrs. Brummel: “Of course. Of course. She’ll break your heart!”
There’s a bowl of assorted fruit in the fine crystal and the Challah bread sits on a silver platter decorating the table. The details of the film’s spaces are perfect. From Kate’s mod apartment to the Brummel’s home, to each individual apartment of the various female victims, to the NYC bars, including Gill’s own opulent apartment. The atmospheres are envisioned perfectly.
Again like a form of masturbation, Gill calls and taunts Morris as the flaming hairdresser Dorian…
As Gill asks to speak to Morris Brummel the camera frames the dead woman to the left of the screen as Gill is lensed to the far right, standing by the phone. He found his third victim. Morris says, “Speaking”Gill answers, “Morris, this is Dorian(still in character) Dorian, Dorian Smith.”
“Ha, I’m sorry I think you got the wrong number.”
“I don’t have the wrong number this is Dorian, Dorian Smith. Tell me you haven’t forgotten me already sweetheart. “ Morris says, “No no I haven’t forgotten you.”
Sarcastic chuckle, “Well I didn’t think so Sweetheart, I didn’t think so. Now look, (he stammers for a bit) I’m very sorry if I”m disturbing you at home.”
“How’d you get my number?”
“Sweetheart, How many Morris Brummels are in the phone book?”
“What do you want?”
Gill looks insulted that Morris seems abrupt and uninterested, and looks over at the dead woman. Her head rested on the cold porcelain toilet lid. Her forehead was tattooed with bright red lips.
“Oh Morris I’ve been a bad boy again. yes…(he explodes) What do you mean yes… just don’t say yes show some interest. Can’t you notice that my voice is completely different?” “Yes, I noticed that.” “Alright, you should have heard my Father McDowall it was sensational. (Steiger’s voice changes on a dime and an all together malefic tone emerges in the midst of his rant “Don’t you think I’m clever?”
Morris comments, “Yeah, you’re a wizard.”
“Then You should hear my W.C Fields sometimes it’s absolutely uncanny”( he goes into his WC Fields impersonation- “My boy you are engaged in a conversation with the great WC Fields himself concerning the degeneracy, debauchery, and murder involving one infantile detective called Morris Brummel boy detective. How’d ya like that one Morris?”
“Alright alright but can’t we talk this over from one human being to another?”
“No no no no no no no you don’t, you don’t(Deep sigh) you gotta find that out for yourself, you see it’s not fair I told you where I was last time. So you’ll have to find out this time for yourself.” He hangs up the phone.
Gill says out loud to himself Ciao, Ciao Ciao Bambino… He holds the last vowel and hums on it like a mantra which turns into a whimpering sob as he looks away crying like a small child, he chokes the tears back and puts a gold handkerchief over his mouth. He is sickened by his actions. Obviously struggling with Oedipal psychosis, ambivalent and disturbed. He even called himself a “bad boy” to Morris…
His body shakes and shivers. Yet again another layer of a stunning performance by Steiger. We hear the heavenly soprano voices in the background, it’s an eerie moment that plugs into the disorientation and grotesquery of the film’s narrative. One that also makes this antagonist a bit more sympathetic, as he is aware that he is sick…
Morris has to cancel the dinner date with Kate…“You know what she said…She told me to be careful…”- it must be love.Gill looking for his name in the headlines.
Gill putting back the wigs in the prop department of the theater.
Morris and Katherine continue to date. We see Gill at his mother’s theater. He is directing a production of Othello. One of the names on the theater roster is William Pratt an homage to Boris Karloff’s real name.
Gill is trying to live up to the expectation of his famous mother. His masquerading to murder is put on for her benefit. To attain the notoriety she had back in the day. The strata of Steiger’s performance is chilling as it is stunning. Going in and out of his central character Christopher Gill to one of his guises back into the wounded child within Christopher Gill, the very sick man, the mama’s boy, he balances three separate performances in one when he is aroused to anger on the phone. He is an outstanding actor, and in No Way To Treat A Lady, he gives a tour de force…
A very memorable scene in the film is when Michael Dunn comes to the police station and tries to confess to the murders. As Mr Kupperman (Michael Dunn) turns himself into Brummel as ‘The strangler,’ “Yeah I killed every one of them” Morris asks, “You, you killed them?” “With my bare hands”“Why’d you do it?”“Hostility.” Mr.Kupperman warns Morris that he’s sensitive. But Morris has to bring it up because it bares on the case. “You’re a midget”“Lots of people are midgets!”“He was taller than you..” “You see how I fooled them I’m a master of disguise.”
Morris gets the idea to plant a fake 6th victim. He suggests this idea to Murray Hamilton as Inspector Haines.
They got the body from the east river, a suicide. Morris is disgusted that they even added lipstick to the corpse.
At Gill’s home, he sits down at the piano remarking about the flowers that Mrs Fitts puts on the grand piano. He tells her they’re lovely, “Romance Mrs Fitts, romance is the magic that makes men whole and women bold.”
Mrs Fitts-“You read the newspapers nowadays there’s not much love in it… not with all the rioting and wars and with all these murders. It’s getting so that I’m afraid to step out onto the street. Imagine one man killing six women.”
Gill is confused and asks what she means he didn’t kill six women. Morris’ plan works, the news unwittingly has planted a fake story to lure him out.
Mrs. Fitts tells him, “Victim number six and killed the same way with the lipstick across her forehead and everything. Imagine Mr. Gill six women!!!!” He asks Mrs. Fitts for his tea. Then gets into a phone booth and calls the police station.
Gill-“I didn’t do it, I didn’t you hear me. Somebody else did, I did not kill that woman you must listen to me listen to me.” Morris-“I am listening to you what can I say.” Gill begs insistently- “Say you believe me, say it.”Morris calmly-“I can’t say that because I don’t believe you.” “I didn’t do it.”Gill is using his German persona this time. Morris argues, “You did it, you did it alright.” Gill desperate-“Can’t you understand it’s somebody else, somebody who is a copycat. I did everything up til now. Somebody comes along now and he wants to take all the credit and it’s not fair.”Morris bates Gill-“Look this is getting a little too weird for me I think I’ll hang up now.” Gill gets angry “Don’t you hang up on me…don’t you hang up on me or I’ll kill a hundred women I promise you that.” Morris says, “Go on.” “A little common sense will tell you that it is a copycat. Did he call you on the phone? Did he tell you where the body was?” Morris tells him, “Neither did you the first and fourth time.”
“Ah, but you forget something Mr Brummel, I have given you my word of honor that I’ll stop… I don’t tell lies what kind of a person do you think I am?”
“What do I think you are… a malignancy, a cancer the cesspool of the world that’s just for openers.”
“I see, hhm well why can’t I make you believe it!”
Morris starts yelling into the phone “You don’t have to, you don’t have to… we got a full description of you this time, somebody who saw you last night at the murder”“But that’s impossible, it was not me.”
“You’re very short, you have blonde hair wide nose, and bushy eyebrows.”
“hahaha that’s very funny you see cause first of all, I have brown eyes, I have brown hair I am approximately 6 feet tall. (he pauses) and you are clever.”
“What’d you say?”
“Oh Mr Brummel you’re very clever, very clever.” he gets off the phone, “yes clever but not clever enough.”
And so the elaborate game of cat and mouse continues between the theatrically psychotic Christopher Gill and the smothered downtrodden Jewish cop Morris Brummel. I’ll stop here… See it to its thrilling conclusion!
“A rather striking portrait of my mother don’t you think?… Have you ever seen her on the stage?”
Gills sees Morris admiring the imposing painting of his mother-“A rather striking portrait of my mother don’t you think?… Have you ever seen her on the stage?”
In Cinema and Classical Texts: Apollo’s New Light by Martin M. Winkler he mentions how the killer (Rod Steiger) feels overshadowed by his late mother, and so strangles these middle-aged women- He owns a large bronze statue by German sculptor Gerhard Marcks of Antigone leading her blind father in which killer Christopher Gill makes the revealing comment “I like its strength.”
Ed Gein and the figure of the transgendered serial killer by K.E. Sullivan
“In the world of Krafft-Ebing, there is no such thing as benign sexual variation. Everyone who departs from reproductive, monogamous, male-dominant heterosexuality is described as criminally insane.”
According to Vito Russo in The Celluloid Closet “In the 1960s, lesbians and gay men were pathological, predatory and dangerous; villains and fools, but never heroes.”I just watched Richard Chamberlain who portrays a wife beater struggling with his bourgeois 60’s existence suppressing his attraction for little boys in Petulia 1968.Rod Steiger played a closeted homosexual who winds up killing himself with a bullet to the head after kissing the divine John Phillip Law in The Sergeant 1968. Carson McCullers Reflections in a Golden Eye 1967 has Marlon Brando’s macho exterior as an impotent army officer finally destroying the object of his desire lingerie sniffing Robert Foster who rides a horse naked throughout the film just to antagonize Brando’s latent homosexuality. In 1961 Shirley McClaine hangs herself for the love of Audrey Hepburn in Lillian Hellman’s The Children’s Hour and Sandy Dennis has a large tree fall on top of her in, if I remember correctly symbolically falling between her legs. The giant phallus she needed to smash out the lesbianism she suffered from in The Fox 1967. And a post I did a while back that combined The Devouring Mother and The Oedipal Son in Tennessee William’s Suddenly, Last Summer1959 where the specter of Sebastian, a predatory homosexual is eventually devoured literally in front of poor Elizabeth Taylor by a group of young local boys he had been soliciting. And that’s just to mention a few, Ultimately cinematic homosexuals and lesbians –all had to be killed or kill themselves. These are just a drop in the queer bucket of cinematic history.
This is why I’ve got a working draft of Queers and Dykes in the Dark. Noir Cinema’s Coded Gay Characters: The Idolizing/Objectifying Male, and the Obsessive/Psychotic Woman sitting in WordPress waiting for me to publish it! The sub-context fascinates me to no end…
While Christopher Gill (Rod Steiger) was a transvestite and not transexual the prototype for these kinds of gender-bending killers could be located throughout the 70s. As K.E. Sullivan cites.
“The second version of transvestism in contemporary media also involves discovery about the “truth” of a character’s body. Such revelation, however, is not comic but horrific. Here the guise of femininity does not hide or empower a clever heterosexual man but reveals a monstrous gender- and sexual-deviant: a man in “gender distress.”‘ If a character has a transgender body, this detail usually is tied to some dark and horrible secret in the narrative, and the revelation about the “truth” of the body” — that a woman has a penis or a man is a transvestite/ transsexual — typically is revealed simultaneously with the revelation of another “secret” — that the person is a killer. Indeed, monstrosity or deviance almost exclusively mark images of transgender individuals, allowing for little if any sympathy from spectators.”
A drag queen walks into a bar and orders a pink squirrel…
“There haven’t been seven victims?”“There are now!”
The onlooking neighbors spout biblical put-downs and curse words at the dead transvestite… a bit of the moralizing that challenges Morris’ old-fashioned yet compassionate nature.
Gill calls Morris from Sardi’s.
Rod Steigeris superb as Christopher Gill the Oedipal well-educated upper-class dandy thespian lady killer who disguises himself as various characters in order to gain entry to unsuspecting women’s apartments where he proceeds to strangle them. George Segalis marvelous as Morris Brummel… Gill’s new fixation/adversary as he begins to phone and taunt Brummel like a lover. Brummel also has issues with his own domineering mother portrayed by the wonderful character actress Eileen Heckart.
Kate tells Mrs Brummel-“I love your home it’s so Jewish!”... the Jews only have the best things she tells her- The pretty blonde shiksa starts to work her charms on her future mother in law…
Lee Remickis perfect as Kate Palmer the shiksa in Morris’ life who has a pretty wild side herself, confessing that she used to swing with all the beautiful people when she first moved to NYC. The film also co-stars Murray Hamilton as Inspector Haines. Then there’s a delicious bit by Michael Dunn as Mr. Kupperman who has a hilarious cameo in which he shows up at Morris Brummel’s police station confessing to the murders. The always droll Val Bisoglio plays Detective Monaghan.
And the fine character actors who are lined up to be Gill’s victims- Martine Bartlett as Alma Mulloy, Barbara Baxley( who I love!) as the cat-loving Belle Poppie,Doris Robertsas sister Sylvia Poppie, Irene Dailyas Mrs Fitts, Ruth Whiteas the nice German house frau Mrs. Himmel.
Stanley Myers is responsible for the fabulous musical score and the engaging cinematography is byJack Priestley (Who’s on location realist and gritty photography can be found in some of the best episodes of The Naked City series, Where’s Poppa 1970, & Across 110th Street (1972). Priestley captures the rhythm of NYC perfectly. And George Jenkins (All the President’s Men 1976) adds detail and flare to his art & set direction. His use of color brings the palate of the film to a vibrant level of verisimilitude. Cinematographer Jack Priestly and art director George Jenkins chose very vibrant colors- a familiar richness in tone common to films of the 60s and add a sense of pageantry of the grotesque because the killer is playing out some murderous theater.
Theoni V. Aldredge’s costuming and wardrobe for Lee Remick and Eileen Heckart are fabulous, but even as much detail is spent on the lady victims of the story. Adding a dimension of realism and intimacy as a character study within the narrative.
A descendent from the Alfred Hitchcock/Robert Bloch -Norman Bates generation of psycho flicks No Way To Treat A Lady acts as a wonderful hybrid suspense piece synthesizing all the best parts of black comedy & crime thriller, with a bit of police procedural and psycho-sexual drama centered on a flamboyant actor with an Oedipal fixation who kills women, leaves a lipstick kiss as his calling card on their foreheads and taunts a Jewish cop who is also dominated by his stereotypical Jewish mother.
Here as in Psycho the monster is not drawn from the supernatural, or divined by historic mythic lore, they are very real psychotic individuals who commit acts of violence. The antagonist is presented as an ‘object’ of horror, like Norman Bates, Hannibal Lecter, Terence Stamp in The Collector ’65, or even Catherine Deneuve’s insane disorientation in Repulsion ’65.
According to Leslie H. Abramson –Movies and the Failure of Nostalgia in American Cinema of the 1960sedited by Barry Keith Grant. 1968 was rife for movies to exploit the American nightmare. The Vietnam War peaked in ’68, civil unrest, anti-establishment sentiment was rampant, there were political, social and domestic clashes everywhere, so that these turbulent times manifested a very contemplative lens in film. Jack Valenti president of Motion Picture Association of America tried to attain film’s independents and self protection by creating the rating system instead of the Production Code that existed earlier. This was meant to appease critics. So amidst all the reality of shocking news headlines “In cinema as well, manifesting not only social trauma and upheaval but the public’s new commitment to confronting its own demons, the year’s releases reflected upon domestic culture as one of appalling violence, violation and struggle. An index of the increasing pervasiveness of psychic and graphic mortification as well as the huge for its containment, both the independent and studio sectors nostalgically encoded contemporary anxiety in the horror film, reinvigorating the classical genre with Night of the Living Dead and Rosemary’s Baby. Both films envisioned the nightmarish emergence of the ghastly from within and among patriarchy, a preoccupation of the year’s multiple releases representing the murderer as lone assassin: The Boston Strangler, Targets, and No Way To Treat a Lady.”
Abramson seems to be making the argument that these films cynically portray the disparity between a vastly dysfunctional social pathology and a corrupt institution of laws. Presenting the archetypal outsider, the anti-hero figure who is capable of shedding a truthful light on the decadence or irredeemable vexations of our culture.
Also made monstrous within the film’s narrative is Morris’ castrating Jewish mother, who is running parallel to the specter of Gil’s deceased but ever-present imposing theatrical mother. What makes this a clíche is what Kaja Silverman in Re-Vision: Essays in Feminist Film Criticism claims that the character (in this case every female presence in the film) only knows her own identity by the language that is used. This is how she knows herself. Brummel’s mother, one of the main women in the film, is merely defined by her being an overbearing Jewish mother with no other qualifying marker of identity. As Silverman states, “Whereas the male subject has privileges conferred upon him by his relationship to discourse, the female subject is insufficient through hers.”
So neither Kate Palmer (Lee Remick), Mrs. Brummel (Eileen Heckart) nor the various female victims have a strong identifying individuality other than, ‘mother’, ‘object of desire’, or ‘victim’. The film truly focuses on the relationship between Morris Brummel and Christopher Gill which acts as the central pinion for the larger narrative.
An interesting fun fact that I read from IMDb is that one of Rod Steiger’s theatrical and campy impersonations was that of comedian W.C. Fields. In (1976) Steiger would inhabit the role of the red-faced wisecracker in Arthur Hiller’sW.C. Fields and Me.
Director Arthur Hiller with Rod Steiger on the set of WC Field and Me 1976
Curiously Rod Steiger was the one who was approached at first to play the mama’s boy cop Morris Brummel. And he probably would have been fabulous at it, since he’s quite good in any role. But what a stroke of genius for him to choose the part of a psychopath, transvestite, and all-around chameleon, his over-the-top performance truly brought the film to life. In fact, Christopher Gill was not as prominent in William Goldman’s novel but had been elaborated on in greater detail for the film, making him the narrative’s focal point as both the antagonist and anti-hero.
Steiger felt the role of the killer would be the one that would gain the audiences’ attention as well as the critic’s eye, stealing the show as the flamboyant frustrated thespian with a mother complex and a fetish for red lipstick.
Also, a little homage that is close to my heart, is the poster outside the theater using the name William Pratt which happens to be the name given at birth to my beloved grandfather Boris Karloff. Okay okay… he’s not really my Grandpa, but if I did have my wish, he sure would have been the one to read me stories at night with a nice cup of cocoa. And not the kind laced with K9 Liniment as used in that Henry Slesar teleplay for The Alfred Hitchcock Hour– ‘What Really Happened.’
Here’s what film critic Vincent Canby had to say back in 1968 upon the film’s release in movie theaters. colorfully articulated, insightful yet a bit harsh & scathing, taking the film a bit too seriously IMHO.
No Way to Treat a Lady (1968) Screen: Farcical Exercise in Murder:Logic Loses in ‘No Way to Treat a Lady’ Segal and Steiger Play Hunter and Quarry By VINCENT CANBY Published: March 21, 1968
Buried beneath all the outrageous make-up, hairpieces, disguises and belly laughs in “No Way to Treat a Lady,” there is a curious and ironic comment about the land of stifling mother love that once so alarmed Sidney Howard that he wrote “The Silver Cord.” The comment seems to be that whatever makes one man into a psychotic killer may make another into a nice Jewish cop. So much for what passes as sweet reason. That commodity is in conspicuously short supply in the farcical melodrama that opened here yesterday at the Forum and Tower East theaters. However, anybody who has been entertained by “Psycho”—or even “Twelfth Night”—knows that sweet reason often has as much to do with entertainment as goodness had to do with Mae West’s diamonds. Although “No Way to Treat a Lady” has the shape of a conventional suspense tale, the film is at its most entertaining—and, in fact, is only acceptable—as a series of macabre, sometimes broadly funny confrontations of caricatures, all dominated by the presence of Rod Steiger. Here is a dream role for the actor, permitting him a half-dozen masquerades as everything from a garrulous Irish priest, with a platitude for every occasion, to a fearful lady barfly, as full of tears as she is of booze. Mr. Steiger gives a beautifully uninhibited performance as a hammy. Mom-haunted Broadway producer who undertakes “his own bizarre solution to the problem of New York’s growing population of lonely ladies—maiden, widowed and divorced. Dressed in a variety of disguises, he gains admittance to their apartments, where he promptly strangles them and then calls the police to brag about his handiwork. Playing mouse to Steiger’s cat is George Segal, the detective assigned to solve the mystery of the stranglings and who is, oddly, as much of a caricature as the flamboyant killer who taunts him. Fresh from his role as a Jewish intellectual in “Bye, Bye, Braverman,” Segal is seen here as a middle-class nebish, dominated by a Jewish mother so extravagantly played by Eileen Heckart that she might drive Georgie Jessel to seek asylum in Syria—and her son to matricide. John Gay’s script, adapted from the William Goldman novel, makes nothing much of this Oedipean hang-up common to both cat and mouse nor does it offer more than the sketchiest motivations for anything that happens. Instead, Mr. Gay has written an exposition-free, gag-filled cartoon, which is the manner in which Jack Smight directs it. “No Way to Treat a Lady” is all contemporary surface action, with quick cuts between scenes of murder and comedy and sometimes between scenes that combine both. Luckily, despite the fact that it was beautifully photographed in color entirely in New York, it has absolutely no reality. There is nothing wrong with this sort of sheer sensation for its own sake as long as the gags and Steiger’s masquerades maintain their bold effrontery. When they don’t, however, as happens with increasing frequency toward the end, the mind begins to wander. One simply must not question why Steiger, apparently a normal, maladjusted. Broadway producer until the film starts, suddenly commences his reign of terror. Nor why Lee Remick, the Minnie Mouse of the cartoon—a beautiful blonde with no visible means of support, a self-described former swinger and the kind of girl who sleeps in her false eyelashes—should fall for the clod detective. (Unless, of course, she is actually the castrating putdown artist she humorously affects to be in her first meeting with Segal’s harridan-mother.) There is also the peculiar casting of someone who is obviously a female impersonator as one of Steiger’s victims, although nothing is made of this in the plot. In addition to the wild, eyeball-rolling, lip-smacking, rococo-gestured performance of Steiger, who employs more accents than you might have heard in a year of vaudeville, Smight has got some fine performances from his supporting players, including Barbara Baxley, Martine Bartlett, Ruth White and Michael Dunn. Dunn is seen as a pint-sized creep who tries to confess to the crimes. “You’d believe me,” he tells the detective waspishly, “if I weren’t a midget!” As with the film itself, there is something both funny and oddly disturbing in this aggressive lack of logic.
No Way To Treat A Lady opens with the unsuspecting woman in peril Martine Bartlett as Alma answers the door to an Irish Priest. The queasiness we feel, the anxiousness, and empathy because she is an older lady. The victims could be our own mother, aunt, or grandmother and not the evaluated, penalized, sexualized, and typified film ‘tramp’ who has somehow brought this wrath down upon herself making the murders particularly vicious. One of the more interesting victims is Sadie, a drag queen who sees Gill dressed in drag himself crying into a hanky in a bar and is scorned by the other patrons contending with nasty homophobic comments. Has Gill chosen this particular victim as a way to destroy the latent homosexuality within himself?
Rod Steiger in makeup on the set of No Way To Treat a Lady 1968 Ernest Adler ..hair style supervisor and Bob O’Bradovich -makeup supervisor
After each murder, Gill meticulously traces the lips of each victim with red lipstick and brands his kiss on their foreheads!
The symbol used as the ‘red lips’ is the hyper representation of female sexuality. The co-opting of this image as a weapon is really interesting as it is telling…
Rod Steiger has never shied away from challenging roles. He is an outstanding actor. Here he is in Ray Bradbury’s-The Illustrated Man.
Rod Steiger, perhaps one of the most versatile actors, brings to life the flamboyant Christopher Gill who begins his assault on middle-aged women in the unsafe jungle of NYC. His chosen victims are most representative of the dear old mother. Steiger’s assorted guises that he dons in order to gain each lady’s trust are not only compelling but darkly funny as his performance which is never superfluous but totally campy psycho candy for the brain. Gill is like a supervillain who disguises himself as a parish Irish priest befits with an ideal brogue, he’s a German plumber perhaps a nod to the killings attributed to that man in Boston who strangled his innocent female victims. He plays a flaming hairdresser using the ploy that they have won a wig in a giveaway. He becomes a chef and a police officer, and at one point, he eventually does turn up in drag. – He incorporates various accents masterfully, among them he uses the voice of W.C. Fields.
All guises that will draw upon his designated victim’s wish fulfillment. Speaking German to Mrs. Himmel (Ruth White) bringing back her nostalgia for the old country, he enjoys eating her strudel.
Ironically enlisted to help track down and capture this deranged killer of defenseless women is Morris Brummel (George Segal) who is perfect for the part of a man who needs to break free of his cliched Jewish mother’s love… once again I’ll mention portrayed by the marvelous Eileen Heckart.
Morris is under his mother’s thumb, get’s flustered a lot whenever he’s at home or near beautiful women and gets phoned and taunted by the crazed Gill while trying to woo his new waspy girlfriend. Lee Remick plays the blonde shicksa a free-spirited liberated woman who used to swing with the beautiful people in Manhattan and now gives museum tours. She’s sexy and classy and just what Morris needs to shake things up in his claustrophobic life. Heckart is wonderfully overbearing to the point of pushing my own Jewish mother’s buttons. Pick, pick pick!
It’s no accident that there is a correlation between the two character’s mothers. One, domineering and relentless in her nagging Morris for not being more successful than his lung surgeon brother. While the dead Grande Dame mother of Gills looms largely over him, shown in austere portraits at the theater, having been a great actress herself in the day. A torch her son must carry in order to be as substantial as she was, and why he enacts different personae while he murders her repeatedly in re-enactments, these are his victims, middle-aged women who are signifying his mother.
What creates the great interplay between the flamboyant fiend and underdog cop is that they are both outliers, who somehow find each other and give their lives it’s meaning for that time. A game of cat and mouse. An oddball commiseration, one giving purpose to the other. A struggle of wills and morals.
Christopher Gill begins another fixation aside from his middle-aged female victims, now with his pursuer Morris Brummel. Perhaps he feels a kindred spirit in him. But something about their banter on the phone titillates Gill, it’s almost homoerotic, and as we can see by the animosity toward middle-aged women, although he worships the memory of his grande dame mama, he does have deep-rooted mother issues. Why else would he be re-killing her over and over again?
Gill is also a classic narcissist. Checking the newspapers constantly to make sure that they are printing the story about him. All the world’s a stage… Gill’s mother was a great thespian. He deals with his repressed homosexuality and his engorging Oedipal Complex. The homoerotic fixation that he has on dressing up and using, lipstick as a fetish, suggests again that he has a strong anti-mother sentiment. The use of lipstick turns a symbol of womanhood against them.
The film is a pervasive torch song of psycho-sexual prompts as Christopher Gill’s masculinity is challenged, destroying his mother, the devouring mother with each victim of his baleful masquerade.
We sense both men’s alienation Gil and Brummel as they are governed by mothers with a tight and suffocating grip. It’s a macabre classy thriller, polished and well acted even with the stereotypes and remnants of homophobia the 70s film that hadn’t been shaken from their villains or bit characters who were either downright crazy, unstable, or destined to be a victim of murder or suicide themselves.
In Cynthia A Freeland and Thomas E Wartenberg’sPhilosophy & Film chapter The Politics of Interpretation, they cite as I like to, once again Kristeva’s theory of abjection of the maternal body from Powers of Horror. Abjection…
“Is an extremely strong feeling which is at once somatic and symbolic and which is above all a revolt of the person against an external menace from which one wants to keep oneself at a distance, but of which one has the impression that it is not only an external menace but that it may menace us from inside. So it is a desire for separation, for becoming autonomous and also the feeling of an impossibility of doing so.”
Kristeva’s notion of abjection is taken to an extreme level, where it is not sufficient enough to annihilate the maternal body seeing it as abject, in order for the child to be free of the maternal restraints. Even on an imaginary level where the maternal body must be killed so that the child will not kill itself. Kristeva suggests that this leads to matricide. And why Christopher Gill must constantly kill his mother in the form of various middle age women, over and over again, yet his psychosis will not allow him to be set free. He is surrounded by her memory. It is as if she is still alive and reigning over his life. He has a portrait of his mother, who is a prominent presence in the theater watching over her son.
The portrait of Mrs. Gill comes across with the power of a Sphynx. A monster with the body of a beast and the head of a woman. Perhaps even a bit like a gorgon. Her piercing eyes and outre-defined red lips tell of a menacing woman who commanded an audience, especially her son…
From The Sexual Subject –Stephen Heath’s chapter-Difference– “The historical positions of patriarchy society tell us that ‘women’ are constantly identified as the central focus of oppression constructed and justified in its terms.”
“Woman as sphinx confronting Oedipus and the Oedipus is always underlying. the eternal feminine which menaces the subject, either male or woman.”
THIS PIECE HAS BEEN UPDATED AND REVISED TO BE MORE EXTENSIVE: DOES NOT INCLUDE ALL OF THE EPISODES BELOW-PLEASE VISIT THESE LINKS INSTEAD AS PART OF MY ONGOING SERIES FOR THE ALFRED HITCHCOCK HOUR.
I’ve chosen these particular episodes for various reasons. I’m very fond of the actors portraying these very nuanced roles. The stories directed by some of the best, themselves are quite compelling, and the musical compositions by Lyn Murray just left a poignant hole in my heart afterward. I hope you get to see at least a few of them. Very special, very fraught with edge-of-your-seat thrills, and some outstanding performances by some of your favorites who deserve to be showcased here! Without any further adieu —Good Evening…!
Carol LynleyRuth RomanAnne FrancisDina MerrillCharity GraceTim O’ConnorEileen BaralFranchot ToneGary MerrillGena RowlandsClu GulagerGladys CooperIsobel Elsom Joan FontaineJoyce van PattenJuanita Moore Margaret LeightonNancy Kelly Roger PerryR. G. ArmstrongJesslyn Fax
William Downey-“Have all your prayers been answered, sister?”
Sister Pamela- “Prayers aren’t business deals Mr. Downey, they can’t be judged by successes or failures.”
Sister Gem tells Sister Pamela “Oh sister… not tears again… you’ve cried a whole river these past weeks.”
Sister Lydia says ” I want you to see what faith and prayer will do.”
Norman Lloyd directs this Henry Slesar story starring the lovely Carol Lynleywho plays Sister Pamela Wiley, a gentle soul who has come to the crossroads of her faith. It is a simplistically beautiful tale about faith and finding one’s place on Earth.
The Reverend Mother portrayed by the wonderful Isobel Elsombelieves that Sister Pamela’s crisis will disappear in time. Sister Pamela is sent on a very special mission to meet the once young hooligan named William Downey from the parochial school she’d tried to change for the better. He has invited sister Lydia to his mansion after thirty years of silence to give her a very special statue of St Francis. It’s a gesture of thank you and a very sacred piece of art. On the way back to the convent the statue is stolen at the train station.
Sister Pamela- “some people retreat to god and not advance toward him, and that’s what i have done.”Isobel Elsom as the commanding Reverend MotherSister Pamela tries on her new clothes, looking in the mirror she sees a pretty young lady and not a sister of the convent anymore. She is struck still.Pamela takes a job as a secretary where Jimmy the no-good thief works on the loading docks as part of his parole. Now she’s just one of the girls…
Pamela finds the statue of St Francis at a Pawn shop.
The bronze statue falls into the wrong hands by a petty thief (Clu Gulager as schemer Jimmy Bresson) and so Sister Pamela puts herself in harm’s way in order to set things right!
With Sara Taft as Sister Lydia and Charity Grace as Sister Gem (Jennifer Morrison from Andy Griffith’sAlcohol & Old Lace), Clu Gulager is perfect as the ruthless Jimmy K Bresson and R.G. Armstrong as the imposing William Downey.
Laura- “Would you mind opening a window, this house smells of…” Robbie breaks in “Death!” Laura-“No, the past, which is even worse!”
Cinematographer William Margulies (The Girl in Black Stockings 1957) photographs Falk’s murderous fevers by somehow closing in around his face with a dark aureole that speaks of madness.
The wonderful Patricia Collinge ( The Little Foxes 1941, Shadow of a Doubt 1943) plays an old-fashioned lady Naomi Freshwater, who has been befriended by a fire & brimstone preacher spouting scripture who charms Naomi with doting affection. The enigmatic Peter Falkisthe cab-driving preacher Robbie Evans who comes from the coal mines of Pennsylvania, had a revelatory vision during a cave-in that changed his womanizing ways. Did he possibly kill his wife who wanted to force him back into the mines?…
Now as a seemingly kind companion to sweet old Naomi, he spends time with her reading bible verses and hoping to gain her trust so he can build his grand temple on the money she’ll leave him in her will. The dear and sheltered Naomi has a bad heart and suffers a fatal heart attack one night when Robbie forces her to dance too rigorously. She collapses on the settee begging for her little pills as Robbie coldly watches her die. The scene is absolutely brutal in its heartlessness. Quite a powerful scene for just a one-hour anthology show. I myself was left speechless and stunned by its ruthlessness. Adding to the grisly atmosphere was the nonstop record spinning a bedazzling swing melody while the tortured old woman clutches at her chest. I don’t know if it was the lighting or just Falk’s cold-blooded unwavering expression that left me chilled to the bone.
Falk plays the perfect sociopath, with only one nearly over-the-top performance during a bible-thumping sermon under the tent. When the classy worldly niece Laura (Dina Merrill) shows up, Robbie tries to woo her into marriage hoping to hang onto the old Victorian mansion that he feels is owed to him. Laura hires Robbie to clean out the attic and create a big old bonfire to burn the remnants of her life there.
At first, Laura believes his ‘Man of God’ acts as Naomi did, but Laura is a wild roaming sort who doesn’t wish to be tied down. This brings out the psychopath in Robbie, as he relates in detail how his first wife tried to hold him back, she was a sinner and he had the calling.
Does Merrill wind up in that trunk? it’s a real tent stomper of a mystery, with a twisted psycho-sexual undercurrent, delusional religious fanaticism, unspoken old-style misogyny, and plenty of menacing mayhem afoot lead by an all-star cast of actors. Bonfire is directed by Joseph Pevney and based on a story by V.S. Pritchett as published in The New Yorker.
The evocative score by the great Pete Rugulo helps the entire episode come together to create one hell of a grand mystery hour.
