This is Part 1 in a series. See also Part 2 and Part 3.

The CMBA Presents the 2023 Spring Blogathon: Big Stars on the Small Screen — In Support of National Classic Movie Day

SILVER SCREEN STAR’S JOURNEY TO A SMALL GOLDEN BOX

“This is the way of television”¦ Half-hour shows were becoming one-hour shows, so it was decided that ours was to become a one-hour show. I don’t recall whose idea it was. I cannot say I know how the arrangements were made. In television the problem is to maintain a standard (especially after seven years). We were always pretty offbeat, but people get used to us being offbeat.” “”Alfred Hitchcock (as quoted in “The Alfred Hitchcock Presents Companion,” 2001)

“TV has done more for old movie stars than plastic surgery,” -Popular TV critic for the LA Mirror Hal Humphrey wrote his articles based on network and press agent publicity, defended television’s stars in comparison to films during the time in the period when big screen actors were transitioning to television.

The Anne Sothern Show began in 1958.

Citing the examples of Joan Blondell, Ann Sothern, and Joan Crawford, Hal Humphrey claimed that these actresses were not “has-beens.” It might be more apt to describe them as mistakes made by the movie industry and rectified by television.”

During the 1950s, after decades of escaping the world and its worries within the vastness of the darkened movie theater, television delivered the actors we imagined vividly on the big screen and altered the illusion by fitting them inside a little box in our homes.

Television of the 1950s brought the big screen stars into the inner sanctum of our living rooms.
The emergence of television in the 1950s and 60s transformed the entertainment industry, leading many iconic Hollywood actresses to transition from film to TV.

In the 1950s, the transition from film to television was still a relatively new concept, and many Hollywood actresses were hesitant to make the switch.

“The dominant tendency in star studies has been to denigrate the stature of television stardom, to argue that television does not actually produce stars of the complexity, depth, and cultural value that film does, largely because of the medium’s lesser cultural status and its essential familiarity and intimacy…

Television studies scholar Susan Murray rightly comments suspiciously on these theories:

“. . . it would appear as though, while the cinema’s star system was delineated by a complicated aesthetic, industrial and economic history, the television star is simply a fall from grace.”

Therefore, it would seem essential for television to boost the images of such marginal stars by drawing on authenticity as a value superior to the artificiality of constructed glamour and by underscoring television’s ability to rediscover or uncover the genuine talents of the film world’s castoffs and supporting players.”

While some actors perceived TV work as an abdication of their star power, others recognized it as an avenue to sustain their careers and connect with a fresh audience.

Early television frequently recruited performers from various entertainment media, enlisting film actors, radio personalities, and Broadway/stage performers to provide programming talent for the burgeoning medium. Radio had previously offered such a space for Hollywood stars to supplement their film work, but television increasingly took over this role. (Becker)

Until the mid-1950s, studios purposefully kept their stars away from television. However, this claim overlooks the significant number of actors who were no longer bound by contracts with major studios due to the upheaval in the industry.

As a result, these actors were able to seek employment wherever opportunities arose. With labor changes in Hollywood and a decline in overall film production, television became an attractive and viable option for Hollywood actors who were out of work. Studios relented, provided the stars received the opportunity to plug the studio and its recent releases. Variety also cited the decision to allow the 1953 Academy Awards to be aired on NBC as a sign of the film industry’s acceptance of television’s credibility.

Television, desperately trying to establish itself as a big Hollywood name, became an incredibly exploitable asset as famous actors discovered a new outlet that eagerly sought their skills and their drawing power. Hollywood actors played a crucial role in contributing the nuance of prestige to their anthology shows and dramatic teleplays.

Early television strategically leveraged the fame of numerous Hollywood film actors to generate publicity for specific shows, attracting viewers and driving the sales of television sets. Simultaneously, television presented a convenient new job market, offering a fresh lease on life for supporting actors and former stars who needed to revitalize their careers, maintain their popularity, and make money from the emerging medium of television.

Several iconic actresses from classic Hollywood successfully made the swift transition including Joan Crawford, Loretta Young, Bette Davis, and Barbara Stanwyck, all made the leap to television during this period. One of the most notable actresses was Lucille Ball, who starred in the popular sitcom I Love Lucy from 1951 to 1957. Television actually made Lucille Ball a household name.

There were obstacles these actresses encountered, such as adapting to the demands of the smaller screen and managing the more accelerated production schedules of TV shows.

Their performances retained every ounce of their impact, if not enhanced, as they continued to evoke profound emotions and captivate us with the same level of skill, quality, and substance.

In fact, given the advent of dramatic teleplays featuring exciting directors and writers who either adapted classic stories, challenging content, or groundbreaking camerawork, the live format enhanced many performances.

The assumption that only displaced film stars would agree to appear on television is challenged by a diverse array of stars who wound up making a foray into that medium. So what precipitated the union between Hollywood movie stars and television programming during the first commercial decade of TV? And how did television showcase the abundance of screen royalty that ran the gamut of beloved character actors to the reigning stars on the big screen? They were able to transfigure stardom and draw audiences with the same desire to see their iconic stars continue to shine, but on a more intimate level.

Joan Crawford and The Pepsi-Cola Playhouse on ABC from 1953-1955.

“It is commonly assumed that only dethroned film stars would ever consent to appear on television, but the wide range of stars listed above certainly complicates this hypothesis and raises myriad questions. What industrial circumstances made possible this substantial marriage between Hollywood film talent and television programming in TV’s first commercial decade, and how did early television present this plethora of film talent, from the character actor to the reigning star? What can we learn about concepts of stardom by closely analyzing the activities of film stars at the discrete historical moment when television began as a mass medium, borrowing programming formats, corporate methods, and talent from radio and theater, while simultaneously trying to forge a unique institutional and cultural identity?”

…despite an avowed stigma attached to film stars appearing on television, a significant number did appear on the infant medium”¦ and television’s presentations of these stars, along with the public discourse that surrounded them, helped to expose and even alter the parameters of the filmic star system as it was developed to that point, an aspect which audiences surely perceived.” – Christine Becker: Televising Film Stardom in the 1950s

Alfred Hitchcock’s anthology television series, which aired from 1955 to 1965, was a popular show that featured a variety of Hollywood actresses in its episodes.

These actresses had already made a name for themselves in classic Hollywood films but found a new audience and a showcase for their talents. Anthology series typically featured a new story and cast of characters in each episode, allowing actresses to take on a variety of roles.
One of the more regular actresses to appear in Alfred Hitchcock Presents was Barbara Bel Geddes, who starred in the episode “Lamb to the Slaughter” in 1958. Barbara Bel Geddes’ performance in “Lamb to the Slaughter” episode of Alfred Hitchcock Presents has also received acclaim, with critics noting her ability to shift between a sweet and innocent demeanor to a more understated sinister one as her character’s composed homicidal streak are revealed.

Bel Geddes previously starred in films such as “I Remember Mama” and “Vertigo,” and her appearance in Alfred Hitchcock Presents helped cement her status as a talented actress with a range of skills.
Another actress who appeared in the series was Vera Miles, who starred in the iconic episode “The Perfect Crime” in 1957 and Alfred Hitchcock Presents, the very first episode, Revenge. And the episode that I will cover here is ” Don’t Look Behind You. and in Part 4 of my series, Death Scene co-starring John Carradine.

Teresa Wright appeared in perhaps two of the most enthralling episodes, one darkly disturbing and one darkly humorous. Mildred Dunnock appeared in three episodes of Alfred Hitchcock Presents and one episode of The Alfred Hitchcock Hour. Jeannette Nolan appeared in five of the series, and Jessica Tandy appeared in three. That’s a lot of star power in a small box.

Miles had previously worked with Hitchcock in the film “The Wrong Man,” and her appearance in Alfred Hitchcock Presents helped establish her as a talented actress who could hold her own in a variety of roles.

In addition to Bel Geddes and Miles, several other classic Hollywood actresses appeared in the series, including Joan Fontaine, Teresa Wright, Lillian Gish, Mary Astor (who also appeared in the Boris Karloff Anthology series Thriller), Gladys Cooper, Anne Sothern, Gloria Swanson, Anne Baxter, and Bette Davis, just to name a few.

Bette Davis in Out There-Darkness for Alfred Hitchcock Presents S4E16 1959.

Gloria Swanson in Behind the Locked Door S2E22 1964.

Lillian Gish in The Alfred Hitchcock Hour episode Body in the Barn S2E32 1964.

These actresses brought their star power and talent to the Hitchcock series and helped establish it as one of the most popular anthology shows of the era. When Hollywood wasn’t giving them the scripts and not renewing their contracts, they found a chance to continue showcasing their versatility and kept themselves a familiar face with their fans, new and old.

The success of Alfred Hitchcock Presents helped pave the way for more classic Hollywood actresses to transition to television in the 1950s and 1960s. It also helped establish television as a legitimate platform for entertainment and blurred the lines between film and television.

Other actresses who appeared in anthology series in the 1950s include Barbara Stanwyck in “The Barbara Stanwyck Show,” Bette Davis in “The Bette Davis Show,” and Joan Crawford in “The Pepsi-Cola Playhouse.”

These shows allowed actresses to showcase their versatility and reach audiences on a regular basis, helping to solidify their status as Hollywood legends, and both critics and fans have praised these actresses’ abilities to transition from film to television

Acting in front of the camera wasn’t the only transition powerful Hollywood actresses made, Ida Lupino – pioneering actress, director, and producer, known for her trailblazing work in the male-dominated Hollywood industry of the 1940s and 1950s stepped into the episode of The Twilight Zone with its scathing mediation on the Hollywood system that chewed up actresses and spits them out as they aged out of their perceivably viable roles. In The Sixteen-Millimeter Shrine starring Lupino, the opening narration goes as follows:

The Twilight Zone S1E4 1959 Ida Lupino The Sixteen-Millimeter Shrine.

“Picture of a woman looking at a picture. Movie great of another time, a once-brilliant star in a firmament no longer a part of the sky, eclipsed by the movement of earth and time. Barbara Jean Trenton, whose world is a projection room, whose dreams are made out of celluloid. Barbara Jean Trenton, struck down by hit-and-run years and lying on the unhappy pavement, trying desperately to get the license number of fleeting fame.”

Lupino plays aging film star Barbara Jean Trenton, a recluse who lives in her private screening room, reliving her old movie roles from the 1930s over and over. When she is offered a part in a new movie playing the mother, insulted by the callous film mogul who tells her she’s living in the past, all the while Martin Balsam tells her she’s wishing for things that are dead”¦ Barbara vanishes into a movie reel with her old co-stars descends the stairs and blows Balsam a kiss goodbye throwing down a scarf toward the camera and vanishes.

Lupino, who worked avidly with the camera not just on screen but behind the scenes, directed several of the Hitchcock episodes. Another influential woman in the technical side of Hollywood, Joan Harrison, made the transition from film to television. She came on board to produce the show and create the legacy that both series became in American Television.

“Seeing a murder on television… can help work off one’s antagonisms. And if you haven’t any antagonisms, the commercials will give you some.”

“T.V. has brought murder back into the home where it belongs.”

“It seems to me that television is exactly like a gun. Your enjoyment of it is determined by which end of it you’re on.”

“Blondes make the best victims. They’re like virgin snow that shows up the bloody footprints.”

“A glimpse into the world proves that horror is nothing other than reality.”

“What is drama but life with the dull bits cut out.“

“I’m sure anyone who likes a good crime, provided it is not the victim.”

“Suspense is when the spectator knows more than the characters in the movie.”

“Always make the audience suffer as much as possible.”

“I can’t read fiction without visualizing every scene. The result is it becomes a series of pictures rather than a book.”

“I’m a writer and, therefore, automatically a suspicious character.”

“Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.”

“You think she’s pretty, you ought to see my slingshot!”

“… I never said all actors are cattle; what I said was all actors should be treated like cattle.” – Hitchcock according to designer Edith Head who dressed Grace Kelly, Doris Day, and Ingrid Bergman in Hitchcock’s movies. The two reportedly clashed heavily over wardrobe ensembles.

“” Alfred Hitchcock

“No one is writing good suspense stories these days”¦ I don’t know what has happened to the great story tellers “” people like Kipling and Stevenson. We have to take stories and shape them to our needs. Meanwhile, we must go on. We can’t wait for the great ones to show up. I must take the scripts as they land on my desk. I’m responsible for sixteen programs, and I have only seven properties on hand. [Lloyd and Harrison produced all but four episodes from the first season] I’ve managed to get several fine stories, I believe. One is a gambling tale, A Piece of the Action, starring Gig Young and Martha Hyer. It has bitter irony in it. Another is The Final Yow, in which Carol Lynley plays a nun involved in a search for a stolen statue. It has a delicious twist.” Norman Lloyd (The Newark Evening News, August 26, 1962)

Vera Miles and Hitchcock on the set of The Alfred Hitchcock Hour.

Hitchcock made the shift from a 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.

In the opening set of each episode, the fabulist 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.

Jessica Tandy in Alfred Hitchcock Presents episode The Glass Eye s3e1 1959.

Patricia Collinge in The Alfred Hitchcock Hour episode The Ordeal of Mrs. Snow -S2E25 1964

Repeat Performances:

*Jessica Tandy 3 episodes Alfred Hitchcock Presents – The Glass Eye and not included Toby S2e6 and The Canary Sedan S3e37.

*Patricia Collinge 4 episodes Alfred Hitchcock Presents –The Cheney Vase, The Rose Garden, Across the Threshold, and The Landlady-  The Alfred Hitchcock Hour – 2 episodes Bonfire – and not included The Ordeal of Mrs. Snow April 17, 1964.

*Anne Francis 2 episodes Alfred Hitchcock Presents – Hooked and not Included Keep Me Company and The Trap S7e5 Feb 22, 1965, aired Nov.7, 1961.

*Mildred Dunnock 3 episodes of Alfred Hitchcock Presents – None Are So Blind, Heart of Gold and not inlcuded The West Warlock Time Capsule S2e35 and 1 episode of The Alfred Hitchcock Hour – Beyond the Sea of Death.

*Vera Miles 1 episode of Alfred Hithcock Presents – Revenge and 1 episode of  The Alfred Hitchcock Hour– Death Scene.

*Margaret Leighton 1 episode of Alfred Hitchcock Presents – Tea Time and 1 episode of  The Alfred Hitchcock Hour Where the Woodbine Twineth.

*Barbara Bel Geddes – 4 episodes of Alfred Hitchcock Presents – Lamb to the Slaughter, The Morning of the Bride and not included The Foghorn s3e24, and Sybilla S6e10 aired Dec. 6, 1960.

*Gena Rowlands – 1 episode of Alfred Hitchcock Presents – The Doubtful Doctor and 3 episodes of The Alfred Hitchcock Hour – Ride the Nightmare, The Lonely Hours, and Murder Case.

*Doris lloyd 5 epsiodes of Alfred Hitchcock Presents – The Impromptu Murder, and not included Dip in the Pool, Safety for the Witness, The Shartz-Metterklume Method and The Silk Petticoat. And 4 episodes of The Alfred Hitchcock Hour – One of the Family, Thou Still Unravished Bride and not included The Dark Pool s1e29, and Isabel s2e31.

*Gia Scala – 2 episodes of Alfred Hitchcock Presents -Deathmate and not included Mother, May I Go Out and Swim? s5e26 and 1 episode of The Alfred Hitchcock Hour not included The Sign of Satan s2e27

*Jeannette Nolan –4 episodes of Alfred Hitchcock Presents – The Right Kind of House, The Morning After, and not included The Young One s3e9 and Coming Home s6e35. 1 episode of The Alfred Hitchcock Hour – Triumph.

*Teresa Wright – 2 episodes of  The Alfred Hitchcock Hour – Three Wives Too Many and Lonely Place.

Mildred Dunnock in The Alfred Hitchcock Hour – Beyond the Sea of Death -S2E14 1964.

Teresa Wright and Bruce Dern in Lonely Place, The Alfred Hitchcock Hour S3E6 1964

Alfred Hitchcock Presents renamed The Alfred Hitchcock Hour (between 1962-1965), is a classic American television anthology series hosted by preeminent filmmaker Alfred Hitchcock, the show was also an Alfred Hitchcock Production produced by Joan Harrison and Norman Lloyd, airing on CBS and NBC between 1955 and 1965. The series premiered on CBS in October 1955 and went through several changes during its long run. It switched over to NBC for the 1960-61 season. It then returned to CBS with its hour-long format from 1962 to 1963. Getting whiplash, it turned back to NBC once again to finish out its final season.

“One must remember that in the early half-hour days, we were getting the cream of the crop”¦ Some of the best stories of their type in English literature, such as The Glass Eye. In the latter days of the hour show, however, we occasionally had to develop stories from scratch, and the results didn’t always measure up. The half-hour show, which ran twenty-two and a fraction minutes, was sometimes a delight in its brevity and its point, but that doesn’t mean it was a better format.” “”Norman Lloyd (as quoted in “The Alfred Hitchcock Presents Companion,” 2001)

Both series have become seminal works in television history, known for their unique blend of suspense, mystery, and dark humor. The show often revolved around murder plots, mind games, gaslighting, and visceral intrigue, featuring psychological dramas, suspenseful thrillers, and crime-oriented stories often framed through a noir lens and written by celebrated authors featuring a far-reaching cast of Hollywood stars and electrifying performances by beloved character actors.

Both series’ earned a fistful of Emmy, Look Magazine, Golden Globe, and Television Champion awards for the best anthology and/or mystery program during their decade-long run.

Known for its suspenseful and thrilling stories that often revolve around murder, mystery, and psychological intrigue, which often frame crime-oriented stories through a noir lens.

“I much preferred writing for the half-hour show. There was always the possibility of doing what I call “˜gems.’ The half-hours were compact and full of sharp point-breaking, bringing the audience in at the middle and then hitting them with the climax. Very clean. This got a little difficult to achieve in the hour shows, which were more like features except that they weren’t, not really. They were actually more like extended half-hours. More was told about the same thing. I think the show suffered because of it, and I think the Hitchcock people felt so, too.” writer Henry Slesar (as quoted in “The Alfred Hitchcock Presents Companion,” 2001)

Initially, a variety of the stories adapted for the show appeared to be written with the implication that crime does pay if you’re clever and lucky enough to get away with it – clincher. But this did not sit right with the network censors, not to mention Hitchcock’s regular derogatory indictment of their commercials, which put him at odds with the sponsors. So by the postscript, he would update us on the fate of the villains, evildoers, and culprits to assure us that there was a moral code that existed on the show, and ultimately, these malefactors paid a price for their immorality.

In other stories, not all the players were inherently malicious, wicked, twisted, greedy, or conniving. Innocent bystanders and some protagonists were set down in a story that challenged them to come out on the other end of their unnerving or sinister circumstances, and ultimately either found redemption or were delivered from their ordeal. Instead of fate’s unwavering day of retribution, anyone who deserved a break got one, and the sympathetic characters found a silver lining to their storm cloud. Many of the show’s stories revealed their humanity.

Alfred Hitchcock Presents’ episodes cover a wide range of genres, including crime drama, mystery, suspense, psychological thriller, and the occasional horror story. Many of the episodes are adaptations of short stories and novels by famous authors, such as Roald Dahl, Ray Bradbury, and Cornell Woolrich, among other notable novelists and screenwriters.

One of the trademarks of the series is its surprising turnaround of events and twist endings, which are often unique, cleverly crafted, and carefully calculated plots that keep viewers on the edge of their seats. The show’s stories often explore the darker aspects of human nature, delving into the characters’ psychology and motivations. Themes of guilt, paranoia, revenge, and moral ambiguity are often explored, creating a thought-provoking viewing experience, framed with masterful understatement all wrapped up with Hitch’s deliciously droll commentaries, dramatic musical flourishes, and palpable fade-outs.

“Alfred Hitchcock Presents” has been highly acclaimed for its innovative storytelling, compelling performances, and Hitchcock’s masterful direction.

Hitchcock’s strictly British sense of humor, the deliciously wicked tone of the series, and his attitude toward directing television had carried over from his big-screen work in a similar vein for small-screen audiences.

At first, Hitchcock was hesitant about the idea of appearing on TV as his primary interest rested with film. Hitchcock biographer John Russell Taylor wrote that the revelation that Alfred Hitchcock Presents could work came from MCA’s Lew Wasserman, who had been Hitchcock’s former agent and friend. In 1955, Wasserman was putting his mind to potential programming during the early days of television. “We ought to put Hitch on air.” The idea of putting the master of suspense hosting a weekly show had a great deal of good sense.”

Hitchcock had signed a contract with Richard Decker allowing his name to be the image of a monthly magazine Decker published, featuring short stories with a mystery theme written by established or up-and-coming authors. In return for allowing his name to be used, Decker hired Hitch’s daughter Patricia as assistant editor. The publication would be called Alfred Hitchcock’s Mystery Magazine.

In the mid-fifties, very few of Hollywood’s major studios were actively involved in producing series for television. In 1959 MCA under President Lew Wasserman’s leadership added Universal Pictures to its growing list of subsidiaries, and MCA/Revue was changed to Universal Television which then released Alfred Hitchcock Presents.

According to biographer John Russell Taylor, Hitchcock was not pretentious about his success in the motion picture business; however, the iconic director was aware that not many filmmakers who had maintained visibility on his level were actively working in that industry’s medium. While other directors wouldn’t want to be associated with television, Hitchcock had faith in his friend Lew Wasserman and agreed to delve into the world of the small screen, and the series was born.

Alfred Hitchcock named the new telefilm company Shamley Productions after the summer home he and Alma owned in a small village in Shamley Green south of London.

*For most in Hollywood, TV was considered a spurious and unauthentic medium, a commercial junkyard suitable only for unknowns and has-beens.” – (from John McCarty and Brian Kelleher from Alfred Hitchcock Presents – An Illustrated Guide to The Ten-Year Television Career of the Master of Suspense)

Wasserman viewed the show and Hitchcock’s hosting of it as a logical, intuitive outgrowth of the very successful Alfred Hitchcock Mystery Magazine. In fact, many of the series’ episodes were adapted from stories that first appeared in the magazine.

And Hitchcock’s attitude toward directing television was that it was a bit of jolly devilry and fooling about from directing feature-length films, as it was far less a painstaking endeavor.

Though Hitchcock still brought his methodical work ethic to the table-

“He took enormous pride in doing these things very fast on a tight TV schedule without going a moment over. I remember when he did Lamb to the Slaughter” and he finished on the nose at six o clock quitting time, he turned around and said “there’s your picture” Then he looked at everybody as if to say, “So don’t comet o me with any ideas that you need an extra hour or two for something else. “It was all in fun, but the message was clear: all of you had better be able to finish at six too.” – Norman Lloyd

Vera Miles in the premier episode of Alfred Hitchcock Presents ‘Revenge’ S1E1 in 1955.

After its debut on October 2 1955 with the first episode “Revenge” directed by Hitchcock himself, each week gained devoted viewers who were thrilled with the show’s sense of the macabre.

Hitchock’s well-known public persona, while considered the archetype of genius over collaboration, boldly moved into the realm of television and was part of a team that created an anthology series with a team of extraordinary writers & directors who were perceptive, literate, and witty.

Hitchcock directed only 18 episodes during its run, including Revenge with Vera Miles, Breakdown with Joseph Cotten, The Case of Mr. Pelham, and Back for Christmas starring Isobel Elsom and Hitchcock regular, English gentleman John Williams. The series was an instant hit and ran for five seasons on CBS, and three on NBC. It won three Emmy Awards and was nominated for 11 more. The series is considered a classic of American television and has been praised for its suspenseful stories, Hitchcock’s iconic introductions, and its illustrious and stellar cast, to say nothing of the outstanding resource of imaginative writers like – Richard Matheson, Ray Bradbury, Roald Dahl, Garson Kanin, John Cheever, Henry Slesar, Ellery Queen, Charles Beaumont, H.G. Wells, Rebecca West, Barré Lyndon, Morton S. Fine, Evan Hunter, Margaret Manners, Robert C. Dennis, Francis M. Cockrell and Columbo’s Richard Levinson and William Link.

Above are two images of Jessica Tandy and Tom Conway in The Glass Eye S3E1 1957.

Robert Stevens who directed 145 episodes of a similar theme show Suspense which ran between 1949-1954 directed over thirty episodes in Hitchcock’s series more than any other director overall, including some of the most memorable like the chilling installment – The Glass Eye starring Jessica Tandy which is a ghoulish adaptation of the classic theme of the ventriloquist who is bedeviled by his dummy. This installment of the show’s second season earned Stevens an Emmy as best director of a half-hour show. He was the only director ever to win an award for Alfred Hitchcock Presents.

In 1959, Stevens took time to direct the pilot for Rod Sterling’s Twilight Zone with Earl Holliman in Where Is Everybody. He did another of the show’s most memorable episodes, Walking Distance.

They helped establish Alfred Hitchcock Presents and The Alfred Hitchcock Hour as one of the great classics of American television – distinctive for their sardonic prologues with Hitchcock as the master of ceremonies conducting the series of sketches, and macabre tableaus that invited you into the evening’s story. Hitchcock intoning impish incentives by writer Jimmy Allardice. The show offered a collection of Mephistophlean teleplays, infused with suspenseful, often darkly humorous masquerades.

The series also features a collection of impressive directors: Ida Lupino, Paul Henreid, Herschel Daugherty, John Brahm, Arthur Hiller, Alan Crosland Jr., Leo Penn, Joseph Pevney, Robert Stevenson, Stuart Rosenberg, Bernard Girard, Robert Florey, John Newland, Don Medford, Francis Cockrell, Boris Sagal, Alf Kjellin and George Stevens Jr.

Hitchcock, Joan Harrison, and actor/producer/director Norman Lloyd preferred stories about unextraordinary people, their lives outwardly not illicit or taboo, however they become involved in dubious, unlucky, or dangerous situations like murder, blackmail, or misguided schemes that descend into a darkly ironic conclusion.

Norman Lloyd, whose speech and singularity carved out a niche as typically British and thoroughly sardonically impish, appeared in several of Hitchcock’s films, most notably Saboteur 1942 as the menacing Frank Fry who meets a spectacular cinematic end.

Norman Lloyd in Alfred Hitchcock’s Saboteur 1942.

“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

The television series also consisted of several episodes that featured both Hitchcock and Lloyd’s daughters, Patricia and Josie.

The show is characterized by its Aesopean host- “Televisions jovial undertaker” (McCarty and Kelleher)”¦ offering his solemn “˜Good Night.’

Alfred Hitchcock’s cheeky little teasers featured their iconic musical initiation with Gounod’s “Funeral March of a Marionette” as Hitch’s silhouetted kisser merged with the quirky little line drawing, which was led into one of Allardice’s offbeat fun-size segues.

Hitchcock emerges mischievously at the beginning and end of each episode, delivering satirical introductions and conclusions, with his signature tongue-in-cheek reaction to that evening’s stories. His dry and sardonic presence effectively complements the show’s featured parable and displaces any tension from the seriousness of the episode with Hitch’s comic relief.

The show was ravenous for stories, trying to compete with its rivals, The Twilight Zone and Boris Karloff’s Thriller. The insistence on only published stories.

One of Hitchcock’s primary producers was a British-American film producer, screenwriter, and casting director, Joan Harrison. She met Hitchcock in 1935 after answering his ad in a London newspaper for a secretary. She may have begun her career as a secretary to Alfred Hitchcock in 1939. Harrison gained momentum, forging ahead with her career, and by 1940 she was Hitchcock’s associate producer.

But it was her ultra-motivated astuteness and keen administrative proficiency that helped advance herself until in 1939 she became his closest collaborator co-writing several screenplays for Jamaica Inn, Rebecca 1940, Foreign Correspondent Suspicion 1941, and Saboteur. Additionally working with Hitchcock on several films, including Shadow of a Doubt (1943), Rope 1948 and Strangers on a Train (1951).

In 1942 she pursued her own career as an independent producer, a position not held by many women, then. Much of her films fall under the influence of a mystery bent, with one of her finest films being They Won’t Believe Me 1947 a psychological film noir directed by Irving Pichel and starring Robert Young, Susan Hayward, and Jane Greer.

Joan Harrison produced one of the most underrated film noirs, Phantom Lady 1944, directed by Robert Siodmak, based on a novel by Cornell Woolrich, author of Rear Window, and scripted by Bernard C. Schoenfeld, who would later write many of the show’s episodes. Another highly effective and sorely underrated noir Harrison directed is Ride the Pink Horse 1947.

The Very Thought of You: Andrea King in 4 Fabulous Unsung Film Noir Gems!

In 1944, she left Hitchcock’s production company to start her own, producing several films, including The Strange Love of Martha Ivers (1946) and The Locket (1946).

One of the aspects of both the half-hour and full-hour series’ magic was the brilliant cast, borrowing from some of television’s outstanding dramatic character actors of that period, but notably, the stars who made the transition from the big screen to television’s more intimate venue.

Working with Hitchcock on The Trouble with Harry clearly foreshadowed the direction Hitch’s show was going to take. In 1955 Joan Harrison rejoined him as an associate producer both knowledgeable about mystery and suspense literature – she became actively involved in the story selections.

In 1955, Harrison not only produced the show but also served as the casting director for Alfred Hitchcock Presents for its entire run from 1955 to 1965.

She helped cast some of the show’s most famous episodes, including Back For Christmas, Lamb to the Slaughter, and “Hitch Hike.”

Isobel Elsom and John Williams in Alfred Hitchcock Presents – Back for Christmas s1e23 1956.

Alfred Hitchcock Presents Hitch Hike S5E21 1960 starring Suzanne Pleshette, John McIntire, and Robert Morse.

Joan Harrison lends the show its engaging charm, which credits Harrison’s keen eye for selecting the best possible actors to fit the archetypal characters for the compelling, ironic murder mysteries, nail-biters, and crime-driven stories.

Harrison, who progressed from secretary to screenwriter to independent producer, signed onto the show where she was fully able to materialize her vision of some of the most suspenseful dramatizations. She retired from the film industry in 1965.

Norman Lloyd started producing and directing a limited number of episodes each season. At this same time, Gordon Hessler was elevated to associate producer.

Gordon Hessler, who had a TV background that included a period where he was enlisted as a story editor, director, and production associate, also joined the show as a producer. Once Harrison started to phase out her involvement on the show and move back to England with her husband, British mystery writer Eric Ambler, she passed it on to Lloyd while he continued to assist as an associate producer.

“At the end of this time, there was a rearrangement at Shamley and I was made a producer equally with Joan Harrison. It was also around this time that the show went to an hour. We both produced alternately. Then, for the final two years, I was made the show’s executive producer alone.”

Eventually, he moved on to directing horror features- The Oblong Box 1969, Scream and Scream Again 1970, Cry of the Banshee 1970, Murders in the Rue Morgue 1971, and The Golden Voyage of Sinbad 1974.

The series often used writer Robert Bloch, who began working on the show in 1959 in the middle of its ten-year run. The writer hadn’t met with Hitchcock while filming the adaptation of his novel Psycho 1960. Two of Bloch’s published stories had been bought for the series and adapted by others before his arrival in Hollywood later that year.

He began adapting his own published stories, and his work was dramatized for the series. He was heavily involved in the show and mutually committed to writing screenplays and contributing to Boris Karloff’s similar anthology series Thriller both programs produced at Universal Studios.

Boris Karloff’s anthology tv series: It’s a THRILLER!

“Shortly after I began my own work as a novice television writer for a little-esteemed syndication series, I was summoned to Hitchcock’s Shamley Production office and offered an assignment to do a script based on Frank Mace’s story ‘The Cuckoo Clock.’– Robert Bloch

“Give them pleasure. The same pleasure they have when they wake up from a nightmare.” – Alfred Hitchcock

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