The Classic Movie History Project Blogathon: the 60s: The Bold & The Beautiful

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HOSTED BY THOSE BRILLIANT, PROLIFIC & WITTY WRITERS- FRITZI FROM MOVIES SILENTLY, RUTH FROM SILVER SCREENINGS AND AURORA FROM ONCE UPON A SCREEN!

THE 60S:THE BOLD & THE BEAUTIFUL: 1960-1969

bold |bōld|
adjective
1 (of a person, action, or idea) showing an ability to take risks; confident and courageous: a bold attempt to solve the crisis | he was the only one bold enough to air his dislike.
• dated (of a person or manner) so confident as to suggest a lack of shame or modesty: she tossed him a bold look.

“I am my own woman” –Eva Perón

(source edited)- by Jürgen Müller‘s for TASCHEN’s Movies of the 60s- “Like no other decade before or since, the 60s embodied the struggle against a jaded, reactionary establishment. As the Vietnam War dragged on, the protests grew in scale and intensity. Revolution ran riot, in the streets and on the silver screen. The movies of the epoch tell tales of rebellion and sexual liberation, and above all they show how women began to emancipate from their traditional roles as housewives or sex bombs…”

Drew Casper writes, “Some films still styled along classic lines while others simultaneously embodied both the old and new approaches… Stirred the placid waters of the classical with grittier degrees of realism with their accompanying darker sensibilities.” –Postwar Hollywood 1946-1962

Women like Jane Fonda, Anna Magnani, Simone Signoret, Audrey Hepburn, Ann Bancroft, Piper Laurie, Angie Dickinson,Bette Davis, Joanne Woodward, Patricia Neal and so many more became iconic for breaking the old mold and grabbing a new kind of individualism without judgement and new kind of self expression.

Barry Keith Grant writes in American Cinema of the 1960s-“The decade was one of profound change and challenge for Hollywood, as it sought to adapt to both technological innovation and evolving cultural taste.”

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In the 1960s we began to see more films like The Group 1966, Valley of the Dolls 1967, Bunny Lake is Missing 1965, Who Killed Teddy Bear 1965, Mr.Buddwing 1966, Walk on the Wild Side 1962, A Patch of Blue 1965, The Explosive Generation 1961, The Young Savages 1961, Look in Any Window 1961, Pressure Point 1962, Claudelle Inglish 1961, One Potato Two Potato  1964, Lilith 1964, Butterfield 8,(1960), Cul de Sac 1966, The Pumpkin Eater 1964, Sanctuary 1961, Belle du Jour 1967, Lolita 1962, The Children’s Hour 1961, Breakfast at Tiffany’s 1961, Rachel Rachel 1968, Up the Junction 1968, Darling 1965, To Kill a Mockingbird 1962, A Rage to Live 1965, Kitten With a Whip 1964, The Naked Kiss 1964, The Roman Spring of Mrs Stone 1961, What Ever Happened to Baby Jane? 1962 , Juliet of the Spirits 1965, Psyche 59 (1964) ,Lady in a Cage 1964.  & Hush Hush Sweet Charlotte 1964

And of course the films I’m covering here. These films began to recognize an audience that had a taste for less melodrama and more realistic themes, not to mention the adult-centric narratives with a veracious Mise-en-scène

PS: I would have included Mia Farrow in Rosemary’s Baby but that is my favorite film and plan on doing a special post in honor of this brilliant timeless masterpiece… and Mia’s quintessential performance.

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Though I’ve decided not to include Breakfast at Tiffany’s this is my little nod to Audrey Hepburn and cat…

As a little glance into a portion of cinematic history over the decade of the burgeoning sixties -The following are particular favorites of mine… Bold & Beautiful ‘as is’ and Beyond need of Redemption!

1960

ELMER GANTRY with JEAN SIMMONS as Sister Sharon Falconer & Shirley Jones as Lulu

Shirley Jones as good time girl Lulu Bains!

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Lulu Bains: “Oh, he gave me special instructions back of the pulpit Christmas Eve. He got to howlin’ “Repent! Repent!” and I got to moanin’ “Save me! Save me!” and the first thing I know he rammed the fear of God into me so fast I never heard my old man’s footsteps.”

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Elmer Gantry is always chasing dreams and always telling dirty stories is the smooth talking traveling salesman, brought to life by Burt Lancaster who portrays his character with a bit more sensuality than Sinclair Lewis‘ cold predatory con man. Gantry is a hard drinking provocateur and a lady’s man. Raised by a father who quoted verse, he has a swift grasp of the Bible and uses it to insinuated himself into Sister Sharon’s hell fire traveling road show. Though he is a skeptic, he sees a great light in Sister Sharon and the potential to fill the coffers with riches!

The sublimely beautiful Jean Simmons is as ethereally angelic as she is a pure sensuality. Sister Sharon Falconer is a young revivalist in the style of Aimee Semple McPherson. Sharon is at first righteous and unwavering in her convictions, she begins to awaken unto the spell of the charming and bigger than life Elmer Gantry. Elmer starts out poetically ruthless as he insinuates himself into Sharon’s life, until she loses her firm grip on her faithful mission and their attraction blossoms into a physical one.

One night he craftily sweet talks Sharon’s virginity away from her, though she is a very willing participant ready to be freed from the confines of her stifling religious prison.

Sharon struggles with her identity as a pious figure and a sexually aroused woman. Simmons is an actress of fine distinction who can work with that duality bringing to the screen a role with great complexity. She is also stuck in between the conflict that ensues between Elmer and her manager Bill Morgan (Dean Jagger) who doesn’t like nor trust Gantry’s influence over Sharon.

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Bill Morgan –“That’s pitchman’s talk, what do you know about the background of our work. The nature of revivalism is fertile it grew out of frontier life. Big city people are apt to be more cynical” Elmer Gantry “They’re more sinful too, and more lonely and more unhappy and Shara they need you more…” Bill Morgan “I’m against this!” Gantry “Bill Morgan you’re an old sourpuss. This is a passport to the promised land.” Bill Morgan- “I am not your boy, I don’t know how you deluded her but to me everything about you is offensive You’re a crude vulgar show off. And your vocabulary belongs in an outhouse” Gantry “Crude, vulgar, show off ha…you know something you’re right Bill. Let’s put it this way. You’re a five dollar text book, me… I”m a two cent tabloid newspaper… You’re too good for the people… I am the people…sure I’m common, Just like most people”. Sharon “The common people put Christianity on the map in the first place…Bill -“What are you saying that you want to go to Zenith?” Sharon says- “I wonder what God wants!”
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Sharon tells Gantry,“You’re so outrageous! I think I like you. You’re amusing, and you smell like a real man.”

Sister Sharon created herself from nothing and is now pragmatic and independent with a vision to capture the world, by building a temple for the people so she can share the good word of God. No more traveling as a revival side show attraction. She is brave, dedicated and faithful to the end. And I won’t spoil the ending– at least I will say that she is a true believer and a real woman filled with passion on both sides of the coin. She allows herself to be seduced by Gantry, yet still is fiercely dedicated to building her own tabernacle so she may offer comfort and inspiration to those in need.

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Sharon “ God chose me to do his work” Gantry-‘ Me Too Sharon “No I chose you…”

Shirley Jones is fabulous as Lulu Banes who was first seduced by Gantry while she was the Deacon’s daughter now…. a call girl from Elmer’s tawdry past, who tries to rake up a little gossip and cash as payback for Mr. Gantry ditching her. Okay, there’s some blackmail involved when she sees the opportunity because there’s sour grapes as Gantry left Lulu in the lurch, with a broken heart. But in the end, Lulu’s got integrity. She’s plucky, and has some of the best lines in the film and hey she’s not only a call girl… she a nice girl…

She’s so lovable that Shirley Jones won the Oscar for Best Supporting Actress that year!

Elmer and Lulu

It’s interesting to hear that it took actor Author Kennedy to get Simmons potted on milk and gin before she felt comfortable enough to do the scene where the revival tent catches fire and flaming debris is falling around her head.

Both Jean Simmons and Shirley Jones caught the spirit in this film!

Elmer Gantry wound up being a very controversial film when it was released directed by Richard Brooks, adapted from the book by Sinclair Lewis with lush and pulpy cinematography by John Alton and a stirring score by the great André Previn. And terrific costume designed by the brilliant Dorothy Jeakins (The Sound of Music 1965, The Way We Were 1974).

THE FUGITIVE KIND with ANNA MAGNANI as Lady Torrance

“Let’s get this straight, you don’t interest me no more than the air you stand in.”-Lady Torrance to Val

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Directed by Sidney Lumet, The Fugitive Kind is based on the play Orpheus Descending by Tennessee Williams who also penned the screenplay. At this point there’s shouldn’t be any doubt about my passion for Mr. Williams or Anna Magnani.

Anna Magnani is a primal force of sensuality winning an Academy Award for Best Actress for her portrayal of Serafina Delle Rose in the marvelous, The Rose Tattoo 1955. (“A clown with my husband’s body!”)

The Fugitive Kind has a gritty, allure not only due to the level of acting by Magnani and Brando or the evocative material it’s partly due to Boris Kaufman’s  (12 Angry Men 1957, On the Waterfront 1954) edgy cinematography.

Anna Mangani delivers another impassioned performance as Lady an equally potent role as a shop owner in Louisiana who is chained to a brutal marriage by her vindictive and dying husband Jabe (Victor Jory) when along comes Marlon Brando as Valentine “Snakeskin’ Xavier a guitar playing roamer who takes a job in the shop until Lady’s jaded loneliness and Valentine’s raw animal magnetism combust..

Brando plays the solitary Val, a drifter who’s presence is as commanding as a lion stalking. Val comes into the small town where Lady Torrance runs the shop, her husband Jabe is mostly bed ridden, dying of cancer, but also eaten up with jealousy and hatred toward his wife, foreigners and outliers. He’s vicious and controlling and Lady lives out her days caring for this angry and miserable man, until Val comes into her life, changing Lady’s stoicism awakening her heart releasing her desires.

Magnani gives a powerful performance of a woman starved from sexual pleasure, mentally abused by her husband and bemoaning the days when the wine flowed like a river at her father’s vineyard that was suspiciously burned to the ground.

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Lady-“What are you doing with a snakeskin jacket?” Val-“It used to be a trademark I was a, I used to be an entertainer in New Orleans.” Lady-“It fits warm alright Val It’s probably warm from my body Lady You must be a warm blooded boy,,, what are you looking for around here?” Val-“You might have some work for me.” Lady-“Hhm boys like you don’t work Val-“What do you mean boys like me” Lady “Ones that play the guitar and go around talking about how warm they are. I can hire no stranger with a snake skin jacket and a guitar and a temperature like a dog”

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Magnani manifests an authenticity that comes from a battered past and present, yet she exudes an enduring sense of love and passion. Lady dreams of fixing up the outside part of the store as a confectionery festooned with white lights and delicate atmosphere and Val can sing and play his guitar.

At first interviewing for a job is an awkward exchange. Once Lady and Val have a very intense and thoughtful conversation, she decides that she likes this strange talking boy and hires him to work in the store. The tension is visible even in the darkly lit scene and through the diffuse patch of light you can see their chemistry brewing.

Lady is taken with this strange talking boy who begins to tell her about people. “there’s two kinds of people in this world, the buyers and the people who get bought.” Then he tells her about a type of bird that has no legs so it can never land. It’s a meditative moment, and Brando is magnificent.
“…cause they don’t see ’em, they don’t see em way up in that high blue sky near the sun they  spread their wings out and go to sleep on the wind and they only alight on this world just one time, it’s when they die.”

Val is pursued by Carol Cutere, (Joanne Woodward) the quirky local tramp from a wealthy family, who worships his snakeskin jacket as well as his incredible ‘hot’ body. But, Val finds himself drawn to the evocative and more complex Lady. They begin an affair, fall in love and Lady gets pregnant. Will they be like the bird that can never land, only sleep on the wind and the day they land is the day they die…

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Lady Torrance: Are you a lady’s man? Valentine ‘Snakeskin’ Xavier: It’s been said that a woman can burn a man down… But I can burn a woman down, if I wanted to.
Lady -“Let’s get one thing straight… You don’t interest me no more than the air you stand in”

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1961

A COLD WIND IN AUGUST with LOLA ALBRIGHT as Iris Hartford

If you care about love, you’ll talk about a teenage boy and a woman who is all allure, all tenderness… and too much experience! – tagline

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“What’s more I don’t like to work in New York. I never have. I live here. I like it. I like this house. I like eating at home, I like living like a human being. Why should I knock myself out. this is my retreat you know.”

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Directed by Alexander Singer  with a slick burlesque/modern jazz score by Gerald Fried. 

Lola Albright  stirs the libido as a very classy ex-stripper Iris Hartford a very intoxicating woman who seduces a naive and inexperienced working-class boy, Vito Pellegrino (Scott Marlowe) who falls deeply in love with her. Soon Vito begins to feel the disparate reality of their relationship. Once his reality is shattered, discovering that she is a stripper, Vito ends the affair with Iris, seeking out a neighborhood girl who is of his own age.

Lola Albright has a very sophisticated way of coming across on screen with a reserved yet palpable dignity. But Iris generates an undercurrent of provocative and alluring intelligence. Marlowe has always been great as a either a clever playboy or whiny young man, who isn’t quite getting what he wants.

A Cold Day in August examines an authentic journey for a young boy who experiences his first sexual awakening with an older woman. And their socially unorthodox relationship not only serves the film’s exploitative narrative it comes across quite genuine because of Albright’s very real sexual magnetism and the attraction by an impressionable boy.

Hey you need a hair cut boy hasn't your mother told you?
“Hey you need a hair cut boy hasn’t your mother told you?”

Of course the film works on the level of titillation & taboo because Iris is not only older than Vito, she is ALL woman and then some for any man. She would be considered a tramp because she used to take her clothes off for a living. Her ex-husband comes back into the picture and pleads with her to fill in for a week in NYC, but that life was far gone by now.

When Iris first seduces Vito she feeds him a dish of ice cream after he fixes her air conditioner. It’s as if she’s rewarding a little boy for doing a good job. In the midst of these queer moments where she desires him yet infantilizes him, they do carry on a sexual relationship. Iris is a free sexual being who makes no apologies for who she is. It doesn’t take too long before Vito realizes that he’s way out of his league, but Iris does initiate him into the world of sex.

I have come to adore Lola Albright this year. In A Cold Wind in August she manifests a kind of existential sensuality as she can offer a nurturing kiss and then go on to take what she needs. She yearns for pleasure which is literally illustrated by her stripper costume of a sort of Queen of Outer Space gold lamé number complete with eye mask, it’s alluring and vulturous at the same time.

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Iris strokes Vito’s face tenderly “You’re a baby… such a beautiful baby” 


THE HUSTLER with PIPER LAURIE as Sarah Packard

Sarah Packard: How did you know my name was Sarah? Fast Eddie: You told me. Sarah Packard: I lie. When I’m drunk I lie. Fast Eddie: Okay, so what’s your name today? Sarah Packard: Sarah.

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Robert Rossen (The Strange Loves of Martha Ivers 1946, All the Kings Men 1949, Billy Budd 1962 & Lilith 1964) wrote of all his films, they “Share one characteristic: The hunt for success. Ambition is an essential quality in American society.”

The Hustler is the story of Fast Eddie Felson (Paul Newman) who has a penchant for self punishment and self destructiveness and in his cockiness likes to take on high stakes pool games. He has a dream of bumping Minnesota Fats (Jackie Gleason) off the pedestal of fame. Eddie and Fats meet up and by the end of a very long marathon, Eddie is wiped out and whipped, which doesn’t help his enormous ego.

Eddie meets Sarah (Piper Laurie), a highly educated modern woman. She’s an independent loner, a bit morose, a bit jaded, but somehow she allows Eddie to work his charms on her until she is hooked. Still no matter what happens in the end, Sarah Packard speaks her mind and lives life on her own terms…

Sarah has a physical disability as she walks with a limp, and is referred to as a cripple.

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Finally, as the film progresses, whether Sarah feels that she is perverted and twisted because she sleeps with the repugnant opportunist Bert Gordon (George C. Scott) or drinks too much, or has the need to be loved because of her physical disability, Sarah Packard is such a real character that it breaks your heart.

Tensions arise when manager Bert Gordon signs on to promote Eddie. He’s a shady predator who tries to drive a wedge between Eddie and Sarah, and takes advantage of her one night while Eddie’s away.

Sarah reads poetry and uses alcohol as a way to balm her loneliness, but there’s a strength in her honesty that is very endearing. Talk about guts, Piper Laurie wanted to get a feel of authenticity for her character and so she hung out at the Greyhound Bus Terminal at night.

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IMDb fact: Piper Laurie didn’t make another film for the next 15 years, devoting the time to her marriage and raising her only daughter. She returned to the screen in 1976 in ‘Brian de Palma”s Carrie (1976), earning her second Oscar nomination.

And we all know how bold that performance was…. memorable & cringe-worthy!

At the party that Bert invites Sarah to come to, he whispers something in her ear that makes her toss her drink and run away in tears. The actress talked about this scene in her autobiography. She had met up with George C Scott many years later and “I finally asked him what he had whispered into my ear in the big party scene in The Hustler that elicits a violent response from me. We shot it perhaps three or four times and I could never figure out what he was saying… He told me he chose to use just gibberish, knowing he could never invent words or phrases as powerful as what my imagination could summon up. Probably true.”

That was a very cool approach to the scene which came off beautifully!

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The words Sarah writes on the mirror are “perverted”, “twisted” and “crippled”.
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Sarah Packard: I’m a college girl. Two days a week – Tuesdays and Thursdays – I go to college. Fast Eddie: You don’t look like a college girl. Sarah Packard: I’m the emancipated type. Real emancipated. Fast Eddie: No, I didn’t mean that… whatever that means. I mean you just don’t look young enough. Sarah Packard: I’m not. Fast Eddie: So why go to college? Sarah Packard: Got nothing else to do on Tuesdays and Thursdays. Fast Eddie: What do you do on the other days? Sarah Packard: I drink..

THE MISFITS with MARILYN MONROE as Roslyn Tabor

Roslyn: “If I’m going to be alone, I want to be by myself.”

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The Misfits was initially written as a short story by Arthur Miller who was actually waiting for his divorce in Reno to go through before he could marry Marilyn Monroe. Based on a short story in Esquire Magazine, he specifically wrote it for his then wife Marilyn Monroe.

A beautiful divorcée Roslyn Tabor (Marilyn Monroe) who has been put through hell, takes up with a faded cowboy Gay Langland who is still strutting like a lady’s man in early-sixties Nevada. He’s a rugged individualist who wants nothing to do with earning wages. At first she meets up with Isabelle Steers played by the inimitable Thelma Ritter who can throw out a one liner like no one else, anything out of her mouth is gold.

Roslyn is in Reno to divorce her husband Ray. She meets up with Guido (Eli Wallach) who is building his ‘unfinished’ dream house for a wife who died during child birth years ago, yet he still holds a candle to her memory and suffers from WWII bombing raids He sets his sights on Roslyn but his friend Gay Langland (Clark Gable) a crusty old cowboy moves in first and the two start a tenuous relationship. Roslyn is kind and loves all animals, and still thinks kindness is always just around the corner.

Montgomery Clift plays an ambiguously sexual bachelor who drinks to try and take the pain away. All four are non-conformists who begin to form a type of family. Roslyn is thoughtful and sensitive and Gay is a typical male on the prowl. Along for the ride is Perce Howland (Montgomery Clift) who is the most trusting and kind. He is not committed to trapping the horses for pet food, and wishes to stop it too. The horses that roam free are symbolic of the beautiful spirit that Roslyn possesses. A bit sad but tender and kind. Roslyn tags along on a trip up in the mountains with Gable, Eli Wallach and Monty Clift much to Roslyn’s horror that they are capturing horses in order to sell them for dog food.

Marilyn meets Isabelle Steers right after her divorce is granted by the Washoe County Courthouse
Roslyn (Marilyn) meets Isabelle Steers (Thelma Ritter) right after her divorce is granted by the Washoe County Courthouse.

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Roslyn: If I’m going to be alone, I want to be by myself.

Marilyn Monroe later said that she had hated both the film and her own performance. I feel like she is selling herself short. She managed to navigate around the incredible testosterone on screen and off. Perhaps it was her innate sadness that shone through, but she brought a tremendous sensitivity that was an inner sort of beautiful… The Misfits is probably one of my favorite performances by Monroe, it seems like a close look into her sad yet dreamy soul.

A RAISIN IN THE SUN with RUBY DEE as Ruth Younger, CLAUDIA MCNEILL as Mother Lena Younger and DIANA SANDS as Beneatha Younger

Lena Younger crying “Oh God, please, look down and give me strength! “

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Lena Younger crying “Oh God, please, look down and give me strength! “

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A RAISIN IN THE SUN, Claudia McNeil, Ruby Dee, 1961
A RAISIN IN THE SUN, Claudia McNeil, Ruby Dee, 1961

Written by Lorraine Hansberry for the stage then adapted to film and directed by Daniel Petrie

Sometimes there are films and stories that I just immediately have to say “It’s some powerful good.” Maybe it comes from watching a lot of The Andy Griffith Show that has rubbed off on my conversational style. But regardless, A Raisin in the Sun is some powerful good! That’s what happens when an ensemble of incredible actors get together and tell a poignant story about family struggles, in particular, a Black family struggling in a privileged world that works very hard to keep Black people on the ‘outside’ of success, making them continually grasp at that mythical American Dream that just doesn’t exist, at least for most people.

Directed by Daniel Petrie  a story about racial oppression and assumptions. Illustrated vividly in the scene with the marvelous character actor John Fiedler who plays Mark Linder. from the Clybourne park un- “welcoming committee.”

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The woman form a strong wheel that keeps the family moving even when Walter Lee Younger (Sidney Poitier) takes his time coming to terms with his pride.

Mama Lena lived in a time where Black folk had fought so hard during the Civil Rights movement to witness a generation of young Black people to demand and obtain their rights. But there exists in the home a generation gap between her and her children. Walter Lee is a very proud young man who is frustrated with just being a chauffeur. When Lena’s husband’s insurance policy comes to the family, they each have ideas of how to spend it. Three very strong female characters satellite around one man whose identity rests on false notions of success reflected back at him through the lens of a white social class. But Walter Lee is continuously grounded by the strength of the women around him.

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Diana Sands as Beneatha (Dropping to her knees) “Well – I do – all right? – thank everybody! And forgive me for ever wanting to be anything at all! (Pursuing Walter on her knees across the floor) FORGIVE ME, FORGIVE ME, FORGIVE ME!” Beneatha sarcastically apologizes for having dreams. To Walter, her dream seems kind of far-fetched. However, Beneatha is determined and she stands up to her brother for her right to want to become a doctor.

Beneatha is a progressive woman who railed against being a traditional wife and mother. She was way too independent and a strong female figure for 1962.

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1962*

Cléo FROM 5 TO 7 with CORINNE MARCHAND as Cléo

Florence, ‘Cléo Victoire’: Everybody spoils me. Nobody loves me.

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Cléo is a famous French Chanteuse awaiting the results of a biopsy. She is afraid that she will be told that she has cancer. We as are the spectators we watch Cléo spend two hours in her day until she finds out whether she is going to die. Sounds morbid, but director Agnès Varda (Varda herself was Bold & Beautiful– trained as a master photographer… and at the core or the soul of the French New Wave Cinema) weaves a whimsical visual dance as Cléo walks through the hours of her possibly tenuous life. The film is marvelous and Corinne Marchand as Cléo is a very captivating figure. In France it is said that the hours between five to seven are when lovers gather. Cléo wants to just keep moving in hopes of avoiding the results of her test. Throughout Cléo’s journey she is subtly restrained by the knowledge that she may be dying. Even as she sings torch songs, shops for hats and walks through the streets of Paris.

At 5pm she even visits a Tarot Reader. And just from experience, pulling The Hanged Man in a tarot reading is never really a good thing. And of course Death shows up as well. And the Death card should never be regarded as literal, but under the circumstances it would be frightening to a woman waiting for test results. She asks the woman to read her palm but she refuses, and so Cléo leaves frustrated.

Throughout Cléo wanderings, there are little interactions that lay on the periphery. Knowing that death could be looming overhead, Cléo seems to develop a heightened sense of awareness, even if the actions of  unessential characters are truly incidental surrounding Cléo while she is walking through her two hours.

Cléo wanders through out the streets of Paris with her maid in tow or her friend the nude model. The next stop is at the hat shop, where she proceeds to try on many fashionable hats. Several mirror shots showcase the use of iconography of the female image as seen reflecting back. Cléo looks magnificent in even the most outrageous of hats.

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Cléo and her maid come back to her apartment, that has a nice vast playful quality to it, with a piano, and a wonderful swing, and of course an opulent bed. Cléo reposes in her bed like royalty, as two fluffy kittens toss each other around. José Luis de Vilallonga credited as The Lover comes to see her. There doesn’t seem to be much passion between the two.

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great filmmaker Agnès Varda who fills the screen with photographic images so beautiful so rich… She too is bold & beautiful!

SATAN IN HIGH HEELS with GRAYSON HALL as Pepe

“You’ll EAT and DRINK what I SAY until you lose five pounds IN THE PLACES WHERE I SAY!” -Pepe

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I couldn’t resist paying homage to at least one exploitation film seeing this is about the 60s! With a flavor and atmosphere of night club noir surrounded by decadence and the sordid lives of it’s inhabitants it comes across with a low budget appeal, Satan in High Heels was filmed in New York’s old La Martinique cabaret. This isn’t a film about immorality, it’s plainly just some high art sleaze that is so fun to watch, mainly because of Grayson Hall. Hall has a languid graveled voice that is almost intoxicating to listen to. Putting aside the other two leading ladies voluptuous Sabrina who plays herself, Meg Myles as Stacy Kane a second rate stripper whose wardrobe consists of various leather outfits and riding crop, it’s Grayson Hall (of Dark Shadows fame) that brings the story to a boil as the ultra domineering Pepe– as cool as the center seed of a cucumber.

She’s jaded and cynical and is a New York City kind of Marlene Dietrich with her quick asides and Sapphic strut. Even when she’s taking long drags of her cigarette she can deliver a curt line that cuts to the point, “Bear up, Darling, I love your eyelashes.”

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After Stacy working the carnival circuit discovers her ex husband hanging around the dressing room with a load of cash, she grabs the doe and heads to New York City. Once she arrives she auditions at a night club as a singer, and is hired by the libidinous Pepe who wants to do a Pygmalion on the tramp. Belting out torch songs like “I’ll beat you mistreat you til you quiver and quail, the female of the species is more deadly than the male.”  Neither Stacy (Meg Myles) or Sabrina (Norma Ann Sykes) Yikes get points for being buxom.

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Couldn’t resist this shot–Sabrina plays herself… Sabrina

It’s Pepe who is sophisticated and wicked that makes you quiver & quail? Hmmm I need to look that up!

THE L SHAPED ROOM with LESLIE CARON as Jane Fosset

“Everybody can’t wait to help me get rid of it!”-Jane

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Pregnant by this guy who offers her money to get rid of it
She is pregnant by this guy who offers her money to get rid of it!

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When it’s Bryan Forbes (Seance on a Wet Afternoon 1964,The Stepford Wives 1975) directing you know to expect something deeper and quietly intense. In The L Shaped Room Leslie Caron plays Jane Fosset a melancholy unmarried woman who is pregnant and on her own. She takes a room in a boarding house in London. While there Jane meets all the inhabitants of the decadent house where there dwells a collection of various misfits and outliers of society. Two working girls of the night persuasion, Pat Phoenix as Sonia, the man-eating Landlady who isn’t quite friendly, and the lovely old lesbian Mavis (Cicely Courtneidge).

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Cicely Courtneidge as Mavis the kind neighborly Lesbian

And then there’s the struggling on edge Toby (Tom Bell) who is a writer living on the first floor. The two strike up a relationship, as Jane decides whether to get an abortion or keep the baby. There’s also Johnny a black Jazz Musician ( Brock Peters) who gets upset when Jane and Toby start a sexual relationship. The story is human and moving and as deeply whimsical as the tenants who come and go. Leslie Caron is superb as a solitary girl with a serious dilemma, so much so that she was nominated for Best Actress. Caron is splendid as Jane who manifests a courage and striking dignity to live life on her own…

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1963*

THE BIRDS with TIPPI HEDREN as Melanie Daniels

Mitch Brenner: What do you want? Melanie Daniels: I thought you knew! I want to go through life jumping into fountains naked, good night!

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Alfred Hitchcock’s cautionary tale based on Daphne du Maurier’s best selling novel. The Birds was Hitchcock’s film , that not only demonstrated the precarious security of everyday life by contrasting a quaint California seaside town inexplicably besieged by angry birds. One of Hitchcock’s most frequent theme is the precariousness of social order and morality. And the introduction of Tippi Hedren as Melanie Daniels definitely shakes things up. There’s almost a supernatural connection, if not the mere symbolic one.

I couldn’t resist Tippi Hedren as Melanie Daniels who is no shrinking violet. She may be a relatively straightforward central protagonist – the rich spoiled girl from the big city whose complacency is then severely shattered. Melanie is still an independent woman who mostly keeps it together right up to the end. Okay once she’s trapped in the attic she sort of goes a bit fetal but come on people the natural world is attacking! –with beaks and claws!

Behind the scenes she might have had a mini melt down thanks to Hitchcock’s maneuvering to have her attacked for real. Melanie Daniels ascends into Bodega Bay like the birds, she is a warning of the dangers of strong, and non-conformist women, especially strong willed sexually free women. Are the people being attacked by just the birds or is the strength of Melanie Daniels presence to tear apart the claustrophobic relationship between son and mother and the quiet conventional community.

From Carol Clovers Men, Women and Chainsaws -Her Body, Himself.
in Poe’s famous formulation , the death of a beautiful woman is the “most poetic topic in the world.”

Hitchcock during the filming of The Birds said: “I’ve always believed in following the advice of the playwright Sardou”. He said ‘Torture the women.’

Clover comments that what the directors don’t reveal out loud about the women in peril theme is that “women in peril are at there most effective when they are in a state of undress” and assailed by a totally phallic enemy.

Melanie Daniels while trapped in the attic and justifiably shaken from the ordeal does not lose her ability to protect herself and give up and die.

In one of the most vivid and unforgettable scenes in film history (I would wager my one-of-a-kind Columbo doll that other people agree) is when Melanie is waiting outside the schoolhouse sitting on the park bench with the jungle-gym behind her. She sees a few birds gathering on it. As Hitchcock is known to do, he drags out the suspense until we are at the very edge. She sees a few more birds join in. She lights up a cigarette, as this extends the scene further. There isn’t the composed style of filming a scene where it would go right to the fright factor. Hitchcock manipulates Melanie and us the spectator. Once more she follows the movement of another crow heading toward the jungle-gym which now is revealed has hundreds of birds waiting to attack…!

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Melanie Daniels: I have an Aunt Tessa. Have you got an Aunt Tessa? Mitch Brenner: Mm-mm. Melanie Daniels: Mine is very prim and straight-laced. I’m giving her a mynah bird when she comes back from Europe. Mynah birds talk, you know. Can you see my Aunt Tessa’s face when this one tells us one or two of the words I’ve picked up at Berkeley? Mitch Brenner: You need a mother’s care, my child. Melanie Daniels: [pause] Not my mother’s. Mitch Brenner: Oh, I’m sorry. Melanie Daniels: What have you got to be sorry about? My mother? Don’t waste your time. She ditched us when I was eleven and ran off with some hotel man in the East. You know what a mother’s love is. Mitch Brenner: Yes, I do. Melanie Daniels: You mean it’s better to be ditched? Mitch Brenner: No, I think it’s better to be loved. Don’t you ever see her? Melanie Daniels: [pause] I don’t know where she is.

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Tippi Hedren and children in a scene from THE BIRDS, 1963.

HUD with PATRICIA NEAL as Alma Brown

“Boy… somebody in this car smells of Chanel No. 5, It isn’t me, I can’t afford it!”

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Directed by Martin Ritt and based on Larry McMurtry’s novel. From -Drew Casper Postwar Hollywood from 1946-1962 “Ritt Caught the parched, circumspect, empty quality of a middle-class WASP life in a Texan cattle community.”

The raspy attractiveness of Patricia Neal can make any film worth watching. In Hud she conveys a weary yet wise housekeeper/mother figure for the elderly widower Rancher and the Bannon men Hud and Lonnie. She has to deflect all the lustful advances by Hud, but she has grown comfortable with the blueness of her isolation, and has made peace with her troubling past. She handles the volatile Hud (Paul Newman) and nurtures the impressionable Lonnie (Brandon deWilde)

Patricia Neal won an Academy Award for playing the housekeeper Alma in Martin Ritt’s Hud, although she only appears in the film for 22 minutes! James Wong Howe creates a desolate, moody sense of Americana with his cinematography and Elmer Bernstein contributes his magnificent score.

Patricia Neal was particularly proud of one unscripted moment that made it into the film. While talking to Hud about her failed marriage, a huge horsefly flew onto the set. Just as she says she’s “done with that cold-blooded bastard,” she zaps the fly with a dish towel. Martin Ritt loved it and printed the take.

Paul Newman is the cold blooded Hud Bannon. He’s a ruthless reckless cowboy and a heartless uncaring miscreant who hurts everyone in his life. He’s self confident, drives a pink Cadillac and when he’s not swaggering slow like he’s a meandering playboy, who still lives on the isolated farm with his elderly father and his nephew Lonnie (Brandon deWilde) who worships him, he’s sleeping around.

Melvyn Douglas plays Homer Bannon, his father whom he clashes with. His father is a righteous man, filled with principles but his son is a self-indulgent outlier of society who cares for nothing and no one. Life is just about having ‘kicks’ It was that time in film history that the youth archetype were all looking for those ‘kicks’

Hud’s amoral lifestyle and the struggle between the good people who satellite around him create a dismal world for everyone. Alma and Hud develop a sexual banter between them. She’s attracted to his prowess and his good looks, but Hud only sees her as the help. He want’s what he can’t have, so she is a challenge to him that’s all. But Hud is abusive to Alma, he even parks his Cadillac in her flower bed.

Alma has a hearty strength and takes all the masculine posturing with stride. She’s as laid back as a cat taking a nap in the sun. Alma too has a sensuality that lies open, on the surface as she flirts with Lonnie and is aroused by Hud’s beautiful torso. The theme that is underlying through out Hud or I should say Alma’s part in the narrative is that women like to be around dangerous men. Alma doesn’t expect anything from Hud, understanding his nature all too well. He possesses a merciless kind of sexual desire that cannot be satisfied. But Alma does create a conflict for him…

In his cynical exchanges with Alma, he is contemptuous toward women and boasts a sexual confidence, that makes him one cocky bastard. But Alma is not a child nor is she an inexperienced woman. she is equally world weary and is titillated by his sexual innuendos.

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Hud Bannon: Man like that sounds no better than a heel. Alma Brown: Aren’t you all? Hud Bannon: Honey don’t go shooting all the dogs ’cause one of ’em’s got fleas. Alma Brown: I was married to Ed for six years. Only thing he was ever good for was to scratch my back where I couldn’t reach it. Hud Bannon: You still got that itch? Alma Brown: Off and on. Hud Bannon: Well let me know when it gets to bothering you.

Patricia Neal and Newman in Hud

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Neal and Newman
Hud Bannon: I’ll do anything to make you trade him. Alma Brown: No thanks. I’ve done my time with one cold-blooded bastard, I’m not looking for another. Hud Bannon: Too late, honey, you already found him.

1964

NIGHT OF THE IGUANA with AVA GARDNER as Maxine Faulk

Directed by John Huston based on the story by Tennessee Williams, Night of the Iguana.

John Huston loved placing a group of interesting people in a landscape that was inhospitable and sweltering.

Ava Gardner as Maxine Faulk is a sultry beauty that inhabits the tropical night like a panther moving through the brush.

A defrocked Episcopal clergyman the Rev. T Lawrence Shannon (Richard Burton) working as a tout guide in Mexico leads a bus-load of middle-aged Baptist women and a teenage girl on a tour of the Mexican coast. It is there that he wrestles with the failure and doubts that haunt his wasted life. While temporarily stranded he takes respite with Maxine who runs the small out of the way hotel. Ava Garner wields heavy dose of sensuality as she burns up the screen with her raw and unbound sexuality. Surrounded by young men whom she swims with at night. And not taking any crap from the busload of repressed Baptists and Sue Lyon as a young Nymphomaniac.

Shannon was kicked out of his church when he was caught with one of his parishioners, and now Charlotte Goodall (Sue Lyon) is a troublesome nymph chasing after him provocatively. Her guardian is Judith Fellowes (Grayson Hall) an uptight lesbian who seems to hate all men, bus rides and humid weather besides. When Fellowes catches Charlotte in Shannon’s room she threatens to get him in trouble, so he enlists the help of his friend Maxine Faulk, and leaves the group stranded at her remote hotel.

Once Hannah Jelkes (Deborah Kerr) and her elderly grandfather arrive, the atmosphere seems to shift and Shannon is confronted with questions of life and love. Everyone at the hotel has demons and the rich and languid air seems to effect everyone… Ava Gardner as Maxine waits patiently for Shannon to realize that they could have a passionate life together if he’d stop torturing himself..

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Judith Fellowes: (Grayson Hall) [Yelling at Shannon] You thought you outwitted me, didn’t you, having your paramour here cancel my call. Maxine Faulk: (Ava Gardner) Miss Fellowes, honey, if paramour means what I think it does you’re gambling with your front teeth.
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Hannah Jelkes: Who wouldn’t like to atone for the sins of themselves, and the world, if it could be done in a hammock with ropes, instead of on a Cross, with nails? On a green hilltop, instead of Golgotha, the Place of the Skulls? Isn’t that a comparatively comfortable, almost voluptuous Crucifixion to suffer for the sins of the world, Mr. Shannon?
The Night of the Iguana (1964) Directed by John Huston Shown: Ava Gardner (as Maxine Faulk), Richard Burton (as Rev. Dr. T. Lawrence Shannon)
Maxine Faulk: So you appropriated the young chick and the old hens are squawking, huh? T. Lawrence Shannon: It’s very serious. The child is emotionally precocious. Maxine Faulk: Bully for her. T. Lawrence Shannon: Also, she is traveling under the wing of a military escort of a butch vocal teacher.

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From Ava Gardner: “Love is Nothing” by Lee Server
Ava Gardner loved the chance to work with director John Huston.

The play had opened on Dec 28th 1961 at Broadway’s Royale Theatre with Bette Davis, Margaret Leighton and Patrick O’Neal.

“A typical Williamsian study of desire, dysfunction and emotional crisis. set in a frowzy Acapulco Hotel where defrocked alcoholic horny minister now tour guide The Rev T Lawrence Shannon haphazardly battles for his salvation aided and abetted by lusty innkeeper Maxine Faulk and wandering spinster Hannah Jelkes.”

Producer Ray Stark regarded the film’s formula should be a “mix of soul-searching, melodrama and lowlife exotica” which would capture Huston’s imagination.

Ava was cast to play the ‘earthy widow’ Maxine- Huston considered Gardner perfect as she was a Southern actress with ‘feline sexuality’. perfect to play one of Tennessee Williams’hot-blooded ladies!’

Ava Gardner wanted the role to be really meaningful. She did have several volatile scenes, for instance when she is exasperated by Shannon, to spite him Maxine impulsively rushes into the ocean to frolic with her two personal beach boys.

According to the book, “Ava had become sick with fear— of the physicality of the scene (how could she not look bad falling around in the water with her hair all soaked?), the sexuality of it (the two boys roaming all over her body as the surf rolled across them). and the physical exposure (the scene called for her to be wearing a skimpy bikini) Huston told her in that case, kid they would rewrite and shoot the scene at night and with minimal lighting. As she got more uncomfortable Huston suggested that she simply go in the water in her clothes (Maxine’s ubiquitous poncho too and toreador pants). ‘It’ll look more natural like that anyway’- Huston said.”

Houston even waded into the water with her, they had a few drinks, he held her hand and waited til she was ready to shoot the scene. And it came out beautifully with one take!.

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THE KILLERS with ANGIE DICKINSON as Sheila Farr

Johnny -“Pretty Cool aren’t you Miss Farr”
Sheila “Only when there’s nothing to be excited about”

Angie THe Killers 1964

Directed by Don Siegel This remake of Ernest Hemingway’s taut thriller has been given a 60s sheen of vibrantly slick color. In contrast to Robert Siodmak’s masterpiece in 1946. The femme fatale in this Post-Noir film is Angie Dickinson as opposed to Ava Gardner.

Don Siegel’s 1964 adaptation of Ernest Hemingway’s short story The Killers is quite a horse of a different colour. first off the obvious is that it is not in haunting B&W… The double – crosses are still in the picture. the big heist and the hidden doe…

And we don’t have Ava Gardner, but we do get Angie Dickinson. Cassavetes is a race car driver Lancaster was a mechanic… we don’t have the primal sexuality of Burt Lancaster we have the pensive arrogance of John Cassavetes.

The viewpoint of the story is not seen through the eyes of the victim, but the Kiilers who want to understand why the protagonist just stands there and lets himself be gunned down in cold-blood “just stood there and took it.

While Siodmak’s version is drenched in shadow and nuance, Siegel’s version is gorgeously played out like a taut violin string in the brightly mod colors of a 60s world. It was no longer the year of the dark and dangerous femme fatale that hinted at promises of a sexual joyride alluded to with suggestive dialogue and visual iconography. Now we have Angie Dickinson’s character Sheila Farr a modern sexually liberated woman who struts her stuff in the light of day.

In exchange for the two odd misanthropes —William Conrad and Charles McGraw as Al & Max who walk into the diner and make the first 12 minutes of the ‘46 classic incredibly memorable and a noir essential— now we have Lee Marvin and Clu Gulager as a snarling thug and a creepy neurotic. Henry Mancini scored the music for 1964 slick production which became a 60s cult classic and Miklós Rózsa scored the 1946 noir masterpiece

The two hit men Lee Marvin and Clu Gulager walk into a school for the blind and shoot down John Cassavetes. On the way back to Chicago Marvin’s character wants to know why he didn’t try to run when he had the chance. Also told in flashback, it pieces together the reason for him wanting to die. After Cassavete’s is washed up as a race car drive when he has a near fatal crash- he takes up with crime boss Ronald Reagan and tries to steal his woman- Sheila.

Lee Marvin The Killers 1964

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Angie on the set of The Killers The Red List

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Johnny -“You have money written all over you what do you want with me?” Sheila- “A hamburger and a beer” Johnny “na na I’m serious” “You know my story…. I’m pretty” Johnny-“and what does that make me?” SheilaSomebody I admire somebody I’d like to know “ Johnny -“put it in English Sheila “Alright, you’re a winner and I don’t like losers cause I’ve been around them all my life. Little men who cry a lot. I like you do I have to write a book?

DEAD RINGER with BETTE DAVIS as Margaret DeLorca & Edith Phillips

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Margaret: “Oh Edie I wanted to marry Frank so desperately” Edie “But you never loved him, you never made him happy… you ruined both our lives.”
Margaret “I’ll make it up to you. Remember remember when we were children? You were the one person I really loved.”

Edie“LOVED!!!!! You never loved anybody but yourself. Margaret “You have all the time in the world to find happiness. You can get rid of this place. You can get rid of it and take a trip.” Edie-“To outer space!” Margaret- “Money’s no object. How much would you like?- “YOU haven’t got that much!” ( Edie smacks the money out of Margaret’s hand.)

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Margaret DeLorca: You really hate me, don’t you? You’ve never forgiven me in all these years. Edith Phillips: Why should I? Tell me why I should. Margaret DeLorca: Well, we’re sisters! Edith Phillips: So we are… and to hell with you!

I simply couldn’t choose the 60s and not include a little psycho-melodrama, a bit of Grande Dame Guignol–without including my favorite of all… Bette Davis. Directed by actor/director Paul Henreid this extremely taut suspense thriller starring Bette Davis in two roles is a captivating story that grips you in the guts from beginning to end.

It’s 1964 Los Angeles and Bette plays twin sisters Margaret de Lorca and Edith Phillips.The film opens at Margaret’s husband’s funeral. The two sisters haven’t seen each other in twenty years.

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Bette and Karl

Margaret has married very rich, with the man that Edith had planned on marrying. Edith lives a modest life and is dating a very fine police officer Sgt Jim Hobbson played by the wonderful Karl Malden. He loves his Edie who has a little jazz bar, is kind and simple and doesn’t share the arrogance and ruthless nature like Margaret. Margaret tricked Frank into marrying her, claiming she was pregnant.

One night Margaret comes to visit Edie and insults her by offering her some cheap clothes as a hand off plus Edie learns from the chauffeur that the pregnancy was all a lie. That Margaret ruined her chances of happiness. Adding to Edie’s troubles the property agent has give her the boot, since she’s 3 months late with the rent.

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Money's no object how much? You haven't got that much Now sit down!

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In a moment of rage with several ounces of premeditation -Edie shoots Margaret, assuming her identity, hopping into her sisters chauffeured limo and moving into the great house with servants and wealthy snobbish friends. Unfortunately it’s only a matter of time before Margaret’s smarmy lover Tony (Peter Lawford) shows up and discovers right away about the masquerade. Of course he blackmails Edie for his silence. Also Detective Jim Hobbson starts coming around thinking that Edith’s death was suspicious and not a suicide. What makes the film interesting is how Jim is the one person who could recognize Edie behind the elegant clothing, and at times there is a spark of awareness, but it just might be too late for Edie playing Margaret to turn things around. One particular exchange that is wonderful is the unspoken sympathetic relationship between Edie and Henry the quintessential Butler played Cyril Delevanti who has the most marvelously time worn face.

Cyril Delevanti Dead Ringer

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Continue reading “The Classic Movie History Project Blogathon: the 60s: The Bold & The Beautiful”

The Women of Alfred Hitchock’s Hour (1962-1965)

This review is part of the Summer of MeTV Classic TV Blogathon hosted by the Classic TV Blog Association.

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THE ALFRED HITCHCOCK HOUR

Concerto Sinostro- The Alfred Hitchcock Hour- Seven Exceptional Episodes

Alfred Hitchcock the television years: 8 indelible episodes!

There were 93 EPISODES in the series.

Alfred Hitchcock and Crow

“GOOD EVENING…

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 it’s 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 10pm and the idea of watching a dreadfully good mystery even for such a young impressionable mind as my own! The timpani as 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 10pm-11pm on CBS. It ran opposite Alcoa Premier Theater on ABC and The Andy Williams Show on NBC. from 1963 -1964 it moved to Friday nites and then from 1964-1965 it found it’s 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 along side the other writers on staff. Bloch’s work was only dramatized by other writers when his commitment with the competing anthology show wasn’t calling for his time. That show was Boris Karloff’s Thriller. Bloch recalls producer and part of the creative team Joan Harrison as a remarkable lady who went from secretary to screenwriter to independent producer with a unique vision.

Norman Lloyd had a certain style of speech and mannerism 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’s Saboteur 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

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, 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, 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, Joan Harrison, Ella Raines and Franchot Tone on the set of Phantom Lady
Director Robert Siodmak, producer Joan Harrison, Ella Raines and Franchot Tone on the set of Phantom Lady 1944

Executive Producers on the showNorman Lloyd and Joan Harrison are partly what made the series so enigmatic. Producers included Herbert Coleman, Robert Douglas, David Friedkin, Gordon Hessler, Roland Kibbee and David Lowell Rich.

The cinematographers who worked on various episodes included Stanley Cortez, Benjamin Kline, Lionel Linden, William Margulies, 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 veteran Bernard Herrmann and 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!

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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

Robert Bloch writer
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 hours worth of programming, still employing Hitch’s classic introductory droll prologue. And where Karloff’s Thriller painted the stories with a more macabre brush stroke, Hitchcock’s anthology show presented these criminal acts in two parts in a most ironic and irreverent manner…

According to John McCarty, Hitchcock made the shift from half hour show to the 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 it’s stories of the macabre and the uncanny, Rod Serling’s The Twilight Zone with it’s 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 it’s pithy precedent Alfred Hitchcock Presents!

While Alfred Hitchcock Presents might have provided a shorter more enlivened ride to the turn of 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.

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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!

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“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.

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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!

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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.

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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.

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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.

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Cinematographer John L. Russell’s incredible shots of Jessica Tandy in The Glass Eye

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“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!

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Dana Wynter and T.C. Jones in An Unlocked Window–nurses in peril oh my!
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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!….

DON’T LOOK BEHIND YOU (9/27/62) VERA MILES as Daphne

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Vera Miles as Daphne and devilishly handsome Jeff Hunter in Don’t Look Behind You
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Fear grips the campus and Vera Miles… Abraham Sofaer watches Daphne go out into the dangerous night woods

Directed by John Brahm, written by Barré Lyndon (The War of the Worlds 1953) Based on Samuel Rogers novel co-stars Jeffrey Hunter, Abraham Sofaer, Dick Sargent, Alf Kjellin, Mary Scott, Madge Kennedy.

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.”

CAPTIVE AUDIENCE (10/18/62) ANGIE DICKINSON as Janet West

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Actors Ed Nelson and Arnold Moss listen to the recordings sent by the plagued Warren Barrow. Is he a murderer?
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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 and William 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 sexy Angie Dickinson) who wants Warren to kill her husband so they can be together. Ed Nelson plays 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…”

FINAL VOW (10/25/62) CAROL LYNLEY as Sister Pamela

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“Oh sister not tears again… you’ve cried a whole river these past weeks”-Sister Jem

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Directed by Norman Lloyd, story and teleplay by mystery writer Henry Slesar (Alfred Hitchcock Presents, The Twilight Zone, Two on a Guillotine 1965, The Man From U.N.C.L.E. 1966, Batman 1966, Run For Your Life ’66-67 Circle of Fear 1972, McMillan & Wife 1974, Tales of the Unexpected 1981-1984) co-starring Clu Gulager  Isobel Elsom Carmine Phillips, Charity Grace.

Carol Lynley is Sister Pamela who on the eve of taking her final vows has a crisis of faith. Sister Pamela fears that she might just be hiding from the world. The Reverend Mother (Isobel Elsom) sends Pamela and Sister Jem (Charity Grace) on a mission to collect a valuable statue of Saint Francis that is being donated to the convent by reformed gangster William Downey (R.G. Armstrong).

On the way back to the convent, the lovely young novice is fooled by slick hoodlum/loser Jimmy Bresson (Clu Galager who is terrific at being smarmy) who stalks train stations stealing bags. Pamela is filled with guilt having let down her dying mentor Sister Lydia (Sara Taft) She leaves the order and submerges herself in the sleazy jungle where Jimmy works and socializes in order to find the statue and redeem herself. Lynley is another underrated actress who delivers an extremely poignant performance as a girl at the crossroads of her life. She has an endearing innocent beauty that is genuine and charismatic.

Sister Pamela-“Sorry Sister Jem, I have only myself to blame.”

Sister Jem-“You’re not thinking of… what we spoke of the other day?”

Sister Pamela-“I haven’t been thinking of anything Sister. I’ve tried not to think.”

Sister Jem-“Have you prayed?”

Sister Pamela-“Sister… I’ve prayed for humility and obedience. But there was no answer in my heart Sister Jem… only silence!

ANNABEL (11/1/62) SUSAN OLIVER as Annabel Delaney

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“you’ve been pretending so long… you don’t know what’s real and what isn’t”-Annabel

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Annabel-“David, what is my picture doing here? David who lives here?”

Directed by Paul Henreid, written by Robert Bloch, novel by Patricia Highsmith (she wrote the original story for Hitchcock’s Strangers On a Train 1951) costarring Dean Stockwell, Kathleen Nolan, Gary Cockrell, Hank Brandt, Bert Remsen.

Dense browed Dean Stockwell plays research chemist David Kelsey who is hopelessly in love and obsessively fixated on Annabel (the wonderful Susan 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!

BONFIRE (12/13/62)DINA MERRILL as Nora & PATRICIA COLLINGE as Naomi Freshwater

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Directed by Joseph Pevney teleplay William D Gordon and Alfred Hayes based 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.”

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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.”

WHAT REALLY HAPPENED (1/11/63)ANN FRANCIS as Eve Raydon & RUTH ROMAN as Addie

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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!”

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Directed by Jack Smight with a teleplay by Henry Slesar, based on the story by Mary 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 Francis as 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’s A Children’s Hour. Eve is married to a stuffed shirt named Howard ( Gene Lyonsthe 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.”

A TANGLED WEB (1/25/63)ZOHRA LAMPERT as Marie

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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%22
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.”

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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 Lampert plays 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.”

THE PARAGON (2/8/63) JOAN FONTAINE as Alice Pemberton

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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 by Irene 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!

THE LONELY HOURS (3/8/63)NANCY KELLY as Mrs. J. A. Williams / Vera Brandon & GENA ROWLANDS as Louise Henderson

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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….”

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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.

THE STAR JUROR (3/15/63) BETTY FIELD as Jenny Davies

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Dean Jagger tries to quiet Jennifer West after he tries to steal more than a kiss from the town hussy Alice.
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Betty Field plays George’s flakey nagging wife.
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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.”

Directed by Herschel Daugherty with a teleplay by James Bridges and story by Francis Didelot

Although this is very much Dean Jagger’s vehicle, Betty Field who 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 serious.

THE LONG SILENCE (3/22/63)- PHYLLIS THAXTER as Nora Cory Manson

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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 unto 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 husbands 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!

THE DARK POOL(5/3/63) LOIS NETTLETON as Dianne Castillejo & MADLYN RHUE as Consuela Sandino

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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!”
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Lois Nettleton as Dianne and Doris Lloyd as Nurse Andrina Gibbs

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Consuela- “She feels guilty, she feels responsible for the baby’s death. and the drinking helps her to forgot. so we’ll see that she continues to drink. And when the bottle is all gone. We’ll get more Vodka. Or whiskey or what ever 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 coctail. 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 RhueConsuela Sandino who claims to be the little boys birth mother. She proceeds to blackmail Dianne about the circumstances of the little boys 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-starring Doris Lloyd as Nanny. 

RUN FOR DOOM 5/17/63 DIANA DORS as Nickie Carole

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John Gavin as Dr. Don Reed and Tom Skerritt as friend Dr. Frank Farmer… Don is just smitten.
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scott brady as Nickies stand by boyfriend Bill
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Nickie-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 real 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.”

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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 night club 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…

THE SECOND SEASON!

A HOME AWAY FROM HOME (9/27/63)  CLAIRE GRISWOLD as Natalie Rivers

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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.”

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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.
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inmates Virginia Gregg as Miss Gibson and Ronald Long as The Major
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The real doctors are locked up in the attic!
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the deranged Ray Milland as Dr. Fennick who menaces Natalie (Claire Griswold ) in Home away from Home- The Alfred Hitchcock Hour

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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 patients 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 directors 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!

A NICE TOUCH 10/4/63  ANNE BAXTER as Janice Brandt

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That’s actor Harry Townes lying dead under that shiny star pillow…

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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 ambition actor who wins over casting agent Anne Baxter as Janice Brandt. Janice falls deeply in love with Larry the cocky and short tempered actor with whom she gets a screen test for in Hollywood and turns him into an upcoming male lead.

She has given up everything for this strong willed actor, her career, even sacrificing 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?

TERROR AT NORTHFIELD (10/11/63)  JACQUELINE SCOTT as Susan Marsh & Katherine Squire as Mrs La Font

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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)
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The creepy custodian of the library terrorized poor Susan with his tales of working the slaughterhouses

Directed by Harvey Hart with a teleplay by Leigh Brackett, and a story by Ellery Queen

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 sons 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.

THE DIVIDING WALL (12/6/63) KATHERINE ROSS as Carol Brandt

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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.”

Directed by Bernard Girard  (Dead Heat on a Merry-Go-Round 1966, The Mad Room 1969) with a teleplay by Joel Murcott based on a story by George Bellak.

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 Gregory who 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 preservations and his sense of humanity and love for this beautiful young woman. Katherine Ross is a particularly seductive pixie in this episode. Ross’ presence brings an element of realism and humanist equilibrium to the very nihilist tone of the story.

GOOD-BYE, GEORGE (12/13/63) PATRICIA BARRY is Lana Layne / Rosemary ‘Peaches’ Cassidy

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Lana/Peaches-“You and snakebite are among the very few things that fail me in that respect.”

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Directed by Robert Stevens with a teleplay by William Fay and story by Robert Arthur.

This is one of the more cheeky mystery installments of the show, and Patricia Barry is 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!

HOW TO GET RID OF YOUR WIFE (12/20/63) JANE WITHERS as Edith Swinney

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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’s 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!

THREE WIVES TOO MANY (1/3/64) TERESA WRIGHT as Marion Brown

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Marion Brown tells her husband- “You 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 story by Kenneth Fearing.

Dan Duryea is 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 heart ache 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 philandering husband!

BEYOND THE SEA OF DEATH (1/24/64/) DIANA HYLAND as Grace Renford & MILDRED DUNNOCK as Minnie Briggs

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Grace Renford- “All men are rotten aren’t they Minnie, as soon as they’re interested in me they’re no good!

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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!

NIGHT CALLER (1/31/64) FELICIA FARR as Marcia Fowler

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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?”

Directed by Alf Kjellin with a teleplay by Robert Westerby & Gabrielle Upton based on Upton’s story.

Felicia Farr  plays the sexy Marcia Fowler who accuses the neighborhood thug Roy Bullock (Bruce Dern) of not only playing peeping tom, but sexually harassing her. Roy is a tightly wound teen filled with angst and rage and could possibly be a psychopath while we’re at it. He denies it, when confronted by Marcia’s husband. (David White)

Marcia does appear to be self-absorbed, neglecting to pay enough attention to her stepson. But when the obscene phone calls begin, Marcia convinces her hubby to confront Roy about it, who tells him she’s just looking for attention. When Roy Fowler goes away on a business trip he challenges Marcia calling her a tease and a lousy wife and mother, the way his own mother had failed. Okay, so the angry boy has mother issues. Things get out of hand when Marcia begins to feel threatened and takes out a gun. But is everything as it seems!

THE EVIL OF ADELAIDE WINTERS (2/7/64)– KIM HUNTER as Adelaide Winters

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Directed by Laslo Benedek with a story and teleplay by Arthur Ross

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 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…!

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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…”

BEAST IN VIEW 3/20/64JOAN HACKETT as Helen Clarvoe

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Directed by Joseph Newman with a teleplay by James Bridges and a story by Margaret 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 McCarthy is 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!

BEHIND THE LOCKED DOOR( 3/27/64)GLORIA SWANSON as Mrs. Daniels

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Mrs. Daniels-“No Dave… this is your home now!”

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 child hood 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!

THE GENTLEMAN CALLER (4/10/64) RUTH McDEVITT as Miss Emmy Wright

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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.”

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Directed by Joseph Newman with a teleplay by James Bridges and story by Veronica Johns.

The delightful Ruth McDevitt plays Miss Emmy Wright, an elderly lady who sits in the park and is befriended by Gerald Musgrove (Roddy McDowall) who with his wife have just successfully robbed $100,000 but need 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.

THE ORDEAL OF MRS. SNOW (4/14/64) PATRICIA COLLINGE as Adelaide Snow

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Directed by Robert Stevens with a teleplay by Alvin Sargent and story by Patrick Quentin.

Patricia Collinge is one of my favorite character actors. Here she turns in quite a moving performance as a woman trapped in a safe with timing running out. And in this episode I’m particularly fond of her doting on her two siamese cats, being a staunch advocate for cats and someone who shares their home with let’s say a variety of pussycats, a siamese rescue being just one of them!

In The Ordeal of Mrs Snow Aunt Adelaide Snow is at the mercy of her scheming niece’s husband Bruce (Don Chastain) who is afraid that auntie will go to the police about his check forging. While away on a weekend vacation, he locks Mrs. Snow inside the bank vault in her house, hoping she’ll suffocate and it will look like an accident. But he has also locked one of her cats inside as well. Thank god, because these little felines are very smart indeed. Mrs Snow’s niece Lorna, (Jessica Walter) tries to call her aunt, worried that something is wrong, not realizing what her sneaky murderous husband has done… Don’t worry, the cats come to the rescue! Also co-staring George Macready as Adelaide’s dear friend Hillary Prine.

THE SECOND VERDICT (5/29/64) SHARON FARRELL as Melanie Rydell

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Directed by Lewis Teague with a teleplay by Alfred Hayes and a story by Henry Slesar.

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) successful 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.

ISABEL (6/5/64) BARBARA BARRIE  is Isabel Smith

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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 the 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.

BODY IN THE BARN (7/3/64) LILLIAN GISH as Bessie Carnby

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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 by Harold Swanton and story by Margaret Manners.

I’ve written about this marvelous episode for Movie Silently’s The Gish Sisters Blogathon! Here Lillian Gish plays 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?

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Bessie-“To bring to the light of day the two lies that together make a truth. “

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CHANGE OF ADDRESS (10/12/64) PHYLLIS THAXTER as Elsa Hollands

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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.”
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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… uhhh.” Elsa –“Keith it may be, it just very well may be 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.”

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Michael Blodgett and Tisha Sterling do some mod dancing in Change of Address
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Elsa… do you really need to go down to the basement to see what your adolescent husband wants to show you? Can’t you guess!!!!

Directed by David Friedkin with a teleplay by Morton Fine and David Friedkin and a story by Andrew Benedict.

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-owner’s 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 new found vitamins, jumping jacks, young beach bunnies, hair dye, turtle necks, late nites out at the disco dancing along side 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?

WATER’S EDGE (10/19/64) ANN SOTHERN as Helen Cox

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Helen-“Funny you dreaming’ about me and here we are. Life’s a big surprise.”

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Directed by Bernard Girard with 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, both greedy to find the hidden cash. Which they stumble onto in 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

LONELY PLACE (11/15/64) TERESA WRIGHT as Stella

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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?”

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Directed by Harvey Hart with a teleplay by Francis Gwaltney and a story by G.B Gilford

Teresa Wright is 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 Dern plays Jesse, in a role that surpasses so many of the psychopaths he’s had 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 it’s 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.

MISADVENTURE (12/7/64) LOLA ALBRIGHT as Eva Martin

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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 gas man!”

Directed by Joseph Newman with a story and teleplay by Lewis Davidson.

Eva (Lola Albright) is an adulterous wife to 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 peculiar, 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!

TRIUMPH (12/14/64) JEANETTE NOLAN as Mary Fitzgibbons

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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.”

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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 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 to 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 Simcox and 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!

WHERE THE WOODBINE TWINETH (1/11/65) MARGARET LEIGHTON as Nell Snyder & JUANITA MOORE as Suse

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“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!”
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“Do you believe me about Mingo?”

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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!”

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This is one of Alfred Hitchcock Hour’s most supernatural of 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’s Thriller 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 (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 Eve 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 the 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.

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Nell is obsessed with controlling Eva, and catching her at 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 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 “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 desperate 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…

FINAL PERFORMANCE (1/18/65) SHARON FARRELL as Rosie

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This piece directed by John Brahm from a teleplay by Clyde Ware & Lee Kalcheim. (Let’s Scare Jessica To Death 1971, All in the Family 1972) is a story based on Robert Bloch.

Roger Perry plays 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 instillation in The Alfred Hitchcock Hour collection.

ONE OF THE FAMILY (2/8/65) LILIA SKALA plays Nurse Frieda Schmidt

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Directed by Joseph Pevney with a teleplay by Oscar Millard (Angel Face 1952, Dead Ringer 1964) and William Bast. Based on a story by James Yaffe

Dexter and Joyce Daily (Jeremy Slate and Kathryn Hays) hire Dexter’s old German nanny named Frieda (the inimitable Lilia 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 by Olive DeeringChristine 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!

AN UNLOCKED WINDOW (2/15/65) DANA WYNTER as Stella & LOUISE LATHAM as Maude Isles

Dana Wynter An Unlocked Window

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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.”

An Unlocked Window

Directed by Joseph Newman with a teleplay by James Bridges and 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.

THOU STILL UNRAVISHED BRIDE 3/22/65SALLY KELLERMAN as Sally Benner

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Directed by David Friedkin with a teleplay by Morton Fine and David Friedkin and 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 grow 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 and Kellerman as usual does a wonderful job of manifesting a languid sensuality and longing that hangs like dew on the petal.

POWER OF ATTORNEY (4/5/65) GERALDINE FITZGERALD as Agatha Tomlin & FAY BAINTER as May Caulfield

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Directed by Harvey Hart with a teleplay by James Bridges and story by Selwyn Jepson (Stage Fright! 1950)

Richard Johnson is a smooth con artist Jarvis Smith posing as a stock expert who insinuates himself into the lives of the wealthy Mary Caulfield and suspicious companion Agatha. It’s always wonderful to see Geraldine Fitzgerald in any performance, here it is no exception. She has an elegant and stayed sensibility that can be as poignant as it is sophisticated. She works well against Fay Bainter who 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.

THE SECOND WIFE 4/26/65 JUNE LOCKHART as Martha

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Directed by Joseph Newman with a teleplay by Robert Bloch from a story by Richard Deming

June Lockhart plays 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!

NIGHT FEVER (5/3/65) COLLEEN DEWHURST as Nurse Ellen Hatch

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Directed by Herbert Coleman with a teleplay by Gilbert Ralston and 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.

Continue reading “The Women of Alfred Hitchock’s Hour (1962-1965)”