Earthmen on a fabulous, peril-journey into outer space!
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A month after Invasion of the Body Snatchers was released, 12 years before the studio wowed audiences with it’s mesmerizing, complex production of 2001: A Space Odyssey, MGM released their spectacular, colorful, big budget science fiction space Opera – Forbidden Planet. Replacing the threat of an alien intruder seeking to take over our minds, the enemy WAS our mind and it’s potential to manifest a subconscious monster- a cartoon animated monster from the id. Perhaps a variation of Stevenson’s horror of duality, Jekyll and Hyde set in a futuristic milieu – on another planet.
Recognizing this theme, Walter Pidgeon’s character Morbius emphasizes the duality that exists within his nature. Behind the facade of the rational mind prowls the primitive instincts and desires, now incarnate right from it’s source – Freud’s id. Morbius is in denial that he has in fact manifested the monster himself. It’s an allegory of insatiable ego, internal agony and torment and perhaps incestuous jealousy. A collection of his suppressed rage hidden behind the outwardly rational scientific mind.
Shakespeare informs Prospero – “this thing of darkness I acknowledge mine.â Morbius is the true villain in Forbidden Planet, embodied by a power, intensified a thousand percent from the ancient science of the exinct Krell, who brought into existence their nightmares, ultimately proving to be the end of them.
Forbidden Planet has been the benchmark of the science fiction genre for years by itâs sheer scope of its production values. MGM was the studio that had painted for us, an unforgettable daydream – The Wizard of Oz in 1939. Director John Landis referred to the studio as making pictures with ‘gloss’ and Forbidden Planetwas their feature science fiction film trading in Singing in the Rain for robots and ray guns. John Carpenter says that in terms of traditional science fiction âformulasâ this film âbroke itâ Carpenter also attributes Forbidden Planet to his wanting to become a director.
And John Dykstra who did the FX on Star Wars comments – âIt was a serious attempt to represent a completely unique world⌠itâs gotta be a world that nobody knows and at the same time everyone recognizes as being alien.â
Forbiden Planet is an allegory of technological power and mortal arrogance.
After years from its initial release Forbidden Planet finally reached its cult following, and is considered the Star Wars of the 1950s with its flamboyant color scheme, Wide Screen presentation, indelible visual effects and endearingly kitsch touches. Only one other dazzling post-war science fiction space Opera of the 1950s comes to mind -Joseph M. Newman and an uncredited Jack Arnold’s This Island Earth 1955Â nears Forbidden Planet’s exhilarating yet a bit tacky tone.
Historian Carlos Clarens has remarked that Forbidden Planet is “a rare flight of fancy by the earthbound MGM – it resuscitates the classical elements of the horror movie, with ultra modern decor.”
Seth Lerer from his article Forbidden Planet and the Terrors of Philology -called it âEsteemed science fiction film, a blend of high cultural allusion and high camp effects.â
Forbidden Planet has the feel of a fantastical pulp tale straight out of Amazing Stories, Astounding or Fantastic Adventures Magazine. The film showcases all the great elements of a classic science fiction story. Advanced technology, space travel, furturistic tidbits like forcefields, lightning inspired laser beams, brain boosting machines, transport beams, subtarranean worlds, â rayguns, the vast planetary energy wells, likeable robots and a terror inspiring monster that lurks and tears it’s victims limb from limb. It’s interesting to note, we see Earthmen traveling in a typified flying saucer of 1950s alien flicks instead the traditional phallic shaped rocket.
Aside from âThe sensuousness of the colorâ (Carlos Clarens An Illustrated History of the Horror Film and Science Fiction)–or the sensorial experience brought about by the lush colors, my heart used to pump and pound (and still does), when as a kid I’d await the scene where the fiery id materializes. It emerges menacing, startling, causing a delighful jolt of fear and I was thrilled to see It’s sparking outline ambushed in the force field. This iconic scene is one of the contributing joys that gave me an appetite for classical science fiction, fantasy and horror in my childhood.
Forbidden Planet was directed by Fred McLeod Wilcox with a screenplay by Cyril Hume who adapted his script from an original story by Allen Adler & Irving Block. So much has been written on how they presumably modeled the film after the fatalistic comic allegory – William Shakespeareâs The Tempest. (uncredited).
This Halloween season I’m covering those fierce women who graced the 1950s Science Fiction & Fantasy/Horror screen with their beauty, brawn and bravado! Like years past–I pay tribute to the Scream Queens of the 1930s & 1940s
We’ve arrived at the 1950s decade’s deliriously dynamic dames… Who had to deal with mad scientists, gigantism, alien invasions and much more menace & mayhem!
Of course I plan on doing the 1960s and 1970s in the next year–and you’ll notice that I am listing some of our Queen B’s future films & television appearances of a supernatural or science fiction nature, and even a few scattered exploitation films that fit the bill. Added are a few photos to fill out the framework of their contribution to the genre. I’ve included honorable mentions to those who starred in at least one film and perhaps a few science fiction & horror anthology shows on television.
And I guess I should be super clear about this, so no one gets their hackles standing on end, not one actress who wound up only getting an honorable mention, (be it one of your favorites and believe me their are a few of mine on that smaller list), by any means does it imply that I think they have a less substantial participation in the decade’s genre.
All these actresses have performed in other types of films-other genres and dramatic roles and enjoyed a full career that transcends the science fiction & horror films they appeared in.
Allied together they created the fabric of the 1950s decade, colored by their unique and valuable presence to ensure that science fiction & horror/fantasy will live on to entertain and enamor a whole new generation of fans and aficionados.
Collectively and Individually these women are fantastic , and I feel very passionate about having put this wonderful collection together as a tribute!
I can’t begin to describe the admiration I’ve developed over the past several years, by delving into Beverly Garland’s long impressive career as a popular cult actress. All I can think of saying– seems crude– but it’s what truly comes to mind… Beverly Garland kicks some serious ass!!!
From historian/writer Tom Weaver-“For most fans of 50s horror there are just no two ways about it. Beverly Garland is the exploitation film heroine of the period. A principal member of Roger Corman’s early stock company, she was the attractive, feisty leading lady in such Corman quickies as It Conquered the World, Gunslinger, Naked Paradise, and Not of this Earth. In between Corman assignments she braved the perils of the Amazon River on writer-director Curt Siodmak’s Curucu, Beast of the Amazon, and a less harrowing Hollywood backlot swamp in Fox’s the Alligator People. Her 1960s film work included Pretty Poison, The Mad Room and the multi-storied Twice Told Tales with Vincent Price. Overall, this list of titles is unmatched by any other ’50s genre actress.”
The diverse, dynamic and uniquely sexy Beverly Garland was born in Santa Cruz, California. She studied with dramatics teacher Anita Arliss, sister to Hollywood actor George Arliss. Garland also worked in radio actually appeared semi-clothed in various racy shorts, until she made her first feature debut supporting role in the taut noir thriller D.O.A (1949) starring Edmund O’Brien. Beverly started out doing small parts in science fiction/horror films such as The Neanderthal Man 1955and The Rocket Man 1954. But her cult/exploitation status was forged when she signed onto to work with legendary filmmaker Roger Corman, the first film takes place in Louisiana called Swamp Women. In 1983 Beverly Garland received a star on the Hollywood Walk of Fame. She worked right up until 2004 and sadly passed away in 2008.
There are so many credits Beverly Garland has under her belt, I can only list the few that are memorable for me, but here she is linked to her massive IMDb list of credits for you to peruse. One of the roles that stands out for me is her groundbreaking role in the late 1950s as Casey Jones a policewoman for NYC in the series called Decoy (1957) Garland finds herself in diverging & dangerous situations where she not only uses her sexy good looks but her smarts and her instincts to trap criminals from all walks of life. It’s a fabulous show and it shows not only how diverse Beverly Garland is but the show was a historical first for a woman starring in a dramatic television series.
Beverly Garland has performed in drama’s including a musical with Frank Sinatra directed by Charles Vidor The Joker is Wild (1957) Film Noir (The Miami Story 1954, New Orleans Uncensored 1955, Sudden Danger 1955, The Steel Jungle 1956, Chicago Confidential 1957, Science Fiction/Fantasy, Adventure, Exploitation, Westerns and Crime dramas & Thrillers like Pretty Poison 1968. For the purposes of The Last Drive In tribute to this magnetic actress, here are those performances in the genre I’m featuring both film & television series!
“The Memories of working with Roger Corman are pleasant because I got along with him very well. He was fun to be around and work with. We always did these films on a cheap budget, and people were always mad at Roger because he’d hardly feed us! And no matter what happened to you, your worked regardless… You could be dead and Roger would prop you up in a chair!”-Beverly Garland
From Beverly Garland’s Interview in “Interviews with B Science Fiction and Horror Movie Makers: Writers, Producers, Directors, Actors, Moguls and Makeup” by Tom Weaver (McFarland 1988).
In The Mad Room (1969) her character was pregnant–so was she at the time, with her son James.
[referring to her 1950s Roger Corman cult films] “It’s funny today because it’s so ridiculous. But at the time, it was very serious! We were just actors doing our best, I think. None of us overacted. I’m not saying we weren’t good. We didn’t do it tongue-in-cheek. We really meant it. We gave our all. We were serious, good actors and we played it seriously.”-Beverly Garland
“Maybe I do come on strong, and people sense in me a strength and a positiveness . . . It’s really the way I look and act, not the way I am . . . Once you cut through the protective coating, I’m strictly molasses.”-Beverly Garland
Audrey Daltonâ âI noticed you wrote a bit about Beverly Garland. She was such a dear friend of mine. She was in Pretty Poison with Noel Black who just passed away last year. Bev died years ago and even though she remained active in the Scarecrow and Mrs King for so long, she loved acting in âBâ films the most.â
Waitress Nola Mason in The Neanderthal man 1954, Ludine in The Rocket Man 1954, Vera in Swamp Women 1956, Claire Anderson in It Conquered the World 1956, Dr. Andrea Romar in Curucu the Beast of the Amazon, Nadine Storey in Not of this Earth 1957, Joyce Webster in The Alligator People 1959, Ellen Winslow in Stark Fear 1962, as Alice Pyncheon in Twice-Told Tales (1963) Mrs. Stepanek in Pretty Poison 1968, Mrs. Racine in The Mad Room 1969, Science Fiction Theatre (TV Series) Katherine Kerston / Sally Torens– The Other Side of the Moon (1956) … Katherine Kerston– The Negative Man (1955) … Sally Torens, The Twilight Zone (TV Series) Maggie- The Four of Us Are Dying (1960) , Thriller (TV Series) Ruth Kenton– Knock Three-One-Two (1960)
Tom Weaver – “In your Corman movies you yourself generally played plucky, strong willed, sometimes two-fisted types.”
Beverly Garland- “I think that was really what the scripts called for. In most all the movies I did for Roger my character was kind of a tough person. Allison Hayes always played the beautiful, sophisticated “heavy” and I played the gutsy girl who wanted to manage it all, take things into her own hands. I never considered myself much of a passive kind of actress-I never was very comfortable in love scenes, never comfortable playing a sweet, lovable lady. Maybe if the script wasn’t written that way, then probably a lot of it I brought to the role myself. I felt I did that better than playing a passive part.”
Swamp Women (1956) An undercover policewoman helps three female convicts escape from prison so that they can lead her to a stash of stolen diamonds hidden in a swamp. Co-stars Marie Windsor, Carole Mathews, Mike Connors, Susan Cummings and Ed Nelson!
Also in Swamp Women 1956, Garland was expected to do her own stunts, even dropping out of a 20 foot tree. Roger Corman told her “When you’re killed you have to drop” Roger planted three guys underneath the tree to catch Beverly when she let’s go. “And when they killed me I just fell-dead weight on these three poor guys!” Roger told her “You’re really one of the best stuntwomen I have ever worked with.”
Even after breaking her ankle in Gunslinger 1956, Beverly was a trooper, she did all her fight scenes and worked to finish the film for Roger Corman, even though she couldn’t walk for weeks after that!
As Ellen Winslow, Garland takes a courageous role as a non-victim of abuse and assault, she pushes back head on against the grain instead of wilting from the trauma she prevails. The film showcases the gutsy quality Garland herself tried to portray in all her performances. in the darkly psychological Stark Fear (1962)A sadistic husband mentally tortures his wife, while eventually planning to murder her. Although no one believes her, she gets help from an unexpected source.
Beverly Garland recalls making Swamp Women co-starring Marie Windsor with Tom Weaver-“Swamp Women! Ooh that was a terrible thing! Roger put us up in this old abandoned hotel while we were on location in Louisiana- I mean it was really abandoned! Roger certainly had a way of doing things back in those days-I’m surprised the hotel had running water! I remember that we each had a room with an iron bed. Our first night there, I went to bed and I heard this tremendous crash! I went screaming into Marie Windsor’s room, and there she was with the bed on top of her-the whole bed had collapsed! Well, we started laughing because everything was so awful in this hotel. just incredibly terrible, and we became good friends.”
Carole Mathews, Marie Windsor and Beverly Garland in Swamp Women
Beverly Garland not only exuded a gutsy streak in every role she took, she shared the notable distinction of starring in one of Boris Karloffâs THRILLER episodes called Knock-Three-One-Two co-starring with the wonderful character actor Joe Maross who has a gambling problem and will be beaten to a pulp if he doesnât pay his bookie. So he enlists the help of a psychopathic lady killer to murder his wife Beverly for her tightly held purse and large savings account!
Tom Weaver asks Beverly Garland if she enjoyed working on Twice-Told Tales (1963) — “Oh, I love it because I loved Vincent Price. He is the most wonderful sweet, adorable man! I don’t remember much about the movie, I just remember working with Vinnie and how wonderful he was.”
Tom Drake, Bill Elliott, and Beverly Garland in Sudden Danger (1955)
On working with Roger Corman on Gunslinger (1956) after Allison Hayes another seasoned actress and a bloomin’ trooper who broke her arm during filming. The working conditions were dismal but Beverly Garland isn’t a woman you can keep down. “I always wondered if Allison broke her arm just to get off the picture and out of the rain. It poured constantly. But what I adored about Roger was he never said, ‘This can’t be done.’ Pouring rain, trudging through the mud and heat, getting ptomaine poisoning, sick as a dog–didn’t matter. Never say die. Never say can’t Never say quit. I learned to be a trooper with Roger. I could kid him sarcastically about these conditions and laugh. That’s why we got along so well. On Gunslinger, I was supposed to run down the saloon stairs, jump on my horse and ride out of town. Now we never had stunt people in low-budget films. Riding, stunts, fights–we all did it ourselves and we all expected it, and we all just said it was marvelously grand. I told myself just to think tall. So my first take I thought tall and sailed right over the saddle and landed on the other side of the horse. The second take I twisted my ankle running down the stairs– a bad twist.”
Beverly Garland and Allison Hayes in Roger Corman’s western Gunslinger (1956)Directed by Noel Black Beverly plays Mrs Stepanek the mother of sociopathic Sue Ann Stepanek played by Tuesday Weld. Anthony Perkins is Dennis Pitt a mentally disturbed young man with delusions, released from an institution only to stumble into Folie Ă deux with someone who is more violent and disturbed than he is!
Beverly Garland plays feisty nurse Nadine Storey in Roger Corman’s creepy alien invasion film Not of this Earth 1957 co-starring the white eyed vampiric villain Paul Birch as Paul Johnson-why not smith?
About working with Roy del Ruth on The Alligator People–“He was sweetheart of a guy and a good director. The Alligator People was a fast picture, but he really tried to do something good with it. And I think that shows in the film. It’s not something that was just slapped together. It as such a ridiculous. story…).. I felt when I read the script and when I saw the film, which was a long time ago, that it ended very abruptly. It all happened too fast; it was kind of a cop out. But there really was no way to end it. What were they going to do-were they going to have us live happily ever after and raise baby alligators?”
Beverly Garland having fun on the set of The Alligator PeopleBeverly Garland with Lon Chaney Jr. in Roy del Ruth’s The Alligator PeopleDirected by Roy Del Ruth-Beverly stars as Joyce Webster a woman who while under hypnosis recalls a horrific story She went in search of her husband who has gone missing. He is part of a secret experimentation with on men and alligators. Co-stars Bruce Bennett
Directed by Curt Siodmak Curucu Beast of the Amazon 1956 stars Beverly Garland as Dr. Andrea Romar and John Bromfield as Rock Dean who venture up the Amazon River to find the reason why the plantation workers are fleeing from a mysterious monster!
On first seeing the cucumber creature that Paul Blaisdell designed for It Conquered the World–“I remember the first time I saw the It Conquered the World Monster. I went out to the caves where we’d be shooting and got my first look at the thing. I said to Roger, ‘That isn’t the monster…! That little thing over there is not the monster, is it?’ He smiled back at me , “Yeah, Looks pretty good, doesn’t it?’ I said, ‘Roger! I could bop that monster over the head with my handbag!’ This thing is no monster, it was a terrible ornament!’ He said, ‘Well don’t worry about it because we’re gonna show you, and then we’ll show the monster, back and forth.’ ‘Well, don’t ever show us together, because if you do everybody’ll know that I could step on this little creature! Eventually I think they did do some extra work on the monster: I think they resprayed it so it would look a little scarier, and made it a good bit taller. When we actually filmed, they shot it in shadow and never showed the two of us together.”
Beverly Garland as Clair talking on the radio to IT– “I hate your living guts for what you‘ve done to my husband and my world, and I’m going to kill you! Do you hear that? I’m going to kill you!”…) “So that’s what you look like, you’re ugly…) You think you’re gonna make a slave of the world… I’ll see you in hell first!“
It Conquered the Wold (1956) is yet another Roger Corman campy gem that features my favorite cucumber monster created by Paul Blaisdell. Beverly stars as Claire Anderson married to Dr. Tom Anderson played by Lee Van Cleef who communicates with an alien life from who claims he comes in peace. Co-stars Peter Graves and Sally Fraser
Tom Weaver asks —“Do you ever look back on your B movies and feel that maybe you were too closely associated with them? That they might have kept you from bigger and better things?
Beverly Garland —“No, I really don’t think so. I think that it was my getting into television; Decoy represented a big turn in my life. Everybody did B movies, but at least they were movies, so it was okay. In the early days, we who did TV weren’t considered actors; we were just horrible people that were doing this ‘television’ which was so sickening, so awful, and which was certainly going to disappear off the face of the earth. Now, without TV, nobody would be working. No-bod-y. But I think that was where my black eye came from; I don’t think it came from the B movies at all.”
Tom Weaver-“Which of your many horror and science fiction roles did you consider your most challenging?”
Beverly Garland–“Pretty Poison. It was a small part, but it had so much to say that you understood why Tuesday Weld killed her mother. I worked hard to make that understood not a surface one, but tried to give you the lady above and beyond what you would see in a short time.”
Beverly Garland as policewoman Casey Jones in the stirring television series Decoy broadcast from October 14, 1957, to July 7, 1958
The bewitchingly beautiful Audrey Dalton was born in Dublin, Ireland who maintains the most delicately embroidered lilt of Gaelic tones became an American actress of film in the heyday of Hollywood and the Golden Age of television. Knowing from early on that she wanted to be an actress while studying at the Royal Academy of Dramatic Arts was discovered by a Paramount Studio executive in London, thus beginning her notable career starring in classic drama, comedy, film noir, science fiction, campy cult classic horror and dramatic television hits!
Since then Iâve had the incredible honor of chatting with this very special lady whom I consider not only one of THE most ethereal beauties of the silver screen, Audrey Dalton is a versatile actress, and an extremely gracious and kind person.
Audrey Daltonâs made a monumental contribution to one of the biggest beloved 1950s âBâ Sci-Fi treasures and she deserves to be honored for her legacy as the heroine in distress, pursued by a giant bunny killing Mollusk âThat monster was enormous!â âAudrey commented in her interview with USA Today.
Gail MacKenzie in The Monster that Challenged the World 1957, Baroness Maude Sardonicus in William Castle’s Mr. Sardonicus 1961 Boris Karloff’s Thriller (1960-1962)- Norine Burton in The Prediction, Meg O’Danagh Wheeler in The Hollow Watcher and Nesta Roberts in Hay-Fork and Bill-Hook.
Audrey Dalton plays Meg O’Danagh who is haunted by local prejudice and the rural boogeyman that is The Hollow Watcher
Audrey Dalton in Hay-Fork and Bill-Hook shown here with Doris Lloyd as Mother Evans. Thereâs witchcraft afoot in the Welsh moors.William Castle’s Mr. Sardonicus 1961 stars Audrey Dalton as Baroness Maude Sardonicus who is a prisoner to her husband’s madness driven to fury because his face has been stuck in a horrifying grimace when he found his father was buried alive. Co-stars Guy Rolfe as Sardonicus and Ronald Lewis
Barbara Rush and Marlon Brando in The Young Lions 1958-Twentieth Century FoxBarbara Rush and Harry Townes in Strategy of Terror (1969)Frank Sinatra and Barbara Rush in Come Blow Your Horn (1963)Frank Sinatra, Dean Martin, Sammy Davis Jr., Richard Bakalyan, Victor Buono, and Barbara Rush in Robin and the 7 Hoods (1964)
Barbara Rush appeared in director Martin Ritt’s turbulent suburban drama No Down Payment 1957 with ex-husband Jeffrey Hunter though they weren’t married to each other in the film.
Jeffrey Hunter, Pat Hingle, Patricia Owens, and Barbara Rush in Martin Ritt’s No Down Payment (1957) co-stars Joanne Woodward, Sheree North, Tony Randall.
Barbara Rush, Possesses a transcendent gracefulness. She moves with a poise like a dancer, a beautiful gazelle stirring in the gentle quiet spaces like silent woods. When I see Barbara Rush, I see beauty personified by elegance and decency. Barbara Rush will always remain in my eyes, one of the most gentle of souls on the screen, no matter what role she is inhabiting. She brings a certain kind of class that is not learned, itâs inherent.
She was born in Denver, Colorado in 1927 and began at University of California. Then she joined the University Players, taking acting classes at the Pasadena Playhouse. Paramount scooped Barbara up and signed her to a contract in 1950. She debuted with The Goldbergs (1950) as Debby Sherman acting with Gertrude Berg as Molly Goldberg -a popular television program that follows the warm, human story of famous Jewish Bronx radio & TV family the Goldbergs, and their everyday problems. Co-starring David Opatoshu and Eduard Franz.
Before joining the Goldbergs she met the strikingly handsome actor Jeffrey Hunter who eventually became a hot commodity over at 20th Century Fox. Barbara Rush and Jeffrey Hunter fell in love and were married in December of 1950. They became Hollywoodâs most gorgeous couple, and the camera seemed to adore them. Their son Christopher was born in 1952.
During her time at Paramount, Barbara Rush appeared in the science fiction catastrophic end of the world thriller directed by Rudolph MatĂŠ âWhen Worldâs Collide 1951 co-starring Richard Derr, Peter Hansen and John Hoyt.
As time went on Barbara Rush co-starred with some of the most desirable actors in Hollywood, James Mason, Monty Clift, Marlon Brando, Paul Newman , Richard Burton and Kirk Douglas. Her roles ran the gamut from disenchanted wives, scheming other women or pretty socialites
Though Barbara Rush is capable of a range of acting, the one great role of a lifetime never seemed to surface for her, though what ever she appeared in was elevated to a higher level because of her presence.
Television became a wonderful avenue for Barbara Rushâs talent, she appeared in guest parts in many popular tv series of the 1960s and 1970s. She also co-starred in tv movies. One enjoyable character she played was a guest villain on the 1966 television series Batman as femme fatale âNora Clavicleâ Barbara Rush also played Marsha Russell on the popular television drama Peyton Place 1968-69
Barbara Rush also turned to work on the stage. She garnered the Sarah Siddons Award for her starring role in Forty Carats. Making her Broadway debut in the one woman showcase, âA Woman of Independent Meansâ which also subsequently earned her the Los Angeles Drama Critics Award during its tour. Other showcases included “Private Lives”, “Same Time, Next Year”, “The Night of the Iguana” and “Steel Magnolias”.
Barbara Rush still possesses that transcendent beauty, poise and grace. She will always be someone special someone memorable.
INTERVIEW QUESTIONS:
Joey Q: Did you ever imagine Jack Arnoldâs âIt Came from Outer Spaceâ (1953) with you (in that black dress by Rosemary Odell) aiming that laser beam would become so iconic, and leave such a lasting impression on fans and film historians after all these years?â¨
Barbara Rush: A: Iâd never think that anybody who saw it needed to see it again, but if it left an impression, thatâs fine. I loved the chiffon dress. It was too weird that these people that came from other space were too frightening to look at, so they took the form of regular humans. What I thought was interesting that these creatures didnât actually want to be there and werenât vicious at all. They were just trying to fix their ship and get it together. I remember thinking that with a lot of science fiction films; we were so afraid these creatures, but they were just trying to get away and werenât threatening at all.
Joey Q: Is there a role you would have liked to play — letâs say in a Gothic thriller? Or was there ever a script for one that you turned down that you regret now? Were there any other high quality A-picture science fiction film scripts sent to you after âWhen Worlds Collideâ (1951) and âIt Came from Outer Spaceâ (1953)?
Barbara Rush â¨â¨A: I donât remember anything that was given to me to do other than those two pictures. That was all just orders from the studio. The science fiction film I admired the most was the picture E. T. â I just love that film and it is my favourite, but I never thought it was something I wanted to be in myself.
Joey Q: âThe Outer Limitsâ is one of the most extraordinary anthology television shows of the 1960s. It was clearly ahead of its time, beautifully crafted and though-provoking. You star as the tortured Leonora in the episode âThe Forms of Things Unknownâ which is perhaps one of THE finest of the series written by Joseph Stefano, all due to the cinematography, lighting, and particularly the ensemble acting. Do you have any lasting impressions or thoughts about that role and/or working with Vera Miles, Cedric Hardwicke, David McCallum, and Scott Marlowe?
Barbara Rush A: I loved doing that show and loved Vera Miles. She was just the most wonderful person to work with. She was so funny. There was a scene where she had to run after me in the forest in the rain. After that miserable experience she told me:âBarbara, I promise you Iâll never chase after you in the rain, in the forest, ever again.â I thought the episode was very interesting, though.
Joey Q: In that same high calibre of dramatic television series, were you ever approached by William Frye, Doug Benton, or Maxwell Shane from Boris Karloffâs âThrillerâ series or by Alfred Hitchcock for his anthology series? You would have been extraordinary in either television program! These shows were remarkably well-written and directed and Iâm certain there would have been a perfect role for your wonderful acting style. Did you ever receive a script or were you ever interested in appearing on either of those shows?
Barbara Rush A: Unfortunately they didnât really seem to want me. They never got in touch with me about anything. I would have loved to work for Hitchcock â I liked his films.
Joey Q: It seems that the early 70âs found you a niche in the macabre. Perhaps this is because you are such a consummate actress and the contrast of your gentility works well with the darker subject matter. In 1971 you co-starred with Henry Darrow in a short piece on Rod Serlingâs âNight Galleryâ – âCool Air.â It was a Gothic romantic tale based on H.P. Lovecraftâs story about a woman who falls in love with a man who must remain in a refrigerated apartment dare something dreadful occur. Then, in 1972 you appeared in âThe Eyes of Charles Sandsâ as Katherine Winslow co-starring Peter Haskell and Joan Bennett, a film about ESP and solving a murder. Then came âMoon of the Wolfâ where you co-starred with David Janssen and Bradford Dillman, two very handsome leading men. Did you enjoy venturing into these uncanny story lines?
Barbara Rush A: I particularly enjoyed working with Bradford Dillman, who was a dear friend of mine. We more or less grew up together, in Santa Barbara. In one of these he played a werewolf and heâd have these hairy mittens as part of his costume and heâd come trampling in all the time â as a werewolf! I have a tendency to get very hysterical about how funny people can be, and heâd just make me crack up. â¨We were shooting â I think in New Orleans or Mississippi, somewhere in the south â on location, so it was very hot. Poor Brad who had to walk around in those mittens.
Attended and graduated from the University of California, Santa Barbara (1948). She graduated from the Pasadena Playhouse School for Performing Arts in Pasadena, California.
Is mentioned in the movie Shampoo (1975), when hairdresser Warren Beatty says “I do Barbara Rush’s hair”.
Was separated from second husband Warren Cowan in 1969 at the time she learned of first husband Jeffrey Hunter’s sudden death following brain surgery after falling down a flight of stairs.
Appears in No Down Payment (1957) with ex-husband Jeffrey Hunter, they both portraying married characters, but not married to each other.
She is one of five actors to have played “Special Guest Villains” on Batman (1966) who are still alive, the others being Julie Newmar, John Astin, Joan Collins and Glynis Johns.
“I can safely say that every movie role I was ever offered that had any real quality went to someone else.”-Barbara Rush
As Joyce Hendron in When Worlds Collide 1951, as Ellen Fields in It Came from Outer Space 1953 Night Gallery episode as Agatha Howard in ‘Cool Air’ released on December 8, 1971 based on a story by H.P. Lovecraft and The Outer Limits as Leonora Edmond in episode The Form of Things Unknown written by Joseph Stefano released on May 4, 1964, as Karen Lownes in Kraft Suspense Theatre tv series ‘In Darkness, Waiting (1965), as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966, Moon of the Wolf (TV Movie) 1972 as Louise Rodanthe, as Katherine Winslow in The Eyes of Charles Sand (1972), The Bionic Woman (TV Series) – Jaime’s Mother (1976) … Ann Sommers / Chris Stuart, 1979 Death Car on the Freeway (TV Movie) as Rosemary
Jack Arnold, Richard Carlson, Charles Drake, Russell Johnson, and Barbara Rush in It Came from Outer Space (1953)
Everybody wants to know about Barbara Rush’s fabulous clothes in It Came From Outer Space, in particular this lovely black gown.. so here it is–designed by Rosemary Odell…
COOL AIR. First aired on December 8, 1971 Paintings for the opening of each episode were done by artist Tom Wright
The classy fashionable villainess Barbara Rush as Nora Clavicle and The Ladies’ Crime Club Batman Series 1966Vera Miles as Kasha and Barbara Rush as Leonora pushed to the limit of all they can bare poison Scott Marlowe a sadistic blackmailer and leave him in the trunk of their car. As they flee the scene they stumble upon an Old Dark House where the servant Ralph Richardson takes care of Tone Hobart played by David McCallum a solitary sad young man, an introvert who tinkers with clocks, an inventor who is able to tip the balance of time and bring back the past and ultimately the dead. Barbara Rush conveys a depth of sadness and vulnerability that is tragic and beautifully pieced together for this macabre story written by Joseph Stefano. The lighting traps each player in the shadows of their own machinations. It is a brilliant little morality play.
Barbara Rush and Vera Miles on the set of The Outer Limits television series episode The Form of Things Unknown
The cinematography by Conrad L. Hall is extraordinarily moody and dark in this psychological supernatural story by Joseph Stefano.
“I bring you a warning. Every one of you listening to my voice. Tell the world⌠Tell this to everybody wherever they are. Watch the Skies! Everywhere. Keep looking. Keep watching the skies!–
It’s that time of year once again when Movies Silently, Silver Screenings & One Upon a Screen host a momentous event…. The Classic Movie History Project Blogathon 2016 which will begin August 5th -10th, 2016.
This event always promises to be an epic endeavor as there are so many interesting themes and subjects to cover. I am excited to be participating once again with these fabulous hosts who make it possible for all of us to contribute to a wealth of classic film history goodies to devour. Now listen folks, don’t get frightened off! You cast of exciting unknown readers… This has become a real project for me, a work in progress that will unfold over the next several weeks. For the purpose of The Classic Movie History Project Blogathon 2016, I offer an overview that will be a lead in for the entire decade of 1950s science fiction cinema conquering it year by year in separate articles. As I started delving into this project, it began to grow larger and larger as if Jack Arnold and Bert I. Gordon themselves compelled me to GO BIG!
In order to review an entire genre of such an influential decade and do the treatment it so rightly deserves, I realized that I needed to spread it out as a series. Re-visiting these beloved movies that inspired my childhood with wonder and sometimes tapped into my own authentic fears, I fell in love all over again. And though I tend to gravitate towards the classical Gothic horrors that are steeped in mythology, the supernatural and the uncanny, I can’t help but feel my mind expanding by the iconic themes that emerged from 1950s science fiction! So I’ll be publishing each year as individual posts or chapters from 1952 on… over the next several week or so instead of all at once. Talking about all the films I mentioned here and so many more films & things to come!
It’s a collection–a decade of the sci-fi genre, sub-genres and it’s hybrids– some eternally satisfying because of their remarkable ability to continuously shine a light on fascinating & mesmerizing fantasy stories. Well written and adapted as visual narratives and surreal stories by beloved visionaries who set out to reach inward and outward through all of us dreamers and thinkers.
There are also those lovable Sci-fi films that are charming and wonderfully kitsch. And some… are just downright so, so, soooo awful their… awesome!
That’s what makes so many of these diverging films cut through the cross-sections to become cinematic jewels & memorable cult favorites!
There are many films that Iâll cover more in depth, some are the more highly polished masterpieces that have lingered for decades with us as adult children who grew up watching them on a rainy afternoon on televisions with knobs that only had 9 channels and if you were lucky you didn’t snap the knob off every 6 months! Growing up in New York I had Chiller Theater, on local channel 11 or Creature Featureson Channel 5, or Fright Nighton Channel 9. That’s how I fell in love, and got my fill of the treasures of films & television anthology series that was lurking out there destined to leave long lasting impressions on so many of us!
Chiller Theater
Fright Night WOR
Or back in the day, you went to the Drive-In theater to explore in the back seat of your pop’s Chevy Impala any double feature, and it was an invigorating and entertaining experience and you didnât even have to get out of your pajamas.
You could spend all day in a musty theater festooned with captivating promotional lobby cards and colorful posters. Too bad, I wasn’t of the age to witness William Castle’s ballyhoo he strategically placed at certain theaters for that interactive live experience , EMERGO, PERCEPTO! You could take in a bunch of the latest scary films, sometimes double & triple features, while sitting on sticky red velvet seats that smelled like hot buttered popcorn and week old spilled Pepsi. A box of Milk Duds in hand and the faint wiff of air conditioner freon at your back. You’d enter the movie theater in the bright light of a sunny Saturday afternoon only to exit into the dark of night, tired and filled with wonder, awe and okay maybe looking over your shoulder a few times. Some films were big budget productions, that contained serious acting by studio contract players, terrific writing that blended deep thoughts and simple escapism pulled from some of the best science fiction, fantasy & horror literature and adapted screenplays, scares and witty dialogue besides and cinematography that still captivates us to this day.
Well… sure some were B movies that have now sustained that Cult film charm and cheesiness, and some… are just downright pitiful, laughable guilty pleasures⌠and a bunch even came with really neat 3D glasses!
SOME ICONIC GEMS FOR THE AGES THAT I’LL BE COVERING!
THEM! (1954)*INVADERS FROM MARS (1953) *DAY THE EARTH STOOD STILL (1951)*FORBIDDEN PLANET (1956) *THE THING FROM ANOTHER WORLD (1951)*EARTH VS THE FLYING SAUCERS (1956) *THE INCREDIBLE SHRINKING MAN (1957) *INVASION OF THE BODY SNATCHERS (1956) *WAR OF THE WORLDS (1953) * CREATURE FROM THE BLACK LAGOON(1954) * IT CAME FROM OUTER SPACE (1953)* IT, THE TERROR FROM BEYOND SPACE (1958) *EARTH VS THE SPIDER (1958) *THE CRAWLING EYE (1958) *THE GIANT BEHEMOTH (1959) *IT CAME FROM BENEATH THE SEA (1955) *TARANTULA (1955) *FIEND WITHOUT A FACE (1958) *THE MONOLITH MONSTERS (1957)*THE AMAZING COLOSSAL MAN (1957) * THE ANGRY RED PLANET (1959)*KRONOS (1957)* THE CREEPING UNKNOWN (1956)*X-THE UNKNOWN (1956
I’LL ALSO BE TALKING ABOUT SOME GUILTY PLEASURES!
Attack of the Crab Monsters (1957)
Paul Birch is the alien vampire Paul Johnson in Roger Corman’s Not of This Earth 1957
It’s also important to mention some of the ubiquitous actors who graced both the great & guilty pleasure flicks, you’ll be seeing a lot of in the following chapters likeJohn Carradine * Ed Nelson *Allison Hayes *Paul Birch *John Agar *Hugh Marlowe*Peter Graves *Richard Denning *Richard Carlson *Faith Domergue *Mara Corday *Les Tremayne *Marie Windsor *Morris Ankrum * Arthur Franz *Kenneth Tobey* John Hoyt * Whit Bissell and of course Beverly (kicks-ass!) Garland!
One thing is for certain, each film is relevant and all have a place in the 50s decade of Sci-fi / Horror & Fantasy!
So come back and read a little at a time and get some thrills even while you’re sitting under the hair dryer… Do people still do that today? I need to get out more…
This 1955 hair dryer is just begging to be a space-age helmet!
As early as 1920 there was the German expressionist film dealing with the arrival of a menacing alien visitor from the planet Algol giveing actor Emil Jannings a machine that awards him unlimited powers. ALGOL aka POWER 1920 directed by Hans Werckmeister â
âThat which you believe becomes your world.â –Richard Matheson from ‘What Dreams May Come’
Science Fiction emerged out of the “Age of Reason” literature reflected a merging of myth and historical fact. Stories filled with an imagination that had no boundaries. While Science Fiction is a literary movement that can be a separate study all it’s own, story tellers who grasped the concepts of science fiction who questioned the endless possibilities, the far reaching machinations of brilliant minds, this project if focused on the history of 1950s science fiction cinematic and all it reveals. Science Fiction cinema flirted blatantly with ideas and images of a world that reached beyond the known, and contemplated aloud, fantastic stories as early as the silent era. Consider Robert Louis Stevenson’sStrange Case of Dr. Jekyll and Mr. Hyde, re-envisioned time and time again.
John Barrymorelifts the dark conflicting tale of the inward monsters off the pages of Stevenson’s book. Barrymore so fluently moved through the silent stage, reveals that we all just might be harboring in our sub-conscious hidden dark and primal desires. Unleashed by a concoction, a seduction of science creates a fiend! Dr Jekyll & Mr. Hyde (1920)
There were a few early visions of fantasy, magic & Science Fiction films from all around the world- At 3:25 akaThe Crazy Ray (1924)Â Directed by Rene Clair-a scientist invents a ray that makes people fall asleep where they stand! The German film Master of the World (1934) (Der Herr der Welt) where a German scientist wants to create an army of Robots to do the dangerous work of laborers so, when he is told it’s too risky he goes mad and it’s too late the machine has a mind of it’s own. It features really cool electronic chambers and more!
And Transatlantic Tunnel (1935)Scientists construct a tunnel under the ocean-stars Richard Dix, Leslie Banks and C. Aubrey Smith.
Metropolis 1927 the dystopian masterpiece by director Fritz Lang was the beginning of the fascination with exploring the fantastic and our unbounded imaginations on film, itâs remarkable set design, imagery and narrative sparked the Science Fiction genre in a big wayâ spanning decade upon decade, in particular revived in the 1950s!
The first influential science fiction film by Fritz Lang created a dystopian societ in Metropolis 1927. Itâs influence has maintained it’s powerful thrust for decades. An inspiration for Ridley Scott’s neo-noir sci-fi masterpiece Blade Runner (1982)
“Man is the unnatural animal, the rebel child of nature, and more and more does he turn himself against the harsh and fitful hand that reared him”-H.G.Wells
Charles Laughtonis superb as H.G. Wells‘ Dr. Moreau a sociopathic sadist/scientist with a god complex whose profane experiments on animals and humans tortures them in the ‘house of pain’ trying to create a hybrid race he can hold sway over on his private island hell! Science has never been more evil! Island of Lost Souls (1932)
Then there was the 1936 adaptation of H.G. Wells’Things To Come (1936)directed by William Cameron Menziesand starring Raymond Massey as Oswald Cabal, Ralph Richardson as The Boss, Margaretta Scott as Roxanna/Rowena and Cedric Hardwicke as Theotocopulos.
âWhat is this progress? Progress is not living. It should only be the preparation for living.â
Flash Gordonand similar serials provided super heroes for generations of young people in the 30s & 40s, planting the seeds for the future that would give us the Star Wars legacy.
Audiences between the World Wars preferred horrors of a Gothic nature– James Whale’s Frankenstein 1931 & Bride of Frankenstein 1935, as they helped exercise demons conjured up from the 19th & early 20th century.
The electrical secrets of heaven, the lighting, the elaborate sets designed by genius Kenneth Strickfaden with his lights throbbing gizmos flashing and zapping, the creepy atmosphere of murky tones. The consummate Universal monster movie with iconic scenes introducing a new face, Boris Karloff who would become the great father of terror stories …
Whatâs on that slab?, âItâs Alive, Itâs Alive!âŚâthose monumental words that remain ingrained in our consciousness. Colin Clivebecomes hysterical as he has creates life from death, but that life would become a whole new ethical, moral and imposing dilemma for Dr.Frankenstein. A horror film with strong science fiction/fantasy tropes. And the laboratory as gorgeous set pieces would become a staple of the science fiction realm.
The 1950s Science Fiction genre took root with itâs profouns contribution to our collective consciousness AS a genre its vision & breadth possessed quintessential & ever-lasting sociological and psychological metaphors, iconic tropes and striking imagery.
The splitting of the atom, ushering in the atomic age and the collective anxiety most definitely was the catalyst for the many of the movie fantasy stories known as the 1950s Sci-Fi film.
âBut no matter what else it might be, what makes a science fiction film science fiction is the fact that it is, in some sense, about scienceâand not only science but futuristic science. By that I mean that science fiction movies deal with scientific possibilities and technologies that do not exist yet but that might exist someday. Science fiction is the realm of the not-yet.ââ âCult Science Fiction Filmsâ by Welch Everman
Ridley Scott – (Alien 1979, Blade Runner 1982) âWhen you come to the second World War Youâve got a very specific enemy. You know what that enemy is, Itâs there for all the wrong reasons and it should be preventedâŚ. Then you got the next phase which is The Cold War again which is to do with paranoia . But I think real, itâs real. Movies started to dip into that.”
âThe Splitting of the atomâŚ. forces that can only be explained to us by these guys in white coats⌠All of a sudden the guys in white coats became these simultaneously kind of rock stars and the most evil thing you could imagine.â
In a scene from The Atomic City 1952– The motherâs child sitting at the kitchen table with his breakfast âIf I grow up do you know what Iâm gonna do?â The mother turns to him, leaving her scrambled eggs on the stove and corrects him nervously, âItâs when you grow up, not ifâŚâ
The Atomic City 1952 trailer
Duck & Cover 1951 classic propaganda film
From the short instructional film Duck and Cover âBut no matter where they go or what they do they always try to remember what to do if the atom bomb explodes right then!” (the kids suddenly fall into the brick wall. The narrator says ) Itâs a bomb DUCK & COVER!
James Cameron – “All of our fate as human beings, our destiny seems bound up in our technology and our technology is frightening. Itâs Terrifying!â
Steven Spielberg- âSo there was a great deal of anxiety in the air. It was not just fear of being beaten up by the local bully. But the fear was being NUKED!⌠But we almost pushed a button on each other during The Cuban Missile CrisisâŚâŚ I was absolutely prepared for Armageddon and these movies from the 1950s and early 60s played on those fears. And these movies were all metaphors for those fears. â
George Lucas- âI would say that there was a certain amount of anxiety about that I mean I grew up right in the very heat of that. DUCK & COVER drills all the time⌠We were always hearing about the fall out shelter. About the end of the world, issues that were always going on about how many bombs were being built. The Cold War was always in the media.”
1950s Sci-Fi films represented a conservatism or âreactionary wingâ that seems consumed by a motive to emphasize the values of 1950s America post WWII, in the midst of a McCarthy era witch hunt that prevailed fueling our fears that seeped into many of the Sci-Fi narratives on screen and in literature. Reflecting the growing internal struggles within American society and the developing mistrust about Soviet aggression and anyone and anything perceived as subversive.
âAre you now or have you ever been a member of the Communist party?â
Some films that reflected the paranoia of the period were well regaled by a Hollywood studio system that was itself at the center of the controversial House Un-American Activities Committee (HUAC) targeting screenwriters and actors as ‘communist sympathizers’ and no one could be trusted. -Just like Invaders from Mars 1953, Invasion of the Body Snatchers 1956,X the Unknown 1956, The Incredible Shrinking Man 1957, and I Married a Monster From Outer Space 1958.
In 1947, in Roswell New Mexico the military reports that they have a UFO in their possession. The phenomena of sightings of UFOs would continue throughout the 1950s, though agencies were fully prepared to explain away the reports. Yet the public had a hunger to and fascination with the possibility of extra-terrestrials.
As Phil Hardy’s insightful take on the genre, all this manifested in a way that the Science Fiction films of the 1950s ‘supplanted horror as the genre that dealt with fear and paranoia.” The films expressed a very realistic look at science within the atomic age, and shed the shadows and expressionism of the earlier Gothic horrors and while not all scientific fact, tried to embrace a world of possibility.
The Flying Saucer 1950 begins the momentum for the decade of Science Fiction cinema’s love affair with unidentified objects and begins to round the edges of space crafts from other worlds that aren’t our American sharp and phallus shaped rockets!
DESTINATION MOON 1950 was featured in COLOR BY TECHNICOLOR. Being hailed the 2001, Space Odysseyof itâs time, it attempts to portray a realism trip to the moon. Phil Hardy calls Destination Moon 1950 ‘a sober celebration of man’s imminent conquest of space that dominated the decade.’
Destination Moon did attempt to accurately portray a trip to the moon given the technology and knowledge that was stuck in 1950.
Then we shot past the moon in cinema and went straight to the red planet with Flight to Mars 1951!
Themes and metaphors that emerged from anxiety about the atom bomb, radiation fallout, the advent of modernity, the space race and the wanderlust to conquer outer space, interplanetary warfare, military vs. science hubris, science meddling with nature, fear of science and technology,invasion anxiety, continued fear of otherness, deviant (in terms of counter-culture not exclusively moral judgement) subversion and xenophobic nightmares.
Sometimes we were even married to a monster from outer space and didn’t even notice much of a difference except for the lack of small talk! Here’s Tom Tryon and Gloria Talbott in I Married a Monster from Outer Space 1958.
Director Howard Hawk and screenplay by Charles Lederer, created a striking science fiction masterpiece of film noir ambience with itâs chilling back lit set pieces-The Thing From Another World 1951, adapted from John W. Campbellâs story âWho Goes There?â, other films that followed the path of paranoia — Invaders from Mars 1953, War of the Worlds 1953, It Came from Outer Space 1953, It Conquered the World 1956 & Invasion of the body snatchers 1956.
There were also science fiction films that rang the warning bell about cosmic calamity and catastrophic world coming to an end, annihilation fantasies like When Worlds Collide 1951.
War of the Worlds 1953 and When Worlds Collide 1951 had as Phil Hardy states, ‘religious dimensions’ that accused us of bringing about catastrophic punishment because of our misdeeds and transgressions.
H.G. Wellâs view of Martianinvaders created for the public consciousness the idea of destructive beings from another world. It was a great reflexive move for those science fiction films to portray aliens that were sympathetic, yet non-humanoid in appearance. Most Sci-Fi films show aliens as menacing, not only destructive but dangerous because they also wanted to keep us as captives, zap our resources and colonize our planet, sometimes even take our women, oh god no unhand Faith Domergueyou pants wearing Mutant!
“Is that a fireball or something?”
Hollywood saw a trend later on in the 50s with Destination Moon 1950 when they came upon a story written by Harry Bates called The Return of the Master this became Robert Wiseâs The Day the Earth Stood Still 1951which has remained one of the best regarded science fiction films of all time. This is one of the rare occasions when the alien Klaatu played beautifully like an intricate clock by the chiseled face, tranquil speaking Michael Rennie is benevolent, bringing with him a sincere and dire warning about earth peopleâs course and the future of their civilization if they donât relent about the proliferation of atomic weapons. There were several well intended alien visitors who were met with hostilities as with, Klaatu (Michael Rennie ) in Day the Earth Stood Still 1951, and The Man From Planet X 1951.
Many films, even the low budget excursions dealt with our primal fears of alienation, estrangement & loss of identity i.e.,(communism at itâs core, the ramifications of otherness) nothing hits home more than Invaders from Mars 1953, and the quintessential loss of self and individualism in Don Siegels’Invasion of the Body Snatchers!
“They would change into people who hate you!”
Steven Spielberg talks about the impact of Invaders from Mars 1953, âIt certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you!â
I can attest to the persuasion these films could have over the burgeoning imagination of a child, especially one like me who felt very much like an outsider as a kid. One night, as sure as my name is MonsterGirl, I went home, looked at my parents, decided they had been switched by aliens and ran out of the house, walking around the block for at least an hour before I convinced myself that I was being ridiculous. Or was I? These themes did have a not so subtle impact on a young impressionable mind who could easily question the world around them. Who could you trust? Would would believe you anyway?
There is the outsider narrative, diminishing human forms as in Bert I. Gordonâs Attack of the Puppet People 1958 where obsessed and lonely puppet maker John Hoyt loses his marbles. Although mad -bad science has shrunk down people before the 1950s in The Devil Doll 1936and in the hands of crazed Albert Dekker in Dr. Cyclops 1940.
There is the quintessential existential crisis, the beautifully thought provoking film by director Jack Arnold starring the eternally transcending man Grant Williams in, The Incredible Shrinking Man 1957.
And of course there is the matter of GIGANTISM!
Giant insects, sea creatures and people who ran around half crazed and scantily dressed were a by-product of the atomic age!
George Lucas ââOut of that fear came I think a lot the monsters which you mess around with stuff and youâre gonna unleash this unknown monster!⌠itâs making tangible the unknown⌠A lot of that has to do with the mystery of this silent death that comes along with it that nobody knows exactly what it is or where it came from or canât see it, canât touch it. Well letâs make it easier to deal with by making it a giant monster.â
Some films show the ascension from violence & hyper-masculinity, Women as professionals & bold heroines who didnât shrink as hysterical victims. Female dominated civilizations (Cat- Women of the Moon 1953, Queen of Outer Space 1958, Missile to the Moon 1958, Fire Maidens from Outer Space 1956, that threatened to maniacally seduce & subsume male voyagers, dressed by 5th avenue they are outrĂŠ chic. Wanton warriors & nubile space maidens who often never saw the male species before or wanted to destroy them altogether!
A tagline reads âSEE-Astounding she-beasts of Venus!â
In Queen of Outer Space 1958 the masked disfigured Queen Yilana (Zsa Zsa Gabor) imprisons the men who crash land on her planet, intending to annihilate the earth with her beta disintegrator, though her beautiful subjects revolt in the name of love.
Mark Hamill –âWe sometimes imagined other planets as paradisesâŚ. with girls!!! they looked more Hollywood starlets than space aliens, anyway they were eager to please. Their dancing their music their leotards were so Moderne! like Greenwich Village in outer space.â referring to Cat-Women of the Moon 1953.
“May we serve you earth men?”
“You’re the first man I’ve ever seen!” Carol Brewster as Alpha is mesmerized
There’s nothing worse than a space Queen–The Lido (K.T. Stevens ) and one of her maidens in distress…
Mark Hamill who narrates the wonderful documentary written and directed by Richard Schickel Watch the Skies! Sci-Fi , the 1950s and Us presented by Turner Classic Movies also reminds us that â50s science fiction may have shot at the stars but the dialogue often remained earth bound tied up with the battle of the sexes.â Many prevailing sub-texts were also love stories, soap operas involving relationships between men and women.They would create love stories in space!
Project Moonbase 1953 Donna Martell as Colonel Briteis (bright eyes?)
Cameron Mitchell plays Steve Abbott in Flight to Mars 1953, who tells Marguerite Chapman as Alita a fellow scientist/astronaut, âI think youâre a prize package and very feminine.â
There is always time for romance in outer space!
There were menaces from without, menaces from within. The ordinary world transformed into the monstrous. There were warnings from benevolent aliens and aggressive attacks by aliens who wanted to colonize our planet.
The indie filmmakers introducing teenagers as both heroes & monsters. Many films were horror/sci-fi hybridizations. And by the end of the decade we were left a legacy of impressive productions that remain timeless masterpieces, the cult grade- B Sci-Fi picture with their indelible charm and kitsch emblems, and the true stinkers that are so bad there too good not to appreciate. Sublime, thrilling, provocative & yes campy!
There were collections of stylized works by Jack Arnold, Bert I. Gordon, Edward L. Cahn and one indie auteur who showed us how to make a memorable movie on a shoe string budget who also launched many a career, the inimitable and grand Roger Corman. And of course those guys at American International Pictures (AIP)
Within the 50s decade shedding the Gothic themes of the 30s & 40s, the poetic shadow plays of Val Lewton,1950s Sci-Fi films had a pre-occupation with the modern world and mostly all the central menaces were transformed into non-human threats that we not only couldnât empathize with but were revolted against as dangerous, vicious, insidious and potentially nihilistic in vision, they were seen as only a threat to our humanity and ultimately would lead to our destruction.
Within Sci-Fi there are so many films which are complex hybridizations of horror/science fiction /fantasy and have become too insurmountable to dissect or decipher all the nuances between the various free-floating genres. Writer critic historian Robin Wood in his Hollywood from Vietnam to Reagan.âwagers that âthe horror filmâs radical potential lies in the fact that âthe true subject of the horror genre is the struggle for recognition of all that our civilization represses or oppressesâ Jancovich states that the monster âmust therefor be seen as a profoundly ambiguous figures which challenges social norms and so reveals societyâs repressive monstrosity.â
This theme is attached to McCarthyism that showed up as coded narratives in the more highly produced Sci-Fi films- âthe myth of Communism as total dehumanizationâaccounts for the prevalence of this kind of monster in that periodâ -Mark Jancovich -Rational Fears- American Horror in the 1950s.
20 Million Miles to Earth (1957) Ray Harryhausen’s Ymir from Venus
It Came from Beneath the Sea (1955) Ray Harryhausen’s The Kraken
Cinematographers who brought these visual narratives & landscapes to life- just to name a few!
Clifford Stine (It Came from Outer Space 1953,This Island Earth 1955, Imitation of Life 1959,Spartacus 1960) Sidney Hickox(Them! 1954, The Big Sleep 1946,Dark Passage 1947,White Heat 1949), John F. Seitz(Invaders from Mars 1953, Sullivan’s Travel’s 1941m Double Indemnity 1944, Sunset Boulevard 1950), Russell Harlan ( The Thing from Another World 1951, Red River 1948, Witness for the Prosecution 1959 To Kill a Mockingbird 1962) George Barnes(War of the Worlds 1953, Rebecca 1940, Spellbound 1945) Leo Tover(The Day the Earth Stood Still 1951, Hold Back the Dawn 1941,The Snake Pit 1948, The Woman on the Beach 1947,The Heiress 1949, Journey to the Center of the Earth 1959) Ellsworth Fredericks(Invasion of the Body Snatchers 1956, Hold Back the Night 1956,The Stripper 1963, Mister Buddwing 1966)
And just as key to the atmosphere and attitude of the films were the musical contributions which defined that certain feel of chills and excitement, screwball antics and off-beat perscussion that filled up your head with pulsing visions of laser beams and other-worldly noises that ran up your spine like a finely coiled wire resonating the confluent sounds of the cosmos! Geesh that was a mouthful!
There were composers who masterfully underscored some of the BEST films and even the worst!, Dimitri Tiomkin * Bronislau Kaper * Bernard Herrmann *Hans J. Salter and Henry Mancini to name a few.
Instrumentalist Clara Rockmore mastered the Theremin which had a cosmic, universal vibe that was, well out of this world!
The Theremin is an electronic musical instrument created by Russian inventor , LĂŠon Theremin controlled by the performing thereminist who makes the dulcet eerie tones by manipulating the two metal antennas that respond to the hand movements which influence the oscillations or frequency with one hand and effecting the volume with the other hand.
Popular were the films that dealt with the hubris of science that ultimately manifested monsters. There were even pants monsters, yes! pants monstersâŚ! The burning sun turned him into a hideous fiend, but he still had time to put on those Haggars casual men’s trousers!
THE HIDEOUS SUN DEMON, Robert Clarke (in doorway), Patricia Manning (second from right), 1959
There was a running sentiment âthe notion of us against them, and even at times when not working together to fight a common enemy- you’d see the military vs science… And sometimes, though almost always male hero driven, there emerged some anti-damsels, all-powerful women who broke the cliched mold of the helpless hysterical female and arose as smart, intellectual (a socially constructed gendered male quality), mindful and fearlessly driven woman with guts and composure even if it was to hold off from laughing at Paul Blaisdell inside that cucumber monster from Venus.
Roger Corman’s It Conquered the World (1956) The Venusian cucumber
Just look at Julie Adams as Kay Lawrence in Creature from the Black Lagoon 1954, Joan Weldon as Dr. Patricia Medford in Them! 1954, Beverly Garland as Dr. Andrea Romar in Curucu, Beast of the Amazon 1956 & and her gutsy Clair Anderson in It Conquered the World 1956, Tina Carver as Dr. Terry Mason in From Hell It Came 1957and Faith Domergue as Dr. Ruth Adams in This Island Earth 1955 & Prof. Lesley Joyce in It Came from Beneath the Sea 1955, and Lola Albright as Cathy Barrett in The Monolith Monsters 1957 .
Some sci-fi films were visually surreal landscapes or existential masterpiece such as William Cameron Menzies Invaders From Mars 1953 or Ib Melchiorâs The Angry Red Planet 1959 and Jack Arnoldâs magnificent adaptation of Richard Mathesonâs The Incredible Shrinking Man 1957.
The Angry Red Planet (1959) The Rat Bat Spider puppet monster!
Grant Williams sails into the radioactive mist in The Incredible Shrinking Man 1957
Invaders from Mars (1953) Jimmy Hunt awakens to a UFO crashing into the sand dunes
“To sleep perchance to dream”-Hamlet-William Shakespeare
This dream-scape is a visual masterpiece, with the appearance of the sublimely brilliant Finnish painter Hugo Simberg, ( I happen to get permission from The National Museum of Finland to use Simberg’s ‘At The Crossroads’ as the cover of my album Fools & Orphans) thanks to the art design by visionary William Cameron Menzies!
A scene from Invaders from Mars (1953)
It is absolutely true about one thingâ that itâs wholly complex to begin dissecting what makes a film solely and definitively Science Fiction and what constitutes it being a hybridization of horror & fantasy. There are way too many that fall right on the gray line that either exists in the middle or transects both themes at once.
Vincent Price can’t get that pesky Tingler off his arm in William Castle’s terrific horror/sci-fi extravaganza equip with buzzing chairs-The Tingler (1959)
For example, I am covering William Castleâs The Tingler 1959, because, while the central terror surrounds a monstrous ‘horror movie themed monster’ a creeping fiend that lives inside us all and grips our spines the moment we are in abject fear, it is discovered by scientific and medical research. One could say the film is also a crime drama. There are too many nuances and parameters that intersect. James Whaleâs adaptation of Mary ShelleyâsFrankenstein 1931is called a Monster movie by Universal and by fans of all generations. But it falls into the deep well of hybridization as so much of it focuses on the very philosophical questions around scientific hubris, the creation of human life and the question of god, ownership of one’s identity, and what is monstrous?
âA lot of science fiction films are also horror films in which monsters are spawned by scientific experiments, but not all horror films are science fiction, because science fiction does not deal in the supernatural. Science fiction takes place in the realm of the not-yet; supernatural horror films operate in the realm of the impossible.ââ âCult Science Fiction Filmsâ by Welch Everman
The enormous influence that Science Fiction cinema had long-lasting effects on the advent of television. Just look at Rod SerlingâsFantasy/Sci-Fi anthology series which aired on CBS from 1959-1964. The show came in on the end of the decade. Stories that were infused by the themes of the 50s and set the tone for future decades to come. The Twilight Zone was groundbreaking and thought-provoking, dealing with issues of war, class, race, it was a socially conscious program that constantly tried to remind us of our humanity. The decade of 1950s Science Fiction also bled into the mindfulness of my favorite early 60s science fiction anthology series The Outer Limits.
The Zanti Misfits-one of the many fabulous Outer Limits monsters!
âThere is nothing wrong with your television set. Do not attempt to adjust the picture. We are controlling transmission. If we wish to make it louder, we will bring up the volume. If we wish to make it softer, we will tune it to a whisper. We will control the horizontal. We will control the vertical. We can roll the image, make it flutter. We can change the focus to a soft blur or sharpen it to crystal clarity. For the next hour, sit quietly and we will control all that you see and hear. We repeat: there is nothing wrong with your television set. You are about to participate in a great adventure. You are about to experience the awe and mystery which reaches from the inner mind to â The Orwellian Control Voice from The Outer Limits anthology television series aired from 1963-1965.
Mark Jancovich writes âAgain and again, the threats which distinguish 1950s horror do not come from the past or even from the actions of a lone individual , but are associated with the processes of social development and modernization. In this period, it is the process of rationalization which is the threat, and in this way horror texts were at least as concerned with developments within American society as they were with threats from without⌠Here rationalization is understood as the process through which scientific – technical rationality is applied to the management of social, economic and cultural lifeâŚ
⌠this new system of organization was seen by many as inherently totalitarian system which both created conformity and repressed dissent.â
Vincent Price fights off zombies from a plague that wiped out most of the human race in Richard Matheson’s adapted screenplay from his story I Am Legen- The Last Man on Earth (1964)
The outsider narratives– were illustrated as contrasting and conflicting to accepted norms, we see this with Richard Mathesonâs writing (I Am Legend which became Vincent Price’sagonizing journey as The Last Man on Earth 1964, and later The Omega Man 1971 and Jack Arnoldâs films involving “the reoccurring preoccupation with alienation, isolation and estrangementâ -Jancovich- seen in Creature From the Black Lagoon 1954 and The Incredible Shrinking Man 1957.
Grant Williams protagonist Scott Carey becomes engulfed in a glittery mist of atomic dust particles in The Incredible Shrinking Man 1957 the film exudes anxiety of his diminishing masculinity by not only losing his literal size, his physical height but he loses his maleness as a husband and as a regular man. This estrangement become a journey of his eternal soul and itâs place in the vast unknown other-world.
Grant Williams is feeling ‘literally’ like such a small man.
There would be films that embrace the dystopia narratives, and curiosity with technical advancements like robots!
These Science Fiction/Fantasy films have left a deep and abiding impression on so many of us. Whether you grew up actually seeing them for the very first time, or becoming a new fan who is excited to embrace the heart and soul of a genre that made you think beyond what if? Either way, Science Fiction is an exploration of our imaginations, both glorious and often terrifying but itâs a genre that is here to stay, and the 1950s in particular truly rang the alarm bell that is still reverberating today!
Added to the mix in many of these film favorites was the essential mechanism of ‘not being believed’added to the fear and paranoia of the moment!
The Face of Paranoia
Invasion Anxiety
FEAR OF THE ATOMIC BOMB! The Atomic City 1952 trailer
I see you with my million eyes!
Hey big fella got a light!
The theremin ‘the dulcet tones’ that wavered throughout sci-fi and beyond!
âThe modern worldâ
It’s intermission time! Head out to the snack bar for some 50s refreshments!
Directed by Irving Picheland producer George Pal along with a screenplay by Robert Heinlein took a very documentary approach to the narrative and the landscapes. The film stars John Archeras Jim Barnes, Warner Anderson as Dr. Charles Cargraves, with Tom Powers and Dick Wesson. The film was a critical success an revived the Sci-Fi genre.
Destination Moon 1950 was an attempt to show a serious technical side to space travel. based on what science actually knew at the time. Actually it was in response to a spread that ran in Collierâs Magazine of series of paintings done by artist Chesley Bonastell of gleaming space craft.
Steven Spielberg had said of the picture, âDESTINATION MOON is a scientific attempt to create suspense based on no bad guys no villains and no aliens.
Similar to almost Apollo 13(1995) or Marooned 1969)
George Lucas says âAt the time it was a very provocative idea because nobody had ever seen anyone go to the moon.âÂ
Though it’s been called the precursor to 2001 Space Odyssey, Stanley Kubrick never admitted to having seen the movie. Which is highly possible, and given his genius we’ll take his word for it.
In the midst of the Cold War, the film reflects America’s desire to conquer, and according to the generals in Destination Moon, the moon would be the ideal location for a strategic military base of operations. And thus the race for America to get there first. There’s also a conflict seen as there were those who would embrace the new technologies and those who saw the impending modernity as a threat or a ‘bad thing’.
Pichel and Pal wanted to situate this film farther away from the fantastical science fiction ‘soap opera’ serials of the 1930s. Physicists and astronomers were consulted in order to stay true to the realistic view Heinlein, Pichel and Pal desired as their vision of the future. They also used striking paintings by Chesley Bonestell to imagine the gorgeous lunar landscapes along with designer Ernest Fegte who create the realistic cratered look of the Moon.
The film features the first lunar landing that was envisioned as realistic and not melodramatic or surreal. The crew led by actor John Archer manage to land on the Moon but they run out of fuel, that they seem doomed to be stranded. They lose all the excess weight in order to get the ship space worthy again, but till they are over the weight limit. In a noble act of courage and sacrifice Dick Wesson (Tom Powers) figures that he can remove his cumbersome pressure suit and re-enter the ship a lighter and better man in order to save the rest of the crew…
Dr. Charles Cargraves:You can’t buck public opinion; I’ve tried. Have you seen this? [Newspaper headline:MASS MEETING PROTESTS RADIOACTIVE ROCKET] General Thayer:That isn’t public opinion – it’s a job of propaganda! Jim Barnes: You’re almighty right it is. Manufactured and organized – with money and brains. Somebody’s out to get us.
Directed by Mikel Conrad, stars Mikel Conrad as Mike Trent, Pat Garrison as Vee Langley, Hantz von Teuffen as Hans, Lester Sharpeas Col. Marikoff Roy Engel as Dr. Carl Lawton and Denver Pile as Turner! Because we feared the Russians in the early 1950s much of the paranoia around UFO sightings were connected to those pesky Reds! When CIA secret agent Mike Trent tracks a flying saucer to Alaska he finds out that it is a ship built by scientist Dr. Carl Lawton who hopes to sell it to the Americans!
Pat Garrison and Mikel Conrad-50s cool!
Col. Marikoff: Mr. Trent, you’re giving us a great deal of trouble. Why didn’t you stay in New York with your drunken friends of the night club?
Prehistoric Women would find a resurgence in the 60s! Here’s British actress Martine Beswick in the 1966 movie with the same title!
Prehistoric Women (1950) Directed by Gregg C. Tallas Shown from left: Jo Carroll Dennison, Joan Shawlee, Laurette Luez, Kerry Vaughn, Mara Lynn (bending over), Judy Landon
Directed by Gregg C. Tallas, (Siren of Atlantas 1949) offers an adventure sci-fi fantasy film. Prehistoric Women stars Laurette Luez as Tigri, Allan Nixon as (Mesa of Lost Women 1953, Pickup 1951) Engor, Joan Shawlee as Lotee, Judy Landon as Eras, Mary Lynn as Arva, Jo Carroll Dennison as Nika, Kerry Vaughn as Tulie, Tony Devlin as Rulg, James Summers as Adh, Jeanne Sorelas Tana, and Janet Scott as Wise Old Lady.
As Bill Warren puts it in his wonderful series Keep Watching the Skies published by the awesome McFarland Press-Prehistoric Women “Were this picture not so naive, it would seem more sleazy than it does. It’s not good in any way, but has a certain daffy charm because of it’s unsophisticated unbelieveability.”
The Commentator: “And Engor called it Firee, which was his word for Fire.”
The film is narrated documentary style because the cast are primitives who Amazonian cave-women and had little to no dialogue, it just adds to the laughable style and god awful Cinecolor production. I’d like to know how they got a turkey vulture to wear a mask poor thing, the film is so blurring it’s hard to tell what the hell is flying up in the prehistoric blue sky… scourge of the skiesindeed! Still, prehistoric films, though considered mostly adventure stories seems to be included in books on the Sci-Fi genre. Though it could also easily be branded as a very cheap sexist exploitation romp!
Look it’s a flying dragon the scourge of the skies!
Bill Warren cites a review from the Monthly Film Bulletin: “They assert feminine superiority ruthlessly, setting their captives to hard labour, clubbing them intermittently and cutting off their escape… {Engor-} (the intelligent troglodyte who invents fire) uses a flaming torch to destroy a giant winged dragon (a disguised turkey vulture they must have tortured off set by putting fake ears and beak on it) that threatens their encampment {and}the girls are stunned with fear and admiration and surrender unconditionally.”
Tigri and her clan hate men but realize that they are sort of needed for some things, so they capture a bunch of fellas and try to force them to become their mates. But when Engor, escapes and discovers fire gets re-captured and not only slays the “flying dragon the scourge of the skies” but uses the fire to fight off the ugly brute who threatens their lives Tigri has a change of heart and all is right with the primitive world again. The women start running around panicked and screaming hysterically and the men are once again in charge… it’s ludicrous.
This giant is a real 9 foot giant… named Guadi in the film is Johann Petursson The Viking Giant was the Tallest Man From Iceland and traveled with Ringling Bros. Circus!
The Commentator: “Strangely enough, the swan dive was invented before the swan.“
GASP AT THE DARING COURAGE⌠AS THEY THUNDER BETWEEN PLANETS ON A RUNAWAY ROCKET!
Directed by science fiction story aficionado Kurt Neumann ( Secret of the Blue Room 1933, Half a Sinner 1934, Island of Lost Men 1939, a slew of Johnny Weissmuller Tarzan pictures, She Devil 1957, the outstanding Kronos 1957, and The Fly 1958 ) Rocketship X-M stars Lloyd Bridges as Col. Floyd Graham, Osa Massen as Dr. Lisa Van Horn, John Emory as Dr. Karl Eckstrom, Noah Beery Jr. as Maj. William Corrigan, Hugh O’ Brian as Harry Chamberlain, Morris Ankrum as Dr. Ralph Fleming, and Sherry Morland as the Martian girl.
Cinematographer Karl Struss  (Sunrise 1927, The Great Dictator, 1940, Limelight 1952, The Fly 1958) and art direction by Theobold Holsopple create at times a sublime and beautifully desolate landscape using matte paintings, miniatures among the technical effects. For all the scenes on Mars, the film is tinted a pinkish sepia tone (filmed partly in The Mojave desert). Struss lenses an landscape that is eerie and atmospheric.
Rocketship X-M was a B picture designed to beat DESTINATION MOON in the movie theaters, and even with it’s grim ending, it actually did better at the box office. Director James Cameron called it an ‘Anodyne answer to Destination Moon 1950.’ It was a cautionary tale about how we will not be able to control this new technology. It’s a warning about too much hubris surrounding this powerful technology that sometimes ‘precedes a tragic fall’-Mark Hamill.
The crew finds the remnants of a Martian Civilization that was destroyed by itâs own technology much like the revelation in Ridley Scott’s Alien 1979.
The film though with it’s bleak message is quite a surprisingly interesting science fiction tale about a trip to the moon, by way of Mars that is interesting because of it’s earnestness and visual style. And to be honest a lot more interesting and characters more full of life than with it’s predecessor in 1950 Destination Moon.
Rocketship XM Staffing Lloyd Bridges, Osa Massen, John Emery, Noah Berry Jr. You heard this year’s Oscar Winner for Best Actor credit his father for his acting career. Well here he is folks. Third from the left: Lloyd Bridges.
German director Neumann came to Hollywood in 1925 and became best known for his work on The Fly. (1958) Rocketship X-M is a sober and beautifully filmed piece of science fiction realism blended with romance and crisis. Like Destination Moon ,it features the first manned rocket-ship to the Moon that winds up knocked off course winding up on Mars, stranded on the bleak landscape where the crew led by Dr. Karl Eckstrom stumble upon a dome-shaped structure and an odd metallic mask. They deduce from all the radioactivity that there must have been a superior race of intelligent beings who had once inhabited the planet but fell victim to some kind of atomic catastrophe, leaving only a few mutant savages to forage the bones of the now desolate planet.
These crazy looking bald Martians sort of remind me of Pluto in The Hills Have Eyes 1977
The crew is eventually besieged upon by the remains of that once thriving Martian race, which in a shocking reveal shows Sherry Moreland the Martian girl to have a lifeless stare as she is blind. The Martian trogldyte attackers kill Dr.Eckstrom, and Maj. Corrigan, wounding Chamberlain. Col. Floyd Graham and Dr. Lisa Van Horn make it back to the ship, but don’t have enough fuel to get back home. In a very intense and poignant scene as the two hold each other and embrace their inevitable fate with a transcendent fatalistic sense of hope, much like Grant Williams at the end of The Incredible Shrinking Man, the lovers watch through the view finder as they plunge toward Earth to their deaths, in a darker film ending– as they crash. Rocketship X-M seems to have brought the warning not to earth in the form of Klaatu the benevolent, but has placed us on a hostile planet much like Planet of the Apes that gravely warns us that our future could very well wind up the same way if we pursue atomic weapons.
Lloyd Bridges holds Osa Massen It ends badly for everyone. As they look out the porthole âitâs only seconds now, try not to be afraidâ She clings to him-Suddenly she is not afraid anymore. She feels like something is lifting them up and holding them right before they crashâŚ
Osa Massen sees her tragic end as a new beginning she sheds her fears and finds a courageous way to embrace their impending death. Itâs a rather poetic scene when they hold each other and look out at the view finder and watch as life rapidly escapes them. It’s a very dark ending.
Doomed to crash and burn Floyd and Lisa cannot control the technology. There is a conflict with the machines and mechanisms we build that can either annihilate us or set us free to explore and thrive.
âTheir last desperate hope is for transcendenceâ
ROCKETSHIP X-M â Director John Cameron calls it a âdualistic danceâ with technology -referring to the end being so nihilistic potentially– then the head of the program says they’ll start construction tomorrow.
Already on Earth they are planning another mission called Rocketship X-M2!
PROGRESS MARCHES ON-“No gentlemen the X-M was not a failure tomorrow we start on the construction of the X-M2”
Floyd: I’ve been wondering, how did a girl like you get mixed up in a thing like this in the first place.
Dr. Lisa Van Horn: I suppose you think that women should only cook and sew and bear children.
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 Showon 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’sSaboteur 1942,& Mr. Garmes in Spellbound 1945.Â
Lloyd had been blacklisted and hadn’t been able to work in television for four or five years.
“Around 1955 they got Hitchcock to say heâd do television which was a big thing. And in â57 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 Lloydâ and Hitch said, âI want him!â that was the end of the blacklist!â -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.â 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 twistsâ -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 Wonât Believe Me 1947, Ride the Pink Horse 1947, Eye Witness 1950, and Circle of Danger 1951.
Director Robert Siodmak, producer Joan Harrison, Ella Raines and Franchot Tone on the set of Phantom Lady 1944
The cinematographers who worked on various episodes included Stanley Cortez, Benjamin Kline, Lionel Linden, WilliamMargulies, Richard Rawlings, John L. Russell and John F. Warren. With art direction by John J Lloyd and Martin Obzina.
The magnificent musical contributions were offered by Hitchcock veteranBernard Herrmannand a personal favorite of mine,Lyn Murray, whose stirring melodies recycle themselves in several of the most poignant episodes. The brilliant and prolific Pete Rugolo can be heard as well as Stanley Wilson.
Florence Bush was the hairstylist for the show, and she was very active during the 60s! You’ll spot her name listed in the credits on so many television programs of that era. Including Leave it to Beaver and Hitchcock’s film Psycho!
THE DIRECTORS-Â Bernard Girard, John Brahm, Alan Crosland Jr., Alf Kjellin, Norman Lloyd, Sydney Pollack, Jerry Hopper, Joseph Pevney, Leonard Horn, Jack Smight, Charles F. Haas, David Lowell Rich, James Sheldon, Herschel Daugherty, Robert Douglas, Joseph Newman, Harvey Hart, Laslo Benedek, William Whitney, Leo Penn, Harry Morgan, Philip Leacock, Lewis Teague, Arnold Laven, David Friedkin, James H. Brown, Alex March, Herbert Coleman, William Friedkin and Alfred Hitchcock…
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, BarrĂŠ Lyndon, Jack Ritchie, Alvin Sargent, Hugh Wheeler, Veronica Parker Jones, Boris Sobelman, Joel Murcott, Margaret Millar, Richard Levinson, William Link, Thomas H Cannon Jr., Randall Hood, Gabrielle Upton, Robert Westerby, Miriam Allen DeFord, William D Gordon, John Collier, James Parish, Kenneth Fearing, Robert Gould, Robert Arthur, William Fay, George Bellak, Robert Twohy, Leigh Brackett, Frederick Dannay, Manfred Lee, Mann Rubin, Douglas Warner, Henry Kane, Alec Coppel, Amber Dean, Lou Rambeau, Edith Pargeter, Charles Beaumont, Francis Didelot, Celia Fremlin, Roland Kibbee, Lukas Heller, Elizabeth Hely, Rebecca West, Richard Fielder, Nicholas Blake, Lee Erwin, Marie Belloc Lowndes, Julian Symons, John Bingham, V.S.Pritchett, John D MacDonald, John Garden, Andrew Garve, Marc Brandell, Patricia Highsmith, Samuel Rogers, Oliver H. P. Garrett
Writer Robert Bloch- was a contributor to many of the shows spine chilling narratives!
Hitchcock first managed to develop an anthology series that drew from his magazine and radio stories of the macabre, suspenseful, crime drama and cheeky thriller, often lensed with a noir style. This show was of course Alfred Hitchcock Presents. Eventually in order to compete with the growing market of 50 minute teleplays, like Playhouse 90, Boris Karloff’s Thriller, The Twilight Zone etc, Hitchcock changed his format to meet an 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.
Alfred Hitchcock is still the larger-than-life, Aesopsian voice of modern crime-infused with foul deeds springing from human nature and the darker sides of the mortal mind and how far it can reach when working under a compulsion, obsession or pathology. His vision created some of the most compelling little dramas for a ’60s audience to digest, still relevant after all these years.
Hitchcock’s brand of humor was dry and witty, ironic and fablist. Drawing from some of the finest mystery writers of the day, his little tour-de force dramatizations showcased some of the best examples of theatre and acting even on the small screen. His first show which gave us a 25 minute sequence that the series featured premiered on October 2, 1955 after Alfred Hitchcock had been directing mesmerizing films for over three decades!
“GOOD EVENING…..”
The iconic opening title sequence for the show has become unforgettably imposed in our psyches and in popular culture, as the simplistic yet mirthful intro possesses the camera fading upon an easily recognizable caricature of Hitchcock’s porcine yet endearing profile. Set against one of the most memorable musical themes written by Charles Gounod’s– the piece is called Funeral March of a Marionette. A type of adult nursery song that tickles the funny bone’s comparable curious bone… the one that gets triggered when there’s a marvelous mystery afoot! The theme– suggested by Hitchcock’s musical collaborator, the brilliant Bernard Hermann.
As if it couldn’t get any more smashingly wicked and alluring, Hitchcock himself takes shape behind the silhouette from the right of screen, then in grand theatrical style walks center stage to eclipse the drawing. He commences with his nightly, “Good evening…” and we are in for an irresistibly gripping treat!
The opening set of each episode, Hitchcock is given props against an empty stage. At times he himself becomes the prop, or main focal point where he imparts either sage elucidation, comical warning or sardonic advice. A witty prelude to the evening’s tale or just a frivolous bit of shenanigans to put one in the mood for the evening’s program. As he drolly introduces the night’s story, his monologues were conceived of by James B Allardice. Many of his missives took shots at the sponsors, spoofing the popular American fixation on commercials and commercialism.
Always at the end of the show, Hitchcock would re-appear to lead the audience out of the evening’s events. To either enlighten them on the aftermath of a story, the scenes they did not see, and to reassure us that the criminals featured did get their comeuppance. To tie up any loose ends within the question of morality’s swift hand.
Originally 25 minutes per episode, the series was expanded to 50 minutes in 1962. The show was then renamed The Alfred Hitchcock Hour. Hitchcock directed 17 of the 268 filmed episodes of Alfred Hitchcock Presents.
Hitchcock did direct one of the hour long episodes called “I Saw the Whole Thing” starring John Forsyth who is accused of hit and run, while several witnesses swear they saw him leave the scene of the accident.
Here is how the show was syndicated back in the 60s:
Sunday at 9:30-10 p.m. on CBS: October 2, 1955âSeptember 1960
Tuesday at 8:30-9 p.m. on NBC: September 1960âSeptember 1962
Thursday at 10-11 p.m. on CBS: SeptemberâDecember 1962
Friday at 9:30-10:30 p.m.on CBS: Januaryâ September 1963
Friday at 10-11 p.m. on CBS: September 1963âSeptember 1964
Monday at 10-11 p.m. on NBC: October 1964âSeptember 1965
The Alfred Hitchcock Hour, lasted three seasons from September 1962 to June 1965, There were 93 episodes in total. Alfred Hitchcock Presents had a total of 268 episodes.
Hitchcock directed two episodes of Presents that were nominated for Emmy Awards–“The Case of Mr. Pelham (1955) and one of the most popular stories with it’s fabulous dark humor, “Lamb to the Slaughter” (1958) starring Barbara Bel Geddes.
The episode that won an Emmy Award was one of my particular favorites as it is both poignant and eerie, “The Glass Eye” (1957) starring Jessica Tandy, Tom Conway and Billy Barty.Robert Stevens won for his direction.
Cinematographer John L. Russell’s incredible shots of Jessica Tandy in The Glass Eye
“An Unlocked Window” (1965) is one of the most starkly intense and transgressive in nature of The Alfred Hitchcock Hour and won an Edgar Award for James Bridges writing in 1966. The episode stars Dana Wynter and Louise Latham, both wonderful unsung actresses!
Dana Wynter and T.C. Jones in An Unlocked Window–nurses in peril oh my!Louise Latham in An Unlocked Window
THE ACTRESSES—Â Martha Hyer, Vera Miles, Patricia Breslin, Angie Dickinson, Carol Lynley, Carmen Phillips, Isobel Elsom, Charity Grace, Susan Oliver, Kathleen Nolan, Peggy McCay, Adele Mara, Lola Albright, Dee Hartford, Gena Rowlands, Jayne Mansfield, Dina Merrill, Patricia Collinge, Jan Sterling, Elizabeth Allen, Anne Francis, Ruth Roman, Gladys Cooper, Inger Stevens, Zohra Lampert, Diana Hyland, Joan Fontaine, Irene Tedrow, Sarah Marshall, Nancy Kelly, Betty Field, Katherine Squire, Martine Bartlett, Phyllis Thaxter, Natalie Trundy, Linda Christian, Laraine Day, Anna Lee, Lois Nettleton, Madlyn Rhue, Patricia Donahue, Diana Dors, Claire Griswold, Mary LaRoche, Virginia Gregg, Anne Baxter, Jacqueline Scott, Sondra Blake, Ruth McDevitt, Katharine Ross, Patricia Barry, Jane Withers, Joyce Jameson, Teresa Wright, Linda Lawson, Jean Hale, Mildred Dunnock, Felicia Farr, Kim Hunter, Collin Wilcox, Jane Darwell, Jocelyn Brando, Joan Hackett, Gloria Swanson, Lynn Loring, Pat Crowley, Juanita Moore, Naomi Stevens, Marjorie Bennett, Jessica Walter, Gia Scala, Joanna Moore, Kathie Browne, Ethel Griffies, Sharon Farrell, Nancy Kovack, Barbara Barrie, Doris Lloyd, Lillian Gish, Maggie McNamara, Josie Lloyd, Tisha Sterling, Ann Sothern, Patricia Medina, Elsa Lanchester, Jeannette Nolan, Ellen Corby, Julie London, Margaret Leighton, Lilia Skala, Olive Deering, Kathryn Hays, Dana Wynter, Louise Latham, Sally Kellerman, Geraldine Fitzgerald, Fay Bainter, Jane Wyatt, June Lockhart, Colleen Dewhurst…
MY SELECTED EPISODES THAT FEATURE THE HITCHCOCK LADIES OF THE EVENING!….
Vera Miles as Daphne and devilishly handsome Jeff Hunter in Don’t Look Behind YouFear grips the campus and Vera Miles… Abraham Sofaer watches Daphne go out into the dangerous night woods
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 fiancĂŠe 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-âDaphne, I know this manâs secret. Iâve studied these people, I know how they think!”
Daphne-âItâs frightening sometimes⌠how you know people.â
Actors Ed Nelson and Arnold Moss listen to the recordings sent by the plagued Warren Barrow. Is he a murderer? Angie Dickinson is the seductress and James Mason the tormented man
This episode is directed by actor turned director Alf Kjellin, based on the teleplay by Richard Levinson andWilliam Link of Columbo! from a story by John Bingham.
James Mason plays mystery writer Warren Barrow a pseudonym he uses to contact his publisher with a series of tape recordings describing what is either the outline for his latest murder mystery or the details of an actual murder he himself is planning to commit. Barrow describes a relationship with an alluring woman named Janet West (the sexyAngie Dickinson) who wants Warren to kill her husband so they can be together. Ed Nelsonplays another writer Tom Keller whom the publisher Victor Hartman (Arnold Moss) asks to review the tapes with him in order to help determine whether the impending murder is real or fictional. Angie Dickinson is so perfect as Janet West, the femme fatale Warren Barrow can’t resist.
Janet West- âYou know thereâs one part of the Bible I know by heart. I saw unto the sun, that the race is not too swift nor the battle too strong, but time and chance happen to them all. Means you can be as clever as you like but you gotta have luck. You gotta work for it and grab it when it comes. I was very poor when I was young. Very poor⌔
“Oh sister not tears again… you’ve cried a whole river these past weeks”-Sister Jem
Directed by Norman Lloyd, story and teleplay by mystery writer Henry Slesar (Alfred Hitchcock Presents, The Twilight Zone, Two on a Guillotine 1965, The Man From U.N.C.L.E. 1966, Batman 1966, Run For Your Life ’66-67 Circle of Fear 1972, McMillan & Wife 1974, Tales of the Unexpected 1981-1984) co-starring Clu Gulager  Isobel Elsom Carmine Phillips, Charity Grace.
Carol Lynley is Sister Pamela who on the eve of taking her final vows has a crisis of faith. Sister Pamela fears that she might just be hiding from the world. The Reverend Mother (Isobel Elsom) sends Pamela and Sister Jem (Charity Grace) on a mission to collect a valuable statue of Saint Francis that is being donated to the convent by reformed gangster William Downey (R.G. Armstrong).
On the way back to the convent, the lovely young novice is fooled by slick hoodlum/loser Jimmy Bresson (Clu Galager who is terrific at being smarmy) who stalks train stations stealing bags. Pamela is filled with guilt having let down her dying mentor Sister Lydia (Sara Taft) She leaves the order and submerges herself in the sleazy jungle where Jimmy works and socializes in order to find the statue and redeem herself. Lynley is another underrated actress who delivers an extremely poignant performance as a girl at the crossroads of her life. She has an endearing innocent beauty that is genuine and charismatic.
Sister Pamela-“Sorry Sister Jem, I have only myself to blame.”
Sister Jem-“You’re not thinking of… what we spoke of the other day?”
Sister Pamela-“I haven’t been thinking of anything Sister. I’ve tried not to think.”
Sister Jem-“Have you prayed?”
Sister Pamela-“Sister… I’ve prayed for humility and obedience. But there was no answer in my heart Sister Jem… only silence!
Dense browed Dean Stockwell plays research chemist David Kelsey who is hopelessly in love and obsessively fixated on Annabel (the wonderfulSusan Oliver). But Annabel is married Gerald Delaney (Hank Brandt) Kelsey assumes a phony identity William Newmaster and pursues Annabel with a blind devotion that is downright creepy. He purchases a beautiful home that he has filled like a shrine to his great love, a place tucked away in the country where they can sojourn in their own private world. Trouble is Annabel isn’t in on the romance. But David isn’t taking no for an answer. Added to the web of obsessive love is the fact that Linda Brennan (Kathleen Nolan) is as fixated on David as he is on Annabel. What a mess!
Directed by Joseph PevneyteleplayWilliam D Gordonand Alfred Hayesbased on a story by V.S.Pritchett as published in The New Yorker and co-starring Peter Falk in one of his most impressive roles as the psychotic revivalist Robert Evans.
Falk plays a fire and brimstone fanatic who yearns for his own church and will kill in order to achieve his life’s dream. First he woos Patricia Collinge(The Little Foxes 1941, Shadow of a Doubt 1943, The Nuns Story 1959)Â as the wealthy Naomi Freshwater, murdering her one night in order to take over her large house he claims she promised to him in order to help him build his tabernacle. The scene is quite disturbing and fierce. a well done scene that predates many psycho-sexual narratives to follow.
When her niece, the world traveling Laura (Dina Merrill) comes to get her aunts things in order, Robert begins to romance her with the same bombastic fervor as he did her aunt Naomi. As Robert discloses his past to Laura, she discovers that he might have killed his first wife as well and that he has visions of his calling to be a great evangelist. Evans is a deranged ego-maniacal woman hater who mistakes his visions of glory for the need to be in control!
Robbie-“Sure the whole world is filled with problems Miss Naomi. We’ve all got to puzzle over what we’re supposed to think. None of us. There’s nobody that’s gotta puzzle over what we’re supposed to do!”
Naomi-“Oh that’s so clear to me Robbie, you know what to do and you do it… I feel so free! No more aches and pains.”
Robert- âBurn it… burn it. Take your whole past and burn it out there in that fire pit. Start a new life with meâ Laura- âI donât have your faith in new lives Robert.â Robert-âBut I told you once… Iâve got the faith.â
Mrs Raydon (Gladys Cooper) â I think heâs dead youâve always wanted this to happen. Youâve done this to him. Youâve killed him!”
Directed by Jack Smightwith a teleplay by Henry Slesar, based on the story byMary Belloc Lowndes who wrote the novelette The Lodger, which was the inspiration for Hitchcock’s first suspense film in 1927 and of course the version with Jack Palance in 1953 called The Man in the Attic.Â
One of my favorite episodes due to the presence of Ann Francisas Eve Raydon and Ruth Roman as her companion Adelaide ‘Addie’ Strain. Eve is framed as a jezebel by her nasty vicious old mother in law.The storyline has a definite undertone of lesbian desire, akin to Lillian Hellman’sA Children’s Hour. Eve is married to a stuffed shirt named Howard ( Gene Lyons–the commissioner -Ironside) who resents Addie’s presence and is still tied to his mommy’s (the great Gladys Cooper Rebecca 1940, Now, Voyager 1942, The Song of Bernadette 1943) apron strings. Howard fires Addie who has been hanging around Eve in the position as ‘maid’ who also happens to have a little boy name Gilly who breaks a valuable antique sending Howard into a rage and prompting him to fire her. Addie who is desperate to stay with her mistress, poisons Howard’s night time glass of milk by spiking it with some K9 liniment. But Eve is accused of the murder instead and her intolerable mother-in-law is all too happy to see her pay for the crime. co-starring Michael Strong as defense attorney Malloy, Stephen Dunn as Jack Wentworth, Tim O’Connor as Prosecutor Halstead.
Addy talks to Eve about Howard finally firing her-“He means it this time… things could have been so different!”
Addy Strain to Molloy- âI canât believe that all this is happening itâs all that womanâs fault. That awful old woman⌠Mrs Raydon. She hates Eve. Sheâs always hated her. She hates Eve just because she married her son. Thatâs why she accused Eve of killing him.”
Gertrude Flynn as Ethel Chesterman “I heard you David. You’re going to marry the maid. At least this afternoon you’re going to marry the maid. My wedding present to you will be my absence.”
Marie-“Your eyes shine in the dark David. I think you are part Cat”. David –“A tiger a leopard ready to pounce.”Marie-“Iâm going to have to get a wonderful cage to put you in.” David-“Nobody is going to put me in a cage!! Marie-“Stop David you’re hurting me…”
Directed by Alf Kjellin, with a teleplay by writer/director James Bridges (When Michael Calls 1972, The China Syndrome 1979) based on a story by Nicholas Blake.
Zohra Lampertplays Marie a naĂve french maid who runs off with the wealthy son David (Robert Redford) who is actually a compulsive cat burgler/jewel thief. David’s wealthy mother throws a few coins at them to buy a toaster, goes to Europe and changes the locks on the door. And so for money David runs to his partner in crime Karl.And so begins a queer struggle with David’s odd accomplice, a flamboyant wig designer Karl Gault played to the hilt by Barry Morse.
David cannot change the way he is, although he is truly in love with Marie he only knows how to steal and scheme. Karl falls in love with Marie creating the immortal triangle. In order to get his rival out of the way, Karl creates an elaborate ruse in order to trap David in a robbery gone wrong and have him arrested for the murder of a guard. Co-starring Gertrude Flynn as David’s mother Ethel Chesterman.
Marie-“Your eyes shine in the dark David… I think you are part cat.”
John-âAlice have you ever read any fairy tales? Thereâs 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 wasnât to pick. If she did⌠sheâd lose everything. Her beauty, her castle⌠everything. Alice– âI donât get the point”. John –âAlice princess⌠donât touch that flower please” Alice- âoh please donât be silly they only write fairy stories to keep children out of mischief.”
Directed by Jack Smight with a teleplay by Alfred Hayes and a story by Rebecca West.The Paragon allows screen legend Joan Fontaine to give what I feel is perhaps one of the most extraordinary performances of her career. As the infuriating perfectionist who meddles in everyone’s lives Alice Pemberton married to the beaten down John Pemberton played by the always wonderful Gary Merrill.
John loves his wife but is beginning to feel the strain from years of Alice’s intruding and dictating moral codes and her ideals to anyone within reach even the maid Ethel played with fabulous scorn byIrene Tedrow. All her friends and relatives cringe at the sight of Alice, for they know she will inject some sort of righteous advice and admonition. Alice is like a child who cannot see the damage she has done, or how she hurts the people around her. She believes that she is helping to improve themselves, though she alienates herself instead. John urges with a tender yet firm clue that she must stop her behavior before it’s too late. Even relating a fairy tale to her with a warning… Alice is very much like a character in a fable who does not heed the warnings or the signs that she is tempting the shadows to converge upon her!
Vera-âMichael and I are leaving now Mrs Henderson, Iâm taking him home with me. Oh I am sorry for you because I think in your own way, youâve grown really fond of my baby. But you see Michael is my child. Iâve known that from the very beginningâŚ.”
Directed by Jack Smight with a teleplay by William D Gordon based on a story by Celia Fremlin.
Louise (Gena Rowlands) is a busy mother of two precocious young girls Jennifer Gillespie (What Ever Happened to Baby Jane? young Jane) and a small infant boy. She rents the room upstairs to the mysterious Vera Bradley (Nancy Kelly) who is supposedly working on her thesis paper, but in fact has her eyes on Louise’s baby boy. She secrets him off each day to another room she is renting, that she has decorated for the little guy. She also calls him Michael. The child looks more like Vera as he has dark curly hair and both Louise and her husband are blonde. Is Vera there to steal the boy and claim him as her own? This is an extremely taut and well acted little story. The performances by both Kelly and Rowlands are stellar. The interplay between the two women brought me to tears, it was so poignantly played without being melodramatic or contrived. A truly heart wrenching experience, especially for fans of these fine actresses as well as one of the most effectively dramatic of all the episodes. Also watch for an appearance by the wonderful Juanita Moore as Mrs. McFarland and Joyce Van Patten as best friend Grace.
Dean Jagger tries to quiet Jennifer West after he tries to steal more than a kiss from the town hussy Alice.Betty Field plays George’s flakey nagging wife.Slamming the fridge door and shuffling her feet.Jenny confronts George’s peculiar behavior on the jury Jenny – âWould the star juror care to give me some justification for his behavior. George- “what behavior?” Jenny-â What behavior! The behavior that has brought down ridicule and scandal over our heads!â George-â What you talkinâ bout Jenny? Jenny- âHave 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.â
Although this is very much Dean Jagger’svehicle, Betty Fieldwho is a wonderful actress stands out as the blowsy, whiney wife to George Davies, who becomes so aroused by the town hussy Alice (Jennifer West) while out at the lake during a picnic. When she rebuffs his advances he strangles her and allows her boyfriend JJ Fenton (Will Hutchins) to take the rap for her murder. JJ has been known to knock Alice around, and soon the town is out for his blood. But the guilt of what he has done, drives George to try and defend JJ to exasperating results. This is a quirky dark comedic episode that just seems to want to be kind to George. The show also co-stars Martine Bartlett as Flossie and the wonderful Crahan Denton as Sheriff Walter Watson who just won’t take George’s confessions serious.
Nora’s inner monologue- “In heavenâs name Jean, donât 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!
Dianne-âOh Nanny itâs wrong, I didnât think heâd blame youâ Nanny-âThe important thing is that he isnât blaming youâ Dianne– âOh Iâm letting you be hurt and I canât do that.. I didnât think heâd react this way. Nanny Iâm going to tell him the truth” Nanny-âWhat are ya going to tell him. That you were with the baby holding a drink!â Dianne-“But youâre not the guilty one, he mustnât blame you Nanny-“Dear in the past when things went badly you know what happened. You donât want that now You promised him that youâd give it up. Oh when the baby was here it was better⌠but betterâs not what you promised!”Lois Nettleton as Dianne and Doris Lloyd as Nurse Andrina Gibbs
Consuela- âShe feels guilty, she feels responsible for the babyâs death. and the drinking helps her to forgot. so weâll see that she continues to drink. And when the bottle is all gone. Weâll 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 heâll be terribly hurt. and disappointed in her. Heâll need help and sympathy from someone else!â
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 Rhue) Consuela 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-starringDoris Lloyd as Nanny.Â
John Gavin as Dr. Don Reed and Tom Skerritt as friend Dr. Frank Farmer… Don is just smitten.scott brady as Nickies stand by boyfriend BillNickie-singing Just One of Those Things-âso goodbye dear and amen⌠Bill- “Where you going?â Nickie-“Maybe California. You know I came back just to have a look at you. You got real weak eyes Bill. Hereâs hoping we meet now and then.” Bill- âBut you havenât asked me to come along “Nickie-“Well I came here thinking Iâd have to, but I donât need you anymore the boomerangâs broken babyâ Bill-âYou wanna bet!â Nickie “Uhuh, It was great fun, but it was just one of those things.”
Directed by Bernard Girard with a teleplay by James Bridges and a story by Henry Kane.
Doctor Don Reed (John Gavin) falls head over heels for a sexy 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…
Natalie-âI understand, theyâre patients arenât they? Permissive therapy?” Dr. Fennick-“Yes thatâs it exactly. A new method, an experiment. I wanted to prove that my patients would act normally if treated like normal human beings.â
Sarah-“Oh I feel fine doctor just fine. I always feel fine talking to you.”  Dr Fennick-“Thatâs what Iâm here forâ Sarah-“Yes I know but… what am I here for? Beatrice Kay as Sarah Sanders the aging film star.inmates Virginia Gregg as Miss Gibson and Ronald Long as The MajorThe real doctors are locked up in the attic!the deranged Ray Milland as Dr. Fennick who menaces Natalie (Claire Griswold ) in Home away from Home- The Alfred Hitchcock Hour
Virginia Gregg as Miss Gibson-“The doctors told everyone about you. I know they’re just CRAZY to meet you!!!”
Directed by Herschel Daugherty with a teleplay based on his story by Robert Bloch from Alfred Hitchcock’s Mystery Magazine.
This is one of those great ‘the inmates have taken over the asylum’ narratives starring Ray Milland. Milland plays Dr. Fenwick a mentally disturbed doctor who believes in role playing as a therapeutic means to unlocking a 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!
That’s actor Harry Townes lying dead under that shiny star pillow…
Janice referring to Larry (George Segal) –“He’s the kind of man who could make you do anything… anything at all…”
This episode is directed by Joseph Pevney with a teleplay by Mann Rubin
George Segal plays the young ambition actor who wins over casting agent Anne Baxteras Janice Brandt. Janice falls deeply in love with Larry the cocky and short tempered actor with whom she gets a screen test 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?
Sheriff Will- âYou canât think of anyone at all who might have had a grudge against Frenchie?” Katherine Squire as Mrs La Font- âOnly 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. Thatâs why he wanted me at the restaurant so I could do all the work of running it, while heâd play Frenchie La Font for the public. I used to get so angry with him. So angry… (crying)The creepy custodian of the library terrorized poor Susan with his tales of working the slaughterhouses
In Northfield, a rural community in northern California a teenage boy Tommy Cooley is found brutally murdered. His father R.G. Armstrong, who is a religious fanatic goes on a mission to avenge his boy’s murder. There is only one piece of evidence, a broken off part of the car’s headlight found a the murder scene. First, believing that he is getting signs from God, he murders Frenchie La Font (Dennis Patrick) the person who owned the car. Then the car falls into the hands of an elderly librarian who considered purchasing the car and might have had access to it. The residents of Northfield become terrorized by the events and demand that (Dick York) Sheriff Will Pearce do something about it. Jacqueline Scott who plays Susan March a librarian and the Sheriff’s girlfriend is now the one who wound up with La Font’s car. Cooley now suspects her. He is on a mission from the lord to avenge his 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.
Carol-“You donât talk much do you?” Terry-“I guess not” Carol –“Is the rest of your family like that? Quiet I mean? Terry- I donât know. I donât 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? Iâm sorry maybe we oughta start back, itâs a long way” Carol -“We can take the subway Terry –“I wanna walk-you wanna take the subway go ahead if thatâs the way you feel about it “Carol-“why did you come with me?” Terry– “I didnât mean it like that. Itâs just that itâs the rush hour nowâŚ. 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 youâd like to know? Carol– “Some date huh?” Terry-Bet you donât have any boyfriends like me.” Carol-” I donât have any boyfriends”Terry– “come on” Carol- “I havenât dated since high school.” Terry- “Girl like you why not? Carol-“what do you know about me?” Terry– “I could learn.”
Three paroled ex-convicts stage a heist but inadvertently unleash radioactive cobalt on a small urban city street. Actors Chris Robinson,Norman Felland James Gregorywho are now garage mechanics decide to rob the payroll office. When they can’t crack open the safe, they take it to their garage, which is adjoined to the little shop next store run by Carol.
Terry who is acutely claustrophobic (Chris Robinson) begins a romance with Carol, as he struggles between self preservations and his sense of humanity and love for this beautiful young woman. Katherine Rossis 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.
Lana/Peaches-âYou and snakebite are among the very few things that fail me in that respect.”
Directed by Robert Stevens with a teleplay byWilliam Fayand story by Robert Arthur.
This is one of the more cheeky mystery installments of the show, and Patricia Barryis just superb as the brassy dame with a secret past who’s looking out for number one. The night she wins the Oscar, movie star Lana Layne is visited by her old ex-convict husband George (Stubby Kaye), who, she thought had died in a prison fight. Rosemary ‘Peaches’ Cassidy had married the bum when she was only seventeen and didn’t know any better. But George has plans of letting Lana remain his wife, since she’s so successful and wealthy, and if they did get divorced she’d owe him half of anything that was hers. She wants to marry handsome manager Harry Lawrence (Robert Culp). Lana clocks George on the head and accidentally kills him. Now Lana and Harry must try to hide the body while finding a place to have their honeymoon, assailed by gossip columnist Baila French (Alice Pearce- Bewitched’s neurotic neighbor Gladys Kravitz). It’s a comedy of errors!
Rosie âYouâve had a narrow escape. Well lifeâs given you another chance. And you should take it⌠You should free yourself. When somethingâs over itâs 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!
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 Duryeais a gambler and a proud bigamist name Raymond Brown. He truly loves his wife… I mean all four of them. But something is going quite wrong. One by one his wealthy meal tickets are all turning up dead. At first it appears that they are suicides. But the police start to suspect Brown of murder. Marion, (Teresa Wright) has been the long time dutiful wife who has waited and suffered through 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!
Grace Renford- “All men are rotten arenât they Minnie, as soon as theyâre interested in me theyâre no good!
Aunt Minnie-“If he’s a doctor at all he should be giving out pills not talking to dead people!”
Directed by Alf Kjellin with a teleplay by Alfred Hayes and William Gordon. Story by Miriam Allen de Ford.
Grace Renford (the haunting Diana Hyland) plays a wealthy and beautiful socialite who longs to meet the man of her dreams. Someone who will love her for who she is and not the money and status that is her legacy. The lonely Grace answers an ad in a spiritualist magazine where she begins to correspond with a young man named Keith Holloway (Jeremy Slate).
He is an engineer who does his work in Bolivia, or so he says. When he comes to the states to meet Grace for the first time, she has rented a modest apartment and pretends that she is just an ordinary working class girl. Minnie (Mildred Dunnock) acts as guardian to the lost waif, and knows something isn’t quite right with this man. But when Grace and Keith get engaged, she tells him about her true identity. Keith insists that he is not interested in her money, and that he has his own business ventures in Bolivia. Keith returns to South America, planning on having Grace join him soon. But Grace gets a telegram saying that he has been killed in a mining accident.
Sent into the world of spreading grief, Grace turns to spiritualism and mysticism to find a way to contact her lost love. Thus appears Dr.Shankara (Abraham Sofaer) who can connect Grace with her dead love. Wanting to shed her worldly goods, she gives away her possessions to the Dr and his temple. But Minnie suspects that Keith is very much alive and that a scam has been going on with the doctor for years. Minnie tries to intervene with disastrous results!
Roy- âA string of men friends all the time Mrs Fowler, a string of men friends, a string of men friends all the time ssh donât tell anybody Roy this is your Uncle Joe from Kokomo Roy, why donât you go outside in the yard for a little Roy huh!⌠{âŚ} Thereâs 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 thatâ Marcia Fowler-âGet away from me youâre out of your mind. Nobody would blame me now if I shot you now with your filthy phone calls, breaking in here like this. How exciting am I now with a gun pointing at you?”
Felicia Farr plays the sexy Marcia Fowler who accuses the neighborhood thug Roy Bullock (Bruce Dern) of not only playing peeping tom, but sexually harassing her. Roy is a tightly wound teen filled with angst and rage and could possibly be a psychopath while we’re at it. He denies it, when confronted by Marcia’s husband. (David White)
Marcia does appear to be self-absorbed, neglecting to pay enough attention to her stepson. But when the obscene phone calls begin, Marcia convinces her hubby to confront Roy about it, who tells him she’s just looking for attention. When Roy Fowler goes away on a business trip he challenges Marcia calling her a tease and a lousy wife and mother, the way his own mother had failed. Okay, so the angry boy has mother issues. Things get out of hand when Marcia begins to feel threatened and takes out a gun. But is everything as it seems!
Kim Hunter is stunning as a ruthless woman who has no conscience and borders on the sociopathic. At the end of WWII, Adelaide exploits the grief and loss of surviving members of 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 sĂŠance. Desperately lonely and longing for his son’s return Edward begins to come around and embrace Adelaide’s powers. Edward has also fallen in love with Adelaide and wishes the three of them to be together…!
Robert (Gene Lyons)-Â âI taught you everything there is to know about this racket..â Adelaide âProfession Robert.” Robert – âThatâs what youâd like to pretend, but it is a racket, a swindle a con game as any I ever did.â Adelaide-â I only obtain the more crude aspects of the profession from you.â Robert-âEverything and I want you to stop pushing me around.â Adelaide-âYou taught me a series of Halloween tricks. Carnival mumbo jumbo… I made it pay.â Robert –“They’re still carny tricks.” Adelaide-“Science!” Robert- ‘And you took them from me…”
Directed by Joseph Newman with a teleplay by James Bridges and a story byMargaret Millar (Rose’s Last Summer-Boris Karloff’s Thriller starring Mary Astor).
Joan Hackett, (The Group 1966) a very underrated actress of the 60s & 70s plays Helen Clarvoe a woman who is being tormented by phone calls from a menacing woman named Dorothy who is threatening her life. Kevin McCarthyis lawyer Paul Blackshear who agrees to investigate and track the maniacal Dorothy down. The crazy woman blames Helen for the break up of her wedding engagement. Paul finds a photographer for whom Dorothy recently posed, though she has destroyed any negatives and photos of herself. Then the photographer is murdered! While in the midst of his investigation, Paul receives a frantic call from Helen that Dorothy has broken into her apartment and is holding her at gunpoint!
Directed by Robert Douglas with a teleplay by Henry Slesar and Joel Murcott. Story by Slesar.
When Dave Snowden (James MacArthur) and his new bride Bonnie (the lovely and underrated Lynn Loring) visit the estate owned by Bonnie’s late father, Dave finds a mysterious locked door and surmises that there must be something of value hidden there. Bonnie tells her mother (Gloria Swanson) that they’ve just been married, who instantly assumes that Dave is after her inheritance. Mrs.Daniels tries to give the young man money to go away and annul the marriage. Dave is hungry for money and gets Bonnie to go along with a plan for her to fake a suicide attempt by overdosing on sleeping pills. This they hope will get the mother’s sympathy. Things go badly when a 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!
Miss Emmy Rice –“I was just thinking of how awful it is when people are so mean to each other. Thatâs one thing when you get to be seventy five, you see clearer than anything else. How mean people are to each other.”
Directed by Joseph Newman with a teleplay by James Bridges and story by Veronica Johns.
The delightfulRuth McDevittplays Miss Emmy Wright, an elderly lady who sits in the park and is befriended by Gerald Musgrove (Roddy McDowall) who with his wife 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.
Directed by Robert Stevens with a teleplay byAlvin Sargent and story by Patrick Quentin.
Patricia Collingeis one of my favorite character actors. Here she turns in quite a moving performance as a woman trapped in a safe with 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.
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.
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.
Directed by Joseph Newman (The Outcasts of Poker Flats 1952, The Human Jungle 1954, This Island Earth 1955, The Twilight Zone ’63-’64) with a teleplay byHarold Swantonand story by Margaret Manners.
I’ve written about this marvelous episode for Movie Silently’s The Gish Sisters Blogathon! Here Lillian Gishplays the sassy Bessie who lives with her daughter Camilla (Maggie McNamara) Bessie is a staple of the town, and when her handyman falls to his death because of the arrogance of her neighbor Samantha Wilkins (Patricia Cutts-The Tingler 1959) and her whipped husband Henry (Peter Lind Hayes) Bessie goes on a mission to try and bridge the feud with the couple by inviting them over for supper.
Samantha refuses to break bread with the Carnbys, but Henry starts to insinuate himself into Bessie and Camilla’s life. One night Henry disappears and Bessie sees Samantha digging a hole in the barn. She accuses the woman of murder and eventually Samantha is executed for killing her husband. But… Henry unexpectedly returns, claiming to have been on a long sea voyage not able to hear about his wife’s trial. Bessie suspects that Henry has staged the whole thing and begins to feel terrible guilt about what she has done. Will she be able to rectify the awful mistake she has made and bring Henry to justice?
Bessie-âTo bring to the light of day the two lies that together make a truth. â
Elsa –“Thereâs something wrong with this house, I lye awake at night and I can feel it. Thereâs is something wrong with this house Something we donât know about.”Elsa-“Thatâs the girl I saw at the beach, sheâs lovely” Keith- “What I want, what I really want. What Iâm sure as sitting here want⌠uhhh.â 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.”
Michael Blodgett and Tisha Sterling do some mod dancing in Change of AddressElsa… do you really need to go down to the basement to see what your adolescent husband wants to show you? Can’t you guess!!!!
Elsa Hollands (Phyllis Thaxter) hates the new beach house. Keith Hollands (Arthur Kennedy) refuses to grow older, and chases after the local beach hottie Tisha Sterling. The house gives Elsa the chills, and it doesn’t help that Keith starts digging a hole in the basement floor that he claims is for the new boiler. Elsa and Keith keep clashing over the strain in their marriage. She just wants to go back to her old apartment and senses something terribly wrong with the damp place.
While Keith is playing around with the young blonde beauty, Elsa contacts the ex-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?
Helen-“Funny you dreamingâ about me and here we are. Lifeâs a big surprise.”
Directed by Bernard Girardwith a teleplay by Alfred Hayes and a story by the great Robert Bloch!
Rusty Connors (John Cassavetes) is newly released from prison. While in prison his mate Mike Krause (Rayford Barnes) talks incessantly about the perfect blonde he left behind. Krause dies in prison, and so while Rusty gets out he decides to look up this gorgeous dish that was married to his former cellmate. Krause had been in prison for robbery and murder, but neither the money nor the body of his partner have ever been found. Could Krause’s wife Helen know where the loot is stashed?
Rusty comes to find Helen (Ann Sothern) slinging hash at a greasy spoon, but she is far from the pin up that Mike Krause crooned about. Still Rusty plays up to her, thinking that she can lead him to the stolen money. The pair form a tumultuous sexual relationship, 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…
Stella “Iâm scared of Jesse… You scared of him too. You scared too. talking donât 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 ainât ever have any children?”
Teresa Wrightis outstanding as poor Stella, married to a horrible dolt of a husband who doesn’t appreciate her. Emory (Pat Buttram is a weak and unloving bumpkin who owns a peach farm. This is a dark Americana tale about a quiet woman named Stella who suffers in silence but has a few joys, like the love of animals, in particular her little pet squirrel. One day an ominous drifter asks if he can work the farm for a bit. Bruce Dernplays Jesse, in a role that surpasses so many of the psychopaths he’s had 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.
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!
Mary-âYou are a vain man.” Brother Thomas-  âA minor vice.â Mary-âThere is no such thing as a minor vice.â Brother Thomas âtrimming a mustache harms no one.â Mary-âItâs so difficult for you to be the kind of missionary you should be.â Brother Thomas- âI have a good reputation.â Mary-âBecause I have made sure of it.â Brother Thomas–âyes you have.â Mary-âyou begrudge me that recognition.” Brother Thomas-âIâm the first to admit it.â Mary-“I have loved you.”
