Pigeons From Hell [Essay on Boris Karloff’s Thriller] “Is anybody home?”

Pigeons From Hell~aired June 6 1961

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Adapted for the screen by John Kneubuhl (The Screaming Skull ’58, Two on a Guillotine ’65 both have a similar eerie Gothic sensibility) and directed by John Newland. (One Step Beyond 60s tv series, Don’t Be Afraid of the Dark ’73) Pigeons From Hell was another story taken out of Weird Tales Magazine from a story by Robert E. Howard (Author of Conan the Barbarian), in 1938, which he based on old legends that his grandmother had told him in West Texas.This also seems to coincide with similar themes of Voodoo by Zora Neale Hurston  Author Folklorist/Anthropologist during the time of the Harlem Renaissance who wrote the non-fiction exploration of Haitian/Caribbean rituals in Tell My Horse in 1937, just a year earlier.

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Starring Brandon De Wilde as Timothy Branner, Crahan Denton as Sheriff Buckner, Ken Renard as Jacob Blount, David Whorf and Johnny Branner, and Ottola Nesmith as Eula Lee Blassenville.

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With original music by Jerry Goldsmith and Mort Stevens which is perfectly haunting for this Southern Gothic tale. And fabulous art direction by George Patrick and set design by Julia Heron who also worked on The Incredible Doktor Markesan (Spartacus ’60) and John McCarthy Jr. The Blassenville house is a place of fear and desolation. The camera frames the characters within the tired structure itself, cobweb laced door frames, dark staircases that hold their ascent and black box rooms with scattered dusty relics.

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The story takes place one fateful night when two New York brothers Johnny and Tim Branner, driving over a rickety wooden bridge (shot in obvious day for night), suddenly hit a muddy ditch and begin spinning their tires to no avail. Now they remain stranded under a wonderfully bewitching weeping willow, a classic prop for a southern Gothic tale,in the swamp lands of the Louisiana countryside.

The opening scene is embellished with the willow’s mossy tendrils, swaying,drifting, blowing as if by an unseen lazy wind. And so it begins.

The boys get out of the car and Tim played by the very wholesome looking Brandon De Wilde says  “Welcome to the fabled south, land of Crinoline, Magnolias, lovely ladies and swamps”

Johnny defends himself for having been chided about his short cut, “Okay okay so it’s not the new york thru way you’ve got to admit that this is the way it truly is”

While Johnny goes off to find a pole that they can use to dislodge the tire from the mud that’s when a strange wailing starts, like that of a distressed alley cat in heat.

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Johnny wanders off starting to reach deeper into the context of the landscape. As he pushes aside the dangling mossy vines, he stumbles upon dozens of pigeons begin cooing madly. He discovers the desolate antebellum plantation, The Blassenville Mansion dying from decay. The place seems plagued  by these mysterious, demonic pigeons. There is an eerie cackling, unearthly wails and the pervasively hellish fluttering of their wings. They begin to converge on Johnny, coming right at his face, like a scene out of Hitchcock’s adaptation of Daphne Du Maurier’s The Birds  which wasn’t released until two years later in 1963.

Once Tim catches up after hearing his brother’s bloodcurdling screams, Johnny tells him that the pigeons seemed like they were trying to kill him! “That ‘s just it it was like they were attacking me”

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The two young men decide they’re tired and should take refuge in the old house for the night.

Like many great southern Gothic tales, this one is surrounded by the presence of something lurking behind the silent deteriorating walls. The wonderful B&W and shadows of pale and steely gray cinematography by Lionel Lindon  ( Alfred Hitchcock Presents ’55, The Manchurian Candidate ’62, Dead Heat on a Merry- Go- Round ’66)

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Time has stood still. There’s a sense that the house is diseased with a family secret, much like one of my other favorite episodes Parasite Mansion. The setting bares the remnants of a Robert Aldrich film like Hush Hush Sweet Charlotte ’62. We break for Boris’ prologue.

By an old gnarled tree Boris Karloff steps out to greet us. A cautionary deep string flourish leads the way, as he looks around, standing in a swirl of mist.

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“The swamp is alive, crawling with creatures of death. Creatures that lurk, camouflaged in the under growth waiting patiently for an unsuspecting victim. And our young friend was alarmed by a flock of pigeons. Harmless you say…Well you’ll see that he has good cause for alarm. For those were no ordinary pigeons. They were the pigeons from hell. That is both the title and the substance of our story. Why… spirits come back from the dead to guard their ancestral home against intruders. Spirit that in life fed on evil and now in death return to feed upon the living. Return each night driven relentlessly by the spell of a terrible curse”
“Join us now as night is falling in the old house where evil dwells two brave young brothers dare to intrude”

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Once Johnny and Tim are inside the house,we see a large winding staircase that hints at a time when this might have been an opulent showplace.I was struck by a frame which shows the disconnection with life outside the old house with it’s splendid chandelier which looms prominently over the two boy’s heads as they enter the empty dusty gray of beginning of the house.

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Tim calls out as they start to climb the stairs, “Is anybody home?” There’s a quick cut to a darkened room filled with cobwebs and the outline of an old seamstress dummy. To the left of screen we see a door as it subtly closes ever so slightly. It’s an eerie touch, that lends to the menacing atmosphere of the decrepit house.

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There is no furniture downstairs yet a strange portrait of a woman who seems to be reigning over the emptiness, the place is a musty, decaying hollow shell of another era like the exoskeleton of a giant decomposing beetle. Preparing to take refuge over night on the lower floor they set out their sleeping bags, but Johnny still seems like he’s in a state of shock.He begins to walk around and finds a cobweb covered painting of a woman whom he senses holds the secret to what is haunting the place. From the beginning Johnny does seem to have an uncanny second sight which is causing him great distress. Staring at the painting, a poignant violin melody begins it’s undercurrent, it is the theme of this mysterious woman. Dissolve, into the spooky, dreamy gray facade of the mansion. Columns, the rhythmically otherworldly drone of these sentinel pigeons guarding their ancient Gothic citadel. Winged gatekeepers to a graveyard.

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Tim is awakened in the middle of the night and discovers that his brother Johnny is not there. We hear a sweet, distant vocalise like the siren Lorelei of Greek mythology who lured the sailors onto the rocks. Johnny has been aroused by this haunting lullaby lilting in the air, and seems to be drawn upward as if in a somnambulist’s trance. Moving by some unseen provocation, the voice leads him up the staircase.

We are sharing his enchantment. We follow him. Now we hear the pigeons in a fury. Louder like a heart pumping blood, pulling us up the stairs with Johnny. Once Tim starts to stir he discovers that his brother is not in his sleeping bag next to him.

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wonderful silhouette of Johnny lurking in the shadow regions of the Blassenville house under it’s spell… holding a hatchet

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Tim proceeds to look for his missing brother. The vocalise is more audible to him now, as Johnny ascends the stairs there is a crescendo of fluttering, wings, a female voice. Tim about to reach the top of the stairs is startled by his brothers screams. Johnny emerges from the shadows, blood flowing down his face. He is holding a bloody hatchet. He moves towards Tim and strikes with the hatchet but misses and sinks it into the wall behind his brother. Tim runs down the stairs, calling his brother’s name. “John, John!” He runs out of the house fleeing in terror into the dark night through the mossy guilded trees.

He stumbles into the swamp after hitting his head on a rock. Johnny still sleepwalking or is he the walking dead, holding the hatchet, collapses as he buries the weapon in the sleeping bag where Tim’s head would have been.

Johnny walks down the staircase still in a trance, holding the hatchet up as if ready to strike.

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This is where county Sheriff Buckner (Crahan Denton) enters the story. He is attending to the gash on Tim’s head. Sheriff Buckner tells him that a local, Howard had found him while coon hunting and found him out cold in the woods, bringing him to this nearby cabin. Tim wakes screaming “Johnny, Johnny… Where am I?” He begins telling Sheriff Buckner that Johnny’s head was smashed but he was still walking with a hatchet in his hand. “He was walking down the stairs to me, his head was split, he was dead, I know he was dead.” Buckner realizes that the only place he could be talking about is the old Blassenville Plantation.

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In order to clear his name and to recover his brother’s body, Tim agrees to go back to the house with Sheriff Buckner. Buckner seems not to believe the boy, and is pretty sure that he’s either crazy or murdered his own brother. Back at the Blassenville house, Tim tells Buckner, “He came down those stairs” the sheriff holds his lantern and shines light on a blood stain. Tim says, “Look there’s my brother’s blood” Buckner gripes, ” Yeah yeah yeah I see”

They go into the room where Johnny is lying dead on the floor-“He tried to kill me, he tried to kill me” The somber violin and the use of shadow underpin the tension. Buckner doesn’t believe Tim yet.

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Why do you suppose he went upstairs” Tim says “I don’t know but from the moment we saw this house it was as though he were listening all the time. just listening… and then those pigeons started, they’re not there now, but I saw them!” Tim struggles, to press the truth but Buckner tells him that it’s the judge and jury that he has to convince. Sheriff Buckner wants to go upstairs and investigate but Tim doesn’t want to be left alone, so he follows him. The lantern shines light on the bloody trail leading up the stairs.

They find Johnny’s body face down on the sleeping bag still holding the hatchet which is placed on the spot where Tim was sleeping. He’s dead.

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An unseen and eerie breeze seems to dim their lantern

An effectively creepy moment happens while they are searching the upstairs, the lantern goes out. Buckner tells Tim there’s plenty of kerosene and the wick is fine, and there standing right on the spot where Johnny had been struck by the hatchet. Buckner gets spooked and tells Tim they’re getting out of that room and going back downstairs. Once at the bottom of the stairs and the lantern lights up again-

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Buckner says, “What ever it is up there, I aint gonna tackle it in the dark”

The sheriff decides that he believes Tim’s story and that the only way he’s going to get anyone to believe it is to find out what’s in the house. They put Johnny’s body in the station wagon and go back into the house and “wait for something to happen”

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Tim sees the portrait and asks “Who is she?” “I’m not sure, one of the Blassenville sisters I think. Miss Elizabeth, she’s the last one who lived here. She lived here for years after her sisters were gone… Townsfolk wondered how long they were going to hold onto this house,falling into ruin, plantation gone all to weeds, then when they disappeared no one was surprised… Sisters growing old in a place like this, no one to take care of them, cause they had a mean streak in them. All the plantation workers ran away. With the exception of Jacob Blount, who’s very old and half out of his mind. They beat him… the sisters, but he stayed on. And there was a young servant girl, Eula Lee…they beat her too. Finally she ran away.”

Tim wonders if what ever is in the house chased the sisters out as well. Buckner tells him that the last Blassenville sister left the house over fifty years ago.

Back upstairs they find a piano, dust all over everything… tons of it but nothing on the keys. It’s as though somebody’s been playing it. Then they find a diary with what looks like Elizabeth’s name on it. The sad violin melody, the Blassenville theme begins to sway again. Tragically drawn out notes. Tim tries to read the fine writing. “I can sense someone prowling about the house at night, after the sun has set, and the pines outside are black.Often at night I hear a fumbling at the door, I dare not open it. Oh merciful heaven, What shall I do”

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The sheriff responds. “The thing was after her too!” Tim continues reading from the diary “All the help have run away, my sisters…gone, I am here alone. If someone murdered my poor sisters.(pause) Then, Eula Lee named Jacob Blount and Eula Lee would not speak plainly, perhaps she feared I shall die as hideously as they.” Then Buckner says “We’ll see Jacob Blount” Jacob Blount is portrayed by the wonderful Ken Renard.

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They arrive at Jacobs shack. He’s an old raggedy man lying in his cot.Buckner starts shaking Jacob and says “I’ve got some questions I wanna ask you, Come on boy get up. (I was very offended at this gesture, Jacob was a very old southern black man and the use of the term ” boy” was a very racist remark. I don’t believe he would have referred to an old white male this way) He proceeds to tell him that tonight a boy was killed over at the old Blassenville Place. Jacob looks terrified.

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In an accent assumed to be of Caribbean origin Jacob tells them “Nobody dare (there) now, all dem (them) dead, but de come back at night, all dem pigeons” Buckner interrogates him, and tells Jacob that Miss Elizabeth thought he knew who murdered the sisters, and she might still be in the house, after 50 long years. Eula Lee would have reason. Elizabeth was afraid her sisters had been murdered Eula Lee would have reason… they beat her. “Why did they beat an innocent servant girl?”

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“Eula Lee was no servant… She was a lady of quality. A Blassenville like them… Eula Lee was their half sister. They had the same mother, but different fathers” Sheriff Buckner reasons, “That would explain part of it, the sisters rage at Eula Lee. Elizabeth’s terror of her. That plantation that house she could live there alone for years… It is Eula Lee in that house”

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Jacob tells them, “Life is sweet to an old man” meaning that someone would harm him if he continued to talk about it. But he says “No Human… No Human. De big serpent will send a little brudda (brother) to kill me if I told. I promised when de make me maker of Zuvembies (Voodoo superstition. They’re women who are not human anymore)So she knew I was maker of Zuvembies, so she come and stand right dare in my hut, and beg for de holy drink. They live forever, time mean nuting, an hour, a day, a year, all de same. She can command de dead, de birds, de snakes, de fowls, and only a led bullet can kill her”

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Then begins the sound of the unholy fluttering of wings outside the hut. “Listen, no more no more, If I tell, she will come” As Jacob starts to stoke the firep with a stick he begins to scream wildly. He’s been bitten by a snake. A little brother has visited him, and he is now dead.

Buckner and Tim go back to the plantation where they find pigeons sitting on the sheriff’s wagon where Johnny’s dead body is laid out. Interesting touch which would later be profoundly, iconically amplified in The Birds in ’63

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Tim wakes up and finds Sheriff Buckner missing. The climax of Pigeons From Hell leads us once again to the sweetly haunting, mesmerizing musical motif that is the Blassenville theme. The eerie woman’s vocalise now summoning Tim up the stairs. We see, in a slow shot, an old decaying hand not quite in focus yet, reaching around the corner in tattered rags. Until it is framed in necrotic splendor.

Tim keeps ascending up the stairs in a hypnotic state. The Lullaby, the southern Gothic call of Eula Lee, and we now see the old crones desiccated face.The pigeons begin their demonic cooing.

There is some wonderful use of shadow, reminiscent of a good classic suspense thriller as we see Tim’s shadow cast in silhouette on the rotting drapery then moving further deeper into the house’s darkness.

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She’s waiting, she opens the door all the way, holding a meat cleaver. A horrifying vision that still holds it’s shock value watching it nearly thirty times I figure. There’s something quite gripping about a lost soul living in desolation who comes erupting out of darkness, commands even the smallest living creatures, and wielding a very sharp instrument of pain and death.

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One of my favorite images from the episode. Eula Lee is a presence of grand Gothic dread and frightening spirit

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Just as she’s about to hack into Tim, Sheriff Buckner shoots at her and she falls away. Once Tim comes out of his trance, he follows Buckner behind a secret passageway and they stumble onto an incredibly macabre and horrific discovery. With a small candle lit, they find three skeletons, embellished in lace and pearls, “Our three sisters, all murdered, the way your brother was, the way you were supposed to be” Then they turn and see something stage right. Walking slowly. The sweet sorrowful melody begins to play on the violin, the resolve to the nightmarish years at the plantation.

Eula Lee is slumped in a chair, Buckner mutters,“Eula Lee, Eula Lee” Buckner holds the candle to her face-It is an eerie yet poignant moment.

Is she dead? Her eyes stare off -we hear the sweet vocalise once again as it leads us out of the episode. The last thing we see is a close up of her ancient face.

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Fade to black.

I haven’t read Howard’s original publication of the story, so I am not sure where he is coming from in terms of message. There are definite racial themes in this adapted script. But from reading an excerpt from Howard’s story I think that the racial overtones are more severe there. I hesitate to use the word “miscegenation ” because it is problematic in the fact that people find this term offensive. Usually scholars use this when discussing the historical relevance of interracial relationships. The taboo of the mixing of ethnic blood lines. Coming from a time when the process of racial interaction was taking place because of the European Colonization of The Americas and the Atlantic Slave Trade. The idea that the Blassenville sisters raged against Eula Lee for being the product of a biracial relationship.

Having the same mother, but not sharing a white father, was a bold underpinning motive for the turbulence and hatred that inflicted the curse upon the family. And the story does “Otherize” Eula Lee.

The fact that she seeks retribution through such “non-Christian” methods, the implication that she’s a savage. Read the little tidbit from Howard’s story below; The references to Eula Lee being a beast only reinforces my sense that she was considered “Other” With words like beast and bestial nature. Of course the story was couched in very supernatural terms but the thread of racism seems so pervasive in this story.

Here’s an excerpt from the original story that didn’t make it into the Thriller script: The name Griswell had been the original last name for Tim and Johnny.

Sheriff Buckner:

“They say the pigeons are the souls of the Blassenvilles, let out of hell at sunset. The Negroes say the red glare in the west is the light from hell, because then the gates of hell are open, and the Blassenvilles fly out.

Was that thing a woman once?” whispered Griswell(Tim). “God, look at that face, even in death. Look at those claw-like hands, with black talons like those of a beast. Yes, it was human, though — even the rags of an old ballroom gown. Why should a mulatto maid wear such a dress, I wonder?” “This has been her lair for over forty years,” muttered Buckner, brooding over the grinning grisly thing sprawling in the corner. “This clears you, Griswell (TIm) — a crazy woman with a hatchet — that’s all the authorities need to know. God, what a revenge! — what a foul revenge! Yet what a bestial nature she must have had, in the beginnin’, to delve into voodoo as she must have done——” (“Pigeons From Hell” by Robert E. Howard)

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Boris Karloff’s Thriller 1960s television series

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From the show’s opening iconic musical score, you know something deliciously sinister is about to occur. The word THRILLER appears against a fractured white web like graphic title design quite a bit in the style of Saul Bass. The discordant piano and horn stabs of modern jazz already bring you into the inner sanctum of menacing story telling. As Boris would often say as a precursory welcome,“Let me assure you ladies and gentlemen, as sure as my name is Boris Karloff, this is a thriller”

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Boris Karloff’s THRILLER was an anthology series that ran from 1960-1962. It included 60 minute B&W episodes, 67 in all, that were expected to compete with The Twilight Zone and Alfred Hitchcock Presents.

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The series was developed by Executive Producer Hubbell Robinson and producers William Frye, Fletcher Markle  & Maxwell Shane for MCA’s Revue Studios. The format was somewhat plagued by two ambivalent themes, leaving the show’s narrative straddling both crime melodrama and tales of the macabre genres. But… either atmospheres created by some of the best writers, directors and players delivered a highly intoxicating blend of both.

“I think the title leaves the stories wide open to be based on melodrama not violence or shock. They’ll be stories about people in ordinary surroundings and something happened to them. The whole thing boils down to taste. Anybody can show you a bucket of blood and say-‘This is a bucket of blood’, but not everyone can produce a skilful story”-Boris Karloff (1960)

Karloff starred in five episodes: The Prediction, The Premature Burial, The Last of the Somervilles, Dialogues With Death, and The Incredible Doctor Markesan.

Many of the stories were based on writing taken from Weird Tales and scripted by that magazine’s contributors such as Robert Bloch (author of the novel Psycho) who wrote one of my favorite episodes The Cheaters as well as adapting his story The Weird Tailor.

Other contributing writers were Donald S. Sanford, Richard Matheson, Barré Lyndon and August Derleth John Kneubuhl, Alan Caillou, Robert Hardy Andrews, Charles Beaumont, Robert Arthur, William D. Gordon, Jay Simms and Wilkie Collins.

THRILLER had an incredible line up of serious dramatic players. Leslie Nielsen, Mary Astor, Rip Torn, Patricia Barry, Richard Anderson, Martin Gabel, Cloris Leachman, Fay Bainter, Victor Buono, Audrey Dalton, Alan Caillou, Elisha Cook, Robert Lansing, Mary Tyler Moore, Beverly Garland,Warren Oates, Werner Klemperer, Harry Townes, Jack Weston, Paul Newlan, Ed Nelson, Mildred Dunnock, Phyllis Thaxter,William Shatner, Elizabeth Allen, Guy Stockwell, Susan Oliver, Nehemiah Persoff, Torin Thatcher, Marlo Thomas, Robert Vaughn, John Ireland, Pippa Scott, Jeanette Nolan, Guy Rolfe, Hazel Court, Lloyd Bochner, Brandon DeWilde, Sidney Blackmer, George Macready, Tom Poston, Constance Ford, Elizabeth Montgomery, John Carradine, Edward Andrews, Estelle Windwood, Bruce Dern, Jo Van Fleet, Jane Greer, Richard Long, Ursula Andress, Lillian Bronson, Reta Shaw, Dick York, Howard McNear, Richard Carlson, Nancy Kelly, John Fiedler, Linda Watkins, Martita Hunt, George Grizzard, Robert Middleton, Natalie Schafer, James Griffith, Bethel Leslie, Patricia Medina, Richard Chamberlain, Sarah Marshall, Conrad Nagel, Reggie Nalder, Henry Jones, Russell Johnson, Natalie Trundy, Diana Millay, Philip Carey, Kathleen Crowley, Susan Oliver, J. Pat O’Malley, Judith Evelyn, Tom Helmore, Robert Vaughn, Virginia Gregg, Scott Marlowe, Judson Pratt, Marion Ross, Antoinette Bower, Jocelyn Brando, William Windom, George Kennedy, Abraham Sofaer, Monte Markham, Patricia Breslin, Charles Aidman and so many other great character actors.

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Ida Lupino directed Last of the Summervilles, The Lethal Ladies, The Bride Who Died Twice, La Strega, The Closed Cabinet, What Beckoning Ghost? Guillotine, Mr. George and Trio for Terror

The series drew much of it’s artist edge because of the directors who contributed their stylistic observations of the story telling like Robert Florey, French Screenwriter who was responsible for contributing to The Outer Limits , Alfred Hitchcock Presents and The Twilight Zone as well as assistant director on Murders In The Rue Morgue and the 1946 film The Beast With 5 Fingers yet another take of the Orlac saga. John Brahm had directed the 1944 version of The Lodger and Hangover Square. Much of the overall tone of the series combined elements of film noir and classical horror. The shadowy gray toned cinematography created so much of the atmospherics for some of the most memorable episodes in the series. Pigeons From Hell is yet another story adapted from Weird Tales Magazine. This episode was directed by John Newland of One Step Beyond, a television series consisting of half hour episodes that were purported to be based on true paranormal events. Some other notable directors who contributed their work to the series was the ever versatile Ida Lupino Arthur Hiller , Lazlo Benedak, (The Wild One ’53) Hershel Daugherty , Paul Henreid, Douglas Heyes and Jules Bricken.

THRILLER’S musical compositions seemed to be sculpted perfectly for each episode, underscoring the haunting and poignant quality of each story in such an evocative way that the music itself became integral to the narrative. The subtly intrinsic emotional quality in each of the arrangements help forge a climate of the distinctive theater of dramatic and unearthly chills.

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Jerry Goldsmith , Morton Stevens & Pete Rugolo  wrote some of the most vivid and beautiful melodies for the series. I was inspired by the episode God Grante That She Lye Stille, to name a song on my album Fools and Orphans after it.

Henry Daniell, who in addition to his marvelous face, had a wonderfully theatrical voice, plays the 17th century reincarnation of his ancestor Vicar Weatherford in God Grante She Lye Stille. He condemns the witch Elsbeth Clewer to be damned to the fires of hell and burn at the stake. Memorable is his invocation “God Grant That She Lye Still.” in that measured and lucidly flowing tone of his.”Thou shall not suffer a witch to live!”

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Henry Daniell in God Grant That She Lye Stille

Daniell would inhabit several striking characters on the series, including Dirk van Prinn the alchemist in The Cheaters.

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Henry Daniell as the cruel headmaster in Jane Eyre 1943

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I’ll be writing about some of my favorite episodes in depth because THRILLER was so ahead of it’s time in terms of the serious and artful risk taking of the various directors on board, the incredibly spellbinding story telling and dialogue, inspired set & art design, experimental cinematography, dramatic performances and evocative musical scoring.

Together the confluence of all these elements contributed to a show that often pushed the boundaries of what you might expect from a 1960’s television series. It’s moody, compelling and haunting quality, have not been duplicated on any other anthology series of it’s type to date. Although I also feel passionately about The Outer Limits for much of the same reasons, a show philosophizing on morality with a very science fiction lens. I plan on covering that series in depth as well. Alfred Hitchcock Presents & The Alfred Hitchcock Hour was a fabulous mystery series that also merged noir with suspense. This is another show I’ll be talking about in the future. Yet THRILLER holds a special fascination for me, partly due to my enduring love for Boris Karloff.

Somehow THRILLER seemed to encapsulate it’s own Gothic methodology and mythos.

The sets had a uniquely eerie landscape and their own vitally uncanny, bizarre and shadowy environment. Not unlike the way Val Lewton seemed to create his own unique cycle of supernaturally themed shadow plays for RKO.

The show still evokes chills and Gestalt response in me even after having watched these episodes a hundred times over.

Also notable is Jack Barron’s make-up on the series, including The Incredible Doktor Markesan~

So please stay tuned as I journey back to Boris Karloff’s Thriller and wander through some of my most treasured episodes I’d love to share with you!

Also notable is Jack Barron’s make-up on the series, including Doktor Markesan ~

 

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a few scenes from a most groundbreaking & thrilling series!

A Wig for Miss Devore
A Wig for Miss Devore – Patricia Barry & Linda Watkins
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The Storm-Nancy Kelly
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What Beckoning Ghost?-Judith Evelyn
Fingers of Fear
Fingers of Fear- Robert Middleton
Mr George
Mr.George- Virginia Gregg and Lillian Bronson
Masquerade
Masquerade – John Carradine, Tom Poston and Elizabeth Montgomery
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Rose’s Last Summer– Mary Astor
Parasite Mansion
Parasite Mansion- James Griffith and Jeanette Nolan
Pigeons from Hell
Pigeons From Hell– Ottola Nesmith
Prisoner in the Mirror
Prisoner in the Mirror – Lloyd Bochner and
The Cheaters
The Cheaters- Mildred Dunnock
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The Ordeal of Doctor Cordell-Robert Vaughn
the grim reaper
The Grim Reaper– himself
the hollow watcher
The Hollow Watcher– Audrey Dalton
the hungry glass
The Hungry Glass– William Shatner and Joanna Heyes
The Premature Buriel
The Premature Burial- Sidney Blackmer
The Purple Room
The Purple Room
the remarkable mrs hawk
The Remarkable Mrs Hawk– Jo Van Fleet
the weird tailor
The Weird Tailor- Sandra Blake & Hans the mannequin
The Incredible Doktor Markesan
The Incredible Doktor Markeson – Boris Karloff
Doktor Markeson
Doktor Markeson
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There are 2 episodes listed that never made it to the screen- A Secret Understanding and The Black-Eyed Stranger

 

Season One –

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Season Two