The Intriguing Everyman: Cult Star Stuart Whitman

There is a rugged sensuality about Stuart Whitman with his thick black hair and that sexy cleft in his strong chin. I’ve been totally gone gaga over the man for as long as I can remember. Although he doesn’t possess the typical pretty leading man looks like Paul Newman or Marlon Brando, Whitman has an offbeat sex appeal that I’m drawn to more than the obviously handsome guy. Maybe it’s his commanding brows framing his deep drawn blue eyes. Or perhaps it’s his raspy suede voice one octave down from middle C and that outre cool swagger that gets me. I love the self-assured manner that he exudes in every one of his roles. There are over 180 films and television roles to his credit. It seems like he lived a very full life on his terms, and had a great appreciation for the ladies– lucky them! He was also long time friends with many of his working colleagues and that says a lot to me.

Stuart Whitman was born on Feb. 1, 1928, in San Francisco. He appeared in summer stock plays in New York until  the age of 12. After living in New York his family moved to Los Angeles in the mid-1940s. He graduated from Hollywood High School in 1945, then enlisted in the U.S. Army Corps of Engineers for three years. While in the service he was secretly trained in boxing by his uncle, and won boxing matches as a light-heavy weight. After an honorable discharge he attended acting classes at night with the Michael Chekhov Stage Society and studied for four years.

He joined the Ben Bard Drama School in Hollywood debuting in the school’s production of Here Comes Mr. Jordan, which ran for six months.

20th Century Fox scooped Stuart Whitman up while amassing new talent during the late 1950s.

In 1952, Stuart Whitman continued to appear in small roles in George Archainbard’s Barbed Wire and Tay Garnett’s One Minute to Zero. Universal signed him In December, 1952, which got him a tiny part in Douglas Sirk’s All I Desire with Barbara Stanwyck and The All American.

His most memorable and brave portrayals is of Kim Fuller in The Mark.

In The Mark, Stuart Whitman takes on the compelling, challenging role of Jim Fuller, who after serving three years in prison for the abduction and attempted molestation of a nine year old girl, is let out. Jim Fuller coming to terms with his past has gone through extensive therapy with psychiatrist McNally (Rod Steiger) and is released a reformed man, given a good job, and tries to acclimate himself back into normal society. He starts up a relationship with the company secretary Ruth (Maria Schell) who has a 10 year old little daughter. The ugly monster that is his past creeps up behind him and challenges his chance at a new life. While the film’s subject is still one of revulsion, the character of James Fuller is framed sympathetically, partly because he never went through with committing the crime. The film gives a well explained symptomology through Dr. McNally’s compassionate trained eye for uncovering the truth, and flashbacks aide us in seeing Fuller’s utter agony with what he contemplated doing. He stops himself from going through with the assault and vomits at the thought of it. He drives the little girl back to town where he is met with an angry mob. He asks to be locked up because he is sick.

The Mark explores without reservation the conflicted Jim Fuller, which in the cinema at that time breaks ground.He finds solace in his relationship with a sympathetic psychiatrist Rod Steiger. The Mark costars Maria Schell.

While the film is quite black & white with it’s Freudian brush strokes, the story is still compelling and Guy Green’s direction works well to light the flame under the kettle slowly. The Mark was released in a time in film releases where sexual ‘deviation’ was being experimented with at the cinema. Director Basil Dearden’s taut drama Victim (1961) starring Dirk Bogarde about homosexuality and blackmail, director Joseph L. Mankiewicz’s Suddenly, Last Summer (1959) that deals with mental illness, homosexuality and cannibalism, and Lillian Hellman’s story directed by William Wyler The Children’s Hour (1961) that deals with the stigma of lesbianism.

Originally Richard Burton was cast in the part of Jim Fuller and the part of Ruth was to be Jean Simmons. And while Burton is of course one of those incredible actors who is laudable at dancing a waltz with complex and damaged, Whitman is profoundly adept at pouring out multitudinous levels of torturous self loathing and social anxiety in a plot full of minefields the protagonist can step on. The film earned him the Oscar nomination for Best Actor not only for his incredibly nuanced performance but partly for his brave and challenging accomplishment. The Mark features Whitman’s complex portrayal of a sexual deviant and a self reflexive man struggling to come to terms with his predilections while finding his way back into society again. There’s a good reason he was nominated for Best Actor… he deserved the award.

Excerpts from an Interview From Shock Cinema Magazine by Anthony Petkovich

SC: What was the challenge for you in making THE MARK?

STUART WHITMAN: “I was doing a screen test at 20th with Lee Remick for a movie called The Candy Man which Tony Richardson was going to direct. And I got a telephone call from Kurt Frings my agent at the time. And Kurt tells me, “Don’t go back” ‘but I’m shooting right now I said. “Don’t go to the set.” He said “What do you mean?” ‘Don’t go back Just go home, pack a bag and catch the four o’clock to London this afternoon. You’re gonna shoot a movie in Ireland.” I asked “Well, what’s the name of the picture?” “Not to worry. Don’t ask any questions. Just get on the plane and go.” And I remember racing to the airport to catch the plane and running into the actor Dane Clark, “Where you going Stuart?” He asked me “ I’m off to do a thing called THE MARK” I told him, “but I don’t know anything about it.” THE MARK? He said “My God, I really wanted to play that role, Jesus Christ.” So that was the only indication I received that it was something special… Well Richard Burton was originally supposed to do my role in THE MARK but he was starring in Camelot and couldn’t get out of his commitment to do the play. So Kurt–who handled Burton and Maria School, the female lead in THE MARK and wonderful to work with-he squared me into the thing.”

“So they put me up in a hotel in London, and I had three days there before going on location to Ireland. Now when I arrived at the London hotel, all of these British reporters were asking me “What do you think about doing this movie?” ‘I haven’t read it” I told them “ I don’t know. Let me read it , then I will tell ya” So I got rid of all of the reporters because I really didn’t know what the fuck the movie was all about. And in my hotel room, when I finally read the script, I kind of freaked out. So much so that I was thinking to myself “Well, I could get sick and tell them that I can’t do the movie—I had all kinds of excuses that I was going to lay on ‘em so that I didn’t have to tackle this project. Then I thought, “Well, fuck it. If I”m in the right business or the wrong business I”ll know if I can pull this one off. And if I can I”ll be alright, But yeah it was difficult to do. And that’s when I first met Rod Steiger. Since Rod and I had a lot of scenes together, he said “you want to come over to my house and we’ll just run over the lines and get familiar with it?” “Absolutely” I said to him.”

After the dreaded Night of the Lepus, Whitman survived the blip in his momentum and proclaimed his comeback with multiple entertaining films and television roles, many that helped him attain cult status. Including Lawrence Harvey’s excursion into cannibalism Welcome to Arrow Beach, and master of horror Tobe Hooper’s sub-genre of horror films— the hillbilly slasher Eaten Alive starring Neville Brand and Carolyn Jones. My favorite is his performance as the love sick paramour of Piper Laurie’s in Curtis Harrington’s Ruby (1977). The underrated nightmarish ghost story and a great vehicle for Piper Laurie. Whitman brings that wonderful 70s sensibility to the film as he aches for his lover to return his affections.

Meg Foster and Stuart Whitman in Lawrence Harvey’s Welcome to Arrow Beach

Stuart Whitman and Rory Calhoun in Night of the Lepus

Stuart Whitman also stepped into the role of cult leader of People’s Temple Jim Jones with a hyperbolic performance in GUYANA: CULT OF THE DAMNED.

Aside from some his more obvious diversions into the cult market, Stuart Whitman delivered memorable roles in films like director Monte Hellman’s Shatter 1974 where he plays an a cool character, an international hit man who is now himself a target. Whitman can slip into a diverse range of characters from sympathetic child molester, to homicidal cult leader/mass murderer, cut throats and heroes, urbane hitmen or a variety of sheriffs. From the 60s decade through the 70s Stuart Whitman’s roles ran the gamut.

Making his film debut in 1951 science fiction films uncredited in director Rudolph Maté’ and George Pal’s When Worlds Collide credited as Kip Whitman and in director Robert Wise’s The Day the Earth Stood Still (1951). Whitman gained popularity as a cult actor appearing in a variety of films The Girl in the Black Stockings (1957)  co-starring Mamie Van Doren and Anne Bancroft.

The 1960s were a  golden time for Whitman where he found himself to be one of the leading stars in Hollywood. Another outstanding example of his versatile acting ability is showcased in the intense crime drama based on New York gangsters — Murder, Inc. 1960 and the 1964 psychologically disturbing, psychotronic  Shock Treatment 1965. Whitman plays an actor Dale Nelson who is hired to locate $1 million in stolen money, so he gets himself committed to the institution run by Lauren Bacall. But finds himself immersed in the depths of insanity inside the asylum. Then there was the international assembled cast for the aviation extravaganza comedy Those Magnificent Men and their Flying Machines and the fantastic adventure film The Sands of the Kalahari.

Stuart Whitman in The Sands of the Kalahari (1965)

Murder, Inc. Year : 1960 USA Stuart Whitman Director: Burt Balaban.

Stuart Rosenberg’s directorial debut Murder, Inc (1960) co-starred Peter Falk in his explosive role as Abe Reles.

SC: Hey, I don’t want to forget about MURDER, INC.

STUART WHITMAN: “I did that while I was still under contract to 20th They said “you’re going off to New York to do this thing called Murder, Inc. So on the plane I’m reading the script, and I’m thinking “wow! What a role here… Abe Reles… And when I got to New York and they picked me up in a limo at the airport, they asked me “how did you like the script? “Oh God, I just loved it” And they said “we got an interesting young guy, a character actor named Peter Falk who’s gonna plays Abe Reles” “Wait” I said, “I thought that was my role” “No, no You’re going to play the kid in it.. with May Britt.. the love affair part of the story.” And I said “Oh shit, I don’t want to do it. SO I called up (Spyros) Skouras (president of 20th Century Fox from 42 to 62) and said “Now Mrs Skouras that’s not the role I wanted to do” No do it” he said.

Anyhow, Peter Falk and I were getting along, getting some good stuff into the picture but when they fired the director Stuart Rosenberg, we had a sit down strike between us actors. But then a full out strike was coming along, and 20th said “The strike is coming up, so we have to finish this picture right away—before it hits.” Well, the very day we finished the picture, the strike hit. But that’s why there are two directors credited on Murder Inc. Burt Balaban was the producer so when Rosenberg got fired he stepped in.”

Stuart Whitman was very physically fit and started doing a lot of macho-type movies around this time, like westerns Rio Conchos 1964 and The Comancheros 1961. Whitman has top billing in the well-cast western, The Comancheros, and maintains a glorious chemistry with Wayne. He plays a womanizing gambler who kills a nobleman’s son in a dual. He escapes the noose but is hunted down the honest Captain of the Texas Rangers Jake Cutter (John Wayne). It’s directed by Michael Curtiz, and both men exchange quick-witted dialogue. Inevitably the two become friends. Cimarron Strip 1967-68 was Whitman’s short lived highly charged 90 minute TV western which was his show starring as the serious Marshal Jim Crown. Episodes featured other great actors like Richard Boone, Warren Oates, and Robert Duvall. I read that Cimarron Strip was of Whitman’s favorite projects.

Stuart Whitman as Marshal Jim Crown in the television western series Cimarron Strip 1967-68

Stuart Whitman in Rio Conchos (1964)

Stuart Whitman and co-star John Wayne in Michael Curtiz’s The Comancheros (1961)

Stuart Whitman was so versatile he was able to stand astride both television and feature films from dramatic hits to film noir, horror and cult exploitation. Some of his most notable films are Ten North Frederick (1958), director William Wellman’s Darby’s Rangers (1958) co-starring James Garner. Whitman does a superb job piece of work as a ballsy American soldier who joins an elite group who are trained as special forces during WWII. Andrew L. Stone’s The Decks Ran Red (1958) co-starring James Mason and Dorothy Dandridge. 
The Longest Day (1962), The Comancheros (1961) co-starring John Wayne, The Sound and The Fury (1959) co-starring Joanne Woodward, the grand British comedy adventure spectacle Those Magnificent Men in Their Flying Machines (1965), Shock Treatment (1964) co-starring Carol Lynley and Roddy McDowall as a very disturbed gardner, René Clément’s The Day and the Hour (1963) co-starring Simone Signoret. Stuart Whitman plays an American soldier who is shot down behind enemy lines and is aided by the French resistance. Whitman directed one specific scene that Clément agreed to let him shoot. There is an impassioned chemistry between the sublime Signoret (a favorite actress of mine) and Whitman, as the two journey to escape the Nazi’s in occupied France. Clément is at his finest profiling war torn Europe, his focus on the stirring content and eloquent faces that populate his films.
Stuart Whitman in Darby’s Rangers (1958) – directed by William Wellman
Joanne Woodward and Stuart Whitman in The Sound and the Fury (1959)
Stuart Whitman holding Simone Signoret in a scene from the film ‘The Day And The Hour’, 1963. (Photo by Metro-Goldwyn-Mayer/Getty Images)
Le jour et l’heure (The Day and the Hour) Year: 1963 Director: René Clément -Simone Signoret, Stuart Whitman, Billy Kearns
Le jour et l’heure Year: 1963 Director: René Clément Simone Signoret, Stuart Whitman
Le jour et l’heure Year: 1963 Director: René Clément  Simone Signoret , Stuart Whitman
Whitman plays the compassionate prison guard who believes in rehabilitation not the death penalty in Convicts 4 (1962). His performance adds a real and humanist impact to the tense and confining spaces of the prison. There are also fine appearances by Rod Steiger, Sammy Davis Jr. and Vincent Price. Whitman felt at home in the western, he starred in Rio Conchos (1964), and then the turbulent psycho-drama An American Dream (1966) co-starring Janet Leigh and Eleanor Parker.
Night of the Lepus (1972) co-starring Janet Leigh and Rory Calhoun. Apparently Whitman felt that this low budget horror film was the decline of his career. Stuart Whitman was forced into taking the role in William F. Claxton’s ridiculous horror flick. In it, Whitman and Janet Leigh play zoologists who accidentally unleash giant bunny rabbits. The film is laughable and was partly responsible for the blemish on his career, though the film has attained cult status.
He managed to work with some of the most prominent directors, William Wellman, Frank Borzage, Don Siegel, Richard Fleischer, Michael Curtiz, Douglas Sirk, Jacques Tourneur and  René Clément.
After guest starring in dramatic television programs Lux Video Theatre, Four Star Playhouse, Zane Grey Theater and Dr Christian. He gained recognition in the lead role as Marshal Jim Crown in the successful Western television series Cimarron Strip that ran from 1967-68 on CBS. Other television appearances include Death Valley Days Highway Patrol 1956-57, Have Gun-Will Travel (1958), Bracken’s World (1970), Rod Serling’s Night Gallery episode Lindemann’s Catch and Fright Night.
He was in Circle of Fear (1972) The Streets of San Fransisco (1973), Quincy M.E., Knight Rider, A-Team, S.W.A.T., and Murder, She Wrote. He had a re-occurring role in Knots Landing. In 1988, he was featured in Superboy which lasted until 1992. Whitman played Jonathan Kent Superboy’s adoptive father.
Stuart Whitman and Chloris Leachman in Jonathan Demme’s Crazy Mama (1975)
Stuart Whitman and Eleanor Parker in An American Dream (1966)
Fred Williamson, Jenny Sherman and Stuart Whitman in Mean Johnny Barrows (1976)
1971: (L-R) Bradford Dillman, Carol Eve Rossen, Shelley Winters, Stuart Whitman appearing in the ABC tv movie ‘Revenge!’. (Photo by Walt Disney Television via Getty Images)
Stuart Whitman appeared in various tv movies, City Beneath the Sea (1971), Revenge! (1971) co-starring Shelley Winters, The Woman Hunter (1972), co-starring Barbara Eden.
Donald Randolph, Tony Curtis, Richard Long, Stuart Whitman and Palmer Lee in “The All American” 1953 Universal ** B.D.M.

Under contract to Universal Stuart Whitman was still cast in minimal parts in 1953. The first with director Budd Boetticher’s The Man from the Alamo. Then he worked with Jacques Tourneur his crime thriller Appointment in Honduras. Then followed The Veils of Bagdad and Walking My Baby Back Home.

in 1954, he was still getting cast in small roles Charles’ Vidor’s Rhapsody, loaned out to MGM. Stuart Whitman appeared in Brigadoon. He performed on stage at the Coast Theater in Christopher Fry’s Venus Observed.

1955, Whitman maintained his brief images like the man on the beach in Curtis Bernhardt’s Interrupted Melody. Also that year, Whitman had a minor role in the serial King of the Carnival. In that same vein he appeared in Allan Dwan’s war drama Hold Back the Night.  Then came Budd Boetticher’s western Seven Men from Now in 1956 co-starring Lee Marvin and Randolph Scott.

Finally In 1957, Stuart Whitman’s film presence gained visibility in Gerd Oswald’s noir thriller Crime of Passion, and Reginald Le Borg’s War Drums. He got his first leading role in John H. Auer’s Johnny Trouble. Where Whitman plays Johnny Chandler a belligerent young man whom Ethel Barrymore believes is her grandson. Films that followed were Hell Bound co-starring Broderick Crawford and James Mason and Howard W. Koch’s psycho-sexual shocker The Girl in Black Stockings (1957).

Stuart Whitman as Prentiss in The Girl in the Black Stockings (1957)

Carolyn Jones and Stuart Whitman in Johnny Trouble (1957)

Also in 1957 Whitman had a notable role in the military series, Harbor Command based on the United States Coast Guard.

He had a recurring role as police officer Sgt. Walters on the television series Highway Patrol. Whitman  and his co-star Broderick Crawford hit it off and became friends.

He was cast in bit parts in film and stage productions. Then he finally had his breakthrough with the drama Johnny Trouble in 1957 co-starring Ethel Barrymore in her last role. Then he co-starred with Gary Cooper in Ten North Frederick (1958) Stuart Whitman co-starred with Dorothy Dandrige in the crime drama The Decks Ran Red in 1958 where the two kissed showcasing one of the first interracial kisses in Hollywood at the time.

STUART WHITMAN & DOROTHY DANDRIDGE Film ‘THE DECKS RAN RED’ (1958) Directed By ANDREW L. STONE
10 October 1958 CT2447 Allstar/Cinetext/MGM

Dorothy Dandridge and Stuart Whitman in The Decks Ran Red (1958)

excerpts from an Interview From Shock Cinema Magazine by Anthony Petkovich

SC:You also starred with Broderick Crawford (they worked together in Highway Patrol) in The Decks Ran Red 1958.”

STUART WHITMAN: “Dorothy Dandridge, poor baby… She was previously married to one of the two Nicholas brothers {Harold} and their daughter, who was (brain-damaged), eventually had to be placed in a mental institution. And poor Dorothy was going through all of that turmoil while she was making the movie. A goddess, that’s what she was. “You know how Brod got that picture? Listen to this… Andrew and Virginia Stone both produced it with Andrew directing. And I said to them “who are you going to get to play this role (of Henry Scott)?” And they said, “Oh God, we’d love to have Broderick Crawford but he’s a drunk” And I said “Wait a second, if he tells you he’s not going to drink, then he won’t drink” No, they said. And I said “look. Call him up and talk to him. Tell him that I’m in the picture.” So they called Brod up and hired him. And just as I told them Brod didn’t touch a drop until the last day of shooting-then he let go But that’ show he got that job It was actually a good little movie. James Mason was an interesting guy, and we became fast friends. Oh God, he was a sweetheart. But Brod and he just didn’t get along.”

Came 1958, Charlton Heston left the William Wellman’s film Darby’s Rangers. It’s star James Garner took over the role and Stuart Whitman took Garners original character. Starting in production that year was Richard Fleischer’s western These Thousand Hills, and beginning it’s theatrical run was Ten North Frederick. Whitman remarked “many good things came from that”.

In 1958, Hedda Hopper wrote a piece on Whitman which said he could be the “new Clark Gable” :

This is a fresh personality with tremendous impact. He’s tall and lean with shock of unruly black hair and dark hazel eyes which harden to slate grey when he plays a bad man or turns on the heat in a love scene. When he comes into camera range, the audience sits up and says: “Who dat?”

The Decks Ran Red directed by Andrew L. Stone followed and according to Whitman, he got MGM to hire his friend Broderick Crawford with the condition that he remain sober during the shooting.

In 1959, Stuart Whitman replaced Robert Wagner in The Sound and the Fury co-starring Joanne Woodward and Yul Brynner. Woodward and Whitman would find themselves acting together once again in the taut thriller Signpost to Murder 1964. Also that year he appeared in an episode of the popular television show by writer/produced by Gene Roddenberry Have Gun-Will Travel.

Whitman finally started getting leading man roles in director Don Siegel’s Hound Dog Man. Whitman   played a rogue his “fourth heel in a row… I had a ball because the character was a real louse, everything hanging off him and no inhibitions. I like those kind of guys, I suppose because I can’t be that way myself.”

In 1960, he starred in the Biblical drama The Story of Ruth, replacing Stephen Boyd as Boaz.

Stuart Whitman in “The Story of Ruth” 1960 (Photo by RDB/ullstein bild via Getty Images)

That year he co-starred in the darkly violent crime biopic Murder, Inc. Whitman had originally thought that he was to be cast in the Peter Falk role, but wound up playing the romantic lead instead. The film’s production was problematic from the beginning. Director Stuart Rosenberg was fired for taking too long to set up shots. After the actors’ strike the studio was pressured to finish the film so they hired Burt Balaban to finish production.

Then came 1961 and the role that earned him the Academy Award nomination for Best Actor. Stuart Whitman was frustrated with the kinds of roles he was getting. “I had been knocking around and not getting anything to test my ability” When Richard Burton dropped out of production of Guy Green’s The Mark, to take the part in the stage production of Camelot, Whitman was contacted by his agent, the actor not knowing the controversial content of the film, he flew to Ireland to read the script. Though it was a challenge he felt that he could tackle the role of a child molester, and he was right as he garnered the Oscar nomination for his performance. Whitman acknowledged that it “doubled my rating as an actor” yet  “I had a tough time breaking my image in that movie… it blocked my image as a gutsy outdoorsman.”

Whitman then starred in The Fiercest Heart filmed in South Africa. Then he appeared in Michael Curtiz’s religious biopic Francis of Assisi. Curtiz wanted Whitman, to appear in his next film The Comancheros. John Wayne had to negotiate with the studio to get Whitman released from a prior commitment with the studio. Stuart Whitman plays Paul Regret who escapes from the law but is eventually captured by Texas Ranger Jake Cutter (John Wayne).

1962, Whitman starred in Millard Kaufman’s crime drama Convicts 4 and was cast in the all-star feature The Longest Day (1962) The events of D-Day, told on a grand scale from both the Allied and German points of view. 

Publicity Still from The Longest Day (1962)

Le jour et l’heure Year: 1963 Director: René Clément Stuart Whitman, Marcel Bozzuffi
Le jour et l’heure Year: 1963 Director: René Clément Stuart Whitman, Reggie Nalder

From Wiki: In 1963, instead of choosing any of these roles, Whitman played an American pilot in the French film René Clément‘s The Day and the Hour, shot in Paris and set during World War II. As described by Whitman, he got the part through Alain Delon, who he bumped into in an elevator at The Beverly Hills Hotel. Delon invited him to meet the director, and eventually worked out a way to loan him out from his studio contract. During the production of the film, Whitman disagreed with Clément on the direction of a torture scene. Whitman swore to Clément that he could handle it. After coincidentally sitting in a plane next to Sidney Buchman who co-wrote The Mark, they re-wrote the scene. Whitman directed the torture scene and hasn’t directed since. Whitman described Clément, as one of the finest French directors. He enjoyed the experience, saying, “I busted through at last and can now get an honest emotion, project it and make it real. You become egocentric when you involve yourself to such an extent in your role; your next problem is in learning how to turn it off and come home and live with society. It took a lot of time and energy to break through, so I could honestly feel and I’m reluctant to turn it off. Now I know why so many actors go to psychiatrists.”

In 1963, Stuart Whitman appeared in an episode called  “Killing at Sundial” of the first season of Bob Hope Presents the Chrysler Theatre. Whitman plays a Native American seeking to avenge his father who was hanged years ago.

1964, Whitman was cast in the expository psychological shiver as the unfortunate Dale Nelson who gets cast into the snake pit of Shock Treatment (1964). Then came the western directed by Gordon Douglas- Rio Conchos co-starring two other leading men Richard Boone and Tony Franciosa. Whitman said that he didn’t like the script, but producer Darryl F. Zanuck dangled the carrot of the lead role in Those Magnificent Men in Their Flying Machines in 1965.  After Stuart Whitman met with Richard Boone and director Douglas he agreed to take the part. Director Annakin had wanted Dick Van Dyke for the lead role in this aviation extravaganza but he had to to accept the studio’s choice and wound up being please with Whitman’s wonderful performance.

In 1965 he appeared in the director George Englund’s film noir Signpost to Murder co-starring Joanne Woodward. Signpost to Murder is perhaps one of Stuart Whitman’s most compelling performances. He plays Alex Forrester an escaped patient from an asylum – takes refuge in Molly Thomas’ (Woodward) house who has secrets of her own. This contemplative thriller with twists is an incredibly underrated psychological thriller and deserves more attention paid to it for its narrative precision.  There is an evocative score by master composer Lyn Murray that underlines the moody discord of the plot. Whitman is superb as the desperate man trying to free himself of being labeled insane, culminating in the emotional eruption of violence. “What a terrible way to live out the one life I have. Shut up. Shut off. Forever lost.”

He got the lead in Cy Endfield’s Sands of the Kalahari. Other actors considered for the role were Richard Burton, Robert Mitchum and Marlon Brando. Whitman had a horrendous time during the shoot, due to the extreme heat on location in Africa, and the baboons whom he had to fight with weren’t trained.  And finally the release of director Ken Annakin’s comedy centered around the aviation craze circa 1910 with an ensemble cast. Those Magnificent Men in Their Flying Machines with Whitman featured as the American participating in the race from London to Paris.

In 1966, Whitman starred opposite Eleanor Parker in Robert Gist’s An American Dream aka See You in Hell, Darling based on the novel by Norman Mailer. The film is a self-indulgent cynical journey as Whitman is suspected of killing his wife (Parker) who plays a miserable alcoholic. Whitman then appeared once again on the dramatic television series Bob Hope Presents  in the episode The Highest Fall of All. He played a suicidal stuntman with a death wish who is willing to do dangerous fall.

In 1967, Whitman came into American living rooms for the first time as U.S. Marshal Jim Crown, the lead character in the television western Cimarron Strip.

Stuart Whitman and Margit Saad in The Last Escape (1970)

1970, Whitman appeared in the episode “Murder off-camera” of Bracken’s World. Also that year, Stuart Whitman starred in The Last Escape and The Invincible Six. He was also in an episode of The FBI. 1971, Whitman acted in director Alexander Singer’s Captain Apache co-starring Carroll Baker and Lee Van Cleef.

Whitman plays a psychic who is hired by Carol Rossen to find her missing husband in the Grand Guignol made for television thriller Revenge! starring Shelley Winters as a twisted vengeful mother who is holding Bradford Dillman captive in her cellar. He appeared in another made for television sci-fi adventure The City Beneath the Sea. In 1972, he plays a hardened, solitary sea captain who catches a mermaid in “Lindemann’s Catch”, an episode of Rod Serling’s horror/fantasy series Night Gallery. Serling wrote the episode and Jeff Corey directed.

City Beneath the Sea (1971) made for tv movie

Also in 1972 he appeared in Disney’s Run, Cougar, Run, and an episode of Fantasy Island called “Carnival/The Vaudevillians“. He did another episode of Night Gallery called “Fright Night” where he must take care of a mysterious trunk in an old family estate. Having a proclivity toward starring in horror he appeared in a television episode of Circle of Fear/Ghost Story called “The Concrete Captain co-starring Gena Rowlands. That same year he appeared in another television movie, The Woman Hunter starring Barbara Eden. Came 1972 Whitman appears as a hitman in “The Set Up” episode of The Streets of San Francisco, and the made for television film The Man Who Died Twice. He also appeared in Love, American Style, and an episode of Hec Ramsey called “A Hard Road to Vengeance.” Curtis Harrington’s Made for Television horror The Cat Creature (1973) co-starring Gale Sondergaard.

In 1974 he took to the horror stage again appearing in the outre creepy and violent Welcome to Arrow Beach co-starring Lawrence Harvey and Joanna Pettet about a veteran who craves human flesh. Harvey who directed had asked Whitman to play the lead role, but he told him he didn’t want to play a cannibal but he’d play the deputy because he wanted to work with Lawrence Harvey.

In 1975, he had the lead role in Call Him Mr. Shatter, and an episode of Cannon called “Man in the Middle”. He co-starred with Fred Williamson in Mean Johnny Barrows. That same year he starred in Jonathan Demme’s exploitation film Crazy Mama co-starring Cloris Leachman. Several generations of women go on to be outlaws robbing banks so they can reclaim the farm in Arkansas that was taken away from them by the bank. Whitman plays Jim Bob who is along for the ride with Melba (Cloris Leachman). In Mean Johnny Barrows (1975) Whitman co-stars as a crime boss with Fred Williamson.

In 1976 he starred in the television series S.W.A.T. episode “The Running Man” and then he took to the Italian action genre working with director Alberto De Martino in his giallo feature where Whitman plays Capt. Tony Saitta and co-stars with John Saxon and Martin Landau in the very slick mystery Strange Shadows in an Empty Room. He appeared along side Rod Taylor and Elke Sommer in Treasure Seeker. He acted in television’s Harry O with friend David Janssen and Ellery Queen. He played the sheriff in Tobe Hooper’s nasty horror gorge- Eaten Alive.

In 1977, television called Stuart Whitman once again to appear in Quincy, M.E. in the highly charged episode “Hot Ice Cold Hearts” He appeared in one of my favorite horror films starring the great Piper Laurie. He starred in J. Lee Thompson’s The White Buffalo co-starring Charles Bronson.

In 1978 Whitman appeared in several television miniseries, The Pirate written by Harold Robins and The Seekers. He also starred in Delta Fox.

Around this time, Whitman collaborated twice with director René Cardona Jr.. In 1979 he starred as Jim Jones in the powerfully disturbing, Guyana, Cult of the Damned. The second film was Los Traficantes De Panico, also known as Under Siege.

“A lot of big people told me I was the number one man the networks wanted,” said Whitman. “I always wanted to play a cop with a heart, a guy who would use every possible means not to kill a man,” he said. “TV has needed a superhero… and I think Crown can be the guy.”

The Los Angeles Times did a profile on Whitman around this time, calling him “an actor of growing importance in a business that needs stalwarts to follow in the steps of the Clark Gables, Gary Coopers, and John Waynes… Whitman is like a finely trained athletic champion – a modest but self-assured chap who seems to know where he is going.”

“I’ve done lots of different parts since I left Hollywood High School and City College”, said Whitman in a 1960 interview, “so the sudden switch didn’t bother me too much. I hope 20th Century Fox will keep the roles varied and interesting.”

“I didn’t need to act to make a living, but I had a real passion for it,” he told writer Nick Thomas. “I just loved to act.”

Whitman described himself to Hedda Hopper as “a real American – have a little bit of English, Irish, Scotch and Russian – so I get along with everyone.”

“I went to so many schools—26 in all!—that I was always an outsider,” he later recalled. “It wasn’t until high school that I could really read . . . I always sat in the back of the room.”

Whitman’s early love for acting came through when he did three summer stock plays in New York when he was 12, but “nobody took that seriously,” he said.

“I reached a point where I said, ‘What are you going to do with your life? You got to get something going.'” he said. “I decided I wanted to spend most of my time on me. So I decided to develop me and educate me.”

According to John Gregory Dunne’s “The Studio,” Whitman was suggested for the title role in The Boston Strangler by John Bottomly, the Massachusetts assistant attorney general who prosecuted Albert DeSalvo. Instead, the role went to Tony Curtis.

Whitman had turned down a number of offers to star on television series over the years, including Mannix and Judd for the Defense. “I wanted more diversity in acting,” he said. “I felt I would limit myself.”

Whitman admitted, “I’m the type who must work constantly.” In the early 1970s, he worked increasingly in Europe. “I left Hollywood because it was getting to be a mad mess!” he said. “There are only about two really good scripts going around and they always go to the industry’s two top stars. I thought that in Europe, something better might come my way—and it did! I’ve made mistakes in the past, but I kept bouncing back. I always thought that an actor is destined to act, but I now realize that if you do one role well, you get stuck with it!”

Stuart Whitman retired from film and television after 2000 after his final appearance in The President’s Man.

Awards and honors Included on the Hollywood walk of Fame (1998) Nominated Best Actor Academy Award, The Mark (1961) Winner (cast member) Western Heritage Awards, The Comancheros (1961)

“The Comancheros” John Wayne, Stuart Whitman 1961 20th Century Fox

“I was filming Francis of Assisi 1961 In Italy with director Michael Curtiz IT was wintertime and a hard shoot And near the end of the film, Michael said “Stuart take a look at this script. It’s called The Comancheros” I read it over and said ‘boy, there’s a role in there that I’d love to be in” And he said I’d love to have you in it. I’m directing it. But the studio has got somebody else cast for that particular part. But we don’t start filming for another month, so when you get back to Hollywood see if you can get on the picture. I’d like to have you. “When I got back, I asked the studio and they said No you can’t do it We’ve got it all sewn up. So I called up Kurt Frings and told him what Curtiz said to me “Well he said “go see the Duke at Paramount He’s on Stage 17 Go talk to him.

Anyhow I worked my way into Paramount went to Stage 17 and when I got there (Wayne) was just going off to his dressing room. So I followed him in— “and Michael Curtiz wants me in your next picture. I really want to do it but the studio is putting up some blockage there. So I hung around there with Wayne for part of the day. And at the end of the day he asked me, “you really want to do the picture huh? Okay You’ve to the job. That’s how I got The Comancheros.”-Stuart Whitman

IMDB Trivia:

Alfred Hitchcock considered him, along with Cliff Robertson, Robert Loggia and Tom Tryon, for the role of Sam Loomis in Psycho (1960), but the role went to John Gavin.
Was a light-heavyweight boxer while serving the United States Army. Ironically, it was his role as a prizefighter in the play “Dr. Christian” that brought him his first leading role in a movie, playing Johnny in Johnny Trouble (1957) opposite Ethel Barrymore.
Was close friends with David Janssen.
In 1960, MGM toyed with the idea of doing an all-male remake of The Women (1939) which would’ve been entitled “Gentlemen’s Club.” Stuart Whitman would have been cast as (Oliver, the bartender who spills the beans about the illicit affair).

Another The Decks Ran Red co-star Whitman commented on was Dorothy Dandridge, who was going through a divorce and had to institutionalize her mentally ill daughter. Whitman was impressed with her strength and described her as a goddess.

Whitman told that when he first met Peter Falk on the set of Murder, Inc., they had differences but eventually became friends. Whitman found The Mark director Guy Green difficult to work with, finding him demanding and too strict, but they became good friends afterwards. On the set of Sands of the Kalahari, Whitman said he became best friends with fellow cast members Stanley Baker and Theodore Bikel, while he didn’t click with Jim Brown at first, they too became friends.

S.W.A.T. – Season Two – “The Running Man” 12/2/75 Stuart Whitman
FILM CLIPS HERE:
Cimarron Strip television show
Johnny Trouble 1957 as Johnny
 
Darby’s Rangers 1958 as Sgt. Hank Bishop
Ten North Frederick 1958 as Charley Bongiorno
The Decks Ran Red 1958 as Leroy Martin
The Sound and the Fury 1959 as Charlie Busch
Murder, Inc 1960 as Joey Collins
The Mark 1961 as Jim Fuller
The Comancheros 1961 as Paul Regret
Convicts 4 (1961) as Principal Keeper
The Day and the Hour 1963 as Capt. Allan Morley
Shock Treatment 1964 as Dale Nelson
Signpost to Murder 1964 as Alex Forrester
An American Dream 1966 as Stephen Richard Rojack
The Invincible Six 1970 as Tex
Captain Apache 1971 as Griffin
Revenge! 1971 tv movie as Mark Hembric
Night Gallery 1972 Capt. Hendrick Lindemann (segment “Lindemann’s Catch”)
The Streets of San Fransisco 1973 episode: “The Set-Up”) (1973) as Nick Carl
Shatter 1974 as Shatter
Crazy Mama 1975 as Jim Bob
Mean Johnny Barrows 1976 as Mario Racconi
Strange Shadows in an Empty Room 1976 as Capt. Tony Saitta
Ruby 1977 as Vince Kemper

Filmography

This is your everlovin’ joey sayin’ goodbye Stuart Whitman… we’ll always have your eyebrows and that sexy voice of yours to enjoy!

What a Character! 2018 – Sassy Sisterhood: Eileen Heckart & Louise Latham

It’s that marvelous time again, when one of the most enjoyable Blogathons has come around, it’s the 7th Annual What A Character Blogathon. And the reason I adore it so much –it’s purpose is essential in paying tribute to the memorable character actors who have often added the sparkle to the cinematic sky of movie stars– they touch our lives so profoundly because of their unique contribution as the characters they bring to life!

I want to thank Aurora of Once Upon a Screen, Paula Guthat of Paula’s Cinema Club, and Kellee Pratt of Outspoken & Freckled. for giving me the opportunity to once again show my sincerest love for the actors & actresses who are so discernible within the art of film, television and theatre. It is their unforgettable performances that make it a much richer, a more compelling experience — as they are as much the stars who inhabit the dream of art because of their singular personalities.

I’ve been participating now for 7 years, and it’s always a great expedition to delve deeper into the career’s of the people who I’ve found the most enigmatic, extraordinary and uniquely engaging. This year I’ve been excited to pay special attention to two remarkable women, Eileen Heckart and Louise Latham.

For years I have always thought of these two women together, as one of those odd associations–yet unexplicable– that makes you put certain faces or impressions together in your head. Another example of two actors that often seem to merge in that vast noggin of mine — I’m always thinking of E.G.Marshall and Eli Wallach together. Heck, maybe, next year I’ll do the same double feature for them. As I adore them both!

It struck me that I should pair Eileen and Louise as a kind of sisterhood, for both of their uniquely extraordinary styles stand out and somehow stand together for me. And an interesting confluence happened as I went on my more intensive journey of discovering of these two fine actresses. I found out that Eileen Heckart and Louise Latham appeared together in a rare episode of The Doctors and The Nurses an hour long television medical drama that ran from 1962-1965. In a macabre tale reminiscent of a Robert Bloch story — the episode is called Night of the Witch, about a woman (Eileen Heckart) who is tortured by the loss of her 6 year old daughter, and seeks her own brand of retribution from the medical staff she believes is responsible. The hospital receptionist who is cold and unfeeling is portrayed by none other than Louise Latham. The fascination I’ve had to see this performance led me to hunt down a rare copy and now I own it and have put together a sample of it here for you. It’s a rather long clip of the episode in honor of them appearing together. It showcases both their talents. I hope you enjoy the excerpt And I am praying that the television series itself will someday find a full release as it is worthy of being re-visited for it’s groundbreaking content, incredible cast and performances.

 

 

As in past What A Character Blogathons Burgess Meredith, Ruth Gordon, Agnes Moorehead, Martin Balsam, and Jeanette Nolan–each of these actors– had a way of elevating every single project they were involved in, making it just that much more fascinating, delightful, heart wrenching and unquestionably memorable because of their performance–no matter how small their presence, they changed the landscape and impacted the narrative.

It is my absolute honor this year to feature two of the most remarkable women whose legacy still lives on.

Continue reading “What a Character! 2018 – Sassy Sisterhood: Eileen Heckart & Louise Latham”

Postcards from Shadowland no. 16 Halloween edition 🎃

The Incredible Shrinking Man (1957) Directed by Jack Arnold adapted by Richard Matheson and starring Grant Williams
Five Million Years to Earth (1967) Directed by Roy Ward Baker, written by Nigel Kneale starring Barbara Shelley and Andrew Keir
The Manster (1959) Directed by George P. Breakston starring Peter Dyneley, Jane Hylton and Tetsu Nakamura
The Twilight People (1972) Directed by Eddie Romero
Bluebeard (1972) Directed by Edward Dmytryk. Starring Richard Burton, Raquel Welch, Virna Lisi, Natalie Delon, Agostina Belli, Karen Schubert, Sybil Danning, Joey Heatherton and Marilù Tolo
The Beast with Five Fingers (1946) Directed by Robert Florey with a screenplay by Curt Siodmak. Starring Robert Alda, Peter Lorre, Andrea King and J. Carrol Naish
Carnival of Souls (1962) Directed by Herk Harvey starring Candace Hilligoss
The Beast with Five Fingers (1946) Directed by Robert Florey Starring Robert Alda, Peter Lorre, Andrea King and J. Carrol Naish
Bedlam (1946) Directed by Mark Robson Starring Boris Karloff, Anna Lee, Ian Wolfe,Billy House, Richard Fraser, Glen Vernon and Elizabeth Russell. Produced by Val Lewton
Dracula (1931) Directed by Tod Browning adapted from the novel by Bram Stoker-Starring Bela Lugosi, Helen Chandler, David Manners, Dwight Frye, Frances Dade and Edward Van Sloane
Blood and Roses (1960) Directed by Roger Vadim. Adapted from the novel by Sheridan Le Fanu- Starring Mel Ferrer, Elsa Martinelli, Annette Stroyberg
Black Sunday (1960) La maschera del demonio-Directed by Mario Bava Starring Barbara Steele, John Richardson and Andrea Checci
The Hunchback of Notre Dame (1939) Directed by William Dieterle Starring Charles Laughton, Maureen O’Hara and Cedric Hardwicke adapted from the novel by Victor Hugo
War of the Colossal Beast (1958) Directed by Bert I. Gordon Starring Sally Fraser and Roger Pace
It Conquered the World (1956) Directed by Roger Corman- Starring Beverly Garland, Peter Graves Lee Van Cleef and The Cucumber Monster
Curse of the Faceless Man (1958) Directed by Edward L. Cahn–Starring Richard Anderson, Elaine Edwards, Adele Mara and Luis Van Rooten
The Old Dark House 1932 directed by James Whale-Gloria Stuart and Boris Karloff
Dead of Night (1945) Directed by Alberto Cavalcanti, Charles Crichton, Basil Dearden, and Robert Hamer.–Starring Michael Redgrave, Mervyn Johns, Roland Culver, Googie Withers, Mary Merrall, Sally Ann Howes, Frederick Valk, Anthony Baird
Die! Die! My Darling! (1965) directed by Silvio Narizzano with a screenplay by Richard Matheson adapted from a novel by Anne Blaisdell–Starring Tallulah Bankhead, Stephanie Powers, Peter Vaughan, Donald Sutherland and Yootha Joyce
The Tenant (1976) Directed by Roman Polanski–Starring Roman Polanski, Isabelle Adjani, Melvyn Douglas, Jo Van Fleet, Bernard Fresson, Lila Kedrova, Claude Dauphin and Shelley Winters
House of Horrors (1946) Directed by Jean Yarborough starring “The Creeper” Rondo Hatton, Martin Kosleck and Virginia Gray
Spirits of the Dead (Italy/France 1968) aka Histoires extraordinaires
Segment: “William Wilson” Directed by Louis Malle
Shown from left: Brigitte Bardot, Alain Delon
Dr. Terror’s House of Horrors (1965) Directed by Freddie Francis–Screenplay by Milton Subotsky–Starring Christopher Lee, Peter Cushing, Neil McCallum, Ursula Howells, Peter Madden, Katy Wild, Alan Freeman, Ann Bell, Phoebe Nichols, Bernard Lee, Jeremy Kemp
Doctor X (1932) Directed by Michael Curtiz-Starring Lionel Atwill, Fay Wray, Lee Tracy, Preston Foster, John Wray, Harry Beresford
Frankenstein (1910) Produced by Thomas Edison Directed by J. Searle Dawley
Horror Hotel aka The City of the Dead (1960) Directed by John Llewellyn Moxey Starring Christopher Lee, Patricia Jessel, Dennis Lotis, Tom Naylor and Betta St. John. From a story by Milton Subotsky
House of Frankenstein (1944) Directed by Erle C. Kenton from a story by Curt Siodmak. Starring Boris Karloff, Lon Chaney Jr. J.Carrol Naish, John Carradine, Anne Gwynne, Peter Coe, Lionel Atwill and George Zucco
Island of Lost Souls (1932) Directed by Erle C. Kenton Starring Charles Laughton, Bela Lugosi, Richard Arlen, Leila Hyams and Kathleen Burke based on a story by H.G.Wells
Isle of the Dead (1945) directed by Mark Robson written by Ardel Wray-Starring Boris Karloff, Ellen Drew, Marc Cramer, Katherine Emery, Helene Thimig, Alan Napier, Jason Robards Sr.
Carl Theodor Dreyer Leaves from Satan’s Book (1921) starring Helge Nissen
Diabolique (1955) Directed by Henri-Georges Clouzot adapted by Pierre Boileau Starring Simone Signoret, Véra Clouzot and Paul Meurisse
The Wolf Man (1941) Directed by George Waggner Starring Lon Chaney Jr. Claude Rains, Warren William, Ralph Bellamy, Patric Knowles, Bela Lugosi, Maria Ouspenskaya, Evelyn Ankers and Fay Helm original screenplay by Curt Siodmak
Night Must Fall (1937)
Directed by Richard Thorpe
Shown from left: Robert Montgomery, Dame May Whitty
Phantom of the Opera (1925) Directed by Rupert Julian and Lon Chaney. Starring Lon Chaney and Mary Philbin story by Gaston Leroux
Strangler of the Swamp (1946) directed by Frank Wisbar-starring Rosemary La Planche, Robert Barrat with an original story by Leo J. McCarthy
Nosferatu (1922) directed by F.W.Murnau Starring Max Schreck
The Abominable Snowman (1957) Directed by Val Guest starring Forrest Tucker, Peter Cushing and Maureen Connell written by Nigel Kneale
The Bat Whispers (1930) Directed by Roland West-starring Chance Ward, Richard Tucker, Wilson Benge, DeWitt Jennings, Una Merkel Grace Hamptom, and Chester Morris
The Curse of the Cat People (1944) directed by Gunther von Fritsch- Starring Simone Simon, Kent Smith, Jane Randolph, Ann Carter, and Elizabeth Russell. Screenplay by DeWitt Bodeen
Mighty Joe Young (1949) Directed by Ernest B. Schoedsack
Young Frankenstein (1974) Directed by Mel Brooks Starring Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, Teri Garr, Kenneth Mars and Liam Dunn.
The Devil Bat (1940) directed by Jean Yarborough Starring Bela Lugosi
The Fly (1958) directed by Kurt Neumann screenplay by James Clavell, Starring David Hedison, Patricia Owens and Vincent Price
The Texas Chain Saw Massacre (1974) directed by Tobe Hooper. Starring Marilyn Burns, Edwin Neal, Allen Danziger and Gunnar Hansen as Leatherface
The Undead (1957) Directed by Roger Corman written by Charles B. Griffith and Mark Hanna Starring Pamela Duncan, Richard Garland, Allison Hayes, Val Dufour, Bruno VeSota, Mel Welles, Dorothy Neumann and Billy Barty
The Witches (1966) directed by Cyril Frankel Written by Nigel Kneale Starring Joan Fontaine, Kay Walsh and Alec McCowen
The Uninvited (1944) directed by Lewis Allen Starring Ray Milland, Ruth Hussey, Donald Crisp, Cornelia Otis Skinner and Gail Russell
THE NIGHT CALLER [BR 1965] aka BLOOD BEAST FROM OUTER SPACE MAURICE DENHAM, JOHN SAXON, JOHN CARSON Date: 1965
Poltergeist (1982) directed by Tobe Hooper written by Steven Spielberg. Starring JoBeth Williams, Beatrice Straight, Craig T. Nelson, Dominique Dunne Heather O’Rourke

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”

boris karloff thriller

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.

Ida Lupino Looking Through Movie Camera
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.

thriller music

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