It’s the pictures that got small! – “Good Evening” Leading Ladies of The Alfred Hitchcock Hour Part 3

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

💥SPOILERS!

*The Star Juror Betty Field s1e24 aired March 15, 1963

Betty Field bio:

Betty Field and John Wayne in Shepard of the Hills 1941.

Betty’s fascination with the theatre was ignited in her early teenage years and led her to enroll at the American Academy of Dramatic Art by 1932. She marked her professional debut in 1933, performing in a summer stock production of “The First Mrs. Fraser,” and went on to secure stage roles in various locations. Her passion for theatre took her all the way to London, where she landed a job in a theatre production of “She Loves Me” at the beginning of 1934.

Her Broadway premiere, in November 1934, was as an understudy for the comedy “Page Miss Glory,” directed by George Abbott, in which she also played a minor role. Despite her rather unassuming appearance and distinct, monotone voice, Betty began to regularly perform in comedic plays, often under Abbott’s direction. She received high acclaim for her roles in plays such as “Three Men on a Horse” (1935), “Boy Meets Girl” (1936), “Room Service” (1937), and “The Primrose Path” (1939).

Paramount executives were impressed with Betty’s portrayal of Barbara, Henry Aldrich’s girlfriend, in the stage production of “What a Life” (1938), and they subsequently signed her to a seven-year contract after the play was adapted into a film in 1939. Throughout the 1940s, Betty played a variety of leading ingénue and supporting roles. One of her early career highlights was her performance as Mae, a farm girl, in the film adaptation of John Steinbeck’s classic novel “Of Mice and Men” (1939), which starred Burgess Meredith and Lon Chaney. However, despite her talent, Betty didn’t quite achieve stardom, partly due to her reserved demeanor and tendency to avoid the Hollywood scene.

Betty had the privilege of acting alongside some of Hollywood’s most esteemed leading men, such as Fredric March in “Victory” (1940) and “Tomorrow, the World!” (1944), John Wayne in “The Shepherd of the Hills” (1941), Robert Cummings in “Flesh and Fantasy” (1943), and Joel McCrea in “The Great Moment” (1944).However, her most remarkable performance was in the heart-wrenching role of the tormented daughter mistreated by her father, played by Claude Rains, in the classic drama “Kings Row” (1942).

Flesh and Fantasy was an eerie and whimsical part for her, she stars in one of the vignettes as Henrietta a dowdy woman who comes upon a mysterious mask during Mardis Gras and then goes to a party festooned with regalia, turbulence, and a romantic game of cat-and-mouse with the handsome Michael (Robert Cummings) A beautifully tragic tale of loneliness and the essence of what beauty is. The use of masks creates a nightmarish landscape of human disconnection.

From The Vault: Flesh & Fantasy (1943)

After delivering a powerful performance as Nona Tucker in the extraordinary depiction of Americana hardship lensed by impressionist director Jean Renoir (one of my favorite auteurs) – “The Southerner” (1945), Betty made the decision not to renew her contract with Paramount.

 

Zachary Scott and Betty Field in The Southerner 1945.

Instead, she took a hiatus from appearing in pictures and returned to her first love – the stage and Broadway. There, she appeared in distinguished plays like “The Voice of the Turtle” and “Dream Girl,” which was directed by her husband John Abbott, and won the New York Drama Critics Circle award in 1946. Her portrayal of Hedvig in Ibsen’s “The Wild Duck” also received critical acclaim.

Betty came back to work at Paramount cast as Daisy Buchanan in F. Scott Fitzgerald’s The Great Gatsby co-starring Alan Ladd. It wound up being a misadventure for the actress when the picture flopped with some critics claiming she was miscast and not glamorous enough and Ladd too was accused of being lackluster. However, Betty remained beloved on Broadway, showing off her versatility in plays such as Twelfth Night, The Rat Race, Ladies of the Corridor, and The Fourposter playing opposite Burgess Meredith, both taking over for Jessica Tandy and husband Hume Cronyn.

Betty’s expressive features had become tougher, more weathered, and bleak by the time she greeted Hollywood hello again in the mid-1950s. Still, she thrived as a character actress, portraying a number of mundane, wearisome, and unstylish roles yet with the same Betty Field authenticity. She brought credibility to a range of flawed provincial mothers and wives in films such as the highly-regarded Picnic (1955) with Kim Novak, Bus Stop starring Marilyn Monroe, and Lana Turner in the melodrama soaper Peyton Place 1957.

Even her stage roles reflected the changing face of her acting parts with productions of The Seagull, Waltz of the Toreadors, Touch of the Poet, and Separate Tables. And in the 1950s and 1960s, she began to work steadily in television.

During the 1950s and 1960s, Betty also worked steadily on television, taking on a variety of prominent roles. She continued to act at a consistent pace, although she preferred to avoid the limelight.

Betty’s final film appearance was a small but notable role as a streetwalker in Clint Eastwood’s Coogan’s Bluff (1968). Continuing to work on stage she was fearless as the imperishable Amanda in Eugene O’Neil’s The Glass Menagerie and the fragile Aunt Birdie in The Little Foxes, and in 1971 she turned in her last performance on stage as the mother Beatrice in The Effect of Gamma Rays on Man in the Moon Marigolds, a part that in 1972, Joanne Woodward tackled in Alvin Sargent’s film adaption.

Betty passed away at age 57 from a fatal cerebral hemorrhage in 1973, just before filming was set to begin for The Day of the Locust (1975), in which she had been cast as the flamboyant evangelist ‘Big Sister.’ The role was later taken over by Geraldine Page. Betty Field is an often criminally overlooked Hollywood actress who truly contributed some of the finest performances on stage, film, and television.

DIALOGUE

“You act like you’d like to see me electrocuted.”- George
“A couple of shock treatments wouldn’t do you no harm.”– Betty Field

Slamming the fridge door and shuffling her feet. Jenny confronts George’s peculiar behavior on the jury.

Jenny – “Would the star juror care to give me some justification for his behavior George- “What behavior? What behavior! The behavior that has brought down ridicule and scandal over our heads!”

George-“What you talkin’ bout Jenny?”

Jenny- “Have you gone deaf and blind?… Unplug your ears… open your eyes! George Davies the most respected highly thought-of citizen in this town protecting this infidel, this murderer… No wonder you get indigestion.”

SYNOPSIS:

In this darkly humorous episode, Dean Jagger stars as George a mild-mannered Pharmacist who is overcome with murderous lust one afternoon after putting the moves on Lola the town squeeze. When she spurns his advances he chokes her to death to keep her quiet.

Betty Field is shrill and unnerving, playing his fish wife, who annoys all of us with her whining, shrewish voice, her needling and berating George in a way that gets under the skin. Though I can see the tendency to want to needle and berate George.

Lola’s hot-tempered boyfriend J.J. is later arrested for the crime and put on trial. Knowing the boy is innocent, and not able to prove it without his confessing his own guilt, George sees a way out of his dilemma when he is appointed to the jury.

Through his efforts, J.J. is found innocent after he poses so many doubts to the rest of the jurors that he goes free.

The townsfolk boycott George’s store for helping the kid go free. And they treat him like an outcast. His wife treats him like he’s disgraced the family, saying that he’s embarrassing her and that her mother was right all along, there was insanity in his family.

But the townsfolk still believe he did it and persecute him and his mother. This irritates the vengeful townspeople so much that they force him to want to commit suicide and he gets shot by George when he struggles to get the gun away from him. He can’t do anything right.

George can’t deal with his guilty conscience and being hounded by the town and finally cracks up trying to convince them he murdered Lola and shot J.J.

But they just dismiss him as a meek, passionless man not capable of murder and just in need of rest. Having suffered a nervous breakdown from the pressures of the trial…

It begins… the story takes place somewhere in the South. It opens with the mild-mannered storekeeper George Davies and his wife Jenny dozing off on their picnic blanket near the rest of the townsfolk who are spending a lazy day.

George wanders off leaving Jenny sleeping under newspapers used as a blanket. He stumbles onto the town’s young stunner Lola Penderwaller,(Cathy Merchant plays Lola and had a brief screen career from 1961 to 1965 that included roles in four episodes of The Alfred Hitchcock Hour and a part in Roger Corman’s The Haunted Palace 1963) who is a spirited flirt boasting her beautiful body in a scant swimsuit. Director Herschel Daugherty subtly emphasizes the contrast between Lola and his dowdy wife Jenny who is back on the blanket, snoring like a truck exhaust and oblivious. Lola teases George, leading him on only to a certain, harmless point, offering him a beer. When George gets sexually aroused, he tries to grab a kiss, and Lola rebuffs his advances. The normally gutless George violently slaps her and proceeds to choke the life out of her.

In a tense moment, Will Hutchins who plays Lola’s boyfriend, the uncultivated and untamed J.J. Fenton floats by in his rowboat, the cowardly George camouflages himself behind a bush then sneaks back to the picnic blanket, taking his place next to the clueless Jenny.

“George here’s that nice fat neck you were eyeing before church… you want it now?”

Regular television character actor Crahan Denton seen on several of Boris Karloff’s anthology series  Thriller plays Sheriff Walter Watson who comes to the picnic with his sons to fish at the lake. He greets George and Jenny who offers them her fried chicken and ironically wisecracks that George loves the necks. It’s an inside joke that George finds secretly comical, but it shows on his face.

Jenny asks the same question every time she sees Sheriff Watson. Are there any criminals in jail this month? He remarks ”the only criminal in our town is time.” “Well, he’s a criminal everywhere I wish you could lock Old Man Time up.” Sheriff -” That would be alright. If we could just send Old Man Time to the electric chair.”

That reference hits George a little too close.

Lola’s lifeless body is found in the woods by the Sheriff’s son and George goes back home. There is one instance of black humor when George references ‘necks’ telling Jenny that the sheriff is “up to his neck in trouble.” George decides to go to his local bar to grab a beer, and on walking through the door the crowd accuses him of being the murderer. They all begin to laugh and tell him that they’ve been saying that to everyone who comes into the bar.

Jenny’s beau J. J. ( a role that I could easily have seen James Best take on, being adept at playing young handsome unruly types). J.J. breaks into a frenzy inside his jail cell, violently tearing apart his mattress. The sheriff sends George to his pharmacy to bring back a sedative. He keeps insisting, “You know I didn’t kill her.” Of course, George knows the truth.

George makes an anonymous phone call to the sheriff, disguising his voice, he confesses to the murder but hangs up before revealing his identity. J.J. is released on bail by his mother and begins dating Alice. Back at home with his mother and Alice, his mother is working as a laundrywoman to make ends meet. J.J. is certain he’s going to fry. Alice stands out from J.J.’s humble mother (Katherine Squire) in the downbeat atmosphere of their broken-down house, with the racy way she carries herself.

George calls J.J. to give him an anonymous warning. He also sends the judge a letter and winds up serving on the jury.

The trial begins and George consumed with guilt over J.J. being wrongly accused, insinuates himself and disrupts the courtroom proceedings. He becomes ‘the star juror’, asking a slew of questions that point to reasonable doubt.

That night, he finds a doll in a chair and a sign that says ‘electric chair’s tacked onto his back door. The jury comes back with a not-guilty verdict and J.J. is set free. When George leaves the courthouse, everyone in town now spurns him. Some of the older boys in town go to J.J.’s house and throw mud on his mother’s clean wash that drifts on the clothesline. The townsfolk even boycott George’s pharmacy, bewildered he cries to Jenny, “Well, what have I done, Jenny? Have I committed a crime? You act like you’d like to see me electrocuted.”

J.J. and his new girlfriend Alice (Jennifer West) show up at the pharmacy, looking like a true bad boy, with a black leather jacket, cowboy hat, and black boots, after all, he is the town’s murderous outcast and exile. He already started out from the wrong side of daylight, poor white trash, his mother taking in wash. Like Lola, he chooses to pal around with girls who don’t have any class. Lola was known as the town slut, who lived in a motel and Alice was a girl from up in the hills.

“He’s already got himself a new one, Alice from up in the mountains.”

Jenny gets hysterical, “George Davies if you had wanted to kill me, you couldn’t have done a better job if you had used a knife, you couldn’t have caused more pain. You not only had to smear my name and the name of your child with scandal and ridicule, you had to dishonor us too. By going MAD!!!!

‘Ridicule and scandal over our heads!”

”You’re not getting out of this house George!”

It doesn’t matter that George had managed to persuade the jury that there wasn’t enough evidence to convict J.J. and he is found not guilty. The town goes crazy.

After he loses his job, J.J. is offered the job of strangling chickens, the suggestion once again of George’s mode of killing Lola.

George tries to confess to the Sheriff. “I panicked and choked her and ran. Taking with me the weapons of the act. My and.”

J.J. gets angry with George and doesn’t think he did him any favors helping out.”’You couldn’t hurt a fly. I don’t want your lies to save me. I don’t want your burnt offering.”

George goes to the crime scene and hears haunting voices in his head accusing him of being a “killer.” Desperate for absolution, he confesses to the sheriff, but his admission falls on deaf ears. Meanwhile, a group of young men vandalize J.J.’s home and brutally beat him until Alice intervenes with a gun. George rushes to J.J.’s side and prevents him from taking his own life, but in the struggle, the gun goes off and J.J. is fatally shot.

The episode draws to a close with the sheriff telling George to go home to rest. George bursts into laughter as he realizes by the end of the ordeal, he’ll never be taken seriously. The irony and fatalistic tone of the episode has been flipped on its head, Lola’s murder will never find closure and we are left with a touch of macabre humor from the situation.

CREDITS:

The episode is directed by Herschel Daugherty who directed 16 episodes, some of the best of Boris Karloff Thriller including The Grim Reaper starring William Shatner, Henry Daniels, Elizabeth Allen, and Natalie Schafer as mystery writer Beatrice Graves, and also Prisoner in the Mirror. He was responsible for 3 of The Alfred Hitchcock Hour, and episodes of Suspicion 1958, Lux Playhouse 1959.

In the 1960s he appeared in tv shows including, 5 episodes of Checkmate 1960-61, 2 episodes of 87th Precinct 1961-62, Alcoa Theatre 1962-63, Kraft Mystery Theatre 1963, a few of The Twilight Zone, 2 episodes of East Side/West Side 1963-64, Mr. Novak, For the People, The Doctors and The Nurses, The Man from U.N.C.L.E., Dr. Kildare, Felony Squad, Mission: Impossible, The Time Tunnel, The Rat Patrol, Hawaii Five-O, It Takes a Thief, Star Trek, an episode ‘Elegy for a Vampire of Circle of Fear and Police Woman in 1975.

The Grim Reaper [Essay on Thriller with Boris Karloff] “To me death is no more than a business partner”

He also directed several made-for-TV movies, Winchester 73 (1967), The Victim 1972, and She Cried Murder 1973.)

The Star Juror is James Bridges’s second script for The Alfred Hitchcock Hour which aired on CBS on Friday, March 15, 1963, It was based on a 1958 French crime novel called The Seventh Juror by Francis Didelot.

The Star Juror stars Dean Jagger started out in vaudeville and on the radio before starting his movie career in 1929 and his TV career in 1948. He won an Academy Award as Best Supporting Actor for his role in Twelve O’Clock High in 1949. He also co-starred in master director Fritz Lang’s Western Union (1941). He was also a regular on the TV series Mr. Novak from 1963 to 1965 as the high school principal. He also appeared in The Twilight Zone episode Static. He also appeared in 1972 he appeared in an episode of Columbo -The Most Crucial Game, featuring Robert Culp a regular murderer on the show.

Playing the sheriff is familiar character actor Crahan Denton who appeared in Alfred Hitchcock Presents in Coming Home and Incident in a Small Jail. He appeared in perhaps one of the top five episodes of Boris Karloff’s anthology series Pigeons From Hell.

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

J.J.’s mother is played by Katherine Squire (1903-1995), who was on screen from 1949 to 1989 and who gave similarly odd performances in two episodes of Alfred Hitchcock Presents: Pen Pal, and Man From the South starring Steve McQueen. Squire plays Peter Lorre’s wife.

She was also in two other episodes of The Alfred Hitchcock Hour, as well as episodes of The Twilight Zone and Thriller’s Portrait Without a Face. Her husband, George Mitchell plays the judge and was also a busy character actor from 1935 to 1973. He appeared in four episodes of the Hitchcock series, including Forty Detectives Later and The Black Curtain. Like Squire, he could be seen on The Twilight Zone and Thriller; he also appeared in the classic western, 3:10 to Yuma in 1957.

Norman Lloyd’s daughter Josie plays George’s daughter… you can see Josie in The Alfred Hitchcock Hour episode Body in the Barn starring this feature’s star Lillian Gish. Josie also can be seen as Mayor Pike’s daughter Josephine who sings Flow Gently Sweet Afton in sour tones and the neurotic wallflower Lydia Crosswaithe on The Andy Griffith Show.

*THREE WIVES TOO MANY – s2e12 -Teresa Wright- aired Jan.4, 1964

TERESA WRIGHT BIO:

“I only ever wanted to be an actress, not a star.”

Teresa Wright – lamblike at first glance, but don’t let the soft smile lead you to believe that there isn’t something gutsy within that charming glow. She is one of the most engaging actors who showed a resolute luster, and independence to take on Hollywood with the same veracity she pursued wicked Uncle Charlie in Shadow of a Doubt.

Teresa Wright was not only endearing but there was a lack of ceremony and authenticity to her acting and her personal life She was discovered by Samuel Goldwyn and gained early recognition for her exceptional performances in her first three films, becoming the only actor to receive Oscar nominations for each of them. Wright earned an Oscar nomination for best supporting actress and one for Mrs. Miniver.

It stands to reason that Times drama editor Edwin Schallert described Wright’s burgeoning career as “one of the most remarkably brilliant for a young player in Hollywood.”
Despite being a Hollywood star, she remained true to herself and rejected the pretentiousness that came along with being a star. She achieved Hollywood stardom on her own terms, without selling out for the sake of glamour.

Teresa Wright was resolute in her refusal to pose for photographs while wearing bathing suits, as well as to subject herself to superficial interviews in gossipy fan magazines. And at first, Goldwyn told her he was not of “the bathing suit school of Hollywood producers.”

Born Muriel Teresa Wright in Harlem, New York City. While attending the exclusive Rosehaven School in Tenafly, New Jersey she discovered a passion for acting after watching Helen Hayes in “Victoria Regina.”

While attending high school in Maplewood, N.J., Wright participated in theatrical productions. Although one teacher advised her to pursue typing instead, a public-speaking teacher mentored her and provided her with plays to read. He also arranged for her to spend two summers at the Wharf Theater in Provincetown.

In the two summers preceding her graduation, after receiving a scholarship, she began apprenticing at the Wharf Theatre in Massachusetts appearing in such plays as The Vinegar Tree and Susan and God.

She performed in school plays and graduated from Columbia High School in Maplewood, New Jersey graduating in 1938, then made the decision to pursue acting professionally and then moved to New York.

Wright had to drop her first name when she found out that another actress named Muriel Wright was already registered with Actors Equity.

In 1938, in her first play, she landed an understudy role in Thornton Wilder’s “Our Town” on Broadway and then toured in the play.

It was a minor role, but also served as a chance to understudy the lead ingénue character of Emily, actress Dorothy Maguire however when Maguire failed to return, Teresa continued in the same role under Martha Scott. Wright would eventually replace Martha Scott when the actress adapted the role of Emily in the film version.

Following her successful stage performances, Wright made her remarkable Broadway debut as Mary in Life With Father in 1939. This caught the attention of playwright Lillian Hellman, who recommended her to Goldwyn for the screen version of Hellman’s The Little Foxes.

It was during her one-year run performance in Life with Father when a talent scout from Goldwyn saw her and Teresa Wright landed her breakout role as Alexandra in The Little Foxes in 1941.

Herbert Marshall Teresa Wright and Bette Davis in The Little Foxes 1941.

She gained recognition for her work alongside Bette Davis (who played the cold calculating mother Regina) and Patricia Collinge who reprised her unparalleled Broadway role as the mercurial Aunt Birdie) in the film.

At that time she had signed a contract with MGM but refused to do publicity stunts or cheese-cake shots that would turn her into a centerfold:

“The aforementioned Teresa Wright shall not be required to pose for photographs in a bathing suit unless she is in the water. Neither may she be photographed running on the beach with her hair flying in the wind. Nor may she pose in any of the following situations: In shorts, playing with a cocker spaniel; digging in a garden; whipping up a meal; attired in firecrackers and holding skyrockets for the Fourth of July; looking insinuatingly at a turkey for Thanksgiving; wearing a bunny cap with long ears for Easter; twinkling on prop snow in a skiing outfit while a fan blows her scarf; assuming an athletic stance while pretending to hit something with a bow and arrow.”

Though she became the unwilling pin-up girl, Teresa Wright became Goldwyn’s biggest overall star during the 1940s.

Teresa received Oscar nominations for her roles in “Mrs. Miniver” (1942) the only movie she made for her studio MGM and “The Pride of the Yankees” (1942), winning the Best Supporting Actress trophy for Mrs. Miniver.

In both roles, Teresa Wright gave heartwarming performances as the granddaughter in the sentimental war-era Mrs. Miniver and as baseball icon Lou Gehrig’s kindhearted wife in Pride of the Yankees starring opposite Gary Cooper. Wright now one of the most appealing newcomers in Hollywood had garnered two Best Supporting Actress and Best Actress nods in the same year.

She holds the record for receiving back-to-back Academy Award nominations in her first three film roles, which still stands today.

Teresa Wright received top billing for Shadow of a Doubt a film that was her personal favorite and which earned every bit of that limelight in Alfred Hitchcock’s psychological thriller placing Wright at the center of the story as serial killer Joseph Cotten’s unsuspecting niece Charlie.

Unsuspecting at first…

When Young Charlie (Wright) is over the moon about her favorite Uncle Charlie coming to her sleeping California town for a visit, the whole family celebrates his arrival. Her mother Emma, Charlie’s older sister (Patricia Collinge who appeared with Wright in The Little Foxes and Casanova Brown) can’t wait to dote on her baby brother. But soon, it comes to light that Charlie might have left strangled wealthy women in his wake, and in fact, may be The Merry Widow killer the police have been furiously chasing down up and down the coast. Now young Charlie who once dreamt of leaving her boring existence behind has stumbled onto a terrifying secret that threatens her life.

Teresa Wright manages to give a nuanced performance as Charlie Newton who daringly holds her own in a game of cat and mouse with Joseph Cotten, all tangled up in danger as she carefully draws out his murderous impulses.

Wright never falters or is self-conscious in the role and her chemistry with Cotten is electric. She brings a complex emotional depth to young Charlie that elevates the film beyond its thriller trappings. Overall, Wright’s performance in Shadow of a Doubt is a testament to her skill as an actress and her ability to imbue even the most seemingly ordinary moments with profound emotional gravity.

Young Charlie is in alignment with killer Charlie’s acumen for subterfuge. In the house, all cracks on as simple as one of Emmie’s cakes if you don’t crack the eggs. But in the shadows beyond the edges, the family is unaware of, the two characters diverge – one set on self-preservation with a malignant disgust for fat lazy wives who live off their husbands and the other who seeks out the truth and bends toward humanity. Their same names are where it begins and ends. And Wright is a glowing jewel in the blackness of Hitchcock’s nightmare.

Uncle Charlie: The cities are full of women, middle-aged widows, husbands dead, husbands who’ve spent their lives making fortunes, working and working. And then they die and leave their money to their wives, their silly wives. And what do the wives do, these useless women? You see them in the hotels, the best hotels, every day by the thousands, drinking their money, eating their money, losing the money at the bridge, playing all day and all night, smelling of money, proud of their jewelry but of nothing else, horrible, faded, fat, greedy women.”

Young Charlie: ”But they’re alive. They’re human beings.”

Uncle Charlie: ”Are they? Are they, Charlie? Are they human or are they fat, wheezing animals, hmm? And what happens to animals when they get too fat and too old?”

After marrying screenwriter Niven Busch in 1942, and appearing in the disappointing Casanova Brown 1944, Teresa Wright returned to form as Peggy Stephenson in William Wyler’s The Best Years of Our Lives, featuring the ensemble cast of the Academy Award-winning film in 1946. Wright played the caring daughter of Fredric March and Myrna Loy who develops a romantic connection with the troubled veteran played by Dana Andrews.

Teresa Wright told friends that in William Wyler’s post-war drama, she was relieved to play an aspiring home wrecker.

“I’m going to break that marriage up! I can’t stand it seeing Fred tied to a woman he doesn’t love and who doesn’t love him. Oh, it’s horrible for him. It’s humiliating and it’s killing his spirit. Somebody’s got to help him. “

At last, she could finally shed her wholesome persona trying to save the man she loved from a no-good tramp (Virginia Mayo as Marie) who barely knew Fred (Dana Andrews), but director Wyler couldn’t even give her credit- calling her “the best cryer in the business.” And Goldwyn continued to cast her as the unworldly, vulnerable lasses.

1946 with Dana Andrews in The Best Years of Our Lives.

In 1946 she would star in Lewis Allen’s romantic drama The Imperfect Lady with leading man Ray Milland.

Next, Wright played Thor Callum in her husband’s screenplay for Raoul Walsh’s Pursued 1947 – a western starring Robert Mitchum and Judith Anderson about a young boy plagued by nightmares of his family’s brutal murder who is taken in by a neighboring family. He falls for his kind-hearted adoptive sister, but he faces trouble from his hateful adoptive brother and enigmatic uncle who want him dead.

So In 1948 she was once again cast as an innocent waif Lark Ingoldsby in the romantic drama Enchantment.

And while she was unhappy with the picture, the critics sang its praises-Newsweek said she “glows as the Cinderella who captivated three men,” and The New York Times said of her performance that she “plays with that breathless, bright-eyed rapture which she so remarkably commands.”

But Wright had enough of playing Cinderellas and after refusing to go on a long publicity tour promoting the film, Goldwyn canceled her $ 5,000-a-week contract and publicly criticize her as “uncooperative.”

“I will gladly work for less if by doing so I can retain the common decency without which the most acclaimed job becomes intolerable,” she told The Times during the wildly public brouhaha more than half a century ago.

Teresa Wright would wind up starring in three films for studios other than Samuel Goldwyn Productions, and in the end, Enchantment opposite David Niven and Farley Granger would turn out to be her last picture with Goldwyn after she refused to star in the studio’s next film.

In December 1948, after rebelling against the studio system that brought her fame, Teresa Wright had a public falling out with Samuel Goldwyn, which resulted in the cancellation of Wright’s contract with his studio. In a statement published in The New York Times, Goldwyn cited as reasons her refusal to publicize the film Enchantment, and her being “uncooperative” and refusing to “follow reasonable instructions”.

In her written response, Wright denied Goldwyn’s charges and expressed no regret over losing her $5,000 per week contract.

“I would like to say that I never refused to perform the services required of me; I was unable to perform them because of ill health. I accept Mr. Goldwyn’s termination of my contract without protest—in fact, with relief. The types of contracts standardized in the motion picture industry between players and producers are archaic in form and absurd in concept. I am determined never to set my name to another one … I have worked for Mr. Goldwyn for seven years because I consider him a great producer, and he has paid me well, but in the future, I shall gladly work for less if by doing so I can retain my hold upon the common decencies without which the most glorified job becomes intolerable.” –Teresa Wright

Even though her removal resulted in Wright losing a salary of $125,000, it did not diminish her capability to secure distinguished parts. Despite working on her subsequent film for a significantly lower budget of $20,000, it turned out to be another timeless classic – a post-war era drama that was released in 1950. Teresa gave a marvelous performance in Fred Zimmerman’s The Men starring newcomer Marlon Brando.

Working freelance with other studios she appeared in several inconsequential pictures that were never critical successes, though she did star in screenwriter husband’s western thriller Pursued in 1947 starring alongside Robert Mitchum, and another of his, The Capture in 1950 another crime western starring with Lew Ayers.

She starred in Something to Live For in 1952 directed by George Stevens, starring Ray Milland and Joan Fontaine.

She appeared in California Conquest in 1952, Count the Hours! 1953 a film noir directed by Don Siegel and starring Shadow of a Doubt co-star Macdonald Carey. And after that, she appeared in Track of the Cat in 1954 and Escapade in Japan in 1957.
In 1952 Teresa Wright made her foray into television with an episode of Robert Montgomery Presents. The show was called And Never Come Back and 2 episodes of Betty Crocker Star Matinee.

Also in 1952, she starred with Joseph Cotton in Andrew L. Stone’s The Steel Trap an obscure film noir about a Los Angeles bank manager (Cotten) who comes up with a plan to steal money from the bank’s vault and flee to Brazil with unsuspecting wife Laurie. (Wright) Andrew L. Stone made quite a few off-the-beaten-path noirs like A Blueprint for Murder in 1953, The Night Holds Terror in 1955, and Cry Terror! In 1958.

In 1953 she was cast in The Actress, although she was only in her early 30s, Teresa Wright began taking on character roles, even playing Jean Simmons’ mother.

The Actress directed by George Cukor and written by Ruth Gordon it is an account of the actress/playwright Ruth Gordon’s life. Teresa Wright plays Annie Jones, with Jean Simmons as Ruth Gordon Jones. The film also stars Spencer Tracy, Ian Wolfe, Anthony Perkins, Kay Williams, and Mary Wickes.

During a period in which Teresa Wright struggled to find dramatic roles, though immersed in her distinguished career in the theater she started to do considerable work for television starting with live dramatic anthology series.

The Golden Age of TV provided another lifeline to active work. She remained the strong actor that she was in productions including a TV adaptation of the beloved holiday classic, The Miracle on 34th Street (1955), in which she played the role Maureen O’Hara brought to life.
Wright was keeping very busy on television. She would appear as Mary Todd Lincoln in Love is Eternal installment of General Electric Theater and that same year in 1955 she appear on The Elgin Hour, Your Play Time, The Loretta Young Show, 3 episodes o Lux Video Theatre, The Alcoa Hour and a TV movie called The Devil’s Disciple. In 1956 she appeared on Screen Directors Playhouse and 2 episodes of Four Star Playhouse, 3 episodes of Climax!, Star Stage, The Star and the Story, Celebrity Playhouse, Studio 57, and 2 episodes of The 20th Century-Fox Hour.

Between 1952 and 1957 she appeared on several episodes of Schlitz Playhouse and The Ford Television Theatre, also in 1957 with an episode of The Web and Playhouse 90. Between 1954-1962 she made 5 appearances on The United States Steel Hour.

She also began shifting her focus to the stage, where she found the dependability her acting craved. She appeared in productions of Salt of the Earth in 1952, Bell, Book and Candle, and The Country Girl in 1953. In 1954 she starred in Henry James’ The Heiress and in The Rainmaker in 1955. In 1957 she co-starred with Pat Hingle in The Dark at the Top of the Stairs returning to Broadway.

Throughout her television career, she received three Emmy nominations. The first nomination was for her portrayal of Annie Sullivan in the 1957 CBS adaptation of “The Miracle Worker.” Her second nomination was for her role as the renowned photographer in “The Margaret Bourke-White Story” on NBC in 1960. Lastly, she was nominated for a guest appearance on the short-lived CBS series “Dolphin Cove” in 1989.

She starred as Ruth Simmons in the captivating, low-budget The Search for Bridey Murphy (1956) which tells the story of an American housewife who believed she lived before. And in 1958 she appeared in the film noir crime drama The Restless Years with John Saxon and Sandra Dee.

And In 1959, she married playwright Robert Anderson, continuing to focus on the stage and working in television. She appeared in Anderson’s emotional drama I Never Sang for My Father in 1968 in the role of Alice.

The film would be adapted to the screen in 1970 and starred Gene Hackman and Melvyn Douglas, with Estelle Parson in the role of the adult daughter Alice.

In 1969, Teresa Wright would be cast as Jean Simmon’s mother giving the strongest performance in Richard Brook’s bleak drama The Happy Ending starring Jean Simmons as a disillusioned wife who runs away from her stifling married life in a depressed fugue binging on Casablanca, popping pills and drinking.

Wright Was just 11 years older than star Jean Simmons who played her daughter in The Actress in 1953 and The Happy Ending in 1969.

During the 1960s, Teresa Wright returned to the New York stage, starring in three plays: Mary, Mary (1962) at the Helen Hayes Theatre as Mary McKellaway, I Never Sang for My Father (1968) at the Longacre Theatre as Alice, and Who’s Happy Now? (1969) at the Village South Theatre as Mary Hallen. She also toured across the United States in stage productions of Mary, Mary (1962), Tchin-Tchin (1963) as Pamela Pew-Picket, and The Locksmith (1965) as Katherine Butler Hathaway.

Teresa made numerous television appearances throughout the decade, including on CBS’s The Alfred Hitchcock Hour (1964), NBC’s Bonanza (1964), CBS’s The Defenders (1964, 1965), and CBS Playhouse (1969). She would also appear in numerous made-for-TV movies.

In 1975, Teresa Wright appeared as Linda Loman opposite George C. Scott in the Broadway revival of Arthur Miller’s Death of a Salesman. In addition to her previous roles, she depicted the rigid Aunt Lily in a 1975 revival of Eugene O’Neill’s Ah, Wilderness! on Broadway, as well as in “Mornings at Seven” during its Broadway run and subsequent tour.

And in 1980, she won a Drama Desk Award as a member of the Outstanding Ensemble Performance for her appearance in the revival of Mornings at Seven.

During her appearance in Los Angeles for a performance in Mornings at Seven at the Ahmanson Theater, she shared a bit of her wisdom with aspiring actors in a USC class in 1982. “I wouldn’t pursue film, and I didn’t back then. I’d use every angle to try to get into a repertory company.”

In 1989, she earned her third Emmy Award nomination for her performance in the CBS drama series Dolphin Cove. Teresa also appeared in Murder, She Wrote in the episode “Mr. Penroy’s Vacation”. Her final television role was in an episode of the CBS drama series Picket Fences in 1996.

Teresa Wright’s later film appearances included a major role as Laura Roberts in Somewhere in Time (1980), playing the grandmother in The Good Mother (1988) alongside Diane Keaton, and her last role as Matt Damon’s eccentric landlady Miss Birdie in John Grisham’s The Rainmaker (1997), which was directed by Francis Ford Coppola.

“I’m just not the glamour type. Glamour girls are born, not made. And the real ones can be glamorous even if they don’t wear magnificent clothes. I’ll bet Lana Turner would look glamorous in anything.”

Teresa Wright was a masterful actor, luminous, unflinchingly genuine, and too – she is unforgettably resilient, and undeniably beautiful.

TRIVIA:

According to A. Scott Berg’s book, “Goldwyn: A Biography”, it is stated that Samuel Goldwyn “offered her a contract that night” (pg. 358). However, in a 1959 interview with Reel Classics, Teresa expressed her interest in playing the part of Alexandra in “The Little Foxes” but was hesitant about committing to a long-term studio contract. Despite this, after the film wrapped and her attempts to return to the stage were unsuccessful, she ultimately signed with Goldwyn and remained in Hollywood. (The interview is archived in the Columbia University Oral History Research Office.)

Her nickname was “Mooch”.

Married two famous Playwrights: Niven Busch and Robert Anderson, both also native New Yorkers.

Was the first female star signed under contract to Samuel Goldwyn Productions.

Was supposed to star in The Bishop’s Wife opposite David Niven and Cary Grant, which is a vehicle that Goldwyn had bought especially for her.

In honor of her heartfelt performance in The Pride of the Yankees (1942), when Teresa Wright died in 2005, when the roll call of former Yankees who had passed on was announced, her name was read out among all the ballplayers.

Along with Fay Bainter, Barry Fitzgerald, Jessica Lange, Sigourney Weaver, Al Pacino, Holly Hunter, Emma Thompson, Julianne Moore, Jamie Foxx, Cate Blanchett, and Scarlett Johansson, she is one of only twelve actors to receive Academy Award nominations in two acting categories in the same year. She was nominated for Best Actress for The Pride of the Yankees (1942) and Best Supporting Actress for Mrs. Miniver (1942) at the 15th Academy Awards in 1943, winning the latter award.

Her husband, Niven Busch, originally penned Duel in the Sun (1946) for her to play the lead, as a departure from her girl-next-door roles. But pregnancy forced her to drop out, and Jennifer Jones got the lead.

She was originally set to star in producer David O. Selznick’s Duel in the Sun (1946), which was written by her then-husband, Niven Busch. However, shortly before filming was to begin she got pregnant, and Busch had to go to Selznick’s office to inform him that she would have to bow out of the film. Selznick, known for his single-mindedness, tried to talk Busch into letting her play the part, which called for a lot of physical action, and Busch absolutely refused. As he turned to leave the office, Selznick blurted out, “Dammit, Busch, she isn’t the only one you screwed!”

She was nominated for the 2015 New Jersey Hall of Fame for his services in the Performance Arts.

Teresa Wright’s cheeky stroke of genius in this episode is filled with macabre and black humor delivering a diabolically composed and humorous resolve as she works her way through each of Dan Duryea’s other wives, as casually as a housewife doing chores. A serial murderer housewife that is.

It is perhaps one of my favorite performances of Wright because of the comical dark side she invokes, quite the departure as Wright greatly envisioned from the ‘best little cryer’ that had been hitched to her in the 1940s and 50s.

Her chemistry with Duryea is fabulous as they play off each other and slowly the revelation comes to his character that she’s been shadowing him on each of his routine rendezvous’ with the other Mrs. Browns at his 3 other homes. It’s a brilliant setup. As he realizes she’s a killer and he’s out three wives.

And now… THREE WIVES TOO MANY!

Dialogue:

Marion Brown tells her husband (Duryea)- “You have been a bigamist 4 times. Now you can stay alive with me or be dead away from me!”

SYNOPSIS:

Dan Duryea is a gambler and a proud bigamist name Raymond Brown. Ray has a passion for fine cuisine and is a professional gambler who uses his wealthy wive’s money to finance his bets.
Each of his wives believes he is a salesman, so he uses his trips away from home to visit his bookie when spending a few days with each wife in three different cities.

He truly loves his wife… I mean all four of them. But something is going quite wrong. One by one his wealthy meal tickets are all turning up dead.

Though Marion is Ray’s third and they’ve been married for three years. She is the most central wife and has been the long-time dutiful wife who discovers that Ray is a bigamist. Marion has been patiently waiting to finally have her philandering husband all to herself.

Could she be the one who is bumping off all of Ray’s wives? Wright takes a much different approach from the gentle farm wife Stella in The Alfred Hitchcock Hour’s Lonely Place and shows herself off to be quite resourceful when holding onto her cheating husband.

Marion who is the wealthiest and oldest of the bunch is driven to murder by jealousy and the survival instinct to keep Ray all to herself. She visits each of the other wives and quietly dispenses with them by lacing their cocktails with poison.

Each town Ray arrives at home to see one of his wives, the police are there while she is being carried out on a stretcher. At first, the police just chalk up each death to suicide and he convinces the cops that he has an alibi. Raymond starts to suspect that Marion is behind the deaths, but he doesn’t have any proof.

Because each murder has happened in 3 different cities, the police never connect the women’s deaths. Marion is able to move easily from murder to murder because she is a refined, beautiful, and charming woman who can easily seduce unsuspecting women into dropping their guard.
And she has learned to be a fantastic bartender who brings her own strychnine.

Ray has managed to stick to an unchallenging subterfuge with his four wives, in order to prevent them from knowing about each other.

Directed by Joseph M. Newman, who directed 10 episodes of The Alfred Hitchcock Hour, Three Wives Too Many is a powerfully satirical parody with sharpened edges pulled off masterfully by Teresa Wright who is the strong protagonist Marion Brown, in a predominantly woman-centered thriller. Leaving Duryea on the periphery looking in on the wake of his misadventures and marital anarchy. The episode explores greedy love, betrayal, and delicious revenge.

As Brown comes to the realization that all of his wives are now dead, the television adaptation abandons suspense, instead going for the cynical observations about post-war American gender roles of husbands and wive in the 1960s.

The episode is a masterful bit of dark humor as the two paths converge, the take-offs and landings of Ray and Marion both traveling on the same path but for different reasons, and only Marion is aware of both.

The show begins in Newark, N.J. where a taxi pulls up to an apartment complex. A woman, elegantly attired and with a little grey in her hair, steps out of the cab. There’s a close-up of her finger pressing the doorbell of an apartment. The card on top of the button bears the inscription “Mr. & Mrs. R. Brown.”

Now inside the apartment, a younger woman in pants gets up from an upscale modern sofa (a contrast to the traditional interior design and furnishings of her home in Baltimore) to answer the door. Marion, tells Bernice that she flew in from Baltimore just to see her. After dancing around with niceties, she lays it out that she’s a relative by marriage…

Bernice –“Forgive this place I’m a terrible housekeeper when my husband isn’t around -well even when he is.”
Marion “It’s difficult to care when your husband’s gone so much.”
Bernice “Oh well won’t you sit down I didn’t even ask your name.”
Marion “Mrs. Brown.”
Bernice “Mrs. Brown?”
Marion “Mrs. Raymond Brown we’re kind of related.”
Bernice “Well that’s kind of reassuring, knowing I belong to such a large family.”
Marion “Haha tremendous. I’m just astonished at how many relatives keep showing up in Baltimore.”
Bernice “Are you here on a pleasure trip Mrs. Brown- Oh that sounds like I’m talking to myself.”
Marion “My name is Marion. Sort of on business for all of us but your husband said that for any big investment, both of you have to agree.”
Bernice “Oh no not always.”
Marion “I mean since the money is really yours.”
Bernice “He told you that?”
Marion “Well it’s true isn’t it?”
Bernice “Well in a way. When we were first married he needed some extra money and I had some. But then husbands and wives share don’t they?”
Marion “Oh yes always, everything.”
Bernice “You say that so pointedly.”
Marion “My dear the Browns are famous for getting to the point.”
Bernice “You’re not related are you There’s something in back of this Mrs. Brown what is it? You’re not remotely related to my husband.”
Marion “That’s right.”

She maintains that sardonic southern charm that stings like a snake bite.

Marion “It’s more than remotely.” her eyes flicker as she looks at Bernice
Bernice “I don’t understand.”
Marion “I’m related directly to your husband.”
Bernice “How?”
Marion “By a previous marriage.”
Bernice “You’re his ex-wife?”
Marion “His present wife. He’s my husband too.”
Bernice “How could he! how could he!”
Marion “By being selfish.”
Bernice “He was kind.”
Marion “He married both of us. there may be others.”
Bernice “He loved me.”
Marion “I know it hurts but you must realize what he is.”
Bernice “How can you be so unemotional about it?”
Marion “I’ve had my tears…”

As the scene unfolds, Marion reveals Ray’s bigamy to Bernice (Jean Hale) and to us. Shaken, Bernice is consoled by Marion, who suggests they should both retaliate against their husband.

Marion tells her, “’ You are a beautiful woman, Bernice, you’ll have no trouble at all finding a new husband. But a woman my age, now I would have a problem.'”

However, Marion’s own sinister plan comes to light as she prepares cocktails for the two of them, but secretly laces Bernice’s drink with poison.

Having premeditated the murder, Marion takes great care to wipe her fingerprints from the bottle and glass. Bernice unwittingly ingests the lethal drink and promptly collapses onto the floor and Marion goes home to Baltimore.

Brown is seen trimming a flower outside his house before he heads inside to give it to Marion. On the surface, it seems the perfect image of a happy couple. However, their easy banter carries an ominous undertone, evident to both Marion and us who have already seen Bernice lifeless on the floor after a lethal dose of Marion’s payback to Ray.

Ray thinks he’s been successful at hiding his secret life, but what Ray doesn’t realize is that Marion is onto him. Now both he and Marion share a blueprint of duplicitous and now sinister transgressions.

She’s happy he’s finally home. He tells her that he plans on taking her to Europe, where women in their 40s come into their own.

At some point, the scene turns ominous as Ray and Marion go down to the cellar to inspect the hole and the oil tank that will eventually be installed there. We’re aware that Ray feels something lurking as he slips and falls into the hole like a grave. He gazes up at the tank that is suspended over his head held only by a chain.

Marion reaches for a crank handle that could potentially trigger the tank to release abruptly. Brown cautions her to handle it carefully, oblivious to the fact that she is privy to his marital treachery.

She tells him ”It just wants you here all the time.” and when she goes to hug him, he falls into the hole. He yells at her to take her hand off the handle. But she lingers a bit… one slip and the tank could fall and crush him.

As the camera follows Marion up the stairs it pauses and something in her eyes says that she knew exactly what she was doing when her hand lingered on the handle.

Once Ray goes back upstairs Marion strokes the handle following his footsteps flirting with the idea of killing him. She seems to be holding it like an old friend. Or maybe a new one?

Teresa Wright is an absolute natural beauty. She’s glowing and totally empowered.

Another plane lands, prompting Brown to drive to a nearby public park where he rendezvouses with Bleeker, who outwardly appears like a businessman but is, in reality, a bookie. Brown places a significant bet and Bleeker who is already on his third marriage and confesses that he’s constantly arguing with his wife. Brown offers some discreet and telling advice, that you can choose to marry “for love AND money…

“I’m a creature of habit.”

Ray gets home to see Bernice and finds the police swarming all over the apartment, investigating what they say is an apparent suicide. The scene is played as an absurd comedy as he seems utterly flustered by the commotion, all the while hiding the fact that this is only one of his many wives. He insists that she wouldn’t kill herself. She just bought a new cookbook, because she knew he liked fine cooking. Everything she did was to please him. She was happy. “She was beautiful and strong. I loved her.”

”I envy you…”

Following the funeral, Brown is confronted by Bernice’s sister and brother-in-law at the empty apartment he lived with Bernice. Her catty sister confronts Ray about Bernice having cried every day from loneliness, and his being on the road all the time. This paints a very different picture of their seemingly ideal marriage. She blames him for her death However, as they leave, the sister’s timid husband tells Ray that “I envy you”, a hint that he wishes his overbearing wife would meet a similar fate.

Ray is now in Hartford he goes to call his other wife Lucille. But by now she has answered the door and once again Marion is waiting for her and doesn’t waste any time putting her cards on the table.

“Why did you do it? Why did you marry my husband?”

She asks, “‘Why did you marry my husband?'” As she points a small pistol at Lucille. This other beautiful wife tells Marion that they’ve been married for five years, which means she’s been married the longest to Ray.

Marion toys with Lucille and tells her that she has not yet decided whether to kill her or not.

The two women begin to talk about him and Marion shares her insight with Lucille, ‘A man is what he does, not what he says.’

Quote shockingly, Lucille defends Ray ‘I admire any man who can get along with so many women.”

As part of Marion’s method of choice, she goes into the kitchen to prepare the drinks and slips the poison into the bottle. One more to go…

Lucille (Linda Lawson) played the role of the enigmatic mermaid in Curtis Harrington’s surreal NIGHT TIDE.

THE BEACH PARTY BLOGATHON- CREATURE FROM THE BLACK LAGOON (1954) & Night Tide (1961) : Gills-A LOVE STORY!!!

“He seemed happy.”
“Well, he pretended so much how could you tell? A man is what he does not what he says. Why should we spare his feelings we’re not his only wives.”

”Mix it with something.” Marion laughs, “what did you say?” I said mix it with something.” “Delighted!” She pours the poisonous cocktail.

Once again Ray arrives as Lucille’s lifeless body is being taken out of their apartment. And once again he is greeted by another policeman who says she must have killed herself. Ray is absolutely aghast at this point, “She loved life too much!'” And in this odd twist on the husband always being suspected, he is not suspected of foul play.

Ray phones Marion that he’s leaving for Boston and for the first time she asks to go with him and he says yes. In their hotel room, she is beaming after having had a ‘wonderful day.’
He tells her that he has a late-night business appointment, but she informs him that she’s going home that night. Revealing in a cryptic comment –

 ‘I know I’m becoming more important in your life every day,’ she says, and he responds, “‘More than you realize …'” Wright is so comically effective with all her dialogue using a cheeky sardonic purr that tickles you with each delivery. This particular line highlights its best example.

Ray suspects Marion but still isn’t quite sure, those his facial expression conveys it with mocking distress, as she pulls the strings. He meets Bleeker one more time and tells him that he’ll need more financial backers before he can proceed with any more wagers. Though he loves each one of his wives, essentially they have been business ventures after all.

The last wife is carried out by the police.

He enters his house in Baltimore and finds Marion lying on the couch, and he fears the worst.

When she wakes up and seems perfectly fine, Brown feels relieved. Marion suggests they have a cocktail informing him that she’s become very good at mixing drinks.

And as they talk, he notices a pamphlet titled The Widow’s Guide on the coffee table and grows visibly worried.

He runs downstairs to check the basement and discovers that the hole is still there and will remain as a reminder that it can always turn into a grave. But the tank suspended above it is now gone.

“Marion!!!!!”

“Why did you yell at me like that?” “You were so still. So motionless.”

Marion insists on mixing Ray a cocktail. “Where’s the harm? A drink here and there never harmed anybody. At least not me… I turned over a whole new leaf”
“It sounds like you turned over a whole new tree.” “You are delicious!”


“She tells him to stop acting like a fugitive from justice .”Why’d you say that?”
“As if the police had you linked with some terrible crime.”
“Out with it! Say it and get it over with.”
Marion uses his traveling sales job as a metaphor.
That the company has asked too much of him. That he should concentrate on this area. ‘Our Area.”  Meaning their marriage.
“What if I don’t like it?”
“You don’t have to like it. You just have to accept it.”
“Then it’s true You did it… all of them.”
She drinks from both glasses. “See a marital bond.”

When he goes to call the police, she warns him, “I will see you executed for murder if you leave me.”

Whatever the police find out they’ll only discover that you had a motive. ”The police accepted my explanations.”Explanation singular. One explanation yes, two…maybe… three.” (she shakes her head)

“I will see you executed for murder if you leave me.”

Now you can be happy with me or be dead away from me.”

“I was a happy man.” “A very unhappy man.” “Ecstatically happy.”

She gives him the choice. If not the police… there’s always the hole in the cellar.

CREDITS:

Three Wives Too Many was adapted for The Alfred Hitchcock Hour and broadcast on CBS on Friday, January 3, 1964. It was written by Kenneth Fearing who wrote seven novels, including The Big Clock in 1946, which the 1948 film that kept the title was released. It was later adapted as No Way Out in 1987. From the mid-1950s to 1960 he had several of his stories were published in crime and mystery digest.

Arthur A. Ross wrote the teleplays for eight episodes in the last two seasons of The Alfred Hitchcock Hour, airing in 1964 and 1965. Beginning his career as a scriptwriter for films in 1942, he diversified to radio in 1951 and television in 1952.

Ross was responsible for the screenplays of The Creature from the Black Lagoon (1954) and The Creature Walks among Us (1956), although he endured a period of blacklisting in the 1950s. He won an Edgar Award for collaborating on the script of the Kraft Mystery Theatre episode “The Problem in Cell Block 13” (1962) and continued to write for both television and film until 1980.

Joseph Newman embarked on his Hollywood career in the 1930s, initially as an assistant director, before progressing to directing shorts. Eventually, in 1942, he earned the distinction of a feature director. One notable film he directed during the span of 1942 to 1961 was “This Island Earth” (1955). Newman transitioned to television directing from 1960 to 1965, helming notable episodes of “The Twilight Zone” and “The Alfred Hitchcock Hour,” including the acclaimed episode “An Unlocked Window.”

Dan Duryea (1907-1968), cast as Richard Brown started out on Broadway in the 1930s before venturing into film in 1941. Duryea made frequent appearances in Westerns, and at times entered the world of villainy during the dark, sordid, and guilt-ridden days of film noir including Fritz Lang’s “The Woman in the Window” (1944) and “Scarlet Street” (1945). He also had roles in The Great Flamarion, Criss Cross, Too Late for Tears and Johnny Stool Pigeon, Black Angel, Terror Street, and The Burglar -He also made an appearance on “The Twilight Zone.” episode Mr. Denton on Doomsday.

Robert Cornthwaite portrayed Bleeker, Brown’s bookie. His on-screen presence extended from 1950 to 2005, encompassing numerous television appearances in shows like “Thriller,” “The Twilight Zone,” “Batman,” “The Night Stalker,” and two episodes of “The Alfred Hitchcock Hour.” You might remember his performance as the altruistic scientist who insists on making friends with the volatile super-carrot-like alien in Howard Hawk’s The Thing from Another World” (1951).

David Fresco who portrayed Bernice’s sister-in-law’s husband who envies Duryea being free of his wife can be seen in numerous television roles in shows such as “The Twilight Zone,” “Batman,” “Night Gallery,” and “The Odd Couple.” Impressively, he was featured in a total of 12 episodes of the Hitchcock show, including “The Gloating Place.”

 

Continue reading “It’s the pictures that got small! – “Good Evening” Leading Ladies of The Alfred Hitchcock Hour Part 3″

Happy Birthday to Bradford Dillman April 14

Bradford Dillman in a scene from the film ‘Circle Of Deception’, 1960. (Photo by 20th Century-Fox/Getty Images)

Untroubled good looks, faraway poise & self-control, with a satyric smile and brushed-aside sophistication  – that’s Bradford Dillman

Bradford Dillman is one of those ubiquitous & versatile actors who you find popping up just about everywhere, and whenever I either see him in the credits or think about some of his performances, I am immediately happified by his presence in my mind and on screen.  It’s this familiarity that signposts for me that whatever upcoming diversion I’m in store for will be something memorable indeed.

He’s been cast as a saint, a psychopath, an elite ivy league intellectual with an edge, an unconventional scientist, a military figure, a droll, and prickly individualist, a clueless bureaucrat, or drunken malcontents and he’s got a sort of cool that is wholly appealing.

Bradford Dillman was omnipresent starting out on the stage, and in major motion pictures at the end of the 50s, and by the 1960s he began his foray into popular episodic television series and appeared in a slew of unique made-for-television movies throughout the 1970s and 80s, with the addition of major motion picture releases through to the 90s. His work intersects many different genres from melodramas, historical dramas, thrillers, science fiction, and horror.

There are a few actors of the 1960s & 70s decades that cause that same sense of blissed-out flutters in my heart — that is of course if you’re as nostalgic about those days of classic cinema and television as I am. I get that feeling when I see actors like Stuart Whitman, Dean Stockwell, Roy Thinnes, Scott Marlow, Warren Oates, James Coburn, Lee Grant David Janssen, Michael Parks, Barbara Parkins, Joanna Pettet, Joan Hackett, Sheree North,  Diana Sands, Piper Laurie, Susan Oliver, and Diane Baker.  I have a fanciful worship for the actors who were busy working in those decades, who weren’t Hollywood starlets or male heartthrobs yet they possessed a realness, likability, a certain individual knack, and raw sex appeal.

Bradford Dillman was born in San Francisco in 1930 to a prominent local family. During the war, he was sent to The Hotchkiss School in Lakeville, Connecticut. At Hotchkiss, his senior year he played Hamlet. At Yale, he studied English Literature and performed in amateur theatrical productions, and worked at the Playhouse in Connecticut. Dillman served in the US Marines in Korea (1951-1953) and made a pact that he’d give himself five years to succeed as an actor before he called it quits. Lucky for us, he didn’t wind up in finance the way his father wanted him to.

Actor Bradford Dillman (Photo by  John Springer Collection/CORBIS/Corbis via Getty Images)

Dillman enrolled and studied at the Actors Studio, he spent several seasons apprenticing with the Sharon Connecticut Playhouse before making his professional acting debut in an adaptation of Nathaniel Hawthorne’s “The Scarecrow” in 1953 with fellow Studio students Eli Wallach and James Dean. Dillman referred to Dean as ‘a wacky kid’ but ‘very gifted’.

He only appeared in two shows in October 1962 The Fun Couple in 1957 with Dyan Cannon and Jane Fonda before the play closed in New York only after two days.

We lost Bradford Dillman last year in January 2018. I was so saddened to hear the news. And I missed the chance to tribute to his work then, but now that his birthday is here, I feel like celebrating his life rather than mourning his death, so it’s just as well.

Bradford Dillman wrote an autobiography called Are You, Anybody? An Actor’s Life, published in 1997 with a (foreword by Suzy Parker) in which he downplays the prolific contribution he made to film and television and acting in general. Though Dillman didn’t always hold a high opinion of some of the work he was involved in, appearing in such a vast assortment of projects, he always came across as upbeat and invested in the role.

“Bradford Dillman sounded like a distinguished, phony, theatrical name, so I kept it.”

[about his career] “I’m not bitter, though. I’ve had a wonderful life. I married the most beautiful woman in the world. Together we raised six children, each remarkable in his or her own way and every one a responsible citizen. I was fortunate to work in a profession where I looked forward to going to work every day. I was rewarded with modest success. The work sent me to places all over the world I’d never been able to afford visiting otherwise. I keep busy and I’m happy. And there are a few good films out there that I might be remembered for.”

Continue reading “Happy Birthday to Bradford Dillman April 14”

It’s Saturday and the Anti-Damsel Blogathon 2015 is (HER)E!!!

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It’s Saturday, day One of the Anti-Damsel Blogathon 2015! And Fritzi  of Movies Silently who will be taking over on Sunday… and I are SO knocked over by the amazing turn out! We’re glad to see you so raring to go just like those women who kicked down doors, crossed boundaries and forged a wholly unique path for themselves and other women who are empowered and inspiring and unrestrained to be gloriously-themselves.

So I’ll not wasted any further time with ‘cheap sentiment’ as Bette so effectively impresses upon us… and just get on with the show!

Saturday’s –Anti-Damsels

Movies Silently | Life, Liberty and the Pursuit of Milton Sills: How Miss Lulu Bett Struck a Blow for the New Woman

Our host Fritzi chooses a ‘new’ kind of women Miss Lulu Bett who as she explains the wonderful Lulu and her story as “throwing off the gloomy shackles of Victorianism and making her own way in the modern world! And Lulu’s not so easy to bully!

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The Last Drive In    Hedy Lamarr : from Ecstasy to Frequency- A Beautiful Life

A true legend, not just because she was considered the most beautiful woman in the world, but because of her enduring spirit to express her genius and the profound contributions she made to science!

Glamorous portrait of movie actress Hedy Lamarr wearing white fox fur short jacket.1938

The Motion Pictures | Ida Lupino: An Anti-Damsel On Screen and Off

Lindsey at The Motion Pictures pays tribute to one of the most versatile mavericks Ida Lupino. Actress, writer, director, producer. An Emmy-nominated actress and as Lindsey points out, the second woman ever to be admitted to Hollywood’s Director’s Guild. To look at her long impressive career & body of work is to behold a legend that took the reigns and made her life in the shape of Ida Lupino!

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Mind of Levine | Profane Angel, Boss Bitch: The Madcap Badassery of Tragic Carole Lombard

The mind of Levine comes up with a title that makes me feel all warm inside because she conjures up a bold title that I can grab onto. As of late, I’ve been devouring every film I can on the incredible Carole Lombard, who tragically died in a plane crash. What would she have accomplished in a lifetime if she had survived?

She has a pantheon place here at The Last Drive In. Irreverent, hilarious, gorgeous, sublime, and one step ahead of her male leads. A comedic timing and genius that shook up a studio system that couldn’t handle her verve. Well just read this amazing contribution to the event in Stacy LeVine’s own words… Carole Lombard is forever a legend, and an Anti Damsel if there ever was one!

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Nitrate Glow Hilda of Horus: Prince of the Sun (1968)

Nitrate Glow offers us a beautiful gem from 1968… directed by Isao Takahata. Hilda is the little songstress who was way before her time in terms of animation heroines. Nitrate Glow offers an incredibly eloquent and insightful look at a unique film!

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Speakeasy | Cobra Woman (1944) Maria Montez as Tollea/Naja

Kristina’s offbeat & clever insight =Cobra Woman and it’s a hell of a choice. It’s got the good twin/bad twin paradigm and Maria Montez, a warrior woman in charge! Here’s just a tidbit of Kristina at Speakeasy’s perspicacity!

It is said that “no drug-soaked brain could dream up the horrors of Cobra Island,” ‘but this movie dreamed it up and brought it to vivid life. This is fantastic entertainment and pulpy comic book spectacle bursting at the seams with fantastic things:’

Fantastic things like Maria Montez and Anti Damsel for sure…I know what I’m watching later!

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The Joy & Agony of Movies | Sue Ann (Tuesday Weld) in Pretty Poison (1968)

When you think of a woman who is less imperiled you think Jessica Walter as Evelyn Draper or as The Joy & Agony of Movies did, Tuesday Weld is spine-chilling as Sue Ann Stepanek, a pretty sociopath who lets nothing get in her way! She is the epitome of the ‘pretty bad girl’ It’s a great addition to the Anti Damsel Blogathon!

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Tales of the Easily Distracted | Charade (1963) The tale of four men and the woman who loves him

Leave it to Dorian of Tales of the Easily Distracted to offer us a witty and apropos tribute to the Anti Damsel Audrey Hepburn as Regina Lampert in Charade (1963) Just because Hepburn exudes a delicate finery and elegance, she has always manifested a power that strikes out like a lioness! Charade is a wonderful romantic comedy that showcases why the versatile Audrey Hepburn is a legend!

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Critica Retro | Tess Harding (Katharine Hepburn) in Woman of the Year

Crítica Retrô talks about one of the great Anti-Damsel legends Katherine Hepburn as Tess Harding the epitome of the strong & independent gal in Woman of the Year (1942).

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The Hitless Wonder | Lady Jane Ainsley (Frieda Inescort) in The Return of the Vampire (1943)

Frieda Inescort plays Lady Jane Ainsely in The Return of the Vampire in 1943. Now it’s no small task to play it empowered alongside Bela Lugosi! Lady Jane Ainsley: “Your eyes look like burning coals. Don’t come any nearer. Don’t touch me.”

Serendipitous Anachronisms | Zira (Kim Hunter) in Planet of the Apes 1968

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Serendipitous Anachronisms pays tribute to the great Kim Hunter and her memorable character as Dr. Zira in Planet of the Apes 1968. It’s a passionate piece about brave and brilliant women who command an entire civilization of men, oops I mean apes with her strong leadership style and wisdom… Couldn’t have an Anti-Damsel Blogathon without her!

shadowsandsatin | Blondie Johnson (1933) Joan Blondell

The prolific Karen has to say about our lovable Joan “downtrodden Depression-era woman who transforms her existence from bleak oppression to indisputable triumph. Using her wits, her nerve, and her determination” We couldn’t have an Anti Damsel party without inviting one of the most effervescent gals Joan Blondell!

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Once Upon a Screen | Attack of the 50 Foot Woman  Allison Hayes

Who better than to pay tribute to an immensely empowered, and I do mean immense! 50 feet worth of empowered woman, than Aurora from Once Upon a Screen. Nancy Fowler Archer will remain indelibly in our secret voyeuristic yearnings to grow tall enough to kick the crap out of the finks who dare betray us!

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Old Hollywood Films | Rachel Cooper (Lillian Gish) in Night of the Hunter

Old Hollywood Films does this Anti Damsel Blogathon proud to showcase one of the greatest legends, Lillian Gish brings to life one of the strongest, pure hearted gun totin’ characters Rachel Cooper in Charles Laughton’s Masterpiece Night of the Hunter (1955) And says… this is a gif that just keeps giving!!! Thanks, Old Hollywood Films for sharing this fabulist heroine!

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Moon in Gemini | Vance Jeffords (Barbara Stanwyck) in The Furies

Moon in Gemini has also honored this grand bash with yet another legendary figure of empowered women-ness! We can’t neglect Barbara Stanwyck and this post will make all you Stanny fans happy with…

The Furies: The Anti-Damsel with a Daddy Fixation! I would have liked to take one of those Dr. Taylor classes. And as Debbie so aptly puts it- “Is there any character that Barbara Stanwyck played that COULDN’T be classified as an anti-damsel?”

I’d say no! it wasn’t possible for her to be non-empowered or in peril. She didn’t have those strong shoulders and that gritty voice for nothing. Even if Bogie was poisoning her milk, or she was bedridden or stalked by a dream lover or even a witness to a murder, she never quite seemed like a weak woman. Just a strong one in the wrong place at the right time. So dive in now to Moon in Gemini’s brilliant perspective on quite an interesting Stanwyck film!

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bnoirdetour | Edie Johnson (Linda Darnell) in No Way Out 1950

BNoirDetour showcases the talent of Linda Darnell in this highly charged film of social criticism that explodes on the screen in No Way Out (1950)! As Edie Johnson is caught in the crossfire of racism, she’s got a lot of guts to rise above the chaos and come out kicking!

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CineMaven’s Essays from the Couch | Carol Richman (Ella Raines) in Phantom Lady

When CineMaven’s Essays from the Couch writes that her heart skips a beat because of our Anti Damsel-themed Blogathon, I want to return the compliment and say how grateful both Fritzi and I are for the overwhelming response to this tribute to empowered women! And CineMaven, you couldn’t have picked someone better to cause pangs in my heart than the underrated Ella Raines in what I think is one of THE most incredibly intricate psychological film noirs Phantom Lady, with gutsy Carol (Ella) as our heroine!

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Goregirl’s Dungeon | Anna Karina in the films of Jean-Luc Godard

You’ll never get anything but unique and mind-expanding insight from Goregirl’s Dungeon. I was sooo thrilled to have her join in and offer her take on an Anti Damsel. Read her fascinating overview of Anna Karina in the films of Jean -Luc Godard…

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Sacred Celluloid | The Vampire Lovers (1970)

Nick Cardillo of Sacred Celluloid gives us a glimpse into Hammer’s heyday and the birth of the Gothic Anti Damsel female vampire archetype, as he covers Ingrid Pitt in The Vampire Lovers (1970)

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Defiant Success | Deborah Kerr in From Here to Eternity 1953

Defiant Success has made this Anti Damsel Blogathon that much better for having covered Deborah Kerr as Karen Holmes a woman who speaks her mind in From Here To Eternity (1953) Kerr is the consummate anti damsel and she always wields that classy composure!

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The Wonderful World of Cinema | Lola Delaney (Shirley Booth) in Come Back Little Sheba 1952

As Virginie from The Wonderful World of Cinema says- “Movie heroines are not always princesses waiting for a prince to rescue them, they are not always victims or damsels in distress. Female movie characters can be strong, they can have guts, determination, and many other wonderful qualities” Shirley Booth had a powerful stamina and warmth that couldn’t be extinguished. We’re so happy to have her as a part of our Anti-Damsel Blogathon!

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Carole & Co. | Carole Lombard as producer and feminist

Carole & Co. devotes a journal to the groundbreaking versatility, beauty, and comedic genius of Carole Lombard. We’re so glad to have her join us for the Anti-Damsel Blogathon! Taken away from us too soon, journey through this insightful post and read about Lombard as a producer!

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Karavansara | Emma Peel in The Avengers

Karavansara has done the honor of taking up my wish list and paying tribute to one of THE most iconic sexy and strong female role models of the 60s. I am with them. Diana Rigg & Emma Peel both left a huge impression on me growing up. And yes I couldn’t resist having one of my first crushes either… Read this well-written tribute to one of the finest examples of empowerment…! 

“Emma Peel, as portrayed by Dame Diana Rigg, is one of the icons of the 1960s, a sex symbol, and one of the earliest strong, empowered female leads in television entertainment.”

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Mondo Heather | Marni Castle as Big Shim in She Mob 1968

Heather Drain of Mondo Heather explores the Uber mod & deviant world of the Cult & Exploitation 60s paying tribute to a pretty formidable Anti-Damsel Big Shim (Marni Castle) sporting a steel bra that could be registered as a lethal weapon. The film includes other divinely demented Anti Damsels’ as Heather writes- “Sweety East (Monique Duval), who is a Texan-fried, butt-crack rocking version of Honey West, things go from nutzoid to putting out fire with gasoline”

PS: You gotta love a reference to Honey West (Anne Francis) that sexy private eye with her groovy house ocelot Bruce!

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wolffian classic movies digest | Joan Crawford as Mildred Pierce 1945

Naturally, we couldn’t do this empowering bash without spotlighting the great Joan Crawford. And Wolffian Classic Movies Digest does a wonderful job of reminding us why Crawford the Legend and Mildred Pierce the Anti Damsel are so timeless… Here’s a quote from their fabulous piece –“Joan Crawford starting out as the happy housewife breaks free of that mold becoming her own woman as She carries the movie on her Broad shoulders”

Yeah, Joan Crawford just spewed Anti Damsel!

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Smitten Kitten Vintage | Bette Davis as Margo in All About Eve 1950

Smitten Kitten Vintage did one hell of a bang up job covering not only the incomparable Bette Davis but her iconic portrayal of Margo Channing in All About Eve 1950. The film that put her back on track in Hollywood! Read this insightful piece here. Because no Anti Damsel Blogathon would be complete without the legendary Bette ‘hold onto your seatbelts it’s gonna be a bumpy night’ Davis

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Superfluous Film Commentary | Gene Tierney in The Ghost and Mrs. Muir

Superfluous Film Commentary shares the sublimely bold Gene Tierney as Lucy Muir, a steadfast widow who is fiercely independent and isn’t afraid of ghosts either! A beautiful film and a wonderful contribution to our Anti-Damsel bash! As they so eloquently put it Tierney is “positively radiant Gene Tierney, likewise fits the definition of empowered.”

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I’ll think I’ll go get a banana split until we’re back with Fritzi on Sunday for more Empowered Lady Love!- Your everlovin’ MonsterGirl

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4 Outstanding Actresses: It’s 1964 and there’s cognitive commotion!

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Anne Bancroft is a lady who lunches and listens to gossip in The Pumpkin Eater – being held hostage by the intensely neurotic Yootha Joyce a lonely housewife sitting next to her while trapped under the hair dryer of life…
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The woman at the hairdresser-“It’s like I told you, my life is an empty place!” Jo-“Well what do you want me to do about it?”

“The question isn’t who’s going to let me; it’s who is going to stop me.” – Ayn Rand

Cognition–ˌkägˈniSHən|
(noun)
the mental action or process of acquiring knowledge and understanding through thought, experience, and the senses.
• a result of this; a perception, sensation, notion, or intuition.

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These 4 particular films seem to be part of a trend of films that deal with either women’s brewing emotional turmoil or in the case of Jean Seberg’s Lilith- a creeping organic madness, perhaps from childhood trauma that is not delved into. 

Let’s consider women either in distress or the oft-used “hysterical’ trademark that summons every neurotic ill associated with women. With these 4 films it’s the same root problem: Why should society determine what counts as an emotional problem? This is especially true for women as if she was the engendering source of a specific kind of female mayhem, the creator of the tumult itself… Capable of giving birth, does she also give birth to a certain kind of madness directed inwardly or aimed outward at society and its unyielding ethical questions?

It’s not that I think Barbara Barrie is troubled because she falls in love with a black man. It’s that the world is troubled by her decision. Because of her choice -a society inherently cruelly punishes her by taking away the one thing she had personal power over, to remove her child from her life. Although, she has a wonderful relationship with Frank both are being judged and condemned.

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The judge awards custody of her little girl to the biological father even though he is not the better parent. Not too long ago, women could be hospitalized just for being menopausal, based on what their husbands said.

Women were at the mercy of white male society’s judgment. So if a white woman loves and marries a black man in the volatile climate of the civil rights 60s it would absolutely cause turmoil and quite the commotion.

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All these women experience cognitive commotion but are not necessarily crazy. One Potato Two Potato is about the societal impositions forced upon an interracial couple and the strain of a child custody battle forcing her to qualify herself as a good mother. The sentiments of the time, the courts, and society, in general, are disempowering Julie through her motherhood.
This inflicts an agonizing torture on Barbara Barrie’s character Julie. Barrie’s performance as well as Bernie Hamilton as a man whose own masculinity is tested, tears me up inside…
A white woman, Julie Cullen falls in love with Frank Richards, a black man, against the will of everyone around them, including his parents who think he should stick with his own kind. Eventually, Frank’s mother and father come around and embrace Julie and her daughter who considers Martha and William her grandparents.
Julie has a son with Frank…and suddenly is being faced with a white judge deciding on who will gain custody of her little girl from a previous marriage to a man Joe Cullen who abandoned them years ago. Not til he finds out that she is being raised by a black man does he rise to take action and gain custody of his daughter.
This is a courageous story to relate to in 1964. Barrie’s anguish is one that is not self-inflicted, there is no mental disorder or neurotic dilemma yet it would challenge anyone who dares to be truthful and follow their heart in a world where many people must hide who they are. A beautiful love story that becomes tainted by the stain of ingrained hatred and ignorance. And causes ruination to a happy family.
Barbara Barrie’s performance as Julie Cullen Richards is nothing short of intuitively astounding.
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Just for funzies, I wanted to paint some contrast into the mix, therefore pointing to films that truly deal with women and mental illness. More than cognitive commotion, they’re unstable, noncompos mentis, deranged, knife-wielding, murderous femmes, traumatized, delusional dames… or all out CRAZY NUTS!!!!!!!!!
And…
I’ll probably write about all these films mentioned–the women on the verge of a nervous breakdown or already on the shoulder of the weary road of life with all four tires flat at some point. I’ll Consider Charles Vidor’s Ladies in Retirement 1941 where Ida Lupino has to take care of her two dotty sisters Elsa Lanchester and Edith Barrett as the Creed sisters… They’re wonderfully Cukoo!!! I did a little piece on this gem a while back…
Robert Siodmak’s The Dark Mirror 1946 with Olivia de Havilland playing twins Terry & Ruth Collins, Gene Tierney gorgeous yet cunningly homicidal in Leave her To Heaven 1945, Laraine Day is totally unhinged in The Locket 1946, Joan Crawford as Louise Howell has a nightmare filled flashback in Curtis Burnhardt’s Possessed 1947.
“she is shown as alienated and stricken with psychological torture”– {source Marlisa Santos The Dark Mirror; Psychiatry and Film Noir 
Then again in Anatole Litvak’s story actually set in a mental institution with Olivia de Havilland stuck in The Snake Pit 1948, Vivien Leigh is the consummate delusional Blanche Dubois in Tennessee Williams’ A Streetcar Named Desire 1951Marilyn Monroe gives a riveting performance as the deranged babysitter–(oh god kid just be quiet for Nell) in Roy Ward Baker’s Don’t Bother to Knock 1952, Joanne Woodward is in emotional conflict with three different personalities all herself…in The Three Faces of Eve 1957.
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Eleanor Parker gives a stunning portrayal of multiple personality disorder in Hugo Haas’ Lizzie 1957, I’ve written about Liz Taylor almost getting her frontal lobe sucked out at the request of her domineering Aunt -(Katherine Hepburn) just to hide her son’s sordid secret life in Suddenly, Last Summer 1959, Jean Simmons tries to find happiness in a loveless marriage that isn’t her fault in the engrossing Home Before Dark 1958, Ingmar Bergman’s Striking minimalist piece about mental turmoil in his beautifully photographed Through a Glass Darkly 1961, William Castle’s groundbreaking gender-bending Homicidal 1961.
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Woodward in The Three Faces of Eve 1957.
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Joan Marshall is Homicidal in 1961 in William Castle’s answer to Psycho.
Carroll Baker is a traumatized rape survivor in Something Wild 1961 and what I found to be a misogynist romp wasting several wonderful actresses who were offered these humiliating roles in The Chapman Report. In particular, Clare Bloom deserved better with her talent -as a nymphomaniac struggling with her sexual desires until she ultimately commits suicide in The Chapman Report 1962 and good old William Castle’s once again with his Strait-Jacket 1964 starring one of the ultimate Grande Dames Joan Crawford this time wielding an axe in addition to her nightmarish flashbacks.

Now… none of the 4 women I am covering here are homicidal or dangerous, all these women are experiencing a psychic struggle with issues that speak from their place in the world as women… who are defining somehow in their own way, what their identity means to them… Well, perhaps Lilith is a bit more volatile in terms of how she wields her sexuality and influences men & women! But she is a divine innocent albeit-nymphomaniac living in a dreamy world of her own –not a homicidal vamp who devours men and spits them out… She is innocent without malice. The men do the damage to themselves…

“And her eye has become accustomed to obvious ‘truths’ that actually hide what she is seeking. It is the very shadow of her gaze that must be explored”--Luce Irigaray

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Max von Sydow,, Harriet Andersson, and Gunnar Bjormstrand in -(1961)-Through the Glass Darkly directed by Ingmar Bergman.

Beautiful Poison: Jean Simmons in Angel Face (1953) & Gene Tierney in Leave Her To Heaven (1945)

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Gene Tierney as the murderously deranged Ellen Berent Harland in Leave Her to Heaven 1945.

Seance on a wet afternoon 1964

Séance on a Wet Afternoon 1964: A Conspiracy of Madness Part II- “They’re really quite adaptable, children. They’re like… little animals.”

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Kim Stanley gives an unnerving performance as a delusional and dangerous woman who plots to kidnap a child so she can claim her psychic powers and then locate her…

And of course the two titans of Grande Dame Guignol fêtes courtesy of Robert Aldrich…

What Ever Happened to Baby Jane? 1962 & Hush… Hush Sweet Charlotte 1964

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Roman Polanski’s very post-modern almost Brechtian/Picassoesque ode to insanity starring Catherine Deneuve in his Repulsion 1965 –
There’s always Hitchcock’s Marnie (1964) showcasing an unstable female in distress brought on by childhood trauma. Considering Hitch’s lavish colors, and overt psychological embellishments that have created a pulpy romanticized landscape, that at times obfuscates the mental turbulence rather than letting it surface on its own. I chose to set this film aside and instead include the more off-the-beaten-path of psychological leaning-‘women’s pictures.’ 1964 seemed to be one hell of a  year for Women in Distress by virtue of the female psychological crisis, once again to reiterate -not the ‘hysteria’ kind, mind you.”
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Tippie Hedren and Louise Latham in Hitchcock’s Marnie (1964)
“From the socially conservative 1950s to the permissive 1970s, this project explores the ways in which insanity in women has been linked to their femininity and the expression or repression of their sexuality. An analysis of films from Hollywood’s post-classical period (The Three Faces of Eve (1957), Lizzie (1957), Lilith (1964), Repulsion (1965),Images (1972) and 3 Women (1977)) demonstrates the societal tendency to label a woman’s behavior as mad when it does not fit within the patriarchal mold of how a woman should behave. In addition to discussing the social changes and diagnostic trends in the mental health
profession that define “appropriate” female behavior, each chapter also traces how the decline of the studio system and rise of the individual filmmaker impacted the films’ ideologies with regard to mental illness and femininity.”

— from FRAMING FEMININITY AS INSANITY: RE PRESENTATIONS OF MENTAL ILLNESS IN WOMEN IN POST-CLASSICAL HOLLYWOOD by Kelly Kretschmar

WOMEN ON THE VERGE… OF A BREAKTHROUGH!

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Curt Jurgens carries Samantha Eggar after she has fallen off her horse. There is more going on than Patricia Neal’s blind eye can see.

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Patricia Neal and Sammantha Eggar in Psyche 59
Patricia Neal and Samantha Eggar in Psyche 59 (1964).

The Pumpkin Eater 1964

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Ann Bancroft and Peter Finch are a married couple in crisis. Having perpetually popped out a myriad of children she is yet again pregnant. Will this keep him home this time…? The Pumpkin Eater (1964).

One Potato Two Potato 1964

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Barbara Barrie falls in love and marries Bernie Hamilton. Once her ex-husband realizes that his child is being brought up by a black man, times get even tougher for the couple.

Lilith 1964

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THE WOMEN!!!

Barbara Barrie

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Patricia Neal

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Anne Bancroft

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Jean Seberg

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LET’S BEGIN WITH…!

Alison Crawford (Patricia Neal)“Love has to stop somewhere along the line otherwise it’s almost like… like committing suicide “

PSYCHE 59 (1964) Alexander Singer (A Cold Wind in August 1961 with Lola Albright and Scott Marlowe) directs the remarkable Patricia Neal as Alison Crawford, a woman struck down with a form of psychosomatic or hysterical blindness. Alison is aware that the affliction is all in her mind since the doctors can’t find anything organically wrong with her sight. Her ‘hysterical blindness’ and memory loss of the events leading up to her accident follows a fall down the stairs while she is pregnant. When she awakens she is unable to see.

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Alison “My Brain won’t accept the images that my eyes make.”

What is happening for Alison is that she is subconsciously blocking out the truth about her husband and her younger, coquettish sister Robin.

She is now living a very quaint life with her husband played by the austere Curd Jürgens (I love him as the devilishly urbane concert pianist Duncan Mowbray Ely in The Mephisto Waltz 1971).

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Aside from her intense husband Eric, Alison’s very sexually charged sister Robin (Samantha Eggar) has now come to live with the couple after a divorce. Robin hovers very close to Eric like a carrion bird waiting to pick the bones of Alison’s troubled marriage. While Alison doesn’t have any cognitive memory of what led up to her fall, it’s obvious to us that she can sense the strong attraction between her husband and younger sister. At one time, her younger sister Robin and Eric and been involved before Alison caught and married him. Robin hasn’t stopped lusting after him. Slowly Alison’s memory comes back as the flashes and images of what she experienced right before she lost her sight literally come into view.

Singer builds the tension in the air slowly, methodically until it all comes to a headset against the skillfully contained cinematography by Walter Lassally (The Loneliness of the Long Distance Runner 1962, Zorba the Greek 1964, To Kill a Clown 1972).

IMDb tidbit-Patricia Neal was offered the lead in The Pumpkin Eater, but it was not 100% confirmed she would get the role. She then opted, to her later regret, to make Psyche 59 (1964) instead, since it was an official offer.

Neal gives a restrained yet powerful performance of a woman who is trapped in self-imposed darkness by her fear of the truth…

There is very subtle theme of self-brutality that exists for each of the characters, Alison’s self-imposed sightlessness, Eric’s indignant stoicism is palpable as he walks through the story like a trapped stray dog, He is agitated by Robin’s presence because he can not resist her.

Robin, her younger sister who must have been quite young at the time of her relationship with Eric begs the question of appropriate behavior on his part. Robin is constantly asserting a seductive influence on Eric right in front of the disadvantaged Alison.

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She is both a hyper-sexual narcissist and a bit self-destructive at the same time, either way, she gets off on playing the seductress torturing Eric, right in front of her sister, dark sunglasses and delicate pout. Although Alison suffers from blindness, she maintains a certain dignity that although as all three characters seem like she is, one of the trapped animals in a psycho-melodramatic forest, we get a sense that she will one day regain her freedom and spread her wings and fly away from it all truth in hand.

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Alison “We must be near the marshes” Robin “We just passed it … Coming to the old windmill soon… it’s still turning.. nothing’s changed” Alison “There’s a factory there now, Don’t protect me, Robby. Don’t makeup windmills.”

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Based on the novel by Françoise des Ligneris, with a screenplay by Julian Zimet (who wrote Horror Express 1972 and one of the best atmospheric little horror obscurities The Death Wheelers 1973 formally called Psychomaniaabout a group of British motorcycle thugs and their pretty birds who dabble in the occult. Beryl Reid and George Sanders being one of their relatives, learn the secret of immortality. But you have to die first to obtain it.)

Psyche 59 is an interesting psychological mood piece, almost post-modernly impressionistic with its stark and polished black and white photo work. And Patricia Neal who had just won an Oscar for her role as Alma Brown in Hud 1963 and gave a command performance in 1957 as Marcia Jeffries in A Face in the Crowd is just exceptional as Alison who is trying to navigate the dark world surrounding her.

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The film is strange and at times subtly cruel yet Neal’s character relies on our visual journey which becomes quite painful at times yet beautiful as she begins to emerge. In the film, Patricia Neal’s relationship with Curd Jürgens has an eerie parallel to real-life marriage to writer/spy Roald Dahl, but I don’t want to get into the sensationalized tidbits of public people’s wreckage.

The Film also stars Ian Bannen as Robin’s poor befuddled boyfriend, Elspeth March, and Beatrix Lehmann plays Alison’s staunch and science fiction reading grandmother-wish I had one of those!

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Continue reading “4 Outstanding Actresses: It’s 1964 and there’s cognitive commotion!”

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

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

Click here CLASSIC TV ASSOCIATION BLOGSPOT 

to check out this blogathon’s complete schedule!

meTV Blogathon

THE ALFRED HITCHCOCK HOUR

Some of these episodes have been revised and updated to more extensive overviews including biographies of the big-screen actresses who transitioned from Hollywood the television! May 14, 2023, Please visit the links below!

https://thelastdrivein.com/2023/05/18/its-the-pictures-that-got-small-good-evening-leading-ladies-of-the-alfred-hitchcock-hour-part-1/

https://thelastdrivein.com/2023/05/18/its-the-pictures-that-got-small-good-evening-leading-ladies-of-the-alfred-hitchcock-hour-part-2/

https://thelastdrivein.com/2023/05/18/its-the-pictures-that-got-small-good-evening-leading-ladies-of-the-alfred-hitchcock-hour-part-3/

It’s the pictures that got small! – “Good Evening” Leading Ladies of The Alfred Hitchcock Hour Part 4


Older posts:

Concerto Sinostro- The Alfred Hitchcock Hour- Seven Exceptional Episodes

Alfred Hitchcock the television years: 8 indelible episodes!

There were 93 EPISODES in the series.

Alfred Hitchcock and Crow

“GOOD EVENING…

Hitchcock:To be quite honest, I am not interested in content at all. I don’t give a damn what the film is about. I am more interested in how to handle the material to create an emotion in an audience.”

As a child of the 60s, as soon as the emblematic theme song and opening credits started to play, I would feel chills running up my spine. I remember the reruns were still broadcast late at night, I understood that each story had something foul afoot, a shadow of the uncanny loomed over my tiny shoulders, and the room filled up with a sinister quiver. Even with its smart-alecky delivery and Hitchcock’s well-placed tongue-in-cheek humor to offset some of the more gruesome aspects of the show, I couldn’t wait til 10 pm, and the idea of watching a dreadfully good mystery even for such a young impressionable mind as my own! The timpani is intermezzo between each thrilling scene to raise the goose bumps and keep the heart pounding!

Alfred Hitchcock transported his brand of cheeky suspense narratives from the big screen to the advent of the intimate living-room television experience of the 60s where tv stations were fertile with playhouse theater melodramas, stage play-esque stories featuring some of the most emotive and original character actors who’s careers were vibrant with possibility.

Using some of the most well-known mystery writers, seriously cutting-edge and unorthodox directors, and the best actors who could bring forth the most nuanced performances from the riveting scripts.

The show premiered on Thursday, September 20, 1962, from 10 pm-11 pm on CBS. It ran opposite Alcoa Premier Theater on ABC and The Andy Williams Show on NBC. From 1963 -1964 it moved to Friday nites and then from 1964-1965 it found its slot on Monday nites opposite Ben Casey on ABC.

The Alfred Hitchcock Hour ranks among the top fifty longest-running series in television history!

Robert Bloch talks about his years working with Hitch, starting out on the program in 1959. He was summoned to Shamley Productions’ office and offered an assignment to write a script based on Frank Mace’s story “The Cukoo Clock.” Bloch began adapting his own published stories alongside the other writers on staff. Bloch’s work was only dramatized by other writers when his commitment to the competing anthology show wasn’t calling for his time. That show was Boris Karloff’s Thriller. Bloch recalls producer and part of the creative team Joan Harrison as a remarkable lady who went from secretary to screenwriter to independent producer with a unique vision.

Norman Lloyd had a certain style of speech and mannerisms which might designate him an Englishman when in fact–he was born in Jersey City, New Jersey! Starting out as an unbelievably talented actor who worked several times with Hitchcock in film. Lloyd played Fry in Hitch’s Saboteur 1942, & Mr. Garmes in Spellbound 1945. 

Lloyd had been blacklisted and hadn’t been able to work in television for four or five years.

“Around 1955 they got Hitchcock to say he’d do television which was a big thing. And in ’57 the order for the half hour show was amplified, with a new series called Suspicion. I think Suspicion had many shows. Hour shows. And MCA took ten of them. New York took ten and so forth. And with the ten he was adding on they used to do 39 half hour shows a series. It was his producer Joan Harrison, is how I really learned how to be a producer. Divine. She was beautiful, exquisitely dressed, in perfect taste for the set. She was divine. She was a writer for him, and she was now his producer. And they needed someone else to come in an help her because of the quantity of the work not for the half hours, but now the hour. So she and Hitch decided, they wanted me to do it. Cause I also knew Joan very well. And so they presented my name… however… And this was told to me by Alan Miller who headed television at MCA, he came back, Alan Miller from the network and says ‘there seems to be a problem about Lloyd’ and Hitch said, ‘I want him!’ that was the end of the blacklist!” -Norman Lloyd

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Hitch was a world-figure. He was a man of great humor, had a very definite view of the world. He saw the world a certain way and we have as a result what is known as the Hitchcock film. It became the Hitchcock story, so to speak, almost like an Edgar Allen Poe story.” Directors try to imitate him but they never get the mixture right. Only Hitch had the mixture of the romance, the suspense, the humor, the twists” -Norman Lloyd

Joan Harrison started out as Hitchcock’s secretary, and began reading scripts, writing synopses, and actually contributing to the scripts. She followed Hitchcock to Hollywood in 1939 working as his assistant and then was hired by MGM in 1941 as a scriptwriter. In 1943 she became a producer for Universal Studios. To her film credits, she produced some of the most compelling film noir/ mysteries. One of my personal favorites is Phantom Lady 1944, and then… The Strange Affair of Uncle Harry 1945, Nocturne 1946 They Won’t Believe Me 1947, Ride the Pink Horse 1947, Eye Witness 1950, and Circle of Danger 1951.

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

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

The cinematographers who worked on various episodes included Stanley Cortez, Benjamin Kline, Lionel Linden, William Margulies, Richard Rawlings, John L. Russell, and John F. Warren. With art direction by John J Lloyd and Martin Obzina.

The magnificent musical contributions were offered by Hitchcock veteran Bernard Herrmann and a personal favorite of mine, Lyn Murray, whose stirring melodies recycle themselves in several of the most poignant episodes. The brilliant and prolific Pete Rugolo can be heard as well as Stanley Wilson.

Florence Bush was the hairstylist for the show, and she was very active during the 60s! You’ll spot her name listed in the credits on so many television programs of that era. Including Leave it to Beaver and Hitchcock’s film Psycho!

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THE DIRECTORS- Bernard Girard, John Brahm, Alan Crosland Jr., Alf Kjellin, Norman Lloyd, Sydney Pollack, Jerry Hopper, Joseph Pevney, Leonard Horn, Jack Smight, Charles F. Haas, David Lowell Rich, James Sheldon, Herschel Daugherty, Robert Douglas, Joseph Newman, Harvey Hart, Laslo Benedek, William Whitney, Leo Penn, Harry Morgan, Philip Leacock, Lewis Teague, Arnold Laven, David Friedkin, James H. Brown, Alex March, Herbert Coleman, William Friedkin, and Alfred Hitchcock…

THE WRITERS Ray Bradbury, Robert Bloch, Henry Slesar, Cornell Woolrich, Richard Matheson, Gilbert Ralston, Clark Howard, Richard Deming, Morton S. Fine, David Friedkin, Lewis Davidson, Larry M Harris, James Bridges, Selwyn Jepson, Andrew Benedict, Anthony Terpiloff, Avram Davidson, Alfred Hayes, James Holding, Helen Nielsen, Arthur A Ross, Stanley Abbott, Lee Kalcheim, Ethel Lina White, Oscar Millard, James Yaffe, Andre Maurois, Clyde Ware, Davis Grubb, Nigel Elliston, John Wyndham, Harlan Ellison, Robert Branson, C.B Gilford, Francis Gwaltney, Harold Swanton, Margaret Manners, William Fay, S.B. Hough, Emily Neff, Barré Lyndon, Jack Ritchie, Alvin Sargent, Hugh Wheeler, Veronica Parker Jones, Boris Sobelman, Joel Murcott, Margaret Millar, Richard Levinson, William Link, Thomas H Cannon Jr., Randall Hood, Gabrielle Upton, Robert Westerby, Miriam Allen DeFord, William D Gordon, John Collier, James Parish, Kenneth Fearing, Robert Gould, Robert Arthur, William Fay, George Bellak, Robert Twohy, Leigh Brackett, Frederick Dannay, Manfred Lee, Mann Rubin, Douglas Warner, Henry Kane, Alec Coppel, Amber Dean, Lou Rambeau, Edith Pargeter, Charles Beaumont, Francis Didelot, Celia Fremlin, Roland Kibbee, Lukas Heller, Elizabeth Hely, Rebecca West, Richard Fielder, Nicholas Blake, Lee Erwin, Marie Belloc Lowndes, Julian Symons, John Bingham, V.S.Pritchett, John D MacDonald, John Garden, Andrew Garve, Marc Brandell, Patricia Highsmith, Samuel Rogers, Oliver H. P. Garrett

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Writer Robert Bloch- was a contributor to many of the shows spine chilling narratives!

Hitchcock first managed to develop an anthology series that drew from his magazine and radio stories of the macabre, suspenseful, crime drama and cheeky thriller, often lensed with a noir style. This show was of course Alfred Hitchcock Presents. Eventually in order to compete with the growing market of 50-minute teleplays, like Playhouse 90, Boris Karloff’s Thriller, The Twilight Zone etc, Hitchcock changed his format to meet an hour’s worth of programming, still employing Hitch’s classic introductory droll prologue. And where Karloff’s Thriller painted the stories with a more macabre brush stroke, Hitchcock’s anthology show presented these criminal acts in two parts in a most ironic and irreverent manner…

According to John McCarty, Hitchcock made the shift from half hour show to an hour format without much issue. “When we had a half-hour show, we could do short stories…{…} Now, in an hour, we have to go to novels.” His staff read through thousands of crime novels to find the right script. Yet frequently it became necessary to utilize a short story and expand it, in order to fill out the hour.

While Boris Karloff’s Thriller was pervasive with its stories of the macabre and the uncanny, Rod Serling’s The Twilight Zone with its more sociological morality with a heavy science fiction spin, Alfred Hitchcock maintained an ironic lens on very suspense/crime-oriented material that kept the focus on human nature as perilous. He always provided the same sort of ‘twist’ at the end as in its pithy precedent Alfred Hitchcock Presents!

While Alfred Hitchcock Presents might have provided a shorter more enlivened ride to the turn of the plot because it had to deliver the lightning in a more synoptic amount of time, the hour format allowed for more psychological background, with room to build the character study of the players involved.

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Alfred Hitchcock is still the larger-than-life, Aesopsian voice of modern crime-infused with foul deeds springing from human nature and the darker sides of the mortal mind and how far it can reach when working under a compulsion, obsession or pathology. His vision created some of the most compelling little dramas for a ’60s audience to digest, still relevant after all these years.

Hitchcock’s brand of humor was dry and witty, ironic and fablist. Drawing from some of the finest mystery writers of the day, his little tour-de-force dramatizations showcased some of the best examples of theatre and acting even on the small screen. His first show which gave us a 25-minute sequence that the series featured premiered on October 2, 1955, after Alfred Hitchcock had been directing mesmerizing films for over three decades!

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“GOOD EVENING…..”

The iconic opening title sequence for the show has become unforgettably imposed in our psyches and in popular culture, as the simplistic yet mirthful intro possesses the camera fading upon an easily recognizable caricature of Hitchcock’s porcine yet endearing profile. Set against one of the most memorable musical themes written by Charles Gounod’s– the piece is called Funeral March of a Marionette. A type of adult nursery song that tickles the funny bone’s comparable curious bone… the one that gets triggered when there’s a marvelous mystery afoot! The theme– suggested by Hitchcock’s musical collaborator, the brilliant Bernard Hermann.

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As if it couldn’t get any more smashingly wicked and alluring, Hitchcock himself takes shape behind the silhouette from the right of screen, then in grand theatrical style walks center stage to eclipse the drawing. He commences with his nightly, “Good evening…” and we are in for an irresistibly gripping treat!

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The opening set of each episode, Hitchcock is given props against an empty stage. At times he himself becomes the prop, or main focal point where he imparts either sage elucidation, comical warning or sardonic advice. A witty prelude to the evening’s tale or just a frivolous bit of shenanigans to put one in the mood for the evening’s program. As he drolly introduces the night’s story, his monologues were conceived of by James B Allardice. Many of his missives took shots at the sponsors, spoofing the popular American fixation on commercials and commercialism.

Always at the end of the show, Hitchcock would re-appear to lead the audience out of the evening’s events. To either enlighten them on the aftermath of a story, the scenes they did not see, and to reassure us that the criminals featured did get their comeuppance. To tie up any loose ends within the question of morality’s swift hand.

Originally 25 minutes per episode, the series was expanded to 50 minutes in 1962. The show was then renamed The Alfred Hitchcock Hour. Hitchcock directed 17 of the 268 filmed episodes of Alfred Hitchcock Presents.

Hitchcock did direct one of the hour long episodes called “I Saw the Whole Thing” starring John Forsyth who is accused of hit and run, while several witnesses swear they saw him leave the scene of the accident.

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Here is how the show was syndicated back in the 60s:

  • Sunday at 9:30-10 p.m. on CBS: October 2, 1955—September 1960
  • Tuesday at 8:30-9 p.m. on NBC: September 1960—September 1962
  • Thursday at 10-11 p.m. on CBS: September—December 1962
  • Friday at 9:30-10:30 p.m.on CBS: January— September 1963
  • Friday at 10-11 p.m. on CBS: September 1963—September 1964
  • Monday at 10-11 p.m. on NBC: October 1964—September 1965

The Alfred Hitchcock Hour, lasted three seasons from September 1962 to June 1965, There were 93 episodes in total. Alfred Hitchcock Presents had a total of 268 episodes.

Hitchcock directed two episodes of Presents that were nominated for Emmy Awards–“The Case of Mr. Pelham (1955) and one of the most popular stories with it’s fabulous dark humor, “Lamb to the Slaughter” (1958) starring Barbara Bel Geddes.

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The episode that won an Emmy Award was one of my particular favorites as it is both poignant and eerie, “The Glass Eye” (1957) starring Jessica Tandy, Tom Conway and Billy Barty. Robert Stevens won for his direction.

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

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“An Unlocked Window” (1965) is one of the most starkly intense and transgressive in nature of The Alfred Hitchcock Hour and won an Edgar Award for James Bridges writing in 1966. The episode stars Dana Wynter and Louise Latham, both wonderful unsung actresses!

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

THE ACTRESSES— Martha Hyer, Vera Miles, Patricia Breslin, Angie Dickinson, Carol Lynley, Carmen Phillips, Isobel Elsom, Charity Grace, Susan Oliver, Kathleen Nolan, Peggy McCay, Adele Mara, Lola Albright, Dee Hartford, Gena Rowlands, Jayne Mansfield, Dina Merrill, Patricia Collinge, Jan Sterling, Elizabeth Allen, Anne Francis, Ruth Roman, Gladys Cooper, Inger Stevens, Zohra Lampert, Diana Hyland, Joan Fontaine, Irene Tedrow, Sarah Marshall, Nancy Kelly, Betty Field, Katherine Squire, Martine Bartlett, Phyllis Thaxter, Natalie Trundy, Linda Christian, Laraine Day, Anna Lee, Lois Nettleton, Madlyn Rhue, Patricia Donahue, Diana Dors, Claire Griswold, Mary LaRoche, Virginia Gregg, Anne Baxter, Jacqueline Scott, Sondra Blake, Ruth McDevitt, Katharine Ross, Patricia Barry, Jane Withers, Joyce Jameson, Teresa Wright, Linda Lawson, Jean Hale, Mildred Dunnock, Felicia Farr, Kim Hunter, Collin Wilcox, Jane Darwell, Jocelyn Brando, Joan Hackett, Gloria Swanson, Lynn Loring, Pat Crowley, Juanita Moore, Naomi Stevens, Marjorie Bennett, Jessica Walter, Gia Scala, Joanna Moore, Kathie Browne, Ethel Griffies, Sharon Farrell, Nancy Kovack, Barbara Barrie, Doris Lloyd, Lillian Gish, Maggie McNamara, Josie Lloyd, Tisha Sterling, Ann Sothern, Patricia Medina, Elsa Lanchester, Jeannette Nolan, Ellen Corby, Julie London, Margaret Leighton, Lilia Skala, Olive Deering, Kathryn Hays, Dana Wynter, Louise Latham, Sally Kellerman, Geraldine Fitzgerald, Fay Bainter, Jane Wyatt, June Lockhart, Colleen Dewhurst

MY SELECTED EPISODES THAT FEATURE THE HITCHCOCK LADIES OF THE EVENING!….

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

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

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

A small college campus is gripped by fear when a maniac is on the loose. Two young female students are slaughtered while walking home through the surrounding nefarious night time woods. All eyes are on several members of the faculty, though the police have no clues to go on. Alf Kjellin plays Edwin Volck an intense pianist/composer who seems very tightly wound, especially around women. Handsome Jeffrey Hunter is Harold the psychology professor who dabbles in abnormal behavior. Harold convinces his fiancée Daphne (the lovely Vera Miles) to act as bait to lure the killer out. Vera Miles is always possessed of a smart and inquisitive sensuality. In this episode she’s perfect as an academic who doesn’t shy from the idea of hunting a serial killer.

Harold-“Daphne, I know this man’s secret. I’ve studied these people, I know how they think!”

Daphne-“It’s frightening sometimes… how you know people.”

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

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Actors Ed Nelson and Arnold Moss listen to the recordings sent by the plagued Warren Barrow. Is he a murderer?
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Angie Dickinson is the seductress and James Mason the tormented man

This episode is directed by actor turned director Alf Kjellin, based on the teleplay by Richard Levinson and William Link of Columbo! from a story by John Bingham.

James Mason plays mystery writer Warren Barrow a pseudonym he uses to contact his publisher with a series of tape recordings describing what is either the outline for his latest murder mystery or the details of an actual murder he himself is planning to commit. Barrow describes a relationship with an alluring woman named Janet West (the sexy Angie Dickinson) who wants Warren to kill her husband so they can be together. Ed Nelson plays another writer Tom Keller whom the publisher Victor Hartman (Arnold Moss) asks to review the tapes with him in order to help determine whether the impending murder is real or fictional. Angie Dickinson is so perfect as Janet West, the femme fatale Warren Barrow can’t resist.

Janet West- “You know there’s one part of the Bible I know by heart. I saw unto the sun, that the race is not too swift nor the battle too strong, but time and chance happen to them all. Means you can be as clever as you like but you gotta have luck. You gotta work for it and grab it when it comes. I was very poor when I was young. Very poor…”

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

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

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

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

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

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

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

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

Sister Jem-“Have you prayed?”

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

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

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

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

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

Dense browed Dean Stockwell plays research chemist David Kelsey who is hopelessly in love and obsessively fixated on Annabel (the wonderful Susan Oliver). But Annabel is married Gerald Delaney (Hank Brandt) Kelsey assumes a phony identity William Newmaster and pursues Annabel with a blind devotion that is downright creepy. He purchases a beautiful home that he has filled like a shrine to his great love, a place tucked away in the country where they can sojourn in their own private world. Trouble is Annabel isn’t in on the romance. But David isn’t taking no for an answer. Added to the web of obsessive love is the fact that Linda Brennan (Kathleen Nolan) is as fixated on David as he is on Annabel. What a mess!

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

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Directed by Joseph Pevney teleplay William D Gordon and Alfred Hayes based on a story by V.S.Pritchett as published in The New Yorker and co-starring Peter Falk in one of his most impressive roles as the psychotic revivalist Robert Evans.

Falk plays a fire and brimstone fanatic who yearns for his own church and will kill in order to achieve his life’s dream. First he woos Patricia Collinge (The Little Foxes 1941, Shadow of a Doubt 1943, The Nuns Story 1959) as the wealthy Naomi Freshwater, murdering her one night in order to take over her large house he claims she promised to him in order to help him build his tabernacle. The scene is quite disturbing and fierce. a well done scene that predates many psycho-sexual narratives to follow.

When her niece, the world traveling Laura (Dina Merrill) comes to get her aunts things in order, Robert begins to romance her with the same bombastic fervor as he did her aunt Naomi. As Robert discloses his past to Laura, she discovers that he might have killed his first wife as well and that he has visions of his calling to be a great evangelist. Evans is a deranged ego-maniacal woman hater who mistakes his visions of glory for the need to be in control!

Robbie-“Sure the whole world is filled with problems Miss Naomi. We’ve all got to puzzle over what we’re supposed to think. None of us. There’s nobody that’s gotta puzzle over what we’re supposed to do!”

Naomi-“Oh that’s so clear to me Robbie, you know what to do and you do it… I feel so free! No more aches and pains.”

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Robert- “Burn it… burn it. Take your whole past and burn it out there in that fire pit. Start a new life with me” Laura- “I don’t have your faith in new lives Robert.” Robert-“But I told you once… I’ve got the faith.”

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

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Mrs Raydon (Gladys Cooper) ” I think he’s dead you’ve always wanted this to happen. You’ve done this to him. You’ve killed him!”

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Directed by Jack Smight with a teleplay by Henry Slesar, based on the story by Mary Belloc Lowndes who wrote the novelette The Lodger, which was the inspiration for Hitchcock’s first suspense film in 1927 and of course the version with Jack Palance in 1953 called The Man in the Attic. 

One of my favorite episodes due to the presence of Ann Francis as Eve Raydon and Ruth Roman as her companion Adelaide ‘Addie’ Strain. Eve is framed as a jezebel by her nasty vicious old mother in law.The storyline has a definite undertone of lesbian desire, akin to Lillian Hellman’s A Children’s Hour. Eve is married to a stuffed shirt named Howard ( Gene Lyonsthe commissioner -Ironside) who resents Addie’s presence and is still tied to his mommy’s (the great Gladys Cooper Rebecca 1940, Now, Voyager 1942, The Song of Bernadette 1943) apron strings. Howard fires Addie who has been hanging around Eve in the position as ‘maid’ who also happens to have a little boy name Gilly who breaks a valuable antique sending Howard into a rage and prompting him to fire her. Addie who is desperate to stay with her mistress, poisons Howard’s night time glass of milk by spiking it with some K9 liniment. But Eve is accused of the murder instead and her intolerable mother-in-law is all too happy to see her pay for the crime. co-starring Michael Strong as defense attorney Malloy, Stephen Dunn as Jack Wentworth, Tim O’Connor as Prosecutor Halstead.

Addy talks to Eve about Howard finally firing her-“He means it this time… things could have been so different!”

Addy Strain to Molloy- “I can’t believe that all this is happening it’s all that woman’s fault. That awful old woman… Mrs Raydon. She hates Eve. She’s always hated her. She hates Eve just because she married her son. That’s why she accused Eve of killing him.”

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

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I heard you David. You're going to marry the maid. At least this afternoon you're going to marry the maid. My wedding present to you will be my absence%22
Gertrude Flynn as Ethel Chesterman “I heard you David. You’re going to marry the maid. At least this afternoon you’re going to marry the maid. My wedding present to you will be my absence.”

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Marie-“Your eyes shine in the dark David. I think you are part Cat”. David –“A tiger a leopard ready to pounce.” Marie-“I’m going to have to get a wonderful cage to put you in.” David-“Nobody is going to put me in a cage!! Marie-“Stop David you’re hurting me…”

Directed by Alf Kjellin, with a teleplay by writer/director James Bridges (When Michael Calls 1972, The China Syndrome 1979) based on a story by Nicholas Blake.

Zohra Lampert plays Marie a naÏve french maid who runs off with the wealthy son David (Robert Redford) who is actually a compulsive cat burgler/jewel thief. David’s wealthy mother throws a few coins at them to buy a toaster, goes to Europe and changes the locks on the door. And so for money David runs to his partner in crime Karl.And so begins a queer struggle with David’s odd accomplice, a flamboyant wig designer Karl Gault played to the hilt by Barry Morse.

David cannot change the way he is, although he is truly in love with Marie he only knows how to steal and scheme. Karl falls in love with Marie creating the immortal triangle. In order to get his rival out of the way, Karl creates an elaborate ruse in order to trap David in a robbery gone wrong and have him arrested for the murder of a guard. Co-starring Gertrude Flynn as David’s mother Ethel Chesterman.

Marie-“Your eyes shine in the dark David… I think you are part cat.”

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

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John-“Alice have you ever read any fairy tales? There’s one about a princess. She was very beautiful. She lived in a beautiful castle. Had a beautiful garden. But her fairy godmother warned her not to do one thing. There was a particular flower in that garden that she wasn’t to pick. If she did… she’d lose everything. Her beauty, her castle… everything. Alice “I don’t get the point”. John –“Alice princess… don’t touch that flower please” Alice- “oh please don’t be silly they only write fairy stories to keep children out of mischief.”

Directed by Jack Smight with a teleplay by Alfred Hayes and a story by Rebecca West. The Paragon allows screen legend Joan Fontaine to give what I feel is perhaps one of the most extraordinary performances of her career. As the infuriating perfectionist who meddles in everyone’s lives Alice Pemberton married to the beaten down John Pemberton played by the always wonderful Gary Merrill.

John loves his wife but is beginning to feel the strain from years of Alice’s intruding and dictating moral codes and her ideals to anyone within reach even the maid Ethel played with fabulous scorn by Irene Tedrow. All her friends and relatives cringe at the sight of Alice, for they know she will inject some sort of righteous advice and admonition. Alice is like a child who cannot see the damage she has done, or how she hurts the people around her. She believes that she is helping to improve themselves, though she alienates herself instead. John urges with a tender yet firm clue that she must stop her behavior before it’s too late. Even relating a fairy tale to her with a warning… Alice is very much like a character in a fable who does not heed the warnings or the signs that she is tempting the shadows to converge upon her!

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

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Vera-“Michael and I are leaving now Mrs Henderson, I’m taking him home with me. Oh I am sorry for you because I think in your own way, you’ve grown really fond of my baby. But you see Michael is my child. I’ve known that from the very beginning….”

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Directed by Jack Smight with a teleplay by William D Gordon based on a story by Celia Fremlin.

Louise (Gena Rowlands) is a busy mother of two precocious young girls Jennifer Gillespie (What Ever Happened to Baby Jane? young Jane) and a small infant boy. She rents the room upstairs to the mysterious Vera Bradley (Nancy Kelly) who is supposedly working on her thesis paper, but in fact has her eyes on Louise’s baby boy. She secrets him off each day to another room she is renting, that she has decorated for the little guy. She also calls him Michael. The child looks more like Vera as he has dark curly hair and both Louise and her husband are blonde. Is Vera there to steal the boy and claim him as her own? This is an extremely taut and well acted little story. The performances by both Kelly and Rowlands are stellar. The interplay between the two women brought me to tears, it was so poignantly played without being melodramatic or contrived. A truly heart wrenching experience, especially for fans of these fine actresses as well as one of the most effectively dramatic of all the episodes. Also watch for an appearance by the wonderful Juanita Moore as Mrs. McFarland and Joyce Van Patten as best friend Grace.

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

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Dean Jagger tries to quiet Jennifer West after he tries to steal more than a kiss from the town hussy Alice.
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Betty Field plays George’s flakey nagging wife.
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Slamming the fridge door and shuffling her feet. Jenny confronts George’s peculiar behavior on the jury Jenny – “Would the star juror care to give me some justification for his behavior? George- “What behavior?”  Jenny-“ What behavior! The behavior that has brought down ridicule and scandal over our heads!” George-“ What you talkin’ bout Jenny? Jenny- “Have you gone deaf and blind?… Unplug your ears… open your eyes! George Davies the most respected highly thought-of citizen in this town protecting this infidel, this murderer… No wonder you get indigestion.”

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

Although this is very much Dean Jagger’s vehicle, Betty Field who is a wonderful actress stands out as the blowsy, whiney wife to George Davies, who becomes so aroused by the town hussy Alice (Jennifer West) while out at the lake during a picnic. When she rebuffs his advances he strangles her and allows her boyfriend JJ Fenton (Will Hutchins) to take the rap for her murder. JJ has been known to knock Alice around, and soon the town is out for his blood. But the guilt of what he has done drives George to try and defend JJ to exasperating results. This is a quirky dark comedic episode that just seems to want to be kind to George. The show also co-stars Martine Bartlett as Flossie and the wonderful Crahan Denton as Sheriff Walter Watson who just won’t take George’s confessions seriously.

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

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Nora’s inner monologue- “In heaven’s name Jean, don’t leave us here alone.”

Directed by Robert Douglas with a teleplay by William D. Gordon & Charles Beaumont based on a story by Hilda Lawrence.

Michael Rennie plays a con man Ralph Manson who marries Nora, (Phyllis Thaxter) for her money. When he screws up an elaborate scheme to embezzle funds from the bank, trying to pin it on her eldest son, he accidentally kills the boy. While trying to make it look like the young man hangs himself, Nora stumbles into this horrific deed she winds up taking a fall down the stairs that paralyzes her and leaves her in an apparent catatonic state. Which is good for Ralph, as he needs this witness to be silent. But Nora, might not stay silent for long… The well-crafted suspense yarn utilizes Nora’s inner monologue to help guide us through the tense narrative cues. This is such a tautly played suspense piece as Nora is conscious of her husband’s murderous nature, and his desperation to keep Nora quiet. It’s only a matter of time before he finds of way of making it look like she dies of natural causes. Enter the pretty Natalie Trundy as her attending nurse Jean Dekker who senses something is wrong and stays close by! This one’s a nail-biter!

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

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Dianne-“Oh Nanny it’s wrong, I didn’t think he’d blame you” Nanny-“The important thing is that he isn’t blaming you” Dianne “Oh I’m letting you be hurt and I can’t do that.. I didn’t think he’d react this way. Nanny I”m going to tell him the truth” Nanny-“What are ya going to tell him. That you were with the baby holding a drink!” Dianne-“But you’re not the guilty one, he mustn’t blame you Nanny-“Dear in the past when things went badly you know what happened. You don’t want that now You promised him that you’d give it up. Oh, when the baby was here it was better… but better’s not what you promised!”
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Lois Nettleton as Dianne and Doris Lloyd as Nurse Andrina Gibbs

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Consuela- “She feels guilty, she feels responsible for the baby’s death. and the drinking helps her to forget. so we’ll see that she continues to drink. And when the bottle is all gone. We’ll get more Vodka. Or whiskey or whatever she likes. She can hide it from Victor for a while I suppose. But he will find out and then he’ll be terribly hurt. and disappointed in her. He’ll need help and sympathy from someone else!”

Directed by Jack Smight with a teleplay by Alec Coppel and William D. Gordon, based on a story by William D. Gordon.

Lois Nettleton plays Dianne Castillejo who adopts a little boy, who drowns in their swimming pool while she is sitting out in the sun with a cocktail. Dianne is a recovering alcoholic and there is a question as to whether she was intoxicated when the tragic accident occurred. Dianne is visited by a mysterious woman, (Madlyn RhueConsuela Sandino who claims to be the little boy’s birth mother. She proceeds to blackmail Dianne about the circumstances of the little boy’s death. She convinces Dianne to allow to her stay in the house as a guest being an old-school friend. Here she plans on helping Dianne submerge herself in booze so she’ll pay out loads of money and eventually have to be taken away to a sanatorium where she can then work on the handsome (Anthony George) Victor. Co-starring Doris Lloyd as Nanny. 

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

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John Gavin as Dr. Don Reed and Tom Skerritt as friend Dr. Frank Farmer… Don is just smitten.
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Scott Brady as Nickie’s stands by her boyfriend Bill
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Nickie-singing Just One of Those Things-“So goodbye dear and amen… Bill- “Where you going?” Nickie-“Maybe California. You know I came back just to have a look at you. You got really weak eyes Bill. Here’s hoping we meet now and then.”  Bill- “But you haven’t asked me to come along “Nickie-“Well I came here thinking I’d have to, but I don’t need you anymore the boomerang’s broken baby’ Bill-“You wanna bet!” Nickie “Uhuh, It was great fun, but it was just one of those things.”

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Directed by Bernard Girard with a teleplay by James Bridges and a story by Henry Kane.

Doctor Don Reed (John Gavin) falls head over heels for a sexy nightclub singer, the slinky Nickie Carole,(Diana Dors) who is just no good. Both his father and Nickie’s own band leader boyfriend try to warn Don. Nickie accepts Don’s proposal of marriage, and then his father drops dead after hearing the news. The newlyweds use the inheritance money to take a honeymoon cruise, in which Don stumbles upon his bride getting all snuggly with another passenger. In a rage, Don causes the man to fall overboard. Of course, Nickie urges Don to keep his mouth shut. And he is now a murderer. Soon after Nickie grows tired of Don, as her old lover Bill warned would happen, and this hard-edged old boyfriend (Scott Brady) Bill Floyd of the Bill Floyd Trio shows up in the picture again… What will happen to this dangerous triangle of lust and obsession…

THE SECOND SEASON!

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

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Natalie-“I understand, they’re patients aren’t they? Permissive therapy?” Dr. Fennick-“Yes that’s it exactly. A new method, an experiment. I wanted to prove that my patients would act normally if treated like normal human beings.”

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Sarah-“Oh I feel fine doctor just fine. I always feel fine talking to you.”  Dr. Fennick-“That’s what I’m here for’ Sarah-“Yes I know but… what am I here for? Beatrice Kay as Sarah Sanders the aging film star.
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inmates Virginia Gregg as Miss Gibson and Ronald Long as The Major
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The real doctors are locked up in the attic!
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the deranged Ray Milland as Dr. Fennick who menaces Natalie (Claire Griswold ) in Home Away from Home- The Alfred Hitchcock Hour

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Virginia Gregg as Miss Gibson-“The doctors told everyone about you. I know they’re just CRAZY to meet you!!!”

Directed by Herschel Daugherty with a teleplay based on his story by Robert Bloch from Alfred Hitchcock’s Mystery Magazine.

This is one of those great ‘the inmates have taken over the Asylum’ narratives starring Ray Milland. Milland plays Dr. Fenwick a mentally disturbed doctor who believes in role-playing as a therapeutic means to unlocking a patient’s identity crisis and finding happiness. After he kills the director of the sanitarium, he assumes his identity! of course. He locks away the staff in the attic and allows the inmates to pick roles that would suit their desires. Things are going pretty well until the director’s niece Claire shows up to visit her uncle. At least she has never seen her uncle before so she quickly assumes that Milland is who he says he is. Unfortunately, Claire discovers the dead body of her real uncle and urges Fennick to call the police. Uh oh! What mayhem will ensue.

There are great little parts by Virginia Gregg as Miss Gibson roleplaying the nurse, Connie Gilchrist as Martha, Mary La Roche as Ruth… and Beatrice Kay as Sarah Sanders!

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

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

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Janice referring to Larry (George Segal) –“He’s the kind of man who could make you do anything… anything at all…”

This episode is directed by Joseph Pevney with a teleplay by Mann Rubin

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

She has given up everything for this strong-willed actor, including her career, and even sacrificed her marriage.

While back in New York, Janice calls Larry desperately telling him that her ex-husband Ed (Harry Townes) has tracked her down completely drunk and is now unconscious on the floor. Larry calming coaches Janice into finishing off the job by smothering him with a pillow, so she can finally be free and join him in Hollywood… But is that all there is to it?

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

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Sheriff Will- “You can’t think of anyone at all who might have had a grudge against Frenchie?” Katherine Squire as Mrs. La Font- “Only one person Will, Myself. He was my son, I loved him … there was no harm in him he never hurt anyone but he was lazy. He would not accept responsibility. That’s why he wanted me at the restaurant so I could do all the work of running it, while he’d play Frenchie La Font for the public. I used to get so angry with him. So angry… (crying)
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The creepy custodian of the library terrorized poor Susan with his tales of working the slaughterhouses

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

In Northfield, a rural community in northern California a teenage boy Tommy Cooley is found brutally murdered. His father R.G. Armstrong, who is a religious fanatic goes on a mission to avenge his boy’s murder. There is only one piece of evidence, a broken-off part of the car’s headlight found a the murder scene. First, believing that he is getting signs from God, he murders Frenchie La Font (Dennis Patrick) the person who owned the car. Then the car falls into the hands of an elderly librarian who considered purchasing the car and might have had access to it. The residents of Northfield become terrorized by the events and demand that (Dick York) Sheriff Will Pearce do something about it. Jacqueline Scott who plays Susan March a librarian and the Sheriff’s girlfriend is now the one who wound up with La Font’s car. Cooley now suspects her. He is on a mission from the lord to avenge his son’s death. Will Susan be next? Co-stars Katherine Squire as Mrs.La Font who turns out a tremendous performance as the mother of a good-for-nothing son who winds up being the victim of Cooley’s wrath.

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

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Carol-“You don’t talk much do you?” Terry-“I guess not” Carol –“Is the rest of your family like that? Quiet I mean? Terry- I don’t know. I don’t even know who they were. I was raised in a county home” Carol- “You mean like an Orphanage? Terry “Now what else could it mean? I’m sorry maybe we oughta start back, it’s a long way” Carol -“We can take the subway Terry –“I wanna walk-you wanna take the subway go ahead if that’s the way you feel about it “Carol-“Why did you come with me?” Terry“I didn’t mean it like that. It’s just that it’s the rush hour now…. Look I gotta thing about being closed up in places is all.” Carol- “Claustrophobia?” Terry- “Yeah” Carol- “So does Mr. Calucci… He was a prisoner of war” Terry– “I was a prisoner once… No war though.” Carol –“You mean the home.” “Terry- “Home reformatory, state prison, take your pick. Anything else you’d like to know? Carol“Some date huh?” Terry-Bet you don’t have any boyfriends like me.” Carol-” I don’t have any boyfriends”Terry– “Come on” Carol- “I haven’t dated since high school.” Terry- “Girl like you why not? Carol-“What do you know about me?” Terry “I could learn.”

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

Three paroled ex-convicts stage a heist but inadvertently unleash radioactive cobalt on a small urban city street. Actors Chris Robinson, Norman Fell, and James Gregory who are now garage mechanics decide to rob the payroll office. When they can’t crack open the safe, they take it to their garage, which is adjoined to the little shop next store run by Carol.

Terry who is acutely claustrophobic (Chris Robinson) begins a romance with Carol, as he struggles between self-preservation and his sense of humanity and love for this beautiful young woman. Katherine Ross is a particularly seductive pixie in this episode. Ross’s presence brings an element of realism and humanist equilibrium to the very nihilist tone of the story.

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

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

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

This is one of the cheeky mystery installments of the show, and Patricia Barry is just superb as the brassy dame with a secret past who’s looking out for number one. The night she wins the Oscar, movie star Lana Layne is visited by her old ex-convict husband George (Stubby Kaye), who, she thought had died in a prison fight. Rosemary ‘Peaches’ Cassidy had married the bum when she was only seventeen and didn’t know any better. But George has plans of letting Lana remain his wife since she’s so successful and wealthy, and if they did get divorced she’d owe him half of anything that was hers. She wants to marry handsome manager Harry Lawrence (Robert Culp). Lana clocks George on the head and accidentally kills him. Now Lana and Harry must try to hide the body while finding a place to have their honeymoon, assailed by gossip columnist Baila French (Alice Pearce- Bewitched’s neurotic neighbor Gladys Kravitz). It’s a comedy of errors!

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

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Rosie “You’ve had a narrow escape. Well, life’s given you another chance. And you should take it… You should free yourself. When something’s over it’s over” The always delightful Joyce Jameson as Rosie Feather the ‘dancer’

Directed by Alf Kjellin story and teleplay by Robert Gould

Withers plays Edith Swinney the consummate nagging harpy who dominates her husband Gerald’s (Bob Newhart) mundane life. Gerald concocts a very elaborate plan to drive Edith mad using paranoia as he digs a grave-like hole for a fish tank, leaving empty boxes of rat poison around the kitchen. Edith is so convinced that Gerald is out to kill her that she shares her fears with her friends and neighbors. Gerald purchases a pair of rats from a pet shop and plants them in the kitchen. She falls for the bait and puts rat poisoning in his cocoa making it look like murder made to look like suicide. She calls the police the next morning, but they find a very alive Gerald. Edith is arrested for attempted murder… but is that the end of the story. Joyce Jameson stars as dancer Rosie Feather, always fabulous, perhaps playing the featherbrained blonde bombshell –but always endearing!

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

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Marion Brown tells her husband- “You have been a bigamist 4 times. Now you can stay alive with me or be dead away from me!”

Directed by Joseph Newman with a teleplay by Arthur Ross and a story by Kenneth Fearing.

Dan Duryea is a gambler and a proud bigamist name Raymond Brown. He truly loves his wife… I mean all four of them. But something is going quite wrong. One by one his wealthy meal tickets are all turning up dead. At first, it appears that they are suicides. But the police start to suspect Brown of murder. Marion, (Teresa Wright) has been the long-time dutiful wife who has waited and suffered through heartache to finally have her philandering husband all to herself. Could she be the one who is bumping off all of Ray’s wives? Wright takes a much different approach from the gentle farm wife Stella and shows herself off to be quite resourceful when holding onto a cheating husband!

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

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

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Aunt Minnie-“If he’s a doctor at all he should be giving out pills not talking to dead people!”

Directed by Alf Kjellin with a teleplay by Alfred Hayes and William Gordon. Story by Miriam Allen de Ford.

Grace Renford (the haunting Diana Hyland) plays a wealthy and beautiful socialite who longs to meet the man of her dreams. Someone who will love her for who she is and not the money and status that is her legacy. The lonely Grace answers an ad in a spiritualist magazine where she begins to correspond with a young man named Keith Holloway (Jeremy Slate).

He is an engineer who does his work in Bolivia, or so he says. When he comes to the States to meet Grace for the first time, she has rented a modest apartment and pretends that she is just an ordinary working-class girl. Minnie (Mildred Dunnock) acts as guardian to the lost waif and knows something isn’t quite right with this man. But when Grace and Keith get engaged, she tells him about her true identity. Keith insists that he is not interested in her money and that he has his own business ventures in Bolivia. Keith returns to South America, planning on having Grace join him soon. But Grace gets a telegram saying that he has been killed in a mining accident.

Sent into the world of spreading grief, Grace turns to spiritualism and mysticism to find a way to contact her lost love. Thus appears Dr.Shankara (Abraham Sofaer) who can connect Grace with her dead love. Wanting to shed her worldly goods, she gives away her possessions to the Dr and his temple. But Minnie suspects that Keith is very much alive and that a scam has been going on with the doctor for years. Minnie tries to intervene with disastrous results!

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

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Roy- “A string of men friends all the time Mrs. Fowler, a string of men friends, a string of men friends all the time ssh don’t tell anybody Roy this is your Uncle Joe from Kokomo Roy, why don’t you go outside in the yard for a little Roy huh!… {…} There’s a smell of death around women like you. Death and corruption. You corrupt people the way you go on all the time. So you better cut it out you understand that” Marcia Fowler-“Get away from me you’re out of your mind. Nobody would blame me now if I shot you now with your filthy phone calls, breaking in here like this. How exciting am I now with a gun pointing at you?”

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

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

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

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

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

Kim Hunter is stunning as a ruthless woman who has no conscience and borders on the sociopathic. At the end of WWII, Adelaide exploits the grief and loss of surviving members of the family to act as a spiritual medium. She earns a nice living by taking money from these grieving people, claiming to ease their suffering by connecting them with their lost loved ones. Gene Lyons plays Adelaide’s bunko buddy Robert who helps set up the patsies for the taking.

The is nothing more heinous than bilking grieving families of soldiers killed in battle out of their money pretending that she can communicate with them.

Enter the wealthy widower Edward Porter (John Larkin) who has just lost his son in the war. Adelaide convinces him to join her in a séance. Desperately lonely and longing for his son’s return Edward begins to come around and embrace Adelaide’s powers. Edward has also fallen in love with Adelaide and wishes the three of them to be together…!

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Robert (Gene Lyons)- “I taught you everything there is to know about this racket..” Adelaide “Profession Robert.” Robert – “That’s what you’d like to pretend, but it is a racket, a swindle a con game as any I ever did.” Adelaide-“ I only obtain the more crude aspects of the profession from you.” Robert-“Everything and I want you to stop pushing me around.” Adelaide-“You taught me a series of Halloween tricks. Carnival mumbo jumbo… I made it pay.” Robert –“They’re still carny tricks.” Adelaide-“Science!” Robert- ‘And you took them from me…”

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

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Directed by Joseph Newman with a teleplay by James Bridges and a story by Margaret Millar  (Rose’s Last Summer-Boris Karloff’s Thriller starring Mary Astor).

Joan Hackett, (The Group 1966) a very underrated actress of the 60s & 70s plays Helen Clarvoe a woman who is being tormented by phone calls from a menacing woman named Dorothy who is threatening her life. Kevin McCarthy is lawyer Paul Blackshear who agrees to investigate and track the maniacal Dorothy down. The crazy woman blames Helen for the break up of her wedding engagement. Paul finds a photographer for whom Dorothy recently posed, though she has destroyed any negatives and photos of herself. Then the photographer is murdered! While in the midst of his investigation, Paul receives a frantic call from Helen that Dorothy has broken into her apartment and is holding her at gunpoint!

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

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

Directed by Robert Douglas with a teleplay by Henry Slesar and Joel Murcott. Story by Slesar.

When Dave Snowden (James MacArthur) and his new bride Bonnie (the lovely and underrated Lynn Loring) visit the estate owned by Bonnie’s late father, Dave finds a mysterious locked door and surmises that there must be something of value hidden there. Bonnie tells her mother (Gloria Swanson) that they’ve just been married, who instantly assumes that Dave is after her inheritance. Mrs.Daniels tries to give the young man money to go away and annul the marriage. Dave is hungry for money and gets Bonnie to go along with a plan for her to fake a suicide attempt by overdosing on sleeping pills. This they hope will get the mother’s sympathy. Things go badly when a childhood illness leaves Bonnie allergic to sleeping pills. The climax is stunning as the great ironic natural law of justice is served. Swanson is marvelous as always as the elegant and protective Mrs. Daniels!

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

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Miss Emmy Rice –“I was just thinking of how awful it is when people are so mean to each other. That’s one thing when you get to be seventy five, you see clearer than anything else. How mean people are to each other.”

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

The delightful Ruth McDevitt plays Miss Emmy Wright, an elderly lady who sits in the park and is befriended by Gerald Musgrove (Roddy McDowall) who with his wife has just successfully robbed $100,000 but needs a good place to hide the doe ’til the heat is off.

Emmy is a known pack rat, who invites the couple over to her cluttered and quirky place for many social dinners. Gerald gets the bright idea of stashing the loot inside the old dust-covered magazines that Emmy has collected over the years. Gerald also convinces Emmy to draw up a will leaving him the beneficiary so that they can later kill her off and claim the clutter that holds their stolen cash. This is a dark comedic episode with stellar performances by both McDevitt playing off McDowell’s usual droll manner. Co-starring Juanita Moore as Mrs. Jones and Naomi Stevens as Mrs. Goldy.

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

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

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

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

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

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

Sharon Farrell plays the seductive Melanie Rydell who doesn’t intentionally get men chasing after her. But her psychotic husband Lew Rydell (Frank Gorshin) gets off on a murder charge after Ned Murray (Martin Landau) successfully gets him an innocent verdict. To Ned’s horror, he learns that Lew is in fact a hot-headed jealous nutcase who was guilty of murder and is now accusing him of going after his sexy wife. Ned is conflicted by law, but wants to bring this loaded canon to justice but can’t get him prosecuted for the same crime twice. He solicits the help of an old gangster friend who owes him one but realizes that he has inadvertently put a hit out on the unstable Lew.

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

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Directed by Alf Kjellin Teleplay by William Fay and Henry Slesar, from a story by S.B. Hough.

Again, the highly underrated Barbara Barrie, who has always given her all in any performance, notably several of The Naked City. Here she plays a very timid and unstable single woman, (I will not use the word spinster here, though most analysis makes use of the word, I find it offensive) Isabel wrongly accuses Howard Clemens (Bradford Dillman) of sexual assault. Howard Clemens is sentenced to two years in prison for a crime he didn’t commit. Once he is released, the first thing he does is steal a large amount of money. $13,000 which is the amount he would have drawn as a salary had he not been thrown in jail.

He comes back to the same town where Isabel teaches, and opens up a record shop. He purposefully manages to bump into Isabel until he finally gains her confidence. Eventually, the pair become engaged. While on their honeymoon, Howard tampers with the fuel ignition switch on the boat which will cause the boat to explode. He tells Isabel to take the boat out alone. A bit later he hears the blast and is finally satisfied that he has gotten his revenge on her at last.

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

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Directed by Joseph Newman (The Outcasts of Poker Flats 1952, The Human Jungle 1954, This Island Earth 1955, The Twilight Zone ’63-’64) with a teleplay by Harold Swanton and story by Margaret Manners.

I’ve written about this marvelous episode for Movie Silently’s The Gish Sisters Blogathon! Here Lillian Gish plays the sassy Bessie who lives with her daughter Camilla (Maggie McNamara) Bessie is a staple of the town, and when her handyman falls to his death because of the arrogance of her neighbor Samantha Wilkins (Patricia Cutts-The Tingler 1959) and her whipped husband Henry (Peter Lind Hayes) Bessie goes on a mission to try and bridge the feud with the couple by inviting them over for supper.

Samantha refuses to break bread with the Carnbys, but Henry starts to insinuate himself into Bessie and Camilla’s life. One night Henry disappears and Bessie sees Samantha digging a hole in the barn. She accuses the woman of murder and eventually, Samantha is executed for killing her husband. But… Henry unexpectedly returns, claiming to have been on a long sea voyage not able to hear about his wife’s trial. Bessie suspects that Henry has staged the whole thing and begins to feel terrible guilt about what she has done. Will she be able to rectify the awful mistake she has made and bring Henry to justice?

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

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

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Elsa –“There’s something wrong with this house, I lye awake at night and I can feel it. There’s is something wrong with this house Something we don’t know about.”
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Elsa-“That’s the girl I saw at the beach, she’s lovely” Keith- “What I want, what I really want. What I’m sure as sitting here want… uh.” Elsa –“Keith it may be, it just very well maybe I want the same thing”. Keith- “What are you talking about baby? What you were talking about… Elsa-“How we rid ourselves of each other… and when! Me of you and you of me.”

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

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

Elsa Hollands (Phyllis Thaxter) hates the new beach house. Keith Hollands (Arthur Kennedy) refuses to grow older and chases after the local beach hottie Tisha Sterling. The house gives Elsa the chills, and it doesn’t help that Keith starts digging a hole in the basement floor that he claims is for the new boiler. Elsa and Keith keep clashing over the strain in their marriage. She just wants to go back to her old apartment and senses something terribly wrong with the damp place.

While Keith is playing around with the young blonde beauty, Elsa contacts the ex-owners wife to discourage her from selling and perhaps finds out the truth about the place. When Keith can’t take Elsa’s complaints anymore, finding her an obstruction into his world of newfound vitamins, jumping jacks, young beach bunnies, hair dye, turtle necks, late nites out at the disco dancing alongside the dreamy blued-eyed Michael Blodgett, he kills her and buries her in that nice big hole he’s been digging. But will Elsa’s investigation come back to bite Keith in those awfully ugly jogging shorts?

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

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

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Directed by Bernard Girard with a teleplay by Alfred Hayes and a story by the great Robert Bloch!

Rusty Connors (John Cassavetes) is newly released from prison. While in prison his mate Mike Krause (Rayford Barnes) talks incessantly about the perfect blonde he left behind. Krause dies in prison, and so while Rusty gets out he decides to look up this gorgeous dish that was married to his former cellmate. Krause had been in prison for robbery and murder, but neither the money nor the body of his partner have ever been found. Could Krause’s wife Helen know where the loot is stashed?

Rusty comes to find Helen (Ann Sothern) slinging hash at a greasy spoon, but she is far from the pin-up that Mike Krause crooned about. Still Rusty plays up to her, thinking that she can lead him to the stolen money. The pair form a tumultuous sexual relationship, greedy to find the hidden cash. They stumble onto an abandoned boat house infested with starving rats. The two might just turn on each other, but you’ll have to see the episode and find out for yourself! This is a macabre and gritty story by the master of the suspense genre Robert Bloch author of Psycho

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

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Stella “I”m scared of Jesse… You scared of him too. You scared too. talking don’t help Emery I heard you talking to Jessie in the orchard. You told him you married me to have someone to feed ya. Is that why we ain’t ever have any children?”

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

Teresa Wright is outstanding as poor Stella married to a horrible dolt of a husband who doesn’t appreciate her. Emory (Pat Buttram is a weak and unloving bumpkin who owns a peach farm. This is a dark Americana tale about a quiet woman named Stella who suffers in silence but has a few joys, like the love of animals, in particular her little pet squirrel. One day an ominous drifter asks if he can work the farm for a bit. Bruce Dern plays Jesse, in a role that surpasses so many of the psychopaths he’s had the opportunity to play. Jesse has a particular viciousness that is spine-tingling. While he helps harvest the peach crop, he secretly torments Stella with his fondness for his sharp knife. Stella feels threatened but her husband acts clueless, while at times we see that he is very aware of what is going on, he just chooses not to intervene out of cowardice. The episode is perhaps one of the most psychologically enthralling, and its climax will leave you breathless. The performances are absolutely stunning. Just as frightening as any modern thriller on the screen today! And Wright turns in a performance that tugs at your heart with so many levels of emotional reflection as a woman trapped by her circumstances. John F. Warren’s cinematography portrays a rural hinterland that is otherworldly and melancholy.

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

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Eva-“You crying? You are crying Ha! What do you’ve got to cry about? If anybody’s gonna cry it should be me. Although I must say… You are a most unusual gasman!”

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

Eva (Lola Albright) is an adulterous wife to an unsuspecting businessman (George Kennedy) who is a penny pincher though he is quite well-to-do. One day a mysterious stranger (Barry Nelson) manages to work his way into the house by claiming to be the gas man. He acts very peculiarly, until finally, he gets her into bed. Colin convinces Eva that it would be easy to kill her husband… This zany and interesting episode has a lot of twists so I won’t give anything away! Just watch for great performances by Nelson and in particular the lovely Lola Albright who can do comedic mystery thrillers with ease!

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

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Mary-“You are a vain man.” Brother Thomas-  “A minor vice.” Mary-“There is no such thing as a minor vice.” Brother Thomas “trimming a mustache harms no one.” Mary-“It’s so difficult for you to be the kind of missionary you should be.” Brother Thomas- “I have a good reputation.” Mary-“Because I have made sure of it.” Brother Thomas“Yes you have.” Mary-“You begrudge me that recognition.” Brother Thomas-“I’m the first to admit it.” Mary-“I have loved you.”

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Mary- “I don’t know if I still do. I’ve had to forget my needs and devote myself to your work.”

Directed by Harvey Hart with a teleplay by Arthur Ross and a story by Robert Branson.

This is a particularly intense addition to The Alfred Hitchcock Hour due to the fine performances by Ed Begley and one of my favorites Jeanette Nolan. Nolan plays Mary the enigmatic wife of a missionary medical man (Begley). The strong woman behind the man so to speak. Begley plays Brother Thomas Fitzgibbons who in actuality is an incompetent surgeon living in a primal world in the rugged terrain of India. Mary is ambitious and wants all the glory for her and her weak husband. When Tom Simcox and Maggie Pierce –Brother John Sprague and his wife Lucy come to help the mission, Mary fears they will expose the truth about Brother Thomas’ work, as well as usurp their position there. Oh, what a tangled web we weave. Nolan almost reignites her Lady Macbeth with her role as the conniving and treacherous Mary Fitzgibbons– Her silver-tongued laments as always put her at the top of my favorite character actors!

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

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“would you like to meet Mingo when she comes? She’s not very big. She’s big enough to live in a bird cage and big enough to have a frog for a horse!”
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“Do you believe me about Mingo?”

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Eva-“Is it dark where daddy is?”-Nell ” I hope not… I don’t know.” -Eva “Numa knows Mingo says it’s brighter than day!… they have bumble bees there too.”-Nell- “Who’s Mingo honey?”-Eva- “My best friend!”

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This is one of Alfred Hitchcock Hour’s most supernatural tales that breaks the mold of the crime/suspense drama. Along with The Sign of Satan, The Monkey’s Paw, and The Magic Shop by H.G Wells. Where the Woodbine Twineth could have fit nicely into Boris Karloff’s Thriller anthology series. A haunting tale that will stay with you for a long time. Margaret Leighton is mesmerizing as Aunt Nell, a woman who just cant embrace her little niece’s wild imaginative tales. I’ve recently become acquainted with Leighton’s work and have fallen in love with the actress!

Directed by Alf Kjellin with a teleplay by James Bridges and a story by Davis Grubb (who wrote Night of the Hunter, The Cheyenne Social Club, and a few short stories for Rod Serling’s Night Gallery 1971.

Leighton is marvelous as she coldly, rigidly lacks understanding of her recently orphaned niece who talks about fey people who live under the Davenport and visit her at night. When Eva comes to live with the elderly Mississippi riverboat Captain Snyder, her grandfather, her aunt Nell just can’t break through.

Nell just believes the child to be willful and lazy trying to blame things on her imaginary friends like Mr. Peppercorn and Mingo… Aunt Nell just can’t handle the role of caretaker to a wily and free-spirited child and begins to crack under pressure. The conflict becomes very real when Nell challenges Eva at every turn.

When Eva (Eileen Baral) gets a wonderful Creole doll she names Numa from her riverboat King grandfather, tensions ignite and Nell comes face to face with the mystical world where the woodbine twineth. A nether region between life, death, and the realms you cannot see with the naked eye. To balance out the constant struggle between the suffering Nell and the precocious Eva is the calming and level-headed presence of Juanita Moore as Suse, who understands Eva and is more like a mother to the young girl than Nell can possibly manifest from her rigid identity.

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Nell is obsessed with controlling Eva and catching her in lies. She fears the child’s freedom and resents how happy she can be. When she hears Eva chatting and playing with Numa, the doll her grandfather had given Nell suspects that it is a child from the neighborhood.

Eva warns that if Nell takes Numa away, Eva will have to trade places with Numa and go to dwell in “Where the Woodbine Twineth.”

But obstinate Aunt Nell defies Eva and puts Numa on top of the player piano, Eva steals Numa away and runs into the woods. Suddenly in an eerie haunting manner the player piano mysteriously starts up by itself. Nell desperately stumbles onto Eva in the backyard playing with a little black girl –they are dancing.

Nell chases the girl away, warning her to stay away but then Eva disappears. When Nell finds a doll in Numa’s box it looks exactly like a porcelain version of little Eva, Nell realizes that the magic was real and that she has lost her little niece forever to the ether world beyond the trees… A changeling in her place, never to return.

One of my all-time favorite episodes. Just effectively creepy yet magical stuff… with a haunting quality that lingers…

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

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

Roger Perry plays Cliff Allen a television writer on his way to Hollywood who picks up a pretty hitchhiker named Rosie. (Sharon Farrell) Later Rosie accuses Cliff of abducting her when he is stopped by the local police. Of course, Cliff denies the charges but the sheriff orders him to come back to town with him. Cliff’s car breaks down, and so he is forced to stay over in a very run-down motel.

Off-the-beaten-path Motels already smack of creepy so as you can imagine when it turns out that it is run by a washed-up vaudeville actor name Rudolph Bitzner or Rudolph the Great ( great –for what you’ll find out! )

Rudolph is played by the wonderful Franchot Tone, who dreams of a comeback someday, and Rosie is the daughter of his dead wife who used to be his partner. Now Rosie not only works at the cafe/motel but she’s being groomed to be part of the comeback act.

Rosie sneaks off to apologize to Cliff for lying but she is terrified of Rudolph who is forcing her to marry him once she turns 18 which is in a few days. Cliff agrees to help Rosie escape once his car is fixed. But when he goes to her cabin she is not there. Rudolph convinces him to sit out in the audience and watch his great comeback act with Rosie before he leaves for Hollywood.

One of the most subtly grotesque and atmospheric relics of the early 60s before psycho-sexual cinema hit the proverbial fan!

I won’t give it away, you must see this macabre and eerie installation in The Alfred Hitchcock Hour collection.

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

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

Dexter and Joyce Daily (Jeremy Slate and Kathryn Hays) hire Dexter’s old German nanny named Frieda (the inimitable Lilia Skala) to come and take care of their newborn baby boy. She did such a good job with Dexter when he was just a tot. But Joyce becomes suspicious when she hears a radio broadcast about a nurse who is wanted in the poisoning death of an infant in San Francisco. Frieda does have some peculiar ways, but Joyce goes as far as to contact the murdered baby’s aunt played by Olive DeeringChristine Callendar only confirms Joyce’s greatest fears that Frieda is the one the police are looking for and that she is a dangerous baby killer!

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

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As Maude’s husband reads the newspaper about the recent strangulation murders –she comments-“I read a book about a man who only killed trombone players, he beat them to death with their own trombones.”

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Directed by Joseph Newman with a teleplay by James Bridges and a story by Ethel Lina White

Stella Crosson (Dana Wynter) is the nurse to an invalid heart patient (John Kerr) Stella needs help and is very happy to get some relief when Nurse Betty Ames (T.C. Jones) shows up to help. The large house is also inhabited by an alcoholic housekeeper Maude played by the wonderful Louise Latham. The night is fret-filled with storms and the news has reported that a maniacal nurse killer is on the loose! Oh, and the power has gone out, so they’re all in the dark.

Maude sends her husband out in the storm to get some medicine, and Stella goes around the house locking all the windows and doors. Except she fails to secure one that is in the creepy basement. The shocking ending will catch you off guard.

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

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Directed by David Friedkin with a teleplay by Morton Fine and David Friedkin and a story by Avram Davidson

American Sally Benner is soon to marry London policeman Tommy Bonn (Ron Randall) While on a transatlantic cruise, they announce their engagement, but four hours before they are to be wed, Sally has pangs of doubt and goes out into the London fog.  There have been a series of murders and her family grows weary for her safety. Tommy and his partner Stephen Leslie (Michael Pate) go in search of Sally.

They eventually stumble on an odd young man named Edward Clarke (David Carradine) who they suspect might be the strangler, and with the description of the woman he confesses to murdering they fear Sally’s fate. The episode also stars Kent Smith and Edith Atwater as Sally’s parents. This episode is very atmospheric and Kellerman as usual does a wonderful job of manifesting a languid sensuality and longing that hangs like dew on the petal.

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

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

Richard Johnson is a smooth con artist Jarvis Smith posing as a stock expert who insinuates himself into the lives of the wealthy Mary Caulfield and her suspicious companion Agatha. It’s always wonderful to see Geraldine Fitzgerald in any performance, and here is no exception. She has an elegant and stayed sensibility that can be as poignant as it is sophisticated. She works well against Fay Bainter who is always enigmatic like a fine bit of silverware that is timeless and sturdy. Johnson sheds his kindly Dr. Marquay (The Haunting) persona here and plays the perfect cad. Jarvis eventually romances Agatha and takes over the handling of Mary’s sizable fortune, pretending that he is investing it for her. When it comes to light what Jarvis has done, the drama becomes a taut little mystery melodrama.

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

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

June Lockhart plays Martha Peters. Martha has answered a lonely hearts and becomes a mail-order bride she finally meets Luke Hunter (John Anderson) a miserly reserved sort of man who seems to have no joy in his life. Married once before, his first wife was a mail-order bride as well who died under mysterious circumstances. When Luke goes to visit his relatives, Martha’s fears begin to build when she finds a coffin-shaped box hidden in the garage. She also hears her husband digging all night down in the locked cellar.

Suddenly Luke insists that they go on vacation for the Christmas Holidays, and urges her to start packing so they can go visit his relatives. Before they leave the house, Luke unlocks the cellar door and insists that Martha go downstairs and see what he’s been working on!

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

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Directed by Herbert Coleman with a teleplay by Gilbert Ralston and a story by Clark Howard, this is a stand-out story, with a sublime performance by the always-compelling Dewhurst.

Here Dewhurst plays a very compassionate nurse Ellen Hatch who is taking care of a cop-killer Jerry Walsh (Tom Simcox) on his way to death row. Jerry manages to melt Ellen’s tough yet kind exterior and lure her into believing that he’s fallen in love with her so that she can help engineer his escape.

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A Symphony of Dark Patches- The Val Lewton Legacy 1943

This post is a feature…As part of the CLASSIC MOVIE HISTORY PROJECT BLOGATHON hosted by the fantastic gang over at- Movies Silently, Silver Screenings & Once Upon a Screen– Visit these wonderful blogs during this historic event and fill your head with a collection of fascinating movie memories.

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From Dreams of Darkness-Fantasy and the films of Val Lewton by J.P. Telotte:
“{The audience} will populate the darkness with more horrors than all the horror writers in Hollywood could think of… if you make the screen dark enough, the mind’s eye will read anything into it you want. We’re great ones for dark patches.” – Val Lewton

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Jane Randolph as Alice Moore in Val Lewton’s Cat People 1942 directed by Jacques Tourneur
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A scene from Bedlam (1946) directed by Mark Robson 

During the 1940s Val Lewton and his ‘Lewton Unit’ used the essential vision of fantastic darkness to recreate a very unique style of horror/fantasy genre, one which challenged Hollywood’s notion of the tangible monsters Universal studios had been manufacturing. Lewton, while working at RKO Studios, produced an exquisite, remarkable and limited collection of films that came face to face with a ‘nightworld.’ Lewton used our most deepest darkest psychological and innate fears that dwell within the lattice of shadows of our dreams and secret wish-fulfillment.

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“Our formula is simple. A love story, three scenes of suggested horror and one of actual violence. Fade out” -Val Lewton

Lewton worked at MGM between 1926 and 1932 and then served eight years under David Selznick. He had published nine novels and a number of short stories. In addition he produced regular radio show versions of MGM films. He also had ties in the industry as his aunt was the the very influential silent actress Alla Nazimova.

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the great stage and silent screen actress Alla Nazimova-Val Lewton’s very influential aunt…

But Lewton had left his mark with Selznick and in 1940 rival company RKO was interested in hiring him..It was actually Selznick who negotiated Lewton’s contract.

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“My task is to initiate a programme of horror pictures to be made at the comparatively low cost of 125,000 each. Which should compete successfully with Universal horror films. Which cost anywhere from 300,000 to a million dollars. I feel I can do this quite easily and the Universal people spend a lot of money on their horror product. But not much on brains or imagination.”-Val Lewton

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Lewton put together a team of collaborators with whom he would work closely. He chose Mark Robson to edit. Robert Wise and Lewton worked together on Citizen Kane and The Magnificent Ambersons. DeWitt Bodeen had worked with him during his time with David O’ Selznick was to write the first screenplay for Cat People. His old friend Jacques Tourneur whom he became friends with while working on A Tale of Two Cities. was brought on board to direct. He chose Nicholas Musuraca as his director of photography and Roy Webb to compose the musical scores. They all worked on countless RKO films. It was Lewton’s intention to create quality pictures though he was constrained by a low budget. Jacques Tourneur had said that Lewton was an idealist who had his head up in the clouds and would come up with impossible ideas. However for Tourneur, his feet were planted firmly on the ground, yet somehow they complemented each other perfectly, Tourneur claims it was a very happy time in his life, and that Lewton’s gift to him was the filmic poetry that he was able to carry with him forever.

Jacques Tourneur is perhaps one of my favorite directors, with his use of shadow and all together dreamy lens of the world, he’s responsible for one of THE best classic horror films Curse of the Demon & film noir tour de force Out of the Past. 

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Jacques Tourneur directs Robert Mitchum and Jane Greer in Out of the Past 1947
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Jacques Tourneur’s moody horror with Niall MacGinnis and cat Curse of the Demon 1957
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Part of the Lewton Unit- image from the documentary The Man in the Shadows from top left Roy Webb composer, Val Lewton, Nicholas Musuraca Cinematographer, Mark Robson editing/directing, DeWitt Bodeen writing, and Robert Wise-director.

“Horror is created in the mind of the spectator. It’s necessary to suggest things. In all my films you never saw what caused the horror. I saw people screaming in the theater when there was a young girl in a swimming pool, but you never saw the black leopard. The lights blaze up at the end. And there’s Simone Simon. Something has definitely happened. -Jacques Tourneur

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Jacques Tourneur looking over the film sketches
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Jacques Tourneur on location for Berlin Express 1948

“Lewton gave us something quite different than what’s known as Hollywood craftsmanship you can say that he presented us with a parallel world in which everything feels both real and a little unreal-familiar but strange. The characters and the viewer slip into a mysterious, troubling gray zone. Where real life and dream life come face to face. And where beauty and destruction merge. Lewton and Tourneur really created a new kind of cinematic beauty”-from The Man in the Shadows Val Lewton documentary

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the golden boy from Bedlam

Learning from his last employer Selznick he made sure to supervise absolutely every aspect of the film’s production, from casting, set design, costumes, direction, and editing. He even rewrote every script himself without taking credit or under a pseudonym. In this way he developed his own visual style of storytelling, having prepared each detail before shooting.

“My feelings are generated, however by more than my gratitude for that first opportunity. They come from the warm and highly stimulating creative experience I had working with Val. He taught me so much about directing and filmmaking in general…Val Lewton was one of that fairly rare species, a truly creative producer. As such, he was able to achieve an outstanding reputation for the high quality, unusual and interesting “B” pictures he produced at RKO Studios starting in the early 1940s” – Robert Wise, March 1994

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Robert Wise behind the camera
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Robert Wise, Mark Robson & Val Lewton

“I remember him staying up until all hours of the night working on screenplays. He enjoyed having his hand in the writing. I used to that that he went out of his way to pick inept writers so that he’d have to redo their work. He used to write on a Royal typewriter;he used only two fingers but he was very fast. He’d talk out the different parts as he wrote them and, since my bed was just on the other side of the wall, I’d fall asleep listening.”Nina Lewton Druckman from the Reality of Terror by Joel Siegel

Robert Wise was part of the Lewton Unit, one of my favorite directors who would go onto direct some of the most outstanding films in a variety of genres, from musicals like West Side Story 1961, and Sound of Music 1965, to Lewton’s Curse of The Cat People 1944 and The Body Snatcher 1945, noir masterpieces, Born To Kill 1947, The Set Up 1949 and The House of Telegraph Hill 1950, I Want to Live! 1958, Odds Against Tomorrow 1959, to sci-fi and Gothic ghost story masterpieces Day the Earth Stood Still 1951, The Haunting 1963, and The Andromeda Strain 1971.

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Michael Rennie and Gort in Robert Wise’s Sci-Fi masterpiece The Day the Earth Stood Still (1951)
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Robert Wise’s boxing noir The Set-Up 1949

Lewton drove himself very hard trying to achieve something beautiful of quality. He and his team were given a very small budget, a cast of veritable unknowns, and evocative titles that were sensationalist and lurid in nature and did not truly represent an accurate account of the narrative. There were no gruesome fiends nor even evidence of malevolent forces at work in his ordinary everyday environments. Yet RKO’s studio head Charles Koerner  dictated such titles as Cat People 1942, Curse of the Cat People 1944, Bedlam 1946, Isle of the Dead 1946, The Body Snatcher 1945, I Walked With A Zombie, The Ghost Ship and The Leopard Man in 1943 and The Seventh Victim.

“If you want to get out now, Lewton told Bodeen, I won’t hold it against you”

The sensationalistic titles lead viewers to expect corporeal horrors, grotesquely, and accustomed chills. As critic Manny Farber points out that while Lewton got nicknamed the “sultan of shudders” or the “Chillmaster” they were missing the point entirely. Lewton’s films were purposefully inhabited by the average, the bland, and the pedestrian all, so as to populate his world with normal characters. People you’d see on the streets, or doing menial jobs. And amidst this population of ‘normal’ stirred interesting pulp stories that were unorthodox, otherworldly, and often grim. Themes like zoanthropy. a derangement in which someone believes they are an animal as in Cat People or the pervasive fear of the Vorvolakas, an undead creature in Greek folklore that drinks its victim’s blood in Isle of the Dead. Even when dealing with dreadful English asylums and the sacrilege of body snatching.

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Boris Karloff and Val Lewton on the set of Bedlam

By the way… Bedlam 1946 is perhaps my favorite of the Lewton series. I’ll be doing a follow-up to this piece with the aim of covering the magnificent piece of filmic art that is Bedlam. I’ll also include the remaining films I love, Isle of the DeadThe Body Snatcher, and his first Cat People.

Films with subversive themes like zoanthropy. a derangement in which a person believes himself to be an animal as in Cat People or the pervasive fear of the Vorvolakas is an undead creature in Greek folklore that drinks its victim’s blood in Isle of the Dead.

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Karloff and Thimig in Isle of the Dead 1946

One of the things I love about Lewton’s films is that he used many either lesser-known actors or those who never quite attained stardom yet lived on the fringe. Wonderful character actors such as Ian Wolfe & Edith Barrett (whom I both adore) actor/director Abner Biberman, Theresa Harris, Edith Atwater Sir Lancelot former calypso singer from Trinidad, the unusual beauty of Elizabeth Russell who was a former fashion model. The portly Billy House who played Lord Mortimer in Bedlam had been a star of vaudeville or Skelton Knaggs (Terror By Night, House of Dracula) British actor worked on the stage. The handsome Richard Dix , Tom Conway, James Bell, Anna Lee, Evelyn Brent, Helene Thimig, Dewey Robinson, and Ben Bard.

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Billy House as Lord Mortimer in Bedlam
Ian Wolfe in Bedlam
The marvelous Ian Wolfe in Bedlam.
Knaggs as Finn in The Ghost Ship
Skelton Knaggs as the mute Finn in The Ghost Ship
Leopard Man angry mother
Kate Drain Lawson as Señora Delgado in The Leopard Man.
Edith Barret the ghost ship
Edith Barrett and Richard Dix in The Ghost Ship
Anna Lee in Bedlam
Anna Lee in Bedlam.