🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1953

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BUD & LOU, CAT-WOMEN, JEKYLL & HYDE, HOSTILE BRAINS and HOSTILE MARTIANS… IT CAME FROM… AND MUCH MUCH MORE!

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They’re too wild for one world!

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Source-courtesy of Getty Images

Directed by Charles Lamont. Starring those 2 brilliant comedians Budd Abbott and Lou Costello, as Lester and Orville. With Mari Blanchard as Allura, Robert Paige as Dr. Wilson, Horace McMahon as Mugsy, Martha Hyer as Janie Howe, Jack Kruschen as Harry, Jean Willes as Capt. Olivia and Anita Ekberg as a Venusian guard.

From Keep Watching the Skies by Bill Warren –“To children in the 1940s and on until the mid-50s, a new Abbott and Costello movie was better than a trip to the circus.”

We all noticed that Bud Abbott was the straight man and Lou Costello was the mechanism to draw out the comic gags. At times Bud even came across as Warren says, “cruel” to Lou and I know for me it made me a bit uncomfortable even back then. Lou was lovable and wasn’t considered an idiot, but rather like a little boy trapped in a man’s body. Again I cite Bill Warren who sums it up beautifully-“His curiosity and haplessness got him into trouble and assured that he would stay there, but the film’s essential unreality always made us feel that Lou and Bud would be out of problems by the end…[…] There was always a sadness to Lou Costello, as there is with almost every clown.”

Go to Mars

Directed by Charles Lamont who did all of Bud and Lou’s films here, Abbott and Costello Go to Mars (1953) Bud plays Lester, a handyman who works for a rocket research institute, and Lou plays Orville, a handyman who works at an orphanage. Of course the story’s title indicates that they take a trip to Mars, when the pair accidentally launch one of the rockets with them on board! They take a short trip, a very short trip as unbeknownst to Lester and Orville they haven’t landed on Mars, but in New Orleans during Mardi Gras. So when the outlandish and bizarre costumes parade around the duo, they have no reason not to think they’ve landed on another planet…

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The film co-stars two wonderful character actors Horace McMahon who plays Mugsy  (Naked City tv series 1960s) and Jack Kruschen who plays Harry– both are bank robbers on the lam, who have used spacesuits they stole from the ship as a disguise when pulling the heist. The two criminals hide away on the spaceship equip with paralyzer guns and lots of science fiction gadgets. And it gets launched yet again with our two characters Lester and Orville. This time they are heading for Venus. To go with this silly gendered plot line you’ll have to take it that Venus is run by a Matriarch name Queen Allura (Mari Blanchard)

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Allura has banished all the men from the planet 400 years earlier because the King had been unfaithful to her. She also falls in love with Orville. Lou has eyes for Anita Ekberg (who wouldn’t…) she plays a Venusian guard. Queen Allura finds out that Lou is also unfaithful ‘like all men’ and goes crazy with anger. The passengers of the renegade ship manage to get away and crash land back on Earth.  There’s a funny scene as they zip around Manhattan in the ship they make the Statue of Liberty duck then they zoom thought the Holland Tunnel giving New York a piece of science fiction slapstick. The film also co-stars Robert Paige as Dr. Wilson, Martha Hyer as Janie Howe, and Jean Willes as Captain Olivia.

In Jim Mulholland’s The Abbott and Costello Book he talks about the film, “The futuristic sets on Venus look expensive , but the film is so silly and is so obviously geared to kiddie matinee audiences that it is almost impossible to endure.”

Well if the adult child in you still adores seeing the antics of Bud & Lou then it should be included in their list of films you want to see.

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Mary Blanchard as Queen Allura

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Anita Ekberg as a Venusian Guard

Venusian #1: “What is it?”

Allura: “I could be wrong, but I think it’s a man.”

Venusian #2: “That’s a man?”

Abbott and Costello Meet Dr. Jekyll and Mr. Hyde

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The Laughs Are Twice as MONSTER-OUS as Ever Before!

Again directed by Charles Lamont. Lee Loeb and John Grant wrote the screenplay working from a story by Sid Fields, based off the character from Robert Louis Stevenson’s immortal science-fiction fantasy novel. With camera work by cinematographer George Robinson (Son of Frankenstein 1939, Frankenstein Meets the Wolfman 1943, Tarantula 1955)

With make up both Mr. Hyde and the mouse mask by Bud Westmore!

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Our two heroes Slim and Tubby meet Boris Karloff as Dr. Jekyll/Mr. Hyde.

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Bud and Lou had already met Frankenstein, Dracula, the Invisible Man and The Wolf Man, it was just a matter of time until they met the conflicted dual personality of Dr. Jekyll and his darker alter ego Mr. Hyde. It was the first time the boys came up against a monster since 1951.

Bud and Lou are American detectives who tag along Scotland Yard, and come to find out that that the menacing Mr. Hyde has been terrorizing London for years. Meanwhile the mild mannered Dr. Jekyll is one and the same man… Boris Karloff. Of course, Lou tries so hard to get Bud to believe that the kindly Dr. Jekyll is actually Hyde. The other players in the film include Craig Stevens as Bruce Adams a newspaper reporter who is in love with Vicky Edwards (Helen Wescott) which poses a problem as Dr. Jekyll himself is in love with Vicky as well.

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Bill Warren writes- “This romantic triangle is extremely artificial-Karloff at all time seems avuncular, not predatory-and was apparently added for the obligatory romantic elements, to enlarge the plot beyond Bud & Lou fleeing from Hyde.”

The film shows as Warren points out a “series of set pieces” as they chase Hyde around a wax museum, filled with homages to other films like wax likenesses of the Frankenstein’s monster and Dracula.

Sadly, the film was not well received, people had started to tire of the ‘meet’ films of Bud and Lou and the popularity was waning. Universal had actually been planning a Abbott and Costello Meet the Creature from the Black Lagoon but it never got off the ground.

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Craig Stevens co-stars as Bruce Adams, Helen Wescott as Vicky Edwards and Reginald Denny as the Inspector with John Dierkes as Batley.

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Abbott and Costello Meet Dr Jekyll and Hyde

Slim: Now look! You can’t make two persons out of one. If there’s a monster, there’s a monster. If there’s a Dr. Jekyll, there’s a Dr. Jekyll. But one can’t be the other.

Tubby: Now listen Slim. All I know is that I locked up the monster and when I came back, Dr. Jekyll was there. You know I’m no magician.

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The Beast from 20,000 Fathoms

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FANTASTIC SEA-GIANT CRUSHES CITY!

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Eugène Lourié who was an art director working with Jean Renoir. Directed The Colossus of new York 1958, The Giant Behemoth 1959, and Gorgo 1961. He started out designing ballets in Paris, was the art director for Strange Confession 1944, The Strange Affair of Uncle Harry 1945, Limelight 1952, Shock Corridor 1963, The Naked Kiss 1964, The Strangler 1964. Eugène Lourié  designed one of Renoir’s most influential films, Rules of the Game (1939), he also designed work on The Southerner (1945) Diary of a Chambermaid (1946) and The River (1951) To say the least he has had a wide range of eclectic films.

Eugène Lourié  worked with the master Ray Harryhausen on the special effects and the creature which are spectacular!

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Screenplay by Bronx born Fred Freiberger ( Garden of Evil 1954, Beginning of the End 1957)

The film stars Paul Hubschmid as Professor Tom Nesbitt, Paula Raymond as Lee Hunter, Cecil Kellaway as Prof. Thurgood Elson foremost paleontologist , veteran science fiction hero Kenneth Tobey (The Thing 1951, It Came from Beneath the Sea 1955) as Col. Jack Evans, Lee Van Cleef as Corporal Stone, Steve Brodie as Sgt. Loomis, Ross Elliot as George Ritchie, Frank Ferguson as Dr. Morton and King Donovan as Dr. Ingersoll.

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A ferocious dinosaur awakened by an Arctic atomic test terrorizes the North Atlantic and, ultimately, New York City. The film begins when they are testing a nuclear device inside the Arctic Circle, which winds up freeing a prehistoric ‘Rhedosaurus’ which is a carnivorous giant beast that walks on four legs and lives under water and can walk on land too! Tom Nesbitt played by Paul ‘Hubsschmid’ Christian is the only survivor to tell about the prehistoric creature, but no one believes his story.

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Eventually the Beast emerges again and sinks a small ship with that survivor telling the same story, identifying the ‘Rhedosaurus’. Cecil Kellaway plays a well known paleontologist that Nesbitt seeks out for help. Now the Beast starts moving toward New York City believed to be the ancestral origin and breeding ground for the Rhedosaurus. It comes ashore on Manhattan, right near the Fulton Fish Market. Elson is lowered in a type of diving bell called a bathysphere so the paleontologist can study the creature up close. Unfortunately he becomes a tasty morsel, a hard candy with a soft center… Yikes!

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It then proceeds to smash and stomp everything in it’s path, until it returns to the river. What complicates things is that while it becomes wounded, they discover that it’s blood is highly infectious and deadly, so they need to find a way to destroy it even more than ever.

The wounded Rhedosaurus takes refuge in an old fair ground on Coney Island near a roller coaster which it takes out it’s aggression on by snapping it like twigs in it’s massive jaws and claws.

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Prof. Thurgood Elson: [in the diving bell, to view the monster] “This is such a strange feeling, I feel as though I’m leaving a world of untold tomorrows for a world of countless yesterdays….[…] It’s unbelievable he’s tremendous!”

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Professor Tom Nesbitt: “The world’s been here for millions of years. Man’s been walking upright for a comparatively short time. Mentally we’re still crawling.”

George Ritchie: [referring to the A-bomb test] “You know every time one of those things goes off, I feel as if I was helping to write the first chapter of a new Genesis.”

Professor Tom Nesbitt: “Let’s hope we don’t find ourselves writing the last chapter of the old one.”

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Cat-Women of the Moon

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SEE: THE DEADLY CAVE OF MOON-GOLD!

SEE: THE BLOOD-THIRSTY BATTLE OF MOON MONSTERS!

SEE: THE LOST CITY OF LOVE-STARVED CAT WOMEN!

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Directed by editor Arthur Hilton, who worked on noir classics  The Killers 1946, and Scarlett Street 1945. The film stars Sonny Tufts as Laird Granger, Victor Jory as Kip Reissner, Marie Windsor as Helen Salinger, William Phipps as Doug Smith, Douglas Fowley as Walt Walters, Carol Brewster as Alpha, Susan Morrow as Lambda, Suzanne Alexander as Beta, Cat-Woman are Bette Arlen, Roxann Delman, Ellye Marshall and Judy Walsh. originally in 3D– it’s Schlock at it’s very best!

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An American space crew is led by the uptight straitlaced Laird Granger (Sonny Tufts) who does everything by the book, but as Kip (Victor Jory) says “some things aren’t in the book” And that’s for sure, when you wind up on a planet with Cover Girls in black leotards. From the moment they leave the base on route to the moon, the crew find themselves in trouble when a meteor creates trouble for the ship, a fire in the bottom of the craft started by acid forces them to land, suggested by Lt. Helen Salinger who is the ship’s navigator and Laird’s girlfriend. She picks the area in between the dark and light sides of the moon. This makes Kip very suspicious though he’s pretty skeptical about most things that’s why he carries a gun with him at all times.

Don’t be too impressed with Windsor’s character playing a Lt, after they crash land she still has to grab for her compact and fix her face, and powder her nose. Marie Windsor (whom I adore) is sultry and perfectly suited for film noir (Force of Evil 1948, The Sniper 1952, City that Never Sleeps 1953, The Killing 1956, The Narrow Margin 1952 ), and is a joy to see in this film even if it’s a true stinker! She’s much better suited for the science fiction obscure gem that has it’s shocking moments, The Day Mars Invaded Earth (1963).

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Helen leads the crew when they go out to investigate their surroundings and find a nearby cave, they realize that the atmosphere is exactly the same as it is on earth. There’s water and oxygen and so it is safe to take their space suits off. The gang is attacked suddenly by some cheesy hairy horned spiders which they manage to kill. In the meantime someone has stolen their spacesuits and helmets. They go deeper into the cave until they stumble onto an ancient Greekesque city inside the moon where they are greeted by women who look like a dance troupe for Martha Graham and Twyla Tharp in their black leotards. Helen slips away to meet Alpha (Brewster) the leader of the Cat-Women who are telepathic.

They are called Cat-Women for no reason I can glean, or that emerges from the entirely silly narrative. Alpha tells Helen- “Our generation predates yours by centuries.”

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The Cat-Women led by Alpha (Carol Brewster) has been in telepathic communication with and controlling Lt.Helen Salinger for years, unbeknownst to the men in the crew. There are no men on the moon but Zeta (Alexander) explains, “We have no use for men.”

Alpha tells Helen-“You are one of us now.”

Alpha has been controlling Helen by imprinting an image of the moon, a white spot on her hand. Once this spot is covered it breaks the control over her.

It’s not that the Cat-Women haven’t been enjoying their lives cavorting around with each other dancing and creeping around in their oh so Mod-erne leotards, it’s that their planet’s atmosphere is breaking up and in order to survive they must seek out a new planet. So the plan is to steal the crew’s rocket and go to Earth, c0ntrol the mind of the Earth women  and eventually take over the planet! First they must truly gain Helen’s male compatriot’s confidence in order to find out how to run the ship.

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Of course the cynical Kip doesn’t want any part of these gorgeous moon gals…

Kip secretly in love with Helen gets her alone, puts his arms around her, which breaks Alpha’s spell, and Helen tells him what’s going on.

Once Kip (Jory) figures this out he covers Helen’s hand and quickly asks her three questions, two that inquire whether she’s truly in love with Laird or him, the other is to find out how to get away.

But Alpha has already gotten information out of Laird and Walt has taken Zeta back to the ship to show her how it operates.

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It was Alpha who helped Helen get her assignment to the space crew. Of course, the men become enamored of Cat-Women in leotards, except for Kip (Victor Jory) who is suspicious of these beguiling tribe of moon temptresses. Walt Willis (Douglas Fowley) wanders off with one of the women to explore the cave that is filled with gold, she stabs him but not before he teaches her how to fly their spaceship. Another of the Cat-Women has fallen for one of the crew members, Lambda (Susan Morrow), falls hard for Doug Smith (Bill Phipps) the radio operator. All she wants is to go back to earth with Doug, romp around on a sandy beach drinking a Coca Cola.

In this soap space opera, the staid and steady Laird has fallen for Helen, and under a sort of mind control has given all the information the Cat-Women need to take over. They make plans to return to earth with Alpha and Beta (Suzanne Alexander). Lambda tries to intervene but gets brutally conked on the head with a large rock and killed. Kip shoots the evil Zeta and Alpha off screen, the remaining earth crew kill the rest of the Cat-Women, escaping with Helen and head back to earth.

Cat-Women of the Moon is one of those so bad it’s good movies that’s just fun to watch! It’s more space soap opera than science fiction but those girls are so outré Mod-erne in their black leotards BUT no physical attributes that make one think of any similarity to cats, their features nor feats of skill… The best part of the film is the dance scene by the Hollywood Cover Girls in their unlike cat costumes. The film was remade in 1959 called Missile to the Moon.

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As Bill Warren illustrates how badly filmed this is and in particular how ‘excruciatingly stupid’ the script and visuals are… (i.e.) the chairs the crew sit in are standard swivel desk chairs that roll around the floor on castors.– “Take the spaceship cabin. Ignoring the fact that it looks like someone’s front room and that down is always in the direction of the floor, even when the ship spins end-for-end in an effort to make the meteor fall off (which it does), there is still enough in the room to make a good technical director faint.”

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Laird Grainger: “The eternal wonders of space and time. The far away dreams and mysteries of other worlds. Other life. The stars. The planets. Man has been face to face with them for centuries, yet is barely able to penetrate their unknown secrets. Sometime, someday, the barrier will be pierced. Why must we wait? Why not now?”

Alpha: “Four of us will be enough. We will get their women under our power, and soon we will rule the whole world!”

 

Donovan’s Brain

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Directed by Felix E. Feist (The Devil Thumbs a Ride 1947, The Man Who Cheated Himself 1950)

Based on a story written by Curt Siodmak who wrote the script for The Wolf Man 1941, with the script co-written with director Feist. This above average Science Fiction suspense stars Lew Ayres as Dr. Patrick J. Cory, Gene Evans as Dr. Frank Schratt, Nancy Reagan as Janice Cory, Steve Brodie as Herbie Yokum, Tom Powers as Donovan’s Washington Advisor, Lisa Howard as Chloe Donovan.

Donovan’s Brain is perhaps the caviar of Brain in a Tank films to all the other Velveeta films of that sort. Although it is a remake of the quite engaging Lady and The Monster (1944) and Vengeance (1962) both based on the novel Donovan’s Brain by Curt Siodmak.

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Siodmak’s story has been retold several times, first with director George Sherman’s  The Lady and The Monster (1944) starring Erich von Stroheim, Richard Arlen and Vera Ralston. Then in 1962 it was re-visioned as a British Sci-fi chiller directed by Freddie Francis called The Brain starring Anne Heyward. Because of Siodmak’s talent at storytelling the film is an intelligent and compelling film

And there was at least one radio adaptation I believe through the Suspense series, which is a wonderful version, I own cast with Hans Conried, Jerry Hausner, John McIntire, and Jeannette Nolan.

And Boris Leven’s set design lays out the eerie ‘science gone awry’ landscape, with tanks filled with brains, it doesn’t hearken back to Strickfaden’s elaborate mad scientist milieu but it works for this particular science fiction/horror narrative.

Bill Warren-“One of the few sets apparently actually constructed for Donovan’s Brain is the laboratory, which looks satisfactorily jury-rigged and inexpensive. Unlike most ‘mad scientists’, Pat Cory hasn’t bothered to build elaborate consoles with labeled switches. The tank for the brain is literally a large tropical fish tank, again adding to the air of improvised science.”

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Essentially Dr. Patrick Cory (Lew Ayres) and his associate Dr. Frank Schratt (Gene Evans) are doing brain research, they’ve been trying to remove a monkey’s brain and keep it alive outside of the body, though the foundation for doing these experiments aren’t truly spelled out. We just hear that it’s “for the good of humanity.” In these fascinating Science Fiction tales where science hubris and it’s idolization by often well meaning doctors –often see their experiments go awry.

Assisting them is Pat’s wife, Jan played by Nancy Davis, who had just become Mrs. Ronald Reagan. Now, the experiment with the monkey was encouraging –“A brain without a body, alive!” I suppose in 1953, these three hadn’t met Jan in the Pan (The Brain that Wouldn’t Die 1962), or they wouldn’t have been that excited over the prospect of live brains in tanks looking like a benefit to humanity.

As fate would have it, the same day they have success with the monkey brain, a small plane crashes very close to the lab, being doctors Cory and Schratt are called upon to help the victims. There is but one survivor, a multi-millionaire named Warren H. Donovan. Donovan is close to death so the two operate on him, but it’s no use and the millionaire dies. But, it is Dr. Pat Cory who has the idea –“Science can use Donovan’s brain,” though his wife Jan and partner Frank fervently object at first. “What an idea, stealing a man’s brain”-they go along with Pat’s operating to remove the dead man’s brain and keep it alive in the tank…

In many ways, looking past the sci-fi elements of the story, it is a stark crime thriller about the evils of power. This is also one of those science fiction morality plays that informs us that is it ‘science’ itself that is the villain and is ‘evil and dangerous’, especially in the hands of a scientist, even if he is altruistic at heart. Dr. Pat Cory is a good man, who happened to trigger a very bad series of events. It is a story about “tampering with things man (and women) was not meant to know.” In the end he tells us, “I did many foolish things.”

The 1953 film is the closest to the novel. Dr. Patrick Cory, the scientist, attempts to save the life of millionaire Donovan “Donovan carried to an extreme the independence of the self-made man”, Dr. Pat Cory, who is working with the research of the powers of the brain, seduced by the potential of unlocking the secrets of the brain, seizes the opportunity to explore his theories. The danger ensues once he removes Donovan’s brain from the severely damaged body and under very clandestine experimentation not unlike our old Dr. Frankenstein, Dr. Pat Cory manages to keep the brain alive in a tank in his laboratory.

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W.H.Donovan had been a very famous yet shady character in his business dealings, so his death draws a lot of media attention. So Pat and Frank have to keep their experiment a dark secret. The two scientists also run into a free-lance journalist Herbie Yocum played by Steve Brodie, who wants to take some sensational photos like the operating table where Donovan died. This, Pat Cory agrees to because he doesn’t want to create any suspicion around his death, especially near his laboratory. But Yokum takes a photo of the brain in the tank.

The experiment is a success and Donovan’s brain is taking in all the nourishment it needs to become stronger, it actually begins to increase in size. The equipment in the lab also indicates that there are thought waves occurring in the brain. Donovan’s brain is actually sending out thoughts telepathically. “Donovan’s brain is giving out thoughts. All I have to do is use my brain to receive them.” Pat Cory tells Frank. So he sits in front of the tank and concentrates leaving his mind open, and it works, he goes into a trance and starts to write notes in W.H. Donovan’s handwriting. This terrifies Jan and Frank, who worry about Pat’s state of mind. The next day, Donovan’s brain takes hold of Pat once again, this time actually causing him to limp the same way Donovan used to when he was alive. At this point Donovan is in complete control of Dr. Pat Cory.

But Donovan alive was a very powerful and ruthless business man , one of the wealthiest men in the world who is still asserting his influence from his remote tank. He forces his will over the poor scientist and actually possesses Dr. Pat Cory like an evil demon.  Lew Ayres is a wonderful actor who does a great job of playing Dr. Pat Cory. So good at playing sensitive civilized men, here he is at the mercy of a very strong willed cutthroat, who wants to see his missions carried out as planned right before his plane crashed. Pat charters a plane where he takes Donovan’s favorite suite in a hotel he was famous for hanging out in, and he closes out his bank account for $27,000 that Donovan kept under a false name. He purchases new equipment so the poor doctor can now boost his brain power even more. He even orders suits like the ones Donovan used to wear and takes up his dirty business dealings.

Pat runs into Yocum, who has figured out the truth behind all the secretive veil surrounding Donovan’s death/life. He knows that Donovan is still alive and starts to blackmail Pat Cory.

Steve Brodie who plays the smarmy reporter Yocum pays the price of finding out about Dr. Cory’s stealing Donovan’s brain and his plan to blackmail the doctor backfires. It isn’t long before, the ruthless mind of W.H. Donovan takes over Cory’s body again hypnotizing Yocum and sending him off into the desert so he can drive his car off a cliff into a fiery mess…

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Gene Evans is very subtle as the inebriated colleague Dr. Frank Schratt. Donovan forces Dr. Pat Cory to continue his tax evasion scheme. He also cuts Donovan’s children out of his will, and plans to have his brain placed in permanent residency at a special installation to house and protect his criminal brain..

Frank tries to shoot the brain in it’s tank-“It’s unnatural, unholy”-but it forces him to shoot himself instead.

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From Bill Warren- “When the brain takes over, Ayre’s transformation from Good Dr. Cory to Bad W.H. Donovan are subtle and powerful.”

During a moment when Donovan is not in control, Pat Cory takes the opportunity to send a message to his wife, with instructions on how to destroy the monstrous brain, but we do not hear what he instructs her to do. Later Donovan thinks that Frank (Gene Evans) and Janice (Nancy Reagan) are in the way and plans on having them taken care of the same way he did with Yokum. That’s when Frank tries to shoot the brain as it forces him to turn the gun on himself. Once Donovan has taken over Pat Cory’s body fully, the doctor no longer exists. He tries to strangle Janice Cory, during a thunderstorm, when a bolt of lightning strikes the lab’s lightning rod, which we now learn was part of Dr. Pat Cory’s instructions. He has hook up a special conduit so when the bolt of lightning hits, the juice charges the tank and Donovan’s brain becomes fried dumplings.

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Of course Dr. Pat Cory must pay for his profane crime of tampering with science and using an unauthorized brain in his experiments,but his faithful wife Janice promises to wait for him.

Gene Evans (The Giant Behemoth 1959, Shock Corridor 1963) plays the good friend who drinks too much, but he’s dependable and likeable. And have no fear, though he shoots himself he does not die by the film’s end.

Dr. Patrick J. Cory: [after Cory wakes Dr. Schratt up from a drunken stupor] “My dear Dr. Schratt, you sober up with more—[pauses and shrugs] grace than anyone I ever saw. You’re terrific. C’mon, let’s go.”

Dr. Frank Schratt: “Are you kidding?—[He hold out his shaking hand]—Look! Nope.”

Dr. Patrick J. Cory: “Frank, don’t let me down.”

Dr. Frank Schratt: “What’s more useless than a surgeon with a hangover? I’m a drunken zero.! I pass!”

Dr. Patrick J. Cory: “No, you don’t. I’d rather have you do a corneal transplant for me drunk than anyone else sober—[Pulls him by the arm] Let’s go boy.”

Dr. Frank Schratt: “You’re brilliant but not normal.”

Dr. Patrick J. Cory: [Laughs] “So are you, but are you and who is?”

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Dr. Patrick J. Cory: [after Cory wakes Dr. Schratt up from a drunken stupor] “My dear Dr. Schratt, you sober up with more.” [pauses and shrugs]
… Grace than anyone I ever saw. You’re terrific… C’mon, let’s go.”

Dr. Frank Schratt: “Are you kidding?” [He holds out his shaking hand]
… Look! Nope.”

Dr. Patrick J. Cory: “Frank, don’t let me down.”

Dr. Frank Schratt: “What’s more useless than a surgeon with a hangover? I’m a drunken zero.! I pass!”

Dr. Patrick J. Cory: “No, you don’t. I’d rather have you do a corneal transplant for me drunk than anyone else sober.” [Pulls him by the arm]
… Let’s go boy.”

Dr. Frank Schratt: “You’re brilliant but not normal.”

Dr. Patrick J. Cory: [Laughs] “So are you, but are you and who is?”

Donovan's Brain 1953

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Dr. Patrick J. Cory: -“Perhaps I’ll cure Frank and every other alcoholic if I can solve the mystery of Donovan’s Brain. I think it’s a matter of chemistry how the brain thinks. The problem is to find out what chemical combinations are responsible for success… failure… happiness… misery.”

Janice Cory: “Sounds impossible.”

Dr. Patrick J. Cory: “But it is not. It can’t be. There has to be a way.”

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Four Sided Triangle

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Directed by Terence Fisher this is a rare and obscure little film! Stars Barbara Payton as Lena/Helen, James Hayter as Dr. Harvey, Stephen Murray as Bill, John van Eyssen as Robin, Percy Marmont as Sir Walter.

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Photo courtesy of: Alamy

1950s had some memorable science fiction films within the genre that entertained us in the decade that saw the heyday of the illusory American dream—where the books and films forged out of fantasy were a great release from the anxiety of WWII and the advent of McCarthy Era paranoia. It was rarity to find American science fiction films of the early 50s that were based on novels of the same name. This was even more of an oddity for British films. Then there was the very provocative Four-Side Triangle, adapted from the novel by William F. Temple and scripted by the prolific Terence Fisher who also directed, co-scripted by Hungarian born Paul Tabori who went on to write several science fiction novels himself, the most well known being The Green Rain. The novel was published in 1939. A first fantasy feature by Hammer with director Fisher’s that predates his stint with the Hammer brand horror/sci-fi The Curse of Frankenstein (1957) and Horror of Dracula (1958)

Four-Sided Triangle wasn’t received very well, and it’s still considered quite dreary and so it remains pretty obscure today.

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And I find it sort of possesses an air of deviance and a serious curiosity piece concerning a love triangle that becomes a twisted kind of quadrangle. The films stars Barbara Peyton who plays a dual role —the object of both men’s desire.

Lena who returns to her English home town to see her old child hood friends, Robin (John Van EYSSEN) and Bill (Stephen Murray) have invented a machine that can duplicate objects by reconstructing matter into energy. Not unlike the transportation device in The Fly (1958) that messed with atomic particulars that re-assembled matter then sends it to another location re-assembling it, sans any contamination in the field like let’s say a house fly… “Eeeeeee….Help me, Help me!”

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They try out their experimental machine first using a totally innocuous  object — a watch, which they manage to duplicate. Meanwhile Lena and Robin get engaged and leave to get hitched, leaving Bill to mess around with their new discovery. He uses a living subject instead of just an inanimate object. He’s also madly, tragically in love with his brother’s girl, Lena. This is where the story becomes if not risqué it bares the element a of twisted Sci-Fi melodrama. His brother Robin returns from the honeymoon and heads out to London on business. Poor lovesick Bill asks Lena to please submit to his very profane request… to allow him to duplicate her, using the machine, so that he may fulfill his desire for her in some way.

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Lena actually agrees to this, and her doppelgänger Helen is born. But as they say careful what you wish for, and while the machine is effective in duplicating the subject, it does exactly that! And what happens… Helen falls in love with brother Robin as well. Oh what a tangled web we weave. It’s a theme about life’s song of irony and the lesson that we shouldn’t meddle with nature. The constant trope that runs through most to all Science Fiction stories. Not to play god, not to tamper with the nature of things, nor to be as bold to force our will upon other people or the natural world, at least not without paying the consequences for these sacrilegious actions.

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Of course Bill is devastated by the outcome, and instead of learning his lesson, he delves deeper in the dark recesses of his lower self and tries to wipe out Helen’s memory, in hopes of being able to seduce a blank slate. Bill does wash her mind clean, by electronically eradicating Helen’s memory but there is a fire in the laboratory and one of the women is killed.

I’m sorry, but you get what you deserve when you’re willing to create a woman in a machine that mimics the object of your desire. It is pathetic and outré creepy, and it says that that any woman will do as long as she’s from the same atomic particle ‘mold’ rather than accepting fate. It doesn’t create much sympathy, even if it is born out of a broken heart. Get over it, or get a puppy!

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Lena: An empty mind… and a new beginning!

Invaders from Mars

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Murderous Martian creatures from out of space! From out of space… came hordes of green monsters! Mankind’s oldest fear…The Alien’s last conquest!

Directed by innovative designer William Cameron Menzies who directed (Things to Come 1936) a surreal & beautiful science fiction dreamscape with a screenplay by Richard Blake. Starring Helena Carter as Dr. Pat Blake, Arthur Franz as narrator/Dr. Stuart Kelston, Jimmy Hunt as David MacLean, Leif Erickson as George MacLean, Hillary Brooke as Mrs. Mary MacLean, Morris Ankrum as Col. Fielding, Max Wagner as Sgt. Rinaldi William Phipps as Sgt. Baker, Milburn Stone as Capt. Stone.

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Cinematography by John F. Seitz (The Lost Weekend 1945, Double Indemnity 1944, Sunset Boulevard 1950) and music composed by Raoul Kraushaar (Cabaret 1972)

Invaders From Mars is perhaps one of the most recognizable science fiction gems of the 1950s partially due to William Cameron Menzies eye and experience for artistic design, he creates a dreamlike colorful yet terrifying landscape, with the feel of a comic book horror/sci-fi/fantasy. It’s a vision of alienation, alien occupation and paranoia that we can all relate to at some point in our lives. I know it effected me as a kid, while not growing up in the 1950s I certainly was fed a substantial dose of the product of horror/sci-fi/fantasy that came from the contribution of literature and film that preceded my childhood growing up in the following decade of the turbulent 60s.

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The story uses as it’s protagonist a little boy who experiences a nightmare journey that recycles itself in the end, creating the dreaded sense of entrapment. The young protagonist finds his “Own reality is being twisted into the kind of horror…[…] the story is literally a nightmare.”

The story is told from the point of view of David MacLean played by Jimmy Hunt. Bill Warren in his terrific overview Keep Watching the Skies published by McFarland. “Children operate with a different kind of logic than adults: events proceed from cause to effect, but the causes adults and children see don’t produce the same effects, and vice versa. Adults and children are not frightened of all of the same things, nor do they find the same things interesting. It takes a special imagination to achieve this kind of viewpoint.”

David is a young star gazer who is awakened one night by a flash of bright light when he looks out his bedroom window and sees a flying saucer land out over the hill. He wakes his parents, George and Mary (Leif Erikson and Hillary Brooke) to inform them of what he’s seen. The artistic direction and color palette reminds me of Finnish painter Hugo Simberg. The set pieces have a surreal, simplistic yet fantastical color scheme and composition.

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Menzies art directions were “like a daisy chain” of dream sequences.

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In the morning, father George goes out to investigate near the place David saw the craft go down, the fence seems to disappear into the sand dune. A mysterious hole in the sand swallows up George, who doesn’t return home, his wife phones the police, until George suddenly comes back but with a completely different temperament. He seems like a changed man. He has no emotions at all, yet he bares a strange ill-tempered streak, verging on violent when unprovoked he strikes David hard with the back of his hand, when David questions him about a strange mark on the back of his neck.

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“Say dad when you were out there did you see anything?”
“lets not start that flying saucer nonsense again.’

he notices the implant in the back of his father’s neck “Hey dad” “Yeah what do you want!” “what happened to your neck, it looks like there’s a ….?”

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Imagine the nightmare of a twist of fate where the people who love you now hate you and the ones who are supposed to keep you safe, become the most dangerous!

The next to disappear in the sand pit are the two policemen Douglas Kennedy and Charles Kane -called out to find David’s father. Once they return they appear to have the same eerie ill mood as George, zapped of any human emotion. Now, when a little girl also disappears, seemingly swallowed up by the sand and disappears in front of David, he tells his mother, but she too returns just as a fire starts in the basement of the little girl’s house. David panics and goes to the police station. Seeking out the symbol of authority and protection right… wrong…!

The little guy talks to the chief. “You wouldn’t believe me.”

“What makes you think the chief will?”

One of the cops who has been taken over by the invaders asks, “What’s the trouble Mac?”
it’s a very creepy tone, that seems menacing in it’s coldness…

David sees that the guy has the same wound on the back of his neck. Pulling his collar over it to conceal it.

When the little guy runs into the police station asking to see the chief, it goes to that place where we feel most vulnerable and the panic sets in when we realize there is no one you can trust, no one to believe you. There is no safe place. And those you love are gone. The threat goes to the issue of trust and sense of safety and not just about creepy aliens lurking around. A film of paranoia and insecurity.

Spielberg says that Menzies gave himself the license to work on the film doing homages using BERTOLD BRECHTIAN sets, because it was a dream. Also the fear that it kept recurring is the notion that there isn’t any escape you can wake up from the nightmare, but it only begins all over again. “It’s a trap. It’s absurd. it’s deadly frightening.”

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There the chief of police Bert Freed has also been taken over by the Martians who have submerged themselves in the land behind his house. David is locked up until a psychologist Dr. Pat Blake played by Helen Carter who comes to see him and realizes how genuinely frightened he is. He is petrified when his parents come to pick him up, his mother now showing the same frozen demeanor as his father. So Dr. Blake keeps David in her care and takes him to see a colleague Dr. Stuart Kelston played by Arthur Franz. Dr. Kelston is also an amateur astronomer who not only believes that David saw a space craft land in the back field, but that the earth could very well be under siege by Martians, an immanent invasion could be near. That they might be trying to interfere with local rocket experiments being launched in the area. And of course, that’s where David’s father works.

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Kelston has a telescope and he, David and Dr. Pat Blake see David’s father lure General Mayberry (William Forrest) to the sand dune that swallows him up. Soldiers are sent to surround the sand pit, overseen by veteran science fiction supportive actor Morris Ankrum who plays Colonel Fielding along side Sergeant Rinaldi (Max Wagner). Meanwhile the Martians are systematically sending out their possessed humans to sabotage the works. The Martians act like puppet masters who can also control their subjects by exploding the devices implanted in their brains –the marks on their necks are where they’ve been drilled. Lovely thought…

David is told that his parents are getting their control devices taken out through surgery, just as the sand trap opens up right under his and Pat’s feet, they fall beneath the sand into the underground lair that the Martians have been operating from. We get to see two green Martians who walk like they shuffle (excuse me for saying, back in the day my older brother used to say that they walked like they had shit in their pants) actually these Martians do sort of qualify as ‘pants monsters’.

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Anyway, the two Martians bring David and Pat unto the grand Martian leader, a very kitschy Martian –a goldish green head including shoulders with nasty tentacles encased in something like a glass orb. The main Martian telepathically uses it’s eyes to communicate it’s creepy menacing power not with squinting veracity but more with a comical sort of soulessness.
The nefarious Martian Intelligence is portrayed by Luce Potter.

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Thank God the military saves the day as Fielding, (poor General Mayberry gets killed), enter the Martian’s underground chambers and rescue David and Pat, she was just about to get her brain drilled into, they blow up the spacecraft. After this climatic seen as David is on the surface running away, he awakens from this nightmare, (the rolling flashback in his head is a terrific touch) as it was truly a nightmare… runs into his parents bedroom, thank god the nightmare is over, he goes back to his room falls asleep until he is again awakened by a space craft landing out in the field behind his house, the entire cycle of events to repeat all over again. It’s quite a stunning conclusion… that doesn’t give us any release.

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In honoring Menzies incredible eye for design, and how the film was envisioned as if we are experiencing the nightmare through a child’s eyes, I defer to the way Bill Warren sums up some of the visual highlights of the film- “The jail set is especially impressive. The only things on the set are those that would impress themselves on a boy; (I’ll ignore that presumptive gender bias) there is a police chief, one sergeant at a towering desk, and on the wall behind him a clock with hands that don’t move, one cell and one key to the cell. The walls are white and almost not there at all; the hall from the front door to the desk is long and tall, it is a set out of a dream, as if it is only partially real…[…] The interior of the Martian flying saucer is equally imaginative and equally minimal. It’s composed almost entirely of greenish plexiglass. There are no instruments visible at all, there are a couple of tubes which reach up out of sight and a large inexplicable hole in the floor. The sphere with the Martian Intelligence inside rests on a pillar, and is brought to it brought to its perch by the giant green mutants.”

Not to mention the surreal space behind David’s house, the sand pit and the fence that disappears out of site, the winding trees that melt into space. It’s all very much a dreamscape. A reduction of images in which the minimalist elements actually add to the eerie atmosphere the opposite of Grand Guignol and Gothic old dark house set pieces. How can something so simplistic be so menacing. I guess that’s why Menzie’s film is still so gorgeous to experience today.

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Actor Mark Hamill-“The Invaders From Mars were no angels. They were here to bend our minds. They were the thieves of love and trust. The film was directed by the great art director William Cameron Menzies who gave it a memorably surreal design on a tiny budget.”

Director Steven Spielberg talks about how Invaders From Mars turned his world around “it got to a primal place which basically says the first people not to trust is your father and mother.”

Director James Cameron “What is the deep seated psychological fear that’s happening here. Maybe it’s a simple and elemental as you’re in a relationship with somebody whether it’s child/parent  husband/wife but you never really know what that other person’s thinking. And they might be evil.”

Steven Spielberg “It certainly touched a nerve among all the young kids like myself who saw that movie at a very young age. That you would come home and that you would not recognize your mom and dad they would have changed into people who hate you.”

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When the father hits his son so violently that it knocks him down, as Spielberg says “it’s a shattering primal attack on us.”

I had the same reaction, I came home one night and felt like my parents had been exchanged somehow. they were not cruel like David’s parents in Invaders from Mars, yet I felt that they were somehow duplicates. I walked around the block for an hour afraid to go inside the house. These movies certainly made impressions in that deep rooted primal way. The subtleties of films like Invaders from Mars will still leave their mark on your psyche.

The giant green Martian Mutants must have zippers up the back of their velour costumes…

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The idea of not being believed works as a trope and it possesses a powerful persuasive tone that seeps inside and effects you as a kid watching Invaders From Mars.

All of a sudden, parents turn into aliens, monsters and cruel. It could be a metaphor for any number of difficult issues children might confront, like alcoholism, abuse etc. It is the changes that the child experiences in private where they cannot convey to people outside the home, that tells the story of alienation and estrangement. It is a terrifying journey they must navigate on their own, while they try to negotiate what is happening to them.

The ship has crashed into the land, over the hill. The sand sinks down like quicksand that drags down anyone who walks over it. The mutants who walk like my brother used to say to me, like they’ve got shit in their pants, worship and serve this giant tentacled head in a glass orb. The whole vision of the ground ‘literally’ collapsing where you stand. it gives the idea that you can’t even feel safe where you stand. It will suck you down into the bowels of the earth where evil creatures will turn you into a mindless image of yourself.

Spielberg says “What really unseats you as a child seeing that movie. it’s all a dream. He wakes up and his mom’s normal and his dad is normal and they don’t believe him, but what happens in the last scene.”

“It starts all over again…  It’s the groundhog day of science fiction —lol I thought the same thing Spielberg. that’s pretty much what it is…. he’ll just go through the whole loop and then wake up over and over again. There’s a twilight zone episode like that where Dennis Weaver keeps getting sentenced to death by a jury and goes thought the execution only to wake up and do it all over again… Spielberg puts it like this “it’ll be a never ending mirror tunnel of nightmares.”

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Narrator: The heavens. Once an object of superstition, awe, and fear. Now a vast region for growing knowledge. The distance of Venus, the atmosphere of Mars, the size of Jupiter, and the speed of Mercury. All this and more we know. But their greatest mystery the heavens have kept a secret. What sort of life, if any, inhabits these other planets? Human life, like ours? Or life extremely lower in the scale? Or dangerously higher? Seeking the answer to this timeless question, forever seeking, is the constant preoccupation of scientists everywhere. Scientists famous and unknown. Scientists in great universities and in modest homes. Scientists of all ages.

It Came from Outer Space

It Came From Outer Space poster

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XENOMORPHS INVADE OUR WORLD! They can look like humans or change to objects of awesome terror!–From Ray Bradbury’s great science fiction story!–Amazing Sights Leap at You in 3-DIMENSION

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From a story by the master of fantasy and science fiction Ray Bradbury

The science fiction film that brought us the amorphous bubbly one eyed Xenomorph.

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Jack Arnold’s amazing foray into an alien crash landing that involves stolen identity, invasion fear and the possibility that life on other planets might be benevolent but still really really creepy.

The film stars Richard Carlson as displaced reporter John Putnam, the wonderful Barbara Rush as Ellen Fields, Charles Drake as jealous Sheriff Matt Warren, Joey Sawyer as Frank Daylon, Russell Johnson as George, and Kathleen Hughes as June.

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Art direction by Robert F. Boyle (North by Northwest 1959, In Cold Blood 1967, Cape Fear 1962, The Thomas Crown Affair 1968) and Cinematography by Clifford Stine (This Island Earth 1955, The Incredible Shrinking Man 1957,Touch of Evil 1958, Imitation of Life 1959, Operation Petticoat 1959, Spartacus 1960, Patton 1970) Read Stine’s credits on IMBd they are far too many to list! The mesmerizing musical score is by an un-credited Henry Mancini, Irving Gertz and Herman Stein. The memorable visual effects are by David S. Horsley-(The Killers 1947, Abbott & Costello Meet Frankenstein 1948, This Island Earth 1955) It Came From Outer Space was also filmed in the sensationally hyped 3D!

It Came From Outer Space 1955 Carlson and Rush

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The music is wonderfully inspiring to the mood, especially with the desert’s sense of estrangement and when the presence of the Xenomorphs are near. I think they use it as some of the stock music for Night of the Living Dead… I need to check that out… From what I see about their contributors I cannot link to any of the three music contributors to It Came from Outer Space… but I always get a thrill when the ‘coming near’ motif music happens in both!

In reading Bill Warren’sKeep Watching the Skies his overview of It Came from Outer Space, gets into the discrepancies about Ray Bradbury’s full participation in writing the screenplay, being totally replaced by Harry Essex who is credited for the screenplay, if it was his memory that was failing in recollecting what happened or if he had been misunderstood and his work co-opted by Essex because Universal didn’t like Bradbury’s treatment of the script. Warren is totally supportive of Bradbury being an un-credited contributor to the script. While he delves into the weeds a bit more about the mystery and contradictions about the facts behind-the- scenes, I think I’ll just stick with Jack Arnold’s beautifully executed science fiction master work here. But the entire section on the film is fascinating if you want a good read and 1950s science fiction is of particular interest, pick up a copy of Keep Watching the Skies by Bill Warren, it’s a sensational compilation of a decade of gems and stinkers, informative, funny engaging even including old published reviews of the films during the time of their theatrical release. I highly recommend it.

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First of all,this is one of those science fiction films that’s actually a really good film, with so many elements that work fabulously to transcend genre. This is one of the first major studio Universal – International to release a film in 3D, and one of the first to be shown in what was called wide screen and in stereophonic sound.

It was also the first science fiction film to be directed by Jack Arnold. (YAY!!!) The first using the southwestern desert as a location— the Mojave desert to be exact and not the Arizona desert as plotted out in the story—Donovan’s Brain was set there but made little use of the area as a central focal point. The desert already has an eerie, isolated vibe to it…

The film stars Richard Carlson as John Putnam and Barbara Rush as Ellen Fields.
Ray Bradbury wrote the original story on which the film is based, He was at the height of his writing with The Martian Chronicles, The Illustrated Man and Fahrenheit 451 which brought his genius into light.

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The story opens as a meteor cuts through the evening sky like a glowing fireball high above the alienating desert landscape. For the locals, this brings about many different reactions, including that of John Putnam, amateur astronomer who’s having dinner with his fiancee Ellen Fields. This gets John so excited that he immediately wants to drive out to the sight to investigate. He and Ellen hop on a helicopter and go and see where the meteor left a large crater.

Meanwhile from the view of what ever the alien life force is, it moves from the crashed spacecraft, revealing that it wasn’t a meteor at all. —“Bradbury describes  quick shots of animals fleeing in fright from the alien visitor. The jack rabbit, for instance. At this point, he does not mention the use of a subjective camera technique , which has so often been commented on in relation to the film.” -Bill Warren.

Putnam arrives at the crater and approaches the object that has crash landed in a gaping hole, nearly burned to molten rock. Suddenly a landslide occurs and covers up the opening and the space ship.

Bill Warren–In a sequence (not in the finished film) almost certainly suffused by Billy Wilders’ Ace in the Hole /The Big Carnival 1951, which also took place in the Southwestern desert, earth moving machinery arrives in an effort to uncover the buried pilot. No one believes Putnam’s story. Eventually everyone give up and goes home, including Ellen and Putnam. A strange shape crosses the highway in front of them, they stop to look for whatever it was and a Joshua tree in the dark frightens Ellen, but they do not see the strange shape again. The alien, with the first-person camera emphasized (the camera’s point of view is the Alien’s) watches them leave.

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The next day Putnam is interviewed by hostile reporters. A few days later, the excitement of the meteor has died down. They drive into the desert alone. stopping to look around. “It’s alive” says Putnam “it looks so dead out there. And yet, it’s all alive and waiting around us and ready to kill you if you go too far from the road. The sun will get you, or the cold at night, or the snakes and the spiders or a sudden rain that floods the washes will get you. Ohm there are a thousand ways you can die in the desert.”

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Here’s Essex’s version of the same scene, which is in the film, “It’s alive.” say Putnam. Ellen nodding adds, “And yet it looks so dead out there.” Putnam goes on. “But it’s all alive and waiting for you… And ready to kill you if you go too far. The sun will get you or the cold at night… a thousand ways the desert can kill.” There isn’t much difference though some of the dialogue is shared by Ellen which is a nice touch.

Putnam and Ellen drive on and meet the phone linemen. Putnam climbs up the ladder to listen to the strange sounds on the wire that the linemen have been noticing since the crash. The elder lineman says —

 

–“In all my years nothing like that sound. Like Someone’s on the line. Down that way maybe, tapping the wire. Or up the other way, tapping the wire. listening to unlike we’re listening to him… After you been working out in this desert for fifteen years like I have you get funny ideas. There’s that sun in the sky and the heat, and look at the roads, full of mirages. And the sand out there, full of rivers and lakes that are fifty, a hundred miles away…. And sometimes you get to thinking maybe some nights, or some noons like this noon , the sun burns on the wires and gets in the wires and listens and hums and talks like this talk and that’s what you hear now. And sometimes you wonder if some of the snakes and the coyotes and the tumbleweeds don’t climb the poles at noon, far off where you can’t see them, and listen in on us human beings.”

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“Once again, Essex condenses and duplicates this speech without understanding the poetic paranoia behind the words. Fortunately director Jack Arnold and actor Joe Sawyer did, and the scene is one of the most famous and best like in the finished film.”-Bill Warren.

Putnam and Ellen decide to help the linemen find out what’s happening to the wires, and head off in the opposite direction from the one the linemen take. The linemen meet the alien , the scene cuts to Putnam and Ellen. who turn around and go back. They meet the alien masquerading as the younger lineman (Russell Johnson) When he quietly walks up and taps Putnam (Ellen in the film)  on the shoulder, Putnam spots a body behind a mesquite bush, assumes the linemen are dead, and that what he is talking to isn’t human.

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The scene that follows, one of the only two in the film in which Putnam is not the central figure, was added to the screenplay by Essex. In it, the alien George (Russell) tells the real Frank (Sawyer) that they have landed by accident and that they have the power to make themselves look like us.

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Bill Warren passionately tries to defend and clarify this.. “I could continue through the entire storyline in this fashion , it would be profitless. Despite  all claims by everyone else to the contrary, the story and the best elements of It Came From Outer Space were written by Ray Bradbury, not by Harry Essex. Because of the many influences of this film, Ray Bradbury’s therefor far more responsible for the look, the feel and the approach of 1950s science fiction movies than he has ever been acknowledged or even suspected before.”

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In the finished film the aliens apparently literally take on the form of other people, they are actual shape shifters their bodies are malleable enough that they can actually restructure themselves to resemble anyone. In Bradbury’s script, the effect is the same but the power seems to come from hypnosis —the aliens resemble lizards in Bradbury’s treatment.

I learned something really interesting from reading Warrens analysis of the film. I myself have often confused Richard Carlson with Hugh Marlowe at times. Here is partly the answer to that

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“In the draft actually called It Came from Outer Space, almost all of the film that was to be was created by Ray Bradbury. In this draft (begun October 1, 1952) Bradbury emphasized scenic and character descriptions much more strongly than the had in his earlier drafts. probably on studio orders. In so doing he created the standard science fiction her of the 1950. who was to be played by Richard Carlson or the nearest equivalent through most of the rest of the decade. Hugh Marlowe, John Agar, Jeff Morrow, Rex Reason. The characters they played were almost always variations on John Putnam the dedicated slightly strange and earnest young researcher. The actors often physically resembled Carlson.”

When it all comes down to it, what Bill Warren is asserting is that he found evidence that Essex’s script was a duplication of Ray Bradbury’s treatment, meaning the result –he isn’t getting the credit for his contribution and Essex is getting credit for Bradbury’s work. And he feels that what Essex did manage to change slightly, didn’t work at all, including inventing some of the poorly envisioned scenes.

What does happen by the end of Bradbury’s final draft is how his incredibly fluid and convoluted description of these alien came to life as close to the poetic description Bradbury put forth. The few times the aliens show themselves they are hard to assess, in form, with the emphasis on their milky jelly like eye in a gigantic impression of a head, surrounded by a foggy mist, with sparkles and glistens like a jello mold … but in the end, the film shows them as close to their poetic description that Bradbury had envisioned. Different than some man in a lizard type pants monster suit with bug eyes, or layers of monster make-up, the floating amorphous alien really does seem to exist on the extra terrestrial plane.

“One of his main contributions to It Came from Outer Space seem to have been the shimmering bullseye effect used whenever the camera ‘is’ one of the aliens. The subjective camera “playing’ the aliens at time is Bradbury’s idea. but the refinements seem to have been Jack Arnold’s–Bill Warren

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Another aspect of these aliens is that they are not quite hostile, though they are not benign either. it’s sort of a unique view of them. They are panicked and desperate to get off the Earth, and get back to their original destination “Our mission was to another world, only an error dragged us to Earth” Some of the aliens, such as the one in the guise of Ellen that tries to kill Putnam,are indeed hostile to people. Others are just nervous, such as the Putnam duplicate. or openly friendly , like the one that copied George the lineman. In short, just like real people, they don’t have a common attitude they are not of one mind. They reveal an individual spirit. It’s quite a break away them from other aliens who are a collective group on a mission, unified.

This being director Jack Arnold’s first science fiction film leads with a focus on how the alien relates to this world he has invaded. The result that his films seems less fanciful and more realist than most other of this period, such as The Incredible Shrinking Man 1957.

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Ellen Fields: If we’ve been seeing things, it’s because we DID see them.

Sheriff Matt Warren: [three-shot, characters gazing toward sky into which meteor-spaceship has rocketed] Well, they’ve gone.

Ellen Fields: For good, John?

John Putnam: No. Just for now. It wasn’t the right time for us to meet. But there’ll be other nights, other stars for us to watch. They’ll be back.

 

Continue reading “🚀 Keep Watching the Skies! Science Fiction Cinema of the 1950s: The Year is 1953”

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

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

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THE ALFRED HITCHCOCK HOUR

Concerto Sinostro- The Alfred Hitchcock Hour- Seven Exceptional Episodes

Alfred Hitchcock the television years: 8 indelible episodes!

There were 93 EPISODES in the series.

Alfred Hitchcock and Crow

“GOOD EVENING…

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

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

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

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

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

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

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

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

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

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

Norman Lloyd

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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“GOOD EVENING…..”

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

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

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

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

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

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

Alfred Hitchock Being A Big Goof (1)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sister Jem-“Have you prayed?”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

THE SECOND SEASON!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Directed by Alf Kjellin story and teleplay by Robert Gould

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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SEASON 3

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Dana Wynter An Unlocked Window

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

An Unlocked Window

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

From The Vault: Picture Mommy Dead (1966)

“who hated Jessica enough to kill her “that” way?”

Picture Mommy Dead  1966

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Susan Gordon plays Susan Shelley a demented child not unlike Jan Brady, just released from a convent/ institution run by nuns…where she’s been placed after suffering from the shock of seeing her mother, (the flamboyant Zsa Zsa Gabor) Jessica Flagmore Shelley be consumed by flames in her opulent bedroom.

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Don and Susan

Susan still traumatized by the haunting memories of her mother’s horrific death and surrounded by some of the creepiest toys in all tarnation, comes home to the palatial hearth with father Don Ameche as Edward Shelley and his new lusty, conniving second wife Francene played by sexy  Martha Hyer. Edward is so blinded by his desire for Francene that he’d sell out the whole estate contents and all to give his conspiring hussy all the money, vacations and furs she wants.

Francene starts sneaking around again with brother-in-law Anthony Flagmore played Maxwell Reed. Flagmore’s face has been charred from that fateful night when mommy went up in flames. His odd presence and faithfulness to his pet hawk, add an air of the macabre to the already heady script.

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The brazen couple plot to drive little Susan over the edge, while trying to get her to reveal the whereabouts of her mother’s missing diamond necklace.

This Grande Dame horror film is a little gem from the vintage 60s, by director Bert I Gordon, and also boasts a great supporting cast with, Wendell Corey, Signe Hasso and Anna Lee. It’s creepy, it’s campy and a wonderfully colorful psychosomatic romp. Cinematography by Ellsworth Fredericks, who was director of photography on Invasion of The Body Snatchers 1956 and the sublime Mister Buddwing 1966 which I’ll be writing about soon) The soundtrack includes The Hearse Song sung by Gordon‘The worms crawl in, the worms crawl out.’

Portrait of Mommy

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Hedy Lamarr gets passed over by Bert I. Gordon.

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“Through a Child’s Eyes You Will See Torment … Murder … And Flaming Passion!”

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Be nice to mother now!- MonsterGirl