Showing posts with label 1963 Mercury Monterey. Show all posts
Showing posts with label 1963 Mercury Monterey. Show all posts

Sunday, July 25, 2010

Kraft Suspense Theatre; Leviathan Five; Arthur Kennedy; Hobbes; Harold Stone; Andrew Duggan; Robert Webber; Frank Overton; Frank Maxwell

Click here for my previous episode review.

Season #1, Episode #14

Leviathan Five

Original Air Date - January 30, 1964. This was the 4th episode aired during 1964. Twenty-nine (29) total episodes were aired during 1964 - more than any other year and almost half of all KST episodes.

Setting/Time - (1) a courtroom in a modern (unnamed) American state and (2) a nearby underground research facility (via flashback).


Plot/Review/Discussion -

Four scientists and a security guard are trapped by an accidental explosion in an underground laboratory. (I do not remember how deeply underground they were, but I recall the elevator clearly indicating a descent of more than 1,000 feet.)

After the explosion, the scientists calculate how long their limited air will last and how long it will take rescuers to reach them and reopen the air vents to the surface. They determine that they cannot survive unless they kill one man quickly. They devise a method where one man will be selected by lottery either to commit suicide or kill one of the others at his own discretion.

The story takes place in a courtroom as the surviving four men are placed on trial for the murder of the fifth man. We do not see exactly how the man died or who killed him, but that is not the point of the trial. All of the survivors face trial, even though only one man presumably pulled the trigger.

Many of the KST episodes focus on a choice between right and wrong. This episode includes the same focus but with a different emphasis. In "Leviathan Five" the choice has already been made and the characters must fight over whether that choice was right or wrong. The survivors' very method of choosing one among them to die is the basis for the charges against all of them. There is no obvious bad guy, only a near impossible situation and plausible arguments on both sides of the issue.

The survivors defend the charges on the basis that they were cut off from society and had to create new rules. They argue that they were not subject to the laws of their (unnamed) state anymore. [The writers' avoidance of any reference to any particular state is a source of awkwardness.] The issue comes down to whether it is right for a small group to kill one of their members if it will save the rest and if they are cut off from civilization. In this episode, the question depends also on the fact that all five men voluntarily took part in the plan.

The story is not as scientific or philosophical as I am making it sound. Other reviewers (at IMDB.com) have focused on Hobbes or an article by a Harvard law professor, but one need not be familiar with these works in order to enjoy this episode. The dispute is presented thoroughly through crisp and simple dialogue - mainly the cross-examination between the prosecutor and the lead scientist.

The writers needed to separate the scientists and the guard from civilization in order for the plot to work. In doing so, the plot lost some credibility. They never made clear why the scientists needed to perform their duties so far underground in the first place. All the audience sees of the underground laboratory are books, papers, a wall control panel and some living quarters.

More interesting is the question of why they needed an armed guard so far underground (aside from the fact that the presence of the guard and his gun are important to the plot). Who was the guard expecting to shoot? What kind of trouble was he expecting 1,000 feet below ground? Is scientific work prone to erupt in violent arguments? If not each other. who was the guard protecting the scientists from? There already were guards and a checkpoint at the entrance to the facility. Notwithstanding the protection above, were they expecting prowlers to make the long journey down the shaft?

If the scientific work involved something so dangerous that it had to be kept more than 1,000 feet below the surface, was it really safe to risk gunplay down there? [This is never explained, but maybe that is what caused the explosion - a guard in another underground shaft at the same facility got trigger happy - with disastrous results.]

And speaking of safety, why did the scientists wear labcoats (aside from the television/movie stereotype of scientists wearing labcoats as some sort of uniform)? They did not seem to be doing anything that could get their clothes dirty (aside from dealing with the consequences of the explosion that trapped them all below ground with limited air). Maybe the facility owners would have been better advised to spend their safety money on preventing explosions instead of issuing useless labcoats.

And not to be overly picky, but the motorized golf cart that carried the scientists from the elevator down the long hallway (the guard would later reveal the exact distance) seemed to be pointless too. Come to think of it, they could have done without that entire hallway. There did not appear to be any other offices down there. Why not simply place the lab near the base of the elevator and avoid some very difficult tunnel construction (not to mention the expense of maintaining the golf cart)?

While others (for example Star Trek fanatics) might try to explain these points with reference to some implausible scenario (e.g. 'this is how laboratory work is done in a parallel universe'), I am content to suspend disbelief just enough to enjoy the plot despite these questions. In fact, a viewer is not likely to notice these things upon seeing the episode for the first time.

I noted also that the courtroom objections seemed to be handled correctly, especially the judge's treatment of the hearsay rule and the fifth amendment (although the main character's use of the fifth amendment would turn out to be improper and might result in contempt charges). This contrasts sharply with modern courtroom dramas.

This episode is one of three KST episodes in which William P. McGivern received a share of the writing credits. His writing focus was usually on crime and police work. I suspect he contributed some of the courtroom and legal knowledge to supplement "Leviathan's" philosophical conflict.

Cars

As far as classic cars are concerned this episode featured quantity over quality.

The opening to the flashback featured a shot of a full parking lot of early 1960's models. The only one you see actually moving is a 1962 Dodge Dart station wagon that carries the lead scientist from his home to this facility. And this brings to mind another question about plot awkwardness. The scientist testifies that he drove, even though he had a driver in the car with him. This is never explained, although it does place the "driver" in the same category as the armed guard. The scientist should have suspected trouble at this point, seeing that he had a driver that served no purpose. This fact should have tipped him off that the armed guard that met him at the shaft entrance would serve no purpose either - except to fill a plot hole that might involve shooting.

As the Dart wagon moves through the parking lot, we catch glimpses of two early-mid-1960's Ford Thunderbirds and a 1963 Mercury Monterey (among many others). Those were all definitely quality cars, but it is much less fun when you see them parked instead of moving along the highway.

Actors

Arthur Kennedy played the lead scientist, who provided the testimony during the trial. Kennedy acted for fifty years until his death in 1990. He received five Oscar nominations.

Harold Stone played another of the scientists. Stone played numerous roles on television and movies for almost 40 years, including guest roles on Big Valley (with fellow KST actor Steve Ihnat) and KST spinoff Run For Your Life. I remember him as gangster Frank Nitti in The St. Valentine's Day Massacre in 1967.

Robert Webber played the prosecutor. Webber was a well-known character actor for almost forty years until his death in 1989. This was the first of his two KST appearances. I remember him as a drug kingpin in Revenge of the Pink Panther (1978). He guest-starred in many of the most famous TV shows of his time.

Frank Maxwell played the armed guard in the first of his three KST appearances. He did character work for almost 50 years, including guest and regular appearances on network television. His roles usually were authority figures (police, military, etc.).

Andrew Duggan portrayed another of the scientists in the first of his two KST appearances. He is known for playing presidents, including Eisenhower and Johnson numerous times. He also played military leaders in modern settings and in westerns, such as Big Valley. He enjoyed many starring roles in television for nearly 40 years until his death in 1988.

Star Trek connection.

This episode's Star Trek actor is Frank Overton, who played the defense attorney. Overton starred in Star Trek's "This Side of Paradise" (directed by KST's Ralph Senensky). Overton played in one of the more well-known episodes of Twilight Zone, opposite KST's Gig Young. His IMDB "trivia" bio mentions his Star Trek appearance to the exclusion of the remainder of his 20 year career.

Tuesday, July 13, 2010

Kraft Suspense Theatre; The Deep End; Travis McGee; Whit Bissell; Tina Louise; Ellen Burstyn; Clu Gulager; Aldo Ray

Click here for the previous episode review.

Season #1; Episode #11

The Deep End
Original Air Date - January 2, 1964. The Christmas/New Year season apparently did not interupt the original broadcast schedule for KST.

Setting/Time - A modern small California town and nearby lake.

Plot/Review/Discussion -

The story opens with a dramatic murder. The main character is a private investigator who is not satisfied that the victim's death was a suicide or an accident. By investigating the death, he becomes embroiled in small town intrigue, including financial disputes and romantic tension involving the victim's boyfriend's company.

This episode is essentially a mystery/crime story. There is some discussion of the motivations and internal conflicts of the killer, but those factors are too extreme in this case for the audience to identify with.

Part of the story deals with solving the mystery of the murder. The identity of the murderer becomes known well before the end of the episode. The episode then focuses on trapping and catching the murderer.

The original story is based on a novel by John D. MacDonald, the author of the Travis McGee mystery series. This story contains similarities with other MacDonald writings.

The ending is somewhat clever (maybe too clever) and adds a new layer of complexity to the plot. The story differs from a Hitchcock story of that era only in the absence of some vague supernatural connection and the absence of the smugness that characterizes the Hitchcock plots. [I would explain further, but this blog is not about Hitchcock.]

MacDonald wrote one Hitchcock story in the early sixties. He also wrote the story upon which Cape Fear was based as well as the novel for one episode of the KST spinoff Run for Your Life.

The final moments of the episode reminded me (too much) of Psycho.

Jonathan Hughes wrote the teleplay, as he did for the first season episode "Knight's Gambit," which was similar in some ways with the mystery and investigative aspects of "Deep End."

Cars

The main character drives a 1963 Mercury Monterey. An early 1960's white Jaguar is parked outside the home of one of the suspects. The accountant drives a 1957 Ford Fairlane that was destroyed as part of the plot (the Fairlane was hard to figure out, as the shots of the car took place at night and were incomplete).

It is noteworthy that today's classic luxury cars (60's Jaguar) were once simply ordinary luxury cars. Today's classic cars from the 1950's ('57 Fairlane) were considered disposable for the purpose of television by the 1963-1964 season.

Actors

This episode is just as interesting for the actors as for the story.

Clu Gulager plays the investigator. He is noteworthy for his strange clenched-teeth way of speaking. Later in 1964, he would play a major role in The Killers (written by Ernest Hemingway and Star Trek's Gene Coon) with KST actors Ronald Reagan, Lee Marvin and Claude Akin. He continues to get small roles in movies and television.

Tina Louise plays the boyfriend's secretary. She is most notable for her role in Gilligan's Island that began eight months later. In one scene with Gulager, she continuously moves her eyebrows in an annoying way that detracts from the dialogue. Her character is not fully explored and is explained away superficially by the other characters.

Aldo Ray plays the boyfriend (around whom much of the plot revolves). He served on Iwo Jima during World War II and starred in television and numerous movies from the early 1950's until his death in 1991.

Ellen Burstyn (credited as Ellen McCrae) plays both the victim and the victim's sister. She continues to get movie roles, including some set for release in 2010 and 2011. Her biggest period of success came in the early 1970's when she received numerous awards and nominations for such movies as The Exorcist and Alice Doesn't Live Here Anymore.

Star Trek Connection

This episode's Star Trek connection is Whit Bissell, who played the space station manager in the episode "Trouble With Tribbles." He starred in television and movies for more than four decades, including roles as the mad scientist in I Was a Teenage Werewolf (opposite Michael Landon), as a lawyer in 1957's Disney production of Johnny Tremain, a supporting role in The Time Machine (1960), a starring role in The Time Tunnel and a supporting role in the now discredited Soylent Green (1972) (and many, many more roles). He usually played authority figures, such as generals, governors, lawyers and even President Wilson. In "Deep End," he played the accountant whose self-dealing and bungling moved the plot forward.

Many Star Trek fans probably know Bissell solely as "Mr. Luray." But that role appears almost as an afterthought when one considers all of Bissell's work. Yet that one Star Trek episode probably gets more exposure for Bissell at this time than any other role he played.
-----------------------
update - click here for the next episode review.

Tuesday, June 22, 2010

Kraft Suspense Theatre; One Step Down; Gena Rowlands; Leslie Nielsen, Ida Lupino; Phillip Pine

Season 1, Episode #6

One Step Down

Original Air Date - November 14, 1963 - This would be the last episode broadcast before the JFK assassination - 8 days later. KST would not resume until December 5th. I don't know whether news coverage disrupted the broadcast schedule. I suspect Thanksgiving interrupted regular programming (KST was a Thursday show). (There may also have been a Perry Como musical special during the hiatus - more on that later.)

Setting/Time - Ojai, California in the present.

Plot/Review/Discussion -

This episode is another of my favorites. The story involves a choice between right and wrong, much like "Hero" and "Are There Any More Out There Like You?" Unlike those two episodes, the choice in "One Step Down" is made in the beginning. The main character (Janet Cord/Gena Rowlands) makes a wrong choice to start the show, and spends the entire episode hoping to escape the consequences. The suspense comes not from wondering what choice she will make. The suspense comes from the fear of the consequences.

Cord/Rowlands opens the episode by going to a hotel with a married man (she is married herself to Dr. David Cord/Leslie Nielsen). Nothing happens - she gets cold feet and tries to leave. Events from this point forward spin out of control. I leave out a few facts to avoid spoiling the plot, but suffice it to say that the tryst is discovered, but only in part. The innocent spouses know only that something went on in a hotel between the boyfriend and an unknown woman. Cord/Rowlands seems to have dodged a bullet. We watch the scorned wife attempt to discover the identity of the unknown woman for most of the episode. The plot is complicated by the close friendship of the two couples. We see Ida Lupino as the scorned woman planning her revenge, not knowing that the target of her ire (Cord/Rowlands) stands before her in fear and anxiety the entire time.

Rowlands plays the part sympathetically, suffering from fear instead of enjoying the possibility of getting away with near infidelity. I wrote in "Hero" about "class" in KST. Gena Rowlands played this role with class. She was well-dressed, articulate and reserved. It was obvious that this situation was out of the ordinary for her character. Modern dramas feature actual infidelity as a routine matter. The women who are portrayed today differ markedly from Rowlands' character.

The resolution is enjoyable because it is believable. This is standard for KST. The Hitchcock resolutions (of the same era) are too clever, relying on improbable coincidences, Rube Goldberg plans or supernatural events. KST resolutions rely on human interaction and the ability to overcome fears, emotions and frailties. We can identify with KST, even if we have never been in exactly the same situation.

Cars - Leslie Nielsen drives a 1963 Mercury Monterey. The boyfriend drives a @ 62-64 Lincoln convertible. I cannot remember all of the vehicles, but I seem to recall a Plymouth police car and a 1958 GM car toward the end driven by the scorned wife. There is also one limousine, as I recall. I believe Rowlands drove an early 1960's Ford/Mercury. The plot does not revolve around the vehicles.

Update - December 5, 2010 - Rowlands drove a 1962-1963 Ford Falcon wood panel station wagon. Lupino drove a 1957-1958 Plymouth (similar to the car in Stephen King's Christine (1983)). The limousine I recalled was an early 1960's Cadillac hearse with too brief an appearance to identify exactly.

Actors - Gena Rowlands remains active today. She has acted since the mid-50's. This was the first of two KST episodes for Rowlands, the second being "Won't it Ever be Morning" in Season Two. She made 10 movies with her husband John Cassavetes.

Leslie Nielsen starred also in Season 2's "The Green Felt Jungle." He remains active today after 60 years of acting. He starred in 6 episodes of Kraft Theatre in the early 1950's. He was one of many KST actors to star in The Forbidden Planet in 1956.

Don Collier played the police detective. He appeared in Season 2's "Kill me on July 20th."

Ida Lupino was one of Hollywood's first female directors and producers. She helped found Four Star Productions in the 1950's, which produced many television programs over the next decade and more, including Big Valley in the 1960's.

Star Trek Connection -

The Star Trek Connection in this episode is Phillip Pine, in a supporting but important role as the private detective charged with discovering the identity of the unknown woman. Pine played Colonel Green in the Star Trek episode, "Savage Curtain." He was active in Hollywood for more than 60 years. He was known for guest roles on many police shows of the 1970's, including Barnaby Jones, Streets of San Francisco, Adam-12, Ironside, Police Woman, Swat, Police Story, Kojak, Chips, Hawaii Five-O, Baretta, The Rookies and more.

Monday, June 14, 2010

A Hero for our Times; Kraft Suspense Theatre; Lloyd Bridges; Ralph Senensky

Season 1, Episode #4

A Hero for Our Times

Original Air Date - October 31, 1963

Setting/Time - A modern city - most likely San Francisco (judging from the opening shot).

Plot/Review/Discussion - This episode is a favorite of mine. This episode made me think of "class" with respect to KST for the first time. The setting was cosmopolitan. The music was smooth. The men all wore suits and hats and drove big, late model cars. The women acted like ladies - even when their behavior was not so ladylike.

The plot makes one think. The main character faces a choice. The suspense revolves around what choice he will make.

The main character is a successful business executive with a wife and a mistress. While staying at his mistress' apartment one evening, he witnesses a murder next door. It becomes apparent quickly that the police will charge the wrong man and that the main character is the only one that knows the mistake. He faces a choice between coming forward to save the innocent suspect or staying silent to protect his own secret. The plot becomes more complicated when the main character faces a possible promotion to his high profile company's board of directors. For him to come forward and reveal an affair would be professional suicide in 1963.

We watch him struggle with his dilemma as he hides his secret from his wife and co-workers. Modern dramas feature several plots in one episode, thus implying a short attention span on the part of the audience. While KST features one plot per episode, this plot results in numerous conflicts. In "Hero," we see the courtroom drama, the hero's professional situation and his marriage all in turmoil as a result of his dilemma. KST made the most of this story.

To me, watching a man face such a choice provides better drama than simply waiting to find out whether he will win a gun battle or survive an operation or wondering who he will sleep with this week.

The drama becomes even more real when one thinks of modern politicians who have gone to great lengths to deny affairs - even to the point of letting innocent people die. The title of the episode turns out to be more of a commentary on our times instead of praise for the main character.

Miscellaneous - This episode is unique because there is now more information about this episode than most other KST stories. Director Ralph Senensky has provided his own commentary plus generous film clips from "Hero" at the Ralph's Trek blog:

Except for a car chase sequence later in the script, this was a very talky script that was reminiscent of the live television dramas from the decade before. And it certainly owed a debt to REAR WINDOW.

The car chase Senensky refers to provides more than a mere action break. The resolution of the car chase was an important plot point and made the "hero's" moral choice more stark. Spoiler alert - Don't watch Senensky's clips if you don't already know the ending.

Senensky also writes of unexpected difficulties arising from one of the earliest uses of color on television in this episode.

Actors

Lloyd Bridges plays the main role. The internet bios I have seen for Bridges ignore his KST role.

Dabbs Greer played the innocent suspect. Senensky's blog contains much information about his career.

Berkeley Harris played the defense attorney. Despite having many speaking lines, his role is uncredited at IMDB.com. Many of the IMDB.com cast listings are incomplete for KST. (I believe this is starting to change with the show's newfound popularity on RTV.) Harris also played in 2 other KST episodes, which are credited at IMDB.com.

update 7-2-10 - after seeing the episode on RTV again (for the first time in two years) I noticed David Lewis, playing the first of 2 KST episodes. [IMDB.com apparently leaves out 4 major characters from this episode. Click here for my discussion and speculation of KST characters being ignored on that type of website. IMDB also left out Victor French as the murderer and William Bramley as the DA.]

Cars - In addition to this episode's focus on the hero's internal struggles, it does feature the proverbial car chase. In the car chase, Lloyd Bridges drives a white Lincoln (@ 1962-1964). He is chased by the killer in a 1963 Mercury Monterey. Senensky does not remember filming this sequence and speculates that they may have used stock footage from another movie or show. I have my doubts. The 63 Mercury was a fixture on KST. The same car appeared earlier in this episode. The car was practically new (as was the Lincoln). The producers would have had to have re-used very recent footage for Senensky's speculation to be correct.

Star Trek Connection - The Star Trek connection in this episode is the director, Ralph Senensky. He directed several episodes of Star Trek, including "This Side of Paradise," "Metamorphosis," "Obsession," "Bread and Circuses," "Is There in Truth, No Beauty," and "The Tholian Web." He provides extensive commentary and film clips on these episodes at his blog.

Senensky also directed episodes of, inter alia, The Fugitive, The Waltons, Ironside, Mission Impossible and Route 66.

Here is a clip of the opening theme (copied from Senensky's blog). This clip is more complete than the clip I uploaded here.


update - 7-2-10 - Another Star Trek connection is William Bramley, as the Prosecutor. Bramley later played in the season #2 episode, "The Jack is High," also directed by Ralph Senensky. Bramley played the most prominent policeman in Star Trek's "Bread and Circuses," also directed by Senensky.

Wednesday, June 2, 2010

The cars of Kraft Suspense Theatre; 1963 Mercury Monterey Breezeway

It is fun to watch Kraft Suspense Theatre just to see what classic cars will appear in the show. KST is not unique among 1960's programs in this regard. Many shows from that era feature (now) classic automobiles. But many shows had limited budgets with few outdoor shots. Many exterior car shots from other shows featured the vehicle either indoors or in an obviously indoor studio made to look like an outdoor street.

The KST car shots took place outdoors - at least the shots of car exteriors. KST usually avoided the cliched car chase, but found numerous ways to use vehicles to contribute to the drama. Even when the cars were not the center of the drama, they made the action seem more realistic. They also added class to the show.

It seems to me that the 1963 Mercury Monterey was used in many episodes. [I may change my mind about that when I start reviewing individual episodes.] The 1963 Monterey was unique because it had a powered, backwards rear window that could be raised and lowered. The window design was called "Breezeway." The 1963 model was unmistakeable, even if most cars of that era look the same to those of us that grew up in the 1970's.

1963 Mercury Monterey "Breezeway"




From the ad, it appears that one reason for this feature was to allow cigarette smoke to escape from the rear of the car. Based on that possibility, it does not appear that we will see many more cars with the Breezeway feature in the future.

----------------------------

update - click the following for discussions of:

the theme music;

connections between Kraft Suspense Theatre and Star Trek;

The RTV network and prior syndication.