Click here for the previous episode review.
Season #2, Episode #3
A Lion Amongst Men
Original Air Date: October 22, 1964
Setting/Time: A small rural/mountain/western town (Cedar Bay) in the present (in late October).
Plot/Review/Discussion -
James Whitmore plays "the Major," a Korean War veteran that emphasizes preparedness and physical fitness in his daily living. He and his army friends have built a training center at their mountain cabin retreat. The Major believes that the rest of society, particularly the young people in high school, have gone soft. The conflict is established early, as the Major confronts some smart-alec students who show no respect to the Major and his friends.
The writer faced some difficulty in creating a balanced conflict among the characters. Ordinarily, smart-alec teenagers do not make for sympathetic characters - especially when they confront or oppose military veterans. So the writers gave the Major some unpopular traits. He disliked ethnic students. He used sneaky methods. He spoke in favor of "real Americans" and against "their kind." The Major was Archie Bunker nearly a decade before All in the Family. These traits balanced the negatives of the teenagers.
The Major's animus toward ethnic students and use of non-PC buzzwords served no purpose in the plot, as it played no role in the final confrontation. That character trait existed just so that the writers could present a political view.
The local teenagers, led by the high school quarterback named Riccio, go on a rampage of vandalism on Halloween eve. Their last stop is the Major's house. The teens' vandalism included cherry bombs. The noise from the cherry bombs sent the Major into an episode of post traumatic stress disorder. He began suffering flashbacks to the Korean War.
The Major captured Riccio and took him prisoner in the house while the other teenagers escaped. The Major began berating Riccio for various aspects of unAmericanism, while slowly slipping into a delusion that both of them were fighting in Korea a decade earlier.
The Major then began blaming his former superiors for orders that resulted in the death of the Major's soldiers in a particular Korean War battle. The Major took Riccio to the mountain retreat where his breakdown became complete. He eventually began firing his gun into the night air while Riccio tried to run away. This confrontation took place while the other teens and the sheriff raced to the retreat to rescue Riccio.
The main point of the story appears to focus on post traumatic stress. The Major's confrontation with Riccio brings that issue to the forefront, while the prejudice issue appears to serve no purpose. The "generation gap" also looms in the background, but is overshadowed by the other issues. At the end, Riccio gains a new appreciation for the Major and what he endured in the war. The episode was a learning experience for both characters, but the political issues got in the way.
The story could have been much more effective and dramatic had the writers not injected the political and PC elements into the story. In 1964, Americans were not yet tired of seeing fictional bad guys made obvious with dialogue that referred to "real Americans" while criticizing "their kind." The Archie Bunkers of television were still considered controversial and had not yet become mere parodies of themselves. Today, Americans have grown weary of the "race card." It has become too easy for a writer to place a "racist" label on a character by having him insult someone's ethnicity. For this reason, this episode has not aged well.
Just as importantly, both the war on terror and recent economic troubles in the U.S. and Europe have created a new emphasis on preparedness. The Major does not seem as out of place today as he would have been in 1964. As I watched this episode, I had to remind myself from the beginning that the Major would soon emerge as the bad guy. The Major's emphasis on preparedness probably caused the 1964 audience to peg him as the bad guy much sooner.
The Sheriff doubled also as the high school football coach. But he did not provide sports updates or serve as an art critic.
Cars
The Sheriff drove a 1964 Ford Galaxie. There also appeared to be a 1964 Dodge or Plymouth, which was somewhat common for this and other shows of that era. The high school kids drove a 1957 Dodge convertible.
Actors
James Whitmore played the Major. This was his second appearance on KST. His acting career spanned almost 60 years and featured such TV shows as Twilight Zone, Big Valley, KST spinoff Run For Your Life and The Virginian. He played a prominent role in 1970's Tora! Tora! Tora!
Tommy Sands played Riccio. Sands was, at the time, Frank Sinatra's son-in-law. He made guest appearances on such shows as United States Steel Hour, Wagon Train and Hawaii Five-0. He enjoyed a successful music career as a teen idol in the 1950's, singing in an episode of Kraft Theatre in 1957.
Star Trek connection
Peter Duryea played Palchek - one of Riccio's teenage friends. Little more than one month after this episode aired, Duryea began filming his role in Star Trek's first pilot episode - "The Cage." Duryea is one of many actors from that particular episode to be featured in KST.
Showing posts with label Twilight Zone. Show all posts
Showing posts with label Twilight Zone. Show all posts
Friday, April 19, 2013
Sunday, March 27, 2011
Kraft Suspense Theatre; Operation Greif; Robert Goulet; Claude Akins; Claudine Longet
Click here for the previous episode review.
Season #2, Episode #2
Operation Greif
Original Air Date: October 8, 1964. This episode, whether by design or otherwise, aired a little over two months before the 20th anniversary of the Battle of the Bulge.
Setting/Time: Western Europe, World War II, 1944/1945. This is the third episode that took place during World War II.
Plot/Review/Discussion -
"Operation Greif" appears, on its surface, to be a war story. In fact, the real story is deeper. This episode is more of a mystery story than a war story. The writer, Jerome Ross, had numerous writing credits to his name - many of which were for crime/mystery shows while none that I know of were military in nature.
The story is based loosely on the Battle of the Bulge, which took place in Western Europe as the allies were preparing their final push toward Germany and victory in the European war. The setting for the episode is the German attack, although we hear few references to the actual battle. The viewer hears nothing about "Bastogne," "Nuts" or other familiar words from that famous battle. The episode appears to take place in warm weather under clear skies, while the actual battle took place in heavy snow and cloud cover.
The story is not about the larger battle, but about five soldiers traveling together in a Jeep while the battle rages around them. Stock war footage is inserted at various transition points. The soldiers discover that the Germans have sent spies to infiltrate the American forces and disrupt allied operations. The soldiers begin to suspect each other (with some justification).
At this point, the episode is not merely about the action or even the mystery. The show is about the choices that the soldiers must make. Sergeant Henning has picked up the other four soldiers (in his Jeep) during the chaos of the battle at random locations as he rides to rejoin his unit with needed blood. None of them know each other. Each of them, especially the Sergeant in command, must make decisions as to whether to trust the other men in the Jeep. They face this decision repeatedly as they confront snipers, repair the Jeep and mingle with local farm residents.
At this point I will be vague as I try to avoid plot spoilers. The main characters are written and acted very well. Upon seeing this episode for the second and third times, I noticed that the characters are introduced to the story seemlessly in a way that the veiwer cannot fully appreciate until the end. One can almost recreate the writer's thought process as he works backwards from the basic story line to the details that establish the main conflict.
The plot was similar in some ways to the Twilight Zone episode, "The Monsters are Due on Maple Street." The KST episode was superior because it did not contain a hidden political message.
"Operation Greif" featured a tight plot while developing strong, entertaining characters with which the audience could identify. The plot advanced briskly toward a realistic conclusion.
Actors
Robert Goulet plays the pivotal role of Private Brubaker. Goulet was fresh from his success in Broadway's Camelot, whose 2+ year run had ended a year earlier (and which would be briefly revived with Goulet in 1993). Goulet would later win a Tony for The Happy Time in 1968. Goulet also enjoyed television and movie acting credits spanning nearly fifty years. He was married for 18 years to Carol Lawrence, who starred in one episode of KST during Season #2.
Claude Akins was perfect for the role of the gruff sargeant stereotype. Even though he was playing a stereotype, the role and character worked. His short commands and inquiries got to the point, advanced the plot and made the viewer believe that the story was real. Akins avoided the pitfall of overdoing the role with exaggerated gestures and mannerisms, as many of the more modern stereotype sargeant roles tend to do. His acting career spanned 40 years, including an uncredited role in 1953's From Here to Eternity, a part in 1959's Rio Bravo and many roles as military men, policemen, sheriffs and western gunfighters. He landed guest roles on such shows as Bonanza, Wagon Train, Dragnet, Big Valley, Guns of Will Sonnett, The Lucy Show and many, many others. He starred in two series of his own in the 1970's and early 1980's - Movin' On and Lobo. It is mildly ironic that in 1960, Akins played one of the leading roles on Twilight Zone's "Monsters are Due on Maple Street."
Claudine Longet played the teenage/20+ farm girl. She was known for numerous guest roles in the 1960's and 1970's. She was married for a time to Andy Williams. In 1976, she shot and killed her olympic skier boyfriend. Following a sensational trial, she served a 30 day jail term. That event now overshadows her entire career.
Peter Helm played the soldier muted by battle fatigue. He had previously starred in Season #1's "Are There Any More Out There Like You?"
Linden Chiles played Private Buttel. He continues to act today after more than 50 years in show business. I recall his guest role in the Time Tunnel when he played the main character's father at Pearl Harbor.
Don Dubbins played Corporal Shale. He acted for nearly 40 years, including an uncredited role in From Here to Eternity, guest roles in Big Valley, The Guns of Will Sonnett, Dynasty, KST spinoff Run for Your Life and other shows.
At least five of the actors in this episode appeared in more than one program/movie that took place during World War II. This fact helps show how influential that War was on film fiction for at least the following twenty years - influence that has waned following the 1960's. How many actors today can claim more than one World War II based credit?
Cars - The only vehicles in this episode were military vehicles such as the Jeep that carried the five soldiers and stock footage of tank battles inserted briefly at transition points in the story.
Season #2, Episode #2
Operation Greif
Original Air Date: October 8, 1964. This episode, whether by design or otherwise, aired a little over two months before the 20th anniversary of the Battle of the Bulge.
Setting/Time: Western Europe, World War II, 1944/1945. This is the third episode that took place during World War II.
Plot/Review/Discussion -
"Operation Greif" appears, on its surface, to be a war story. In fact, the real story is deeper. This episode is more of a mystery story than a war story. The writer, Jerome Ross, had numerous writing credits to his name - many of which were for crime/mystery shows while none that I know of were military in nature.
The story is based loosely on the Battle of the Bulge, which took place in Western Europe as the allies were preparing their final push toward Germany and victory in the European war. The setting for the episode is the German attack, although we hear few references to the actual battle. The viewer hears nothing about "Bastogne," "Nuts" or other familiar words from that famous battle. The episode appears to take place in warm weather under clear skies, while the actual battle took place in heavy snow and cloud cover.
The story is not about the larger battle, but about five soldiers traveling together in a Jeep while the battle rages around them. Stock war footage is inserted at various transition points. The soldiers discover that the Germans have sent spies to infiltrate the American forces and disrupt allied operations. The soldiers begin to suspect each other (with some justification).
At this point, the episode is not merely about the action or even the mystery. The show is about the choices that the soldiers must make. Sergeant Henning has picked up the other four soldiers (in his Jeep) during the chaos of the battle at random locations as he rides to rejoin his unit with needed blood. None of them know each other. Each of them, especially the Sergeant in command, must make decisions as to whether to trust the other men in the Jeep. They face this decision repeatedly as they confront snipers, repair the Jeep and mingle with local farm residents.
At this point I will be vague as I try to avoid plot spoilers. The main characters are written and acted very well. Upon seeing this episode for the second and third times, I noticed that the characters are introduced to the story seemlessly in a way that the veiwer cannot fully appreciate until the end. One can almost recreate the writer's thought process as he works backwards from the basic story line to the details that establish the main conflict.
The plot was similar in some ways to the Twilight Zone episode, "The Monsters are Due on Maple Street." The KST episode was superior because it did not contain a hidden political message.
"Operation Greif" featured a tight plot while developing strong, entertaining characters with which the audience could identify. The plot advanced briskly toward a realistic conclusion.
Actors
Robert Goulet plays the pivotal role of Private Brubaker. Goulet was fresh from his success in Broadway's Camelot, whose 2+ year run had ended a year earlier (and which would be briefly revived with Goulet in 1993). Goulet would later win a Tony for The Happy Time in 1968. Goulet also enjoyed television and movie acting credits spanning nearly fifty years. He was married for 18 years to Carol Lawrence, who starred in one episode of KST during Season #2.
Claude Akins was perfect for the role of the gruff sargeant stereotype. Even though he was playing a stereotype, the role and character worked. His short commands and inquiries got to the point, advanced the plot and made the viewer believe that the story was real. Akins avoided the pitfall of overdoing the role with exaggerated gestures and mannerisms, as many of the more modern stereotype sargeant roles tend to do. His acting career spanned 40 years, including an uncredited role in 1953's From Here to Eternity, a part in 1959's Rio Bravo and many roles as military men, policemen, sheriffs and western gunfighters. He landed guest roles on such shows as Bonanza, Wagon Train, Dragnet, Big Valley, Guns of Will Sonnett, The Lucy Show and many, many others. He starred in two series of his own in the 1970's and early 1980's - Movin' On and Lobo. It is mildly ironic that in 1960, Akins played one of the leading roles on Twilight Zone's "Monsters are Due on Maple Street."
Claudine Longet played the teenage/20+ farm girl. She was known for numerous guest roles in the 1960's and 1970's. She was married for a time to Andy Williams. In 1976, she shot and killed her olympic skier boyfriend. Following a sensational trial, she served a 30 day jail term. That event now overshadows her entire career.
Peter Helm played the soldier muted by battle fatigue. He had previously starred in Season #1's "Are There Any More Out There Like You?"
Linden Chiles played Private Buttel. He continues to act today after more than 50 years in show business. I recall his guest role in the Time Tunnel when he played the main character's father at Pearl Harbor.
Don Dubbins played Corporal Shale. He acted for nearly 40 years, including an uncredited role in From Here to Eternity, guest roles in Big Valley, The Guns of Will Sonnett, Dynasty, KST spinoff Run for Your Life and other shows.
At least five of the actors in this episode appeared in more than one program/movie that took place during World War II. This fact helps show how influential that War was on film fiction for at least the following twenty years - influence that has waned following the 1960's. How many actors today can claim more than one World War II based credit?
Cars - The only vehicles in this episode were military vehicles such as the Jeep that carried the five soldiers and stock footage of tank battles inserted briefly at transition points in the story.
Saturday, November 20, 2010
Kraft Suspense Theatre; The Robrioz Ring; Robert Loggia; Julie Harris
Click here for the previous episode review.
Season #1, Episode # 27
The Robrioz Ring
Original Air Date - May 28, 1964
Setting/Time - A beach town near San Diego in the present.
Plot/Review/Discussion
Having seen this episode more than once, it is apparent that it takes more than one viewing to appreciate all of the plot layers in this story. Two individuals come together in a west coast beach town, each with their own story, their own history and their own problems. Their stories are brought together almost seamlessly by an ancient ring in ways that will be hard for the viewer to predict.
(Do not be put off by my reference to an "ancient ring." Even though this reference might cause a modern audience to think of magic, sorcery and wizards, nothing of the sort plays a role in this episode. The ring just happens to be the object at the center of the conflict.)
Mario Robrioz is a cliche'd playboy who does not work and lets women support him. He is descended from long lost Spanish royalty that settled the region centuries ago. His most prized possession is an old ring passed down through many generations from son to son. The ring is his tie to the past. His past gives him the pride that allows him to refuse work and live with a royal attitude. Upon returning from a trip, he discovers that his mother has pawned the ring. Enraged, he spends the episode trying to get it back.
Lucy Bram is a spinster school teacher from Philadelphia vacationing on the west coast with two friends. She happens to buy the ring at the pawn shop just as Mario arrives.
Lucy's role is somewhat confusing at first. While Julie Harris is very attractive, she is called upon to play Hollywood's version of a less attractive female. Despite her obvious attractiveness, the role is that of a spinster. So the story uses various devices to convince the viewer that she is the least attractive of her group (clothing, shyness, more outgoing friends, etc.). (Hollywood would never actually cast an unattractive woman as a romantic lead.) This characterization is important because, as the spinster, she is the right woman in the right place to turn Mario's task into a romantic nightmare.
Mario uses romance as a ruse to get close to the women over the next few days. He fixes their flat tire, acts as tour guide, etc. Mario's plan works only too well - Lucy falls for Mario, but Mario also falls for Lucy. That is the point where the proverbial hijinks begin. Lucy will not admit to her friends that she is in love with Mario. When their friends catch them together, she must pretend that Mario's advances are unwanted - thus enraging Mario.
Lucy has two reasons for pretending that there is no affair:
This point is where the conflict is most pronounced. Through a series of encounters with Mario (and as her friends console her) we see Lucy suffer from her own internal conflict about what to do. She also is forced to deal with Mario's anger. At this point, neither Lucy's nor Mario's behavior is exemplary (this is the point where I became vague so as to avoid plot spoilers).
The conflict is presented subtly (despite Mario's outbursts). A first-time viewer might mistake the drama as an abusive suitor vs. a reluctant woman. But upon reflection and consideration of all of the dialogue it becomes obvious that the relationship is very complicated. Just as Lucy is struggling with new and confusing experiences, Mario is coming to grips with his own life. We see him slowly realize that this affair is about more than just the ring and more than merely his relationship with this woman. He, too, has been trapped by his past.
As with prior episodes, I appreciate this episode much more by comparing it to the Hitchcock episodes of that era. Had this story aired on Hitchcock, the ring would have possessed some magical power that would have dominated the plot and resolved the climax. Instead, the characters' own decisions dominated the plot, while the ring slowly got pushed to the background. Rather than take the easy way out by resolving the plot with magic or spirits, the story forced the characters to face their own identities and their own pasts. What the story lacked in cleverness, it made up for in thoughtfulness.
The music score for this episode is unique among KST episode, unlike many of the scores that were repeated in at least three or four episodes.
This episode featured numerous beach scenes, including shots of naval ships near San Diego. The outdoor scenery made the episode more realistic.
Actors
Robert Loggia played Mario. He has been a fixture in movies and television for more than 50 years, including guest appearances on Hitchcock and Big Valley, starring roles on short lived TV series and films now in post-production. This episode was Loggia's first of two KST appearances.
Julie Harris plays Lucy. She has been active for more than sixty years. She starred with James Dean in East of Eden in 1955. She was a regular on Knots Landing in the 1980's. She was honored at Kennedy Center in 2005.
Julie Adams played one of Lucy's traveling companions. This was the first of her two KST episodes. She has acted for roughly sixty years and remains active in lesser roles today. She was featured in recurring roles in The Jimmy Stewart Show, Perry Mason, Murder She Wrote and others (plus numerous one-time guest roles).
Virginia Gregg played the other travelling companion whose wisdom and experience helped Lucy during and after her encounters with Mario. Her voice was a fixture on radio for many years. She received repeat guest roles on shows such as Gunsmoke, Dragnet, Hitchcock, Twilight Zone and others. One of her now most noted roles was uncredited at the time, when she played the voice of Norman Bates' mother in Psycho (and both sequels).
Cars
"Robrioz Ring" was a good episode for observing classic cars. The traveling ladies drove a light blue, convertible 1964 Ford Galaxie, which model was usually reserved for police cars in shows of that era. Numerous other cars appeared on the street during driving or walking scenes, including a 1960 Chevy, a Corvair, a 1959 Cadillac, an early 1960's Volkswagen Beetle, a Thunderbird and a 1961 or 1962 Buick Skylark (and others). The viewer can also see the same 1963 Chrysler as a background vehicle in numerous scenes. This collection of cars would today make for a popular car show. But in TV of the 1960's, they were merely background that you would miss if you blinked.
Season #1, Episode # 27
The Robrioz Ring
Original Air Date - May 28, 1964
Setting/Time - A beach town near San Diego in the present.
Plot/Review/Discussion
Having seen this episode more than once, it is apparent that it takes more than one viewing to appreciate all of the plot layers in this story. Two individuals come together in a west coast beach town, each with their own story, their own history and their own problems. Their stories are brought together almost seamlessly by an ancient ring in ways that will be hard for the viewer to predict.
(Do not be put off by my reference to an "ancient ring." Even though this reference might cause a modern audience to think of magic, sorcery and wizards, nothing of the sort plays a role in this episode. The ring just happens to be the object at the center of the conflict.)
Mario Robrioz is a cliche'd playboy who does not work and lets women support him. He is descended from long lost Spanish royalty that settled the region centuries ago. His most prized possession is an old ring passed down through many generations from son to son. The ring is his tie to the past. His past gives him the pride that allows him to refuse work and live with a royal attitude. Upon returning from a trip, he discovers that his mother has pawned the ring. Enraged, he spends the episode trying to get it back.
Lucy Bram is a spinster school teacher from Philadelphia vacationing on the west coast with two friends. She happens to buy the ring at the pawn shop just as Mario arrives.
Lucy's role is somewhat confusing at first. While Julie Harris is very attractive, she is called upon to play Hollywood's version of a less attractive female. Despite her obvious attractiveness, the role is that of a spinster. So the story uses various devices to convince the viewer that she is the least attractive of her group (clothing, shyness, more outgoing friends, etc.). (Hollywood would never actually cast an unattractive woman as a romantic lead.) This characterization is important because, as the spinster, she is the right woman in the right place to turn Mario's task into a romantic nightmare.
Mario uses romance as a ruse to get close to the women over the next few days. He fixes their flat tire, acts as tour guide, etc. Mario's plan works only too well - Lucy falls for Mario, but Mario also falls for Lucy. That is the point where the proverbial hijinks begin. Lucy will not admit to her friends that she is in love with Mario. When their friends catch them together, she must pretend that Mario's advances are unwanted - thus enraging Mario.
Lucy has two reasons for pretending that there is no affair:
- The pair really have nothing in common. She is not going to throw away her schoolteacher/ spinster life to settle down with a somewhat crude playboy that does not work for a living.
- Lucy is afraid that no one would believe that a man would be interested in her. She is taking the easy way out instead of trying to convince her friends of a scandalous truth.
This point is where the conflict is most pronounced. Through a series of encounters with Mario (and as her friends console her) we see Lucy suffer from her own internal conflict about what to do. She also is forced to deal with Mario's anger. At this point, neither Lucy's nor Mario's behavior is exemplary (this is the point where I became vague so as to avoid plot spoilers).
The conflict is presented subtly (despite Mario's outbursts). A first-time viewer might mistake the drama as an abusive suitor vs. a reluctant woman. But upon reflection and consideration of all of the dialogue it becomes obvious that the relationship is very complicated. Just as Lucy is struggling with new and confusing experiences, Mario is coming to grips with his own life. We see him slowly realize that this affair is about more than just the ring and more than merely his relationship with this woman. He, too, has been trapped by his past.
As with prior episodes, I appreciate this episode much more by comparing it to the Hitchcock episodes of that era. Had this story aired on Hitchcock, the ring would have possessed some magical power that would have dominated the plot and resolved the climax. Instead, the characters' own decisions dominated the plot, while the ring slowly got pushed to the background. Rather than take the easy way out by resolving the plot with magic or spirits, the story forced the characters to face their own identities and their own pasts. What the story lacked in cleverness, it made up for in thoughtfulness.
The music score for this episode is unique among KST episode, unlike many of the scores that were repeated in at least three or four episodes.
This episode featured numerous beach scenes, including shots of naval ships near San Diego. The outdoor scenery made the episode more realistic.
Actors
Robert Loggia played Mario. He has been a fixture in movies and television for more than 50 years, including guest appearances on Hitchcock and Big Valley, starring roles on short lived TV series and films now in post-production. This episode was Loggia's first of two KST appearances.
Julie Harris plays Lucy. She has been active for more than sixty years. She starred with James Dean in East of Eden in 1955. She was a regular on Knots Landing in the 1980's. She was honored at Kennedy Center in 2005.
Julie Adams played one of Lucy's traveling companions. This was the first of her two KST episodes. She has acted for roughly sixty years and remains active in lesser roles today. She was featured in recurring roles in The Jimmy Stewart Show, Perry Mason, Murder She Wrote and others (plus numerous one-time guest roles).
Virginia Gregg played the other travelling companion whose wisdom and experience helped Lucy during and after her encounters with Mario. Her voice was a fixture on radio for many years. She received repeat guest roles on shows such as Gunsmoke, Dragnet, Hitchcock, Twilight Zone and others. One of her now most noted roles was uncredited at the time, when she played the voice of Norman Bates' mother in Psycho (and both sequels).
Cars
"Robrioz Ring" was a good episode for observing classic cars. The traveling ladies drove a light blue, convertible 1964 Ford Galaxie, which model was usually reserved for police cars in shows of that era. Numerous other cars appeared on the street during driving or walking scenes, including a 1960 Chevy, a Corvair, a 1959 Cadillac, an early 1960's Volkswagen Beetle, a Thunderbird and a 1961 or 1962 Buick Skylark (and others). The viewer can also see the same 1963 Chrysler as a background vehicle in numerous scenes. This collection of cars would today make for a popular car show. But in TV of the 1960's, they were merely background that you would miss if you blinked.
Monday, November 15, 2010
The Watchman; Kraft Suspense Theatre; Telly Savalas; Jack Warden; Spanish Civil War; Sydney Pollack; David Rayfiel; Ezekiel
Click here for the previous episode review.
Season #1, Episode #26
The Watchman
Original Air Date - May 14, 1964
Setting/Time - The present in New York City and Spain - plus flashbacks to mid/late-1930's Spain and late 1930's New York City.
Plot/Review/Discussion
"The Watchman" is the story of a writer/journalist and his uneasy relationship with a gangster/warlord over nearly three decades.
The conflict in this story is more subtle than in most fiction. The main conflict exists throughout the story between the writer and the warlord - although that conflict always lurks just beneath the surface.
Jack Warden plays the writer who meets a warlord/revolutionary (Telly Savalas) during the Spanish Civil War. Warden is alternately indignant toward Savalas and enabling of Savalas during the coming years. We watch Savalas execute prisoners and petty criminals without trial (and other warlord type activity) in the mountains of Spain. Savalas ends up in New York after the war and becomes involved in organized crime. Warden helps him by covering up for Savalas' crimes. The episode is careful to depict Warden as reluctant and indignant even while helping Savalas.
Most of the story is told through flashbacks as Warden discusses this history with his analyst in present day New York. Savalas has long ago been deported back to Spain. Warden discusses this matter with his analyst now because Savalas has summoned Warden to Spain for an unknown reason. Warden is once again reluctant and indignant.
The story becomes complicated when Warden reveals that he has held romantic feelings for Savalas' wife since Savalas' days in New York City. These feelings, while generally unspoken, have been known both to Warden and the wife for years. The viewer follows the story as Warden flies to Spain to confront his old benefactor/nemesis. The conflicts and complications come to the surface through a series of conversations/confrontations leading to the climax.
The flashback method of telling the story works in this episode. The story begins in modern New York with the "summons" upon Jack Warden. From there, the mystery behind the summons emerges gradually through Warden's flashbacks as he tells the history to his analyst.
The Spanish Civil War remained a favorite subject of writers (fiction and otherwise) for decades. Few subjects were so romanticized. That war has since been replaced as a favorite topic by Vietnam.
I believe the title comes from Ezekiel 33:6. That Bible passage establishes that a "Watchman" shall blow the trumpet as a warning when danger threatens the Israelites. If the Watchman fails to blow the trumpet, he shall be responsible for any deaths that follow. In this episode, Warden's character is torn and disturbed by his own belief that he has been compromised by his friendship with Savalas over the years. The viewer can judge for himself whether Warden is held accountable for failing to blow the trumpet.
The portion of the storyline relating to Savalas' wife tends to confuse the "Watchman/Ezekiel" theme. Warden never acts on his romantic interest, but that storyline is the only part of the plot that involves consequences. (Pardon my vagueness, but I am trying to avoid plot spoilers).
Miscellaneous
This episode marked an early instance of collaboration between director Sydney Pollack and writer David Rayfiel, which collaboration lead to a string of successful movies over the next three decades, including The Way We Were (1973), Three Days of the Condor (1975), The Firm (1993)("screenplay" credit for Rayfiel) and Sabrina (1995). Even though this future collaboration would tend to make this episode somewhat of an historical artifact for movie fans, this episodes lingers in obscurity.
Quote of the episode:
Warden: You've outgrown the truth.
Savalas: It changes.
Warden: No, only what we see and tell of it.
Cars
A Rolls Royce was used at one point toward the end of the episode. Aside from this scene, cars played a minor role in this episode.
Actors
Jack Warden played the title role. He enjoyed a 50 year career in many TV and movie roles, including a small role in From Here to Eternity (1953), parts in two Twilight Zone episodes and numerous additional roles. Always a well-known character actor, he achieved lasting success in 1979-1980 with major supporting roles in three hit movies - Being There, And Justice for All and Used Cars.
Telly Savalas played the mobster/revolutionary. He previously starred in "Action of the Tiger" (episode #1.16).
Victoria Shaw plays Savalas' wife. Her 25 year career saw numerous roles in well-known television programs and movies. She was married for a time to Roger Smith, star of "Knight's Gambit" (episode #1.20).
Star Trek Connection
This episode's Star Trek connection is Arthur Batanides, who played D'Amato on "That Which Survives." He acted for nearly forty years, with repeat guest appearances on shows such as Gomer Pyle, Wild Wild West and Mission: Impossible. Batanides played a police detective in this episode.
Season #1, Episode #26
The Watchman
Original Air Date - May 14, 1964
Setting/Time - The present in New York City and Spain - plus flashbacks to mid/late-1930's Spain and late 1930's New York City.
Plot/Review/Discussion
"The Watchman" is the story of a writer/journalist and his uneasy relationship with a gangster/warlord over nearly three decades.
The conflict in this story is more subtle than in most fiction. The main conflict exists throughout the story between the writer and the warlord - although that conflict always lurks just beneath the surface.
Jack Warden plays the writer who meets a warlord/revolutionary (Telly Savalas) during the Spanish Civil War. Warden is alternately indignant toward Savalas and enabling of Savalas during the coming years. We watch Savalas execute prisoners and petty criminals without trial (and other warlord type activity) in the mountains of Spain. Savalas ends up in New York after the war and becomes involved in organized crime. Warden helps him by covering up for Savalas' crimes. The episode is careful to depict Warden as reluctant and indignant even while helping Savalas.
Most of the story is told through flashbacks as Warden discusses this history with his analyst in present day New York. Savalas has long ago been deported back to Spain. Warden discusses this matter with his analyst now because Savalas has summoned Warden to Spain for an unknown reason. Warden is once again reluctant and indignant.
The story becomes complicated when Warden reveals that he has held romantic feelings for Savalas' wife since Savalas' days in New York City. These feelings, while generally unspoken, have been known both to Warden and the wife for years. The viewer follows the story as Warden flies to Spain to confront his old benefactor/nemesis. The conflicts and complications come to the surface through a series of conversations/confrontations leading to the climax.
The flashback method of telling the story works in this episode. The story begins in modern New York with the "summons" upon Jack Warden. From there, the mystery behind the summons emerges gradually through Warden's flashbacks as he tells the history to his analyst.
The Spanish Civil War remained a favorite subject of writers (fiction and otherwise) for decades. Few subjects were so romanticized. That war has since been replaced as a favorite topic by Vietnam.
I believe the title comes from Ezekiel 33:6. That Bible passage establishes that a "Watchman" shall blow the trumpet as a warning when danger threatens the Israelites. If the Watchman fails to blow the trumpet, he shall be responsible for any deaths that follow. In this episode, Warden's character is torn and disturbed by his own belief that he has been compromised by his friendship with Savalas over the years. The viewer can judge for himself whether Warden is held accountable for failing to blow the trumpet.
The portion of the storyline relating to Savalas' wife tends to confuse the "Watchman/Ezekiel" theme. Warden never acts on his romantic interest, but that storyline is the only part of the plot that involves consequences. (Pardon my vagueness, but I am trying to avoid plot spoilers).
Miscellaneous
This episode marked an early instance of collaboration between director Sydney Pollack and writer David Rayfiel, which collaboration lead to a string of successful movies over the next three decades, including The Way We Were (1973), Three Days of the Condor (1975), The Firm (1993)("screenplay" credit for Rayfiel) and Sabrina (1995). Even though this future collaboration would tend to make this episode somewhat of an historical artifact for movie fans, this episodes lingers in obscurity.
Quote of the episode:
Warden: You've outgrown the truth.
Savalas: It changes.
Warden: No, only what we see and tell of it.
Cars
A Rolls Royce was used at one point toward the end of the episode. Aside from this scene, cars played a minor role in this episode.
Actors
Jack Warden played the title role. He enjoyed a 50 year career in many TV and movie roles, including a small role in From Here to Eternity (1953), parts in two Twilight Zone episodes and numerous additional roles. Always a well-known character actor, he achieved lasting success in 1979-1980 with major supporting roles in three hit movies - Being There, And Justice for All and Used Cars.
Telly Savalas played the mobster/revolutionary. He previously starred in "Action of the Tiger" (episode #1.16).
Victoria Shaw plays Savalas' wife. Her 25 year career saw numerous roles in well-known television programs and movies. She was married for a time to Roger Smith, star of "Knight's Gambit" (episode #1.20).
Star Trek Connection
This episode's Star Trek connection is Arthur Batanides, who played D'Amato on "That Which Survives." He acted for nearly forty years, with repeat guest appearances on shows such as Gomer Pyle, Wild Wild West and Mission: Impossible. Batanides played a police detective in this episode.
Sunday, October 3, 2010
Their Own Executioners; Kraft Suspense Theatre; Dean Stockwell; Dabney Coleman
Click here for the previous episode review.
Season #1, Episode # 23
Their Own Executioners
Season #1, Episode # 23
Their Own Executioners
Original Air Date - April 23, 1964
Setting/Time - A small town just outside of Boston in the present.
Plot/Review/Discussion
The basic plot of this episode centers on a young man (Martin) who has killed his wife just before the episode begins. The viewer does not see the murder, but learns that the young man kicked his wife to death. Most of the episode consists of an older lawyer (Joe Monti) attempting to help the young man by convincing the young man that he did not premeditate the killing.
The title refers to both the old lawyer and the young defendant. The lawyer discovers early in the episode that he is terminally ill. He accepts this news and does not want to fight the disease, while the young man does not want to prevent the execution that surely awaits him if he does not let lawyer Joe Monti help him. Each man is thus acting as his own executioner.
The old lawyer goes to great lengths to convince the young man to say that he did not premeditate the murder. The young man's resistance to the old man's efforts constitutes the major conflict of the episode.
The method by which Monti tries to help Martin is confusing. Monti discovers that Martin's wife was not virtuous, but was flirtatious with other men. Monti throws this discovery in Martin's face. Monti then drops the bombshell on Martin that Martin's own mother had a less than virtuous past. I am not sure I fully understand this strategy. Monti seemed to be arguing that Martin had a false ideal about his mother that his wife failed to live up to. By convincing Martin that his own mother was just as bad . . . . . well, I am not sure how that comparison was supposed to help Martin or Monti.
This revelation was complicated when Monti revealed his own role in Martin's mother's promiscuous past.
At one point, Monti told Martin that he had hit his own (deceased) wife, although only after opening his hand at the last minute before the blow landed. Again, I am not sure what this admission has to do with anything. At this point, Martin was probably hoping that if the case went to trial, Monti would not use this little tidbit in front of the jury.
A secondary plot involves Monti's daughter and her impending marriage to the local weasel. The groom-to-be commits various acts of weaselness, including convincing the daughter to change her appearance and name so as to hide her Italian heritage. At one point, Monti mutters to himself that if his daughter marries this man, he will slowly and figuratively kick her to death over time.
This is the second KST episode in which a defense attorney helps his client solely by convincing the client of his (her) own (relative) innocence - as if the prosecutor, judge and jury are mere afterthoughts. The first exemple of this plot occured in "The Machine That Played God" (1.07).
This is the first of two KST episodes that discussed the death penalty at length (the second one would be "A Cruel and Unusual Night" 1.28). These episodes aired during a roughly 15 year period when the courts favored the rights of criminal defendants and before the public outcry and backlash began. My own opinion is that the writers were looking for some way to create sympathy for Martin in this episode. This search for a pro-defendant story resulted in the convoluted arguments regarding Martin's mother and his own wife's conduct. The storyline suffered as a result of the inclusion of a political agenda. Otherwise, the story of two men overcoming their passive acceptance of their own fate was somewhat compelling.
Cars
The lawyer is driven to the jail by his doctor in a 1960 Mercury Monterey. It is the same color as the 1960 Monterey that appears in two other episodes of Season 1. The viewer sees the car from the back as it backs out of a driveway and heads down the road. A viewer can really appreciate the size of the tail fins and the width of the car. The sound of the wheels pulling away on the wet road while a train can be heard in the background underscores the late night atmosphere that the producer/director/writer were trying to create.
Actors
Herschel Bernardi plays the old lawyer, Joe Monti. Bernardi was only 41 when this episode aired. He had previously played a supporting role in Billy Wilder's Irma la Douce with future KST and Star Trek actress Grace Lee Whitney. In the 1970's he played the title role in the TV series Arnie.
Dean Stockwell played Martin. He continues to act today following a roughly 65 year career. His longest running role was in Quantum Leap. Contemporaneously with KST, he guest starred on Hitchcock, Twilight Zone and many other shows of that and other eras.
Virginia Vincent plays Joe Monti's daughter, even though Ms. Vincent was born only one year later than Herschel Bernardi.
Dabney Coleman plays the weasel in the second of his two KST appearances (having previously appeared in "The Threatening Eye" 1.18).
Star Trek Connection
Robert Fortier played a small, but important role in this episode. The prior interaction between Martin's wife and Fortier's character helped Monti establish his "theory" by which he convinced Martin to fight the murder charges. Fortier would later star (with KST repeat actor Warren Stevens) as Tomar, one of the conquering aliens in the Star Trek episode, "By Any Other Name." He guest-starred in Outer Limits with Grace Lee Whitney three months before "Executioners" aired. That same year, Fortier also acted in Alexander the Great with William Shatner and Adam West (even though that show would not air for four more years).
Quote of the Episode
"We hit our wives, we don't hit our mothers." - Bernardi/Monti
Lessons I learned from "Their Own Executioners"
- It is OK to hit your wife as long as you open your hand at the last minute.
- See "Quote of the Episode" above.
- If your mother was promiscuous many years ago, it is ok to kill your wife today.
- If you are on trial for murder, find a lawyer that beat his own wife and slept with your mother.
Monday, September 20, 2010
A Cause of Anger; Kraft Suspense Theatre; Brian Keith; Nancy Malone; Anthony Caruso
Click here for the previous episode review.
Season #1, Episode #19
A Cause of Anger
Original Air Date - March 19, 1964
Setting/Time - A modern western desert highway between California and New Mexico.
Plot/Review/Setting -
A teenage boy suffers from anger/emotional problems, but is academically gifted to the point of being a genius. His father arranges for a private detective/bodyguard/off-duty cop and a counselor/nurse to take him to an institution where he can be treated.
The plot of this episode is somewhat weak, as certain things are not explained and the conflict and resolution result in somewhat of a letdown.
The plot appears to be based on the basic premise of the old Wagon Train series (which I am sure was based on prior western movies and fiction), where small groups face dangers as they travel across the desert in covered wagons trying to reach a remote destination. The trio in this episode (cop, nurse, teenage boy) are heading by car to an institution in Kansas (as best I can recall). The journey requires them to travel on desert highways across western states. During the trip, they face unknown dangers from breakdowns, other travelers and local residents.
In particular, the cop notices a mysterious car following them. When the cop's car breaks down, the drama is heightened. The mysterious followers now have their opportunity to do harm, while the boy's emotional problems will affect the trio's interaction with local residents. (The drama is better than I am making it sound, as I am trying to avoid plot spoilers.)
The contrast with Wagon Train is made clear early in the episode with an overhead shot of the proverbial congested, interlocking Los Angeles highway system. Thus the Wagon Train theme is brought forward into the 20th century. The writer of this episode, Richard Wormser, was known for his work on westerns (as well as other television programs).
The trio ends up in confrontations with locals and other travelers, but the resolution appears to be rather anticlimactic.
Greater conflict occurs with the boy's struggle against his own emotional problems. He frequently becomes enraged at various points in the trip and must be physically restrained. We watch as the boy comes to terms with these problems and their causes. We see how these problems place the trio in greater danger from locals and the mysterious car following the trio. The writers do a nice job of wrapping up all of the conflicts (both physical and emotional) in the same resolution. The acting, writing and story, despite my reservations, are superior to most of modern television.
Miscellaneous
Whenever the boy flies into a rage and has to be restrained, the viewer hears particular background music to accompany the action. The musical score sounds like the type of Keith Mansfield/Syd Dale jazzy production music that appeared in many movies and in NFL Films highlight reels in the late 1960's. The exact same background score can be heard in "Are There Any More Out There Like You?" (episode 1.5) as the college students were driving over the pedestrian. The music seemed to work better in that scenario than in "Cause of Anger."
Actors
Brian Keith played the cop hired to take the boy across the desert. Viewers may remember his starring roles in multiple television series, such as The Crusader, Family Affair, and Hardcastle and McCormick. He made numerous additional guest and regular appearances in movies and television for more than 70 years, including Wagon Train (and other westerns), Hitchcock and many, many others.
Nancy Malone plays the nurse in the first of her two KST appearances. She acted for over 30 years, including guest roles on Twilight Zone and Kraft Mystery Theatre. She also worked as a director and producer in recent years, directing numerous episodes of Dynasty, Melrose Place and two episodes of Star Trek: Voyager (although I don't count that as a "Star Trek Connection").
Robert Crawford Jr. played the teenage boy. His acting career spanned 15 years, followed by work as a producer or associate producer on well-known movies like The Sting.
Norman Leavitt played in the first of his three small roles in KST, while Douglas Henderson played in the first of his two KST roles.
Cars
Brian Keith drives a 1964 Chrysler Imperial. The main villains were following in a 1964 Colony Park Mercury station wagon. At various scenes along the highway, the producers used the same Mercury Comet, the same Valiant (1960-1962) and the same big finned late-1950's car to complete the background traffic. The viewer also sees the same Ford Thunderbird in traffic at various points.
Star Trek Connection
There are two Star Trek connections in this episode. Anthony Caruso played Bob Cuero, the local deputy. Caruso would later play Bela Oxmyx on Star Trek's "A Piece of the Action," as well as many other roles in his 50 year career. Caruso played in many westerns, including three episodes of Wagon Train.
Oliver McGowan played Dr. Martin. McGowan was the "Caretaker" in Star Trek's "Shore Leave."
Season #1, Episode #19
A Cause of Anger
Original Air Date - March 19, 1964
Setting/Time - A modern western desert highway between California and New Mexico.
Plot/Review/Setting -
A teenage boy suffers from anger/emotional problems, but is academically gifted to the point of being a genius. His father arranges for a private detective/bodyguard/off-duty cop and a counselor/nurse to take him to an institution where he can be treated.
The plot of this episode is somewhat weak, as certain things are not explained and the conflict and resolution result in somewhat of a letdown.
The plot appears to be based on the basic premise of the old Wagon Train series (which I am sure was based on prior western movies and fiction), where small groups face dangers as they travel across the desert in covered wagons trying to reach a remote destination. The trio in this episode (cop, nurse, teenage boy) are heading by car to an institution in Kansas (as best I can recall). The journey requires them to travel on desert highways across western states. During the trip, they face unknown dangers from breakdowns, other travelers and local residents.
In particular, the cop notices a mysterious car following them. When the cop's car breaks down, the drama is heightened. The mysterious followers now have their opportunity to do harm, while the boy's emotional problems will affect the trio's interaction with local residents. (The drama is better than I am making it sound, as I am trying to avoid plot spoilers.)
The contrast with Wagon Train is made clear early in the episode with an overhead shot of the proverbial congested, interlocking Los Angeles highway system. Thus the Wagon Train theme is brought forward into the 20th century. The writer of this episode, Richard Wormser, was known for his work on westerns (as well as other television programs).
The trio ends up in confrontations with locals and other travelers, but the resolution appears to be rather anticlimactic.
Greater conflict occurs with the boy's struggle against his own emotional problems. He frequently becomes enraged at various points in the trip and must be physically restrained. We watch as the boy comes to terms with these problems and their causes. We see how these problems place the trio in greater danger from locals and the mysterious car following the trio. The writers do a nice job of wrapping up all of the conflicts (both physical and emotional) in the same resolution. The acting, writing and story, despite my reservations, are superior to most of modern television.
Miscellaneous
Whenever the boy flies into a rage and has to be restrained, the viewer hears particular background music to accompany the action. The musical score sounds like the type of Keith Mansfield/Syd Dale jazzy production music that appeared in many movies and in NFL Films highlight reels in the late 1960's. The exact same background score can be heard in "Are There Any More Out There Like You?" (episode 1.5) as the college students were driving over the pedestrian. The music seemed to work better in that scenario than in "Cause of Anger."
Actors
Brian Keith played the cop hired to take the boy across the desert. Viewers may remember his starring roles in multiple television series, such as The Crusader, Family Affair, and Hardcastle and McCormick. He made numerous additional guest and regular appearances in movies and television for more than 70 years, including Wagon Train (and other westerns), Hitchcock and many, many others.
Nancy Malone plays the nurse in the first of her two KST appearances. She acted for over 30 years, including guest roles on Twilight Zone and Kraft Mystery Theatre. She also worked as a director and producer in recent years, directing numerous episodes of Dynasty, Melrose Place and two episodes of Star Trek: Voyager (although I don't count that as a "Star Trek Connection").
Robert Crawford Jr. played the teenage boy. His acting career spanned 15 years, followed by work as a producer or associate producer on well-known movies like The Sting.
Norman Leavitt played in the first of his three small roles in KST, while Douglas Henderson played in the first of his two KST roles.
Cars
Brian Keith drives a 1964 Chrysler Imperial. The main villains were following in a 1964 Colony Park Mercury station wagon. At various scenes along the highway, the producers used the same Mercury Comet, the same Valiant (1960-1962) and the same big finned late-1950's car to complete the background traffic. The viewer also sees the same Ford Thunderbird in traffic at various points.
Star Trek Connection
There are two Star Trek connections in this episode. Anthony Caruso played Bob Cuero, the local deputy. Caruso would later play Bela Oxmyx on Star Trek's "A Piece of the Action," as well as many other roles in his 50 year career. Caruso played in many westerns, including three episodes of Wagon Train.
Oliver McGowan played Dr. Martin. McGowan was the "Caretaker" in Star Trek's "Shore Leave."
Sunday, September 12, 2010
The Threatening Eye; Kraft Suspense Theatre; Jack Klugman; Annie Farge; Phyllis Thaxter; Ida Lupino; Coleen Gray
Click here for the previous episode review.
Season #1, Episode #18
The Threatening Eye
Original Air Date - March 12, 1964
Setting/Time - Present day California [update April 13, 2013 - in March in a medium sized town.]
Plot/Review/Discussion -
I saw this episode once over a year ago (which means that RTV should be getting ready to re-run it again, but only after another 5 airings of "My Enemy, This Town"). I don't remember much of the detail, but I recall the basic plot.
"The Threatening Eye" was generally unique among KST episodes because the main plot involved a mystery. A middle aged man was pursued romantically by an attractive young woman. The reasons for this pursuit were unclear. We watch as the young woman does her best to wreck the man's marriage. Eventually, the young woman resorts to illegal means to pursue her goal. (Pardon my vagueness, but I am trying to avoid plot spoilers.) We share the man's puzzlement as he tries to explain/understand the woman's attraction to him and her anger at his rejection of her advances.
The plot thus combines both the pursuit (by various means) and the mystery. The underlying reason is not revealed until the very end. I recall the reason, but I do not recall that reason even being foreshadowed during the episode. In fact, the viewer might not even realize that a mystery exists until the answer to the mystery is revealed.
Much of the plot focuses on subtle manipulation and deception. The actual resolution of the mystery (and the lack of foreshadowing of such resolution) is less important than the subtle drama that takes us to that resolution. Of course, the plot and the young woman's tactics become less subtle as the story unfolds.
This snippet (midway through the episode) summarizes the mystery that the audience and Klugman's character struggle with until the final scene.
The title comes from Shakespeare's "King John." Shakespeare's quote reads, "When Fortune means to men most good, She looks upon them with a threatening eye." -King John, Act iii. Sc. 4. This reference might be the closest the episode comes to foreshadowing the explanation to the mystery. [Update - April 27, 2013 - This is the second of at least three episodes with a Shakespearean quote in the title.]
The episode was written by Howard Browne, who was well known for crime, mystery and action writing, including 1967's St. Valentine's Day Massacre, numerous television episodes, two later episodes of KST and his work editing a science fiction journal in 1952.
[Update - April 27, 2013 - There is an interesting line early in the episode that is a subtle reference to work-related sexual harrassment. Dabney Coleman's character, in describing the sexual harrassment of a female employee, tells Farge's character, "It seems that her boss figures a secretary should perform two functions - one of which is to be a secretary."]
Actors -
Jack Klugman plays the middle age businessman. He is most famous for his starring roles in The Odd Couple and Quincy M.E. in the 1970's and 1980's. Klugman has been visible in recent years for his appearances on numerous syndicated Twilight Zone reruns from the early 1960's. "Threatening Eye" was the first of his two KST episodes. Klugman remained active for more than 50 years.
Annie Farge played the pursuing secretary. Farge had played the title role in the sitcom Angel in the early 1960's. I could find no reference to her, either at IMDB.com or elsewhere, that post-dated 1964, even though she was young at that time. She appeared on The Tonight Show with Johnny Carson less than a month after this KST episode aired. Her final known acting role occurred in the fall of 1964 on Perry Mason. [Update - April 27, 2013 - Wikipedia reports that Farge returned to France in the mid-1960's and died six months after I posted the initial version of this review.]
Phyllis Thaxter plays the victimized wife. She enjoyed a 50 + year career in theatre, tv and movies. Her first movie was Thirty Seconds over Tokyo in 1944. In 1948, she starred with future KST actor Robert Ryan in Act of Violence. She acted in her share of Hitchcock episodes and one Twilight Zone episode. By the late 1970's she would play Clark Kent's mother in Superman. She often played similar roles to that of the wife in this KST episode - the patient and overshadowed victim of the more flambouyant villains. Her ex-husband, James Aubrey, was, at one time, the President of CBS-TV.
Pat O'Brian played the first of his two roles as a policeman on KST. Dabney Coleman made the first of his two KST appearances in this episode. [Update - April 27, 2013 - Coleman played a private detective early in the episode.]
Ida Lupino directed this episode. She had starred in Season 1's "One Step Down."
[Update - April 27, 2013 - Coleen Gray played another employee of Jack Klugman's company, whose friendship with Klugman played a pivotal role at various points in the show. Her career spanned 40 + years, including recurring guest roles on such shows as Perry Mason, McCloud and Ironside, as well as a guest appearance on KST spinoff Run For Your Life. For many years, she was active in Chuck Colson's Prison Fellowship.]
Cars - I cannot recall the cars used in this episode. I recall only that they played an important role at one point in the plot and that interesting models were used.
[Update - April 27, 2013 - Jack Klugman drove a light blue 1964 Ford Galaxie (one of two 1964 Galaxies that appeared in this episode). The stalking secretary drove a 1961 Ford Galaxie.
Phyllis Thaxter's character drove a 1954 Ford - probably a "Crestline."
A snippet of one Galaxie following another (with a third Galaxie passing by).
Season #1, Episode #18
The Threatening Eye
Original Air Date - March 12, 1964
Setting/Time - Present day California [update April 13, 2013 - in March in a medium sized town.]
Plot/Review/Discussion -
I saw this episode once over a year ago (which means that RTV should be getting ready to re-run it again, but only after another 5 airings of "My Enemy, This Town"). I don't remember much of the detail, but I recall the basic plot.
"The Threatening Eye" was generally unique among KST episodes because the main plot involved a mystery. A middle aged man was pursued romantically by an attractive young woman. The reasons for this pursuit were unclear. We watch as the young woman does her best to wreck the man's marriage. Eventually, the young woman resorts to illegal means to pursue her goal. (Pardon my vagueness, but I am trying to avoid plot spoilers.) We share the man's puzzlement as he tries to explain/understand the woman's attraction to him and her anger at his rejection of her advances.
The plot thus combines both the pursuit (by various means) and the mystery. The underlying reason is not revealed until the very end. I recall the reason, but I do not recall that reason even being foreshadowed during the episode. In fact, the viewer might not even realize that a mystery exists until the answer to the mystery is revealed.
Much of the plot focuses on subtle manipulation and deception. The actual resolution of the mystery (and the lack of foreshadowing of such resolution) is less important than the subtle drama that takes us to that resolution. Of course, the plot and the young woman's tactics become less subtle as the story unfolds.
This snippet (midway through the episode) summarizes the mystery that the audience and Klugman's character struggle with until the final scene.
The title comes from Shakespeare's "King John." Shakespeare's quote reads, "When Fortune means to men most good, She looks upon them with a threatening eye." -King John, Act iii. Sc. 4. This reference might be the closest the episode comes to foreshadowing the explanation to the mystery. [Update - April 27, 2013 - This is the second of at least three episodes with a Shakespearean quote in the title.]
The episode was written by Howard Browne, who was well known for crime, mystery and action writing, including 1967's St. Valentine's Day Massacre, numerous television episodes, two later episodes of KST and his work editing a science fiction journal in 1952.
[Update - April 27, 2013 - There is an interesting line early in the episode that is a subtle reference to work-related sexual harrassment. Dabney Coleman's character, in describing the sexual harrassment of a female employee, tells Farge's character, "It seems that her boss figures a secretary should perform two functions - one of which is to be a secretary."]
Actors -
Jack Klugman plays the middle age businessman. He is most famous for his starring roles in The Odd Couple and Quincy M.E. in the 1970's and 1980's. Klugman has been visible in recent years for his appearances on numerous syndicated Twilight Zone reruns from the early 1960's. "Threatening Eye" was the first of his two KST episodes. Klugman remained active for more than 50 years.
Annie Farge played the pursuing secretary. Farge had played the title role in the sitcom Angel in the early 1960's. I could find no reference to her, either at IMDB.com or elsewhere, that post-dated 1964, even though she was young at that time. She appeared on The Tonight Show with Johnny Carson less than a month after this KST episode aired. Her final known acting role occurred in the fall of 1964 on Perry Mason. [Update - April 27, 2013 - Wikipedia reports that Farge returned to France in the mid-1960's and died six months after I posted the initial version of this review.]
Phyllis Thaxter plays the victimized wife. She enjoyed a 50 + year career in theatre, tv and movies. Her first movie was Thirty Seconds over Tokyo in 1944. In 1948, she starred with future KST actor Robert Ryan in Act of Violence. She acted in her share of Hitchcock episodes and one Twilight Zone episode. By the late 1970's she would play Clark Kent's mother in Superman. She often played similar roles to that of the wife in this KST episode - the patient and overshadowed victim of the more flambouyant villains. Her ex-husband, James Aubrey, was, at one time, the President of CBS-TV.
Pat O'Brian played the first of his two roles as a policeman on KST. Dabney Coleman made the first of his two KST appearances in this episode. [Update - April 27, 2013 - Coleman played a private detective early in the episode.]
Ida Lupino directed this episode. She had starred in Season 1's "One Step Down."
[Update - April 27, 2013 - Coleen Gray played another employee of Jack Klugman's company, whose friendship with Klugman played a pivotal role at various points in the show. Her career spanned 40 + years, including recurring guest roles on such shows as Perry Mason, McCloud and Ironside, as well as a guest appearance on KST spinoff Run For Your Life. For many years, she was active in Chuck Colson's Prison Fellowship.]
Cars - I cannot recall the cars used in this episode. I recall only that they played an important role at one point in the plot and that interesting models were used.
[Update - April 27, 2013 - Jack Klugman drove a light blue 1964 Ford Galaxie (one of two 1964 Galaxies that appeared in this episode). The stalking secretary drove a 1961 Ford Galaxie.
Phyllis Thaxter's character drove a 1954 Ford - probably a "Crestline."
A snippet of one Galaxie following another (with a third Galaxie passing by).
1954 Ford Crestline
Sunday, September 5, 2010
Kraft Suspense Theatre; Doesn't Anyone Know Who I Am?; Cornel Wilde; Kathryn Crosby; Malachi Throne, Willoughby
Click here for the previous review.
Season 1, Episode #17
Doesn't Anyone Know Who I Am?
Original Air Date - February 27, 1964
Setting/Time - Most likely the present [update - April 26, 2013 - the present in [1] a suburb of Seattle and [2] a small northwestern town some hours away].
Plot/Review/Discussion
I have not seen this episode, as I do not believe RTV has run it over the past two years. IMDB.com includes the following plot description:
This description makes me want to see this episode. It appears from the description that the main character will face a choice. The best episodes feature difficult choices between right and wrong.
The description makes the episode sound like it could qualify as an episode of Twilight Zone or Hitchcock Presents. But I have higher expectations for "Doesn't Anyone Know Who I Am?" Hitchcock episodes always suffered from self-congratulatory cleverness, which reduced the realism of the program. Twilight Zone would have used some unexplained supernatural event to create the predicament that faces the main character. While I am all in favor of science fiction being used to create dramatic situations, KST plots result from naturally occurring scenarios that are resolved through difficult choices of the characters instead of cleverness or supernatural intervention. We can identify with KST episodes more easily as a result.
I hope only that this episode lives up to its description.
[Update – April 26, 2013 - I have now seen this episode (twice). I can say that it does live up to its description.
This episode is one that makes the viewer envy the main character (despite all that he went through). He was able to disappear into a small town, leave his troubles behind him, and start a whole new life with a new wife and a less stressful job. All of the responsibilities of the old life were gone – so long as he preferred it that way.
Cornel Wilde plays Eric Blaine/George Press, the executive that finds a new life in a small town with a new girlfriend and a new job after being assaulted and suffering amnesia. The main conflict in this story is internal to Eric/George. The plot is basically as described at IMDB.com (quoted above). Eric/George spends the episode fighting against himself. After the amnesia takes away his past, he struggles to remember his old life, but he refuses to take steps that would help him learn the truth. Specifically, he refuses to go to the police and access their records (which pale in comparison to modern databases, but which are considerable nonetheless). He visits a psychiatrist (Malachi Throne), but resists Throne’s advice and seems impatient with Throne’s techniques for accessing old memories.
By visiting a local doctor, Blaine/Press discovers that he has very high blood pressure – to the point of being uninsurable. He later learns that his blood pressure has become perfectly normal after he has become acclimated to his new life. There are hints that his refusal to go to the police may result from fear of what he may find out about his real past (and maybe fear of whatever caused him to develop high blood pressure).
While amnesia has been a common theme of television shows in the past, amnesia is only the tool for the writers to create a conflict for the main character in this episode. When Eric/George later learns the truth, he must choose between his two lives – thus continuing the George v. Eric conflict. The amnesia makes it possible for the character to face such a choice. KST is best when the characters face difficult choices instead of mere physical danger or other such confrontation. Without the amnesia, Eric’s/George’s choice would not have been possible unless he had willfully abandoned his family and committed adultery. Amnesia thus helped the writers maintain audience support for Eric/George while letting the writers open up this whole new world for him.
This episode reminds me of the Twilight Zone episode entitled, “A Stop at Willoughby,” in which an executive dreams of a fictional, peaceful small town where he can get away from the people and problems that make his life miserable. In this KST episode, Eric/George does more than dream and Willoughby is a real place. While the “Willoughby” episode was satisfying and complete, it left the audience wanting more. This KST episode takes the next step and allows the audience to experience life in “Willoughby.” Where the audience would be sympathetic to the executive in “Willoughby,” the audience might be envious of the executive in this KST episode.
This episode has also been compared to a 1949 movie named Impact, which I have not seen.
The title has two meanings. Not only does George/Eric need to know his real name, he needs to know who he really is. Even after regaining his memory (and thus his name, address, executive position, etc.) he still must discover his true identity and where he belongs in this world. A name and other matters of record are not the same as what establishes and creates a true identity. Eric/George must learn what makes him truly happy, productive and healthy. The answer to those questions will determine which life he will choose for himself.
Eric’s/George’s situation is truly enviable. Whichever life he chooses, he has a ready-made job, wife, friends, family, etc. waiting for him. Even if he chooses a new life, he does not need to spend years of uncertainty before he makes a stable, comfortable life for himself. That level of security exists no matter which life he chooses. Both lives are waiting for him. He need only choose where he truly belongs and discover who he truly is.]
Actors
Cornel Wilde appears to play the main character. [Update - April 26, 2013 - Wilde, indeed, plays the main character - Eric Blaine/George Press.] He acted in TV and movies for over 50 years, including guest roles in several well-known series in the 1980's.
Kathryn Grant (AKA Kathryn Crosby) played a major role also - [update - April 26, 2013 - Crosby played the new girlfriend in the small town where Eric/George ended up after the assault that caused the amnesia]. She is the widow of Bing Crosby. Her acting since the late 1970's was limited to the stage until 2010. A new movie in which she appears is now in post-production.
Martha Hyer plays in the first of her two KST roles. [Update - April 26, 2013 - Hyer plays Eric's/George's original wife in the suburb of Seattle. She is a gossip who brags about her husband's career and the status it brings. She is bitter, petty and vicious when her status is in jeopardy.]
Charles Alvin Bell makes the second of his two KST appearances in a small role.
[Update - April 27, 2013 - Paul Newlan played Doc Pierson (see the film excerpt above). Newlan's 40 year included many movies and television roles, including guest roles on Twilight Zone and KST spinoff Run For Your Life. His longest running role was as a police captain on M Squad in the late 50's and 1960.
Barney Phillips played a co-worker of Eric/George. He played many, many roles in movies and television from the late 1930's until his death in 1982, including regular guest work on Ozzie and Harriet, Have Gun Will Travel and many others. What I consider his most famous part (and the one for which he is usually instantly recognizable) is his role as a three-eyed lunch counter attendant on Twilight Zone.]
Cars
[Update - April 26, 2013 - Before he lost his memory, Eric Blaine drove a white Lincoln from sometime between 1962 and 1964. An identical car can be seen parked on the street of the small town later in the show, but it was not intended to be the same car. Eric/George sees what appears to be a black Lincoln from the same era later in the episode, but it is difficult to tell, as viewers do not get a good look at most of the cars in this episode. One also sees a blue 1964 Ford Thunderbird parked on the street near the white Lincoln.
One car that is seen clearly is (probably) a 1953 Chevy driven by Crosby's character. The difficulty in identification comes from damage and wear to the car's exterior - especially the front grill. The following excerpts and photos are from this episode.]
Star Trek Connection
Malachi Throne is this episode's Star Trek connection. Throne made the second of his three KST appearances here. Throne's Star Trek role is more prominent and historic than that of most guest stars. As I wrote in my review of The Machine That Played God:
Season 1, Episode #17
Doesn't Anyone Know Who I Am?
Original Air Date - February 27, 1964
Setting/Time - Most likely the present [update - April 26, 2013 - the present in [1] a suburb of Seattle and [2] a small northwestern town some hours away].
Plot/Review/Discussion
I have not seen this episode, as I do not believe RTV has run it over the past two years. IMDB.com includes the following plot description:
An overly stressed, financially strapped, high powered businessman goes on a sales trip and wakes up suffering from amnesia after being assaulted. He settles in a small town, meets a nice girl and gets a simple satisfying job. Then his memory returns. He goes back to his old life and finds unhappiness. What will he do?
This description makes me want to see this episode. It appears from the description that the main character will face a choice. The best episodes feature difficult choices between right and wrong.
The description makes the episode sound like it could qualify as an episode of Twilight Zone or Hitchcock Presents. But I have higher expectations for "Doesn't Anyone Know Who I Am?" Hitchcock episodes always suffered from self-congratulatory cleverness, which reduced the realism of the program. Twilight Zone would have used some unexplained supernatural event to create the predicament that faces the main character. While I am all in favor of science fiction being used to create dramatic situations, KST plots result from naturally occurring scenarios that are resolved through difficult choices of the characters instead of cleverness or supernatural intervention. We can identify with KST episodes more easily as a result.
I hope only that this episode lives up to its description.
[Update – April 26, 2013 - I have now seen this episode (twice). I can say that it does live up to its description.
This episode is one that makes the viewer envy the main character (despite all that he went through). He was able to disappear into a small town, leave his troubles behind him, and start a whole new life with a new wife and a less stressful job. All of the responsibilities of the old life were gone – so long as he preferred it that way.
Cornel Wilde plays Eric Blaine/George Press, the executive that finds a new life in a small town with a new girlfriend and a new job after being assaulted and suffering amnesia. The main conflict in this story is internal to Eric/George. The plot is basically as described at IMDB.com (quoted above). Eric/George spends the episode fighting against himself. After the amnesia takes away his past, he struggles to remember his old life, but he refuses to take steps that would help him learn the truth. Specifically, he refuses to go to the police and access their records (which pale in comparison to modern databases, but which are considerable nonetheless). He visits a psychiatrist (Malachi Throne), but resists Throne’s advice and seems impatient with Throne’s techniques for accessing old memories.
By visiting a local doctor, Blaine/Press discovers that he has very high blood pressure – to the point of being uninsurable. He later learns that his blood pressure has become perfectly normal after he has become acclimated to his new life. There are hints that his refusal to go to the police may result from fear of what he may find out about his real past (and maybe fear of whatever caused him to develop high blood pressure).
While amnesia has been a common theme of television shows in the past, amnesia is only the tool for the writers to create a conflict for the main character in this episode. When Eric/George later learns the truth, he must choose between his two lives – thus continuing the George v. Eric conflict. The amnesia makes it possible for the character to face such a choice. KST is best when the characters face difficult choices instead of mere physical danger or other such confrontation. Without the amnesia, Eric’s/George’s choice would not have been possible unless he had willfully abandoned his family and committed adultery. Amnesia thus helped the writers maintain audience support for Eric/George while letting the writers open up this whole new world for him.
This episode reminds me of the Twilight Zone episode entitled, “A Stop at Willoughby,” in which an executive dreams of a fictional, peaceful small town where he can get away from the people and problems that make his life miserable. In this KST episode, Eric/George does more than dream and Willoughby is a real place. While the “Willoughby” episode was satisfying and complete, it left the audience wanting more. This KST episode takes the next step and allows the audience to experience life in “Willoughby.” Where the audience would be sympathetic to the executive in “Willoughby,” the audience might be envious of the executive in this KST episode.
This episode has also been compared to a 1949 movie named Impact, which I have not seen.
The title has two meanings. Not only does George/Eric need to know his real name, he needs to know who he really is. Even after regaining his memory (and thus his name, address, executive position, etc.) he still must discover his true identity and where he belongs in this world. A name and other matters of record are not the same as what establishes and creates a true identity. Eric/George must learn what makes him truly happy, productive and healthy. The answer to those questions will determine which life he will choose for himself.
Eric’s/George’s situation is truly enviable. Whichever life he chooses, he has a ready-made job, wife, friends, family, etc. waiting for him. Even if he chooses a new life, he does not need to spend years of uncertainty before he makes a stable, comfortable life for himself. That level of security exists no matter which life he chooses. Both lives are waiting for him. He need only choose where he truly belongs and discover who he truly is.]
Actors
Cornel Wilde appears to play the main character. [Update - April 26, 2013 - Wilde, indeed, plays the main character - Eric Blaine/George Press.] He acted in TV and movies for over 50 years, including guest roles in several well-known series in the 1980's.
Kathryn Grant (AKA Kathryn Crosby) played a major role also - [update - April 26, 2013 - Crosby played the new girlfriend in the small town where Eric/George ended up after the assault that caused the amnesia]. She is the widow of Bing Crosby. Her acting since the late 1970's was limited to the stage until 2010. A new movie in which she appears is now in post-production.
Martha Hyer plays in the first of her two KST roles. [Update - April 26, 2013 - Hyer plays Eric's/George's original wife in the suburb of Seattle. She is a gossip who brags about her husband's career and the status it brings. She is bitter, petty and vicious when her status is in jeopardy.]
Charles Alvin Bell makes the second of his two KST appearances in a small role.
[Update - April 27, 2013 - Paul Newlan played Doc Pierson (see the film excerpt above). Newlan's 40 year included many movies and television roles, including guest roles on Twilight Zone and KST spinoff Run For Your Life. His longest running role was as a police captain on M Squad in the late 50's and 1960.
Barney Phillips played a co-worker of Eric/George. He played many, many roles in movies and television from the late 1930's until his death in 1982, including regular guest work on Ozzie and Harriet, Have Gun Will Travel and many others. What I consider his most famous part (and the one for which he is usually instantly recognizable) is his role as a three-eyed lunch counter attendant on Twilight Zone.]
Cars
[Update - April 26, 2013 - Before he lost his memory, Eric Blaine drove a white Lincoln from sometime between 1962 and 1964. An identical car can be seen parked on the street of the small town later in the show, but it was not intended to be the same car. Eric/George sees what appears to be a black Lincoln from the same era later in the episode, but it is difficult to tell, as viewers do not get a good look at most of the cars in this episode. One also sees a blue 1964 Ford Thunderbird parked on the street near the white Lincoln.
One car that is seen clearly is (probably) a 1953 Chevy driven by Crosby's character. The difficulty in identification comes from damage and wear to the car's exterior - especially the front grill. The following excerpts and photos are from this episode.]
1953 Chevy and 1964 Thunderbird
Crosby and Wilde in the 1953 ChevyStar Trek Connection
Malachi Throne is this episode's Star Trek connection. Throne made the second of his three KST appearances here. Throne's Star Trek role is more prominent and historic than that of most guest stars. As I wrote in my review of The Machine That Played God:
He portrayed the voice of Star Trek's first villain in the original pilot ["The Cage"]. His voice was dubbed out before that episode aired, but Throne played a more pivotal role in the final product, which became Star Trek's only two-parter.
Sunday, August 1, 2010
Kraft Suspense Theatre; Action of the Tiger; Telly Savalas; Peter Brown; Ulla Jacobsson; Paul Comi; King Henry V
Click here for the previous episode review.
Season #1, Episode #16
The Action of the Tiger
Original Air Date - February 20, 1964
Setting/Time - World War II in Europe, both occupied and allied territory. This is the second KST episode set in World War II.
Plot/Review/Discussion
An American bomber copilot is sent back into action over Europe shortly after being shot down. You see stock footage of air battles interspersed well with film of the main character in his cockpit. The battle scene seemed realistic to me (given that I have no experience in such things).
The main character is shot down again and becomes a German POW. Once in his POW camp, he is recruited (because he can speak French) by fellow prisoners in an escape attempt that is designed to provide vital information to the allies. The majority of the plot involves the pilot making his way across occupied Europe to the point where he can meet a boat to take him back to England. Most of the suspense results from his attempts to elude German authorities at a train station, on the train and in a nearby town.
He does not know who he can trust. He must stay in character and remember details of his invented life to avoid suspicion. Most of all, he must not show fear. The story managed to incorporate each of those elements into the story, as he was forced to interact with other passengers, railroad employees and security personnel along the way.
He confides to another traveler that every choice he has ever made was, in fact, made by someone else. From his choice of college and fraternity to his military career to this very mission, he has always let others make his choices for him. This exposition adds some depth to his character, but the plot might have been better had this factor played a larger role instead of being a matter simply for that particular discussion.
This episode is discussed in more detail at the Peter Brown website. That site contains many plot spoilers so do not go there if you hope to see this episode for the first time. That site summarizes the episode as follows:
I agree with that characterization. The pictures below are from that website.
The easy comparison with "Action of the Tiger" is Hogan's Heroes. While Hogan was only a "comedy," the comparison remains valid. "Action" shows how bad Hogan's Heroes was and how good it could have been. Just because a show is labelled a "comedy," does not mean it has to abandon plot and believability.
The title is part of a Shakespearean quote from King Henry V. The full quote appears onscreen at the end.
Miscellaneous
This is the first of two KST episodes to contain the word "Tiger" in the title - both of which starred Peter Brown. Numerous KST episodes can be paired together by virtue of their confusingly similar titles.
Actors
Peter Brown plays the American flyer and lead character. This was the first of his two KST episodes. His 50 + year career continues in 2010. He has played regular and guest roles on numerous television programs throughout that time. I recall him from an episode of the Bob Newhart Show in the 1970's. He played a regular role on Laredo in the mid-1960's.
Peter Brown as the copilot in the opening battle scene
Telly Savalas played a fellow passenger that befriends, helps and advises Brown's character. His most famous role, of course, came in the long running detective show Kojak in the 1970's. This was the first of his two KST episodes.
Telly Savalas advising Peter Brown's character
Ulla Jacobsson played a passenger that befriended Brown's character on the train while providing cause for him to fear exposure and capture. Jacobsson was a Swedish actress most famous for movie roles in the 1950's and 1960's.
Ulla Jacobsson tries to learn more about Peter Brown's cover story.
Cars - There were no vehicles except for the aircraft in the air battle and military vehicles on the ground. I do not remember what type of airplane they were supposed to be flying.
Star Trek Connection -
This episode's Star Trek connection is Paul Comi, who played one of the POWs who helped hatch the escape plot. Comi is probably most well-known for playing Lt. Stiles in Star Trek's "Balance of Terror."
He guested in other series where he was part of a multiple-Star Trek guest cast. He previously played in The Twilight Zone episode "People Are Alike All Over" (with KST's Roddy McDowell) in an episode that featured three other Star Trek actors (including future KST actor Bryon Morrow) and that was rumored to have been the inspiration for Star Trek's original pilot. I remember him also for his role in a Time Tunnel episode that featured two other guest stars from Star Trek (along with the 2 series regulars that also guested on Star Trek). [As complicated as all of that sounds, I do not want to explain further for fear of turning this site into a Twilight Zone/Star Trek/Time Tunnel site.]
Season #1, Episode #16
The Action of the Tiger
Original Air Date - February 20, 1964
Setting/Time - World War II in Europe, both occupied and allied territory. This is the second KST episode set in World War II.
Plot/Review/Discussion
An American bomber copilot is sent back into action over Europe shortly after being shot down. You see stock footage of air battles interspersed well with film of the main character in his cockpit. The battle scene seemed realistic to me (given that I have no experience in such things).
The main character is shot down again and becomes a German POW. Once in his POW camp, he is recruited (because he can speak French) by fellow prisoners in an escape attempt that is designed to provide vital information to the allies. The majority of the plot involves the pilot making his way across occupied Europe to the point where he can meet a boat to take him back to England. Most of the suspense results from his attempts to elude German authorities at a train station, on the train and in a nearby town.
He does not know who he can trust. He must stay in character and remember details of his invented life to avoid suspicion. Most of all, he must not show fear. The story managed to incorporate each of those elements into the story, as he was forced to interact with other passengers, railroad employees and security personnel along the way.
He confides to another traveler that every choice he has ever made was, in fact, made by someone else. From his choice of college and fraternity to his military career to this very mission, he has always let others make his choices for him. This exposition adds some depth to his character, but the plot might have been better had this factor played a larger role instead of being a matter simply for that particular discussion.
This episode is discussed in more detail at the Peter Brown website. That site contains many plot spoilers so do not go there if you hope to see this episode for the first time. That site summarizes the episode as follows:
A good war drama even for those who don't like the war genre -- no blood, some newsreel footage of air battles, mostly a psychological study of a man finding his courage.
I agree with that characterization. The pictures below are from that website.
The easy comparison with "Action of the Tiger" is Hogan's Heroes. While Hogan was only a "comedy," the comparison remains valid. "Action" shows how bad Hogan's Heroes was and how good it could have been. Just because a show is labelled a "comedy," does not mean it has to abandon plot and believability.
The title is part of a Shakespearean quote from King Henry V. The full quote appears onscreen at the end.
Miscellaneous
This is the first of two KST episodes to contain the word "Tiger" in the title - both of which starred Peter Brown. Numerous KST episodes can be paired together by virtue of their confusingly similar titles.
Actors
Peter Brown plays the American flyer and lead character. This was the first of his two KST episodes. His 50 + year career continues in 2010. He has played regular and guest roles on numerous television programs throughout that time. I recall him from an episode of the Bob Newhart Show in the 1970's. He played a regular role on Laredo in the mid-1960's.
Peter Brown as the copilot in the opening battle sceneTelly Savalas played a fellow passenger that befriends, helps and advises Brown's character. His most famous role, of course, came in the long running detective show Kojak in the 1970's. This was the first of his two KST episodes.
Telly Savalas advising Peter Brown's characterUlla Jacobsson played a passenger that befriended Brown's character on the train while providing cause for him to fear exposure and capture. Jacobsson was a Swedish actress most famous for movie roles in the 1950's and 1960's.
Ulla Jacobsson tries to learn more about Peter Brown's cover story.Cars - There were no vehicles except for the aircraft in the air battle and military vehicles on the ground. I do not remember what type of airplane they were supposed to be flying.
Star Trek Connection -
This episode's Star Trek connection is Paul Comi, who played one of the POWs who helped hatch the escape plot. Comi is probably most well-known for playing Lt. Stiles in Star Trek's "Balance of Terror."
He guested in other series where he was part of a multiple-Star Trek guest cast. He previously played in The Twilight Zone episode "People Are Alike All Over" (with KST's Roddy McDowell) in an episode that featured three other Star Trek actors (including future KST actor Bryon Morrow) and that was rumored to have been the inspiration for Star Trek's original pilot. I remember him also for his role in a Time Tunnel episode that featured two other guest stars from Star Trek (along with the 2 series regulars that also guested on Star Trek). [As complicated as all of that sounds, I do not want to explain further for fear of turning this site into a Twilight Zone/Star Trek/Time Tunnel site.]
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.
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.
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