Sunday, July 25, 2010

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

Click here for my previous episode review.

Season #1, Episode #14

Leviathan Five

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

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


Plot/Review/Discussion -

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Cars

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

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

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

Actors

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

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

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

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

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

Star Trek connection.

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

Saturday, July 24, 2010

Internet Movie Data Base (imdb.com) updates info - Kraft Suspense Theatre; A Hero For Our Times; William Bramley, Victor French; Berkeley Harris

On June 14th, 2010, I posted my review of KST's A Hero For Our Times.

At that time, the IMDB database entry for that episode did not include the names of various guest stars, including William Bramley, Berkeley Harris, Victor French and David Lewis. While all of these actors played only supporting roles, all of those roles were crucial to the plot. Such roles included the murderer, the prosecutor, the defense attorney and the boss of the main character. All of these actors enjoyed substantial careers with numerous additional roles recognized by IMDB.com.

At the time I wrote my review (June 14th) I had not seen "Hero" for almost two years. I noted the absence of Berkeley at IMDB.com:
Berkeley Harris played the defense attorney. Despite having many speaking lines, his role is uncredited at IMDB.com. Many of the IMDB.com cast listings are incomplete for KST. (I believe this is starting to change with the show's newfound popularity on RTV.) Harris also played in 2 other KST episodes, which are credited at IMDB.com.

On July 1st, 2010, RTV broadcast "A Hero For Our Times" for the first time in almost two years. The next day, I updated my review to reflect Bramley, French and Lewis, all of whom I had either forgotten or did not recognize the first time I saw "Hero."

I noted on the update that IMDB had omitted all four actors. IMDB is the most widely used database for those seeking information on actors, movies and television episodes.

At some point since July 2nd, IMDB has updated its data base to include all four of those actors. That IMDB entry had sat incomplete and dormant for two years and one rebroadcast has resulted in an update. I do not know exactly how IMDB discovered the error, but I think it is safe to say that the IMDB update reflects, to some degree, increasing popularity and recognition of KST.

Friday, July 23, 2010

Kraft Suspense Theatre; Crisis; RTV syndication issues; Equity Media Holdings Corporation; Universal-NBC

I wrote previously about various syndication issues, including the apparant failure of RTV to broadcast certain Kraft Suspense Theater episodes. A commenter named "T.V. Barnum" has posted an explanation that I will repeat here in its entirety:
All the Shows do exist - the only one not in the syndication packages (Either as "Suspense Theater" or "Crisis") is the Two-parter as it was later released theatrically.

RTV doesn't have all the episode for a plain simple fact - they don't want to spend the money for master-tapes. The current owners of RTV didn't receive all the master-tapes to most of the shows they air when Equity Media Holdings Corporation severed the partnership.

Equity is holding them for ransom, literally, as well as owning Universal-NBC back rerun fees. So, RTV only ended up with some of the episodes and only slowly getting a few episodes across the board here and there.

The story is "Not all the episodes are cleared for Broadcast" is Bull. I've spoken to several people involved with the affiliates.

RTV's other issue, not running what they have in the proper order is due to the way they program the automated system.

I believe that RTV does run their KST episodes in order of the original broadcast. But they obviously leave out many episodes from that order. Over the past two years, RTV has broadcast some episodes nearly half a dozen times, while other episodes have not been broadcast at all or have been broadcast once or twice only in the past month or two (or only a year or two ago and never again).

I have no explanation other than Barnum's, so I will use it as a working theory until I learn something different.

Equity Media Holdings Corporation was a founding owner of RTV and declared bankruptcy in 2008. RTV is now independent of Equity's ownership, but apparently suffers from insufficient funding at times. The details of RTV's ownership status and the financial dealings with Equity are beyond the scope of this blog.

It is my hope that by promoting Kraft Suspense Theatre and its various qualities, we will hasten the day when it becomes a true classic that is not dependant on one fledgling network.

Wednesday, July 21, 2010

The Star Trek phenomenon and its runoff effect on Kraft Suspense Theatre

Click here for my commentary on the comparative legacies of Star Trek and Kraft Suspense Theatre.

Ralph Senensky directed episodes of Star Trek, Kraft Suspense Theatre and many other shows. He has commented recently on Star Trek's legacy and compared it to that of his other work:
STAR TREK was indeed a phenomenon. I directed six and a half episodes of the original series. I would guess (and I’m sure my guess is very close to being accurate) that I worked a total of ninety days on the series. I worked more days than that on just the pilot of DYNASTY. I directed twice as many episodes of THE WALTONS and two and half times as many episodes of THE FBI; I directed more episodes of THE PARTRIDGE FAMILY and more episodes of THE COURTSHIP OF EDDIE’S FATHER than I did of STAR TREK. And yet today if you google-search my name on the internet, you will think I spent most of my career directing STAR TREK. As I said, STAR TREK was indeed a phenomenon.

As I have written before, Star Trek did not enjoy success during the 1960's. Yet its legacy exceeds that of the more popular shows of that era. Senenky's quote above is but one indicator of that relative legacy.

I will not explore all of the factors that made Star Trek successful only after its first run ended. That is a subject for another blog. But the fan base that has grown around Star Trek clearly has reason to be interested in KST. The overlap between Star Trek and KST exists not only with the actors, but with writers, directors, plots and miscellaneous program information. Star Trek fans would undoubtedly enjoy seeing their Star Trek heroes in other roles, especially where multiple such characters appear in the same episode. I believe this because (1) I enjoy seeing the Star Trek actors in KST roles myself and (2) memory-alpha.org often focuses on non-Star Trek shows where Star Trek actors appeared together. By not being aware of KST, Star Trek fans do not know what they are missing.

I have always regretted that Star Trek ran for only three seasons. I never really enjoyed the spinoffs. Episodes of KST and other contemporary shows seem closer to the old Star Trek than do the recent Star Trek spinoffs. My own experience with KST (and other shows) indicates to me that it was not so much the science fiction that I liked about Star Trek, but the stories. KST provides the kind of plots (plus the actors) that come closer to replacing Star Trek than anything else I have found.

Saturday, July 17, 2010

Kraft Suspense Theatre; Who is Jennifer;? Gloria Swanson

Click here for the previous episode review.

Season # 1, Episode 13

Who is Jennifer?

Original Air Date: January 16, 1964

Setting/Time: A California town - the present.

Plot/Review/Discussion -

This story is about two people who are trying to deal with their past.

"Jennifer" is a young transient who is secretive about her identity and history. She claims to have lived in orphanages as long as she can remember. There is even some question about whether she is 18 years old. Police charge her with some minor offense and then investigate whether she is the long missing child of a local woman (Mrs. Heaton). The police become convinced that she is not the same girl, but they do not inform Mrs. Heaton of this finding. (Police methods at this time differ sharply with what you might see on CSI - never once do you hear the acronym "DNA.") Instead, they use the girl as part of a ruse to determine if Mrs. Heaton was responsible for her child's disappearance years ago. The police tell Mrs. Heaton that Jennifer might be her child in order to induce Mrs. Heaton to let Jennifer move into Mrs. Heaton's home.

The plot is essentially a mystery story. We are faced with the question of Jennifer's true identity and the mystery of what happened to the local woman's child.

As with many KST episodes, this episode is about choices. Jennifer agonizes over the police scheme in which she takes part. Mrs. Heaton agonizes over choices in the past. It is the resolution of the conflict from those choices that resolves the plot and solves the mystery.

The plot is weak and confusing as it relates to the mystery of Jennifer's identity. [Or maybe I am just used to being spoonfed by less subtle stories in modern television.] It is possible that the Jennifer mystery was added to the plot because the story of Mrs. Heaton's past was not enough to fill up an entire episode. That is just my own speculation. The episode was enjoyable notwithstanding those weaknesses.

Cars -

This is the first KST episode that I know of that features the 1960 Mercury Monterey.

1960 Mercury Monterey







I do not have a picture of the car from this episode, but here is a similar model in Mission Impossible. It has a very distinctive look and appears in at least two more episodes. The car had the same light blue color in all three episodes. It was featured more prominently in the later episodes.

One also sees a 1964 Ford Galaxie station wagon pass by Jennifer on the road. Those Galaxie models usually appeared as police cars in television episodes of that era. It is rare today to see them as station wagons.

Actors -

Gloria Swanson plays the local woman (Mrs. Heaton) whose daughter disappeared years ago. Swanson was a legend of silent films dating back to 1914. Her most prolific period occurred in the mid to late 1920's. Her roles decreased when the silent era ended, but her most noted role was in 1950's Sunset Boulevard. She continued to get movie and tv roles until the mid-1970's.

Brenda Scott played Jennifer. She acted regularly in the 1960's and 1970's, but her roles appear much less often after that.

Dan Duryea starred as the police detective attempting to solve the mystery. He acted for almost 30 years until his death in 1968. He guest starred in numerous well-known television programs and had a regular role on Peyton Place. He was the father of Star Trek's Peter Duryea (who also played a role in KST in season #2), but that is not this episode's "Star Trek connection."

Star Trek connection -

There are two Star Trek connections in "Who is Jennifer?"

David Brian played Mrs. Heaton's attorney, who helped her confront the mystery of Jennifer while becoming suspicious of the police investigation. Brian would later play John Gill (the "Fuhrer") in Star Trek's "Pattern's of Force." He enjoyed a quarter-century career.

George Slavin received writing credits on this episode and Star Trek's "Mark of Gideon." There were no obvious similarities or parallels between the plots or characters in those episodes (except that the Star Trek episode was also a mystery of sorts).

Friday, July 16, 2010

A Truce to Terror; Kraft Suspense Theatre; Steve Forrest, John Gavin, Frank Silvera, William McGivern; Michael Ansara

Click here for the previous episode review.

Season #1, Episode #12

A Truce to Terror

Original Air Date - January 9, 1964.

Setting/Time - Los Angeles in the present.

Plot/Review/Discussion -

A businessman finds himself in an altercation with a hispanic man on a downtown street, resulting in an injury to the businessman. The businessman decides to seek revenge. We see the businessman's attempts to find the hispanic man in East Los Angeles. The situation escalates as his search intensifies. The plot culminates in a gun battle on the street and in a basement near the businessman's office.

In this episode, the businessman faces a choice between hunting down his attacker or forgetting the issue. The police, his business partner and a local community leader advise him to let it go. He presses on anyway. We see and hear his decision making process as he resists and ignores everyone's advice. The suspense is more about his decision than about the action that follows. There is no right or wrong decision, but we see the consequences as he presses forward and the conflict escalates.

The story is essentially an anti-war message, as reinforced by the written text on the screen at the conclusion of the show. The politics of the show detract from the plot. The message comes across as naive in light of the events of the past five decades.

The running gun battle/chase scene near the end is the closest (in the entire series) that KST comes to literally recreating the action and the atmosphere of the silhouette images in the opening credits.

William P. McGivern was the writer. He was mainly a crime novelist and mystery writer (even though this episode was not a mystery). He had been a police reporter and was noted for his realistic protrayal of urban life. That background comes through in this episode. This was the first of three episodes that he wrote for KST. He also wrote for police dramas such as Kojak, Adam-12 and other shows.

Cars - I did not recognize most of the vehicles, as they were older models from the 1940's in the hispanic section of the city. I did see the obligatory 1963-1964 Plymouth Fury taxi.

Actors -

Steve Forrest plays the businessman in the first of his two KST appearances in this episode.

John Gavin plays Forrest's hispanic antagonist. His most famous roles were in Psycho and Spartacus. Gavin later served as Ronald Reagan's ambassador to Mexico in the 1980's.

Frank Silvera plays the policeman that advises Forrest to abandon his search. His dialogue with Forrest in their second conversation is crisp and entertaining. He later starred in "That Time in Havana" with Forrest in the second of each of their two KST appearances. Silvera guest starred in many of the major television programs of the 1960's, including Rawhide, Hawaii Five-0, Gunsmoke, Hitchcock, The Flying Nun and KST spinoff Run For Your Life.

Star Trek Connection - The Star Trek connection is Michael Ansara, who plays the community leader/bar owner in the Mexican neighborhood. He advises Forrest's character to back off of his search (somewhat more forcefully than Silvera's character). He also helps Forrest's character and advises him as the situation escalates. Ansara played Kang on the "Day of the Dove" Star Trek episode. His other roles included small parts in Ten Commandments and Julius Caesar as well as larger roles in what seems like every major television program of the past sixty years, including a reprise of his Kang role on various Star Trek spinoffs. His original role on Star Trek, once the only thing I knew of him, now seems minor in light of the body of his work.
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click here for the next episode review.

Tuesday, July 13, 2010

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

Click here for the previous episode review.

Season #1; Episode #11

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

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

Plot/Review/Discussion -

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

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

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

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

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

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

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

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

Cars

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

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

Actors

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

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

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

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

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

Star Trek Connection

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

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