Click here for the previous episode review.
Season #2, Episode #1
The World I Want
Original Air Date - October 1, 1964
Setting/Time - A modern city in the present.
Plot/Review/Discussion -
This episode is somewhat melancholy and sweet at the same time.
The main conflict in this episode is between an elderly cabinet maker and his wife. The man suspects that his wife is planning to kill him. He wants to disinherit her and leave his money to his orphaned niece. The conflict between the man and his wife escalates as the wife begins to suspect the husband's plans.
The title refers to the state of mind of the niece and the underlying conflict in the story. The niece has befriended a deaf and mute cousin that lives with the family. The growing conflict between her aunt and uncle upset her to the point that she would rather retreat into her fantasy world in which both she and the cousin are safe and happy and the conflict does not exist.
The niece takes on a larger role in the episode as the story goes on, as her fantasy world clashes directly with the aunt/uncle conflict when she and the cousin are forced into a final violent confrontation.
I am being vague as I wish to avoid plot spoilers and I have not seen this episode in well over a year. If RTV broadcasts this episode again, I will look for specific examples of scenes supporting the niece's longing for the "world" that she wants. As I recall, her desire for a different world is expressed both through her conversations with the cousin and her unhappiness with the growing strife in the household.
The underlying conflict in this story is the secret desire of the niece for her "world" versus the harsh reality in which she lives. Despite her desire for this world, the niece is not a child. I recall her being in her late teens or early 20's (as is the cousin). The outcome of the violent struggle helps determine the outcome of the niece's own desire for her world.
The idea of a separate "world" apart from the conflict of the aunt and uncle is reinforced by the living arrangements of the cousin. He lives below deck in a boat on the property of the aunt/uncle. The niece is never so happy as when she is visiting the cousin in his cramped quarters.
Halsted Welles received writing credits for this episode. His television writing credits span nearly thirty years, including four episodes of KST. His other KST episodes seemed to have the melancholy undertones that characterized this episode, although the plots were in no way similar.
Cars - I cannot remember the vehicles used in this episode, as most of it took place in and around the home. There were a few street scenes, so I am sure that cars played some role in the background. I will provide an update if RTV reruns this episode.
Actors
Albert Dekker played the uncle. He performed mainly character roles for over thirty years in movies and television, including Bonanza, Mission Impossible, Rawhide and KST spinoff Run For Your Life. He acted in 1955's East of Eden with future KST star Julie Harris and 1954's The Silver Chalice with KST actor Ian Wolfe. He had previously served as a Democrat state representative for the Hollywood district. He died in 1968 from what the coroner labeled autoerotic asphyxiation.
Jo Van Fleet played the aunt. She acted for over 35 years, including three episodes of Kraft Theatre in the 1950's and guest roles on shows such as Hitchcock, Route 66, Bonanza and Police Woman. In 1955, she acted in East of Eden with Albert Dekker.
Sal Mineo played the cousin. Mineo was 25 years old at the time. He was in a transition phase of his career. He was too old to play teen idol types and had begun playing darker characters.
Patricia Hyland played the niece. Her career appears to have been brief.
Star Trek connection -
Leonard Nimoy played the attorney that helped the uncle with his will. There were other Star Trek actors that played bigger roles on many KST episodes, but there was no KST guest star that was ever as high up on the Star Trek totem pole as Nimoy in this (and one later) episode.
Sunday, March 13, 2011
Monday, February 28, 2011
Kraft Suspense Theatre; Season #1
I have now completed my reviews of each of the first season episodes. (Click here to see each of these reviews or consult the "Episode List" on the left side of this page.) Before beginning Season #2, I want to review some of what I have learned from reviewing Season #1. The posting format has developed over the course of the past few months in a way that would benefit from summary and explanation. So here is my section-by-section summary/explanation of what I have written from Season #1.
Title: I use the the title of each post as Google fly-paper. Each "title" is composed of a series of names, words and phrases with little apparent coherence. But it is the title that attracts Google traffic. Google users are not searching for clever phrases or sentences. Google searches look for keywords. I try to pick the most likely searched words and dump them into the title. If you peruse the "Site Meter" data, you will see that this approach works to a certain degree. You can see what the visitors typed into Google that landed them into a particular post.
The opening link: Each post begins with a link to the previous episode review. The most important feature of a blog is the ability of the viewer to move quickly from one post to another. This or any blog contains ongoing references to overlapping information. The more quickly a reader can move to another post, the more likely he is to obtain all of the available information. Readers that find their way to this blog (via Google) because of the information in one post should be able to look around and get to other posts without delay. The closing link for the next review at (or soon to be at) the bottom serves the same purpose. These links supplement the "Episode List" for that purpose.
Episode Number: I occasionally place additional commentary here to help place the episode in context. (Example here)
Episode Title: I place the title of each episode in boldface and larger letters so the reader will know at a glance which episode is at issue. This is especially important since the post title is full of miscellaneous phrases.
Original Air Date: This component often merits additional commentary that focuses on speculation regarding the original schedule, news events from the time in question or other contextual matters (example here and here).
Setting/Time: Most of the episodes take place in the present. There are a few examples from World War II or other situations (example here), many of which are presented through flashbacks (example here).
Plot/Review/Discussion: Obviously, this is the most important part of each review. I try to convey with each review my appreciation for the realism of each plot. I have stated repeatedly how the best plots feature the characters facing a choice instead of simply bed hopping or performing surgery or facing danger. A Hero for our Times (1.04) is a good example of one such plot.
Episode #1.05 is another good example. Episodes 1.25, 1.26 and 1.27 are also good episodes to watch the characters face difficult choices.
Some episodes involve variations on the "facing a choice" theme - such as where the choice is made at the beginning and the character(s) must live with the consequences. (1.06, 1.14, 1.16).
Other episodes with political agendas have plots that are more muddy (1.15, 1.28). Some episodes have mixed political/legal messages that now seem out of date and that make the plot somewhat implausible (1.07, 1.23).
Some episodes are more crime or action oriented with an element of mystery (1.11, 1.13, 1.18, 1.20, 1.22). These episodes vary in quality, with the best of them forcing the main character to struggle with some choice or come to terms with choices in his or her past.
My reviews seem vague because I try to be less specific as the episode goes on so as to avoid plot spoilers. I try to set up the characters and the conflict in a way that avoids any hint at the resolution. I also try to avoid spoiling the opening teasers, as the action in the KST openings sometimes contains a twist that is worth seeing without knowing what to expect.
In some cases, I try to identify the author of the story and explain how the story fits into the author's other work.
Sometimes the story also is based on Biblical, Shakespearean or other references (that are hinted at in the episode title). In the review I try to identify these references and how those references add meaning to the story.
I try to do more than simply establish the basic storyline and invite the reader to "find out" what happens by watching the episode. Much of today's advertising for television programs uses the "find out" approach to attract viewers. Even many of the summaries that appear online describe television and film in this way. This approach assumes that people watch television solely for the purpose of finding out what happens instead of enjoying the story as a whole. The resolution becomes the whole reason to watch the program. The flaw in this approach becomes apparent once the viewer has seen the program. The story is now over. The viewer knows how it ends. The viewer retains no interest in the story or in watching the episode again unless the story itself presented an interesting conflict. In the most enduring programs, it is just as interesting to watch the characters struggle for the conclusion as the conclusion itself. These programs achieve lasting success and are watched in syndication for decades. Viewers watch the same episodes again and again even though they know the outcome. They are not watching simply to "find out" what happens.
My goal is to provide enough context that the reader will want to see the episode for reasons other than the simple desire to "find out" what happened. I believe that the viewer will want to explore the issues created by the conflict and will enjoy seeing the issues play out. I believe that KST possesses the enduring qualities that would create the type of loyal following that would cause viewers to want to see these episodes more than once despite being aware of how the episode ended.
Cars: This portion of the review is often the most fun. I am not an expert on vehicles of the 1950's and 1960's, but I can get a good idea of what I am seeing on the screen. Once I have a rough idea of the year and make of the car, I can narrow it down by searching Google images. Even then, I am sometimes guessing as to the year. If KST had been broadcast 25 or so years later, distinguishing among the various years would be impossible.
Before I began this blog, I was under the impression that the 1963 Mercury Monterey made more appearances than it actually made throughout the series. After paying attention to the extent necessary to write these reviews, it seems that that model makes only a few appearances (although more than most cars of that era and as many as any other model). The 1960 Mercury Monterey is almost as prominent, as is the 1964 Ford Galaxie, various Lincolns and various years of the Ford Thunderbird.
The best season # 1 episodes for cars are 1.04, 1.06, 1.19 and 1.27, (with honorable mention to 1.05, 1.11 and 1.28.) These choices are based on the best variety of cars and the best use of those cars during the episode.
Each discussion of cars begins with a link back to the original "cars" post so that a reader can learn the context of my "cars" discussion.
Actors: Kraft Suspense Theatre has been relatively unknown compared to other shows of its (or any) era. Syndication has been rare until the recent RTV era. I think this relative obscurity is unjustified given the stories and the actors in each episode. As I have tried to make clear in my reviews, each episode featured well-known actors who remain recognizable today. I try to point out the famous actors that appear in each episode.
KST remains a lesser known work in the careers of many actors that would later find fame in movies or television. KST also featured actors that were legendary at the time, thus revealing that KST was somewhat more important during its first run than its later obscurity would indicate.
KST also featured many character actors that made a career from guest appearances in famous television programs of the past six decades. Despite KST's obscurity, these appearances help place KST on a par with those other series.
The same is true of directors that later became famous for major movies or other TV series.
By pointing out these connections, I hope to raise KST's status from that of an obscure television show not popular enough for its own DVD release to that of a classic series from television's golden age.
Star Trek connections: I have written about this feature here. I have several reasons for making the comparison between these shows.
I am primarily a Star Trek fan. There are already too many sites devoted to Star Trek. I have very little to say about Star Trek that has not already been said or written. Discussing KST allows me to write about an underappreciated, quality show while pursuing an unexplored connection to Star Trek.
Lessons - I began including a list of "lessons" of particular episodes only when the plot is weak, when there is an agenda or when the story involves some implausible or bizarre scenario. Eventually, I began including lessons whenever I saw an opportunity for a joke. Episodes that include a list of lessons are 1.15, 1.22, 1.23, 1.25 and 1.28.
Labels - The labels at the bottom serve a specific blog related function. I include in the "label" section only those terms or names that will appear in other posts on this blog. This usage will allow the reader to click on that term and find other posts that use the same term. I will not include the most prominent name in each episode if that name does not appear in other episodes or other posts - even if I have written extensively about that name in that particular post. In this way, the labels allow the reader to move easily from post to post in search of information about a particular topic.
Tuesday, January 4, 2011
Anne Francis, RIP; Kraft Suspense Theatre; The Machine that Played God; Forbidden Planet
It was reported yesterday that Anne Francis died on January 2 at the age of 80. She starred in Episode # 1.07 - The Machine that Played God. That episode was an indictment of the use of lie detectors in criminal investigations.
Ms. Francis constituted one of the many connections between KST and The Forbidden Planet. (The others include Leslie Nielsen, Jack Kelly, Richard Anderson, Warren Stevens and William Boyett.)
The Washington Post obituary (as well as Ms. Francis' Wikipedia entry) mentioned many of her roles, but did not mention her starring role in KST (much like many sources of information about famous performers who starred in KST).
Francis was the second KST/Forbidden Planet star to pass away in little more than a month, as Leslie Nielsen died on November 28th.
Anne Francis and Robby the Robot from a publicity photo for The Forbidden Planet - H/T insai.net
Ms. Francis constituted one of the many connections between KST and The Forbidden Planet. (The others include Leslie Nielsen, Jack Kelly, Richard Anderson, Warren Stevens and William Boyett.)
The Washington Post obituary (as well as Ms. Francis' Wikipedia entry) mentioned many of her roles, but did not mention her starring role in KST (much like many sources of information about famous performers who starred in KST).
Francis was the second KST/Forbidden Planet star to pass away in little more than a month, as Leslie Nielsen died on November 28th.
Anne Francis and Robby the Robot from a publicity photo for The Forbidden Planet - H/T insai.net
Monday, December 6, 2010
Kraft Suspense Theatre; A Cruel and Unusual Night; Ronald Reagan; Scott Marlowe; Anne Helm; death penalty debate
Click here to see the previous episode review.
Season #1, Episode #28 - (this episode would be the final episode for season #1)
A Cruel and Unusual Night
Original Air Date - June 4, 1964 (It is almost unheard of today for prime time television programs to air new episodes as late as June).
Setting/Time - A modern city, an abandoned restaurant in the country and the inside of a penitentiary (via flashback).
Plot/Review/Discussion -
For those of us too young to remember Ronald Reagan as an actor, but old enough to remember him as President, this episode has a certain appeal. We enjoy seeing the man we knew as President Reagan confront a killer as the episode builds to a climax.
While Ronald Reagan's involvement is definitely a plus for the episode, it does not make up for a weak and politicized plot. Criminal laws and prosecutions had been under attack for years in the United States at the time this episode aired. The attack on the death penalty was part of this movement. This movement would culminate in the Supreme Court banning the death penalty in a controversial 1972 decision. (That decision would be modified in 1976, as the Court would again allow the death penalty under certain circumstances.)
This episode would reflect that movement, as it would become the second KST episode to make an issue of the death penalty. While the previous episode would skirt the issue (while providing bizarre theories on hitting and killing women), this episode would take on the issue directly. This directness became evident when the main portion of the story was introduced by an argument between Reagan's character and a convicted murderer over the validity of the death penalty.
Ronald Reagan plays a judge who is kidnapped by a former death row inmate/escapee played by Scott Marlowe. Marlowe holds Reagan in an abandoned restaurant outside of town in an effort to recreate for Reagan the feelings that death row creates for the inmates. Marlowe plans an "execution" for Reagan the next morning, while recreating as much as possible the circumstances of a state sponsored execution.
The escapee was bitter over having been sentenced to death by Reagan for a murder. This episode's agenda became apparent as the two men argued during the night. Marlowe compared himself to a victim of the holocaust and Reagan to a Nazi. The dispute would have been more realistic had the writers not held back the best of the pro-death penalty arguments. In particular, when Marlowe likened his own sentence to the holocaust, the obvious response would be to question Marlowe's comparison. The holocaust victims were law abiding citizens who were not being punished for any actual crime. They were not murderers. While Reagan's character was permitted to oppose the comparison of himself to the Nazis, the writers would not permit Reagan's character to speak out against Marlowe's self-elevation to holocaust victim status.
Following the kidnapping and the argument, Marlowe describes his time on death row. Much of the episode is then consumed by a long flashback of Marlowe awaiting execution some time in the recent past. Marlowe recounts many of his death row conversations with the warden, a preacher and the guards. All of them tell Marlowe how "sorry" they are that he will soon be killed. At least I recall Marlowe saying that he is tired of hearing everyone say how sorry they are (I sympathize with him on this point. I, myself, was tired of hearing about their sorrow by this point in the program also). Marlowe remained indignant about his predicament to the very end.
As Marlowe's own execution approaches in the flashback, we see him eat his last meal. Strangely, the meal includes staple side dishes that one normally eats solely for their nutritional value instead of their taste. It seems strange that Marlowe would be concerned with nutrition instead of simply trying to enjoy one or more main dishes. I will definitely do things differently if I ever reach death row.
Marlowe, after additional indignant banter, is then lead into a chamber and strapped into a chair. The guards leave the chamber and seal the door/vault. We see white bags lowered into a liquid by some automated process. We hear a hissing/sizzling sound as a chemical reaction between the bags and the liquid releases gas into the air. Marlowe begins to suffocate/choke. But he is spared when the warden receives the proverbial last minute reprieve via telephone as the gas takes effect and the guards scramble to rescue him. This entire scene is powerful solely because of the details. The viewer sees and hears the execution through the eyes and ears of the prisoner inside the chamber. The director and writers took their time with this scene and let it develop in painstaking detail.
Marlowe wakes up later in the infirmary and learns that the reprieve was only temporary. He screams in terror at the thought of going back to the chamber.
The flashback ends shortly thereafter. We learn at some point that Marlowe's sentence was ultimately commuted to life in prison, but he escaped anyway so he could find Reagan and show him the horror of death row. The conflict in this episode then comes down to a question of whether Reagan will crack under the pressure of the pending execution - which is what Marlowe appears to want.
We never find out exactly what Marlowe's motive was in kidnapping Reagan. The story makes sense only in the context of a larger campaign against the death penalty. Because we are watching what is largely a political message, the conflict becomes watered down and the story becomes less realistic. The message is less likely to resonate with the viewer - not simply because the death penalty is a remote subject to most people, but because the characters are driven by a desire to make a point instead of making real choices in their lives. The characters thus appear to be disposable for the sake of the agenda.
Agenda driven episodes also do not stand up well after time passes. The message of this episode seems almost quaint in light of the anti-crime backlash of the past three decades. It is difficult to understand fully this episode without context.
Miscellaneous
This episode's title is not to be confused with "Once Upon a Savage Night" (episode # 1.21). As I wrote for episode #1.21, this is another pairing of KST episodes with confusingly similar names (with both titles sounding like they were written by Snoopy). I am sure the similarity is purely coincidental, as the title is a reference to the Eighth Amendment's prohibition against "cruel and unusual" punishment.
Actors
As noted, Ronald Reagan played the judge. This episode marked one of his final acting roles before entering politics. Reagan would make headlines later that summer for political speeches on behalf of Barry Goldwater's presidential campaign. Two years later, Reagan would be elected governor of California. This episode aired the same year as The Killers, in which Reagan acted with KST guest stars Lee Marvin and Clu Gulager.
Scott Marlowe appears in the second of his two KST roles, having played in "My Enemy, This Town," earlier in 1964.
Anne Helm played the wife of Marlowe's character. She acted for thirty years, appearing on most of the big-name television programs of her era, including Big Valley, Hitchcock, KST spinoff Run for Your Life, Perry Mason and many others.
Cars
Ronald Reagan drove a light blue 1960 Mercury Monterey, in which he was kidnapped. This episode marked the third appearance of that vehicle (probably the same vehicle in each episode). The previous appearance of this vehicle occurred in the previous death penalty episode. This appearance was somewhat unique, in that the viewer can see exterior shots of the vehicle speed through the streets as part of the action. This model had a distinctive appearance even for cars of its era. Today's museum or car show experience does not equal the sight of a classic car such as this one actually in motion.
I found it interesting when Reagan's car phone played a role in the episode and two of the actors appeared to be momentarily flustered by the novelty of such an item.
The stock footage of the city street rolling behind Reagan as he drives is also very telling. We all know that studios use stock footage of traffic behind drivers as they sit behind a steering wheel in the studio. But in this case, the stock footage was obviously more than a decade old. The cars in the stock footage dated from the late 1940's. The difference between a late 1940's car and the cars of the early 1960's was very large. Today, producers could easily use stock traffic footage from 10 or 15 (or more) years ago without such use being obvious.
This obversation is telling not so much with regard to the production of this episode, but with regard to the state of the automobile industry over the past few decades. Because cars of our generation have become so uniform looking, not only is it impossible to date film by looking at vehicles, but films have lost one interesting aspect. No one in the future will look back on television of 2010 with the goal of commenting on the cars.
Lessons I learned from "A Cruel and Unusual Night."
Season #1, Episode #28 - (this episode would be the final episode for season #1)
A Cruel and Unusual Night
Original Air Date - June 4, 1964 (It is almost unheard of today for prime time television programs to air new episodes as late as June).
Setting/Time - A modern city, an abandoned restaurant in the country and the inside of a penitentiary (via flashback).
Plot/Review/Discussion -
For those of us too young to remember Ronald Reagan as an actor, but old enough to remember him as President, this episode has a certain appeal. We enjoy seeing the man we knew as President Reagan confront a killer as the episode builds to a climax.
While Ronald Reagan's involvement is definitely a plus for the episode, it does not make up for a weak and politicized plot. Criminal laws and prosecutions had been under attack for years in the United States at the time this episode aired. The attack on the death penalty was part of this movement. This movement would culminate in the Supreme Court banning the death penalty in a controversial 1972 decision. (That decision would be modified in 1976, as the Court would again allow the death penalty under certain circumstances.)
This episode would reflect that movement, as it would become the second KST episode to make an issue of the death penalty. While the previous episode would skirt the issue (while providing bizarre theories on hitting and killing women), this episode would take on the issue directly. This directness became evident when the main portion of the story was introduced by an argument between Reagan's character and a convicted murderer over the validity of the death penalty.
Ronald Reagan plays a judge who is kidnapped by a former death row inmate/escapee played by Scott Marlowe. Marlowe holds Reagan in an abandoned restaurant outside of town in an effort to recreate for Reagan the feelings that death row creates for the inmates. Marlowe plans an "execution" for Reagan the next morning, while recreating as much as possible the circumstances of a state sponsored execution.
The escapee was bitter over having been sentenced to death by Reagan for a murder. This episode's agenda became apparent as the two men argued during the night. Marlowe compared himself to a victim of the holocaust and Reagan to a Nazi. The dispute would have been more realistic had the writers not held back the best of the pro-death penalty arguments. In particular, when Marlowe likened his own sentence to the holocaust, the obvious response would be to question Marlowe's comparison. The holocaust victims were law abiding citizens who were not being punished for any actual crime. They were not murderers. While Reagan's character was permitted to oppose the comparison of himself to the Nazis, the writers would not permit Reagan's character to speak out against Marlowe's self-elevation to holocaust victim status.
Following the kidnapping and the argument, Marlowe describes his time on death row. Much of the episode is then consumed by a long flashback of Marlowe awaiting execution some time in the recent past. Marlowe recounts many of his death row conversations with the warden, a preacher and the guards. All of them tell Marlowe how "sorry" they are that he will soon be killed. At least I recall Marlowe saying that he is tired of hearing everyone say how sorry they are (I sympathize with him on this point. I, myself, was tired of hearing about their sorrow by this point in the program also). Marlowe remained indignant about his predicament to the very end.
As Marlowe's own execution approaches in the flashback, we see him eat his last meal. Strangely, the meal includes staple side dishes that one normally eats solely for their nutritional value instead of their taste. It seems strange that Marlowe would be concerned with nutrition instead of simply trying to enjoy one or more main dishes. I will definitely do things differently if I ever reach death row.
Marlowe, after additional indignant banter, is then lead into a chamber and strapped into a chair. The guards leave the chamber and seal the door/vault. We see white bags lowered into a liquid by some automated process. We hear a hissing/sizzling sound as a chemical reaction between the bags and the liquid releases gas into the air. Marlowe begins to suffocate/choke. But he is spared when the warden receives the proverbial last minute reprieve via telephone as the gas takes effect and the guards scramble to rescue him. This entire scene is powerful solely because of the details. The viewer sees and hears the execution through the eyes and ears of the prisoner inside the chamber. The director and writers took their time with this scene and let it develop in painstaking detail.
Marlowe wakes up later in the infirmary and learns that the reprieve was only temporary. He screams in terror at the thought of going back to the chamber.
The flashback ends shortly thereafter. We learn at some point that Marlowe's sentence was ultimately commuted to life in prison, but he escaped anyway so he could find Reagan and show him the horror of death row. The conflict in this episode then comes down to a question of whether Reagan will crack under the pressure of the pending execution - which is what Marlowe appears to want.
We never find out exactly what Marlowe's motive was in kidnapping Reagan. The story makes sense only in the context of a larger campaign against the death penalty. Because we are watching what is largely a political message, the conflict becomes watered down and the story becomes less realistic. The message is less likely to resonate with the viewer - not simply because the death penalty is a remote subject to most people, but because the characters are driven by a desire to make a point instead of making real choices in their lives. The characters thus appear to be disposable for the sake of the agenda.
Agenda driven episodes also do not stand up well after time passes. The message of this episode seems almost quaint in light of the anti-crime backlash of the past three decades. It is difficult to understand fully this episode without context.
Miscellaneous
This episode's title is not to be confused with "Once Upon a Savage Night" (episode # 1.21). As I wrote for episode #1.21, this is another pairing of KST episodes with confusingly similar names (with both titles sounding like they were written by Snoopy). I am sure the similarity is purely coincidental, as the title is a reference to the Eighth Amendment's prohibition against "cruel and unusual" punishment.
Actors
As noted, Ronald Reagan played the judge. This episode marked one of his final acting roles before entering politics. Reagan would make headlines later that summer for political speeches on behalf of Barry Goldwater's presidential campaign. Two years later, Reagan would be elected governor of California. This episode aired the same year as The Killers, in which Reagan acted with KST guest stars Lee Marvin and Clu Gulager.
Scott Marlowe appears in the second of his two KST roles, having played in "My Enemy, This Town," earlier in 1964.
Anne Helm played the wife of Marlowe's character. She acted for thirty years, appearing on most of the big-name television programs of her era, including Big Valley, Hitchcock, KST spinoff Run for Your Life, Perry Mason and many others.
Cars
Ronald Reagan drove a light blue 1960 Mercury Monterey, in which he was kidnapped. This episode marked the third appearance of that vehicle (probably the same vehicle in each episode). The previous appearance of this vehicle occurred in the previous death penalty episode. This appearance was somewhat unique, in that the viewer can see exterior shots of the vehicle speed through the streets as part of the action. This model had a distinctive appearance even for cars of its era. Today's museum or car show experience does not equal the sight of a classic car such as this one actually in motion.
I found it interesting when Reagan's car phone played a role in the episode and two of the actors appeared to be momentarily flustered by the novelty of such an item.
The stock footage of the city street rolling behind Reagan as he drives is also very telling. We all know that studios use stock footage of traffic behind drivers as they sit behind a steering wheel in the studio. But in this case, the stock footage was obviously more than a decade old. The cars in the stock footage dated from the late 1940's. The difference between a late 1940's car and the cars of the early 1960's was very large. Today, producers could easily use stock traffic footage from 10 or 15 (or more) years ago without such use being obvious.
This obversation is telling not so much with regard to the production of this episode, but with regard to the state of the automobile industry over the past few decades. Because cars of our generation have become so uniform looking, not only is it impossible to date film by looking at vehicles, but films have lost one interesting aspect. No one in the future will look back on television of 2010 with the goal of commenting on the cars.
Lessons I learned from "A Cruel and Unusual Night."
- When you are executed, everyone involved will be very sorry.
- Even though you are about to be executed, you should make sure that your last meal is well-balanced and nutritious.
- If you were ever on death row, even if you killed someone, you are just like a Holocaust victim.
Friday, December 3, 2010
Leslie Nielsen, RIP; Kraft Suspense Theatre; One Step Down; Green Felt Jungle
Leslie Nielsen passed away on November 28th.
He starred in two Kraft Suspense Theatre episodes - One Step Down (# 1.06) and The Green Felt Jungle (# 2.20).
The online eulogies discuss many of his roles over the decades, including The Forbidden Planet, but I have seen none that mention KST. (Click here to see the connection between Forbidden Planet and KST.)
For today's writers to ignore KST in this way is consistent with my post almost six months ago, in which I identified numerous KST actors whose biographies ignore KST while focusing on less consequential roles on Star Trek. Click here for more discussion of KST's relative obscurity.
Nielsen achieved tremendous fame in his career. It is my hope that fame of the type that Nielsen and other KST actors achieved will eventually shine a brighter spotlight on KST.
He starred in two Kraft Suspense Theatre episodes - One Step Down (# 1.06) and The Green Felt Jungle (# 2.20).
The online eulogies discuss many of his roles over the decades, including The Forbidden Planet, but I have seen none that mention KST. (Click here to see the connection between Forbidden Planet and KST.)
For today's writers to ignore KST in this way is consistent with my post almost six months ago, in which I identified numerous KST actors whose biographies ignore KST while focusing on less consequential roles on Star Trek. Click here for more discussion of KST's relative obscurity.
Nielsen achieved tremendous fame in his career. It is my hope that fame of the type that Nielsen and other KST actors achieved will eventually shine a brighter spotlight on KST.
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.
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