Yet another first-time director.  Are they picking these guys up in front of Home Depot?

Like so many RBT episodes, there is an interesting idea here, but it isn’t well executed, or maybe it just works better on the printed page.

Dudley Stone (John Saxon) is having a book-signing for his latest masterpiece.  He recognizes one of the people in line as a struggling writer John Oatis Kendall.  Stone asks how he would like the book inscribed and his handed a note that says “I have come here to kill you.”

But Kendall is paying full price for the book, so Stone says, “Easily done” and begins writing inside the cover.  Psyche!  He writes, “Come see me tomorrow and kill me then!! — D.S.”  effectively shutting him down and screwing him out of an autograph.

The next scene takes place 20 years later where Kendall, having not aged a day, is present at an annual gathering to memorialize Dudley Stone who disappeared after their first encounter.  No one seems to know if Stone is dead or alive.  Kendall, now a successful writer, speaks up to say that he murdered Stone out of jealousy for his talent.

In a flashback to the day after their meeting at the book-signing, we see that Kendall somehow intuited that Stone’s “Kill me then” comment was an invitation to come out to the house, meet the wife and kids.  Kendall travels out to the seaside home and is warmly greeted by Stone.  Even better, it is Stone’s 40th birthday (even though John  Saxon was 53 at the time).

Saxon is strangely encouraging of Kendall’s plan.  Kendall explains his jealousy of     Stone’s talent and volume of output, “all of it excellent! “.  Novels, poetry, essays, stageplays, screenplays, lectures on city planning, architecture, etc.  Kendall says this flood of masterful output has “reduced everyone else to pygmies.”

“Agreed, agreed,” Stone offers magnanimously.  He seems nonplussed by the entire rant and responds, “I’ve heard your reasons for wanting to kill me, let me give my reasons for letting you do bloody murder.”  He motions at all the books he’s never read, symphonies yet to be heard, films yet to be seen, sculptures waiting to be shaped, paintings waiting to be painted — is there anything this guy can’t do?   I’m starting to hate him myself.  He goes on like this at length — those are the reasons to “die.'”

Faking his death will remove him from Kendall’s competitive world and allow him time to enjoy these pursuits, just like Elvis Presley, Andy Kaufman and Eddie (of Cruisers fame).

I’m no tree-hugger, but this is just wrong!

Stone pulls all of his unfinished works out of various boxes, desks and drawers.  Together, they go to a cliff and — in a shocking display of littering — heave reams of paper into the sea.

Back in the future, Kendall calls Stone to give him permission to begin “living” again, but Stone is perfectly happy being “dead.”  He realized 20 years ago that his well had run dry, his latest mediocre works would have have tarnished his legacy.  He was happy to have a chance to go out on a Costanzian high-note.

In a nice twist, he asks the now-successful Kendall if there is anyone out there now that might similarly see him as a threat.  He sees hungry eyes looking at him, and realizes that he now has the same burden that Jack Klugman brought on himself in TZ’s A Game of Pool.

The episode reasonably combines a couple of characters from the print version.  In the story, a man named Douglas (Bradbury’s middle name) tracks Stone down.  Stone then just tells him the story of his encounter with Kendall, who had been a friend since childhood.

Post-Post:

• LOTR Connection:  None.
• His fan club, which seems to be made up of writerly types, are no brainiacs.  They were unable to determine whether Stone was alive despite him still living in the same house 20 years later.  C’mon, Richard Bachman was harder to find.  At least Eddie grew a beard (not sure of the facial hair status of the Cruisers).

In complete contrast to The Wind, this short story is really just a sketch, a thumbnail, and not even the thumbnail.  It is the RBT episode that fleshes out the character and concept.  I’m not sure who to credit for the improvement.  This is the only directing credit for Alun Bollinger, so probably not much attributable to him.  Certainly Bradbury expanded the story for his screenplay.  I think, though, it is David Ogden Stiers who really sells it.  I normally don’t care for him without the Boston accent (like in that really mediocre Star Trek TNG episode), but he is great here.

He has walked to the house of his friend Stockwell.  This is risky and unusual because in the year 2053, street-walking is against the law — I mean literally walking down the streets, not the kind of street-walking that is still prosecuted by fascists in 2014 .

He is dressed all in black and has brought similar clothing to Stockwell.  Stiers reels off Bradbury’s flowery dialogue, and it is the rare occasion that it actually works.  They are giddy as they set out.  Stockwell has never seen dew on the grass, or the over-grown sidewalks.  This despite the fact that the houses do have windows.  Bradbury even gets a laugh out of Stockwell taking a header over a root.

They are soon spotted by a drone Helicopter.  The rest of the episode is basically an interrogation by the drone.  This tracks with the short story except that it is a drone Police Car.

Stiers is grilled on why he is outside.  The drone can’t understand the concept of going for a walk, seeing the sites, or getting some fresh air.  The drone orders Stiers to get in, finally showing that it is not a small drone but was supposed to be a full size helicopter.

The helicopter lifts off and shines a spotlight on Stockwell telling him to  disperse, which unless he is dismembered, I’m not sure is strictly possible.  I think he probably takes the long way home.

Post-Post:

• I really did think it was a mini-copter drone.  Just turned out to be a sketchy special effect.
• Hmmm, didn’t realize Michelle Forbes was in that ST:TNG episode in a pre-Ro role.  The presence of Lwaxana Troi is enough to stop me from revisiting it, though.
• NZ-LOTR Connection: Director was 2^nd Unit DP on all 3 movies.
• Next week: A Sound of Thunder.  If they manage to screw that up . . .

The wind is a perfect subject for this series.  Many of the episodes just have some movement, some rustling around, but there is nothing solid at the heart of them.

For some reason Michael Sarrazin just makes me think of the 70’s.  Not sure if it is his face, or just because that was really his heyday (1969-1975), and he never really seemed to live up to his promising start.

Here he is playing a weather nerd, which in the days before the internet or even the Weather Channel must have been a pretty frustrating hobby.  He is flipping through a book of maps with page headings like Cloudiness, Visibility, Gale Persistence when suddenly a persistent mini-gale blows through his living room and flips the pages.

He recognizes the wind as a presence immediately and greets it.  I’m trying to outline the episode, but it gives me nothing.  What can I say?  He calls his friend Herb, but Herb is busy.  He opens his front door.  He lights a cigarette which the wind blows out the first try. The wind blows his door shut.  He looks for batteries for his flashlight.

He says to himself, “My God, it’s like a great big shuffling hound, it’s trying to smell me out.”  He begins making a tape for Herb.  He describes climbing a mountain in Tibet to see what he should never have seen — hundreds of winds.  OK, so the wind has come after him.  I can totally buy into that — we’ve seen all kinds of voodoo follow people back to “civilization” for revenge.  Crikey, TZ even put a lion in a dude’s Park Avenue bedroom.  I can imagine this story being the basis for a great episode, but this ain’t it.

“Note to self: I’ll do one more episode in 3 years, but that’s it!”

In the limited “killer wind” genre, this makes The Happening look like Citizen Hurrikane.

I give it an F1 on the Fujita Scale (F5, of course, being Finger of God).  And that’s being generous, because the Fujita Scale actually starts at F0.

The short story is actually pretty good and if I had read it before seeing the episode, I would have looked forward to an adaptation — on Outer Limits or TZ, maybe.

Strangely, the short story centers on his friend Herb.  Sarrazin’s character Allin (renamed the manlier John Colt for TV) literally phones it in, never physically appearing in the scenes.   I’m not sure what is the benefit of this choice, but it worked for me.

Naturally, the short story form has the advantage of being able to deliver more pure exposition.  We are given a lot more information about the wind, how it has absorbed the souls of those killed in hurricanes, cyclones and typhoons; how it has pursued Allin across the globe.

Another wasted opportunity.

Post-Post:

• Sarrazin’s character mentions that they are in New Zealand, so my hunch about The Lake was correct.  This episode was all shot indoors, so the NZ location was not exploited at all.
• Like everything filmed in New Zealand in the last 50 years, The Wind has an actor that appeared in one of the Lord of The Ring movies.  OK, The Lake didn’t; well, that theory didn’t last long.