Night Gallery – The Little Black Bag (S1E2)

Great job, Rod.  You had 13 months after the pilot aired and you came up with bupkis (as Mr. Bauman would say) in the first episode; then adapted someone else’s story for your first contribution.  I’ll say this for Ray Bradbury Theater — it might not be very good, but Ray’s name was on the marquis, so he showed up to work.

On the plus side Serling chose good source material.  The Little Black Bag is a fun read and considered a classic in the genre.  I’m all about results, so I went in with high hopes.

Future techno-clerk Gillings reports that a medical bag has been accidentally sent from the current year of 2098 back to then-current 1971.  The episode actually aired in 1970, so they were covered through the rerun and maybe did not expect this series to last long enough for syndication.  Disgraced doctor turned Hobo-American Dr. Fall (Burgess Meredith) and his new pal Hepplewhite (Chill Wills) find the bag.

Dr. Fall’s immediate inclination is to hock this baby for a couple of bucks.   The pawn shop is not interested, but he does attract the attention of a woman who begs him to come look at her sister.  He goes with her and sees a young girl in pain.  Using the instruments in the bag, he realizes that they are not just objects, but are actually leading him through procedures and performing procedures miraculous in the current day.

ngblackbag07He heals the girl, and then a man at the flop-house where he lives.  Back in his room, he imagines giving a speech to the medical community.  His brilliant idea of a demonstration is slicing his neck open with a scalpel from the future.  The scalpel slips through the skin like water with the incision closing up behind it.  It also knows to avoid muscle and important organs.

Hepplewhite fears that the doc is going to cut him out of sharing the wealth from the bag.  He demands a 50% cut.  Dr. Fall, quite the potty mouth, calls him a garbage headed termite.  Chill Wills gives one of the most bizarre performances I’ve ever seen as he threatens Dr. Fall.  He stands almost exactly in this position for 4 minutes.  Early on, he let a few words slip between his lips.  Then for a while, he just stares at the ceiling with his mouth gaping wide for no reason . . . on and on and on.

ngblackbag06

Seriously, this goes on for almost 4 minutes.  Even more amazing, NBC LOVED this performance.

Dr. Fall is getting his medical jones back and is more altruistic, wanting to use the bag to better humanity.  Hepplewhite then kills Dr. Fall, although how he did it with the future scalpel which is designed to NOT kill is not shown.

In the next scene, Hepplewhite is clean-shaven, in a suit and introduced to a room of doctors as William Fall.  Darn the luck, the future techno-clerk gets a warning that the bag has been used for nefarious purposes.  He deactivates the bag and Hepplewhite slices his own throat.  Again, sadly off-camera.

The broad framework of the episode is true to the short story, but there is a major departure in the characters.  Doc Fall’s pal in the episode, Hepplewhite, is not in the short story.  However, his “partnership” with Fall, his greed, the falling out, and the denouement are all assumed by an 18 year old blonde who is the sick girl’s sister.  Gotta say, I would have preferred the blonde babe to the gaping maw of Hepplewhite.

Pointless changes: The clerk of the future is name Gillings on TV, but Gillis in the short story.  The doctor is named Fall on TV, but Full in the short story.  The bag is from 2098 on TV, but 2450 in the short story.  Actually, that last one might make sense.  In 1970, 20 years after the story was published, these instruments probably didn’t seem quite so crazy.

Also, in the story, the doctor takes a blue pill that “hits him like a thunderbolt.”  Combined with the 18 year old blonde sidekick, that could have been a verrrry different episode.

Overall, a good episode.  I don’t see that the changes helped, but it they didn’t wreck the story either.

Post-Post:

  • Twilight Zone Legacy: Burgess Meredith was one of the kings with 4 appearances in starring roles.  Jason Wingreen was in 3 episodes.  William Challee was in 2 episodes.  C. Lindsay Workman was in one episode.  Tragically, Brit Marling was in zero, having not been born.
  • A third story in this episode was a trifle called The Nature of the Enemy, Serling’s first original contribution since the Pilot.  It is just crap, and evidence that Rod Serling might have been a great writer, but picking up a paycheck was his priority.
  • From the short story:

Dogged biometricians had pointed out with irrefutable logic that mental sub-normals were outbreeding the mental normals and super-normals, and that the process was occurring on an exponential curve. 

Amen, brother.

Ray Bradbury Theater – And So Died Riabouchinska (S2E12)

bradbury02The same short story served as the basis for this episode of Ray Bradbury Theater in 1988 and an episode of Alfred Hitchcock Presents in 1956.  Good omens: it was still considered viable 30 years after AHP, and 40 years after it appeared as a radio drama on Suspense.  Bad omen: it is not in the 100 Celebrated Stories collection (but then, neither is The Sound of Thunder or The Veldt).

No matter the pedigree, this is another turd.  Maybe I was biased by watching the far superior American AHP version first.

Detective Krovitch is called to investigate the murder of Mr. Ockham.  The prime suspects are ventriloquist John Fabian, his wife Alyce, and his manager Douglas.  Fabian taunts Krovitch by speaking through his puppet Riabouchinska.

Alyce says she married Fabian for love, but the best part of him was only realized through Riabouchinska.  She makes no secret of the fact that she was driven to an affair with Douglas.

The detective theorizes that Ockham knew of their affair and blackmailed them, resulting in his murder.  Alyce says that is crazy because Fabian knew of their affair  So yet again after Three’s a Crowd and The Dead Man, we have a man who seems OK with his wife having an affair.

rbtriabouchinska02Krovitch later seems to think he has discovered something incriminating by producing a poster of Fabian with a different puppet, and another poster of a ballerina named Illyana that resembles Riabouchinska.

Fabian admits that he one time saw Illyana dance and fell in love with her.  They were lovers, traveled the world.  After a quarrel, she ran away and disappeared.  To get her back, he created a doll in her image. Well, not to get her back, but to replace her.  Literally.

From inside her box, Riabouchinska says they began receiving letters from Ockham blackmailing Fabian, threatening to expose Fabian.  The puppet completely rats him out and makes a fool of him.  Wow, she is just like a real woman!

During their quarrel, she helpfully says, he actually struck Illyana and killed her.  In a jarring edit, Illyana is splayed out dead on the steps in the past.  When Fabian rushes to her and picks her up, it is Riabouchinska that he cradles in his arms in the present.

rbtriabouchinska09

Alfred Hitchcock Presents version with Charles Bronson and Claude Rains.

Disgusted that he killed Ockham, Riabouchinska devolves silently into just another still wooden puppet.  Heartbroken at losing her twice, he goes with the detective.

This is nearly unwatchable, especially when compared to the AHP version.  Hitchcock’s version was superior in both story and performances.  Charles Bronson played Krovitch and Claude Rains played Fabian.  Rains especially was excellent, truly selling the idea that he was a ventriloquist.  His motions creating the puppet and the very slight movements of his lips as he spoke through her seemed very authentic and kept the episode from drifting off into TZ territory.

Maybe this European RBT cast is beloved over there, but I found them dull and their accents were often indecipherable.  And at the risk of being cruel, Alice in the RBT version has a very distracting mole.  I mean really very distracting.

Even the puppet was far better in the original.  AHP’s version had delicate features and actually somewhat resembled the ballerina it was modeled after.  Maybe AHP had an advantage filming in B&W, but the RBT version really just looked like a tarted up whore.  To the ballerina’s credit, it did not even look like her.

Surprisingly, the 1950’s story is edgier.  In the AHP version, Riabouchinska says Fabian did not kill Illyana.  He did, however, still murder Ockham to keep him from telling the world of Fabian’s man-on-puppet sexual fetish with Riabouchinska:  The love that dare not speak its name without moving its lips.  Kind of extreme for the 50’s, if the audience ever thought it through.

But Hitchcock is the guy who would introduce the country to an incestuous transvestite serial killer in 4 years, so par for the course.

Post-Post:

  • AHP Deathwatch: No survivors.
  • In the AHP version, the voice of Riabouchinska is Virgina Gregg who also provided the voice for another stiff, Norma Bates.
  • In both versions, Fabian’s puppet before Riabouchinska was named “Sweet William.”  Think what you will, haters.
  • Riabouchinska is such an unusual name, I have to think Bradbury borrowed the name of the Russian ballerina Tatiana Riabouchinska.  If I never have to type that name again, it will be too soon.
  • Sadly, I was unable to work in an Ockham’s razor reference.

 

 

Ray Bradbury Theater – On the Orient, North (S2E8)

Again with the European cast.  This is turning into Masterpiece Theater.  Except for the Masterpiece part.

Minerva Halliday is on the Orient Express heading north.  She spots a sickly man and graciously dubs him The Ghastly Passenger.

As she leaves the dining car, she puts a hand on his shoulder and says, “I believe.”  Later that night, a conductor is looking for a doctor for TGP, and Minerva volunteers her services as a nurse.  She diagnoses him as being dead.  But only mostly dead, so she begins speaking to him.

She met someone like TGP when she was 6 years old in Ireland and understands that he is a ghost.  Relieved that someone finally recognizes his plight, he laughs and gains strength from her belief.

rbtorient02She offers to escort him to London.   During a layover in Paris, she takes him to Père Lachaise Cemetary.   Sadly, they do not stop by the ol’ Jim Morrison place.  They do stop at Frédéric Chopin’s grave where he is surprisingly listed as Fred.

Back on the train, Minerva gives TGP several books featuring ghostly characters.  Being pre-Kindle, just lugging them around will probably kill him.

In Calais, a group of children gather around the couple.  Being believers in ghosts (i.e. young and stupid), they strengthen TGP.  Feeling particularly chirpy, he levitates as he tells them his ghost story.

In Dover, TGP is looking full of life.   But, darn the luck, Minerva drops dead on the dock.  Now they can go off and find a nice castle to haunt together.

rbtorient01The episode is very faithful to the story, even reusing much of the dialog, although the print version is largely levitation-free.  The story really works better in print, however, in no small part because it does not have the dreadful electronic score behind it.  TGP wears his ashen make-up well, although he does seem miscast.  Minerva brings a nice European MILFy vibe to her role as caretaker.

Can’t recommend, but it did have a certain charm to it, especially on the printed back-lit Kindle screen.

Post-Post:

  • In Roman mythology, Minerva is the Goddess of Wisdom, but has minors in medicine and magic.
  • TGP is corporeal, others acknowledge his presence, he can’t move through walls, he rattles no chains; in what sense is he a ghost?  In their new home, they will not be haunting, but more like squatting.

 

Star 80 (1983)

Not Teresa Carpenter

Not Teresa Carpenter

A Teresa Carpenter Twin Spin.

Longform recently posted a link for Death of a Playmate by Teresa Carpenter.  The article, which won a Pulitzer in 1981, covered the last years and ultimately the murder of Dorothy Stratten.

The movie Star 80, available on YouTube, was partially based on Carpenter’s article.

Both tell the story of the Playboy centerfold who was one of the few to actually have a chance to thrive outside of the Playboy ecosystem.

Not much commentary here as it is a true story and pretty sad.  Worth a read and/or a watch, though.

Post-Post Leftovers:

  • Completely gratuitous, but:  There is no evidence that Dorothy Stratten did not believe in vaccinations, unlike another Playmate who escaped into the mainstream.  And if I’m linking to the Huff-Po, shit must be real.
  • Great early performance by Eric Roberts.  Maybe also by Mariel Hemingway, but I haven’t seen enough of her to know if she was just playing herself.  Whereas, to my knowledge, Eric Roberts has never murdered anyone.
  • Seeing some of his early movies makes you wonder who Eric Roberts pissed off in Hollywood.
  • Update:  OK, that was pretty stupid — I just checked IMDb and this guy has over 60 projects listed for 2014.  Mr. Roberts is doing just fine, thank you.

The Illusionist (2006)

illusionistcover01A Steven Millhauser twin spin!

The movie uses a flashback sequence to start in the same scene as the short story.  As a boy, Eisensheim encountered a traveling magician who performed miraculous tricks.  In the short story, he starts with coins from the boy’s ear; in the film, it is a frog, which is an improvement.

After a bit more conjuring and levitation, the wizard disappears, and by some accounts also the tree he was lounging under.  And maybe he also made off with the boy’s personality, because young Aaron Taylor-Johnson grows up to be the charisma-free star of Godzilla.

Paul Giamatti plays the role he always plays, Paul Giamatti.  In this case his character is Inspector Walther Uhl, who appears in both versions.  It is confusing to call Paul Giamatti by that other name when he is clearly Paul Giamatti, so lets just call him Inspector Giamatti.

The film and short story share the same early illusions.  As Eisenheim takes the stage, he removes  his black gloves, throws them in the air and they become ravens.  Both versions contain the Orange Tree illusion where Eisenheim plants a seed, grows a small tree and produces oranges in a few seconds.  The 2nd part of the trick has trained butterflies flying in with a handkerchief.  It is a callback to a handkerchief a volunteer gave him, but it just seems strangely separate from the Orange Tree trick part of the illusion.

illusionisttree01The film mostly stays with the source material as a large mirror is wheeled on stage, and a volunteer is taken from the audience.  Eisenheim directs the woman through a series of movements.  Naturally, the mirror image reflects those movements; until it doesn’t.  In both versions, but in slightly different ways, the volunteer’s reflection is stabbed as the actual volunteer watches motionless.  This miracle is disconcerting to the entire audience — the 5% at the necessary angle to view the illusion, and the 95% who fear they grossly overpaid for their seats.

Around this time, the film makes its biggest departure away from the short story.  True, the story as written might not have supported a feature-length film.  The filmmakers could have gone in at least two directions — playing up the fantastic elements of the story, or shoe-horning in a love triangle among Eisenheim, the Crown Prince of Austria, and the volunteer who was the Prince’s fiancee Sophie.  While still a great movie, I wish they had gone for option #1.

In the short story, the illusions get darker.  In Book of Demons, the titular book bursts into flames releasing “hideous dwarfs in hairy jerkins who ran howling across the stage.”  In Pied Piper, he causes a group of children to vanish.  When they return, some claimed to have been in a heavenly place, but others claimed to have “been in hell and seen the devil who was green and breathed fire.”  If there had been more of this, but still grounded by an abbreviated romance — GOLD!

The  rest of the film mostly plays out the love triangle which does not exist in the short story.   There is a murder, political intrigue, framing, suicide, more magic.  And mostly a happy ending.  Inspector Giamatti even turns out to be an OK guy.

illusionistjessicaThis is not the usual  blueprint for Steven Millhauser’s stories.  He frequently begins with a premise of something very big, or something very small, or something physically impossible and beats that premise to death.  But I mean that in the best possible way; examining the phenomena from many different angles, creatively tackling the implications.  It might be a town that maintains an exact duplicate of itself, women’s dresses that are as big as houses, paintings that seem to move, or an illusionist with who performs impossible feats.

The premise is the thing for Millhauser.  You don’t go in looking in for a love triangle with the Crown Prince of Austria.  I hope to cover more of his work later.

Post-Post Leftovers:

  • On Amazon, this is categorized as Movies & TV > Blu-Ray > Romance.  Such a lost opportunity.
  • Sophie’s name is mentioned exactly once in the short story.
  • Although in both versions, Eisenheim is clearly performing impossible feats, the short story makes more of a case for the supernatural.  The Orange Tree illusion, however, actually has an historical basis, even if it was tarted-up with the trained butterflies.
  • I read this in the collection We Others: New and Selected Stories.  I am happy to support the arts, but putting out a collection of 21 short stories where 14 have been previously collected is just effectively forcing me to pay 3 times as much for the new material.  Well, not forcing exactly, as I actually set foot in a public library for the first time in years.  Sorry, Steve-o.
  • And don’t get me started on the trade paperback scam.
  • I don’t generally give actors much credit for their craft, but you can pretty much depend on Edward Norton to be great in anything he does.
  • Handkerchief is a strange word; it is literally a hand kerchief.  But a kerchief is specifically defined as being a woman’s scarf.  It is one of those strangely literal words like fireplace that say just what they are with an almost caveman simplicity.  Ummm . . . . fire . . . place!