Alfred Hitchcock Presents — Self Defense (05/23/61)

Amazon sez:  “A man kills a young hoodlum who has just robbed a liquor store.”  Ya know, if that’s the whole story, it’s enough for me.  The bigger crime this week is how riddled with commercials Amazon has become.  But I digress . . .

Gerald Clarke pulls into America’s cleanest alley and enters an immaculate liquor store.  He grabs a six-pack.  The elderly clerk says she can’t break a five, but was a seven during the Hoover Administration.  She offers to let him settle-up later, but he refuses.  In the background, we see the aforementioned hoodlum emerge from the storeroom.

Said hoodlum jams the gun in Clarke’s back causing him to sweat profusely.  The clerk tells the kid he has the loot, so skedaddle — and, for God’s sake, take some of that Zima display with you!  The kid runs out, and the clerk reveals she had a pistol but was too scared to use it. [2]

Clarke grabs the pistol and runs after the kid.  He sees the getaway car getting away and fires two shots into it.  The car crashes into a wall.  Clarke fires 2 more shots just to be sure.  Dude, you have 2 more bullets!

At the police station, the cops are pretty sympathetic to Clarke. Actually, they are very sympathetic. I mean, I’m a law & order guy, but sadly you’re not allowed to chase the bad guy down and kill him, even here in Florida.  They say the robber was 18 year old Jimmy Philips.

Clarke explains why he panicked when confronted — or even conbacked — with a gun.. When he was in Germany during WWII, he saw a man get killed. It was not even combat, but an argument over a Fraulein. Since that day, he has broken out in projectile sweating, heart palpitations, and extreme nausea every time he even sees a pistol or a Spätzle. [3]

Sgt. Schwartz says Clarke is free to go. The detective assures him, “A man has a right to defend himself.” You know, from a crashed car with a dead driver.

A woman in the waiting room mistakes Clarke for a policeman. She begins crying and Clarke hands her his handkerchief. Given the buckets he was sweating an hour ago, I have to think he is doing her no favor. She talks about her little angel Jimmy, raising him as a single mother. She can’t understand why he was killed for waving around an empty gun. Tell it to MSNBC, baby! Hearing the gun was not loaded further flusters Clarke.

Clarke goes to Jimmy’s gravesite for the service. Strange that for all the dead bodies on AHP, we don’t see many funerals. I’m sure the fact that she is a single blonde chick — and, hey! — suddenly without kids had nothing to do with it. He approaches a man who turns out to be Mrs. Phillips’ boss. Clarke wants to pay for the funeral, but the boss has already taken care of that. The man tells Clarke not to worry too much, that this was all Jimmy’s fault. Say, no wonder they made this guy the boss!

Mrs. Philips tracks Clarke down at work. He says they can meet at his place to talk.

[FREAKIN’ COMMERCIALS]

Mrs. Philips masterfully interrogates Clarke as brutally as O’Brien grilled Winston Smith in 1984 or like Megyn Kelly destroyed Jake Tapper in 2025. [2] She goes through the whole sequence of events. Clarke nervously tries to justify why he took the clerk’s gun, why he chased Jimmy into the parking lot, and why he kept firing after Jimmy was hit and the car was crashed. He says he panicked with that gun stuck in his back. When he turns back to face Mrs. Phillips, she is pointing a pistol at him. Ach du Lieber, how many gats does this family own? Golly Moses, naturally he’s a punk! [4]

Even more so than in the liquor store, Clarke breaks out in panic. This was very well shot to highlight his beefy sweaty face, glistening like the end of a Porn-Hub video. He pleads with Mrs. Phillips to put the gun away. He says this will solve nothing, it will just ruin her life.

She puts the gun down and gets her coat from the closet. When she turns around, the profusely sweating Clarke is pointing the pistol at her. Why do these chowderheads keep turning their backs on people with guns?

He shoots her and she collapses on the floor. Then he gives her a John Wick double-tap, blasting her again. He screams, “I told you not to point a gun at me!” Dude, you have four more . . . OK, that’s probably enough.

This reminds me of the very first episode of AHP (not covered here). It is such a shock and so brutally callous that it is exhilarating! Kudos!

Other Stuff

  • [1]  The kid, perhaps erroneously, flees out the same door he emerged from. [UPDATE] I saw that mentioned as an error on another site. In reality, he was hiding behind the door. That’ll teach me to believe some idiot blogger.
  • [2]  Seriously, you will see what a worthless waste of oxygen 99% of “journalists” really are.
  • [3] Would also have accepted Sülze (Head Cheese), but Spätzle seemed more uniquely German. Plus, sounds like pistol !
  • [4] OK, as any heterosexual who can stomach only this one musical [5] can tell you, the link above goes to America, not the quoted Gee Officer Krupke. While Krupke is also a masterful hoot, I can’t watch that supercut of America without reloading 3 times.
  • [5] Would also have accepted The Blues Brothers.
  • Robert Paget (Jimmy the Hood) is credited as “Auditioning Hitler” in The Producers (1967).  Boy, that guy really played some bad eggs.
  • As usual, a better write-up of the story and production can be found at bare*bones e-zine.

Smoke on your pipe and put that in.

Alfred Hitchcock Presents — The Gloating Place [1] (05/16/61)

Warning!  Warning!  Marta Kristen sighting!

Never thought about it as a kid, but how did Mrs. Robinson manage to crank out a blonde, a brunette, and a red-head? [2]

Once again, I am reminded that Hollywood knows nothing; they just get lucky once in a while.  How is it possible I have never seen Marta Kristen in anything else other than Lost in Space . . . ever?  At the very least, she should have been a Bond Girl.  No, a Triple-A Bond Girl!

As the beautiful Marjorie, she provocatively descends the staircase, oozing sexuality . . . oh wait, it is the steps of her High School, and she was 15 when this was made.  Er . . . consider future remarks to be about her Lost in Space days when she was a respectable 20 and fully dressed in Reynolds Wrap (although, with the shiny side out, the tart!).

Her friend Susan tells her to go ahead and walk home without her, that she is sticking around for a while.  We quickly see that she is hanging back to wait for high school hunk Tom.  Despite Susan being portrayed by a too-pretty actress, Tom casually dismisses her and heads straight for Marjorie.

After being mocked by less-attractive classmates, Susan takes the walk-of-shame home, unwisely taking the shortcut-of-shame through the woods.  She stops at a small lake and looks at her reflection (which would be impossible from her position, BTW).  After hearing voices telling her she is a nothing, she throws rocks at her reflection (actually, it would be the reflection of the camerman.  Acting!).  Voices tell her to make herself important.  She tears a few pieces of her clothing and goes running, screaming out of the park.

The police, not yet defunded, go to her home to question her.  Since a Democrat is not suspected, the press also arrive to ask a lot of questions.  Strangely, they are very jovial and try to get Susan to smile after her assault.  The cops take her downtown to pick the assailant out of a line-up.

After her story appears in the newspaper, she is suddenly very popular.  Even Tom elbows Marjorie aside to walk home with Susan.

Just to be clear, that is Marta on the right.  She is too beautiful even for distortion to ruin her picture.

Her fame is short-lived, however.  The next day, Susan suffers a great personal tragedy as 2 of her classmates are killed in a climbing accident.  They knock her right off the front page, and Tom goes back to Marjorie.  

BTW, the actor playing Tom is 9 years old than Marta.  I understand that there is a standard 9 – 30 year minimum age gap in TV couples, but how early does that start?  What if she was 12 — Yikes! [3]

That night, Susan calls Marjorie who, conveniently, lives on the next street over.  They meet in the alley where Susan kills her friend.

Susan goes back to the lake, holding today’s newspaper, just like our ancestors did every morning.  As she is confessing to the cameraman’s reflection, an actual strangler, matching her fabricated description, comes up behind her and strangles her.  

Kind of a lackluster outing despite Marta Kristen.  Problem #1 was that Susan, though crazy, was very attractive.  Mostly, though, the story does not hold up.  What has she really gained by killing Marjorie?  Susan craved fame and attention, but this is just going to make Marjorie more famous.  I guess she did remove the competition for Tom, and validate her police report, but those were really secondary issues.   

Her death did complete the circuit and issue a good dose of trademark AHP comeuppance, but it seemed a little simple.  I expect more from writer Robert Bloch.

Other Stuff:

  • [1]  Not to be confused with MSNBC last Monday night.
  • [2]  Same as that tramp Kate Bradley over at the Shady Rest.  Guess that was early 1960s DEI.
  • [3]  Accordingly, Marta was scouted as an early candidate to play Lolita.  
  • Susan Harrison (Susan) was the ballerina in TZ’s Five Characters in Search of an Exit.  She looks like someone current, but I can’t figure out who.
  • Creative naming conventions on this episode:  Tom plays Tom, Susan plays Susan, Eve plays Eve, and Marta plays Marjorie.  I guess Marta was too ethnic for 1961 TV.  There is an Eve (reporter) and an Eva (student).  Why why why???
  • But more about Marta:  This beauty was born in Norway to a Finn and a German.  Only in America!
  • For more critical info (i.e. pictures of Marjorie and Susan), check out Jack’s write-up at bare*bones.  Also, more info on Marta at her website.
  • The next post would be Science Fiction Theatre, but thank Gott, I finished that series.  I need a new one, preferably 30 minutes, and old enough so that most everyone involved is dead.

One Step Beyond – The Haunted U-Boat (05/12/59)

One Step Beyond had a good run of episodes set in the USA — two.  The tally is now 9 out of 17 episodes of this American series being set elsewhere.  This week we are asked to empathize with the crew of a Nazi U-Boat.  Is it too late to get that Hollywood Blacklist back?

U-Boat 147 is docked off the coast of Northern Germany.  Everyone who thought Germany was landlocked, rise your right hand. No, wait, don’t!  They are welcoming aboard Herr Bautmann, an aide to Der Fuhrer.  He is played by Werner Klemperer, Klink from Hogan’s Heroes.  In less than one minute, the words Hauptmann, Captain and Kapitan are all used.  Thus the TV precedent is established for Sgt. Schultz’s ein, zwei, three, four style of speaking. [2]  

As Bautmann is boarding, the sub is strafed and bombed.  The plane’s crew should be embarrassed that, with no defensive fire, they did not kill any Nazi’s or damage the sub.  The SFX crew should be embarrassed that the strings on the model plane are clearly visible. [1]  They submerge, but hear a clanging on the hull.  Fearful that they have left a man or bottle of schnapps on deck, the Captain wants to resurface, but Bautmann orders him not to.  Strangely, the entire crew is accounted for.

Bautmann takes a nap, but is awakened by the crew singing.  He is not mad, though.  He is cheered by the vitality of the young Aryan men on board.  He joins them with a bottle of cognac.  The clanging starts again and he nervously drops the bottle.  He runs to the captain and demands to know what the sound is.  He gets increasingly frantic and accuses the crew of doing this to “shake his nerves” and rattle his brain.

Goodness, gracious, great balls of fire!

The captain surfaces and the crew begins searching again for the source of the banging.  Bautmann is snoozing outside on the conning tower.  Word has come over the radio that Hitler has killed himself.  Bautmann is furious that someone has made up this lie to make him crazy.  He takes the radio and reports to the crew that Hitler died as a hero, leading his troops into battle.  Imagining that little uni-testicled asshole doing such a thing will be the best laugh you have in the next 5 minutes (admittedly a low bar).

The captain gets word that a ship is approaching, and orders the sub to dive.  Bautmann is furious that he won’t stay surfaced and find that clanging.  In observation of Axis Diversity Day, a crewman uses a karate chop to shut him up.

While the sub is pursued by the ship, Bautmann wakes up in his bunk.  He runs to the bridge shouting, “I can’t breathe!”  Then the clanging begins again.  He cries like [NAME REDACTED] [3] for the pounding to stop.  He finally passes out and the noise also stops.  The captain then realizes that they only hear the clanging when Bautmann is awake.

As depth charges explode around them, the Captain decides to surface and surrender.  Hitler is dead, the war is over, and he has no clean turtlenecks left, so what is the point?

Klempererer really chewed the bulkheads as he played Bautmann going insane.    The story didn’t quite gel, though.  Why did this phenomenon attach itself to him?  Sure, he’s a Nazi, but look around — they’re all Nazis!  Don’t forget that!  I guess we are to assume that he was an especially bad egg because he served so close to Hitler.  Then why was it audible to everyone, unlike the Tell-Tale Heart which was clearly an inspiration?  It was clearly directed at Bautmann since it occurred only during his waking hours.  

I guess that doesn’t really matter, and they only had 25 minutes to cram the story into.  On a note so routinely positive that it is getting boring — this show again looks fabulous!  The model at the beginning is only jarring because it is cut in with much other actual footage.  Kudos also on the submarine set.  It felt very accurate to me — to this day, I remember the layout, the claustrophobia, the smell of my countrymen packed in.  I must admit, I spent time aboard a German U-Boat during the war. [4]  

Disturbing banging on naval vessels became a regular trope.  We saw it on The Twilight Zone in the 1960’s.  Then in the 1970’s with these guys.

John Newland sez, “Next week we travel to the chateau country of France.”  Sacre bleu!

Other Stuff:

  • [1]  No points deducted for that.  It is really only an issue because it was preceded by so many great inserts of actual war footage.  Besides, seeing a model is kind of charming vs the CGI we are used to.
  • [2]  Bautmann is a civilian.  If he were a captain, he would be Hauptmann Bautmann.  That’s almost the Nazi equivalent of Major Major, but not as funny.  Whaddya want, they’re f***ing Nazis.
  • [3]  Nope, not here either.
  • [4]  OK, it was about an hour inside U-505 at the Chicago Museum of Science and Industry during the Gulf War, but isn’t that actually better?

Ray Bradbury Theater Listings on Amazon Prime

Occasionally, I think about revisiting Ray Bradbury Theater.  My original takes were pretty negative.  As mentioned yesterday, maybe my expectations were too high.  Maybe I was in a rush to post every day back then.  Maybe it was due to the very poor transfers on the $9 DVDs.

I remembered that they are on Amazon Prime, so decided to try a couple.  When I saw the disrespect Amazon gives the series, I started to think maybe I was right. These icons are exactly as they currently appear on Amazon, and they have been there for quite a while.

I’m pretty sure that 3rd picture is Saul Rubinek from the dreadful episode Gotcha!.

Carol Kane and Shelley Duvall were only in 1 episode each, so I don’t know how they were both in 2 different seasons.  And wearing the same clothes.

Leslie Nielsen’s name is misspelled.  

But most likely to prevent me from watching it again:

One Step Beyond – The Burning Girl (05/05/59)

So last week, I finally figured out the key to appreciating Tales of the Unexpected was to lower my expectations.  It also works for Ray Bradbury Theatre and, my parents cryptically tell me, other things.  Maybe the key to appreciating One Step Beyond is to look forward to whatever spectacle they have planned for the week.  From the Titanic to bombed out Europe to the Big Top, OSB has made the most of great locations and stock footage.

Unless the two guys on the truck are Moe and Larry, I have no idea what is going on here. This guy jumped off the truck, looped the hose around the hydrant, and the truck is continuing on. Sadly the shot was cut before hilarity ensued.

Host John Newland tells us “Last year American Fire Insurance Companies paid out a good many thousands of dollars for damages from fires they found difficult to explain.”  However, he then opts to tell us about such a fire from 1921.  It must have been one of those underground coal fires that burn forever because the video shows vehicles clearly from decades later.  Hey, here’s this week’s swell stock footage!  And I’m not being sarcastic — we get some great footage of firemen rolling up and fighting a blaze.

Extras in laughably anachronistic clothes flee from Purdy’s Pharmacy like they just found out the Coke no longer contains cocaine.  Purdy tells Fire Chief Keating that the fire started from nowhere.  He calls over local high school doofus Tim Plunkett to confirm his story.  Tim says he was nowhere near the barrel that caught fire, but he rats out Patty and Alice.  Purdy vouches for Patty, but Alice is new in town.  Like all pretty young blondes with a snappy bod, she is ostracized by the kids at school.  If she wore glasses, they’d stone her.

Back at home, Alice learns that Patty’s father is her father’s boss at his new job “putting shingles on his barn.  If he likes me, he might keep me on.”  This is a little jarring since that is pretty manly, blue-collar work for a guy at home reading the newspaper in suspenders and a necktie.” [1]  Also jarring because it is The Chief from Get Smart.

Alice clearly loves her father, but he does tell her not to “ruin things” again this time.  Worse is her nasty Aunt Mildred who lives with him.  She is a bitter old crone who resents Alice’s youth and beauty.  Before dinner, Will gets a visit from the Fire Chief.  He is speaking to everyone who was at Purdy’s.  Will angrily accuses Alice of starting the fire.  They have had to move 3 times because of her shenanigans.

The next night, Alice culturally appropriates as a gypsy for a Halloween party.  Aunt Mildred catches her on the way out and berates her for dressing like a gypsy, a tramp, a thief.  Mildred really goes nuts on her like Margaret White on Carrie’s prom night.  Mildred gives her a nasty slap and Alice runs from the house like she just stole a chicken. [2]

Sadly, she takes a shortcut through the woods that goes past the ol’ Plunkett shack.  Tim grabs her and drags her inside.  Within seconds, we hear her screams and fire shoots out of the window.  Alice runs out in tears.  Tim stumbles out with burnt arms and — presumably — massively swollen bruised balls.

Will arrives home after work, again dressed in a three piece suit.  This guy is the Oliver Wendell Douglas of roofers except he doesn’t have a wife who takes showers outdoors behind the house.  The Fire Chief is already there questioning Mildred.  A  farmer found Alice hiding in his barn and took her home.

Alice is thrashing around deliriously in bed.  She is yelling at Mildred for talking bad about her deceased mother.  As she gets angrier, smoke starts to rise from the bed.  Finally, in an impressive effect, the bed bursts into flames while Alice screams at Mildred, “You made this happen!”

Will says in disbelief, “It started all by itself!  I saw it!”  Mildred says, “Not by itself.  There’s a devil in her!  She’s a witch!”  Sadly it ends there without us seeing Will boot Mildred out of the house.

It is nice to see OSB expand its niche a little.  There were several nice touches here that could have been even better in a one hour format.  Or 98 minutes.  Or directed by Brian De Palma.  Still, the fresh idea and great effects make this a fine episode.

Other Stuff:

  • [1]  Maybe that is just another sign of the frequent theme here — the degradation of society.  In the 1960’s, white-collar worker Ward Cleaver lounged around in a suit and tie.  In the 1920’s, blue-collar workers lounged around in a suit and tie.  In the 19th century, well, the guy in the white suit and ribbon tie lounged around while . . . er . . . other people did the work.
  • [2] Sadly, unlike in Carrie, we got no discussion of her Dirty Pillows.  Or more appropriately, given the crazy accusations by Mildred, her Dirty My Pillows.
  • Olive Deering (Mildred) went on to play Moses’ sister in The Ten Commandments.

Including this seemed like a good idea, but WOW is this not as good as I remembered: