Ray Bradbury Theater – The Wind (S3E4)

bradbury02The 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.

Image 001He 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.

Image 002

“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.

Ray Bradbury Theater – The Lake (S3E3)

Oh, bloody hell.  I was pretty generous with the previous episode.  But how much can a man take?  And WTH — I though they were back filming in the USA!  That ain’t no American car.

Douglas is taking his fiancee back to the lake where he spent his summers as a boy.  He flashes back to the sand castle he built that attracted the attention of his first crush, Tally.  After it is knocked down by a bully, they rebuild it together.

Tally runs to the lake for a swim, but Douglas is afraid of the water.  This goes on for the entire summer until the day Tally is to leave the lake.

rbtlake03In the present, Douglas sees a sand castle on the beach.

In the past, Tally has disappeared in the water.  The lifeguard and other swimmers are unable to find her as Douglas waits scared on the beach.  Douglas wipes away half the castle, awaiting Tally to come back and rebuild it.  Eventually the rain and tide take it away.

In the present, as he approaches, Douglas sees it is really half of a sandcastle, just as he had left years ago.  He begins building the other half.  Out on the lake, a man in a rowboat is coming in.  He has found a girl in the water.

The girl is wrapped in a tarp and seems to be dead.  So what is the point?

And how is finishing the sand castle the catalyst to bring her back?  It would have made more sense for the sand castle to appear fully formed, and have him destroy half of it to lure her back to this world.  As a corpse.  Hunh?

The last shot is the tide coming in to wash away the sand castle.  Pretty much like this episode . . . a day later it will have left no trace in my memory.

Post-Post:

  • This is the Pat Robins’ only directing credit.  He (?) did go on to be Script Supervisor on two of the Lord of the Rings movies.  As his few credits were New Zealand productions, I’m assuming this episode was filmed there.
  • Exactly how big is this lake that has the tide rolling in and out?  I’m surprised there were no surfers.  The largest lake in NZ is 238 square miles.  By comparison, the smallest Great Lake is 7,500 square miles.
  • This was the story that impressed Bradbury’s future wife enough to go out with him.

Ray Bradbury Theater – A Miracle of Rare Device (S3E2)

It was a miracle of rare device,
A sunny pleasure-dome with caves of ice! —
Kubla Khan by Samuel Taylor Coleridge

Well that clears that up.

Robert (Pat Harrington) and Willy (other guy) are driving a well-worn GMC pickup through Utah.  OK, I have no idea where it is, but it looks like the scenery in In the Dead of Winter, so I’m calling it Utah.  They seem to be on the run from a lone motorcyclist who is a dorky version of Leonard Smalls.  They pull off behind a billboard and the biker cruises on past.

Apparently this biker is constantly following them and horning in on their good luck.  It is not immediately clear what good luck they might have had, 2 scuzzy drifters with no chicks, ratty clothes, and a beat-up truck with their belongings heaped in the back.  Or what the biker is doing with his “harvest” as he appears to shop at the same dumpster.

But apparently Robert has an instinct for finding opportunity.  His spidey-sense leads him down a dirt road.  At the end of the road, looking out over the vista, in the distance they see a domed city of skyscrapers.  Sometimes it is New York, and sometimes it isn’t.  Robert points out there are many tire tracks leading to this point.  It is the only place this miracle can be seen.

Despite being public land, Robert and Willy put themselves a sign out on the highway and charge people a buck to look at the miracle.  An old couple pulls up and is euphoric seeing exactly what they want to see.  Soon people are flocking down this dirt road to see the miracle.  They are seeing city skylines from New York to Rome to Paris to London.  A dweeb shows up, sees Xanadu, and thankfully begins quoting Taylor’s Kubla Khan rather than the John Travolta movie.

Robert has a reverence for the site and how the city is different for each person.  Willy is all about the Washingtons, excited at the prospect of “steak dinners and new shoes!”  Then the biker shows up.  Having observed the traffic all day, he went to the gummint and put in a claim to homestead the area.  But the biker can’t see the miracle.

From a hill, Robert and Willy watch the biker collecting the money from the gawkers.  Robert is glad they are out of it.  It was wrong to set up rules and charge people to watch.  They should have just put the money on the first church poor box they came to.  Soon, they see the people are demanding refunds and the biker bailing on the site.

The go back to the site, but the miracle has disappeared for them too.  However, a family drives up and takes in the site with great joy and reverence.  Soon Robert and Willy are re-redeemed and see it again also.

Not much going on here, but I kind of liked it — for RBT, that is a miracle of rare device.  I appreciated that the highway scenes were actually filmed on location.  Even Pat Harrington, who I usually find annoying, did a great job.

Post-Post:

  • This was inspired by a mirage Ray Bradbury saw as a child in the Southwest US, possibly a Fata Morgana.  He seems tight with details, just calling it a “miracle” as far as I can find.
  • Correction: Willy says they are 90 miles from Phoenix, so they are in Arizona.

Ray Bradbury Theater – The Dwarf (S3E1)

bradbury02I was really torn whether to invest the time in a 3rd season of RBT.  At least they seem to be filming in the USA again, and they are doing A Sound of Thunder this season — so, one more chance.  Although I’ll miss bitching about Europe.

Ralph the bald carny man at the Mirror Maze drags his co-worker Aimee to his place to see Mr. Big.  She is clearly out of his league in looks and also because she has the more manly concession — the pellet guns.  He tells her to hide, for reasons I can’t figure, because Mr. Big is coming.  Turns out that Mr. Big is a midget.  His name is actually revealed later to be Bigalow, but I don’t think Mirror-boy know that.

rbtdwarf02As he does every night, he has come to the Mirror Maze and bought a ticket.  Ralph tells Aimee she ain’t seen nothing yet.  He leads her to spy on Mr. Big checking himself out in the mirror, admiring his tall thin reflection.  Ralph thinks this is quite a hoot.  Maybe if there was a mirror that showed him with hair, he would understand his cruelty.

Mr. Big hears them hiding behind a wall and bolts.  Aimee worries that they have humiliated him and that he might never come back.  But the next night he is there again.  Aimee follows him to a newsstand and discovers he’s a writer of . . . er, short stories.  No, really.  He sees her following him and takes her home with him.  She sees that he lives in a tiny little scaled down house in a warehouse.

rbtdwarf04

Attack of the 5’3″ Woman.

She returns to the Mirror Maze and admires herself in the same stretchy mirror, which makes no sense.  It’s not like she is a dwarf or even fat.  The stretchy mirror just makes her look anorexic.  Aimee catches Ralph staring at her.

Ralph goes in to break the mirror, but has a better idea.  He replaces the stretchy mirror with one that scrunches the midget down even more.  Ralph gets a laugh out of the midget’s anguish.  Aimee smacks him up side his bald noggin.

From somewhere, the midget has gotten a gun and starts deliberately shooting Ralph’s reflections one by one.  When only the real Ralph is left, Aimee stops him, saying Ralph has been dead for years.

I really wanted to like it.  The girl was cute.  The midget being a writer reminded me of The Smoking Man’s literary aspirations.  And quite the snappy dresser.  His tiny house and her peeking in were intriguing.  It just didn’t come together.

As usual, the short story was better especially if you grade it on a 60 year old curve.  The Dwarf was a little more fleshed out on TV, and the ending was more clearly presented.  In the short story, Ralph and Aimee both see Ralph as a small dark monster in one of the mirrors.  There is a gunshot, but whether it is Ralph or the Dwarf being shot is left to the reader.

Post-Post:

  • Megan Follows was previously seen in The Outer Limits, and Miguel Fernandes was in Trancers.
  • Really misnamed episode as it features a midget not a dwarf.
  • I’m sure it was some 6 foot tall douche-bag who came up with “Little Person” as the PC word.  Midget was a perfectly respectable word.  Why replace it with a word that specifically points out the person is not a person, he is a little person?
  • Same thing with cripple which was eventually deemed offensive, replaced by handicapped which was also eventually deemed offensive.  Then disabled.  Now I guess it is the absurd handicapable or even worse, differently-abled.  Gee, it’s almost like it isn’t the words that bothers these do-gooders.

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.