Tag Archives: Television

THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 1 EPISODE GUIDE AND REVIEWS (PART TWO)

Part two in a series. Part one of “The Adventures of Superman” episode guide is here.

This article originally appeared in a slightly different form at Alfred Eaker’s The Blue Mahler.

“Rescue” is a season one episode in which narrative purpose overrides attachment to character history or bullet points. Prospector Pop has been working his coal mine for a decade, despite warnings that it’s a death trap. Refusing to heed the warnings, Pop gets trapped after a cave-in. Enter Lois Lane, who discovers Pop’s predicament and attempts a rescue. Naturally, being Lois Lane, she too refuses to heed the warnings and attempts a lone wolf rescue, getting stuck herself. A series of near-misses follows in which Kent barely misses hearing news of the mine avalanche. Naturally, Kent being Superman, he would have super hearing. But not if it gets in the way of the plot. Thus, Kent, revving his faulty engine, fails to hear the radio broadcast of Lane’s current troubles.

Kent finally gets wind of the explosion which now seems to have sealed the fate of Pop and Lane. Naturally, our favorite boy scout saves the day, which inspires Lane to quip, “Clark, Superman finally took me out.” “Rescue” is a welcome change of pace, well-directed by Timothy Carr, and crams a lot of plot into twenty minutes.

Carr returns to helmThe Secret of Superman.” Jimmy Olsen’s mom calls Kent in the early A.M., worrying that little Jimmy has not come home. This looks like a job for… Clark Kent, who finds Olsen in a trance-like state at the Daily Planet office after hours. A file is missing, but not just any file! It is the file on Superman! As Kent suspects, dastardly gangster types are trying to find out the secret identity of the Man of Steel.

Next up is Perry White, who gets slipped a mickey in his coffee. White doesn’t know Superman’s identity either, and proves to be of little use to the bad fellas. Inspector Henderson, being the Sherlock he is, finds that both Olson and White were under the influence of sodium amathol and orders round-the-clock police protection for the Daily Planet staff.  A little gunplay follows, but we’re still no closer to wrapping up this episode.

Kent, pretending to be fired in an attempt to smoke out the gangsters, drinks from the same cup as White. Of course, Kent fakes a stupor but Lane is more susceptible and is asked the question:  “Could Superman have the ultimate disguise? Could he be … a woman?” “Superman—a woman? Nah, but Clark…. well, maybe,” the drugged Lane suggests. Performed with commendable straight faces, the cast deserves credit for convincingly guiding us through 50s naiveté. The world’s greatest mystery gets solved: Kent is Superman behind those horn rims. The henchman who figures it out gets wasted, however, and Lane conveniently forgets her drugged-induced sleuth work. Kent sighs in relief. No wonder he’s so charmingly smug.

Still from "No Holds Barred" from "The Adventures of Superman" The Lee Sholem-directed “No Holds Barred” has been a stapled fan favorite. Wrestler “Bad Luck Brannigan” has sent several opponents to the hospital after using the “paralyzer” move on them. With super-hearing now intact, Kent becomes privy to ringside conspiracies and locker room Continue reading THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 1 EPISODE GUIDE AND REVIEWS (PART TWO)

THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 1 EPISODE GUIDE AND REVIEWS (PART ONE)

This article originally appeared in a slightly different form at Alfred Eaker’s The Blue Mahler.

Today, few seem to pay mind to the artists, writers or creators of comic book characters. When Denny Stephens and I walked into Denny White’s comic book shop as Indiana adolescents, we immediately knew—without looking at the credits—if a book was penciled by Jack Kirby, Frank Robbins, Gil Kane, Carmine Infantino, Neal Adams, Steve Ditko,  Mike Ploog, Curt Swan or Wayne Boring. In their place now, a bland homogeneity permeates both the world of comics and the shops which market them. One book looks the same as the next, blending without seams, shorn of rough edges, entry points, atmosphere, originality, color, or inherent personality. One could say the same regarding the recent spate of films based on DC characters (not so with their television work, including animation where they rule their Marvel rivals. On the big screen, Marvel does it better). While the 1950s Television Superman was nowhere near as imaginative as stories being cranked out by Otto Binder in Superman Magazines (TV didn’t have the budget or, still in its infancy, the know how) the first season of The Adventures of Superman is something of a silver age within itself.

, , Jack Larson, John Hamilton, Robert Shane, Tommy Carr and each put an stamp on the characters and episodes, a personalized milieu and individuality that today is alien to an audience whose primary concern towards character tends to Biblical fidelity and adulation.

For many, George Reeves remains the quintessential portrayal of Clark Kent and his alter ego, Superman. It’s not out of nostalgia, or because he was the first actor to portray the pulp character. In fact, he wasn’t the first at all. That honor belongs to Kirk Alyn who starred in the serials Superman (1948) and Atom Man vs. Superman (1950). Alyn, who interpreted Kent as a kind of bumbling Jimmy Stewart character, simply doesn’t inspire. That lack of inspiration isn’t just limited by the serial’s quality: certainly, many of the later television and big screen incarnations were equally poor in their writing and execution. Rather, it’s due to Alyn’s Kent, who set the blueprint for the later Christopher Reeve performance. Kent really isn’t Kent. He’s Superman, and the newspaper paper reporter is just a façade.

Adventures of Superman (TV Series, 1952-2958) It’s hardly a secret that George Reeves had no love for playing a role that later actors would kill for. For Reeves, this was scraping the bottom of the barrel. Not only was he playing a little boy’s pulp comic book character who wore underwear outside of his pants, but he had been reduced to television. Like many actors of his time, including Alyn, who had refused to repeat the role for TV, Reeves was suspicious of the new medium. It was called small screen for a reason, Continue reading THE ADVENTURES OF SUPERMAN STARRING GEORGE REEVES: SEASON 1 EPISODE GUIDE AND REVIEWS (PART ONE)

CAPSULE: GINGER AND FRED (1986)

Ginger e Fred

Recommended

DIRECTED BY:

FEATURING: Giulietta Masina,

PLOT: Retired Fred Astaire/Ginger Rogers impersonators return for a guest spot on a television spectacular.

Still from Ginger and Fred (1986)

WHY IT WON’T MAKE THE LIST: One ten-teated cow does not a weird movie make. In Ginger and Fred, Fellini’s once-aggressive surrealism mellows into bemused quirkiness. Fans will find plenty to appreciate in the colorful, chaotic oddity on display, but this is a conventional comedy, by the maestro’s standards.

COMMENTS: Ginger and Fred is not a “Felliniesque” movie per se. It’s more of a roadmap for how Fellini’s vision might be channeled into something nostalgic and whimsical: Fellini for grandpas and grandmas. It’s a pleasing elegy for grand old entertainment, mixed with an unsubtle but effective satire of television. It features Fellini’s muse (Masina) and alter-ego (Mastroianni) working together for the first and only time, a pairing that in and of itself would make Ginger and Fred noteworthy. Fortunately, it’s also a good movie, with excellent performances from both stars. Masina’s Ginger is likeable and dignified, bemused by modernity without being overwhelmed or embittered. Mastroianni’s Fred hides his growing feebleness under a mask of rakishness, quick with a wolf whistle and a drink order. The scene where Fred repeatedly lifts Ginger while her eyes cross and they both start breathing heavily is as amusing a proxy for geriatric intercourse as I ever want to see on film.

Ginger and Fred‘s unseen network executives assemble a collection of human oddities for their Christmas spectacular variety show, with whom the elegant and put-upon Ginger is forced to share a hotel and a stage. There’s a transvestite with a divine calling to visit prisoners, Kafka and Proust impersonators (!), a troupe of bolero-dancing dwarfs, a mutant cow, a couple who tape-record ghost voices, and a throng of supplemental weirdos: extras wander around dressed like video game characters and decapitated geishas. There is some inherent irony in the way Ginger and Fred trots out its freakshow parade as a criticism of television, given the fact that Fellini himself was famous and celebrated for populating his films with odd-looking people and carnivalesque performers. The distinction, of course, is that Fellini isn’t criticizing television’s reliance on the grotesque, but the shallowness of its fascination, of the spectacle format in which every story is cut to fit in as short a slot as possible and not explored beyond its surface. His satirical circus is something stranger and more curious than television could ever accomplish (except, of course, when Fellini worked in the medium). He spends time exploring Ginger and Fred in-depth, making them three-dimensional characters inhabiting a two-dimensional world.

Some of the best bits are the brief parodies of television programming. There’s an absurd puppet show version of Dante’s “Inferno,” spot-on recreations of MTV music videos, a commercial with sexy French maid pouring olive oil on a huge lobster, a game show where housewives shovel pasta into their mouths from sinks, with the sauce delivered from the faucet. Televisions are everywhere in Ginger and Fred; in the hotel lobby, on the studio’s buses. Modern audiences will identify with the way the characters are always looking at screens rather than people—only back then, it was television that was the distraction. The screen has changed, but the message is the same.

In a strange footnote, Ginger Rogers unsuccessfully (and foolishly) sued Ginger and Fred‘s producers for trademark infringement and defamation.

WHAT THE CRITICS SAY:

“…a hysterical send-up of Italian television, which looks like an LSD-induced vision of ours 30 years ago – a combination of Morey Amsterdam’s ‘Broadway Open House,’ ‘The Ed Sullivan Show,’ Alistair Cooke’s ‘Omnibus’ and the Irv Kupcinet show… One longs for fewer midgets and bizarre misfits and for more of Miss Masina and Mr. Mastroianni.”–Vincent Canby, The New York Times (contemporaneous)

“WE’VE GOT MOVIE SIGN”: THE FILMS OF MYSTERY SCIENCE THEATER 3000, SEASON 11

For better or worse, the snark-meisters at “ are responsible for blowing the dust off a lot of truly unusual motion pictures, exposing these cinematic curiosities to a far greater and (relatively) more mainstream audience than they ever accrued in their unheckled forms. Only the most dedicated and tolerant moviegoers would have even heard of the legendary trainwreck that is Manos: The Hands of Fate had it not been immortalized at the peak of MST3K’s popularity, and a handful of the show’s other targets—Robot Monster, The Beast of Yucca Flats, Horrors of Spider Islandhave also been honored with inclusion on this website’s eponymous list. (The show’s own movie adaptation was not similarly recognized). After ten seasons of plumbing the depths of movie misses, the last new episode was transmitted in 1999, and while audiences have had other sources for high-octane movie riffing (including efforts from the show’s stars), the special combination of comic commentary and curated curiosities provided by the original series has been unavailable.

Still from Mystery Science Theater 3000 Season 11

Thanks to one of the biggest Kickstarter campaigns ever undertaken, that void has now been filled. Show creator Joel Hodgson has shepherded the show back onto the small screen (and the very, very small screen, as the show is available for binge-watching courtesy of Netflix), with a new cast of riffers, some higher-grade mad scientists, some even higher-grade cameo appearances, and a few tweaks to the host segment formula. It’s all in service, though, of the same basic low-fi approach to movie-watching: man and robots watch bad movie, man and robots make fun of said movie.

I don’t want to use this space to review the show itself (full disclosure: I’m an acquaintance of the actress who voices Gypsy and two Bonehead assistants in this iteration), except to say that it accomplishes the most critical and challenging task: it feels like Mystery Science Theater 3000. Instead, I’d like to recap the films selected to re-christen the Satellite of Love and consider their place within the canon of Weirdness.

Right out of the gate, the producers hit upon a solid formula: monster movies from other lands. The show’s original run set a high standard for making fun of giant monsters with five Gamera movies on the bill. The new season’s debut, Reptilicus (1961), riffs upon an especially funny logline: a giant lizard attacks Denmark. The notion of a ridiculous monster terrorizing the land of Hans Christian Andersen is so delightfully absurd that it inspires the instant-classic host singspiel, “Every Country Has a Monster.” There is much to enjoy, including poorly assembled rear-projection monster attacks, outstandingly negligent scientists, and interminable “comedy” from Danish clown Dirch Passer. It’s as endearing as you would expect a continental kaiju to be, and a solid hit right out of the box.

Monsters figure large this season, and one of the best is the low-rent Bigfoot at the center of Cry Wilderness (1987). Somehow, the legendary Sasquatch has taken off its gloves (literally) and befriended an obnoxious grade-schooler, and together they romp through a disconnected assembly of attractive California forest locales while befriending a number of wild creatures who should really be left alone. Continue reading “WE’VE GOT MOVIE SIGN”: THE FILMS OF MYSTERY SCIENCE THEATER 3000, SEASON 11

BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART FIVE

Part I of “Boris Karloff’s Thriller” episode guide is here, part II is here, part III is here, and part IV is here.

How could “Waxworks” (directed by Herschel Daugherty and written by Robert Bloch) go wrong with this subject matter—wax museums are usually rich fodder for the horror genre—and this writer? Unfortunately, a promising opening teeters into an elongated dull stretch, partially redeemed by its stylish “twist” ending. The flaws here seem more to be in the direction than in the writing as the story was filmed again, to better effect, in the 1971 Amicus production The House That Dripped Blood (starring the best and most underrated of Hammer actors, ). Colonel Andre Bertroux (Martin Kosleck) believes the wax figures of Pierre Jacqueline’s Waxworks Museum have committed a series of murders. Antoinette Bower gives a good performance as Annette Jacquelin, and she’s the center of that twist, which reveals a unimaginable truth.

Still from "La Strega" from "Thriller"“La Strega”(directed by and written by Alan Caillou) is “Thriller” (and Lupino) at its near-best. In 19th century Italy, a young girl named Luana (Ursula Andress) is nearly drowned by the village idiots, who believe her to be La Strega (“the witch”). She is rescued by artist Tonio (Alejandro Rey). Tonio takes Luana in, protects her, and eventually becomes her lover. Soon, he encounters Luana’s grandmother (Jeanette Nolan) who is the actual La Strega. When Tonio refuses to divulge Luana’s whereabouts, the grandmother places a curse upon him. Toni turns to Maestro Giuliano (Ramon Novarro) for help, but Giuliano is soon murdered. Tonio’s only recourse is to beg for release from the curse, which leads to a downright grim finale. Nolan is superb as La Strega and Novarro (from the silent Ben-Hur) makes a rare and effective television appearance—chilling in hindsight, given that he is a mere six years away from becoming the victim of one of Hollywood’s most brutal murders. Later in the year, Andrews would become the first and most famous of the Bond girls in Dr. No. This episode moves like quicksilver and is almost flawlessly written and directed.

“The Storm” (directed by Herschel Daugherty and written by William D. Gordon) also deals with superstition, albeit in a more privatized setting. Newlywed Janet (Nancy Kelly, best known for The Bad Seed) is unsettled by an eccentric taxi driver, but goes home to await the arrival of husband (David McLean). When the power goes out in the middle of a storm, Janet envisions herself subjected to virtually every known horror cliche, until an authentic threat and another impending storm make for a jolting climax. The pacing is not as Continue reading BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART FIVE

BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART FOUR

Part I of “Boris Karloff’s Thriller” episode guide is here, part II is here, and part III is here.

“God Grante That She Lye Stille” (directed by Herschel Daugherty and written by Robert Hardy Andrews) has series composer Jerry Goldsmith matching a rousing score to a well-worn plot about a wicked witch named Elspeth Clewer (Sarah Marshall) who is burned at the stake and places a curse upon her lineage, vowing to come back in another Clewer. 300 years later Margaret Clewer (Marshall)  apparently has just the right curves and… no prizes for guessing this plot, which is reminiscent of ‘s Black Sunday (1960). Marshall is physically reminiscent of Barbara Steele, but stamps the role with her own charisma. Henry Daniell gives a typically steely performance as the local vicar and Victor Buono, per the norm, invests his cameo with gusto. It’s well-lit with impressive ghost FX and sets, which makes for quite the grand guignol episode, despite its conventional narrative.

“Masquerade” (directed by Herschel Daugherty and written by Donald S. Sanford) has familiar actors Elizabeth  Montgomery and John Carradine in another Old Dark House thriller that begins on a dark and stormy night. Charlie (Tom Poston) and Rosamond  (Montgomery) Denham, celebrating their second honeymoon, depart their southern trailer park (!), get lost in the rain, and come upon the old Carta place. Carta patriarch Jed (Carradine) gives them shelter and… well, the old Carta place just happens to have bats flying around, the corpse of a hog hanging upside down (with a bucket collecting its blood), bars on the windows, secret passages, a rather large number of stuffed birds, and the psychotic old woman Ruthie (Dorothy Neumann) chained to a wall. She begs the honeymooning couple to free her, which they of course do. Ruthie’s first victim is Jed’s eccentric grandson Lem (Jack Lambert), which leads to the discovery that the Carta clan are cannibalistic vampires. “Masquerade” recalls elements of Terence Fisher‘s Brides Of Dracula and ‘s Psycho, and may be something of a precursor to 1967’s Spider Baby.  “Masquerade” is not as good as any of those, however. Although the plot is now overly familiar, it revels in black comedy, and is bookended by an over the top intro by Karloff and a daffy “twist” ending. Another plus is the acerbic Montgomery and a scene stealing, creepy Carradine giving charmingly riotous performances.

Still from "Boris Karloff's Thriller," "The Last of the Sommervilles"“The Last of the Sommervilles” (directed by , written by Ida and Richard Lupino) is elevated by Karloff’s supporting performance as the amorous Dr. Farnham, who looks like a forgotten cousin of the Three Stooges and steals every scene he is Continue reading BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART FOUR

BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART THREE

Part I of “Boris Karloff’s Thriller” episode guide is here. Part II is here.

“A Good Imagination” (directed by John Brahm and written by Robert Bloch) benefits from Bloch’s narrative about fatal bookworm Frank Logan (Edward Andrews) who accesses literary classics for inspiration to dispose of his unfaithful wife’s numerous lovers. With blackened humor and erudite irony, this episode evokes both Hitchcock and Poe. Andrews’s winning portrayal has us rooting for a ruthless antagonist with an alarmingly high body count who practically whistles while he works.

“Mr. George” (directed by and written by Donald S. Sanford) is an episode that’s greater than the sum of its parts. A superb Jerry Goldsmith score, assured direction by Lupino, and good performances elevate a conventional script about a young child named Priscilla (Gina Gillespie, who would become best known as the young Blanche Hudson in 1962’s Whatever Happened To Baby Jane) whose guardian Mr. George has recently died. Now in the custody of three cousins plotting her death for the inheritance money, Priscilla is guided and protected by Mr. George’s spirit. Contemporary audiences may balk at the idea of finding humor in attempted murder of a child (as they did with Addams Family Values), but Lupino’s direction deftly balances humor with a sense of threat.

Paul Henried redeems his previous effort (season one‘s bland “Mark of the Hand”) with effective direction in “The Terror in Teakwood” (written by Alan Callow). It’s an episode in the tradition of Hands of Orlac (1924) and Mad Love (1935). Vladimir Vicek ( Guy Rolfe) severs the hands of a dead pianist to assist him in tackling an overly complicated piece composed by Alexander Borodin. Hazel Court (a Hammer scream queen who would co-star with Karloff in ‘s The Raven two years later), as Vicek’s wife Leonie, leads a strong ensemble. Though subdued, the sexual tones are startling for the period and this bizarre thriller is all the more atmospheric due to Goldsmith’s skilled use of preexisting music combined with his own work, making it a near-classic episode.

Still from Thriller, "The Prisoner in the Mirror"“The Prisoner in the Mirror” (directed by Herschel Daugherty and written by Robert Arthur) is another prime thriller. Professor Langham (Lloyd Bochner) literally uncovers the mirror of the evil Count Cagliostro (Henry Daniell). Possessed by the infamous Cagliostro, Langham brings the mirror home and…. needless to say, the body count will pile up. A young Marion Ross (Mrs. Cunningham from “Happy Days”) plays Lagham’s fiancee and even makes a toast to “happy days,” which do not arrive for the poor girl. The fantasy element is in full flower, which could also be said of the performances by both Bochner and Daniell. Interestingly, Karloff himself Continue reading BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART THREE

BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART TWO

Part I of “Boris Karloff’s Thriller” episode guide is here.

“The Poisoner,” (directed by Herschel Daugherty and written by  Robert Hardy Andrews) is loosely based on the real-life case of suspected serial poisoner Thomas Griffiths Wainwright. Here he is given the name of Thomas Edward Griffith and played by eternally underrated actor Murray Matheson. As artist, author and dandy, Griffith, used to the fine life, lies his way into marriage with rich socialite Frances Abercrombie (Sarah Marshall), only to discover she has also lied about her wealth. Worse, she moves her family in. Fortunately, Griffith is an expert poisoner. A score from Jerry Goldsmith again accentuates the suspense. It’s fairly well shot for television and includes that favorite noir murder method—pushing a wheelchair-bound victim down a spiraling stairwell. As the Abercrombies are an across the board ingratiating lot, it’s hard not to be manipulated into sympathizing with Griffith, but his mistreatment of a poor innocent kitty reveals him to be the cad he is.

“Man in the Cage” (directed by Gerald Mayer, written by Stuart Jerome and Maxwell Shane) stars Philip Carey as engineer Darrel Hudson, going to Tangier in search for his missing brother Noel (Guy Stockwell). The exotic location and co-star Diana Millay are wasted in a hopelessly dull episode.

“Choose a Victim” (directed by Richard Carlson, better known as the beefcake protagonist of Creature From The Black Lagoon, and written by George Bellak) is another crime noir. This one features prolific television actors Susan Oliver (many will remember her as the heroine in the two-part “Star Trek” episode “The Cage”) and Larry Blyden (from both “Alfred Hitchcock Presents” and “The Twilight Zone”). Tragically, both actors died young: Oliver from lung cancer, Blyden from a traffic accident. Blyden plays beach bum/golddigger Ralph, who stumbles onto the sad but beautiful Edith when he sneaks into her room to rob her. Rather than turning him in, Edith is sexually attracted to daring larcenist Ralphie and demands his “attention.” The episode takes a Postman Always Rings Twice turn when Edith manipulates Ralphie in a plot to kill her wealthy uncle. Naturally, that’s not only the bit of manipulation going on, and the episode revels in playing its mind games, even if it’s not a standout thriller.

Still from "Hay-fork and Bill-hook"“Hay-Fork and Bill-Hook” (directed by Herschel Daugherty and written by Allan Caillou) is an uneven episode with a plot that might call to mind elements from Anthony Shaffer’s later (and vastly superior) The Wicker Man (1973). Atmosphere and a sense of dread (aided again by Goldsmith, in top form) make up for a degree of awkward writing about a coven of witches in the Druid ruins of the rural Dark Falls, in Wales. The honeymoon of Scotland Yard inspector Continue reading BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART TWO

BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART ONE

The reputation of ‘s “Thriller,” which ran from 1960-1962, is such that it was one of the most highly anticipated DVDs until its 2010 release. Despite its somewhat hefty price tag, it became a best seller (and was followed by a ‘greatest hits’  top ten release in 2012). Author Steven King’s proclaiming it the “best horror series of all time” (in his 1981 book, ‘Danse Macabre’) certainly enhanced its eminence. Of course, a statement that absolute is going to be argued, and it was (with naysayers pointing to the earliest crime oriented episodes as evidence against King’s boast ). Naturally, like all series, “Thriller” is uneven. Still, the positives outweigh the negatives enough to justify its cult status.

Karloff hosted each episode, and acted in a few. This was his second horror anthology series. His first,  the ten episode “The Veil,” from 1958, never actually aired; after its DVD release in 2001 , was dubbed by some critics as “the best television series never seen.” A later DVD release, under the title of “Tales of the Unexplained from the Veil,” featured two additional “lost” episodes. “The Veil” has also been referred to as a precursor to “Thriller,” although it’s not quite as good and the flavor is different. Hopefully, we’ll get around to reviewing the earlier series by next Halloween.

“Thriller” premiered on September 13th, 1960 with the episode “The Twisted Image” (directed by Arthur Hiller), which starred Leslie Nielsen and Natalie Trundy. “Her possessive eyes… Alan Patterson was aware of her eyes at the newsstand, at the lunch counter, in the elevator. He was aware of them for almost a month and they were to lead him into guilt, and terror, and murder as sure as my name is Boris Karloff. ”

Title from Boris Karloff's Thriller: The Twisted ImageAs we watch, Karloff informs us that this a tale of watching and being watched, assuring that a shattering effect lies within the “Twisted Image.” Nielsen, as Patterson, a married, successful business man, is watched by four psychotic eyes belonging to Lily (Trundy) and Merle (George Gizzard). Lily lusts after him and, at least on the surface, Merle is insanely jealous. Although director Hiller denied it, as it was written (by James P. Cavanagh adapting William O’ Farrell’s novel) and played by Grizzard, there is sexual longing in Merle’s voyeurism as well. Still, we’re not entirely convinced he deserves all the attention, as the very young Nielsen has none of his later charisma. Grizzard walks away with the episode playing a scheming, destructive looney tune coworker. Competent, but unimaginative with no surprises, this debut waddles its way to a lackluster finale.

“Child’s Play” (also directed by Hiller and written by Robert Dozier): Continue reading BORIS KARLOFF’S THRILLER (1960-1962): EPISODE GUIDE AND REVIEWS, PART ONE

SATURDAY SHORT: JIM BAKKER’S BUCKETS (2015)

Vic Berger has made a name for himself by taking television segments, and editing them to obscurity. In this short Jim Bakker offers his viewers twenty-eight buckets of food to survive the impending apocalypse that started last year. If you didn’t spend $2,500 plus shipping to prepare, don’t worry. A review of the cement-flavored potato soup encouraged starvation as an alternative.