The adventures of a professional screenwriter and sometimes film festival jurist, slogging through the trenches of Hollywood, writing movies that you have never heard of, and getting no respect. Voted #10 - Best Blogs For Screenwriters - Bachelor's Degree
I heard this guy has a new movie out, so why not see what he thinks about Hitchcock?
Of course, I have my own books focusing on Hitchcock...
HITCHCOCK: MASTERING SUSPENSE
LEARN SUSPENSE FROM THE MASTER!
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 52 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 1, Episode: 32. Airdate: May 9, 1961
Director: Ida Lupino Writer: Donald Sanford based on a story by Stephen Grendon Cast: Gina Gillespe, Virginia Gregg, Lillian Bronson, Howard Freeman. Music: Sweet Jerry Goldsmith score. Cinematography: John Warren. Producer: William Frye.
Boris Karloff’s Introduction: “Our little friend Priscilla is obviously on urgent business. But in a cemetery, you say? Ah, my friends, this is no ordinary child as you can see, oh no indeed. You see, she has a very special friend and protector resting here. Oh yes, to the rest of the world her friend is properly deceased and quite quite cold. But since Priscilla is not aware of adult concepts of life and death she simply knows that Mr. George has changed his address. That’s the title of our story, Mr. George, and it concerns the fearful effect his untimely demise has on our leading players. They are: Virginia Gregg, Lillian Bronson, and Howard Freeman... and most importantly, Priscilla herself as played by Miss Gina Gillespe. And Mr. George. I warn you, hold tight to your own concepts of life and death because before the hour has ended Priscilla and her special guardian may change them.”
Synopsis: A mansion (Munster House) at the turn of the century. A little girl Priscilla (Gina Gillespie) watches from the top of the stairs until the adults have left the entryway to the house, then sneaks out to see Mr. George... at a graveyard. She goes to his tombstone and leaves a note on his grave... she wants him to come back and live with them.
Meanwhile, the adults are discussing their problem. Priscilla’s mother was wealthy and owned this house. When she passed away, the house and money was put in a trust for Priscilla with Mr. George (the family lawyer... and maybe Priscilla’s mother’s lover) as executor. Now that Mr. George has died, the trust will be passed to Judge Lambeau... who doesn’t trust these adults, who are Priscilla’s cousins: slightly crazy Adelaide Leggett (Lillian Bronson), stuffy Jared Leggett (Howard Freeman) and scheming Edna Leggett (Virginia Gregg). Edna’s dreams of wealth aren’t going to happen on the monthly allowance from Priscilla’s trust. Edna is already scheming: if Priscilla dies, they are next in line for the fortune. Jared goes upstairs...
Just as Priscilla returns. She waits until he’s gone before sneaking upstairs to her room... but she hits the squeaky step, and Edna races out to catch her. But Priscilla is already gone. Did she hear them plotting?
Edna tries to convince Jared to make sure Priscilla has some sort of accident. Jared tells her not to say such things, especially around Adelaide, since she’s crazy and there’s no telling what she might do... and if she did something and was caught, well, she’d be out her share of the inheritance, right?
In Priscilla’s bedroom, the rocking chair next to the bed begins to move and Mr. George’s ghost (voice of Les Tremayne) talks to her. He verbally tucks her in, wishes her a good night, and then the light goes out (by itself?). It’s a really sweet scene... with an unseen ghost.
In the morning, Priscilla runs downstairs to find the cook gone. Edna has fired her along with the rest of the staff. Priscilla goes outside and has a tea party with her doll. She tells her doll how much she misses Mr. George... then the wind blows through the trees and Mr. George’s voice says that he’s back, to watch over her. She thinks Mr. George is playing hide and seek with her, and looks all over for him.
In the house, Adelaide grabs Edna and points out Priscilla talking to herself. Is Mr. George out there somewhere? Or just the kid’s imagination?
At breakfast, Priscilla tells them that Mr. George was talking to her. Jared tells her she must go to her room, and when she is ready to forget this nonsense she can come down. When she’s gone, Edna tells Adelaide she read in the newspaper about some children who climbed in an old trunk and the lid locked... and they suffocated. If such a thing were to happen to Priscilla, they’d all inherit her money.
Adelaide goes to Priscilla’s room and says she thinks she knows where Mr. George might be hiding... up in the attic. Let’s go up and look for him. Adelaide and Priscilla go up to the spooky attic, where Adelaide tries to get Priscilla to look in an old trunk. But when she gets close enough to push inside, Mr. George calls for her to run to her room. Adelaide yells for her to come back... and the trunk lid falls on Adelaide’s neck and kills her!
After Adelaide’s funeral, George’s sister Laura Craig (Joan Tompkins) comes to visit. When George was ill and thought he might be dying he wrote to Laura... telling her all about the evil cousins. There’s a nice moment where Edna, dressed entirely in black from the funeral, and Laura, dressed in a white hat and light colors; do a sort of verbal tug of war over Priscilla. Edna orders Priscilla go upstairs to her room, and they escort Laura out of the house. Darkness wins.
When Edna goes up to Priscilla’s room, the rocking chair is moving and the little girl is talking to Mr. George. Of course, Edna can’t hear him and thinks Priscilla just has an over active imagination. Orders her to stop fooling around and go down to dinner. Now.
When they leave Jared walks past... and sees the rocking chair moving on its own. Could George’s ghost be haunting the house? Could George’s ghost have killed Adelaide?
The next day, Jared sees Priscilla on the swing and thinks this might make for a good accident... so he begins pushing her on the swing. Tells her his arms are getting tired and she should get off, then tries to push the swing at her head! Mr. George tells her to run to her playhouse, quick! The swing blasts at her head, missing it. Jared yells for her to come back... then notices the swing has stopped midair. How is that possible? Then it shoots down and hits Jared in the neck... killing him. Great swing POV shot as it moves back and forth over Jared’s body.
Another funeral wreath on the front doors of the house.
Edna finds Priscilla playing hide and go seek with her “imaginary friend” and punishes her. Priscilla says it is Mr. George. Edna asks how can she know who it is if she can’t see him? It’s all in her mind. Is it? Edna sends Priscilla to her room, then there is a knock at the door... Laura Craig. Judge Lambeau has given Laura custody of Priscilla. Light and darkness face off again. Edna can stay in the house. Laura will come to pick up Priscilla at 10am tomorrow.
The next morning Edna ties a piece of string across the top of the stairs and calls for Priscilla to come down. Priscilla starts to run down, but Mr.George tells her to go down the *back stairs* and go to the playhouse. Edna keeps yelling for Priscilla to come down stairs this minute! When she gets no answer, she goes upstairs to grab her... making sure the string is disconnected first. Priscilla isn’t upstairs. Edna blows a gasket and races downstairs... but the string *connects* all by itself! Edna trips and falls down the stairs to her death.
Priscilla meets Laura at the playhouse and they board the streetcar for Laura’s house. Priscilla tells Mr. George that he’ll have to hurry or he’ll be left behind. Mr. George tells her that Laura will look after her now, so this will have to be goodbye. Priscilla says goodbye to Mr. George (dare you not to cry) and the streetcar takes Priscilla to her new home, as the front gate to the old home closes by itself.
Review: This is a strange little story! A tale of ghosts and murder and revenge... that’s charming and heart warming! How do you maintain that balance for an hour? In a strange way this is similar to last week’s episode, since it deals with an underdog character surrounded by schemers... except this underdog is a completely innocent little girl who gets her revenge through her best friend who is a ghost. Not an evil ghost, but a protective ghost. Last week we had an adulterous wife and no shortage of men who don’t mind that she’s married, this week we get Killing Cousins. Both stories feature dark humor and a whimsical tone. It’s impossible not to root for the happy little girl when these downright evil people descend on her and try to steal her inheritance. While they scheme, she has fun! While they fight amongst themselves, she plays in the play house! They are all about money, she is all about just having a great time. And guess what wins in this parable?
One of the great things about this episode is that all three cousins die *by their own schemes*. Adelaide tries to trap Priscilla in an old trunk, and the trunk lid drops on her neck and kills her. Jared tries to kill Priscilla with the swing, not realizing that what goes up (out?) must come down... and the swing slamming into his throat and killing him. Edna creates the tripline on the top of the stairs, and then trips on it herself. It’s as if their own evil is killing them (with a little help from Mr. George).
Hey, Mr. George is an amazing character! He is never seen, but manages to make a real emotional impression on us. We love this (dead) guy! He seems to be as happy and playful in death as Priscilla is in life.
I mentioned the score in the credits, it’s a sweet Jerry Goldsmith score that kind of reminds you of TO KILL A MOCKINGBIRD. The innocence of childhood with a touch of seriousness (for those lessons we learn in childhood). In fact, this is kind of the ghost story version of TO KILL A MOCKINGBIRD... similar tone of small town (even though this is a turn of the century city where Priscilla knows the driver of the horse drawn streetcar). There’s a real feeling of a simpler time.
Though this is Ida Lupino’s second episode on the series as a director (of nine), this shows what a remarkable director she was. She manages to maintain that tricky tone for the hour without a single fumble. She also does some wonderful camera work for an hour long show shot in a week. Other directors seem content to just set up the camera in the easiest spot and let the action unfold in front of it. Here Lupino opens with a complicated moving shot and then continues to pepper the episode of with great angle (that shot of the two evil aunts) and does an amazing shot where the camera is *on the swing* with Priscilla’s POV on the swing, and later a Swing Eye View as the swing passes back and forth over dead Uncle Jared. Cameras weighed a ton back then, so I have no idea how she pulled off this shot. It’s also a *haunting* shot, as the swing drifts back and forth over Jared’s corpse.
I don’t think it’s a secret that I’m a huge fan of hers, and her work in Film Noir both in front of the camera and behind the camera is remarkable. But how could her work as director on THE HITCH HIKER prepare her for an episode like this? This sweet, tear inducing, ghost story? Before her stint on THRILLER she directed 8 episodes of my favorite western show, HAVE GUN WILL TRAVEL. This is such a sweet episode, that it’s hard to believe she was directing a manly man western show before this! Or that she would direct the ultimate edge of the seat suspense episode of THRILLER only a few episodes from this.
Next week an episode directed by Paul Henreid (Victor Lazlo in CASABLANCA) about a famous pianist and his rival... and a war that goes beyond the grave.
One night, sitting in Residuals Bar in Studio City (where the DRAGONHEART script was conceived) and drinking a Guiness, I was telling one of the stories that usually end up on this blog - a story about some poor misguided person in the film biz, and one of my friends said: “Where do you find these people?” I replied, “I bet I know all the losers in Hollywood”.... and they said that should be the title of my autobiography (or this blog). But instead, this blog ened up being called SEX IN A SUBMARINE due to a crazy script note I got from HBO on CRASH DIVE, and ALL THE LOSERS IN HOLLYWOOD was a title without a story... until now.
When looking for regular features for the blog, I thought it would be fun to tell a bunch of those stories of the oddballs I’ve met in the almost 30 years I’ve been in this business. I’m changing all of the names to protect the very very guilty (and avoid meeting lawyers) but the stories you are about to read are true... well, mostly true.
WAS CHE A VAMPIRE?
The last exhibit in our little gallery of gore might be called The Man Who Googled Himself... That’s not a very good title, this tale of terror really doesn’t have anything to do with Google - but my sister just sent me this new “game” where you Google the phrase “(Your first name) was arrested for” to find out about your sordid criminal past. You’d be surprised at all the criminal activities you’ve been involved in. You can only play this game once, so it isn’t as good as the Elephant Panty game, where you take two completely non-related words, throw quotes around them, and do a search. Then read all of the weird stuff on the hundred or so websites dedicated to “Sewer Golf” or “Television Trousers” or whatever you’ve looked up.
I Google myself every so often to find out if I’ve been linked to Paris Hilton or if they’ve finally discovered that I’m the father of the TomKat baby. I always run across something even more unbelievable. I might do a 2 hour class on Film Noir and quip that most of the characters in these films wear hats... Only to discover someone who took the class says on their website that “Martell says the main requirement in writing a film noir script is to make sure every character wears a hat” - and this person is *serious*. Out of the *one thousand* sentences in that class, they’ve latched on to *one* and decided that’s the key to writing a great script. This is some strange and misguided type of tunnel vision or selective hearing that leads to some really odd scripts. Pretty scary stuff!
I think how this happens is that the person already has some sort of odd hat fetish, and - like those dogs in Gary Larson cartoons who only hear “Blah, blah, blah, blah, Ginger, blah, blah, blah...” - these folks only hear what they want to hear. If it wasn’t about hats, they didn’t hear it. When I find something like this on a website or message board, I wonder what I can do to prevent it the next time I teach a class... but I’m not sure how. I welcome your suggestions.
BLAH, BLAH, BLAH, HORROR!
A friend of mine is a young writer-director who sees everything as if it relates to the struggles of his ethnic minority. He would even look at the “Television Trousers” results of the Google search and come away with how it relates to his ethnic minority. This writer-director has found funding within in his community to make four very political films. All are dramas about the struggles of his people. His first film got a lot of press, played in some film festivals, but never got picked up by a distrib. I saw the film at a local festival, and it was more political than dramatic - lots of speeches. Haven’t see his other three films, but they’ve gotten less press and fewer festivals have shown them. None of them are on DVD - no distrib. Now his community funding sources are starting to dry up, so he decided to make a horror film, because horror films are hot right now.
When my friend told me about this, at first I was surprised. This is a guy who thinks Hollywood makes stupid movies for stupid people. Most of our conversations have been the great debate about selling out versus being true to your beliefs. If you’ve spent much time on my website you know that I advocate being subversive - making genre films with a message. The script I’m currently trying to finish rewriting before I fly to London is a sci-fi action story about an agent with the Federal Department of Alcohol, Tobacco, Firearms & Androids hunting down some renegade androids set on overthrowing the US Government... but it’s really about tolerance. I’ve taken a bunch of situations that deal with prejudice against minorities and turned the illegal immigrants and Gay marriage and sweat shop labor and National Anthem in Spanish and people smuggled over the border in metal containers into... androids. I can deal with all kinds of issues in a script that most people will think is just an action movie.
So I told him I thought it was a great idea. Minorities are under-represented in Hollywood films, and horror films like my friend Darin’s TALES FROM THE HOOD and Snoop’s BONES were good, solid money earners with some cross-over (big fat white guys like me even paid to see them). I gave him a copy of my Horror Class CD and the usual advice to rent a bunch of horror movies and study them - take them apart and find out what makes them tick, and use that information to write his screenplay. I also told him that just because it was a horror movie, doesn’t mean it has to be stupid. You can make a point within a genre film.
Some of you may be shocked that he had four previous films that didn’t get distribution even though they played at festivals. When people hear the phrase “didn’t get distribution”, they think that refers to *theatrical* distribution. I mean, they’ll put anything on DVD, right? You’ve seen some of the crap they put on DVD... maybe even one of my 36 Oscar Worthy Films Starring Tom Cruise. Hard to imagine a film not being good enough for DVD.
At a panel at VSDA (video software dealers association) the distribs said that about 27,000 independent feature films are submitted to them every year (you read that right)... and each distrib only buys a few of them. A company like Asylum makes 12 films a year and buys another 12. Even if there were 100 distribs buying that many films a year, it’s still only 1,200 films - that’s just over a fifth of the movies made every year. And I don’t think there are 100 big distribs out there... I’m not even sure there are as many as 30 distribs of any size. That means distribs can be really picky. And even the artsie distribs on the VSDA panel said it all comes down to what they think the public will buy or rent on DVD. Even artsie distribs have to pay their office rent and power bills.
I think the problem with my friend’s previous 4 films was that they had a target audience (his minority) but weren’t the most entertaining movies that targeted that audience. And that may even explain that crap that does get released on DVD - when you’ve spend 40 hours being abused by “The Man” for lower than average wages and having total strangers hate you for the color of your skin or the person you love or your wheelchair or your religion, do you really want to watch a movie about that? Wouldn’t you rather watch a lesbian vampire movie featuring members of your minority? Or a haunted house movie featuring members of your ethnic minority? Or a monster movie featuring members of your ethnic minority?
So the majority of the 27,000 films submitted to distribs every year get no form of distribution at all, because “The Man” can’t make a buck off them. So my friend is going to make a horror film, because “The Man” can make money on a horror film, and some of that money will trickle down to his investors and his community. Not a bad thing to make some money while showcasing the very talented people in his community.
FROM THE HEART????
The next time we have coffee, he’s telling me how his script is going - but all he talks about is the minority angle. It’s almost as if he’s talking out one of his other 4 films. I ask him if he’s had a chance to listen to my class, yet... he says he hasn’t gotten around to it. That’s okay, he’s writing. Always a good thing to be writing.
A few weeks later we bump into each other and I ask about the script. He tells me he’s almost done, and the good news is that his investors are really excited. They are going to give him more money than he had on his other 4 films, because this one is a winner. I ask about the story, and he gives me the capsule version - and it doesn’t sound like a horror story to me at all. In fact, it sounds like a love story! This is strange. I ask him about the horror scenes - and he describes a scene that doesn’t sound scary at all. It sounds *political*. I ask what horror movies he watched before writing the script. He tells me he started to watch NIGHTMARE ON ELM STREET but turned it off after ten minutes because he thought it was garbage. He didn’t watch *any* horror movies. I ask if he’s ever seen a horror movie before. “Yeah, when I was a kid.” I ask him about that experience - he tells me he used to love movies like that, then he outgrew them. He’s opened his eyes to the world around him and has seen....
When I ask how he knows if he’s making something that even fits in the horror genre, he tells me it doesn’t matter because he’s writing from his heart and being heartfelt and honest is more important than selling out. Wow, we’re back to that.
I ask if anyone *dies* in his script, and the answer is “Of course!” But then he explains how a character who is prejudiced gets thrown in front of a bus and run over. The more he talks about his script, the more it sounds like the slightly more violent version of his other 4 films. But it doesn’t sound anything like a horror film at all (except for a big violent ending that could go either way).
I advise him that potential distributors are “The Man” and will care more about the commercial aspects than the social aspects of his film - so maybe he should grab some horror DVDs and watch them and maybe do a touch-up rewrite on his script (which probably needs a page one), just to fool distribs into buying his finished film. He says he might do that... but I didn’t think he would.
So, a couple of weeks ago I have coffee with him again - he has finished his script and begun pre-production. I ask him a few story questions - and it seems that the story has even less horror, now. The original ending he told me about, that was kind-of-horror, he changed into more love story. I am so confused by this, I ask him about the over-all story again... and it’s morphed into a social-political themed story where a couple of people get killed in ways that don’t sound scary at all. “But, weren’t you trying to make a horror movie?” “This is better.” “What about distribution?” “You can’t know what they want, so why even think about it? This is my best work so far. And, because it’s a horror movie, they’ll probably buy it.”
I would like to have said: But it isn’t a horror movie! though I didn’t. I wished him good luck. There’s a weird rule with friends - you have to be supportive. If this guy was a stranger on a message board I would have called him a moron and explained that he was continuing the same self-destructive patterns he was trying to break by making this film. But you have to wish a friend good luck and offer to crew for him if he needs you.
He didn’t need me. He had a nice budget.
That’s good, because I can’t imagine being on set for this film every day. It would be like watching someone try to kill themselves again and again. There’s this great scene at the end of Roman Polanski’s horror flick THE TENANT where the lead jumps out of the window of his apartment to stop the other tenants from trying to drive him crazy... he hits the pavement in front of the building... and lives! His landlord (who has bat wings) and his super (who has a lizard tongue) try to help him. They want to keep him alive and play with him some more. But he drags his battered body up the steps to jump again! That’s what working on that film would be like - watching someone keep trying to kill themselves over and over again until they got it right. I don’t have the stomach for that. When I see a *stranger* do something stupid like race across a busy street against the light to catch a bus or something, I worry about them. I want to stop them from their self-destructive behavior. I’m sure I would have spent every day on set hinting that maybe a scene with a guy in a hockey mask with a machete might be interesting at this location.
He’s filming right now. He managed to get a couple of known actors in his film - members of his minority group who are supporting the cause (not Snoop - he’s probably doing a *real* horror film). For all I know, this one may find a distrib... but I’m not holding my breath.
This brings our little trilogy of terror to a close. Hope you don’t have any nightmares. I said at the beginning that this was a fable, but I’m not going to tell you the moral to the story - I’ll let you figure that out on your own. You may come up with a different moral, or see these stories in ways that I could never imagine....
Starring: Vincent Price, Clu Gulager, Susan Tyrell, Cameron Mitchell, Lawrence Tierney, Terry Kiser (WEEKEND AT BERNIES), Rosalin Cash (OMEGA MAN) and many others - great cast!
Written by: C. Courtney Joyner, Darin Scott, Jeff Burr.
Directed by: Jeff Burr
Produced by: Bill Burr & Darin Scott
When you read a biography of Vincent Price, they always say he came out of retirement to do two films, WHALES OF AUGUST and EDWARD SCISSORHANDS... but they never mention this film! The actual return from retirement movie. Oh, and made by a whole bunch of people I know. Directed by my friend Jeff Burr, produced by my friend Darin Scott, written by my friend C. Courtney Joyner (plus Darin and Jeff), and even some of the cast members are people I know. Met these folks at a series of Fangoria conventions I went to when I was still living in the Bay Area... and at AFM (maybe the year they were selling the film as THE OFFSPRING - I had a long conversation with Bill Burr on one of the balconies as we looked down at the “Lobby Rats”). Since the film was 1986, and that was my first year ever at AFM, these guys may have been the first people I met in Los Angeles! I saw the film at AFM, which means I probably saw it before it was released by MGM under the new title the next year.
Katherine White (Martine Beswick) is being executed in a Tennessee prison, as the Warden (Lawrence Tierney, pre-RESEVOIR DOGS “comeback”), the death is not instantaneous nor pleasant. Reporter Beth Chandler (Susan Tyrrell) watches in horror...
Oldfield, Tennessee: a spooky old house that is a combination town Library, town bureau of records, and residence - where the White family lived. Beth knocks on the door, finds it open, ventures inside to discover Mr. Julian White (Vincent Price) in the library section. He was the uncle of the executed woman. Beth wants the full story - Katherine killed her first man at age 7 and continued her killing spree until she was caught at 32. Why? What could have caused her to kill at 7? White says his niece’s execution will not end the problem - Oldfield is serial killer central, many a killer has called this place home. A cursed town. White tells the stories of some of the residents like...
Stanley Burnside (Clu Gulager), who wakes up screaming after dreaming of his dead and bloody wife. A quiet small town man. Lonely. He watches a pretty girl, Grace (Megan McFarland), at en employee barbeque for the meat packing company he works for. That night his sister Ellen (Miriam Bird-Nethery) is suffering from a fever and he has to bathe her in ice water, washing down her naked old body. This is more horrifying than that execution - as the wrinkled old sister is digging having her brother touch her naked flesh.
At work he shyly flirts with Grace, who gives him the cold shoulder.
One night, he calls her to ask her out on a date... and she refuses at first... then relents. Sister Ellen is jealous that he’s got a date.
At some cheap family chain restaurant they have an awkward meal together... afterwards on the drive back, she pretty much shoots him down big time. He forces a kiss on her, and she insists he take her home. When she keeps shooting him down, he strangles her to death... the tail light of the car blinking as they struggle. He dumps her on the side of the road and drives away.
Next day at work the Foreman announces that a fellow employee was killed the night before. There will be a funeral in a couple of days and they will be given time off to attend. A coworker notices that Stanley has scratches on the side of his face.
Night. The funeral home. Someone breaks a basement window and crawls inside... Stanley making a late night visit. Grace is laid out in a coffin for tomorrow’s funeral, surrounded by flowers. Stanley brings champagne, tells the corpse they can’ let something like this get in the way of their romance. Oh, yeah - it’s going there. Stanley kisses her corpse, then undresses both of them and gets busy...
Nine months later...
He comes home from work to find his sister wanting a bath... and wearing a ton of make up. Um, what’s up with that? Stanley breaks up the ice with an ice pick and pours some in the tub. His sister keeps talking on and on and on... and finally Stanley just pushes her head under the water and tries to drown her. That doesn’t work, and he grabs for the ice pick., ends up getting her robe belt - that works just fine to strangle her. She ends up dead and naked in the tub of ice water.
Meanwhile, at Grace’s grave, something crawls out of the dirt! Crawls across a field to Stanley’s house.
Stanley hears noises in the house - a broken window in the kitchen. A tree branch? No, something messy on the floor - dirt and slime. And there’s something crawling around in his house - like the totem dude in TRILOGY OF TERROR. Now it’s Stanley versus this little crawling thing! He reaches under he couch for it and it bites his hand! He grabs a knife to defend himself as it terrorizes him - what the hell is it? It skitters upstairs. When he follows, he finds his sister’s naked corpse at the base of the stairs! He climbs the stairs carefully, knife ready... when that *thing* trips him at the top of the staircase. Stanley tumbles all the way down... into the arms of his dead sister. He looks up to see what that thing is... and it’s a dead baby. A dead baby that keeps saying, “Daddy!” Then the baby comes down to attack him!
Back to Mr. White who tells the next story... that happened over 30 years ago.
Jesse Hardwick (Terry Kiser) lives in a crappy trailer and has the ultimate in relationship problems - his girlfriend says she’s leaving, and that she’s tipped off the McCoy Brothers that he was cheating them... and they are on their way.
Just the, the McCoy Brothers show up - guns drawn - and Jesse blasts through the wall of the house trailer and runs. But he can’t outrun a bullet, and one of the McCoy Brothers shoots him and leaves his body on the side of the road. But Jesse isn’t quite dead, and drags himself to the river where he has his boat stashed and then passes out in the boat. The boat drifts down the river... until someone pulls it ashore.
Jesse wakes up in an old shack filled with some really weird stuff. The old man who owns the shack, Felder Evans (Harry Ceasar) comes home and tells Jesse he’s been asleep for days. Gives him some soup. That night, old man Felder is practicing voodoo on the back porch and Jesse overhears.
The next day, Jesse asks Felder some prying personal questions and can’t get any straight answers. How old is Felder? How long has he been living here? Felder just talks about carving wooden buffalo while standing in the middle of a herd. No herds of buffalo for decades. How old is this guy? When Felder leaves, Jesse ransacks the shack - looking for valuables. Finds a hidden trunk filled with “valuables” - some antique guns, a book of voodoo spells, a scrap book with clipping about Felder that go back over *two centuries*. What? How is that possible?
Felder comes home and Jesse asks him how a man gets to be 200 years old. Is it that voodoo? Jesse demands to know how it’s done. If you could live that long, you could become rich! Jesse wants to take voodoo lessons...
Three weeks later, Jesse is frustrated. He’s a guy who is looking for a get rich quick scheme and this voodoo thing is a lot of work. Jesse has seen Felder drink from a little vial - is that his secret to eternal life? He knocks out Felder, puts him on the boat, and takes him out on the swamp. Threatens to throw him overboard if Felder doesn’t tell where the vial of magic water is. Felder doesn’t tell, and Jesse screws up yet again and accidentally shoves him all the way out of the boat. Felder sinks into the swamp. Jesse can’t see his body anywhere. Crap!
At Felder’s shack, Jesse is tearing the place apart looking for the vial - can’t find it. When Felder - covered in swamp mud - blasts through the door and slams him in the head with the boat paddle!
Jesse wakes up tied to the dock. Felder tells him when he first dragged Jesse and that boat in, Jesse was already dead. Felder used that potion from the vial on him to bring him back to life - so Jesse has just been trying to steal something that he already had. “You can’t die. I gave you enough that you’ll last another 70 years or more.” Felder pours kerosine on Jesse’s chest. Then chops off one of Jesse’s arms and sets him on fire and...
Two kids find a *moving* sack on the side of the road, call the police.
Hospital: The doctor says it is impossible for this... man... to be alive in his condition. But he is. And then we see what is left of Jesse - burned torso and head and... yech! Felder’s voice echoes, “You’ll last another 70 years or more.”
Back to Mr. White and Beth, who still isn't convinced it is the *town* that is evil. All of these bad things happening in the same place is just a coincidence. Mr. White tells her the Librarian who was here 40 years ago killed two people and buried them under this very floor (what that Mr. White?) then he tells her a story from his childhood - when the carnival came to town, bringing along the sideshow. And he remember Amarrillis Caulfield....
1933: The Carnival - crowded - pretty small town girl Amarrillis (Didi Lanier) walks along the midway until she comes to the sideshows, and enters the tent for Arden The Amazing (Ron Brooks) - who eats nails and screws and broken glass and razor blades and other things not on the standard food pyramid. After the performance she waits for Arden, and kisses him. Small town girl attractive to “sophisticated” carny. As they kiss, fellow carny Leonard (Gordon Paddison) watches them. Arden tells her he has a poker game with the guys, so she’s gotta go. She doesn’t want to leave... and makes him a deal - she’ll leave tonight if he meets her for a necking party at the graveyard after tomorrow’s shows have finished. He agrees and tells her to leave, “You don’t know how dangerous it is here if she finds you.” Amarrillis wants to know “Who’s she?” but Arden tells her to just leave.
Arden plays poker with the other carnies... when SnakeWoman (Rosalind Cash) steps from the darkness and wants to know who’s the girl she saw Arden with. Arden asks *who* saw him, SnakeWoman or Leonard? Leonard sneaks up behind Arden and blows on his neck. Tiny Tinker (Angelo Rossitto) says that SnakeWoman has no control over their personal lives, and she threatens him with the police... Tinker relents. SnakeWoman says that she protects all of them from the police in exchange for their talents - maybe in the case of the freak “No Face” (Barney Burman) she gave him his talent (by removing parts of his face). “This is my carnival. I own everything in it. Even you,” she says to Arden. “I own the tears you weep and the blood you shed.” Arden splits.
Amarrillis goes to the graveyard to put flowers on Father’s grave, when Arden arrives. Arden says he can’t stay long, she needs to forget about him. She says since she first saw his act she wanted to marry him, or just be with him. He tells her he’s a freak. She puts his hand on her breast and gets her freak on. They make out on her father’s grave, and begin undressing each other. But when he puts his hands “down there” she screams and bleeds - is it supposed to hurt like that? He takes his hand out of her panties - and screws and nails that he’s eaten in the past have erupted from his finger tips. He screams and staggers back to the carnival, where SnakeWoman is there to meet him. “Welcome home, glass eater.” SnakeWoman is a voodoo priestess - whose tent is filled with snakes. She makes his bleeding stop... and tells him to forget the girl. She makes the glass and nails he has eaten poke through his insides! Tells him to love that girl and know what pain really is.
When Arden returns to his tent, Amarrillis is waiting for him - she begs him to leave with her. He decides that might not be a bad idea. But on the way to her car they are discovered by Leonard - who has a gun. When he threatens to kill Arden, Tiny Tinker comes out of the shadows and stabs Leonard in the back. As Leonard lays dying he tears open his shirt, exposing a third eye on his chest, and says “I can still see you!”
Arden and Amarrillis drive off together.
In a roadside motel, they once again try to make whoopi... then he begins screaming in pain as all of the nails and screws and glass and razors he has eaten over the years *burst* from his body! Blood sprays everywhere - drenching Amarrillis - and piercing her body again and again!
Back to the side show, where they have a new attraction: Amarrillis The Human Pincushion. She has holes in her body that you can see through!
Mr. White finishes the story, and Beth is coming around... she is starting to believe that Oldfield might just be an evil town. “Oldfield’s history is written in human blood, on pages of human skin.” All the way back to when the town was founded during the Civil War. He shows her a series of Civil War photos, and one comes to life before our eyes for the last story...
Four Confederate Soldiers, lead by Sgt. Gallen (Cameron Mitchell) have been separated from their division, and come across a group of Union Soldiers - also separated from their division. The Union soldiers haven’t seen them yet, so Gallen orders his men to fire on them. Everyone fires except Pike... whose man is getting away. Gallen grabs Pike’s rifle and kills the running survivor. Gallen has them loot the bodies. They find documents on the dead Union soldiers - the war is over, and has been for a month. Gallen thinks there’s still some raping and looting left to do. Pike says if the war is over, he’s going home... and walks away. Gallen shoots him in the back, killing him.
Gallen and the two other soldiers (Bullock and McBride) go looking for a house where they can rape and loot, when they’re fired upon... and captured. They’re taken in a wagon to an old house named Oldfield with a bunch of children in the yard. Some of the children have been mutilated in the war - missing limbs or eyes or parts of their face. A little boy in a Union Army uniform, Andrew (Tommy Nowell), comes out of the house and tells Gallen that he is their prisoner now. Gallen can’t take this little boy seriously. Bullock (Tim Wingard) tells them their just a bunch of kids... and gets stabbed in the balls with a knife. Suddenly Gallen is taking this seriously. He tries to convince the boy that the war is over... but little Andrew does not believe them. Andrew takes the three Confederate soldiers into the house and warns them that the Magistrate will decide their fate. The Magistrate taught them everything they know - how to fight.
Soldier Bullock who was stabbed in the balls? They don’t expect him to last the night, so they’ll prepare a game for him. The other soldier, McBride (Leon Edwards), is in a different room, so he won’t be able to conspire with Gallen to escape.
A little girl with only one leg and only one eye, Amanda (Ashli Bare), brings Gallen dinner. He tries to talk her into letting him go when the ball rings - the Magistrate is calling a meeting. She leaves.
Andrew tells Amanda that he has a surprise for her, and takes her into the room where they have McBride. The Confederate soldier is now strapped to a table. Andrew tells Amanda to take off her eye patch... and then he inserts one of McBride’s eyes into her socket. McBride screams - and we see that his eye has been cut out.
When Amanda brings his next meal, Gallen convinces her to untie him... he’s adopt her and be her daddy. She untie him... Then he gives her a full on kiss... which is just wrong. She fights him. And he kills her and escapes... to find the kids playing a game in the front yard.
Pinata with meat hooks and the body of dead soldier Bullock. You know, for kids!
Gallen gets the hell out of there - running through the woods at top speed. Until he runs into Pike, who wasn’t killed by Gallen’s shot in the back. Pike knocks Gallen to the ground. Gallen says - you have to help me get away, those kids are going to kill me!
And Andrew has discovered Amanda’s body and the kids *are* chasing through the woods to find Gallen. But Andrew doesn’t help Gallen... he turns him over to the kids.
Gallen wakes up in the Magistrate’s Room. Andrew tells him they don’t murder people, they take them before the Magistrate and the Magistrate passes sentence. Then Andrew pulls aside a curtain so that Gallen can see the Magistrate: a Frankenstein’s monster made of the body parts of these kid’s parents... who were murdered in the war.
And the sentence for Gallen? Barbecue. They cook him up and eat him.
And that’s where the town of Oldfield came from - those cannibal kids.
Mr. White tells Beth that Poe and Lovecraft’s monsters where inventions of their imaginations, but here in Oldfield they walk the streets. Beth asks how Mr. White managed to survive this town, and he answers: “How do you know that I did?” Beth reaches into her purse and touches the handle of her knife... Mr. White smiles and tells her that he managed to just remain an observer of the parade of violence, but his niece Katherine became part of the parade. Beth says that she reported on Katherine’s murders, then after the arrest became Katherine’s pen pall while she was in prison... and learned all about this town and how Katherine was brought up... by Mr. White. And now she’s here to deliver Katherine’s parting gift to the man who raised her - pulls out her knife and stabs Mr. White, who dies saying: “Welcome to Oldfield.”
One of the final credits on the film: “When In Tennessee Visit Oldfield”!
Alfred Hitchcock believed you didn’t want to be figuring out what the heck you were going to shoot and how you were going to shoot it with the entire cast and crew waiting around on the clock... The place to figure out your movie was before you had hundreds of people standing around waiting. So Hitchcock (and many other directors of the time) storyboarded their films. Sometimes just the tricky scenes, sometimes the whole film. You could shot list the easy stuff, but actions scenes or scenes that required trained birds or special effects of some sort? Better to have those boarded so that you could show each department what was required for them in each shot. So here are some of the storyboards for THE BIRDS.
To read the Fridays With Hitchcock on THE BIRDS, click back there.
- Bill
Of course, I have a couple of books about Hitchcock, SPELLBOUND is in the one that is on sale today...
HITCHCOCK: MASTERING SUSPENSE
LEARN SUSPENSE FROM THE MASTER!
Alfred Hitchcock, who directed 52 movies, was known as the “Master Of Suspense”; but what exactly is suspense and how can *we* master it? How does suspense work? How can *we* create “Hitchcockian” suspense scenes in our screenplays, novels, stories and films?
This book uses seventeen of Hitchcock’s films to show the difference between suspense and surprise, how to use “focus objects” to create suspense, the 20 iconic suspense scenes and situations, how plot twists work, using secrets for suspense, how to use Dread (the cousin of suspense) in horror stories, and dozens of other amazing storytelling lessons. From classics like “Strangers On A Train” and “The Birds” and “Vertigo” and “To Catch A Thief” to older films from the British period like “The 39 Steps” and “The Man Who Knew Too Much” to his hits from the silent era like “The Lodger” (about Jack The Ripper), we’ll look at all of the techniques to create suspense!
Films Included: NOTORIOUS, SABOTAGE, STRANGERS ON A TRAIN, THE 39 STEPS, REBECCA, TO CATCH A THIEF, FRENZY, FOREIGN CORRESPONDENT, THE LODGER, THE BIRDS, TORN CURTAIN, SABOTEUR, VERTIGO, THE MAN WHO KNEW TOO MUCH (1934), THE MAN WHO KNEW TOO MUCH (1955), SUSPICION, and NUMBER SEVENTEEN. 17 Great Films!
We all know that Alfred Hitchcock was the Master Of Suspense, but did you know he was the most *experimental* filmmaker in history?
Contained Thrillers like “Buried”? Serial Protagonists like “Place Beyond The Pines”? Multiple Connecting Stories like “Pulp Fiction”? Same Story Multiple Times like “Run, Lola, Run”? This book focuses on 18 of Hitchcock’s 53 films with wild cinema and story experiments which paved the way for modern films. Almost one hundred different experiments that you may think are recent cinema or story inventions... but some date back to Hitchcock’s *silent* films! We’ll examine these experiments and how they work. Great for film makers, screenwriters, film fans, producers and directors.
Films Examined: “Rear Window”, “Psycho”, “Family Plot”, “Topaz”, “Rope”, “The Wrong Man”, “Easy Virtue”, “Lifeboat”, “Bon Voyage”, “Aventure Malgache”, “Elstree Calling”, “Dial M for Murder”, “Stage Fright”, “Champagne”, “Spellbound”, “I Confess”, and “The Trouble with Harry”, with glances at “Vertigo” and several others.
Professional screenwriter William C. Martell takes you into the world of The Master Of Suspense and shows you the daring experiments that changed cinema. Over 77,000 words.
The spider web fills the screen, it's Boris Karloff's THRILLER!
Season: 2, Episode: 4. Airdate: Oct. 16, 1961
Director: Herschel Daugherty Writer: Robert Bloch based on his (awesome) short story. Cast: Henry Jones, George Macready, Abraham Sofaer, Sondra Kerr Music: Jerry Goldsmith Cinematography: Benjamin Kline. Producer: William Frye.
Boris Karloff’s Introduction: “A man cries out in vain. His son can not come back. There is no power on Earth that can bring him back. But then, as sure as my name is Boris Karloff, that was no Earthly power that took him. As you have just seen. What just took place behind those doors was strange and terrifying. I wonder just how many of you will have the courage or the curiosity to follow me through them to witness things even stranger and more terrifying. Our story is called “The Weird Tailor” and the fabric of our plot is woven by these distinguished players: Henry Jones, George Macready, Abraham Sofaer, And Sondra Kerr. Yes, my friends, they’re all waiting for you behind these doors! So come with me, come! Before it’s too late.”
Synopsis: Spoiled rich college kid Arthur (Gary Clarke) comes home to his father’s mansion from a night of drinking... interrupting his father’s occult experiment just as things are happening. Mr. Smith (George Macready from GILDA) has laid out a pentagram on the floor of his study, done some incantations... and now the pentagram is beginning to smoke. A lot! When Arthur knocks on the door Smith tells him to go away - but that’s like telling a drunk to come on in. “Hey, candles! I get it, you’re fumigating the joint.” Smith explains that he’s doing an experiment and Arthur needs to leave *now*. But the bar is across the room - across the smoking pentagram - and Arthur wants to get a drink first. He walks right into the center of the pentagram - there’s a flash of light, and Arthur is dead! And that’s just the set up for the story!
Mr. Smith visits psychic Madame Roberti (Iphigenie Castiglioni) who looks into her crystal ball and sees darkness within the light - Smith explains that his son has died and he would do *anything* to bring him back - anything. He says he would give his entire fortune to have his son back. She hands him a card with a name and address...
Nice little twist at the end of the scene where the psychic reaches down for her *guide dog* and we realize that she is blind (and all of the things she has seen and commented on about Smith were not seen through her eyes). This also adds a bit of weird to the scene - a blind woman who looks him right in the eye.
Honest Abe’s used cars is where the address leads Smith. Can this be right? The car salesman Nick (Abraham Sofaer), an older middle eastern man with a mustache who owns the place, takes him into the office where they can talk of things not of this Earth. Smith explains some of why he is here, and Nick says they must be careful - there are laws. Not police laws, laws of nature... laws of good and evil. Nick has an ancient spell book - Mysteries Of The Worm - one of 3 copies in the world. The rest were burned along with their owners. Nick is asking one million dollars for the book - which is all of Mr. Smith’s fortune. Mr. Smith balks... but eventually buys the book.
Erich Borg’s Custom Tailor Shop - somewhere in the wrong part of town. Landlord Mr. Schwenk (Stanley Adams) goes into the shop and yells for Borg in the apartment in back. No customers today. Borg (Henry Jones) comes out and asks if this is about a suit? But Schwenk is here about the late rent, and gives Borg one week to pay up or he’s out on the street. Borg has no idea how he will be able to pay this bill...
After the landlord leaves, Borg goes into the back room: workshop and apartment, where his wife Anna (Sondra Kerr) runs a sewing machine. Customer? No - landlord demanding they pay their back rent or move. Anna attempts to cheer him up, and gets beaten for her troubles. Borg is a violent jerk... and he takes out his frustrations on his wife. Borg says that on;y a miracle could save them... and the bell over the front door rings. They have a customer.
Mr. Smith has a very special job for Borg...
He needs a suit for his son. His son can not come in for a fitting, but he has his measurements. The suit will be made of this special material that Smith is providing and must be sewed by hand - no machines. Also, can only be sewn during certain odd hours in the middle of the night when the stars are aligned just right. He’ll pay $500 for the suit... and gives Borg his card. Borg wants an advance, but Smith says he’ll pay on delivery. Borg will have the suit finished in a week.
When Smith leaves, Anna comes out from the back room and asks if this is a job, money? Borg manhandles her again, tells her to leave him alone. She return to the back room, crying. Talks to a damaged mannequin she has named Hans about her abusive husband... then cries on its shoulder. “You are the only friend I have, Hans.” She breaks down crying.
Anna wakes up in the middle of the night - Borg is not in bed. Has he left her? She creeps out into the shop to find him hand sewing the suit. It’s the middle of the night? This is when the suit is supposed to be sewn, Borg has tried other times but the needle will not go into the strange fabric. The only thing that Borg cares about is that he gets $500 when he delivers the suit.
A few days later, Borg has finished with the suit. He folds it up and puts it in a box, preparing to deliver it. Anna has a feeling that something is wrong - the fabric is strange and hurts her eyes to look at it and tingles - maybe vibrates - when she touches it. Borg should know this, he made the suit. She begs him not to deliver the suit. But - $500.
Borg wonders what she considers weird - since she spends half the day talking to a mannequin. She’s even named it. Hans? There is a word for people who talk to statues. The reason why Borg took the mannequin from the front window and tossed it in the back room - it’s head is cracked. Is that her problem, too? A cracked head? Borg says maybe when he gets the $500 he’ll just go away by himself - she can keep the mannequin. He leaves to deliver the suit and she worried that he will never come back, leave her with the back rent problems.
She goes back and pours out her heart to the mannequin. How did the mannequin get its cracked head? Borg was drunk and beat it - just as he gets drunk and beats her. “When you get hit over and over and over again, something has got to break.” The front door bell rings, landlord Schwenk looking for the rent.
Borg finds the address on Mr. Smith’s card - this can’t be right. A tenement down by the docks? He knocks on the door and Smith answers... happy to have the suit. But Borg wants his $500 before he hands over the suit, and Smith wants the suit now and he will pay for it on the first of the month. Smith spent his entire fortune on the spell book and material to make the suit... but he’ll have money again, soon.
Borg wants to know how Smith can afford a huge freezer if he’s broke, and opens the freezer to see how much food is inside... except there isn’t any food, only Smith’s frozen dead son Arthur! Yikes! Smith and Borg fight over the suit - each fighting for their life. Borg stabs Smith to death! What has he done? He wipes away all traces that he was ever in the room, grabs the suit and races out.
Borg returns to his shop, worried that the police will find him. Anna is relieved to see that he did not leave her... but if he got the $500 why does he still have the suit box? Borg threatens her - don’t tell anyone about the customer or the suit or the $500. He orders her to burn the suit *now*! Then runs out of the shop.
To a bar. Borg is getting drunk when Schwenk finds him and demands the back rent. Borg is drunk and has delusions - sees Mr. Smith dead, see’s Smith’s frozen dead son... throws his beer at Schwenk and runs out of the bar.
Borg returns to the tailor shop; very drunk, very angry, very confused. He yells for Anna, asks if she burned the suit. She says not yet - she put it on the mannequin to see what it looked like. Borg screams that the suit must be burned at once - it’s evidence. He tells her that Smith tried to take the suit from him without paying for it... and he killed him. She wants him to go to the police... and Borg freaks and starts beating her. Trying to kill her so that she doesn’t go to the police...
And that is when the old broken mannequin wearing the strange suit *moves*.
It herky-jerky walks out of the shadows. Legs moving as one piece because they have no joints. Eyes focused on Borg. It slowly crosses the room to him and takes her off Anna. As Borg backs up, the mannequin moves forward. Step by step. Anna watches as they both move out of the backroom into the store and then there is a scream.
A shadow over the door as someone walks back... back to her. The broken mannequin Hans! He approaches her, and his plaster face says that he has dealt with the man who beat both of them, and now they can be together.
Her turn to freak out.
Review: Just as the 1930s and 1940s were awesome decades for crime fiction, the 1950s and 1960s were awesome years for horror and science fiction. Suddenly, all of these writers like Richard Matheson and Robert Silverberg and Ray Bradbury and PKD and Robert Bloch just came on the scene all, seemingly, at the same time. There was an explosion of great genre fiction in the sci-fi and horror genres and a bunch of magazines that sprang up to accommodate them all. Many of these writers clicked with the anthology TV trend that coincided - and shows like THE TWILIGHT ZONE and ALFRED HITCHCOCK PRESENTS and THE OUTER LIMITS and even THRILLER benefitted from this.
Bloch, probably best known as the writer of PSYCHO, wrote a ton of great short stories during this period and many of them were adapted to television... including the notorious banned episode of HITCHCOCK PRESENTS with Brandon DeWilde THE SORCERER’S APPRENTICE. He often adapted his own work, and segued into TV writing - working on a number of shows. He either scripted or was source material (or both) for 10 episodes of HITCHCOCK PRESENTS, ten episodes of THRILLER, 7 episodes of the HITCHCOCK HOUR, and 3 episodes of STAR TREK (plus a bunch of other TV shows). Here he adapts one of his most famous stories, which you may know from the movie ASYLUM (1972) which was Bloch’s own anthology film - based on his short stories and adapted by Bloch himself. That version of WEIRD TAILOR may have better production value, but this is the first version that I watched... as a kid. And that mannequin that comes alive freaked me out. They did a pretty good job of making the actor look like he was maybe made of plaster, and that really helped.
But this episode has more than that scary ending scene - one of the great things about genre fiction is that it allows the writer to deal with serious social issues in a medium that people want to see. Genre is a great “spoonful of sugar” that makes discussions of issues people might find boring or too serious into something tasty and fun. TWILIGHT ZONE was famous for stories like this, but the same writers often worked for other anthology shows...
So we end up with this THRILLER episode that deals with the serious issue of domestic violence. This whole episode explores domestic violence - Borg beating his wife, Smith ignoring his son - and shows us two different paths. Smith’s more psychological abuse of his son results in the boy’s death - and Smith realizes he was wrong and that all of the wealth in the world doesn’t matter as much as his son. It’s kind of amazing that we see Smith go from that mansion to the hell-hole apartment just to bring his son back to life. Smith gets his priorities straight... but it’s too late. Borg just keeps beating on Anna, no matter what happens. He drinks and beats his wife. This is a great role for Henry Jones, who always plays nice guys and shows us that even the fellow that you think could not be a violent wife beater may actually be one. Your next door neighbor may beat his wife... or her husband. It’s not some issue that only belongs to big blue collar guys - anyone can be a perpetrator or victim of domestic violence.
Sondra Kerr gives off a Terri Garr vibe in this episode, quirky and funny and vulnerable. A month after this episode aired she married Robert Blake... and one wonders what kind of marriage that was. She was in a bunch of movies in the 70s, guest starred on a bunch of TV shows in the 70s and is still working - was in a movie made last year.
George Macready, who is great in GILDA, is equally great a decade and a half later here. Though we have two intertwining stories and his thread takes the backseat to the weird tailor’s after the first commercial, he continues to make an impression in the brief scenes he has as a father who realizes he has made the selfish mistake which cost his son his life and will do anything to bring him back. Anything.
Herschel Daugherty’s direction in this episode gives us some great shots like that opening longshot down the hallway as the son returns, along with a nice sequence with slightly canted shots when Smith hires Borg to make the suit. And there’s a great superimposition of a skull on the crystal ball in the medium scene... plus a great scene with Smith and Borg fighting shot through a wall made of fencing material in Smith's hell-hole apartment.
The big lesson from this episode is that Genre Fiction is a great way to explore social issues.
This episode continues the second season streak of great shows... but all of that will change with next week’s episode.
