THRILLER Thursday: THE HOLLOW WATCHER

The spider web fills the screen, it's Boris Karloff's THRILLER!

Season: 2, Episode: 20.
Airdate: February 12, 1962


Director: William F. Claxton (NIGHT OF THE LEPUS).
Writer: Jay Simms (THE GIANT GILA MONSTER).
Cast: Warren Oates, Audrey Dalton, Sean McClory, Denver Pyle, Walter Burke, Sandy Kenyon.
Music: Sidney Fine & William Lava.
Cinematography: Benjamin H. Kline.
Producer: William Frye.

Boris Karloff’s Introduction: “I wonder how many of you have had the urge to eliminate one of your tormentors. Oh, come now, chances are it has occurred to you at least once. But after a moment’s thought, you decided against becoming a murderer. Of course, I wouldn’t presume to ask if you made the right decision. But I would, however, be in your reason for refraining. Respect for human life? Fear of the law? Or terror of the unknown. The wrath of a demon such as the Hollow Watcher? For the sightless eyes of a Hollow watcher see more than you might imagine. Even now they can perceive the leading players in tonight’s story. They are: Audrey Dalton, Sean McClory, and Warren Oates. (Laughs) Well, I certainly don’t need the Hollow Watcher to tell me that you’re skeptical. But as sure as my name is Boris Karloff, the people who live in Black Hollow believe in him. The beliefs of simple country folk can create forces that will certainly surprise you. Perhaps even frighten you.... to death.”

Synopsis: The Black Hollow General Store in rural North Carolina at night... as a woman’s screams come from inside, when an older man, Ortho Wheeler (Denver Pyle), tears the blouse off of a woman, Meg O’Danagh Wheeler (Audrey Dalton), and her new husband Hugo Wheeler (Warren Oates) gives her a blanket to cover up. She tells Ortho if he lays his hands on her again she will bite his fingers off. Hugo steps up to protect his wife from her new father in law, and gets socked in the jaw by the old man. She is an Irish mail order bride, married to Hugo against his father’s wishes. Ortho is a bully who basically owns the town of Black Hollow.

The two men go to the barn to duke it out, and new wife Meg tags along to watch. When Ortho begins beating his son Hugo to a pulp, she grabs a log and clobbers him...

When Hugo wakes up, she tells him that his father left in disgrace... and now the store and is his. Hugo is worried that the Hollow Watcher will now come to punish him in the night for whipping his daddy. The Hollow Watcher is a local legend - a scarecrow that gets revenge against those that deserve it. It comes in the night, and... As they walk back to their rooms above the store, Meg looks at the old scarecrow on the hill... it’s creepy looking!

One Month Later: The gang at the general store gossip a bunch of exposition... Town character Croxton (Walter Burke) says: “The Hollow Watcher always leaves a corpse... or part of it” and Mason, the clerk behind the counter (Sandy Kenyon from AIRPLANE!) says the new Mrs. Wheeler got a letter, and everyone is curious - people don’t get letters around here... that requires the ability to read. Can they see what it says through the envelope? That’s when a wagon rolls up and Sean O’Danagh (Sean McClory) gets off with his trunk and comes into the store.

Sean is dressed in a suit amongst rural farmers, and has a thick Irish accent and is charming and chatty... and a burly manly man. He asks for Mrs. Wheeler, and Mason behind the counter says that she and her husband are not in. Sean asks if he might have a drink while waiting, and is served the local moonshine... which he practically spits out. It’s terrible! And he paid 25 cents for 2 and a half glasses of it! A muscular farmer playing checkers (Lane Bradford) says he made the moonshine and doesn’t take to strangers saying it’s terrible - and challenges him to a fight outside. We get a poorly staged fight - no cutting, all a master shot - and the muscular farmer almost wins... but Sean has boxing skills and wins the fight.

We get a little more exposition about the Hollow Watcher, and just when Sean is ordering Mason to open the door to the upstairs apartment, Hugo and Meg pull up in their wagon. Hugo watches his wife affectionately embrace her brother - too affectionately? - and then offers to let Sean sleep in the barn. Meg says that’s not hospitable - why not let him stay upstairs with them? Hugo hints that the marriage has not been consummated, and Sean is just going to get in the way of that. Sean says that he’ll earn his keep - not a problem! But when Mason mentions that one of Hugo’s rental plows needs to be retrieved, Hugo gives that job to Sean... who says he’s tired from his travels and still sad that his wife passed away and a bunch of other excuses... so Hugo leaves to retrieve the plow...

And Meg and brother Sean go upstairs and have wild sex - but we only see them afterwards lounging on a sofa. It seems that Sean and Meg are married - and both are conmen who marry wealthy people, kill them, and inherit. Supposedly Hugo’s father has $5,000 stashed somewhere and as soon as Sean and Meg find the money, Hugo will have some sort of farming accident or something and die. This is why Meg and Hugo haven’t consummated their marriage - she is faithful to her real husband Sean... who killed his last wife Bernice, who didn’t have as much money as she claimed. Meg admits to murdering Hugo’s father Otto and stuffing his corpse in the scarecrow at the top of the hill so that no one could find it.

Meg looks out the window - the scarecrow is looking at them from right outside the window! Sean grabs the shotgun, believing that it’s Hugo dressed as the scarecrow spying on them.

The scarecrow is no longer on the top of the hill. What? Sean looks at the ground and sees *footprints* leading down the hill to the window - it has to be Hugo! Sean looks around... and the scarecrow attacks! The Hollow Watcher! Sean shoots the Hollow Watcher in the arm - and the Hollow Watcher escapes... leaving behind a scarecrow arm... with a bone and the rotting flesh of Otto inside. WTF? Sean believes that he has shot Hugo, and the Hugo will return with a wounded arm...

Meg has no idea where the $5k might be hidden, so Sean begins his search - beginning with the barn. He pulls up floorboards... and Mason discovers him, and when Sean comes up with a bogus reason for tearing up the floor, Mason shoots it down... he begins to suspect that Sean is up to something.

When Hugo returns with the plow, Sean claps his hand onto Hugo’s arm... but there is no wound there. Hugo is fine. Sean looks up to the top of the hill, where the scarecrow looks down at them... missing an arm.

Sean doesn’t understand how Hugo wasn’t wounded - was the shotgun filled with blanks (????). Meg tells Sean they don’t need the $5k bad enough to deal with that animated scarecrow, they should just leave...

That’s when Otto returns from putting away the plow... and begins arguing with Meg. He would kind of like to consummate the marriage, but Meg says the customs in their country is for the husband and wife to live as brother and sister for 6 months. Otto says they aren’t living in her country, and tonight they are going to become man and wife.

Meg whispers to Sean that they have to kill him tonight.

We get a pile more exposition about the letter than Sean wrote and whether Mason read it and told Hugo about it, and even more exposition about the Hollow Watcher and whether it was just some legend that Hugo’s father made up to keep the town’s people in line, and now Otto is using it to spook Meg and Sean. But tonight, it will all be over...

That Night: Sean is setting a trap for Hugo. Hugo hears a noise in the barn, grabs his shotgun and goes to investigate and...

When Sean sneaks into the barn, Hugo is unconscious on the floor with his shotgun by his side. What? If Hugo isn’t the Hollow Watcher, who is?

That’s when the Hollow Watcher attacks Sean. He stabs it again and again - and nothing happens. The Hollow Watcher isn’t even hurt! The Hollow Watcher tears Sean to pieces!

In The Apartment: Meg waits for Sean to return after killing Hugo... and sees the Hollow Watcher staring at her though the window! The Hollow Watcher crashes through the window. Meg backs up against the wall, “I know it’s you, Hugo.” She grabs a burning log from the fireplace and slams it into the Hollow Watcher - he doesn’t slow down. But he does catch on fire! Talk about your slow burns - she stands there and watches as the Hollow Watcher burns down to a skull and bones. She laughs in hysterics as the skull keeps coming towards her....

Review: Warren Oates was a national treasure that I don’t think we fully appreciated while he was alive. I was always a big fan, because he was the stand out in a bunch of movies like THE WILD BUNCH in a small role, and he frequently stole the show in films like STRIPES as the tough drill sergeant. I think this is his second appearance on THRILLER (KNOCK THREE ONE TWO) and in both he plays a character of limited intelligence trying to navigate a complicated world... and is great at showing a character trying to figure things out. We can see him thinking. What’s strange about both episodes is that he isn’t the star of either, though he would become a star later in films like BRING ME THE HEAD OF ALFREDO GARCIA. For a large chunk of this episode he is offscreen retrieving that tractor...

This is one of the episodes that “remembers well” - the idea of that scarecrow that comes alive and seeks vengeance, like the crawling severed hands in TERROR IN TEAKWOOD, is something that I remember from first seeing these as a kid. But the episode itself isn’t as scary as I remembered it, mostly due to pedestrian direction. That’s a problem that plagues some of these episodes while others have amazing inventive direction... but this is a good example of how it can harm the story. Director Claxton seems to film everything in a master shot with very few close ups - so it’s all kind of bland. The fist fight is boring. In the scene where Sean is first investigating the scarecrow he looks down and sees footprints moving towards the house... but we never get to see those footprints. So they don’t deliver the scares that they should. Since the scarecrow isn’t actually shown moving until the end, those footprints were the “special effects” that tide us over until then... but it’s all done in a master shot.

There’s a scene before this where the wife says she saw the scarecrow peeking through the window... but there is no shot of that. Again, she is in a master that doesn’t include an angle on the window, so it becomes exposition instead of a scare moment.

The episode seems to have reversals and twists in the story that never make it to the screen, and I don’t know how much of that is Claxton and how much is network censors in some instances. The Brother and Sister being Husband and Wife thing is done in the blandest way possible, when that could have been an amazing twist on screen. Instead of showing them in an intimate situation and kissing, which would have been a major shock moment, and then revealed that they were husband and wife; we get them on the sofa in a situation that could easily be brother and sister... and then revealed as husband and wife. Due to the bland direction in other scenes I don’t know whether this is Claxton’s choice or a censorship issue about even hinting at brother and sister incest... but what could have been a twist ends up just a pile of exposition. There's plenty of talk about the marriage not being consumated, and Oates wanting to get to that, which didn't seem to bother the censors... but that's not quite the same as hinting at incest, even if it would not be true.

One of the things that these episodes point out is the how different directors given the same amount of time and probably the same budgets can either do amazing things or make a bland and pedestrian hour of television. Some seem to see this as a job, and others as an opportunity to strut their stuff. This episode could have been so much more frightening with a different visual approach to the story. By the time we get to that scarecrow zooming across the room to attack at the end, it shows what the earlier scenes might have been... but that’s charging scarecrow is still a frightening image that has been imprinted on my memory since I saw this as a kid.

Next up, a dark comedy episode with Edward Andrews...

- Bill

Scene Of The Week: The Wind And The Lion

One of my favorite films is John Millius's THE WIND AND THE LION, and here's a great scene with Brian Keith as Teddy Roosevelt on a hunting trip in Yosemite talking about a grizzly bear he's just killed...


The bear is part of the character's story thread - and shows up in several later scenes as it is stuffed and posed and eventually Teddy has his picture taken with it. Each scene with Teddy has some small bit about the bear - or maybe a large bit. He jumps up on his desk at one point to show the pose he wants for the stuffed bear.

The great thing about this "bear subplot" is that it allows the character to talk obliquely about elements of the main plot (a kidnaping in Morocco that may start a war) without being obvious or on the nose. In some ways, the dead grizzly is a "code" or a symbol that allows him to speak about the political situation without ever talking politics. I have a script tip about "symbolic dialogue" - when a character talks about one thing but is actually talking about something else.

This is a great technique to use if having your character talk about the plot situation would result in dull or obvious dialogue. Let them talk about something else... and let it have a second meaning about the plot situation.

Many people think that after the dark films of the 70s, STAR WARS came along and changed everything with its rousing story of adventure. But adventure was already a major component of 70s films, with John Huston’s epic adventure THE MAN WHO WOULD BE KING and this fun swashbuckler which were released a couple of years before STAR WARS and written and directed by one of Lucas’ friends, John Milius. There are sword fights and romance and cliff hangers and fantastic stunts and it all takes place in a world far away and many years ago.

It is a great film for 12 year olds of all ages - filled with larger than life characters and all kinds of romance and adventure.

John Milius is one of my favorite directors, and when I met him this was the film I mentioned loving - even though many of his other films are also among my favorites. I start every day listening to the Basil Poledouris theme to CONAN THE BARBARIAN, and I thought PUBLIC ENEMIES paled big time in comparison to DILLINGER. They remade CONAN and RED DAWN and neither worked. His movies were usually about two strong people in combat - and the respect the combatants had for each other and the honor of a good fight. In RED DAWN the Cuban villain allows the Wolverines to remove their wounded in one scene - even though he could easily kill them and end his problems. But he is a man of honor - even though he is the villain. Even though Milius and I have completely different political beliefs, he never demonizes the other side. Though he may not agree with the opposing government’s goals (or maybe even the hero’s government’s goals - governments are usually corrupt), the warriors on the battlefield are not evil guys. His antagonists are not two dimensional mustache twirlers, they are real people.

The great thing about having two strong forces locked in battle is that you get to explore each character... and there’s no shortage of action.




Here we have a story loosely based on an actual historical event - the kidnaping of an American in the middle east and the quest to get them back unharmed. In real life it was 64 year old American citizen Ion Perdicaris and his son, kidnaped by Berber warrior Mulai Ahmed er Raisuli and his horsemen from his villa in Morocco to secure a ransom and political power from the Sultan... and President Teddy Roosevelt famously said: “Perdicaris alive or Raisuli dead!” and moved in the Marines. As a romance between a dashing Berber warrior and some 64 year old dude probably wasn’t going to play in 1975, Milius changed the 64 year old man into an attractive young woman with her two children and has the story seen through the eyes of the boy. Not accurate history, but it’s an adventure film not a documentary. Most of the other characters and even some of the dialogue remains true.

The film is a true epic - big action, big emotions, big romance, big stars and an amazing Jerry Goldsmith score. It’s like LAWRENCE OF ARABIA meets RAIDERS OF THE LOST ARK. Sean Connery plays the Raisuli as a handsome sheik on horseback, a young Candice Bergan played Eden Perdicaris, and Brian Keith steals the show playing Teddy Rooselvelt. The film is filled with great sword fighting scenes and some of the most amazing horse stunts you will ever see - lots of horses *indoors* on stairways and rooftop chases!




When the film came out I was a teenager and movies still opened on Wednesdays and only opened in major cities... played there for a month or two, then opened in the suburbs (which used to be called “Roadshow”). So, to see the movie on opening day, my friend Dave and I drove all the way to San Francisco and saw a matinee. Not packed. But afterwards, we pretended to sword fight all the way back to the car. I saw the film one more time in San Francisco, then once when it played “roadshow” in Concord. This was one of those movies that got me excited about making movies when I grew up. I wanted to do big, exciting, swashbucklers like this!

The film was not a big hit, nor was it a flop. It did okay. What I always find strange is how people will find fault with some movie... and then ignore the same problem in some movie they like. The two big things critics disliked about this film were Sean Connery’s Middle Eastern accent (which sounded Scottish) and that they changed the kidnaped dude to a kidnaped chick. Has Connery ever had an accent in a movie that wasn’t Scottish? Did we ever care? And how many movies based on some true event stay completely true to what happened? They all dramatize things! Were there major complaints about SHAKESPEARE IN LOVE bending the facts? No - it was a movie! I think the critics thought it was *fun* when movies had been gritty and serious for the past few years. The year WIND came out was the same year ONE FLEW OVER THE CUCKOO’S NEST and DOG DAY AFTERNOON and SHAMPOO came out. Nobody could see STAR WARS in the crystal ball. WIND AND THE LION wasn’t one of the top ten films that year, though a film Milius did some uncredited writing on called JAWS was #1. THE WIND AND THE LION is one of those films that people fall in love with. I still love the film and watch the DVD probably once a year.

Milius Interview:


If WIND AND THE LION pops up on TCM, check it out. It might make you feel like a 12 year old again, and you might sword fight with a broom... and break something.

I love the Goldsmith score, but also love the cinematography and direction. Just in that Grizzly clip, there are some images so beautiful they could be paintings. Millius is one of those directors who is kind of forgotten now, but made some amazing films... and needs to be rediscovered by a new generation.

- Bill

Trailer Tuesday: American Friend (1977)

Since everyone is talking about DEEP WATER, here's another film based on a novel by Highsmith...

Directed by: Wim Wenders.
Written by: Wim Wenders based on the novel by Patricia Highsmith.
Starring: Bruno Ganz, Dennis Hopper, Lisa Kruezer, Gerard Blain, Sam Fuller & Nicholas Ray
Director Of Photography: Robby Muller.
Music: Jürgen Knieper.

THE TALENTED MR. RIPLEY is getting a longform TV version from the writer of LUTHER, so let's look at another story in the Ripley series...

One of the things I have realized over the years is that the films you saw when you first *really* got into movies become your favorites because they opened doors in your mind that you didn’t even know existed. Often someone younger than I (that doesn’t take much these days) mentions one of their favorite film... and it’s some movie I think is a piece of crap. Of course, I saw it later in life when whatever door that movie opened for them had already been opened for me... so instead of being amazed at whatever the film did, I compared it to all of the other films that did that and found it lacking. But the same thing happens to me frequently: those young people who had the door opened by their film finally get around to seeing mine and think, “What’s the big deal?” This has taught me to be less judgmental about those films people love. Better that they love films than not love them!

So, in the 70s I caught this film because someone called it “Hitchcockian” and became a fan of Wim Wenders (to this day). This is not the usual Wenders film at all, but I found it fascinating that he actually understood how to make a suspense film: he knew how to use the camera to tell the story and use editing to create suspense. When someone shows that they know how to do something difficult like this, I cut them a lot of slack when they go off and do their own thing in their own style. So I was a fan of his films which are often valentines to America. He can take a 9 year old girl and turn her into the tour guide for America - seeing our world through her eyes... or show us small town life in Texas, or give us a Hollywood full of conspiracies and crime, or the great America road trip... in Germany! But I first discovered him with this Hitchcockian film based on a Patricia Highsmith RIPLEY novel about a normal dad and husband who discovers he is dying of a rare disease and is offered a fortune to leave for his family... all he has to do is kill a guy. A total stranger. A mobster the world would be better off without. Could you kill someone to help your family?



As you can see, BREAKING BAD's concept really owes a lot to AMERICAN FRIEND... the idea of a quiet intelligent man doing terrible things that are against the law to provide for his family because he is terminally ill... and killing a bunch of gangsters in the process... is the basic story of both. In both the lead must keep his side job secret from his wife and kid, and when it is discovered instead of appreciating the *huge* personal and emotional sacrifices he has gone through to provide for his family, they turn against him and he must fight to win them back. The parallels are strong between the two... which makes me wonder why nobody ever mentioned it.

Wenders was a genius for combining Highsmith’s RIPLEY'S GAME and RIPLEY UNDER WATER (the second and third novels in the series after THE TALENTED MR.) and then taking Jonathan's point of view instead of Ripley's. Instead of being the puppet master's story, we get the puppet... who finds himself in over his head just to provide for his family after he dies. The story is filled with twists and turns and has a bit of that 70's stillness used in films like THE PARALLAX VIEW. The film is also filled with music, and a love for The Beatles... and Volkswagen Beetles. Beautifully shot by Robby Muller, with a great score by Jürgen Knieper (who also scored RIVER’S EDGE), the film has a deliberate pace that works for the story...

Jonathan (Bruno Ganz who would later play Hitler in that DOWNFALL movie that you haven’t seen but *have* seen that one scene where Hitler loses it in a million memes) is a picture framer whose wife (Lisa Kreuzer) works for an auction house, and when he is introduced to Tom Ripley (Dennis Hopper, I wish it had been John Malkovich who played this role in a remake) he refuses to shake his hand. Ripley feels insulted, and later when a Paris mobster Minot (Gerard Blaine) is looking for an assassin who can not be traced back to the mob, Ripley gives him Jonathan. You see, Jonathan has a rare blood disease may not have long to live. So Minot approaches Jonathan and offers him a second opinion at the most prestigious hospital in Europe... all expenses paid... as long as Jonathan listens to his offer afterwards. Jonathan goes in for the test... and Minot creates *forged* results saying that Jonathan is knocking on death’s door. Then offers Jonathan a job killing a mobster on a train. Here’s the thing: worst that can happen if Jonathan is caught is that he’ll die before trial, and his family will still get the money and be provided for. Jonathan reluctantly agrees... and then goes to kill the man. Except it’s never as easy as you think. This leads to one of the most intense suspense scenes I’ve seen as Jonathan can’t find the right time to shoot the guy... and every second he hesitates is a chance to be caught!



Eventually he kills the mobster, only to find out there are more mobsters to be killed and Minot wants Jonathan to kill a well guarded mobster on a train. (Lots of trains in this film, it *is* by Highsmith who wrote STRANGERS ON A TRAIN). This time he is *way* over his head and his whole life spirals out of control. One of the things I swiped from this film for my HARD EVIDENCE script that was made for USA Network was the way the protagonist feels he can’t tell his spouse about this problems, when he needs all of the help he can get. Eventually Jonathan admits everything to his wife and they team up to resolve the conflict... though not in the way they thought.

One of the great things are all of the cameos by film directors. Sam Fuller and Nicholas Ray (playing the dead painter Derwatt from RIPLEY UNDERGROUND) and Lou Castel. Wenders was a real fan of American noir films and cast his heroes in the film... later he would make a documentary about Ray’s final days.



The film is an interesting hybrid between studio movie and European arthouse, technically really well made but still focusing on character and those small moments (I love when Jonathan is playing with his son or trying to get two halves of a frame to come together. This film along with Wender’s Polanskiesque GOALIES ANXIETY AT THE PENALTY KICK are slick Hollywood style films with that indie bent. He knew how to do dolly shots and crane shots and make a film that looks bigger than it probably was. His other films like ALICE IN THE CITY and THE WRONG MOVE and KINGS OF THE ROAD have a ragged indie feel to them. Oh, and this film landed him a big Hollywood picture, HAMMETT (the dude who wrote THE MALTESE FALCON based on a novel by Joe Gores... though the movie throws out almost everything from the book), and the failure of that Hollywood film lead to the success of PARIS, TEXAS and WINGS OF DESIRE. He’s done some interesting work since then on films like UNTIL THE END OF THE WORLD and THE END OF VIOLENCE and the doc BUENA VISTA SOCIAL CLUB and he has a new movie out this year.



- Bill

Thriller Thursday: WORSE THAN MURDER

Worse Than Murder

The spider web fills the screen, it's Boris Karloff's THRILLER!

Season: 1, Episode 3.
Airdate: 09-27-1960

Director: Mitchell Lieson (Woolrich’s NO MAN OF HER OWN).
Writer: Mel Goldberg based on a novel by Evelyn Berckman.
Cast: Constance Ford, John Baragrey, Christine White, Harriet MacGibbon, Dan Tobin, Jocelyn Brando.
Music: Pete Rugolo.
Cinematography: John F. Warren (from HITCHCOCK HOUR).

Boris Karloff’s Introduction: “It is difficult to violate the privacy of dreams. After all, there are no witnesses to our night time fantasies. But when a man’s nightmares are an accurate reflection of the truth, and in trying to relieve his suffering he commits that truth to paper, there he creates greater torments than those of his restless sleep, as sure as my name is Boris Karloff. We’re concerned now with a woman who makes use of a nightmare to persecute the innocent as well as the guilty. A persecution that is much worse than murder. That’s the name of our story. We assure you my friends, this is a thriller!”

Synopsis: High estrogen crime drama. Three women, each commit some horrible crime, while the men stand by on the sidelines. Oh, and all of these women are related by marriage or blood, so this is a *family* of killers! A wealthy family.

The episode opens with ancient Uncle Archer in a hospital bed dreaming about the time he helped kill his father... then he passes away. Leaving behind a stack of diaries, including a new one on his hospital bed. High maintenance Connie Walworth, Archer’s “favorite nephew’s widow” arrives for a visit with flowers, is told that Archer has passed away, and lifts the new diary on a lark. Connie has been kissing up to Uncle Archer in hopes of a prime space in his will, but Archer died intestate... and all of the money will go to his bedridden sister Myra (Harriet MacGibbon) (who is Connie’s mother in law) and her plain jane daughter Anne (Christine White). Oh, and Myra *hates* Connie, since she’s been living off her since the death of her son (Connie’s husband) in a car wreck. When Connie goes to the family mansion and hits Myra up for a loan, she is refused... it’s time for her to find a job or a man or both. But when Connie mentions that Uncle Archer kept diaries, Myra reconsiders and gives Connie the loan in hopes that she will forget about the diaries. This, of course, makes Connie wonder what could be in the diaries.

Plain jane daughter Anne is dating Myra’s doctor Dr. Mitchell (probably old enough to be Anne’s father) (John Baragrey) and it’s fairly obvious he’s sniffing around for Myra’s money... When Connie leaves, Anne notices Dr. Mitchell checking her out. Maybe she should dye her hair blonde and dress more provocatively?

Connie is a sexy, scheming bottle blonde predator... a real femme fatale, in a story where the men are secondary characters. As in Robert Wise’s BORN TO KILL, the female lead here uses men to get what she wants... and in Connie’s case, manipulates and blackmails women as well. It’s obvious she only married her (late) husband for his money, and after spending all of it on her and then dying; Connie needs a new source of income. If she can find a way to cut in to the family fortune, she’ll do it... even if that means playing dirty.

When Connie gets to her apartment, her landlord Ray (Dan Tobin) is waiting for her... wondering where the rent is. When she tells him Uncle Archer died and left her nothing, Ray *insists* on the rent, he’s waited long enough! Connie invites him up to her apartment to settle the bill. Yes, this is a 1960 TV episode, and she’s gonna screw her landlord to pay the rent! And our next scene has Connie in lingerie in bed reading the diary outloud to Ray the landlord! Yikes! The diary passage is Uncle Archer’s recurring nightmare about the night he and “M” murdered their father so they could inherit his fortune. Is “M” for Myra?

Connie calls to see if she can stop by the hospital to pick up the other diaries... finds that they have already been delivered to Myra. So Connie heads to the newspaper morgue where she discovers a story about Myra and Archer’s father’s death by accidental overdose of insulin... a nurse lost her job as a result. Connie goes to talk to the Doctor, only to find that he has passed away, but the disgraced nurse is still alive... living in a crappy apartment downtown. The Nurse (Jocelyn Brando) is a drunk, living in poverty because that long ago accident with Myra and Archer’s father still hangs over her. The Nurse refuses to answer Connie’s questions, but when she leaves the room, Connie searches her closet and jewelry... and finds all kinds of expensive things. Where did they come from? The Nurse breaks down and says she has been blackmailing *Myra* because Myra and Archer murdered their father.

When Connie confronts Myra with this, spilling the details that the Nurse gave her; Myra almost has a heart attack (literally) and Connie holds Myra’s digitalis over her head like a carrot. Then gives it to the old woman. Connie says she’ll take $100,000 to hand over the diary and not go to the police. Oh, and in 24 hours.

Listening at the door is plain jane Anne... who has fixed up her hair, put on some make up, and dressed up; to keep her Dr. Mitchell boyfriend from straying. She hears everything and realizes her aged mother might be thrown in jail if she doesn’t do something. She breaks her date with Dr. Mitchell, throwing the relationship into turmoil. When Myra phones the bank to have $100,000 delivered, Anne *knows* her mother is a murderer. To protect her, Anne becomes a criminal...

Anne breaks into Connie’s apartment, searching for the diary. Finds it... just as Connie pulls up, with Dr. Mitchell! See, Connie has been making a play for the doctor just to cover all the bases. She invites him upstairs to her room (to screw?) as both Anne... and Ray the landlord... watch. Dr. Mitchell kisses her and declines instead of reclines. Then Connie goes up stairs, and Anne scurries to find a hiding place in the apartment.

Problem is, when Connie enters she sees Anne hiding behind the sofa reflected in a mirror and grabs a fire poker. There’s a scuffle, Anne splits with the diary... Connie chasing after her.

Meanwhile, Myra’s condition gets worse and she is taken to the hospital... dying. She admits to Dr. Mitchell killing her own mother with Uncle Archer so they could inherit her money... and now Connie is doing something similar to Myra. She begs Dr. Mitchell to make sure Connie gets no more money... then dies.

Anne returns to the mansion, doesn’t notice the package of money from the bank waiting for Connie to claim it; and burns the diary in the fireplace. When Connie arrives, she pulls the burning diary out of the fireplace, then Connie and Anne scuffle as the burning diary sets the curtains and house on fire! Cat fight in the flames! Then Connie splits (never seeing the money) and the mansion burns to the ground. Anne escapes the fire into Dr. Mitchell’s arms... and Connie is arrested for blackmail.

Review: This is more like it! Though more of a crime drama instead of a thriller, it’s fast paced, filled with twists and turns and has some *awesome* dialogue. Not just the catty conflict lines (which are clever and fun), but the rest of this episode is filled with witty and quotable lines. I don’t know if this is the work of screenwriter Goldberg or if he pulled them from the novel, but it’s constantly entertaining. And lots of juicy scenes with women tangling (verbally and even physically). Constance Ford plays Connie like a sexual force of nature, and I believe costume department neglected to supply her with a bra, in addition to the blatant implied sex scene with her landlord there’s no shortage of what appears to be nipplage in many shots. Were the censors asleep?

The men in this episode are disposable objects used by the three women, even Uncle Archer only held his mother with Myra gave her the lethal injection. It’s interesting to see a show that focuses on the sex that is deadlier than the male... and has so much fun turning men into playthings. Director Lieson was a “woman’s director” in Hollywood, who made many lush female lead films... including the adaptation of Cornell Woolrich’s “I Married A Dead Man” with Barbara Stanwick called NO MAN OF HER OWN, which is kind of a guilty pleasure of mine. This episode has gloss and a real feeling of those old Joan Crawford potboilers. Bitchy fun, with clever and cutting dialogue. This was a good (not great) episode, but on the right track! Will the next episode continue towards greatness... or derail?

FADE OUT.

Bill

Bill's BBC Writer's Room Interview

From Literally Over A Dozen Years Ago!



The Interview

Years ago when I was in London to teach my big 2 day class and attend the Raindance Film Festival, I did a million interviews in two days. I was on morning radio (breakfast chat) and afternoon radio. I did all kinds of radio in between. Every newspaper interviewed me. I did a couple of strange shows at the BBC where I was in a studio talking to someone who was on the other side of the country... and it was broadcast live. I did one great show - kind of a zany drive show, hosted by a couple of writers who wanted to know every story I would never tell in print... and I told a couple.

And BBC's Writer's Room wanted to interview me. After racing all over town in a million taxi cabs, they called and rescheduled... for the morning at some hotel. I don't do mornings. And I still had jet lag. I get to the hotel - barely awake, and they seat me on the lobby steps and begin asking questions... as hotel guests come down the stairs. Every minute we had to stop for guests! I finish this lengthy interview, and have no idea how it turned out. They run it, and post it on their website:

One of the focuses on this interview is Writing For Production - being aware of schedule and budget and all of the other elements that you will need to know if you also plan on making your own film. Or just selling it to a low budget production company.

Interviews

Along with interviews from Paul Greengrass and David Benioff and many other folks you have heard of, and I kind of forget about it. Until a website regular discovered it, and e-mailed me a version and put a copy up on YouTube. I decided to add titles and put it up on My YouTube... and here it is.

As I said, I talk a lot about writing for a budget, which I don't think Greengrass or Benioff cover in their interviews. This is the kind of information that is important when you are breaking in, because you probably won't be writing a big blockbuster like THE DARK KNIGHT or IRON MAN... you may be writing a Made For TV movie or an Indie film or a low budget action or horror flick or even making your own movie, where budget matters.

Thanks to the Raindance Film Festival for setting all of these interviews up for me!

- Bill

Hey, this is topical...

NEW: WRITE IT: FILM IT!

Making Your Own Movie?
Writing An Indie Film?
Writing A Low Budget Genre Script To Sell?
Writing A Made For TV Holiday Movie?

You will be writing for BUDGET. On a standard spec screenplay, you don’t have to think about budget, but these types of screenplays writing with budget in mind is critical!

If you are making your own movie, budget, is even more important - and you need to think about budget *before* you write your screenplay... or you will end up with a script that you can’t afford to make (or is a struggle to make). Everyone is making their own films these days, and even if you have done it before there are lots of great techniques in this book to get more money on screen - for less money! You can make a film that looks like it cost millions for pocket change.

SALE: $7.99!

The rest of that entry from 12 years ago...

IMPORTANT UPDATE:

Yesterday’s Dinner: Fresh tomato beef at City Wok in Studio City.

Movies:
MOVIES: CHARLIE WILSON’S WAR - So I drove down to Long Beach to hang out with my friends Melanie and Yamo and grabs some dinner and see a movie. As dinner winds down, Mel pulls out a list of all the movies playing at the 95-plex next to the restaurant, and I look over the list and have seen many of the films and Mel or Yamo have seen others... and we narrow it down to a handful, of which CHARLIE WILSON’S WAR is the best as far as time goes... so that’s what we see.

Okay, you have an all-star cast, and Mike Nichols directing, and Aaron Sorkin writing, so you can’t end up with a bad movie.

Tom Hanks plays this charmingly sleazy congressman, Charlie Wilson, who is sitting in a Vegas hot tub with a couple of strippers and a Playboy centerfold when he sees Dan Rather on TV wearing a turban. A turban! He wants to know what that’s all about. Discovers that the Russians have invaded Afghanistan, and the Afghans are fighting back... but they need weapons. And Charlie sees a way to make his mark.

He teams up with a grumbling CIA agent named Gust, played by Philip Seymour Hoffman, and a wealthy right wing Texan played by Julia Roberts. Since Roberts just popped twins and is getting older, her character *must* wear a bikini in one scene.

This movie is all over the place - and nowhere at the same time. Tom Hanks and Julia Roberts seem to be in some over the top farce, Hoffman manages to play his character with a foot in reality... yet still be at home in the farce scenes. But the danged thing just isn’t funny. You get all the funny lines in the trailer - both of them. It’s kind of breezy for the most part, and the people are fun to watch... but they left the jokes out. And the thing about this true story is that it’s wacky. It plays as farce better than it plays as reality. Oh, then they throw in a real horror of war scene with *children missing limbs* in an Afghan refugee camp. Nothing farcical about that! The TONE is all over the place, and the film never seems to decide if it’s a comedy or a drama or a farce or a... heck, it could be anything. But ends up kind of being nothing. Light but not funny.

And it’s hard to shake the real-life punchline: the Afghans we armed to fight the Russians became the Taliban. Those guys we were showing as heroes in RAMBO 3 and that James Bond movie became the guys who took down the Twin Towers. That’s not in the movie, but maybe it should have been. Maybe they should have left out the maimed kids and made the film into a laugh out loud comedy... with the shocker end. People would have loved it... then hated it. But they would have *felt something*. Instead we get an all star, beautifully made, kind of ho-hum film.

- Bill

Trailer Tuesday: Seconds (1966)

Though my birthday was a couple of days ago, this is my birthday movie this year...

SECONDS (1966)

Director: John Frankenheimer.
Writer: Lewis John Carlino (THE MECHANIC, THE GREAT SANTINI, RESURRECTION) based on a novel by David Ely.
Starring: Rock Hudson, Will Geer, Salome Jens, Jeff Corey, Murray Hamilton.
Cinematography: James Wong Howe.
Music: Jerry Goldsmith
Producer: Edward Lewis.


I was going to run this last week, but hadn’t snagged the screen grabs yet, so I put it off until this week... and danged if the great Cinephelia website didn’t run an article on SECONDS last week! Hey, it’s a great movie, and if you know about it you want to share it with others.



SECONDS is a thriller about getting a second chance at life and realizing that you take all of your emotional problems with you. This is a slow burn story, but like MANCHURIAN CANDIDATE, it deals with constant paranoia. It is *always* creepy. Where MANCHURIAN deals with the idea that you may not be in control of your own life (mind control), SECONDS deals with having to constantly pretend to be someone you are not... and the fear that people may discover who you really are. A real man with fake memories or a fake man with real memories. So they are two sides of the same coin, and it’s interesting that Frankenheimer made them back to back. This was kind of his paranoia period, and we will look at SEVEN DAYS IN MAY sometime in the near future.

The film is based on a novel by David Ely (who wrote some great TWILIGHT ZONE type science fiction novels) and I not only have the paperback somewhere in a box, I have the movie poster on my office wall! This is one of my favorite films, and a great example of paranoid thrillers, and we’ll look at that genre a little bit here. Rock Hudson gives the performance of a lifetime - he was a light comedy pretty boy actor before this film... and here he does dark, deep, drama. Some silly online review thought that Hudson was the weak point of the film, but I think it’s the opposite - he’s what makes the film work. A story about bringing your past baggage to a new life is improved by an actor who brings his light frothy fun past film baggage to a story about a man with a severely screwed up life.

One of the things that has to be mentioned upfront is the wild ass cinematography. Almost every shot in this film is strange, and that adds to the general feeling that something is wrong. Most of it is shot with wide angle lenses or extreme wide angles (fish eyes) and the film uses a lot of experimental shots and hand held photography and camera rigs that are similar to steadycam - which would not be invented for another ten years. Who did all of this wild camerawork? Some new kid? Nope! James Wong Howe... who was born in the 1800s. His first credit as director of photography was in 1923, and you may know his work as director of photography on THE THIN MAN or (“Come with me to the Casbah”) ALGIERS or KINGS ROW or YANKEE DOODLE DANDY or a whole bunch of Bogart films or the noir western PURSUED or MR BLANDINGS BUILDS HIS DREAM HOUSE or THE SWEET SMELL OF SUCCESS or HUD or... well, the guy had 141 credits as cinematographer. He was 67 years old when he shot this film, and it’s one of the most innovative films you will ever see.

Lots of places list this film as science fiction, which is strange because there is nothing in this film that couldn’t have been done in 1966... but the concept just seems crazy. It’s a simple idea that we have all thought of, but nobody seems to have written it before David Ely. Haven’t we all wished we could hit the “do over button” on our lives and start all over again? Not make all of those stupid mistakes? Do the things we wanted to do instead of the things we thought we had to do? *Everyone* has wished that. And one of the basics of thrillers is the secret wish that comes true, but not exactly as the protagonist planned.

The Saul Bass title sequence is twisted fun house mirror shot of a human eye, a human ear, a human face... setting us up for weird. Jerry Goldsmith gives us creepy organ music reminiscent of Bach’s Toccata & Fugue D Minor. For the director’s title card - a face completely bandaged except for eyes and screaming mouth, an image that can also be seen in SUTURE (1993) and TIMECRIMES (2007). The crazy warped image of the face warps into... New York’s Grand Central Station.

A Man In A Hat watches middle aged Arthur Hamilton (John Randolph) as he buys a newspaper, then follows him through the station. Paranoia - someone actually is following our protagonist. Some amazing freaky shots here - the camera is attached to the Man In A Hat so that we get a hand held style moving over the shoulder shot and a moving face shot as he follows Hamilton... which makes us feel as if there is something weird about the Man In A Hat. When Hamilton steps onto a train, the Man In The Hat says his name, and when Hamilton turns he hands him a note. Then the train doors close and the train starts moving. Who was that guy?

Hamilton is on a train full of commuters headed home - all in suits, all reading newspapers, all exactly the same. He pulls out the note: just an address: 34 Lafayette Street. What does it mean?

In suburbia, with his middle aged wife Emily (Francis Reid) in his typical suburban home. His marriage is stale, he is no longer excited by his job or his life. The phone rings LOUDLY. On the other end is a man claiming to be his dead friend Charlie Evans. Impossible. But the voice on the phone knows things that only Charlie Evans could know. Things from their college days that no one else knows - a message scratched on the felt covered base of an old tennis trophy they won long long ago. How is this possible? Evans says, “I’m alive! More alive than I’ve been in the past 25 years!” and tells him to go to the address he was given tomorrow at noon. WTF? This story will give us a series of WTF? moments in the middle of a completely mundane setting, and that adds to our paranoia. If a strange thing happens in a strange world, that’s expected. But when some really strange thing happens in our boring real world? Unsettling.

The next day on his lunch hour Hamilton goes to the address... a dry cleaners. What? He asks the Old Man using the steam press if he’s in the right place... and the Old Man ignores him and continues to work. This can’t be the right place, it’s a dry cleaners. Hamilton turns to leave and the Old Man tells him there’s a new address...

A meat packing house. Another completely mundane location - though this one is filled with sides of bloody beef. Also can’t be the right place... but one of the Butchers calls him by the code name and says, “Come with me.” They give Hamilton a butcher’s uniform to put on, walk him through the plant past hundreds of sides of beef, and put him in the back of a refrigerated truck. WTF? When the door is closed, Hamilton is riding in complete darkness to his destination...

A run down industrial building on the outside, a modern office building on the inside. This adds to the strangeness, and makes us wonder how many of those run down buildings we see every day are hiding some secret high tech interior? He’s ushered into an executive office and given a cup of coffee while he waits. He gets sleepy while waiting, closes his eyes and drifts off... exhaustion or drugged coffee? He has this weird dream where he floats into a room, and there is a beautiful young woman in a bed, and he has sex with her, and she screams... and then he wakes up, still waiting in the executive’s office.

He decides to leave, goes to the elevator - but there are no up or down buttons on the wall next to the elevator doors. Weird. He searches the building for a way out, stumbling on a room full of young businessmen at desks. None will tell him where the exit doors are. He is sent back to the executive’s office where Mr. Ruby (the great Jeff Corey) is waiting for him, “I’ve been assigned to go over the circumstances of your death.” WTF? Then Ruby begins talking about cost factors as if he’s an insurance salesman or something. Boring and mundane... Except the conversation is about finding a corpse that is a perfect match for Hamilton and obliterating the teeth and fingerprints and any other form of identification and then creating a realistic accident - they will need an accident because the service costs $30,000 (in 1966 money) and will be paid for with an insurance policy, so there can be no question of suicide or foul play. And Ruby is eating chicken the entire time. “Your death selection is the most important decision of your life.” WTF? Hamilton looks confused, and when Ruby hands him a pen and says, “If you’ll sign right here”, Hamilton doesn’t take the pen from him. So Ruby pulls down a screen in the office and shows Hamilton a little film... where he is having sex with the young woman from his dream and she is fighting him. Blackmail. Ruby leaves the room, and Hamilton is alone...

Until a voice from behind him says there’s a message from Charlie.

Hamilton turns and kindly Old Man (Will Geer) has been sitting on the sofa behind him. WTF? He wasn’t there in an earlier shot, and now he is. He just appeared. Charlie wanted Hamilton to know that rebirth is painful, and the blackmail movie is just to help him make the decision to go forward, he doesn’t really want to go back, does he?

And here, 30 minutes into the film, we discover what all of this is about (though we’ve probably figured much of it out already) - this secret company allows you a second chance at life. You’re a middle aged man who once had dreams of being an artist, but took that day job in a bank to pay the rent. Then you got married, and the rent became a mortgage, and you had children and there was less time for art, and now that the kids have left the nest... you have lost your dreams. You are a banker, not an artist. You are dissatisfied with the way your life turned out, but this company will give you a second life. You die, and are reborn (after extensive plastic surgery to make you look like a young virile Rock Hudson) and can now pursue that youthful dream of being an artist. Much better than buying a sports car and having an affair with a younger woman!

“This is what happens to the dreams of youth,” kindly Old Man says after Hamilton talks about all of the things that are “good” about his life now. When the Old Man hands him the pen, he signs the contract...

35 minutes in, we see the plastic surgery procedure. Very graphic for its time... almost procedural. What sells the transformation are diagrams that show John Randolph’s face and Rock Hudson’s face with notations.

Then we see an obituary for Hamilton - died in a hotel room fire...

And Hamilton recovering, his face completely covered in bandages, his hands and fingers completely covered (fingerprint reassignment). He can’t talk because he’s been given dental implants (dental records) and his vocal cords have been altered to create new vocal chords - he will sound different. His doctor, Innes (Richard Anderson, who would do the same for the 6 Million Dollar Man years later), tells him he will need to hit the gym so that his body matches his new youthful face.

39 minutes in, the bandages come off and Hamilton is swiveled around in his chair to look in the mirror - a great reveal. Hamilton now looks like Rock Hudson, but with gray hair and dozens of stitches on his face... and he cries at the sight. He’s beautiful.

At 40 minutes the exercise montage begins - he’s a middle aged man who must retrieve his 30 year old body from years of neglect.

Guidance Adviser Davalo (Khigh Dhiegh from MANCHURIAN CANDIDATE) talks to him about his future career - they have drugged and hypnotized him to discover what his career dreams used to be before he gave them up. Davalo plays a tape where Hamilton says he wanted to be a tennis pro and a painter. There’s a great shot here where the new Hamilton is reflected in a mirror while listening to the tape of the old Hamilton. Davalo has a whole new bio for him as a artist, complete with past gallery shows. They will supply him with fresh paintings for a while as he develops his own work. “You see, you don’t have to prove anything anymore. You are accepted.” People will believe his new identity until he grows into it.

At the 45 minute mark, Hamilton is now Tony Wilson - Rock Hudson’s face and body and hair - on a plane to Malibu... where he lives. At the airport, a total stranger calls the name Tony Wilson and has a conversation as if he knows him. WTF? This is a great flip of the undercover cop recognized by someone from his real life scene. He has no idea who this guy is. How to talk to him. How to react to him. He may look like Wilson, but he’s still Hamilton on the inside.

Malibu: Tony Wilson has a house in the Colony overlooking the beach and a butler named John (Wesley Addy) who knows his secret and is here to help. Wilson looks at the art in his gallery, the bedroom, the books on the shelf... he’s living a stranger’s life. Will he be discovered? The *concept* creates the paranoia.

Wilson tries to become that person who belongs in this house... begins a painting. Walks along the beach. There’s a great moment where he’s trying to fall asleep and looks at the empty side of the bed... lonely. On the beach he meets Nora Marcus (Salome Jens) and there’s a character based suspense moment when he introduces himself... will he use his old name? Nora is in her early thirties and hot and a little wild. Four years ago she was a typical suburban housewife, and wondered “Is this it?” So she left that life and came here.

We have now escalated the suspense, because he might slip in front of this woman. Now he *must* act like Wilson instead of Hamilton.

At 59 minutes in, Wilson and Nora go on a date to a wild bacchanal at a vineyard where everyone gets drunk on wine, takes off their clothes and crushes grapes naked in a big wood tub. A big turning point for Hamilton/Wilson - this is about as far from middle age, middle class banker as you can get! “Now the season ends, and the old vines are buried deep. Now in dying, Bacchus gives us his blood so that we may be born again!” (Note the thematic dialogue! This film is filled with thematic dialogue and scenes.) Wilson freaks - still Hamilton under his skin - and when Nora takes off her clothes and jumps into the tub naked, he remains an outsider...

Until the crowd strips him naked and tosses him into the tub with all of the other naked men and women. After fighting for a moment, he gives in to his new life... and dances naked with Nora in the crushed grapes surrounded by naked men and women. “Yes! Yes!”

(This is a 1966 movie with full frontal nudity... though that was cut out for theatrical release so you just get backal nudity, the DVD version has restored the rest of the scene, and it’s very much required for the story - imagine being one of those stuffy people in 1966 who was watching this movie and suddenly there were completely naked people on screen. You would react exactly as Hamilton/Wilson does.)

At 67 minutes in, Wilson and Nora are a couple, kissing on the beach as the sun sets.

Now that Hamilton is comfortable as Wilson, he throws a housewarming party for the others in the Colony. John helps introduce him to his neighbors. Wilson has had a couple of drinks too many and we get a great woozy shot with the camera strapped to his body (which will be used in another of my favorite films, MEAN STREETS). The problem is, the more Wilson drinks the more he is liable to slip and expose himself as Hamilton. To ratchet up the suspense, one of his neighbors is a lawyer who went to Harvard... where Hamilton went to collage.

There’s a great moment at the party where Wilson sees a group of men discussing something in the corner and drunkenly goes over to talk to them... and they basically ignore him. At his own party and he’s still an outsider. When he tells the lawyer neighbor that he used to be a Harvard alumnus, but not anymore, Nora tries to pull him away. Soon everyone at the party is surrounding him... and he blows it big time. He reveals himself as Arthur Hamilton, and all of the men at the party grab him and drag him into his bedroom and hold him down...

John comes to the front of the pack and tells Hamilton/Wilson that he hasn’t just blown his cover, he may have blown the covers of all of these men - they are all “reborns”. He screams...

And Nora comes in. Is she one, too? Remember what she said about starting her life all over again?

This is the ultimate paranoia scene, because if Nora and all of these people are part of the “conspiracy” of reborns, how many other people are part of the conspiracy? Can he trust *anyone*? If he goes to the police, will the Desk Sargent be part of the conspiracy? There’s a great Cornell Woolrich short story about a cult that buries its members alive, and the protagonist goes to the police... and the cop is part of the cult! Movie like THREE DAYS OF THE CONDOR use the idea that anyone can be part of the conspiracy in scenes like the one after the massacre at the beginning of the movie when Condor looks from one pedestrian to another and they all seem to be acting strange. Are they all potential assassins? Here we get the same feeling that *anyone* could be a reborn. How can you tell that they aren’t? It’s as if everyone in the world might be out to get you...

At 78:30 into the film, it’s the morning after the party and his dead friend Charlie calls. Hamilton/Wilson tells him he wants out of this pretend life, Charlie says that’s impossible. Charlie also tells him Nora *isn’t* a reborn, but she is a company employee who was paid to become his girlfriend and sleep with him. That doesn’t go over well. Charlie explains that the company knows in the beginning of your new life you might make mistakes, so they provided Nora just in case that happened. And that he and Charlie are tied together, so Hamilton/Wilson has to get his shit together, stay in the Colony until he becomes 100% Wilson.

So at the 80 minute mark, Hamilton/Wilson sneaks out and takes a plane back to Scarsdale. His old home, his old life... and his old wife. Awesome shot while he’s waiting to see his old wife, and looks at a photo of Hamilton and Wilson is reflected over it... and we pull back to see him reflected in a mirror. Mirror shots throughout the film show the duel life he’s living.

When Emily comes in, they have an awkward conversation where he realizes that you can’t go home again. This is a great scene, and you have seen versions of it in films like ROBOCOP (the original) and even a variation of it in THE PUNISHER on Netflix with the Micro character and his family. The great thing about this scene is that Wilson gets Emily’s view of Hamilton... and it’s not what he expected. “He lived as if he were a stranger, here, he never let anything touch hm. He was absorbed in *things* - his job, mostly. He worked hard, but became more detached. We lived our lives in a polite, celibate, truce. Arthur had been dead a long long time before they found him in that hotel room.” Do we create our own hells? Our own traps? Do we always have the choice to live a new life, but just choose not to? One of the great things about this scene is how Rock Hudson *ages* while listening to her - he reverts back to Hamilton. This is a great performance.

I forgot to mention that behind all of the things going on in the scene with his old wife from his old life is an undercurrent of suspense. Will she recognize him? Will he blow it and do something stupid like tell her who he really is? The *situation* creates this suspense. The concept of a thriller often creates suspense.

When he leaves, Emily gives him a wrapped object - the only thing she has left of Hamilton’s - and when he unwraps it on the street outside... it’s the tennis trophy with the message scratch on the base that began this whole story. Then a car pulls up, and John steps out to take him back...

But not to Malibu, to the company. Hamilton/Wilson wants to try again - a new life. Not Hamilton or Wilson, but someone else. John says that may be possible... and we’ve hit the 89 minute mark. Can you hit reset more than once? How many do overs do you get?

At the company Mr. Ruby tells him that in order to go through the process again, he will have to recommend a new client - who will go all of the way through the process as he did. The business is all word of mouth, they can’t exactly advertize in newspapers, can they? Wilson can’t think of anyone off the top of his head, and Ruby says that’s okay, and they escort Wilson to that room full of young businessmen at desks from the beginning of the movie. His job is to cold call anyone he knows who might be interest in a second chance at life. All of these young businessmen? The same as him - people whose second lives didn’t work out. Who carried all of the baggage of their first life with them. This is a frightening scene - more frightening than many horror movies. What if we are the biggest problem in our lives. How do fix that?

The businessman who refused to tell him the way out in the scene at the beginning? His college buddy Charlie (the awesome Murray Hamilton). Wilson has a great speech here about how his life as Hamilton was all about what society said was important - things, not people or meaning. And his life as Wilson was also “things” oriented. But this third time? He’s going to look for meaning...

Then they call Charlie’s name - he finally gets to be reborn again!

Or will he? Because this story has a very dark twist at the end.

But first we get a swell pep talk from the kindly Old Man about how the company keeps plugging away despite it’s failure rate, which is a very cynical look at our lives and our society... and it’s failure rate.

And then we get an awesome fish eye lense sequence and that twist end.

SECONDS is one of those great unknown films that builds real suspense in a realistic setting through its wild concept and even wilder cinematography. It’s a great example of paranoid thrillers that don’t involve spies or political conspiracies or any of the other “action genre” oriented elements, just a man filled with regret over the way his life turned out who gets a chance to start over again. To have a second chance at life. It’s one of John Frankenheimer’s best films, and the kind of movie that you want to tell everyone about after you’d seen it... and now I’ve told you.

- Bill

The Novel:



-

THRILLER Thursday: The Return Of Andrew Bentley

SEASON 2!!! THRILLER: The Return Of Andrew Bentley



The spider web fills the screen, it's Boris Karloff's THRILLER!

Season: 2, Episode: 12.
Airdate: December 11, 1961

Director: John Newland
Writer: Richard Matheson, based on a story by August Derleth
Cast: John Newland, Antionette Bower, Philip Bourneuf, Oscar Beregi, Reggie Nalder.
Music: Morton Stevens.
Cinematography: John F. Warren.
Producer: William Frye

Boris Karloff’s Introduction: “Can you hear me Andrew? Can you hear me? The frightened challenge of an old man, to who? Or to what? Questions. How does the old man know that he will soon be dead? And why does he fear that which may follow his death? Questions. Questions which will be answered before the night is done, as sure as my name is Boris Karloff. But what of the questions that remain unanswered? Black secrets, carefully guarded and handed down. Spells, incantations, rituals, curses. The mysteries of the universe that have been revealed through the centuries only to a scattered unscrupulous few who thrive on evil. And aren’t too particular about the final disposition of their immortal souls. Such a man was Andrew Bentley. Our story tonight concerns the efforts of the living to combat his return from the world of the dead. Our players are: John Newland, Antoinette Bower, Philip Bourneuf, Oscar Beregi, and Reggie Nalder). Yes, my friends, there are those who believe in the occult arts. And it is said that even those who practice them, all that is required is the proper recipe, a gentleman’s agreement with the devil, and an unflinching faith in the supernatural. Can it really be true? I don’t think so... everybody knows there’s no such thing as magic.”

Synopsis: Sometime in the late 1800s. Newlyweds Ellis Corbett (John Newland) and his bride Sheila (Antoinette Bower) have been summoned to the rambling mansion and estate that Ellis grew up on by his last living relative - his Uncle Amos Wilder (Terence de Marney). Amos wants to meet the new wife. They pull up in a horse drawn coach on a foggy night, and ask the driver to wait for them. As soon as they are out of the coach the driver speeds away. The front door is opened by his uncle’s servant Jacob (Ken Renard) who is happy to see Ellis. This is where Ellis grew up, and Jacob is almost like a father to him. They go into Uncle Amos’ study...

Where crazy Uncle Amos seems just a bit paranoid. Though he seems in good health, he tells Ellis that he is going to die... and will leave the mansion and his sizable wealth to his nephew on one condition. That Ellis live in the mansion and check on Amos’ grave every day to make sure that someone... or something... hasn’t tampered with it. New Bride Sheila is trying not to shake her head - the mansion is creepy. But Ellis says yes - this is the house he grew up in.

In the middle of the night, Ellis and Sheila are awakened by organ music and follow it down to the cobweb filled basement where Uncle Amos is playing the organ... then collapses dead on the keyboard.

Uncle Amos’ coffin is taken down to the crypt, on a level even lowerr than the basement with the organ, because it is so easy to build *down*. Ellis seals the crypt according to Uncle Amos’ instructions, then draws an image on the crypt door in chalk - also according to the burial instructions. Weird.

Afterwards Ellis, Sheila and Dr. Weatherbee (Philip Bourneuf) have a drink, and the doctor tells them that Uncle Amos committed suicide by poison. Sheila remembers him saying the name “Andrew”. When Jacob the butler hears this , he tells Ellis that he wants to quit... after 33 years of service. Ellis talks him into staying for a couple of days... and asks Dr. Weatherbee who “Andrew” is. Was - Andrew Bentley died two years ago.

Before going to bed, Ellis and Sheila go down to check the crypt - not tampered with. See? Not a big deal. They leave the crypt... and Andrew Bentley (Nalder) floats into the crypt, sees the markings on the door, and floats away - looking very much like a vampire.

The next day there is a letter from Uncle Amos telling Ellis to get Burkhardt and check the book on the second shelf of the seventh compartment - Ellis and Sheila find a book: The Rites Of Protection. Knock at the door (not a shock moment, should have been) and Jacob tells him that Reverend Burkhardt (Oscar Berengi) is here... who tells them that he can not protect his Uncle, and to ignore the book... which Ellis reads a page of outloud - about demons lured on by man’s ignorance.

Ellis and Sheila have some relationship issues dues to the whole daily tomb check thing, and one night when Ellis goes down to check he bumps into the floating Bentley who scares him into a faint. Sheila goes down and finds him... he tells her he has seen Andrew Bentley.

Jacob the butler sees Andrew Bentley and drops dead.

Dr. Weatherbee shows up, and tells them Andrew Bentley is dead... and was “completely evil”. A sorcerer whom everyone feared. The only way to stop this is to destroy Bentley’s body - it’s somewhere in the cellar. They will need the Reverend to protect them. They get in the carriage and go to fetch him...

Spooky Bentley tries to scare the horses, but they just go around him. The wagon wheel breaks off, and they run on foot in the dark and foggy night. None of this is filmed in a frightening way.

They bring the Reverend back to the house where they have a running exorcism - chasing Bentley’s ghost through the house. They find his corpse in Amos’ laboratory and burn it. The end.

Review: Richard Matheson is one of my favorite writers, I discovered him as a kid due to all of his great TWILIGHT ZONE episodes and DUEL and those Corman Poe movies. So I was excited when I realized that he had written an episode of this series, even though it was an adaptation of someone else’s story (Derleth is also a famous horror writer, though I knew him through his mysteries). I didn’t remember this episode from my childhood... and there was a good reason. It’s thoroughly forgettable. Strange, because Matheson was coming off of HOUSE OF USHER and my favorite PIT AND THE PENDULUM - and he’d been writing scripts for a while (a dozen produced credits before this one). I have no idea what Matheson’s script was like, but the pieces of a spooky story are all present... and the direction seems to destroy all suspense and dread.

The director was the episode’s star John Newland, and he was no stranger to direction at this point in his career. Newland was host and director of all 96 episodes of the TV series ONE STEP BEYOND from the late 50s, which was “the TWILIGHT ZONE before there was THE TWILIGHT ZONE” - an anthology series about the supernatural and paranormal, often with a twist end. He was both the show’s “Rod Serling” host and the shows director. The show was interesting in that it was a docu-drama, and each episode was based on a true story. I tracked down some episodes and watched them - focusing on ARIEL because it starred MANNIX’s Mike Connors as a member of a famous trapeze family. In the episode he gets into an argument with his father (who leads the troupe) and that night his father slips out of his hands and falls to his death. He feels guilty and basically decides to commit suicide by trapeze and swings off the trapeze into the void... and his father’s ghost catches him and takes him safely to the platform. Based on a true story.

But watching the episode I could see where Newland might not have been the best director choice for THRILLER even though he had done 96 episodes of ONE STEP. Because ONE STEP was a docu-drama, it was mostly scenes of actors acting in front of a locked down camera - not much camera movement and not much editing. Kind of a filmed stage play. What made the show work was each of the episodes I saw had a few scenes at an interesting location - often using stock footage. So in this episode there was the whole big top circus trapeze scenes - one with a stock footage crowd and one without. But those scenes made up for the stagey scenes.

But this episode of TWILIGHT ZONE is all stagey scenes. There’s a sequence when they creep down to the crypt - and there are cobwebs and a spooky set, but the camera is stationary and there are no cuts or close ups. What I’m sure was written as the couple walking deeper and deeper into a dark and creepy basement is just two people walking... and avoiding all of the cob webs. Another scene is weird - there is organ music coming from the basement, but neither Ellis nor Sheila look towards the basement, so we don’t know where the music is coming from. Lots of non cinematic direction undercuts this story. So even though we have Matheson at his prime... we have kind of a lackluster episode.

Always great to see Reggie Nalder in an episode - his skull-like face is perfect for this evil enemy from beyond the grave, but for some reason (Newland's direction?) he over acts in this episode, which he did not do in the TERROR IN TEAKWOOD eoisode.

- Bill