User Reviews

'Alfred Hitchcock Presents' "A True Account" (1959)

Opening thoughts: 'Alfred Hitchcock Presents' is a very interesting and very well done, if not consistent, series that ran for seven seasons between 1955 and 1962. Every season had some truly fine episodes, and they all had some not so good episodes. "A True Account" is the first of two 'Alfred Hitchcock Presents' episodes to be directed by Leonard J. Horn, a relatively unfamiliar name to me. From his episodes, Horn struck me as a director who was competent, but also not particularly distinguished.

This is obvious in "A True Account". By all means it is an above average and more than watchable episode of 'Alfred Hitchcock Presents' and also for anything in general, thanks to a strong first half. At the same time, it is not great either, with the patchy storytelling hurting it. As far as the uneven but solid Season 4 goes, "A True Account" is not one of the best episodes, "Poison" for example being an example of an outstanding effort. It is also not one of the worst, like for instance "Don't Interrupt".

Good things: There is a huge amount to like about "A True Account". Jane Greer and particularly Kent Smith are extremely good in their roles and have a very strong chemistry together that generates genuine tension when necessary. The script is generally thought provoking, not taking itself too seriously while also not being farcical.

It stops off really well, being very intriguing and taut with a great opening, a masterpiece of character dynamics. It is very atmospherically shot, the editing flows smoothly and cohesively and while simple the settings are not simplistic. The beginning is particularly atmospheric and the photography is quite clever. The audio doesn't overbear and "Funeral March of a Marionette" is an appropriately macabre choice for main theme. Hitchcock provides some typically droll humour.

Bad things: Did feel however that the promise showed in the first half didn't translate as much in the second. It could have done with a good deal more suspense, tighter pacing and more surprises, when it felt too over stretched and talky. Character motivations and such were on the vague side and not fleshed out enough.

All this is especially apparent in the final quarter, which is truly far fetched to an over silly degree, muddled and also a bit rushed. Hitchcock's epilogue felt tacked on and wasn't needed, too over explained as well.

Closing thoughts: Overall, above average if unexceptional.

6/10.

This episode features a nurse (Jane Greer) who cared for an elderly woman until her death. Some time later, she married the widowed husband (Kent Smith)....and went to a lawyer (Robert Webber) because she said she was afraid that he killed his first wife and would now kill her.

This is a fair episode...fair because the notion of a person killing this many people and trying to get away with it seemed a bit far fetched. It also said that repeats a frequently mistaken notion...that a spouse cannot testify against their husband. This is NOT true. In a ruling in California which set the precident in the US, it was ruled that a spouse cannot be FORCED to testify against their partner. If the husband or wife wants to testify, there's really no rule stopping them from doing so. Not a great episode by any means...but interesting.

Solid Hitchcock entry.

Rich old lady Hughes is a crabby patient that requires all nurse Cannon's (Greer) patience. On the other hand, Mr. Hughes is such a sweet, shy man (Smith), it's not surprising that he and nurse Cannon get hitched when the old lady dies. So why is Mrs. Cannon-Hughes now seeing handsome lawyer Brett (Webber) when things at home seem so idyllic.

That opening scene with Greer and Webber is a little gem of cat and mouse. Fans of film noir will enjoy seeing classic spider woman Greer in what appears casting against type. Also, Smith is a familiar face from 1940's melodrama, especially Val Lewton's memorable horror films. Add Bob Webber from 12 Angry Men(1957)and you've got a first-rate cast. Together, they play out this "who did what to whom" in fine suspenseful fashion.