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Cheyenne: The Spanish Grant (1957)
Peggie Castle delivers, again!
I am being honest, this review is a testament to the performance of Peggie Castle, and no more. She dominates my attention in all of her scenes in a way no other female lead has done under this format. That in itself would not provoke me to write, except that she made the same impression during her only other appearance on this series.
A different character yes, but the same appeal that turns every spoken word into a proposition that crackles with intent. I began thinking is it her or the quality of the script. However this is a very average episode with little of note, minus Ms Castle.
Worth seeing though, just for her.
Maverick: Last Stop: Oblivion (1961)
What happened to "an eye for an eye"?
Strangely unsatisfying episode and conclusion. Normally I am all in favour of endings to family shows, even in the late 50s, early 60s that does not entail dead bodies littering up the scenery. But, in this episode it seemed that all the decent folk (bar Jack Kelly and Suzanne Lloyd) were bumped off quite callously, while a whole number of despicable types survived even if they were all arrested in the end.
Even the villains with a milligram of compassion or gallantry like Rayford Barnes and Donald Barry did not survive when much worse desperadoes did. To be fair, credit for character performance must go to Buddy Ebsen playing against type as nothing like his soon to be Jed Clampett. But top honours has to go to his screen wife, Virginia Christine. Her capability to change instantly from a kindly, dear matriarch to murderous conniving pitiless horror was more than a match for Bette Davis, Joan Crawford, Barbara Stanwyck. Christine's character was so evil, I could not believe she lived to face justice.
4 stars awarded just for her performance.
Saints and Sinners: The Home-Coming Bit (1963)
See it because of Elizabeth Montgomery
This is a tour de force performance by Elizabeth Montgomery. She is terrific. More so because the standard tv series format at the time did not really allow for it. Particularly during the pilot season of the series.
I won't try to explain the episode, hopefully the plot synopsis will do that. However, it pitches the main spotlight away from Nick Adams to Barbara Rush. She takes the opportunity very well, but then has to concede power to Montgomery. Despite the performances of the above, plus a brief contribution by Ed Nelson, this episode is only average. It suffers from time rigidity which impacts so many episode conclusions.
However this is well worth your time, not least to see Montgomery's incredibly stimulating backward handstand..
Gideon's Way: The Housekeeper (1965)
Kay Walsh shines in an ordinary tale.
Not much to distinguish this episode other than Kay Walsh. If it had been broadcast with the participation of a studio audience, the character Ms Walsh plays would have been hissed at on every appearance.
My memory will always associate Kay Walsh in the role of Nancy from the 1948 film production of Oliver Twist directed by her then husband David Lean. Then, her character garnered huge sympathy, in this a fine performance produced the exact opposite emotion.
Visual historians of North London will also appreciate the location shots taken in Golders Green Road.
Perry Mason: The Case of the Sausalito Sunrise (1966)
They met again
It is incredible fun to watch episodes from the original and classic Perry Mason seasons here, in the UK. Correct region dvds of the series are both hard to find and expensive to boot. So thanks goes to respective CBS drama and justice channels for showing seasons 9 and 6. Hope more will follow.
However the main purpose for doing this is to draw attention to the inclusion in the cast of Elisabeth Fraser and Allan Melvin. Both played main roles in the 'Bilko', as it was known over here. Sheer joy to see them again, as it would also be if the tv series re-appeared on our screens.
No Hiding Place: Whoever's Right, Sweeney's Wrong (1965)
Vulnerability of a probationer
This is one of the saved NHP episodes, and viewed in 2020, I am pleased that it was. This touched on issues around offenders nearing release and trying to go straight, on this occassion by way of a managed halfway house. Also, how far should, can, and will the police be allowed to lean on a rehabilitated transgressor to solve a nasty crime, particularly one as vulnerable as the character 'Sweeney' here?
By season 7 the main NHP characters were fully established, even so this episode benefitted from a well written and thoughtful script from Barry Lucas (apparently his first and only such effort) that took no sides, and pulled no punches. Having said that, Lockhart here is at his least attractive, Russell his Sgt demonstrates his disapproval of the methods chosen without showing outright dissent. At the conclusion, the script leaves it to the viewer to judge whether justice was properly served. All the better for it too.
Would also highlight an excellent performance from Nigel Green, who always looks like someone to avoid in a dark alley, even when he is a good guy. Here, it would be wise to be in a different postcode from him. Look out too for Peter Dyneley, speaking in an accent you would never believe after hearing 'Jeff Tracy'.
No Hiding Place: Music for Murder (1965)
Lockhart in charge
This was a once considered "lost" episode recently recovered and shown on the
invaluable UK Talking Pictures channel. While I clearly remember the rousing theme tune from my much younger days, the actual episodes much less so. This was originally televised in 1965 by Rediffusion using the then common combination of brief external location filming interspersed with the lengthier studio set-pieces on VT. However, at that time this method of making entertainment drama in Britain was being revolutionised by Lew Grade's ATV, so even in 1965 the programme may have looked old-fashioned.
'No Hiding Place' was now in its 6th year, so I presume the story format, and the relationship between main characters and guest stars was fully established. Certainly, I thought this episode was professionally produced and watchable, although the storyline was very familiar. It was nice to see Raymond Francis and Johnny Briggs in the main roles, try watching this after viewing an episode of 'The Sweeney', and see how just a 10 year time gap completely changed attitudes and approach to TV detectives, their own interractions, and the villains they pursue.
The Virginian: West (1962)
Familiar theme of the 'West' changing too fast done in style
This was a joy to watch. A well written script, full of good humour, bounded with a nagging realism that both highlights and dampens the optimism of its main characters.
At the centre of all this is a beautifully measured performance from Steve Cochran as the main cowpuncher, Dobbs, hoping that the good old days and ways are still around the corner, as long as he is heading west. Dobbs' dream is encouraged by a couple of buddies with a similar outlook, roping in Trampas for the ride. On the journey they encounter an old outlaw gang led by Jack Scratch, a superbly menacing cameo by Leo Gordon. (I really hope he had some hand in the writing of his part.) While refusing to acknowledge it the outlaws way of life is also being controlled and destroyed by changing times. Dobbs and co then go into a town they formerly knew as espousing wild west 'eye for an eye' values. They are both bemused and disappointed with what they find.
This story could have been an inspiration for 'The Wild Bunch', though much less violent of course. For a tv western series that held the usual tight deadlines to develop plot and characters, this episode was a standout. Believeable people both good and bad, I empathised with most and ended up frustrated with a conclusion aided by the mark of progress. Please see this, it should have you smiling, frowning, and reflecting.
Lost in Space: Space Creature (1967)
More influential than at first look
I am revisiting LIS after many years with this episode as the latest, at time of writing. IMO this is the most interesting story so far in season 3, and probably all of season 2, but the budget plus the then policy of working almost everything around Will and Dr Smith, limits development and possibilities.
What it does have is that by being first broadcast in late 67, this episode was ahead of its time, and possibly influential, of 2 probably more well known later Star Trek episodes from seasons 2/3 of the original series, i.e. 'Wolf in the Fold' and 'Day of the Dove'. Both episodes centred upon villainous non-physical entities that thrived on human emotion. Star Trek did it much better, but Lost in Space did it first.
Lost in Space: All That Glitters (1966)
What's in a name?
I remember when this episode was first shown in the UK it gained a reputation with me and my schoolboy friends that had nothing to do with the plot or quality of anyone's performance, and seeing it again brings it all back. Simply speaking, whoever named Werner Klemperer's character presumably had no idea that an American pronunciation of it would sound to a British ear exactly like a very olde Middle Ages noun that has many meanings, nearly all of them rude and derogatory! To hear the female Robinsons and Dr Smith regularly say his name in such respectful tones resulted in widespread unintentional belly-laughs. The actual story-line never had a chance.
Lost in Space: The Magic Mirror (1966)
Fairytale in Space
Not my favourite LIS episode by some margin. For one, up until this episode, the stupidity displayed by Dr Smith has been offset by the humour of his cunning and fright in almost equal measure. Here he is just stupid. Two, the lack of continuity in the main cast should not be just taken for granted. In this main episode Will and the Robot did not appear or even earn a mention. It was the same situation with Penny in the previous episode. LIS script editors were badly at fault for letting this happen to what before had been a very close-knit family. I did quite like the interaction between Penny and Michael J Pollard's character. However, if the story-line was designed to emphasise how Penny's maturity eventually resolves the twin feelings of loneliness and fantasy it should have been done without Dr Smith's intervention at the end. Finally in response to difest, you are not daft. LIS' closing cliffhangers were really just tasters for the next standalone episode (except for doubles like The Keeper). As such, Kurt Russell did appear at the end but would not earn a casting credit ahead of the next episode. Hope that makes sense.
The Human Jungle: The Wall (1963)
Bold themes for early 1960s TV
This series is being re-shown on UK TV by the wonderful Talking Pictures channel. Exploration of the inner mind as subject matter was not uncommon in the early sixties but the background elements to this particular episode were brave and challenging, even though in the end it could not combat the then stereotypes of how characters born outside of the UK should be portrayed. Also, the need to produce an ending that satisfied the hour length format no matter how ambiguous or contrived.
Beyond this though, I was impressed to find the themes of self-loathing and self-harm clearly identified and examined within the setting of a family structure influenced by the forced exodus of Jews from Poland.
This is worth a look, at least to credit the writer for tackling downbeat themes when most TV series at the time were light entertainment. I noticed that he later went on to write the popular comedy series Two's Company.
Alcoa Theatre: Even a Thief Can Dream (1958)
Well worth a half-hour of your time
To begin, advance and conclude a solid tale within the confines of 30 minutes taxes the best. Therefore I credit the production team, and particularly the writer Laszlo Gorog for their skill and imagination here. Boyer is perfectly cast as the debonair lead, Bonnie Bolding as the target of his attractions. That's all we know at first but the simplicity of that setting allows both characters to interact, and then absorb the input of others. Where it all goes from there kept me intrigued right up, literally to the closing credits.
Watch it. It is as fresh today as when it was first performed.
William Tell: The Prisoner (1958)
Worth seeing just for the supporting cast
A typically efficient effort from ITC which thrilled me when I first saw the re-runs in the Sixties, and is currently getting a unexpected showing on London Live a channel targeting the UK's capital. Bruce Seton who mainly found parts that echoed his distinguished real-life military background does well with his less than pleasant role here. But the focus is on Michael Caine, hardly recognisable here due to appearance, camera angles and the brevity of his lines, and James Booth. The latter is uncredited even though he probably shares as many lines as Caine, and definitely has longer screen time. What was interesting is how this contrast seemed to repeat itself in both actors careers in the 1960's. Caine and Booth both had prominent roles in ZULU but Caine got the headlines. Then Caine really found international stardom playing ALFIE, but only because Booth turned down a 1st offer of the part. Makes watching this episode all the more interesting.
District 9 (2009)
If this film was set in another country I still might not understand why it is so racist
I doubt whether Peter Jackson or his cohorts will ever read this, but this is aimed at them.
I am thinking that you wanted to make a socio/economic film that incorporated alien existence rather than the other way round. You make that fairly obvious in the introduction emphasising Johannesburg 1982 as the setting for the alien ship's berth, not Manhattan, Washington or Chicago. Good, no Hollywood "Escape from New York" shenanigans here, just a novel idea of placing a put upon minority within a put upon majority. Stand back and watch the results. Even better, the loathing of the long-term slum dwellers towards the new intruders is clearly brought out. What a brilliant premise with which to explore how a manipulative minority power over a course of time wields its authority via the divide and rule approach.
From there on you badly got it wrong. First, you ignored the 26 years of history between 1982 and 2008. South Africa has not changed, Nelson Mandela never existed. By 2008 don't you think that a task-force engaged to interact with the aliens would not be led by remnants of the old apartheid regime? Also, why not develop the context of hate between the 2 oppressed populations? Having to share the same limited resources, having to live together cheek by jowl could have been a perfect scenario for exploration of forging relationships by necessity despite mutual distrust. Instead you give us forced removals where the only indigenous resistance is undertaken by a migrant group of Nigerians whose only virtue for doing so is greed and perceived benefits from eating the aliens they do not profit from.
Do you wonder why the film was banned in Nigeria? So I give you no credits for inventiveness and for continuing the status quo of the oppressed having their problems frame worked, analysed and dealt with externally. If you really wanted to be innovative why not have the alien ship hover over the West Bank and mix the aliens with the indigenous communities there? Now that would be inventive, and brave.
Lastly, to those who consider this film to be so good, how can the last third of it, which is a direct amalgam of Total Recall meeting Robocop ED 209 with Sigourney Weaver inside, excite any self-respecting film buff? One vote for the writer who thought of the term "prawn", it is a fitting summation of the whole project.
Night of the Demon (1957)
Please see this, but don't view it as horror
After 150 reviews of this film on this site what more can I add to anyone needing persuasion to see it for the first time. Well, giving a 55 year old film an up to date context might help. In doing so I ask that you think of this film as a supernatural thriller rather than just horror . This I understand was the intention of Director, Screenplay writer and leading man Dana Andrews, it was the Producer who inserted the "horror" element. Personally, I do not think this lessens any of the quality from the film but using mid 1950's special effects, good as they are, does take away from the truly timeless nature of the story. Yes timeless because the supernatural done correctly does not need to rely on ancient or modern settings, it just needs the brain to believe or disbelieve. I refer to "The X- Files" as an example. Reverse the belief of Mulder and the scepticism of Scully, and behold there are the leading characters from Night of the Demon. I have not seen any article where Chris Carter (the mastermind behind the X-Files) makes mention of NOTD but I would be surprised if it did not have some reference to the series.
But above all forget the clothes and haircuts, and that there is no cgi. You will see a tale well told and light years ahead of its time. Lastly, see it for the skill of the Director, Jacques Tourneur, an artist incapable of making a feature without atmospheric quality.
Gunsmoke: No Hands (1964)
This one is different
Wow! This episode stands out from the crowd. *No Hands" introduces a rich array of characters living in or visiting Dodge City. How the visitors interlink with the town dwellers, including the regular cast, is scripted to near perfection by John Meston. Here, the good guys are exactly that, the bad guys have no redeeming features. It provides a great role for Denver Pyle (as far removed from his character in The Dukes of Hazzard as is possible). Not only that, the regulars, particularly Milburn Stone, also have a story to get their teeth into and are given strong lines to boot.
But what makes this one special is the overwhelming sense of tragedy that slowly builds up and affects all the main cast principals. Here, Matt Dillon is powerless to counter all that happens, injustice is cruelly applied, justice is truly ironic. Watch it if you can.
Eden Lake (2008)
A Broken Society can also be entertaining?
Let's see if I am getting this right. This film identifies hooligans in a non urban setting. Left alone to their own devices they indulge in anti-social practices for want of any less destructive activity, such as upsetting anybody who ventures into their domain. They have a vicious leader who rules by fear, and has a commitment to being bad.
So far, so ordinary. This is the basis of many would be horror movies, old and new, good or bad. Where I think this film believes it is different is in the dynamics of the relationships of the participants. Throughout the film, until its conclusion, Brett is in charge. That is until he has to give sway to the one and only individual that scares him. It is the way in which it happens, and more importantly, the setting where it happens that the makers of this film believe it is different, maybe even unique. However, to my mind they makes a huge, cowardly, error.
You see, until now I have made no mention of the one factor that this film relies on to keep us watching, the victims. You cannot escape them, they are usually good looking, bewildered and resourceful. Certain films from the past have defined how the viewer regards them. The centre of attention is one ("Scream" is the best example I can think of). Peripheral to main emphasis of story is the other ("Hills have eyes" & "Texas Chainsaw Massacre" best examples again).
At the minute, when the "good people" of the country are reported as despairing of the hooligans who lead by action rather than voice, it would be brave for a contemporary horror film to do a "This England" and make the viewpoint solely that of the perpetrators. This film had the chance. It portrays the victims only as pawns in the grandmaster game of violence. It could have, bravely, centred on Brett, his followers and family background, with the victims playing the minor part in the story, as I believe the film makers would secretly have wanted. But, horror is entertainment first, ideals second. Sorry, but this film is the ultimate cop out. Not the first, and definitely not the last, but the best example I have seen.
Law & Order: Burn Card (2008)
Still has the knack
A great and somewhat surprising return to excellence. Yes the storyline may rely upon the personal affairs of a main character but the build up, linkage and pace are straight out of the classic episodes from previous seasons. As ever in a superior episode the context for what takes place is rooted in previous character relationships. This is important because up till now the problem in this series has not been the story lines but the lack of depth in the main characters since Jerry Orbach left and Sam Waterston was kicked upstairs. The hope for the future comes from the superb acting of Jeremy Sisto. In this episode he dominates in the first episode that really gives him any real opportunity. The series also needs Linus Roache to fill Waterston's boots with purpose. Too early to opinionate so far this series but his character's risk taking and independence from colleague loyalties in order to win bode well.