Showing posts with label John Collier. Show all posts
Showing posts with label John Collier. Show all posts

Thursday, April 4, 2013

The Hitchcock Project--An Introduction


by Jack Seabrook


Alfred Hitchcock Presents and The Alfred Hitchcock Hour ran for ten seasons on CBS and NBC from 1955 to 1965. I was born in 1963 and was thus too young to see it or even be aware of it on its first run. I was also too young to see Hitchcock's Frenzy when it was released in 1972, so my first exposure to a Hitchcock film was his last, Family Plot, which came out in 1976. At some point around that time I discovered reruns of Alfred Hitchcock Presents on local New York TV stations, and I was hooked right away.

Star Trek fans were probably the first to compile and publish detailed episode guides to a TV series, but I first encountered such guides in Don Rosa's Information Center, a regular column that ran in the fanzine, Rocket's Blast Comic Collector (RBCC), beginning in the mid-1970s. These were followed by Gary Gerani's book, Fantastic Television, which was released in 1977. I bought that book and wore it out, combing through the pages and checking off episodes I had seen. As good as Gerani's book was, it was missing one thing--an episode guide to Alfred Hitchcock Presents and The Alfred Hitchcock Hour. Undaunted, I began to compile one. I spent hours after school in the public library, poring over microfilm rolls of the New York Times TV listings to collect details about the series. On weekends, I took the train to New York City, where I became a regular visitor to the Lincoln Center Library of the Performing Arts, home to a bound collection of old TV Guides, which provided more details about the shows. One Saturday, as I sat flipping through TV Guide volumes taking notes, Tony Randall sat down across from me and Jerry Stiller sat down next to me. They were there to do research of their own.

It was there that I discovered what I think was the first attempt to study the Hitchcock TV show in a scholarly fashion: an article from the fall 1971 issue of Cinema called "The Television Films of Alfred Hitchcock." This article only discussed the episodes directed by Hitchcock himself. Much to my dismay, the RBCC began to publish an episode guide to the Hitchcock series in 1978 ("based on data submitted by Bob Reed"). I had corresponded with Don Rosa about my intention to complete such a project, and he was kind enough to telephone me about it. I have never forgotten that phone call from someone I greatly respected and who would go on to become a well-known creator of comics himself.

After the initial disappointment of the RBCC episode guide, I decided to continue my work with the intention of publishing a book on the TV series. In the late '70s and early '80s, Alfred Hitchcock Presents could be seen in the middle of the night on New York stations. I would try to stay up, usually falling asleep at some point during The Tonight Show, or else I would set my alarm for 2:30 A.M. On the rare occasions when I actually managed to wake up and turn on my TV, I saw classic episodes like "The Dangerous People" and "A Night With the Boys."

By the early 1980s, publications such as Rod Serling's The Twilight Zone Magazine had begun to publish more detailed episode guides of series like The Twilight Zone, and books ("companions") about specific shows began to appear. Marc Scott Zicree's The Twilight Zone Companion and David J. Schow's The Outer Limits: The Official Companion were favorite examples. I made a trip into the CBS offices in New York City, where I was given access to their old microfilm files on the Hitchcock series but, once again, I was "scooped" when John McCarty and Brian Kelleher's book, Alfred Hitchcock Presents: An Illustrated Guide to the Ten-Year Television Career of the Master of Suspense, was published in 1985, with a foreword by Robert Bloch.

McCarty and Kelleher's book led me to discard all of the notes on the series that I had compiled over the years. Their volume was a great resource; it lacked air dates and detailed credits and occasionally got plot details wrong, but it was the only place that collected so much information about the series and it made for a very handy checklist. On television, Alfred Hitchcock Presents returned, first on NBC and later on USA, with new episodes that ran on and off from 1985 through 1989. The series used colorized versions of the Hitchcock introductions from the original series and featured new versions of old episodes interspersed with original stories.

My hopes for writing a book on the Hitchcock show appeared dashed but my love for the series continued unabated. My wife and I married in 1988 and moved into an apartment where we spent most nights watching The Alfred Hitchcock Hour in reruns on the USA network. In the 1990s, Alfred Hitchcock Presents began to turn up here and there on emerging cable networks such as Nick at Nite and TV Land. I watched the occasional episode, such as "The Contest for Aaron Gold," but these runs seemed always to start with season one and rerun the same bunch of shows, petering out before reaching the later--and less familiar--seasons.

In 2001, The Alfred Hitchcock Presents Companion by Martin Grams Jr. and Patrik Wikstrom was published, with a foreword by Patricia Hitchcock. Despite receiving mixed reviews, this massive tome contains more information on the Hitchcock series in one place than any other source and is much more detailed than the 1985 book that preceded it. The most exciting development regarding Alfred Hitchcock Presents occurred in 2005, when Universal released season one on DVD. I am sure I was not the only Hitchcock fan who thought his dreams had come true! After decades of watching the shows on TV in syndicated reruns, I could at last possess all 39 episodes of the 1955-1956 season, to watch and treasure at leisure. The production of this first set was not perfect, since they were burned on two-sided DVDs that sometimes caused problems with quality (my copy of "Breakdown" does just that), but it was a thrill nonetheless, made more exciting by the prospect of future releases of the rest of the series.

In subsequent years, seasons two (2006) and three (2007) were released annually, just in time for Christmas. Then the delays began. It took two years for season four to come out (2009) and over two years for season five to appear (early 2012) Each series was a thrill to see, and I can only hope that the rest of the ten seasons will be released in time.

In the meantime, I had been writing about popular culture. My first book, Martians and Misplaced Clues: The Life and Work of Fredric Brown, came out in 1993, and my third, Stealing Through Time: On the Writings of Jack Finney, was published in 2006. In late 2010, I stumbled across the blog, A Thriller a Day, while looking for online reviews of the TV series Thriller, which was just then being released on DVD. I began following the blog and commenting, and this led to an invitation from Peter Enfantino, one of the authors, to write for another blog, bare bones e-zine. I began with a series of articles on Fredric Brown, supplementing my book with material I had uncovered in the years since it was first published. This led to my first series on classic TV, Fredric Brown on TV, which included Brown's work for Alfred Hitchcock Presents along with other series where his stories had been adapted.

When this series ended, I began a series called Robert Bloch on TV, which focused solely on that author's work as shown on the Hitchcock series. By this time, I had discovered that episodes that were unavailable on commercial DVDs could often be found online on channels such as Hulu or You Tube, placed there by fans. I also discovered that the final five seasons of the Hitchcock series were available from other fans on DVDs whose quality was not up to the Universal standard, but whose rarity made them irresistible.

As the Bloch series continued, I decided that I would finally fulfill a lifelong dream and write about the entire ten-year Hitchcock series, dividing it up not chronologically but rather by subject, whether it be by author or by another creative personality. Bloch was followed by a series on William Shatner's appearances on the show (Shatner Meets Hitchcock), then by a series on the Ray Bradbury episodes (Ray Bradbury on TV) and, most recently, by a series on the John Collier episodes (John Collier on TV). Along the way, I made a few decisions.

1. Enough has been written about the introductions by Alfred Hitchcock. The 2001 Companion transcribed all of Hitchcock's introductions, following the trend set by Zicree back in 1982. Yet next to nothing had been written discussing the actual episodes themselves in detail. I determined to focus on the stories rather than the frames.

2. Detailed cast and crew information is easily available on sites like imdb. I chose not to include detailed credits in my articles, instead focusing on important or interesting contributions and giving background on creative talents of interest.

3. Pictures are important. I chose to illustrate each article with a combination of magazine or book covers and screen grabs from the DVDs themselves. I am confident that this represents a fair use exception to any copyrights that exist. The website Galactic Central is an excellent source for old magazine covers.

4. Title cards are not necessary. After reproducing title cards for my first several articles, I gave up the practice because I don't think it adds anything to the analysis and is visually dull.


5. Links are useful. Whenever possible, I include links to a source to purchase a DVD of the episode being discussed or a place to view it online. This allows interested readers to watch the episode that inspired each article.

6. Read the stories or the books. In preparation for each article, I track down and read the short story or book from which the episode was adapted. This allows for a comparison with the filmed episode.

Now that I am committed to doing the entire series, I have decided to change the umbrella title for these articles to The Hitchcock Project. Articles will appear every other Thursday on the bare bones e-zine website for many years to come, as long as the site remains viable and I remain conscious, until every episode has been discussed. When it is all over, I hope to collect the articles into a book, either paper or an e-book. I offer sincere thanks to Peter Enfantino and John Scoleri, founders of bare bones, for providing a place to publish this work, and to everyone who reads and/or comments on the articles. Suggestions for topics are welcome. Henry Slesar, surely the most prolific writer on the series, will be profiled next, in a group of articles that will take about two years to complete.

Every so often I will update the episode guide, which begins below. I will provide links to the articles I have written on each episode in order of their network airing. The episodes will be coded with two numbers, the first representing the season aired, the second representing the order within that season (for example, the first episode of season one is coded 1.1, etc.). Happy reading!

8/29/22: An updated list of episodes discussed is here.

Thursday, March 21, 2013

John Collier on TV Part Nine: Alfred Hitchcock Presents/The Alfred Hitchcock Hour-Overview/Episode Guide/Rankings

by Jack Seabrook



"Back for Christmas"
John Collier was involved, either as writer of the original story or as writer of the teleplay, in seven episodes of Alfred Hitchcock Presents and one episode of The Alfred Hitchcock Hour. Oddly enough, the first five episodes were all based on his short stories and had teleplays written by others, while the last three episodes were his teleplays based on stories by others. Collier never adapted one of his own stories for the Hitchcock series.

Highlights of the Collier episodes included fine performances by John Williams in "Back for Christmas" and "Wet Saturday" and by Robert Emhardt in "De Mortuis," a great ensemble cast in "Anniversary Gift," and location filming in "I Spy."

Unfortunately, the quality of the episodes started high but declined over the years, reaching its lowest point with the three shows where Collier wrote the teleplays. He does not seem to have been a regular contributor to the series and one could argue that the adaptations he did were random assignments that were not indicative of his talents.

Episode Guide:

Episode title-“Back for Christmas”
Series-Alfred Hitchcock Presents
Broadcast date-4 March 1956
Teleplay by-Francis Cockrell
Based on-“Back for Christmas” by John Collier
First print appearance-The New Yorker 7 October 1939
Notes
Watch episode
Available on DVD?-Yes

"Wet Saturday"


Episode title-“Wet Saturday”
Series-Alfred Hitchcock Presents
Broadcast date-30 September 1956
Teleplay by-Marian Cockrell
Based on-“Wet Saturday” by John Collier
First print appearance-The New Yorker 16 July 1938
Notes
Watch episode
Available on DVD?-Yes

"De Mortuis"


Episode title-“De Mortuis”
Series-Alfred Hitchcock Presents
Broadcast date-14 October 1956
Teleplay by-Francis Cockrell
Based on-“De Mortuis” by John Collier
First print appearance-The New Yorker 18 July 1942
Notes
Watch episode
Available on DVD?-Yes

"None Are So Blind"


Episode title-“None Are So Blind”
Series-Alfred Hitchcock Presents
Broadcast date-28 October 1956
Teleplay by-James Cavanagh
Based on-“None Are So Blind” by John Collier
First print appearance-The New Yorker 31 March 1956
Notes
Watch episode
Available on DVD?-Yes

"Anniversary Gift"


Episode title-“Anniversary Gift”
Series-Alfred Hitchcock Presents
Broadcast date-1 November 1959
Teleplay by-Harold Swanton
Based on-“Anniversary Gift” by John Collier
First print appearance-Ellery Queen’s Mystery Magazine April 1959
Notes
Watch episode-unavailable online
Available on DVD?-Yes

"Maria"


Episode title-“Maria”
Series-Alfred Hitchcock Presents
Broadcast date-24 October 1961
Teleplay by-John Collier
Based on-“Jizzle” by John Wyndham
First print appearance-Collier's 8 January 1949
Notes
Watch episode
Available on DVD?-No

"I Spy"


Episode title-“I Spy”
Series-Alfred Hitchcock Presents
Broadcast date-5 December 1961
Teleplay by-John Collier
Based on-“I Spy” by John Mortimer
First performance-BBC Third Programme (radio play) 19 November 1957
Notes
Watch episode
Available on DVD?-No

"The Magic Shop"


Episode title-“The Magic Shop”
Series-The Alfred Hitchcock Hour
Broadcast date-10 January 1964
Teleplay by-John Collier
Based on-“The Magic Shop” by H.G. Wells
First print appearance-The Strand June 1903
Notes
Watch episode
Available on DVD?-No

And finally, rankings (from best to worst):

“Back for Christmas”
“Anniversary Gift”
“Wet Saturday”
“De Mortuis”
“I Spy”
“Maria”
“The Magic Shop”
“None Are So Blind”


COMING IN TWO WEEKS: THE HITCHCOCK PROJECT--AN INTRODUCTION 



Thursday, March 7, 2013

John Collier on TV Part Eight-The Alfred Hitchcock Hour: "The Magic Shop"

by Jack Seabrook

"The Magic Shop" was the last episode of the Hitchcock series to be written by John Collier, and it was the only one that was an hour long. The story upon which it is based was written by H. G. Wells and was first published in the June 1903 issue of The Strand magazine, the popular British periodical where Conan Doyle's Sherlock Holmes stories appeared.

The story is narrated by an unnamed London man who states that he "had seen the Magic Shop from afar several times" but had never gone in until his son Gip pulled him toward it and they had to enter. Its location was never clear: "nearer the Circus, or round the corner in Oxford Street, or even in Holburn." The boy, Gip, is well-behaved, having inherited "his mother's breeding, and he did not propose to enter the shop or worry in any way." Enter it they do, however, and they meet the shopman, "a curious, sallow, dark man, with one ear larger than the other" and with "long, magic fingers." The establishment is called the "Genuine Magic Shop" and the shopman remarks that Gip is the "Right Sort of Boy," in contrast to another, badly-behaved boy to whom the shop's door is locked.

David Opatoshu as Dulong
The story is very British in tone (distortions in magic mirrors are described as "looking very rum"). Young Gip is entranced and his father is amused by the tricks done by the shopman, who eventually takes the place of the father as Gip begins to hold his finger the way he had previously held his father's. In essence, "The Magic Shop" is a story of the seduction of a child by a dark force that slowly pulls him away from the safe haven of his father. The father begins to notice the "rumness" of the shop and thinks of its contents that he has "a queer feeling that whenever I wasn't looking at them straight they went askew." Gip disappears, leading his father to leap after the shopman and suddenly find himself in Regent Street, having collided with another pedestrian. Gip is at his side and carries four parcels under his arm, but the magic shop is nowhere to be seen. Gip opens his parcels and finds a living white kitten.

Six months later, the father "is beginning to believe it is all right." He asks Gip about the toy soldiers he got from the magic shop and is surprised to hear Gip say that they come alive and "march about by themselves" with but a word from Gip. The father tries to witness this for himself but never succeeds; he tries to find the magic shop to pay for the items but can never find it. He concludes that "these people, whoever they may be," will "send in their bill in their own time."

John Megna as Tony
"The Magic Shop" is a subtle tale that leaves the reader wondering if it is about real magic or if it is an allegory about a child's first steps toward independence, steps that may feel frightening and strange. The story may be read online here.

Sixty years after its publication, "The Magic Shop" was adapted for The Alfred Hitchcock Hour and was first broadcast on CBS on Friday, January 10, 1964, midway through the second season of the hour-long series. According to the credits, John Collier wrote the teleplay from a script by James Parish that was based on the short story by H. G. Wells. The TV adaptation removes any subtlety from the story and expands it to fit the time slot, removing much of the magic and replacing it with an attempt at terror.

Like the short story, the TV show is narrated by the father, now named Steven Grainger. He begins on an ominous note, referring to the "day that changed our lives"--his son Tony's birthday, the day they visited the magic shop. Prior to the visit to the shop, a scene at the Grainger house is added, where Tony's parents shower him with gifts, one of which is a black leather jacket. The location has been moved to the U.S.A., and Tony, rather than being a well-mannered and perhaps shy boy as he is in the story, is very outspoken and somewhat obnoxious. The change in his personality most likely was a decision of the writers that was meant to hint at the evil that would develop later in the show.

Peggy McKay and Leslie Nielsen as Tony's parents
On the way to the magic shop, Tony is chastised by a policeman for jaywalking. Inside the shop, the shopkeeper shows Tony a policeman doll and encourages him to stick a pin in its abdomen. After Steven finds himself back on the street, he is placed in an ambulance alongside the same policeman, who now suffers from acute abdominal pain. This is the sort of obvious development that plagues this show.

The magic shop set is nicely done, with spooky masks, mirrors, and an intriguing shopman played by David Opatoshu. The music score, by Lyn Murray, is notable, especially in the magic shop scene, because it sounds like early electronic music of the sort that would be utilized by John Carpenter in his films of the late 1970s. The chief problem with "The Magic Shop" is the unappealing child actor John Megna, who plays Tony. Undoubtedly, the character was written to be somewhat unlikeable from the start, but his performance does not help matters. It would have been interesting to see the role played by Billy Mumy or Ronny Howard, two child actors who had significant skill even at a young age and were just two years younger than Megna. Mumy played a similar role on The Twilight Zone in the classic episode, "It's a Good Life," which the conclusion of "The Magic Shop" recalls.

Paul Hartman as Mr. Adams
The camerawork, by Hitchcock TV regular Robert Stevens, is impressive, especially inside the magic shop. There is one particularly good shot from behind an aquarium that allows the viewer to realize that the snakes inside it are real, while Steven and Tony believe they are made of rubber. When Tony disappears, his father hears his ghostly laughter as he searches frantically for the boy, even seeing his son's reflection in a fun house mirror. Steven grabs the shopkeeper's head between his hands and it shatters; the revelation that it was a dummy is shocking and effective.

The show progresses quite differently from the story after the scene in the magic shop. When Steven finds himself suddenly outside again, Tony has disappeared. Steven and his wife go to the police station for an interview and Tony suddenly returns a day later, mysteriously reticent about telling them where he has been but insisting that he has been gone for days or weeks. Tony makes a magic pass with his hand over a vase of flowers and they instantly wither. He sees a child psychologist, who tells his parents that the magic shop is on the same street where an apothecary was indicted in 1692 by Cotton Mather and where a magic shop in 1901 was destroyed by "some unknown force." The name of the shopkeeper, the apothecary, and the prior shop are all Dulong; this is also the name that Tony gives to a dog that Steven buys for him in an effort to provide a normal life experience.


Tony's odd behavior continues. He tells his parents that he will do everything the dog tells him to do. He waves his hand and makes balloons pop as the neighborhood children play with them. After his dog attacks the shy neighbor, Mr. Adams, Adams kills the dog, which rots away to pieces instantly. Tony tells his parents that the dog "taught me everything" and says "it's too late." That night, Tony waves his hand by his widow and sets Adams's house on fire, killing the man. Steven realizes that Tony was to blame, and discovers a cut on the side of his own face as Tony carves a photograph of his father with a knife.

The final scene is set a few years later, as the family sits at the dinner table. Steven narrates in voiceover, explaining that he and his wife are their son's prisoners and that they see no way out. Tony sits at the table, looking malevolent in a black suit, much like a magician.

Unlike the story, the television adaptation is unabashedly supernatural, as the subtle uneasiness of the early scene in the magic shop develops into the terror that marks the show's conclusion. One suspects that there were problems with the adaptation, since it is unusual to see a credit where one writer wrote a script and another adapted it into a teleplay. The scriptwriter, James Parish (1904-1974), wrote for television for about ten years, from the mid-50s to the mid-60s. This was his only contribution to the Hitchcock series. He was better known as a British playwright, and it is possible that he was asked to adapt this story for TV but that the producers found his script unfilmable.

Tony casts a fiery spell
H. G. Wells (1866-1946), who wrote the original story, was one of the fathers of the science fiction genre, who wrote stories, novels, and non-fiction books and who was one of the most famous British writers of his time. Robert Stevens (1920-1989) directed the show with his usual skill; it was one of the five he directed for The Alfred Hitchcock Hour. Lyn Murray (1909-1989), who composed the music for this episode, was born Lionel Breeze and wrote scores for 35 Hitchcock hours. He also wrote the music for The Twilight Zone episode "A Passage for Trumpet" and for the Hitchcock film, To Catch a Thief (1955).

Appearing as Steven Grainger was Leslie Nielsen (1926-2010), who was featured in over 100 films and over 1500 TV shows in his long career. Nielsen starred in Forbidden Planet (1956), as well as episodes of Thriller, Night Gallery, and twice on Alfred Hitchcock Presents. He became most famous for his late-career switch to comedies such as Airplane! (1980). His wife was played by Peggy McKay (1927- ), who also appeared twice on Alfred Hitchcock Presents and who as been a regular on Days of Our Lives for the past thirty years.

John Megna (1952-1995), the unappealing child actor who plays Tony, started his acting career on Broadway at age six and had an important role in To Kill a Mockingbird (1962). He was 11 years old when he starred in "The Magic Shop," and he would later play a role on Star Trek ("Miri") before retiring and eventually dying of AIDS at the age of 42.

The final scene
The shopman, Dulong, was played by David Opatoshu (1918-1996). He appeared twice on Alfred Hitchcock Presents and also was seen on The Twilight Zone, The Outer Limits, Star Trek, and in the Hitchcock feature, Torn Curtain (1966). Paul Hartman (1904-1973) played Adams, the neighbor who kills Tony's dog. He was in moves from 1935 and on TV from 1948 and he shows up in three episodes of Alfred Hitchcock Presents, two of The Alfred Hitchcock Hour, as well as Thriller and The Twilight Zone.

"The Magic Shop" was also adapted for the stage by Richard France (the date appears to be 1972, according to copyright records), and a 23-minute film of the story was made in 1982 by Ian Eames. A clip from this film may be seen here; it looks interesting! The Alfred Hitchcock Hour version may be viewed here.

Sources:


"Doollee.com - the Playwrights Database of Modern Plays." Doollee.com - the Playwrights Database of Modern Plays. N.p., n.d. Web. 03 Mar. 2013. <http://www.doollee.com/>.
Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. Churchville, MD: OTR Pub., 2001. Print.
IMDb. IMDb.com, n.d. Web. 03 Mar. 2013. <http://www.imdb.com/>.
"The Magic Shop." The Alfred Hitchcock Hour. CBS. 10 Jan. 1964. Television.
Wells, H. G. "The Magic Shop." Twelve Stories and a Dream. N.p.: n.p., 1903. N. pag. Project Gutenberg. Web. 2 Mar. 2013. <http://www.gutenberg.org/files/1743/1743-h/1743-h.htm#link2H_4_0002>.
Wikipedia. Wikimedia Foundation, n.d. Web. 03 Mar. 2013. <http://www.wikipedia.org/>.










Thursday, February 21, 2013

John Collier on TV Part Seven-Alfred Hitchcock Presents: "I Spy"

Mrs. Morgan and Mr. Frute inside the Royal Pavilion
by Jack Seabrook

"I Spy" is a charming light comedy that was filmed on location in the English seaside resort of Brighton. It begins at a London office where a lawyer reports to his client, Captain Morgan, on the efforts of a private detective named Frute to discover why Morgan's wife left him. The scene shifts to the Queen's Hotel in Brighton, where Frute masquerades as a waiter in the hotel's dining room in order to keep an eye on Mrs. Morgan, who now works as a waitress. Frute is not a very dashing investigator, dropping plates as he attempts to carry four at once along his arm. When he follows Mrs. Morgan along the Boardwalk as she spends her day off with her friend Gladys, he is easy to spot in his costume as a priest and he ends up catching a cold from a sudden rainstorm.

Exterior of the Queen's Hotel, Brighton
Back in London, Captain Morgan is vainly certain that another man must have swept his wife off her feet; why else, he reasons, would she fail to be attracted to her exemplary husband? In Brighton, Frute's surveillance of Mrs. Morgan blossoms into romance. The lawyer confronts the detective in the dining room, pretending to be a diner, and insists that the investigation must soon yield results or the man will be fired. Frute takes Mrs. Morgan out on a date that ends with a chaste kiss; he subsequently writes a report to the lawyer detailing the woman's outing with an unidentified man. Satisfied that he has learned the truth, Captain Morgan agrees to divorce his wife, and she and Mr. Frute celebrate by planning to wed.


Cecil Parker as the lawyer
"I Spy" is not suspenseful but it does represent a pleasant diversion that is characteristically British. It was adapted by John Collier from a one act play by John Mortimer (1923-2009), the lawyer turned writer best known for Rumpole of the Bailey. The play takes place in the fictional Cold Sands Hotel in a seaside town called Cold Sands, Norfolk. The overall story is the same; in adapting it for the small screen, Collier compresses events, reorders scenes, and essentially rewrites the entire play, using only bits and pieces of the original dialogue. The effect is one of streamlining and removing some of the more British touches. The location filming takes advantage of the Queen's Hotel and the Palace Pier in Brighton, both of which are real places that still flourish today. The exterior of the Queen's Hotel is seen in an opening shot. Frute, dressed as a priest, follows Mrs. Morgan and Gladys along the Palace Pier as he attempts to surveil her in his bumbling fashion. Later scenes in the program are filmed outside and inside the Royal Pavilion, formerly a vacation home for the Prince of Wales but a museum by the time this episode was filmed.


Eric Barker as Frute
Direction by Normal Lloyd is unremarkable, with a few odd camera angles that don't add anything to the tale. On two occasions, early in the show, he shoots upward toward the characters from a low angle; midway through, he includes closeups of Frute's feet soaking in a bath and in one instance the camera tracks the man's lower legs as he walks across the room.


The cast of "I Spy" is wholly British, and none of them ever appeared in another episode of the Hitchcock series. As Mrs. Morgan, Kay Walsh (1911-2005) is kind, demonstrating a middle-aged beauty that is appropriate for the character. She was married to director David Lean from 1940 to 1949 and appeared in many films from 1934 to 1982, including Oliver Twist (1948) and Hitchcock's Stage Fright (1950). Eric Barker (1912-1990) plays Frute as a gentle man who seems to have taken up the wrong profession. He was a popular British comedic actor who had his start in films in 1916; he also appeared in an episode of The Avengers.
Kay Walsh as Mrs. Morgan


The lawyer is played by Cecil Parker (1897-1971), who was seen in Hitchcock's The Lady Vanishes (1938) and Under Capricorn (1949), as well as an episode of The Avengers and an episode of the American TV series I Spy, starring Robert Culp and Bill Cosby. Finally, as the disgruntled husband, Captain Morgan, William Kendall (1903-1984) is gruff in a British military sort of way.


The crew of "I Spy" features a series of names that never appeared in the credits of Alfred Hitchcock Presents except for this episode: director of photography Peter Hennessey, art director Jack Maxsted, assistant director Kip Gowans, makeup artist Eddie Knight, and hair stylist Biddy Chrystal. A clue to the reason for their participation is provided at the end of the credits, where it reads that "I Spy" was "Filmed in Cooperation with Eyeline Films, Ltd., London, England."

William Kendall as Captain Morgan
Unlike the majority of episodes of Alfred Hitchcock Presents, which were filmed at a studio in Hollywood, "I Spy" was filmed on location in England. Anthony Perry, founder of Eyeline Films, wrote me that they made it entirely on location and "did it all except for the director--Norman Lloyd." Mr. Perry wrote that he had to meet with Hitchcock to be approved and he thinks the project came about because one of his "colleagues knew Joan Harrison," the show's producer.


"I Spy" is not available on DVD but can be viewed online here. The play on which it was based , I Spy, by John Mortimer, was first performed on November 19, 1957, on the BBC Third Programme, then performed again on the BBC on January 28, 1958. It was first performed on stage at the Salisbury Playhouse on March 16, 1959. The adaptation for Alfred Hitchcock Presents was broadcast on NBC on Tuesday night, December 5, 1961. The play is available in several collections of Mortimer's plays.

Sources:


Mrs. Morgan and Gladys on the Palace Pier, Brighton
"Brighton Uncovered : Historical Hotels | Brighton Visitor - Brighton & Hove, Sussex, UK." Brighton Visitor Brighton Hove Sussex UK Brighton Uncovered Historical Hotels Comments. N.p., n.d. Web. 17 Feb. 2013.
"Eyeline Publications." Eyeline Publications. N.p., n.d. Web. 17 Feb. 2013.
"I Spy." Alfred Hitchcock Presents. NBC. 5 Dec. 1961. Television.
IMDb. IMDb.com, n.d. Web. 17 Feb. 2013.
Mortimer, John. "I Spy." 1958. Five Plays. London: Methuen &, 1970. 103-36. Print.
"Norman Lloyd." Archive of American Television. N.p., n.d. Web. 17 Feb. 2013.
Perry, Anthony. "I Spy." Message to the author. 17 Feb. 2013. E-mail.
Wikipedia. Wikimedia Foundation, n.d. Web. 17 Feb. 2013.

Exterior of the Royal Pavilion, Brighton

A happy ending!

Thursday, February 7, 2013

John Collier on TV Part Six-Alfred Hitchcock Presents: "Maria"

by Jack Seabrook

John Collier's first teleplay for Alfred Hitchcock Presents was "Maria," which was broadcast on Tuesday, October 24, 1961, on NBC, during the seventh and final season of the half-hour series. It was based on "Jizzle," by John Wyndham, which was first published under the pseudonym of John Benyon in the January 8, 1949 issue of Collier's magazine.


The short story begins as Ted Torbey, "member of the circus and a seller of patent medicine" (in other words, a con man living on the fringes of society), awakens with a sore head one morning to see that he bought a monkey for ten pounds the night before. His lover Rosie is not pleased by the prospect of sharing their quarters with an animal. According to Ted, the monkey is named Jizzle, his interpretation of Gisele, the name given to her by the man who sold her. Ted shows Rosie why Jizzle is so valuable; he decides to change his act to take advantage of the monkey's talent.

Days later, he previews his new act for the other circus folk: wearing a bright yellow dress and a blue beret and sitting on a table next to an easel, Jizzle quickly sketches a picture of Ted. Rosie is unhappy at having to dress like Jizzle in the act, but the monkey is a hit, producing sketch after sketch of circus performers. Jizzle becomes the third occupant of Ted's trailer, much to the chagrin of Rosie. Jizzle is popular with the public but Rosie thinks that the sketches of her are unflattering and that Jizzle is "watching and spying" on her, "watching and snickering."


Jizzle takes to sitting on Ted's shoulder and Rosie spends more time away from his trailer. Ted's sudden success blinds him to the resentment that grows between Jizzle and Rosie. Six weeks later, Ted confronts Rosie with Jizzle's latest sketch, which shows Rosie in a compromising position with El Magnifico, the lion tamer; Ted throws her out as Jizzle snickers. The next day, Rosie and El Magnifico are gone and Ted begins to "hate the sight of Jizzle." After a week, he turns Jizzle's act over to George Haythorpe of the rifle range and goes back to his patent medicine act.

Al Moore's illustration from Collier's
After a month of loneliness for Ted, George knocks on Ted's trailer door and confronts him with Jizzle's latest sketch, which shows Ted paying amorous attention to George's wife, Muriel. "George lifted the rifle. On his shoulder Jizzle snickered."

Wyndham's "Jizzle" is a fantasy, where a monkey can not only draw sketches from life but also is malicious and can manipulate the people around it with its drawings. Wyndham revised the story and it was next published in the February 1952 issue of The Magazine of Fantasy and Science Fiction under the name John Wyndham. It was collected in The Best From Fantasy and Science Fiction: 2 (1953), then again in Jizzle (1954), a collection of Wyndham's stories, and finally in Tales of Gooseflesh and Laughter (1956), another collection of Wyndham's short fiction.


Born John Wyndham Parkes Lucas Benyon Harris in 1903, the author published short stories in the pulps beginning in 1931 under the names John Benyon or John Benyon Harris, but it was not until the novel The Day of the Triffids was published in 1951 that he became a well-known science fiction writer. He also wrote The Midwich Cuckoos (1957), filmed as Village of the Damned (1960), as well as many other short stories and novels. He died in 1969.

Ted shows Maria's talents to his fellow
circus performers as Carol looks on
When the producers of Alfred Hitchcock Presents chose to adapt "Jizzle" for television, who better to write the teleplay than John Collier, who had seen five of his own stories adapted for the show by other writers and who had penned the novel His Monkey Wife (1930), a fantasy in which the protagonist marries Emily, a civilized and literate chimpanzee?

The televised version, retitled "Maria," is very different from the story. When we get our first look at the monkey, it is obviously a small actor in a mask and monkey suit; the monkey sketches a picture of Carol (Rosie has been renamed) on the inner wall of Leo's trailer (Ted has been renamed as well) and, when Carol rubs away the drawing, the monkey cries "vandalism!" in a high-pitched voice. To the surprise of Leo and Carol, who are married (this being a 1961 TV show), the monkey removes its rubber mask to reveal that it is a tiny woman. Introducing herself as Amelia Maria Trovatore, the Spanish-accented woman has a doll's face and gazes adoringly at Leo, winking at him in a suggestive manner.


Norman Lloyd as Leo
This big change in the story was suggested by Alfred Hitchcock himself, according to Norman Lloyd, who was both the show's associate producer and its star, portraying Leo. In a video interview from 2000, he explained that he and producer Joan Harrison would present synopses of stories that they liked to Hitchcock, who would pick the ones that would go into production. Lloyd recalled that Hitchcock suggested that they change the story of "Maria" to replace the real monkey with a woman in a monkey suit who would fall in love with her owner.


As a result, Maria can never remove more than her mask, since Leo fears that another member of the circus might enter his trailer unannounced and see that his act is a fraud. The friction between Carol and Maria thus finds a basis in jealousy between two women rather than between a human and a chimp. The fantasy element of the short story has been removed and replaced by an unhappy marriage, a theme with which John Collier was very familiar. The teleplay follows other adaptations of stories by Collier in removing some of the subtlety of the print source: Leo explains that Maria can only draw what she sees, which sets up later scenes where men believe that her sketches depict actual events.

Nita Talbot as Carol
Another change in the story occurs near the end, when Leo learns that Carol did not cheat on him with El Magnifico, since the lion tamer had been rushed to the hospital with appendicitis at the time. He confronts Maria, who brazenly admits her deceit, happy to be alone with him at last. Benny, a cowboy with the circus who replaces George from the story, walks in and sees Maria partially out of her costume; he buys her act anyway, and returns at the end to shoot and kill Leo.


In one scene near the end, we see an actual monkey scampering about as we hear Maria's voice on the soundtrack; Lloyd later said that they used a chimp named Joe but never clarified the rationale for having a real chimp in a couple of shots.

The real chimp who pops up in a couple of shots.
Norman Lloyd (1914- ) is still living. he was a major contributor to Alfred Hitchcock Presents and The Alfred Hitchcock Hour, acting, directing or producing many episodes. Nita Talbot (1930- ) plays Carol, and was active on TV and in the movies from the late 1940s through the late 1990s. She appeared in one other episode of Alfred Hitchcock Presents and she was also featured in "The Werewolf" on Kolchak: The Night Stalker.


Boris Sagal (1923-1981) directed this episode, one of three he did for Alfred Hitchcock Presents. He also directed two episodes of The Twilight Zone and the 1971 feature, The Omega Man. His daughter Katey Sagal is a TV actress to this day, having appeared in regular roles on Married . . . With Children and Sons of Anarchy. Boris Sagal was killed in a freak accident in 1981 on the set of the miniseries World War III, when he was decapitated by the tail rotor blades of a helicopter.

Venus de Mars, sans tassels
Saving the most bizarre for last, the role of Maria was played by an actress who went by the name of Venus de Mars. You won't find any other film or television credits for her, but Norman Lloyd explained that she was a Mexican striptease artist who performed at the Main Street Follies burlesque house in Hollywood. She also turns up in a 1961 article about the Sunset Strip, where John Weaver reports that she stood 37 inches tall and was "known for her extraordinary tassel work."

"Maria" is not yet available on DVD but can be viewed online here. The original story "Jizzle" can be read here.

Sources:


"ASK THE OLD PRO." New York Post. N.p., n.d. Web. 03 Feb. 2013.
Benyon, John. "Jizzle." Collier's 8 Jan. 1949: 10-11+. Print.
Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. Churchville, MD: OTR Pub., 2001. Print.
IMDb. IMDb.com, n.d. Web. 03 Feb. 2013.
"Maria." Alfred Hitchcock Presents. NBC. 24 Oct. 1961. Television.
"Norman Lloyd." Archive of American Television. N.p., n.d. Web. 03 Feb. 2013.
Weaver, John. "The Sunset Strip." Holiday. July 1961. 57.
Wikipedia. Wikimedia Foundation, n.d. Web. 03 Feb. 2013.

She really does have talent!

2021 Update: I found this article online:

Thursday, January 24, 2013

John Collier on TV Part Five-Alfred Hitchcock Presents: "Anniversary Gift"

by Jack Seabrook

The last story by John Collier to be adapted for Alfred Hitchcock Presents was "Anniversary Gift," which had been published in the April 1959 issue of Ellery Queen's Mystery Magazine. More humor than horror, the story concerns Hermie Jensen, who is unhappily married to Myra, a woman with "the mental age of ten." They live in a cheap house in an unfashionable beach colony in Florida, where Hermie longs to return to his native Brooklyn. Myra has collected a menagerie of pets, which Hermie looks after while she lounges in her playsuit.

Hermie imagines killing Myra and suggests that she get a new pet snake. He sets off for the village of Melodie, north of the Everglades; at the end of a dirt road, he finds a 13 year old boy named Eidelpfeffer, a self-styled herpetologist who put an advertisement in a magazine offering live reptiles for sale. Hermie pretends to be a professor seeking a small, very poisonous snake to use in an experiment and the boy sells him a coral snake for $18.50, nearly all the money he has.

Hermie returns home and gives the snake to Myra as an early anniversary present, recommending that she cozy up to it and leaving the room so it can bond with her. He goes for a walk and returns to find Myra complaining that the snake doesn't like her; Hermie sits down on the couch and is bitten by the snake, which had burrowed between the cushions. Myra runs for help but returns to find Hermie dead; a game warden captures the snake and confirms that it's a harmless king snake. Myra is relieved to know that Hermie died of a heart attack and she is certain that he did not intend to give her a deadly serpent, as he had claimed after he was bitten.


"Anniversary Gift" is a clever and funny story that demonstrates that author John Collier had grown familiar with American ways yet still used British expressions in his writing to describe them: he notes that Hermie had "looked forward confidently to control of the exchequer" and that Myra's first husband had died before he could make his "postwar pile." It is noteworthy that the first four Collier stories adapted for Alfred Hitchcock Presents had been published originally in The New Yorker, a popular and respected mainstream magazine, while "Anniversary Gift" was published in Ellery Queen's Mystery Magazine, a digest that published crime and detective stories; EQMM was probably the best in its field, but in terms of respectability, circulation and (probably) pay rate, it was a step down from The New Yorker.

The story belongs in the category of those where the main characters think that they are smarter than they are. Hermie is bilked by a thirteen year old boy who sells him a harmless king snake when he asks for a poisonous coral snake. Myra spends her days lounging around their Florida home playing with her pets and allows herself to believe that her husband had not tried to kill her. This unfavorable view of married life recalls "Back for Christmas," though Hermie is not successful in killing his wife. In the five Collier stories adapted for Alfred Hitchcock Presents, all of the families have been dysfunctional. In "Back for Christmas," Herbert Carpenter is henpecked and kills his wife because it is easier than standing up to her. In "Wet Saturday," the Princey family includes a murderous daughter and a boorish son; the father must frame a family friend to preserve the clan's air of respectability. In "De Mortuis," Dr. Rankin thinks that he leads a happy life but decides to kill his wife after learning that she is unfaithful. In "None Are So Blind," Seymour Johnstone is so anxious to inherit his aunt's money that he speeds her death along with a poorly conceived murder. Finally, in "Anniversary Gift," Hermie Jensen despises his wife and tries to kill her by taking advantage of her love of animals; his stupidity leads to his own death. John Collier has been descried as a writer who does not like women; these five stories demonstrate that he has few illusions about family life in general.
Barbara Baxley as Myra

After the three Collier episodes that had been broadcast in rapid succession in the fall of 1956, there was a three-year drought for the author before "Anniversary Gift" appeared on CBS on Sunday, November 1, 1959, near the start of the show's fifth season. The teleplay was by Harold Swanton, who added aspects to the source that served to make the show even funnier than the story. There is a running gag where a toucan screeches at Hermie and calls him a "slob." A new character is added in George, the next-door neighbor, who spends his days drinking beer and going fishing. Ironically, George tells Hermie that he envies Hermie's married life--George's wife died nine years before and he is lonely. Ignoring Hermie's question ("How'd you manage that?) as to how his wife died, he tells Hermie that "since she's been gone, my life is nothing but beer and fishing." Hermie doesn't share his sadness and envies George's life as a widower.

As Hermie, Harry Morgan has a wonderful time with the role, mimicking the words "one beer" as Myra tells him his limit and grudgingly accepting an "allowance" of ten dollars from his spouse. He becomes animated and cheerful when he thinks he is putting one over on Myra; he rhapsodizes about what wonderful pets snakes make and tells her she needs to get to know her new pet better and "love him up." Morgan's comic timing is perfect. He imitates a snake dance strip tease and shows Myra how she could carry a snake inside the front of her blouse and let it peek its head out. Watching this episode, it is hard to imagine that Morgan and Barbara Baxley (as Myra) could have performed this scene without dissolving into laughter and ruining the take.

Michael J. Pollard as Hansel Eidelpfeiffer
Another highlight is the scene where Hermie visits Eidelpfeffer, renamed Hansel Eidelpfeiffer in the show (and even funnier for that). The "boy" (played perfectly by a 20 year old Michael J. Pollard) figures out very quickly that Hermie is not the professor he claims to be and talks circles around him before out-negotiating him and taking his $10 allowance as payment for a fraudulent snake. Morgan again shines in this scene, boasting that the scientists at Cape Canaveral want to beat the Russians and be the first to put a snake on the moon.

"Anniversary Gift" is an excellent comic episode of Alfred Hitchcock Presents that benefits from a tight script, excellent camerawork and editing, and terrific performances. One of the best moments comes after Hermie has been bitten; he is frantic while Myra remains calm: Myra tells him that they should clean the bite, because one "never can tell where their teeth have been," and Hermie responds, "They've been in me!"

The script for "Anniversary Gift" was by Harold Swanton, who wrote for radio and then television, with credits going as late as 1980. There is no biographical information available online, so I will add him to the list of writers to highlight in this series of articles in order to learn more about him. He wrote 11 episodes of the Hitchcock series and won an Edgar in 1958 for best episode of a TV series ("Mechanical Manhunt" on The Alcoa Hour).

Jackie Coogan as George
Norman Lloyd directed the show; born in 1914 and still alive today, he was associate producer or producer of over 200 episodes of the Hitchcock series, directing 22 of them and acting in five. Harry Morgan (1915-2011) was one of the most recognizable actors on TV in the '60s and '70s, appearing in various series such as Dragnet and M*A*S*H. This was the only time he appeared on Alfred Hitchcock Presents, though he directed two episodes of The Alfred Hitchcock Hour. Barbara Baxley (1923-1990) was also a recognizable TV actress who was on TV from 1950-1987 and in movies from 1955-1990. She was in six episodes of Alfred Hitchcock Presents, including co-starring in "Design for Loving" with Norman Lloyd.

Jackie Coogan (1914-1984) played George, the neighbor. Coogan started in the movies as a child in 1917 and became a star when he co-starred in The Kid (1921) with Charlie Chaplin. He had a long career in movies and on TV and is best remembered today as Uncle Fester on The Addams Family (1964-1966). Like Harry Morgan, this was his only appearance on the Hitchcock series.

Henry Morgan as Hermie
Michael J. Pollard (1939- ) played Eidelpfeiffer with what film historian David Thomson called his "sleepy-boy mumbling" style. He has been making movies since 1959 and his most famous role was in Bonnie and Clyde (1967). He appeared twice on Alfred Hitchcock Presents as well as on Lost in Space and Star Trek.

"Anniversary Gift" was remade as part of the 1980s revival of Alfred Hitchcock Presents and broadcast on February 28, 1987. Neither version of the show is available for online viewing but the original may be purchased on DVD here.


Sources:

"Anniversary Gift." Alfred Hitchcock Presents. CBS. 1 Nov. 1959. Television.
Collier, John. "Anniversary Gift." 1959. Ellery Queen's Murder--in Spades! New York: Pyramid, 1969. 58-72. Print.
"Galactic Central." Galactic Central. N.p., n.d. Web. 21 Jan. 2013.
Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. Churchville, MD: OTR Pub., 2001. Print.
IMDb. IMDb.com, n.d. Web. 20 Jan. 2013.
Thomson, David. The Big Screen : The Story of the Movies. New York: Farrar, Straus and Giroux, 2012. Print.
Wikipedia. Wikimedia Foundation, n.d. Web. 20 Jan. 2013.