Banquo's Chair

I was going to say that the mindset behind this featherweight bathroom break-long Hitchcock TV episode was, "Ha! I'm so clever because I churned this one out real fast and efficient like!" But that would not be fair. Hitchcock, who himself directed this particular episode, has not only done vastly superior work, to say the least, he has also done better episodes, including the very first one, Revenge, which is deeply implicit within its seemingly simplistic story, but Banquo's Chair could easily have been a mere exercise, like the determined Solitaire game the office manager plays in his free time, having gone so impressively far already that he can afford to take such part in such frivolities.

It's a, well, fast and efficient storyline weaved by Rupert Croft-Cooke and adapted by workhorse Alfred Hitchcock Presents telewriter Francis M. Cockrell, and while it has that fun campfire ghost story kind of feel in the world of Victorian-era British detectives, it is a little disappointing once you find that the hand that fashioned such showpieces of allusion, aurally and visually figurative inferences, plays on cinematic language like Shadow of a Doubt, Rope, Lifeboat, Psycho and Vertigo is letting the wheel spin while he's off in the corner looking at blue pictures.

John Williams was one of the most frequent guest stars on "Alfred Hitchcock Presents". Additionally, the director featured him in some of his films. Often he played police detectives and "Banquo's Chair" is one such Scotland Yard episode.

It seems that two years ago, a woman was murdered but no one was arrested for the killing. So, on the second anniversary, the Inspector (Williams) has a strange plan....to invite the most likely suspect to a fake seance. The hope is that the rigged seance will get the killer to expose himself and lead to his arrest. This means the help of some other folks who knew the dead woman as well as an actress to play the murdered lady.

What made this episode so enjoyable was the great twist at the end. The best episodes of the series had such clever twists and this one was exceptionally clever. Well worth seeing and one of the better episodes of season four.

Francis M. Cockrell at the time was also writing for ONE STEP BEYOND, so there may have been some creepy inspiration to this story. Accordingly, Alfred Hitchcock directed.

Without too much surprise, Hitch cast his old friend John Williams as the eagle eye police inspector, similar to his role in DIAL M FOR MURDER. Need we say more? Willliams has his suspicions about a young gentleman (Kenneth Haigh) who --in all probability-- killed his wealthy aunt. Only it's difficult to prove. So why not invite him to dinner on the ghoulish anniversary of her death?

Very clever material, and I agree with the last reviewer, the ominous atmosphere is perfect. If you're a mystery fan, you'll love the way its all played out, sort of in the tradition of Agatha Christie. Good support from Reginald Gardiner as Major Finch, looking distinguished as always.

For movie buffs, Haigh gained acclaim for playing Brutus in CLEOPATRA, starring Liz Taylor and Richard Burton.

Stick around for the Hitch finale.

SEASON 4 EPISODE 29 remastered Universal dvd box set. 5 dvds. 15 hrs. Released 2008.

It's hard to believe that Hitchcock himself directed this turkey. There's no flair here at all, just 30 minutes of very British palaver, with a climax more limp than scary or ironical. The trap retired Scotland Yard detective John Williams sets at a dinner party for a suspected murderer lacks suspense, wit, or even interest, while the apparition's ghostly appearance suggests something more like gastric distress than an intrusion of the supernatural. The only real suspense is why the esteemed director chose to film this unpromising material in the first place-- probably a good excuse to get together with some of his British buddies. Advice to the viewer-- skip it.

While the twist at the end of the episode is predictable, and has been done many times before, the episode was well done, mostly due to the acting.