The Baby Sitter

What? Thelma Ritter as a "thoroughly classless mess?" As far as I'm concerned, Ritter lifts every film or TV show she's in, including this one which I just watched. Her comic timing, delivery, and poignancy can't be beat. I find her believable in every scene here. I think the previous commenter is objecting more to the script than the performance. As far as Ritter goes, I think she is one of the most underrated actresses of our time. Her performance in the opening of "All About Eve" is amazing. As is her performances in the Doris Day/Rock Hudson movies. She was also great in "Rear Window" and "The Misfits." She was nominated for six Academy Awards.

A brassy older babysitter (Thelma Ritter) is speaking to a police sergeant about an unsolved murder. She relishes the attention. Much of the story is flashback: she has a crush on the father of the young woman who was killed (who, we are later informed, had a blond beaver).

Did our protagonist do it? This theory is raised by her friend early on. The ending worked for me but, ultimately, it's all on Ms. Ritter to carry this one. If nothing else, it's nice to see a woman who isn't all emotional or distressed the whole time.

Bonus: trying to lose weight, she's on the floor using the bungee-cord like contraption. I didn't know they had stuff like back then.

Two of the most distinctive and adored character actors of all time and both of them scene-stealers yet together they are in 'perfect sync'. If you are a Ritter fan she has more speaking lines in this little playlet than she does in some of her most famous movies and does a range from wise-ass classic street smart to a kind of Bronx Blanche Dubois.

Robert Stevens directed a lot of Hitchcock Presents and Hitch was very happy with him. He knew how to get a lot of mileage out of little touches - notice the emphasis on sweets, ice cream sodas, chocolate cake, food etc. in The Babysitter. Thelma Ritter finishes a romantic novel and next to her is a plate of chicken bones when the final scene is enacted. Stevens reached his highpoint in 50's and 60's anthology series such as Suspense and Hitchcock. Never made it big after. He had an 'economical' flare for the '26 minute' playlet format. He also would add little Hitchcock touches at times.

This is pretty lightweight stuff. Thelma Ritter plays a babysitter who works for a pretty wealthy family where there is a lot of tension between the husband and wife. She feels that the man is getting short changed in the family and frequently pokes her nose in where it doesn't belong. She has another old maid type sidekick who is always asking questions and tormenting her. Unfortunately for her, her bad judgment really works against her. She fancies herself as a soul mate or even the next wife of this man. She crashes and bashes her way in and out of situations that would make one cringe. Of course, most of what she has is in her head. This isn't a very good episode.

Women in their 50's have never been a popular commodity on TV, especially during the glamour-obsessed 1950's. But then this series was not typical of its time, which is why it's still being re-run 50 years later.

This is a slender, character-driven episode with some deftly humorous touches. The murder mystery is secondary to Lottie Slocum's little fantasy world where she imagines herself a size 10 again and the object of handsome Mr. Nash's affections. In reality, she's an aging, plain- faced babysitter with little to look forward to except old age. No wonder she dreams. Her gawky friend Blanche enjoys puncturing these harmless exaggerations and we wonder why Lottie puts up with her.

Together actresses Ritter and Wickes play off one another beautifully, with needling little exchanges that are often subtly amusing. In fact, it's quite a clever script with thoughtful touches from director Stevens (Lottie embarrassingly on the floor when the cop walks in). Still and all, it's hard to feel too sympathetic toward Lottie. Maybe it's Ritter's voice tone which can be grating or maybe it's Lottie's insistent little dream world which prevents her from seeing what we do. Nonetheless, in my book, it's a rather memorable little episode entertainingly told Hitchcock style.

(In passing—note that Newton's Mr. Nash never speaks a word even though he takes up significant screen time. Was that to keep costs down {non-speaking parts cost less} or maybe to keep his character dreamlike which is how Lottie sees him. Anyway, it seems odd.)