The Big Switch

It was great to have Don Weis back in the director's chair, after doing so well with "Santa Claus and The Tenth Avenue Kid" ( a fine example of a change of pace episode done very well). The previous 'Alfred Hitchcock Presents' episodes were mostly solid to brilliant (with "Breakdown" coming out on top), with only two barely average ones "Don't Come Back Alive" and especially "Triggers in Leash". The premise didn't sound all that exciting, but having seen many things that have ordinary premises but made into something more on screen there was hope.

And "The Big Switch" did turn out better than expected. It is slightly disappointing in terms of being top 'Alfred Hitchcock Presents' standard, plot-wise it is nothing wholly remarkable. It is though a lot of fun as an episode and benefits greatly from its lead performance. "The Big Switch" is another one of the entries that is noither one of the best of the season or show or the worst on both counts, but more just scrapes the high middle category.

The story is nothing exceptional, it is short on suspense and surprises, so slightly bland atmosphere-wise, and can be rather contrived. A feeling that gets on the over the top side in the final act, which did feel like more time was needed to flesh it out more.

However, "The Big Switch" benefits hugely from the twinkling larger than life lead performance of George Matthews. The rest of the cast do very well too, if not on Matthews' level and their roles are not as interesting. Weis' direction is far from routine and there is an ease. What is also good is the script writing, which is very tongue in cheek and genuinely humorous. It is not the lean, tough sort of script, but it does show again that 'Alfred Hitchcock Presents' could do tongue in cheek and humour well.

Which was always evident anyway in Hitchcock's droll bookend scenes. It's a well made episode visually, with some lovely atmospheric shots, and the theme music is as usual wonderfully devillish. And despite not being wowed by the story, it is not a dull one and it has its charm. The character chemistry is done well.

Concluding, liked it but not loved it. 7/10.

Gangster Sam Dunleavy wants to murder his ex-girlfriend, Goldie, so he has his friend Barney arrange for him the perfect alibi. Barney has it staged as though he and Sam are playing a game of poker in Barney's back room. Sam sneaks out successfully but is unable to kill Goldie when she claims she's pregnant, However when Sam returns to Barney's backroom, he is met with a big surprise.

The best thing about this episode has to be the presence of veteran actor George Mathews, he eats up the screen with his witty dialogue and rugged looks which make him come off perfectly as the 1930's gangster type. As for that there's really nothing here and all you really whined up getting is episode six "Salvage" with some different results, an added in alibi plot, and an OK ironic twist. It's not a bad episode at all and much like reviewer hitchcoc stated if your going into it not thinking to much then you'll probably enjoy it for what it is an OK episode with a strong lead actor.

Okay episode, at best. Sam (Mathews) loves his cat and birdie, but he's no soft-hearted pushover. Instead, he's a brawny tough guy who's going to teach his two-timing girl friend (Michaels) a thing or two about slow and painful death. Too bad for her sake she's not a kitty or a birdie. But first he needs an airtight alibi since the cops watch him like hawks. So he arranges one for a hefty fee with a nightclub crook. Now what can go wrong. Being Hitchcock, we know something will and with an ironic chuckle.

The story's okay even if the upshot seems more contrived than usual. Actually, the cast is the real draw. The Runyonesque Mathews is always a colorful character with his fractured grammar of "deese" and "dem", along with a face that looks like ten miles of bad road. Then there's Beverly Michaels on leave from one of Hugo Haas's sleazy bad movies. Together, they're like a marquee team from Guys and Dolls. And catch James Edwards in a small bartending role. He was one of the first African-Americans to get dignified roles, even before Sidney Poitier. His lead role in 1949's Home of the Brave was a landmark shattering of Black stereotypes. Too bad his role here is not bigger. All in all, it's a colorful half hour, even if not top rank.

I never realized there were guys whose job it was to provide alibis for crooks. This should be entitled "The Bulldog and the Wolf." These two shifty characters have a checkered past. It makes you wonder if a guy who spent so much time backing up bad guys at the police station, wouldn't arouse suspicion. Nevertheless, a plot is hatched to protect the bulldog after he goes and kills his ex-girlfriend. At least that's how they set it up. There are secret passages and a stupid game of five card stud with continuous yelling of threats. Of course, only one guy is yelling. The other one has left through a false telephone booth and is on his way to mayhem. Well there is a little baby that is really a gun and a double cross and little bit of what goes around comes around. This is a fun episode if you don't think too much and the ending is pretty satisfying. The characters are really over the top, but it's pretty much tongue in cheek to the bitter end.

I saw the twist coming but it was a bit different than I expected. Well acted.