Safe Conduct

I don't know what this story has to do in the ALFRED HITCHCOCK PRESENTS series; it is no more no less than a Cold War plot, Behind The Iron Curtain story. And the very ending is so flat and lousy. This episode belongs to the worst of the show. The good thing is the acting and directing. But I don't recommend it at all. You can live without it. Claire Trevor has always been convincing in her roles and here she is perfect. It's such a shame that it was for such a flat plot. Not the AH PRESENTS scheme I expected. I prefer forgetting it. Now it's up to you, after all the length is only twenty five minutes.

This episode deals with that interesting feeling that one gets when traveling under the threat of a government that could arbitrarily detain or arrest someone. Will they accept your passport? Will they identify you as an undesirable? That's what happens here. As she travels in such a location, an American reporter finds herself at the mercy of some pretty scary characters. She is duped by a young soccer player and finds herself under arrest. She is strong, but she knows that she really has little power other than a lot of bluster. She also feels betrayed. This is cold war stuff with an element of spy drama. It builds suspense well and has a satisfying conclusion. Note that there is a contingent of "Hogan's Heroes" characters: John Banner (Sergeant Schultz) and a supposed researcher, Werner Klemperer (Colonel Klink). This is a well done little fifties drama.

This episode of "Alfred Hitchcock Presents" features a well-crafted story of intrigue and atmosphere. The Cold War setting is central to the story, and it would probably have given the show even more of an impact in its own era, but the quality of the writing and acting allow the suspense and mystery to hold up quite well, even though the tensions it depicts are now only a matter of history.

The story has Claire Trevor as an American journalist, traveling in an unspecified Communist country, and meeting the nation's soccer hero on the train. They both become involved in a story of smuggling, interrogation, and suspicion, which features a number of nice twists and turns. Trevor and Jacques Bergerac are well-cast and give good performances, with Trevor as the forthright American and Bergerac as a patriot who must maintain a more dangerous balance between his position and his real feelings.

A lot of little things add up to make it enjoyable to watch. The Communist officials are portrayed in a very human way, not as stereotypes. The childlike joy that some of the soldiers show while discussing soccer contrasts with their anxious efficiency in investigating the smuggling accusations that arise. The settings likewise are simple but effective, creating a believable atmosphere.

The exposition scene is, perhaps of necessity, rather lengthy, but it is handled well by the stars. More importantly, the finale ties everything up neatly and in a way that lends some extra substance to the story as a whole.

An entry that builds suspense based on Cold War themes. Journalist Trevor is returning to the West by train from high-level trip to Soviet bloc nation. On train she meets hunky soccer star Bergerac who convinces her to smuggle costly ring past border guards so he can use it to pay for sister's operation. His charm convinces her. But then, surprise, surprise, he exposes her effort to border guards. Now she's in big trouble. So what the heck's going on since he seemed so sincere.

This is one of few series entries with a political subtext, and understandably so. After all, politics raises its own issues aside from suspense the series traded on. Fortunately, the communist officials are portrayed as recognizably human, an unusual event for the deep Cold War year 1956. That way their humanized presence contributes to the suspense instead of competing.

I love that sequence when Bergerac suddenly asks whether he can buy some of Trevor's underwear. It's dropped in so abruptly, we're as startled as Trevor. Something of a Rock Hudson look-alike, I'm surprised Bergerac didn't score more in Hollywood. Anyway, it's quite a suspenseful episode with a somewhat satisfying upshot.

"Safe Conduct" is Justus Addis' third episode of 'Alfred Hitchcock Presents'. The previous two, "Salvage" and "A Bullet for Baldwin", being very good, especially the former. Did like the idea for the story, although it was atypical for the series at this point, as none of the previous episodes did this kind of story, and didn't feel like it fitted. Political intrigue is often interesting though, as long as it is not too heavy handed or over-complicated.

This is another winner from 'Alfred Hitchcock Presents' and for Addis. Can totally see why some have said it doesn't feel like it fits within the series (though the series was no stranger to changes of pace, such as "Santa Claus and the Tenth Avenue Kid", and did them very well) and why some may not like it. While "Safe Conduct" is not one of the best Season 1 episodes or one of the 'Alfred Hitchcock Presents' classics, to me it was very good.

For my tastes, the ending could have been tauter in pace and suffers from being too long and too talk-heavy. Some of the talk also being a little more complicated than needed, especially if one is not too familiar with this period.

However, "Safe Conduct" is well made visually, especially the photography which has a lot of style and atmosphere. Great use of the setting too. The main theme in the music, "Funeral March for a Marionette" has never been utilised better in film or television, is still haunting and has always fitted perfectly with the tone of the series. Addis directs with tautness and control.

While the dialogue is not always taut enough and requires attention to understand, it is very intelligently written and provokes a lot of thought. The political elements are not overdone or laid on too thick, even if very of the time. The story also isn't perfect, but it is on the most part very absorbing, intrigues constantly and captures the tense unrest of the period perfectly. The characters carry the story very well.

Claire Trevor is on strong steely form, as is Jacques Bergerac. Werner Klemperer and John Banner give solid supporting contributions. Hitchcock's bookending really grew on me all the time, and the droll dryness continues to entertain.

Overall, very well done. 8/10.