Toby

In a series such as this, not every episode hits the spot, and this is one of those.

A new tenant (Edwina, Jessica Tandy) arrives in an unsalubrious New York apartment block, and back into the life of one of the tenants (Albert, Robert Harris) after 20 years. But what is she hiding?

The supporting cast are good throughout - they set the scene very well, play likable characters and also provide the main impetus that moves the plot along, but the problem is really with the script. We aren't given enough insight into either of the main characters. Although we can sympathise with Albert, there is nothing perilous or threatening to provide tension. We never get to see things from Edwina's point of view, so it's difficult to care about her either.

As for the final revelation, I'm afraid that this was one of the two I'd considered from early on, so was a bit of a let-down.

All in all, not a completely unenjoyable ride, but definitely one of the lesser offerings in a great series.

Except for Broadway star Tandy, it's a great line-up of supporting players from that TV period. For example, catch the colorful two-some (Mathews & Corby) from lower-class heck. I guess they won't be dining with the queen any time soon. Then there's lanky, hawk-nosed Mary Wickes as a Gen. Patton landlady not to fool with. And what's the deal with middle-aged Tandy and Harris. They're getting back together after years apart. Seems like neither gave up a longing for the other. So why then did they part. But now she's got her dead sister's baby, Toby, to care for. Yet Harris doesn't mind, even if no one gets a chance to see the kid kept hidden in its blanket bundle. Besides, Tandy flies off the handle at unexpected times, leaving poor Harris confused and forlorn.

Of course, suspense builds around the unseen Toby and the baby's unpredictable step-mom. But it's really a human-interest tale embodied by Harris's affecting turn. Good to see a story revolve around a homely guy's feelings for a change, especially in the glamour obsessed 1950's. Can't say much for the payoff, however. It's not very plausible if you think about it. Considering the 'rose' symbolism that's gone before, maybe it's supposed to be symbolic of bad luck. Anyhow, the entry's a good chance to catch unsung Hollywood at its colorful and affecting best.

"Toby" is director Robert Stevens' second 'Alfred Hitchcock Presents' episode in a row and his third one of Season 2 (the first one being "De Mortuis"). The previous one being the previous episode "None are So Blind". The premise sounded very interesting and potentially suspenseful and Jessica Tandy was a fine actress. Robert H. Harris was no stranger to 'Alfred Hitchcock Presents' and nearly always delivered in a good way, even in episodes beneath him.

While all the previous Season 2 are watchable or more, though the season did get off to an underwhelming start with "Wet Saturday", none of them wowed me. Even the best one, the pretty good "De Mortuis". "Toby" is another one of the Season 2 episodes that is worth a one time watch, but not wow-worthy. Not much wows here either, other than the cast in yet another Season 2 outing where the cast are better than the episode itself.

Am going to start with the good. Tandy is marvellous, alluring yet suitably enigmatic, and the main reason to see "Toby". Harris also comes off very well, bringing grit and also an affecting quality that makes him easy to sympathise with. The supporting cast are a very colourful lot, and the characters are all psychologically intriguing (a lot more so than the story).

Hitchcock's bookending is amusing and typically dry-humoured. The episode starts off quite well, the production values have some nice atmosphere and the main theme is haunting.

On the other hand, the story could have been a lot better. It could have had a good deal more tension and didn't feel that suspenseful. It is also rather safe and predictable with an ending that is not a surprise at all. More could have been done with the psychological aspect of it, the set up is intriguing and neat but it isn't fully explored and is not insightful enough.

Stevens' direction is competent but also undistinguished. The script could have been tauter and not felt as over-heated. It would have benefitted from being longer, 30 minutes is not long enough for a story like this and that's why the psychological aspect of the story suffered.

In conclusion, a rather mixed bag. 5/10.

Not the best episode of the whole series, cute and enjoyable for the whole family, smartly written and done too. Riveting, without being a masterpiece. Not a comedy either, just a sweet drama destined to the widest audiences. Family drama, rather unusual for the show. I like this episode. Touching too with a good twist ending. I hope you will enjoy it too. Now that's up to you to decide. Convincing performances. I have seen worse.

Another fine acting-turn for the always-watchable Robert Harris. Interesting, also, to see him paired with the excellent-actress Jessica Tandy, of much-later "Driving Miss Daisy" fame. This was an especially-interesting episode for me in that it's set in the early 20th-century--1910 New York City to be precise--a rather-refreshing break from "modern" settings & stories. There have been other exceptions in the Hitchcock-series, too, such as "The Older Sister", set in late 19th-century New England, a tale based on the Lizzie Borden murder-case. Tandy, though quite-attractive here, convincingly-looks every-inch the 1910 spinster. Harris portrays a "nice" character here. Tandy is "nice", as well, but upon her arrival, quickly-reveals that something's amiss with her mentally. I won't rehash the plot but this is an effective-episode, one that builds, not so-much suspense, as curiosity as to just what's going-on with Tandy & her mounting-paranoia over her baby. Harris is quite-mystified by her strange-outbursts & nervous-behavior but ultimately is sympathetic to his intended's plight. Tandy, by program's end, becomes understandable. Harris, though, is devastated by realizing that he's largely to blame for her predicament. Nice twist at finale, whether one guesses it early-on or not. I, for one, didn't. A different kind-of Hitchcock-episode, especially-good because it IS different!