Triggers in Leash

Simple as could be, this Western drama is skillfully directed by Don Medford, whose expertise in the genre peaked in 1970 when he made "The Hunting Party", an ultra-violent Western that was my favorite in the wake of the new cinema norms following the breakthrough of Peckinpah's classic "The Wild Bunch".

TV favorites Gene Barry and Darren McGavin square off as gunslingers intent on killing each other in a gunfight after a dispute over a poker game. Neither one will step down, but Ellen Corby as a cafe lady preparing them breakfast dominates the show, cleverly outwitting them and saving the day.

A character actress of the first order, Corby makes her character utterly believable, no hint of acting at all, but forceful all the same, and seeing the future "Bat Masterson" versus evilly smiling McGavin in this Mexican standoff is memorable.

Normally, I'm not cheering on a shootout, but when Hitch says, "That was disappointing, wasn't it?" I had to agree. Both gunmen bored and annoyed me at the same time, which seems unlikely, but jeezely Pete, by the third time (of MANY) one taunts the other to draw, I'm hoping for an end to the characters' (and my) misery.

The basic plot: a men enters Maggie's establishment, which looks like a little cabin but apparently feeds random stragglers. The man refuses to remove his gun belt. Why becomes clear when a second man enters. It seems there was a poker game the night before and it devolved into an argument. The first man let the second live, and now the second is looking for revenge. Their showdown over ham and eggs lasts 20 minutes. 20. Minutes. "You draw first." "You draw first." "Even if you draw first, I'll outdraw ya." "Even if you draw first, I'll outdraw ya." Lather, rinse, repeat. For 20 minutes.

In between, Maggie implores both men to think before they shoot. The twist ending I hoped for involved Maggie and a pistol hidden in her apron, but alas, it was not to be. Not one of the show's better offerings, in my opinion.

Watching this episode, I got a strong feeling that Sergio Leone must have seen it sometime and it made an impression on him. Almost the entire episode is guys waiting to draw on each other while tension builds, just like the ending of The Good, The Bad, and the Ugly. There are some similar shots -- a low shot from behind a hand over a holster, and close-ups of the men's eyes (something very rarely done in film before Sergio started doing it).

Also, since the men were supposed to draw when a cuckoo clock chimed, I was reminded of For A Few Dollars More, when a gunfight was supposed to start when a musical watch stopped its song.

Anyway, I can't know for sure, but I feel almost certain that the maestro must have caught this episode and liked it, and found things he wanted to use. Watch the climactic duel from The Good The Bad and the Ugly, and then watch this episode. I think you'll see what I mean.

This well-crafted drama is one of the best of the early episodes of "Alfred Hitchcock Presents", and it is a fine example of the anthology show format. It has a compact but interesting story, with interesting characters who are well-defined, and a strong cast to portray them. The writing is tight and resourceful, getting much more out of a simple situation than you would have expected.

Ellen Corby, Gene Barry, and Darren McGavin are the stars, with Casey McGregor playing the only other on-screen character. Corby's character runs an out-of-the-way lunch counter, in which the characters played by Barry and McGavin confront each other with deadly intentions. Corby's character tries everything she can think of to cool off the two hotheads, even getting them to eat something while keeping one hand ready to draw at all times.

Although Hitchcock neither wrote nor directed the episode personally, it's well worthy of him, with a memorable situation, some very good dramatic touches, plus some psychology added in. Director Don Medford did a fine job of building up the tension, and the cast members are all in very good form. It's all resolved in a clever way that also would be worthy of Hitchcock's dry sense of humor.

Practically all of the episodes in the series were at least interesting, and many of them were memorable in one way or another. This one, though, is a particularly good example of an ideal usage of the half-hour format, and among the early episodes, it is very possibly the most efficient and effective.

Here is an interesting development of the 30 minutes formula that this show approaches. I believe people involved in the show could do anything with the specific episode they were granted. These were exercises in working a short measure of time to develop an idea that, in order to work, would have to be clear, clean, grasping and effective. Or not be any of those but made in a way that made the audiences wonder. It had to work. Actually, as i start digging a little deeper into this, i think one can probably go through all the episodes of the show and get, in the end, an interesting glossary on cinematic narrative bending. Probably not so much in visual terms, which is understandable because: -not many directors of the show did really interesting things with their careers; -this Is television, things were shot and edited way faster than feature films.

Here we have an interesting idea. To build (and hold!) a tension based on nothing. A single set, to prevent distractions, and a dispute that will make us follow the two cowboys, and want to know who of them (if any) will break and draw first. The fact that they use a single space is already important, because it notes already an intention to be tense (and intense). Because this is a 25 minute episode (plus Hitch's interventions) they don't have to establish any shots outside the space to allow spectators to breathe. We can be 25 minutes inside the same room.

The interesting thing is to check the narrative devices and modes they choose to build on the tension, or ease on it when needed, and the cleverness of the unfolding. So, tension increases depending on the placement of the cowboys in the space and, more important, Maggie's position in relation to them. So it's a very spatial positioning of the characters which i enjoy, and which the camera helps. We fear for Maggie, when she is just behind Del, and we fear for her when she's in the middle. Comedy; this is a comedy, in the end, and we have a very curious balance between the eminent shooting and the goofiness of having, for example, two fellows who can't eat properly because they won't stop starring at each other. Comedy here happens not because they act to be funny, but because the situation implies that. It's a great type of comedy. And of course, the final twist, when we thought we'd seen something, we are told we've being as deceived as the cowboys.

Hitch's interventions, specially at the end, is again priceless, here enhanced by the really funny nonsense twist. The value of it is that it's not a mere annotation on what we saw, it's a continuation of the narrative, after the end of the episode.

My opinion: 4/5

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