Vicious Circle

Alfred Hitchcock hired Dick York to do some memorable roles on his show because he had "the look"... He'd either play the biggest fall guy in the world or the guy who'd put a knife in your back with a smile. Clever casting, long before starring in BEWITCHED.

York, not a particularly good guy here, is employed by dapper villain George Macready. He was made for this role, portraying the ringleader for a league of assassins. York is the star quarterback, who may be resting on his laurels. To get him off and running again, Maccready makes an offer he can't refuse -- kill your gal friend, because she's cramping your style -- or we'll kill YOU.

Potent stuff, written by Bernard Schoenfeld, who wrote the classic women's prison film CAGED in 1950. He also wrote a slick film noir, starring Lucille Ball, THE DARK CORNER (1946).

I agree with another reviewer, there's a faint gay theme here, strictly tabu in the 50s. Macready's character, as much as he is domineering and arrogant, may also have been snubbed by York's character and the fact he has a female companion? Why not get her out of the picture.

The acting nails it, particularly George Macready, directed by actor Paul Henreid (CASABLANCA) who gets the best performances from his two leads.

SEASON 2 remastered Universal dvd box set. 2006. All seven seasons are now on dvd in a single box set. Released 2022.

I found Vicious Circle to be just a so-so entry in the Hitchcock series. Overall, it's below par in my book because while the story its adapted from, written by Evan Hunter, may be first rate the script for the television adaptation is simply below par, unusual for a Hitch half-hour.

The episode is also vague as to the precise nature of its villain's apparently small and tidy empire of crime. Is it a hit man for hire service,--that's all? It appears that way. Yet honcho George Macready seems an incongruously patrician and Ivy League type to be running such an enterprise.

That Macready's character comes off as unambiguously gay makes the episode unique but doesn't raise it in quality. His hit men,--nearer to hit boys, it appears, as they're all quite young--are, it's inferred in the script but not stated outright, his boy toys as well. He appears jealous of his new kid on the block Dick York's girlfriend, who's also threatening to start a one woman campaign against him and his criminal operation, and he orders York to kill her!

This is where the episode falls apart in feeling unreal and contrived. It shies away from the provocativeness inherent in its setup in favor of extreme and difficult to swallow melodrama. That the story is melodrama to begin with makes this "doubling up" of improbabilities too much for it to bear. The ending feels both telegraphed and hurried.

Still, flawed as it is, there are good things in this one, among them the performances of Dick York, an unlikely seeming criminal at first, especially if one is familiar with his later work in comedy, he handles his part well; and George Macready, with his sunglasses,--nicely suggestive of his lifestyle of concealment and secrecy--and his need for eye drops, symbolic of moral blindness and possibly sexual difficulties most of us would rather not dwell upon.

Reviewer rd finch puts the subtext quite nicely, and that subtext remains about the only reason to catch up with this otherwise flaccid episode. The storyline has potential, but except for the riveting opening scene, the remainder flattens out before reaching an all-too predictable climax. Even Dick York's showdown with his girl is awkwardly staged. Light comedy was York's specialty, so fans of Bewitched (1964-69) may enjoy watching the zany comic as an almost cold-blooded killer, which he manages to bring off in suitably boyish fashion.

Younger viewers may not be aware of how forbidden the whole topic of homosexuality was in both movies and TV of the 1950's. In short, the topic was treated as though it simply didn't exist. A more obvious censorship example is the A-budget Cat on a Hoot Tin Roof (1958) in which the theme from the Tennessee Williams play is airbrushed from the screenplay, rendering the movie itself darn near incomprehensible. Now, I'm sure I saw this Hitchcock entry the first time around, but it was only on recent viewing that the subtext jumped out at me. Then too, I don't see how the innuendo could have been unintentional on the part of writer and producer, which makes me wonder why such a risk with time and money was taken. I expect there is an inside story here. But what would it be, except as another instance of this cutting-edge series pushing the envelope.

This is pretty lightweight. Dick York plays the new favorite hit man for a sociopathic boss. He does well on a couple jobs and replaces his predecessor who carries a grudge. His girlfriend knows what he does for a living and does all she can to talk him into a new job. Of course, the big boss knows she has been blabbing and wants her gone. Guess who gets the job. Fate steps in and business is taken care of but it seems to put an end to the effectiveness of the young murderer. He becomes less than desirable to the boss. What strength this episode has is in some halfway decent acting and a fairly clever, though predictable, plot development. Dick York looks pretty buff as the murderer. The non- comedic role suited him pretty well. Otherwise, it's pretty forgettable.

Excellent episode featuring Dick York in a non-comedic role. George Macready also stars in this chilling story about a weak man who cannot say no to his boss, in this case, a criminal. In a way, it is study of the mentality of those who will commit murder on command. Now, Dick York's character has misgivings and even warns his next victim, in this case his own fiancé, but that does not stop him from obeying orders. The story has larger political implications. History is replete with those who will do the most awful things, commit the most heinous crimes, if ordered to do so. They will act without hesitation or regrets, based on the belief that they do not bear final responsibility. Well, that just does not wash. What goes around comes around, as the saying goes. Today the executioner, tomorrow the executed, while those in charge keep control. As this episode so explicitly dramatizes, the hitman is merely the agent and is not indispensable. Just the opposite is the case. The episode leaves us asking this question: why do such awful work?