The Last Dark Step

Herschel Daugherty's 'Alfred Hitchcock Presents' output was uneven, though it was not hard to see why he was one of the series' most regular directors as most of his previous episodes ranged between decent and outstanding. He directed some outstanding episodes, with "The Creeper" and "Little White Frock" being two of my favourite episodes of the series, but he was also responsible for one of the series worst and its oddest "Sylvia". Had no doubt that "The Last Dark Step" would be at least good, with a premise this good.

"The Last Dark Step" didn't disappoint at all. It is a premise that is very 1940s Hitchcock-like and is executed in a way that is very Hitchcockian, despite it not being directed by him. As far as Season 4 goes up to this point, which has generally been solid, "The Last Dark Step" is one of the best along with "Poison" and "The Crooked Road". And it is one of the best Daugherty-directed 'Alfred Hitchcock Presents' episodes along with "The Creeper" and "Little White Frock".

Everything works. It is impeccably acted, with Robert Horton giving his best guest turn of the series with him expertly making his character as detestable as possible while also giving him a little sympathetic edge at points. Which is why his character is so interesting. Fay Spain is alluring and charming with strong chemistry with Horton. Daugherty's direction never tries to do too much while keeping the drama tight and not letting the suspense levels drop.

Moreover, the story is constantly intriguing and is incredibly atmospheric in a suspenseful way. The ending is completely unpredictable and is absolutely priceless. The production values are slick and atmospheric enough and Hitchcock's bookending is suitably droll in writing and delivery as per usual. Gounod's "Funeral March of a Marionette" is a great choice for the theme music.

All the script is tight and intriguing, nothing feeling soapy or unnecessary.

Summing up, brilliant. 10/10.

I have always been a fan of Robert Horton and regret that he became typecast as a Western star as a result of his "Wagon Train" success. Before his tenure on that show, he did a lot of interesting work outside of the Western genre. Apparently, Hitchcock saw in him a lot of potential and used him in seven episodes of the show.

This is his best appearance. In it he is no "Flint McCullough" but rather a user and a gigolo. Heroes are a dime a dozen, but good heavies are worth their weight in gold. Horton proves he can be both hero and heavy in this role. This story is essentially a deadly love triangle built around two people who struggle to be more controlling and manipulative than the other. Without giving away anything, we do find that last laughs are best. This is one of the all time classic endings to any episode. The only episode with a more twisted ending than this one is "Final Escape" which, in this writer's opinion, was the zenith of all such endings. This one is a close second. If you are a fan of the show, this one is a "must see."

Vintage Hitchcock. Handsome Brad (Horton) proposes marriage to sloe-eyed Janice (Meadows), except he's already the kept-man of the fierce Leslie (Spain) who's not going to let him go. Brad's got himself in a bind since neither woman is anyone to mess with. So what's he going to do now.

Small cast gets the most out of the material. Spain is almost scary as the fiercely possessive screenwriter. Her scene with the straying Brad amounts to a rare portrait of a small woman's assertive dominance over a macho man. The question is whether Brad will accept this humiliation in return for a lavish lifestyle.

Beefcake star Horton gets to bare his manly chest in the type role that made hearts throb on TV's mega-hit Wagon Train. At the same time, it's too bad the fine actress Spain died young. Together, their scenes are exceptionally convincing. Anyway, the upshot is appropriately ironical, just the sort that has kept the series in perpetual re-runs.

Manly Robert ("Wagon Train") Horton plays a hustler who is engaged to an elegant Vassar-type beauty while still seeing his old girlfriend (Fay Spain), a bohemian writer who no longer lives up to what he has in mind for his future -- even though she has been paying all his bills. When he reveals he's leaving her to marry the Vassar babe, she swears he never will marry the gal. And she means it. He decides to take drastic action. The ending is priceless. Horton and Spain were well matched in their scenes. The plot is not exactly new, but it will keep you in suspense. And the ending will leave you gasping. By the way, and fr what its worth, Spain is a timeless beauty who died much too young..

This has all the elements of a true Hitchcock mystery. We have a man who would like to start fresh, begin a romance with a young, innocent (but rich) woman. Unfortunately for him, he has baggage up to here, most notably a sugar momma relationship with a woman writer who has him in the palm of her hand. She knows what he is and she is not going to let her go. Forward to a murder plot. He has confronted this woman and she has said she will do anything it takes to keep him on her leash. He acquiesces for the moment, but decides to take her to an ocean front property and kill her. Everything plays out nicely, but then comes the kicker. In true Hitchcock style, things never quite go the way they could have. Robert Horton is sympathetic enough for us to root for him, but his past is his past and that is going to stack the deck.