Demon with a Glass Hand

This is by far the best piece of 60's television that I have ever seen... and not only in the genre of sci-fi(sorry, Harlan, "fantasist") or episode of the original The Outer Limits. You can tell that it is by Ellison, and the part this(and the almost as good Soldier) played in inspiring The Terminator is impossible to ignore; I am a fan of Cameron, and I doubt he intended to plagiarize. The story is compelling, engaging, has stunning twists and turns and is smart without being convoluted or difficult to follow. This has amazing pacing, moves fast and keeps you on the edge of your seat the entire time, not overstimulating you at any point. The action is incredible, and this is exciting, suspenseful and tense throughout it. This has a chilling and unforgettable ending, and in spite of when this was made, nothing looks silly. The effects are rather well-done, and this was ahead of its time in its concepts and the way it explores them. This has excellent cinematography and editing. The acting is marvelous, and Culp, as well as everyone else, is spot-on. There is a bit of disturbing content in this. I recommend this to any and all fans of science fiction. 10/10

This one I liked - from the very first time it was viewed. It has power - with powerful actors & actress. You "feel" the force of the episode - and brace for the surprise ending. When first viewed - it held me spellbound -all the way to the end. We just sat there & thought about it. It was awesome that people could's imaginations could bring this to the screen with such skill. It made me jealous - how they could dream this up & I couldn't. This episode endeared me to the "Outer Limits" forever. It's really incredible they could find just the "right people" in the right scenes with just the "right lines" - When VCR's came out - saw my chance to watch these episodes over & over again - and never tire of them. But - I still remember that night in the early 1960's - when we were held spellbound by this episode - a standard by which other episodes should be judged - absolutely loved it. Thank very much for the privilege of letting me comment.

Michael ml2348@att.com

I'm the eldest son of the Assistant to the Producer of this episode of The Outer Limits. It is in my opinion one of the best episodes he was involved in (the last year of production). The show aired Saturday night on ABC. On the Monday morning following the show, the phone in the producer's office rang and my father answered it. The voice identified himself as Ray Bradbury and asked to speak to Ben Brady the producer. My father at first thought it was a joke. It wasn't. Ray Bradbury told Ben Brady that he had watched the show on Saturday night and wanted him to know how much he enjoyed it. Not a bad sci-fi recommend I would think. Harlon Ellison (writer) also called Ben Brady and demanded his name be removed from "that piece of S***!" My father said Ben calmed him down, a little.

Please remember when you watch the original (B&W)Outer Limits that the budget was very limited $100k an episode I think. And that was for everything. So the aliens in this episode wore bathing caps and the "set" was the old Bradbury building in downtown LA. Shot the entire thing in one night. At least the run around the stairs, elevator scenes. For what it was and when it was done, it pretty good.

People occasionally ask,"do you know where the glass hand is?" I do not. I doubt it exists today. Most props are made in multiples, I would imagine there was more than one, and based on the budget limitations of the time, probably returned to a pop rental company. One more piece of trivia - the 1964 season of Outer Limits was shot at what was then called The Executive Producers Studio on Sunset Blvd. That is the original location where Al Jolson's The Jazz Singer (the first talking motion picture)was shot, and they had preserved the original stage he used. The studio has gone through several changes of ownership/function, its now called Sunset Bronson Studios. I had many a good craft services meal there (Dad hated to cook.)

I met Robert Culp in 2010 at the Palm Springs Film Noir Festival. He had white hair, but was still unmistakable.

He was having dinner and was rather angry I interrupted. I said, "Mr. Culp. please forgive me for interrupting you dinner, but this is probably the only chance I'll have to get an autograph." I guess my humble tone of voice was enough to calm his anger. I didn't mention "I Spy," or "Bob & Carol & Ted & Alice," which everyone thought would make him a star. I said "the one thing I've never forgotten was your performance in "The Demon With A Glad Hand." He replied "Oh, yes." Then he looked up at me rather pensively--thinking I was going to start a long conversation. I had already been told not to do that. I said "Thank you Mr. Culp, I love your work," and walked away. He evidently had a short fuse and I wasn't going to provoke a scene. Ten stars for "The Demon" and ten stars for the man.

Directed by veteran Byron Haskin, this is one of two episodes by Harlan Ellison that earned 'The Outer Limits' it's exulted status among students of serious sci-fi, creating an unearthly setting merely by locating it's nightmare in a dilapidated old office block and photographing it in gothic black & white.

In additional to the perennially underused Robert Culp as "the last hope of humanity" the other members of the cast also provide interesting resonances since Arline Martel - already far from being a conventional heroine - later played Spock's bride T'Pring in the 'Star Trek' episode 'Amok Time', while Abraham Sofaer, who leads the pursuing aliens, actually played God himself in the classic 'A Matter of Life and Death'.