One for the Angels

An angel of death, looking like a corporate executive, notifies an elderly pitchman that his time has come, unless, that is, he can qualify for an extension. In the salesman's case, the extension involves making a career topping big pitch.

Slightly whimsical entry. Perhaps that's to lighten a storyline that deals with the possible death of a sweet little girl. Of course, there are no laughs, but Wynn plays sidewalk pitchman Bookman in somewhat whimsical style, while even Mr. Death (Hamilton) softens up toward the end. My guess is the producers wanted to follow up the white-knuckle first episode "Where Is Everybody" with a softer second entry. Note too, the implied references to heaven and hell, which suggests a respect for standard Christian theology, a not irrelevant concern given the series concentration on metaphysical themes. Anyway, Wynn's charming, Hamilton's well-dressed, and little Dillaway is cute.

On the whole, the script is well thought out, with a good ironical ending. And though the 30-minutes may have helped build an audience, it's not particularly memorable, at least in my book.

Ed Wynn stars as Lou Bookman, a sidewalk salesman who hawks everything from toys to ties. One day, he's visited by none other than Death Himself (Murray Hamilton). Death informs Bookman that his time is imminent, only Bookman doesn't feel that he's ready to go. He decides that he can't die until he's made the pitch of a lifetime. Death agrees to this, only to arrange for somebody else to perish. Bookman had been planning to stall the inevitable, but now he's ready to launch into the biggest sales pitch he's ever made.

First and foremost, this endearing second 'Twilight Zone' episode is an excellent showcase for the talented Mr. Wynn, who was in real life fairly advanced in age though not much older than the character he's playing. You like him immediately; you can understand his hesitancy at shuffling off this mortal coil, and are amused by the way he tries to take advantage of Mr. Death. You also realize that this man has a huge heart, and can believe that he has made something of a difference in the lives of children in his neighbourhood.

Hamilton is lots of fun, matching Mr. Wynn every step of the way. Their repartee is enjoyable. One great touch is that Death tends to disappear and reappear frequently, throwing Bookman for a loop. Young Dana Dillaway is completely endearing without being overly cute in the role of Bookmans' little friend Maggie.

Rod Serling wrote the solid script himself; it's well realized by director Robert Parrish, and the climactic pitch, while mostly just conveyed through brief montage bits, does give the impression that Bookman is truly selling like he has never done before.

Eight out of 10.

I have been almost obsessed with The Twilight Zone for years, having collected pretty much all episodes; however, it was "One For The Angels" to truly launch me to the "twilight zone" one night. Perhaps it was Ed Wynn's fine performance to combine with the Storyteller's all-engulfing warmth that made the magic tangible. I remember that night and that episode made me a believer and advocate of art's pretence to Truth, rather than remaining a crippled rationalist. All meaning is suddenly revealed, if only we have the subtlety of senses needed en route for The Twilight Zone. The poetry of this episode, even though much lighter, can compare in its depth and fineness with 1985's "Toys Of Caliban". (Great acting by Richard Mulligan there, too.)

Death comes to claim beloved door-to-door salesman Lew Bookman, who is beloved by the local children, but Bookman convinces Death to allow him to stay alive long enough to make the pitch of a lifetime. When Death suspects that Bookman is simply playing for time, he decides to take a substitute.

"One for the Angels" is Serling's first great Twilight Zone script, anchoring itself in well- defined characters with believable (under the circumstances) emotional stakes. With a different actor in the lead, the Bookman character might seem too good to be true; in Ed Wynn's hands, however, the character's warmth and bond with the children of the neighborhood is genuine, and his charm at putting off Death is equally believable (again, given the circumstances). Equally impressive is Murray Hamilton (an often-underrated character actor) as Death, taking an otherwise metaphysical figure, and imbuing him with genuine stakes (maintaining the balance of the world) while at the same time adding a bit of subdued sympathy for the plight of his mark.

To be sure, this is not a perfect episode, as the "pitch of a lifetime" does leave a little to be desired. Nonetheless, the balance between the Wynn and Hamilton characters makes the story strangely believable on its own terms, and deeply affecting. In other words, the definition of a classic Twilight Zone episode.

One for the Angels typifies the best in a Twilight Zone episode; a lovely mix of spooky, charming, science fiction, dark twists, and just plain funny. Ed Wynn is brilliant as the Pitch Man and neighborhood avuncular figure who meets the embodiment of death. How he handles both the news and his apparent fate make for an entertaining episode. Our parting lesson is not as grandiose in presentation as in other Zone episodes (which is actually welcomed), and the simplicity of it leaves the viewer with a smile. Justly delightful.