![]() Perfect Crime is enjoyable enough, the story not being anything special, but the pleasure of seeing Hitchcock direct Vincent Price is a unique one.Ī Dip in the Pool is a comedy with uncertain sympathies but a very nice twist. A lot of these pieces nicely balance the sympathies of the audience, as deftly manipulated by Hitch, with the demands of morality and censorship. David Wayne (the killer in Losey’s M) plays another sympathetic wife-murderer in search of a body of water to lay his wife to rest in, and pestered by a persistent traffic cop and a faulty tail-light. One More Mile to Go is another neat little suspense situation, referred to in my PSYCHO post. In amoral little comedies like this, Hitch’s outro is often used to placate the censor with a tacked-on “happy” or “moral” ending. If you haven’t sampled his short fiction, I highly recommend it. Collier’s stories also graced The Twilight Zone, and one, The Fountain of Youth, got the experimental treatment by Orson Welles. Wet Saturday, a fairly delightful John Collier adaptation with Sir Cedric Hardwicke, another actor Hitch enjoyed greatly. Maybe because it’s so dull, the episode escapes mention altogether in Charlotte Chandler’s filmography in It’s Only a Movie, Alfred Hitchcock, A Personal Biography.īack for Christmas is a marital murder romp (lots of wives and husbands get the chop in these things), undistinguished as a story but enlivened by the presence of John Williams, sometimes called Hitchcock’s most frequent star. ![]() Because nothing should ever be really complete. I found this so tedious the first time, I’m deliberately leaving it unwatched in Hitchcock Year. This is a tiresome, overplayed story, with a very annoying performance by Mary Scott as a crime writer (a frequent Hitchcock character/stand-in) with REAR WINDOW style suspicions about a neighbour. Mr Blanchard’s Secret is basically comedy - I think Hitch was often drawn to these episodes as a way of working outside the thriller genre which his feature films committed him to. Hitch’s intro and outro actually expand the story nicely. The Case of Mr Pelham I’ve already discussed, and it’s a nice, inexplicable fantasy tale with Tom Ewell and Tom Ewell. She co-stars with Ralph Meeker in a very dark, upsetting little conte cruel, strong meat for 1950s TV. Revenge went out as the series opener, bumping Breakdown into a secondary spot, purely because Hitch was so pleased with Vera Miles. Many of the best AHPs do this: deceptive simplicity at the service of an idea. There’s an extremely nice conflation of theme, character and plot in this one, which gives the impression of being a simple exercise in suspense and subjective camera. Before we run out of Hitchcock Year, I just wanted to run through the episodes of Alfred Hitchcock Presents directed by the master, so I can say I’ve done ’em.īreakdown is a real mini-masterpiece, reuniting Hitch with two-time collaborator Joseph Cotten.
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