Alfred Hitchcock Presents: You Got to Have Luck (1956)

 

One of the most underrated episodes of the show's first season. 

In this episode, a criminal (John Cassavetes) hides out in a farmhouse and forces the woman (Marisa Pavan) living there to help him hide. 

This is a truly excellent episode. From start to finish this episode has a truly tense and suspenseful feel to it. The farmhouse set and the great cinematography (by Reggie Lanning, a regular cinematographer on the series) creates a claustrophobic feel that make us feel like we are trapped in there with the main woman. John Cassavetes makes a truly terrifying villain, who commands the screen whenever he is on. Meanwhile Marisa Pavan is fantastic as the woman being held hostage. Her fear feels so real and genuine that it helps put us on the edge of our seats. 

Like most Alfred Hitchcock Presents episodes, everything leads up to a twist at the end. This format is something that worked for this show's great episodes but worked against its weaker episodes. If the twist was well done it could make an episode stand out even more. However, a weaker twist could really hurt an otherwise strong episode. You Got to Have Luck has a very smart and clever twist, possibly one of the best of the show's first season. It makes everything that came before work even stronger. When you watch this episode a second or third time you notice little details that perfectly set up the twist. 

This marks the fourth of the many episodes directed by Robert Stevens. Robert Stevens directed 44 episodes of Alfred Hitchcock Presents and 5 episodes of The Alfred Hitchcock Hour. 

This is the only episode of Alfred Hitchcock Presents to feature John Cassavetes. He would go on to act in two episodes of The Alfred Hitchcock Hour (Murder Case (1964) and Water's Edge (1964)). Of course, cinephiles probably know John Cassavetes best as a director. He would become one of the most respected independent American directors. He would direct such movies as A Child is Waiting (1963), Faces (1968) and A Woman Under the Influence (1974). 

The episode was written by brothers Francis M. and Eustace Cockrell, who had co-written the episode A Bullet for Baldwin (1956). These were the only two episodes Eustace Cockrell worked on. However, Francis Cockrell would write several other episodes without his brother. 

 

In Hitch's introduction he is with a big hourglass and states, "Good evening. The, uh, hourglass is a wonderful invention. But I'm afraid it will never replace the sundial. Certainly not in my garden. This one doesn't even work. I sent it to a jeweler's to be cleaned and he removed all the sand." 

He then pulls out a smaller hourglass and continues, "Fortunately, the second hand still functions. Time is very important to the characters in tonight's story. One of them is doing it. For another, time seems to be running out. Time is also very important in television. We fill it. We must start on it. We must finish on it. And, appropriately enough, we occasionally kill it. I refer, of course, to my own fumbling efforts. Certainly not to the stellar entertainment which follows."

This episode would be remade for the 1980's reboot of Alfred Hitchcock Presents in an episode entitled, Prisoners (1985).  

-Michael J. Ruhland 

Alfred Hitchcock Presents: The Big Switch (1956)

 

Airing on January 1, 1956, The Big Switch marked the first episode of 1956.

In this episode a gangster (George Matthews) plans to murder his girlfriend (Beverly Michaels) and hires a friend (George E. Stone) set up an airtight alibi so he can get away with it. 

Much of what makes this episode work is the lead performance by George Matthews (in his first of two episodes). The craggily tough guy character actor is perfectly cast as this hard-boiled gangster. He is completely gripping in this role making him fun to watch in the old-fashioned gangster tradition. As much of a stereotypical of gangster as this character is at first, we later learn that he has more of a heart than it at first seems. 

The storyline is pretty basic. It is hard not to guess how it will end and there is little here that we haven't seen before. However, due to a great lead performance and some well written dialogue the episode is still quite effective. 

This is the second of five episodes directed by Don Weis (who previously directed Santa Claus and the Tenth Avenue Kid (1955)). This is the last of three episodes written by Richard Carr (he previously wrote Triggers in Leash (1955) and Salvage (1955), whose screenplay was based off a story by Cornell Woolrich. 

-Michael J. Ruhland 

Alfred Hitchcock Presents: The Cheney Vase (1955)

 

Appropriate for such a dark episode, The Cheney Vase first aired on December 25, 1955. What could be more Christmas-y?

In this episode Martha Cheney (Patricia Collinge) is elderly and in a wheelchair but has one main thing on her mind a priceless vase that is a family heirloom. Meanwhile Lyle Endicott (Darren McGavin), a dishonest man who has just been fired from his job, forges a letter to get close to her and get his hands on the vase.

This is a fun episode. It benefits most of all from a wonderful villainous performance by Darren McGavin (in his second and final appearance on Alfred Hitchcock Presents (after Triggers in the Leash (1955)). He perfectly captures just how much of a slimeball this character is, making us hate him very early on. The ways he treats the old woman are legitimately disturbing. The other thing that makes this episode is a very satisfying ending that never fails to put a smile on my face. 

The episode does have its flaws though. Chief among them is that the love interest (played by a young Carolyn Jones (best known for playing Matricia Addams in the classic TV show, The Adams Family and later to appear in the Alfred Hitchcock movie, The Man Who Knew Too Much (1956)) is very underdeveloped. We really never get to know anything about her or why she is so devoted to such an evil man. Carolyn Jones is wasted in this thankless role. The story also would have benefited from a longer runtime as it seems like the bad guy wins the old lady's trust way too quickly. 

My favorite thing about this episode is Hitch's introduction, which perfectly captures the master's great dry and dark sense of humor. Hitch holds a voodoo doll and a hypodermic needle and states, "Oh, oh, good evening. I was just about to send greetings to an old friend. I'm sure modern, civilized methods of homicide are much more efficient, but I don't care for them. I abhor violence. That is why on this program, we use stabbings, shootings, and garrotings only when they are absolutely essential to the plot, or when the whim strikes us. Tonight's play begins in a museum. And the title is "The Cheney Vase." That's all I intend to tell you. You'll have to figure the rest out for yourselves. And now our sponsor wishes to say a few words designed to send you rushing out immediately to buy his products. But please endeavor to restrain yourselves. I don't want you to miss our story."

This is the 4th of 44 Alfred Hitchcock Presents episodes directed by Robert Stevens (who would also direct five episodes of The Alfred Hitchcock Hour. On the other hand, this is the only episode to be written by Robert Bless. Bless wrote such movies as All I Desire (1953), Magnificent Obsession (1954), Autum Leaves (1956) and High School Confidential (1958). 

-Michael J. Ruhland 



  

Alfred Hitchcock Presents: Santa Claus and the Tenth Avenue Kid (1955)

 

One would not expect a sentimental Christmas special from Alfred Hitchcock Presents, yet that is exactly what this first season episode is. This episode may feel out of place among other Alfred Hitchcock episodes, but it is a personal favorite of mine and a must watch every Christmas season. 

In this episode, a paroled convict (Barry Fitzgerald), gets a job as department store Santa Claus. When he meets a troubled young boy (Bobby Clark), he decides to help out. 

This is simply a wonderful episode. What makes this episode work so well is the main character. As played by Barry Fitzgerald (who had previously starred in the Hitchcock movie, Juno and the Paycock (1930)), this character is completely believable. He is a hard and cold guy, who is out of his element working as a Santa. He is not good with kids and has a very cynical outlook on life. This episode is also very realistic in the way it presents the change of heart of the character. He is not a completely changed person at the end and there is no guarantee that he is going to reform. Yet he did a good deed and feels the Christmas spirit because of this. This is a very sweet and charming story that never fails to warm my heart. At the same time the rough-edged main character keeps it from ever feel overly sentimental or cutesy. This is especially true because of how great Barry Fitzgerald's performance is. The ending may not exactly be the type of big twist we expect from this show, but it is perfectly heartwarming and charming for this different type of story. 

Hitch's appearances before and after the story are the typical Hitchcock dark and dry humor as he plans to surprise Santa Claus. He is funny as ever here bringing a typical Hitch charm to the Christmas season. 

Hitch's opening lines are "Oh, good evening. I thought I might as well brick this up. I don't expect I'll be using this fireplace anymore. I expect the chimney to be closed very soon. I've, uh, loosened the bricks so they'll fall in if anyone should brush against them on the way down. Santa Claus is always bringing surprises to others. I thought it would be interesting if someone surprised him for a change. I'm rather tired of his tracking soot in here every year. There. Let him "Ho ho ho" himself out of that. At the risk of overburdening our program with the spirit of the season, we have arranged to dramatize a very appropriate story for tonight's divertissement. It is called Santa Claus and the Tenth Avenue Kid."

His closing lines are "You know, he ain't such a bad chap after all. Perhaps his taste in ties has improved. I think I'll give him one more chance. Rest ye merry, we'll have you out of there in a jiffy. And rest ye merry, too. Good night."

 

This is the first of five episodes directed by Don Weis and the second out of eleven written by Marian C. Cockrell. Don Weis was a very prolific television director. TV shows he worked on include I Married Joan, Wagon Train, The Jack Benny Program, The Patty Ducke Show, Batman, Ironside, M*A*S*H, Fantasy Island and Freddy's Nightmares. He also directed quite a few movies including The Affairs of Dobie Gillis (1953), The Gene Krupa Story (1959), Critic's Choice (1963), Pajama Party (1964) and The Ghost in the Invisible Bikini (1966). 

A very memorable but small part in this episode is played by child actress Mimi Gibson (best known for Houseboat (1958) and being the voice of Lucky in Disney's One Hundred and One Dalmatians (1961)). She plays the first girl in line to see Santa Claus and gets a fun dialogue exchange with our main character. In her book, Working Kid: A Memoir of a Child Actor of the 1950's and 60's, Gibson wrote, "A Christmas show titled, 'Santa Claus and the Tenth Avenue Kid,' and, no, I do not remember him - Darn! He most likely didn't direct that episode. I do remember his daughter Pat from working with her on Playhouse 90. And of course, I worked with Bobby Clark again." She worked with Patricia Hitchcock on a Playhouse 90 episode entitled Rumors of Everything (1958). About Patricia Hitchcock Mimi would write, "Pat was a very funny, young woman who liked to break everyone up. I thought she was hilarious and especially a little scandalous when she talked about girdles. I wanted to be just like her." That episode also featured Barbara Del Geddes, who is best known by Hitchcock fans for her role as Midge in Hitch's movie, Vertigo (1958). About working with Bobby Clark on the western movie, Rebel in Town (1956) Gibson remembered one incident quite clearly writing, "Bobby knew I had a little-girl crush on Ben Cooper [one of the stars of the film] who was so nice to me and handsome. So, Bobby told Ben and I found out. I panicked. It was the first time I had those types of feelings for a guy and an older guy at that. I was so embarrassed I thought I'd die. I cried and cried. Ben Cooper was a true gentleman. He knew how embarrassed I was and just didn't make a big deal or have a little talk with me - that would have killed me. He was just nice and friendly as usual and the whole thing blew over. Darn that, Bobby Clark! (Crush No. 2, a handsome guy!)" 

-Michael J. Ruhland 

Resources Used

Working Kid: A Memoir of a Child Actor of the 1950's and 60's by Mimi Gibson

https://hitchcock.fandom.com/wiki/Santa_Claus_and_the_Tenth_Avenue_Kid

https://www.imdb.com/title/tt0508241/

Alfred Hitchcock Presents: Guilty Witness (1955)

 

Guilty Witness was the 11th episode of Alfred Hitchcock Presents and the 3rd directed by Robert Stevens and the third by writer Robert C. Dennis. Robert Stevens and Robert C. Dennis worked together previously on the episode Our Cook's a Treasure (1955). Guilty Witness originally aired on December 12, 1956. 

In this episode grocery store owners Stanley and Dorothy Krane are annoyed by the couple next door constantly fighting. However, they become suspicious, when the husband of that couple disappears. 

 This story may sound familiar to Hitchcock fans as it is quite similar to that of Rear Window (1954). Comparing the two perfectly shows the difference between Hitch's movies and his TV show. The film (which was released the year prior) plays the story in a rather straightforward way, while the episode ends on a huge twist. Unfortunately, this huge twist is the weakest part of this episode. It comes out of nowhere and strains any sense of credibility. After this twist, much of what came before makes much less sense. 

Despite this there is a lot to enjoy before that twist. All three of the stars are fantastic. Joe Mantell (who later appear in one more episode, The Indestructible Mr. Weems (1957)), Judith Evelyn (who had played Ms. Lonelyhearts in Rear Window and would later appear in the episode, Martha Mason, Movie Star (1957)) and Kathleen Maguire (in her first of three episodes) are all very compelling here and make the implausible drama feel quite believable. Robert Stevens direction is sharp and keeps the episode moving at a very fast pace, keeping it from ever getting boring. There is also a good sense of atmosphere and dread throughout. The basic story may feel very familiar but other than the absurd twist ending, everything else works well enough to overlook this. 

This is an otherwise strong episode that is greatly hurt by a weak twist at the end. 

-Michael J. Ruhland

Alfred Hitchcock Presents: The Case of Mr. Pelham (1955)

 

The Case of Mr. Pelham is the 10th episode of Alfred Hitchcock Presents and the third directed by Hitch himself. 

In this episode, a man named Mr. Pelham (Tom Ewell) believes that he has a double who looks exactly like him and who is impersonating him. 

This is a truly wonderful episode. From the start it has an odd and uneasy feel to it. As it goes on the sense of mystery and dread is built up perfectly keeping its audience is suspense in a way only Hitch can. With a smart and compelling script, we are made to doubt everything we feel. This is increased by the fact that we never know anything more than our main character does at any time. This easily puts us into his shoes and makes us feel the same puzzlement and horror that he does. While the story is incredibly implausible, in true Hitchcock fashion we are made to believe everything. However, the main reason this episode works is Tom Ewell's (in his only role in this series) incredibly performance. He is truly magnetic here and conveys the dread and emotional uneasy of the character perfectly.

The episode also benefits from a truly terrifying ending that perfectly lives up to the wonderful build up. Since this implausible story feels so real to us, we begin to believe that such a thing could actually happen to any of us. This makes the ending just as horrifying and frightening as anything in a great horror movie.  

The episode also truly benefits from great cinematography John L. Russell (a regular cinematographer on this series and later the cinematographer for Hitch's cinematic masterpiece Psycho). It gives this episode a film-noir type feel that fits the story perfectly. 

The outro with two Alfred Hitchcocks is truly hilarious and presents Hitch's dry but absurd sense of humor in a wonderful fashion. 

This is the third out of 18 episodes to be written by Francis M. Cockrell. Interestingly the two previous episodes that Cockrell wrote were also the two previous episodes that Hitch directed. 

-Michael J. Ruhland

Alfred Hitchcock Presents: The Long Shot (1955)

 

This marks the 9th episode of Alfred Hitchcock Presents. It is the second of seven episodes directed by Robert Stevenson. Stevenson is best known as a Disney director. In fact, he was one of the studio's finest live action directors, having directed such Disney films as Johnny Tremain (1957), Old Yeller (1957), Darby O'Gill and the Little People (1959), The Absent Minded Professor (1961), Mary Poppins (1964), That Darn Cat (1965), The Love Bug (1969), Bedknobs and Broomsticks (1971) and Herbie Rides Again (1974) among many others. It is also the second of ten episodes written by  Harold Swanton, a very prolific TV writer. His other Alfred Hitchcock Presents episodes would include The Long Shot (1955), Portrait of Joycelyn (1956), Coyote Moon (1959), Anniversary Gift (1959), An Occurrence at Owl Creek Bridge (1959), Summer Shade (1961), Museum Piece (1961), Bang Your Dead (1961) and The Twelve Hour Caper (1962) as well as The Alfred Hitchcock Hour episode Body in the Barn (1964). Other TV shows he worked on include The Whistler, Gunsmoke, Perry Mason, Wagon Train, Bonanza and Little House on the Prairie. He also occasionally worked on movies like Disney's Rascal (1969).   

In this episode a compulsive gambler (Peter Lawford) lands in financial debt. He sees an ad for someone looking for a traveling companion to San Francisco. Along the way he decides to change identities with his traveling companion (John Williams). However, this leads to more trouble than he ever anticipated. The opening involves Hitch playing a slot machine that gives him actual fruit. 

This is truly an excellent episode. Though the story has been done before but that doesn't stop this from being compelling viewing. There is a delightfully moody and atmospheric feel to this episode thanks to Stanley Wilson's haunting music and Reggie Lanning's atmospheric cinematography. Many scenes have that cinematic quality that makes this series stand out among many other TV shows of its time. The episode also has some very effectively dark scenes that leave a real sense of unease in the truest of Hitchcock fashion. Also helping this episode work is that Peter Lawford (in his own gives one of the best performances I have seen from him, perfectly capturing the shiftiness of such a character. 

The episode is not perfect however as it can become too talky at times and there is an over reliance on narration. The ending is also too predictable from a show like this which is best known for its shocking twists. 

John Williams as the traveling companion, will be a familiar face to most Hitchcock fans. This was the first of ten episodes of Alfred Hitchcock Presents that he acted in. However, Hitch fans will know him best for his roles in the Hitchcock movies, Dial M for Murder (1954) and To Catch a Thief (1955).  In Dial M for Murder, he played Chief Inspector Hubbard, a role he also played on stage and in a 1958 television adaption. 

-Michael J. Ruhland 

Alfred Hitchcock Presents: Our Cook's a Treasure (1955)

 

This is the second out of 44 episodes of Alfred Hitchcock Presents to be directed by Robert Stevens, who would also go on to direct 5 episodes of The Alfred Hitchcock Hour. This is also the second of 30 episodes written by Robert C. Dennis (it was based off a story by mystery novel writer Dorothy L. Sayers). 

In this episode a man (Everett Sloane) thinks his housemaid (Beulah Bondi) might be a serial killer.  

This episode is very much held together by the wonderful performances by Everrett Sloane and Beulah Bondi. Both of them are very compelling to watch and make this simple story very engaging. The story itself is quite well handled. While the twist is not hard to see coming, this episode does quite a good job of putting us in the place of the main character. We can understand and feel his panic and paranoia growing. It is hard to say that any of us would fall into the same paranoia if we were in his place. Steven's directing is also very strong here. His pacing is perfect, and the episode never once feels dull, nor does it ever really drag. The episode also remains visually interesting throughout with some strong atmospheric shots that enhance the suspense of the story. 

Hitch's opening and closing sequences with him as a wine taster are fine but, in my opinion, not as funny as his best host sequences.   

This was the first of three episodes to star Everett Sloane. Though Sloane had a very prolific career in both movies and TV, he is probably best known for playing Mr. Bernstein in Orson Welles' masterpiece, Citizen Kane (1941). This is the only appearance on the show by Bulah Bondi, a great character actress, whose filmography includes such classics as Make Way For Tomorrow (1937), Mr. Smith Goes to Washington (1939), Remember the Night (1939), Penney Serenade (1941), Watch on the Rine (1943), It's a Wonderful Life (1948), So Dear to My Heart (1949), A Summer Place (1959) and plenty more. 

-Michael J. Ruhland

Alfred Hitchcock Presents: Breakdown (1955)

 

Breakdown marked 7th episode of Alfred Hitchcock Presents and the second directed by Hitch himself. 

In this episode a man (Joseph Cotton) is involved in a bad car accident and becomes paralyzed. However, when he is discovered, people believe that the man is already dead. 

It is a bit strange to think that this episode was directed by Hitch himself. Hitch always argued for what he called "pure cinema," which is where the story is told visually rather than through dialogue. It is true that this episode is television and not cinema, but it still is strange how far this is from pure cinema. You can close your eyes with this episode on, and you could fully appreciate it as if it was an old radio drama. The narration and dialogue tell the whole story without the visuals. 

Despite how this doesn't fully fit into Hitch's usual style of filmmaking, it is a truly gripping episode. The story and writing are top notch. This episode truly puts in the place of Joseph Cotton's character. This is a truly horrifying place to be. Picturing ourselves being in the most terrifying position possible is the type of stuff nightmares are made of. Though there is nothing supernatural here, this is pure horror at its most effective. Joseph Cotton's performance is also excellent, which is incredibly important considering how much of this episode relies on narration. 

Another (and often overlooked) factor to this episode is the lack of a musical score for most of the episode's runtime. When a musical score kicks in during the dramatic finale, the scene is all the more effective because of it. 

Alfred Hitchcock's introduction and outro are hilarious in the typical style of dry Hitchcock humor. Him talking about how reading thrillers relaxes him and get his mind off his work as well as how he is trapped in the TV powerless are Hitch's humor at its best. 

Because of this, despite its reliance on narration and dialogue, this is often considered one of the best episodes of the show. I can certainly see why. 

 

Joseph Cotton had previously played the villainous role in the Alfred Hitchcock movie, Shadow of a Doubt (1943). That film was the one Hitch considered his favorite that he had made. It also provides Cotton with possibly his greatest acting role. Cotton would also go on to appear in two more episodes of this show (Together (1958), Dead Weight (1959)). Cotton is probably best known for his work with another great filmmaker, Orson Welles. He had important roles in what are considered two of Welles' best directorial efforts, Citizen Kane (1941) and The Magnificent Andersons (1942). He also played the lead role in the movie that had one of Welles' most famous acting roles, The Third Man (1949). 

This episode was written by Francis M. Cockrell and Louis Pollock. Cockrell wrote a staggering 18 episodes of this series. He would even direct two of the episodes, Whodunit (1956) and The Rose Garden (1956). On the other hand, this is the only episode Louis Pollack receives on the show. 

Editor Edward W. Williams won an Emmy for his work on this episode. Williams was the regular cinematographer for this series and its follow-up The Alfred Hitchcock Hour. Other TV shows he worked on include The Life of Reily, Suspicion, Ironside and The Invisible Man.  

This episode would later be remade in 1985 for the revival series of Alfred Hitchcock Presents. That remake would be directed by Richard Pearce and star John Heard. 

-Michael J. Ruhland 

Afred Hitchcock Presents: Salvage (1955)

 

Salvage marks the 6th episode of Alfred Hitchcock Presents. 

In this episode a gangster (Gene Berry) who has just been released from prison, goes searching for the woman (Nancy Gates), who he believes is responsible for his brother's death.  

This is truly an excellent episode. Starting off right in the middle of the action proves to be a perfect way to tell this story as we fill out the backstory for the characters more and more as the story goes on. As we do this we discover that the characters are much more complex than we originally thought. The more we learn about these characters, the more invested in them we become. Because of this for characters we only spend less than a half hour with, we feel like we know them completely. The story is also incredibly well written. At first, we seem to think we know where it is going but it surprises us while still making perfect sense. 

The real reason this episode works so well is because of the acting. Of course, such reliable actors as Gene Berry (in his second appearance on this show) and Elisha Cook Jr. are excellent. However it is the relatively unknown Nancy Gates, who steals the show with her very emotionally vulnerable performance.

The opening and closing bits with Hitchcock on a film set are delightfully fun and silly, contrasting perfectly with the darker main story. 

This is the first episode of this show directed by Justus Addiss. He would direct a total of ten episodes. His other episodes would include A Bullet for Baldwin (1956), Safe Conduct (1956), Nightmare in 4-D (1957), The Night the World Ended (1957), Martha Mason, Movie Star (1957), The West Warlock Time Capsule (1957), The Indestructible Mr. Weems (1957), Miss Paisley's Cat (1957) and Night of the Execution (1957). Other TV series he directed for include Rawhide, Mister Ed, The Restless Gun, The Twilight Zone and Voyage to the Bottom of the Sea.  

-Michael J. Ruhland

Alfred Hitchcock Presents: Into Thin Air (1955)

 

Into Thin Air marks the 5th episode of Alfred Hitchcock Presents and aired on October 30th, 1955.

In this episode, a young woman (Patrica Hitchcock) leaves her sick mother (Mary Forbes) in a hotel room. However, when the young woman returns to the hotel, she finds her mother is missing and no one remembers either her or her mother. 

I really liked this episode. The main reason for this is Patricia Hitchcock in the main role. This may be her career best performance as she really draws us in making us believe every second of this implausible story. The rest of the cast is excellent as well including a very good performance from Alan Napier, best known for playing Alfred on the 60's Batman TV show. While the story itself feels familiar, it is quite well handled with a great twist at the end. The episode also does a fantastic job of creating a bit of suspense and keeping you wondering what exactly is going on

This episode's storyline very much resembles the Alfred Hitchcock film, The Lady Vanishes (1938), something Hitch himself acknowledged in his introduction.

Hitch's daughter Patricia Hitchcock stars in this episode. This is the first of ten Alfred Hitchcock Presents episodes she would appear in. The other episodes were The Older Sister (1956), The Belfry (1956), I Killed the Count Part 1 (1957), The Glass Eye (1957), Silent Witness (1957), The Crocodile Case (1958), The Morning of the Bride (1959), The Cuckoo-Clock (1960) and The Schartz-Metterklume Method (1960). She also appeared in her father's movies, Stage Fright (1950), Strangers on a Train (1951) and Psycho (1960). When Alfred Hitchcock gives his closing remarks, he tells us "I thought the little leading lady was rather good didn't you?" 

This is one of only two episodes directed by Dan Medford (the other was Triggers in Leash (1955)), a very prolific TV director. Some of the other TV series he worked on include Climax!, The Riffleman, The Untouchables, The Twighlight Zone, The F.B.I., The Fall Guy and Dynasty.

This is the first episode written by Marian B. Cockrell, who would go on to write ten more episodes. These episodes were Santa Claus and the Tenth Avenue Kid (1955), There Was an Old Woman (1956), Whodonit (1956), Wet Saturday (1956), Conversation Over a Corpse (1956), The Rose Garden (1956), The West Warlock Time Capsule (1957), Miss Paisley's Cat (1957), Miss Bracegirdle Does Her Duty (1958) and The Schartz-Metterklume Method (1960). 

-Michael J. Ruhland

Alfred Hitchcock Presents: Don't Come Back Alive (1955)

 

In this episode married couple Frank and Mildred are in desperate need for money. Frank comes up with an idea for Mildred to disappear for seven years. He would declare her dead and they could collect her insurance money. However, he soon finds himself accused of killing his wife. 

This is a wonderful episode. The very premise is intriguing and just the type of dark but fun story, we have already come to expect for this series. Yet the execution is even better. Sidney Blackmer (who would go on to appear in one more episode, The Faith of Aaron Menefee (1962)) is very compelling in the lead role. He adds an even greater intensity to the story as he feels completely real every moment he is on screen. Robert Emhardt (who appeared in six Alfred Hitchcock Presents episodes and one The Alfred Hitchcock Hour) is equally wonderful as the detective who thinks that Frank killed his wife. The story is full of very clever little moments that keep one guessing what will happen next. The dialogue is also very smart and well written. The final twist at the end is perfect and there is no better way for such a story to end. Alfred Hitchcock's intro and outro are as great as ever and his dry sense of humor is truly hilarious here. 

This is the first episode directed by Robert Stevenson. Stevenson is best known as a Disney director. In fact, he was one of the studio's finest live action directors, having directed such Disney films as Johnny Tremain (1957), Old Yeller (1957), Darby O'Gill and the Little People (1959), The Absent Minded Professor (1961), Mary Poppins (1964), That Darn Cat (1965), The Love Bug (1969), Bedknobs and Broomsticks (1971) and Herbie Rides Again (1974) among many others. Stevenson directed seven episodes of Alfred Hitchcock Presents. His other television work includes episodes of Calvacade of America, Gunsmoke, General Electric Theatre and Disney's Zorro. This is the first episode for writer, Robert C. Dennis who wrote a total of thirty episodes of Alfred Hitchcock Presents. Dennis was a very prolific TV writer, whose TV career began in the 1950's and ran through the 1980's. TV shows he was written for include China Smith, Mike Hammer, Peter Gun, The Untouchables, 77 Sunset Strip, Perry Mason, Batman, Hawaii Five-O, Dragnet, Barnaby Jones and Charlie's Angels. 

-Michael J. Ruhland 

Alfred Hitchcock Presents: Triggers in Leash (1955)

 

Note: This review contains spoilers.

Though often called the Master of Suspense, Alfred Hitchcock worked in a wide variety of genres including suspense, horror, romantic comedy, dark comedy, melodrama, action, dramatic stage and literary adaptions and even a musical biopic. One genre Hitch will never be associated with is the western. He never directed a western in his long career. However, the third episode of his TV series was in fact a western.

In this episode a local man (Darren McGavin) challenges a cowboy (Gene Barry) to a shootout. Both agree to have this duel when the big mantel clock strikes a certain time. However, the clock mysteriously stops. 

This is an excellent episode. Though when many of us think of westerns, gunfights and action come to mind, the point of this episode is actually to avoid such action. Most of the episode is spent building up tension and the characters. Though there is little to any action, this is a very tense episode. With a small cast and one setting, there is a wonderful claustrophobic feel here that puts one on the edge of their seat. This old cabin in the rain and the dirty clothes on the characters help give this episode a real tense sense of atmosphere that keeps it from feeling as stage bound as it easily could have. Though this is a dialogue heavy episode, the dialogue is very well written, and perfects sets up the characters and the sense of tension. To not have an actual shoot out is a perfect twist. Though it could have felt anti-climactic, it actually fits the story very well.  

Once again, though the story is essentially serious, Hitch's introduction takes a very tongue and cheek sense of humor, even stating that there are no horses because they couldn't remember the lines. His line about Russian roulette cracked me up being the perfect example of Hitch's dark but silly sense of humor as is what he has to say about the ending of the episode. 

This is one of only two episodes directed by Dan Medford (the other was Into Thin Air (1955)), a very prolific TV director. Some of the other TV series he worked on include Climax!, The Riffleman, The Untouchables, The Twighlight Zone, The F.B.I., The Fall Guy and Dynasty.

 The writers are Richard Carr and Allan Vaughan Elston. Richard Carr co-wrote two more episodes of the show Salvage (1955) and The Big Switch (1956). His other TV credits include such TV series as Racket Squad, Rawhide, Batman, Peyton Place, The Legend of Jessie James, The Waltons, The Six Million Dollar Man and Charlie's Angels. Allan Vaughan Elston co-wrote one more episode of the show, The Belfry (1956). Neither of the writer nor the director ever worked on one of Alfred Hitchcock's movies. 

Gene Berry appeared in one more episode of Alfred Hitchcock Presents (Salvage) and an episode of The Alfred Hitchcock Hour (Dear Uncle George (1963)). He is probably best known for his lead role in the classic sci-fi movie The War of the Worlds (1953) and his starring roles in the TV series Bat Masterson, Burke's Law and In the Name of the Game. Darren McGavin would appear in one more episode of Alfred Hitchcock Presents, The Cheney Vase (1955) and an episode of The Alfred Hitchcock Hour, A Matter of Murder (1964). He is probably best known his leading role in the TV series Kolchak: The Night Stalker.

-Michael J. Ruhland

Alfred Hitchcock Presents: Premonition (1955)

 

Premonition is the second episode of Alfred Hitchcock Presents, and the first episode not directed by Hitch himself. This episode was directed by Robert Stevens, who directed more episodes of this series than anyone else. He was one of the best TV directors of his time and especially shined in anthology series like this one. Other anthology shows he worked on include Suspense (another show for which he was the most prominent director, directing a whopping 145 episodes), Climax, Suspicion, Playhouse 90 and the granddaddy of them all The Twilight Zone. Though he was mostly a TV director, he did occasionally direct movies as well including the film-noir The Great Caper (1957) and the Jane Fonda and Peter Finch romantic film, In the Cool of the Day (1963).  

In this episode a famous pianist (John Forsythe) returns to the hometown he grew up in. Finding out his father is dead he attempts to find the man he thinks killed his dad. 

This is truly excellent episode. Robert Stevens gives the whole episode a dark air of foreboding that draws us in before anything actually happens. There is a real atmosphere here that reminds one of Hitch's best movies, even if Hitch didn't direct it himself. This episode also impressively manages to fit a lot of moments that perfectly build up the characters, the mystery and the suspense. Managing to have very effective moments like these in a half-hour story is incredibly impressive. What is more impressive is that while doing this, the episode never once feels rushed but instead like it is the exact right length to tell the story. The writing here is also very smart and does a wonderful job of keeping you on the edge of your seat with each twist. The final twist is perfect. 

This is the only episode of Alfred Hitchcock Presents to star John Forsythe. However, it is far from his only work with the master of suspense. He would later star in an episode of the show's follow-up series The Alfred Hitchcock Hour (I Saw the Whole Thing (1962)). He would also appear in two of Hitch's movies Trouble with Harry (1955) and Topaz (1969). His co-star Cloris Leachman appeared in two more episodes Don't Interrupt (1958) and Where Beauty Lies (1962). She would also appear in Mel Brooks' Hitchcock spoof High Anxiety (1977).  

This episode's writer was Harold Swanton, a very prolific TV writer. His other Alfred Hitchcock Presents episodes would include The Long Shot (1955), Portrait of Joycelyn (1956), Coyote Moon (1959), Anniversary Gift (1959), An Occurrence at Owl Creek Bridge (1959), Summer Shade (1961), Museum Piece (1961), Bang Your Dead (1961) and The Twelve Hour Caper (1962) as well as The Alfred Hitchcock Hour episode Body in the Barn (1964). Other TV shows he worked on include The Whistler, Gunsmoke, Perry Mason, Wagon Train, Bonanza and Little House on the Prairie. He also occasionally worked on movies like Disney's Rascal (1969).   

Alfred Hitchcock Presents: Revenge (1955)

 

Note: This post contains spoilers. 

One of the best TV shows of its time, Alfred Hitchcock Presents was an anthology series that played like shorter versions of Hitch's movies. The same themes that made his feature films so memorable were equally present in each episode of the show. Even though Hitch did not direct most episodes, each one had his personal stamp on it. Each episode opened with Hitch himself talking to the audience and introducing each week's story. These introductions feature Hitch not as a brilliant artist but rather as a great entertainer. This is the side of the master of suspense that is often overlooked but is just as worthy as study as the more artistic auteur side. These intros show his dark sense of humor and playfulness that helped make him just as popular with the average person as those who tend to intellectually dissect films. Even today Hitch's work remains just as popular with average audiences as well as intellectual cinephiles. 

To audiences at the time Hitch was just as well for this series as he was for his movies. Though never intended as a children's show, this series was very popular with kids and Hitch would receive many fan letters from kids who had never watched his movies about this show. One of these kids was Gus Van Sant, who would later direct the 1998 remake of Psycho (1960). As a child in the 1960's he and his sister were transfixed whenever Hitch's TV show appeared on screen. They also became addicted to the Alfred Hitchcock Magazine (which came during this series' popularity), which featured a series of written suspense stories. This magazine was so popular with kids that an official fan club which kids could join for sending only fifty cents. There was even a series of children's books entitled Alfred Hitchcock and the Three Investigators. Van Sant admitted despite this he never actually delved into Hitchcock's movies until adulthood.  

In this premiere episode (one of the few directed by Hitch himself), a couple moves to a trailer park after the wife (a ballerina) has a nervous breakdown. One evening the husband returns home and discovers his wife in an awful state. She tells him that she was attacked and almost killed. One day while out driving, she tells her husband she just saw the man who attacked her. He then follows the man and kills him. Later, they are stilling driving and she sees another man and claims that different man is the one that attacked her. Hitch then narrates the story's ending telling us, "Well, they were a pathetic couple. We had intended to call that one 'Death of a Salesman', but there were protests from certain quarters. Naturally, Elsa's husband was caught, indicted, tried, convicted, sentenced and paid his debt to society for taking the law into his own hands. You see, crime does not pay. Not even on television. You must have a sponsor. Here is ours, after which I'll return." These type of endings, where Hitch would briefly and dismissively tell us that a criminal was caught would be common in this series. The censors would not allow criminal behavior to go unpunished. Yet some stories simply worked better if the criminal didn’t get caught. This allowed Hitch to have it both ways, essentially having his cake and eating it too. 

This is a very simple little murder story. It is short, simple and to the point. It may not have the depth of Hitch's more complex work but that doesn't mean it isn't effective. Ralph Meeker (who would go on to star in three more episodes (Malice Domestic (1957), Total Loss (1959), I'll Take Care of You (1959)) and Vera Miles (who appeared in the Alfred Hitchcock movies The Wrong Man (1956) and Psycho as well as two episodes of The Alfred Hitchcock Hour, Don't Look Behind You (1962) and Death Scene (1965)) are wonderful in their lead roles here and make you truly care about these characters. Vera Miles is especially wonderful here, showing a real vulnerability that adds to the suspense. Also, while the story is simple, the twist ending is very clever and effectively dark. Balancing out with this dark and serious story is the humor in the intro and outro is wonderfully funny. 

The writers for this episode are Francis M. Cockrell and Samuel Blas. Cockell would go to write seventeen episodes of this series and direct two.

The cinematographer is John L. Russell, who would be cinematographer on most episodes of this series and its follow-up The Alfred Hitchcock Hour as well as the Alfred Hitchcock movie, Psycho. 

In 1985, NBC would launch a revival of this series. The first episode of that new show would in fact be a remake of this episode. The remake would star Linda Purl and David Clennon and be directed by R. E. Young. 

Resources Used

The Twleve Lives of Alfred Hitchcock by Edward White

https://hitchcock.fandom.com/wiki/Revenge

https://the.hitchcock.zone/wiki/Alfred_Hitchcock_Presents_-_Revenge