Here are the titles--keep scrolling down, we have a lot of Gord for you to read here...
Doomsday--from Alfred Hitchcock's "Suspicion", 1957
Night Song--from "Follow the Sun," 1961
Into the Night--from "G.E. Theatre", 1955
To Have and Have Not--from "Lux Video Theatre", 1957
Step Right Up and Die--form "Schlitz Theatre", 1956
Suitable for Framing--from "Hong Kong", 1961
Unfortunately, it appears that there is not a single one of these episodes currently available on YouTube...
DOOMSDAY 1957
This episode is from the Alfred Hitchcock produced series,"Suspicion". The series ran from 1957-59.
In this episode we have Dan Duryea as a bank job artist. He is a smooth operator who only pulls a job once or twice a year. He poses as a big time cattle rancher who flies in for big cattle sales to establish a cover. He then slips away and does his real business. He collects a different crew each time and plans the job out to the last detail. 10 years and he has never come close to being caught. Needless to say this new perfect plan turns out to be anything but.
The crew includes such noir regulars as Robert Middleton, Bing Russell, Paul Birch, Edward Binns and Charles Bronson. First thing to go wrong is that Binns recognizes Duryea. It seems they had been in the Army together 15 years earlier. A quick trip down a country road with a bullet to the back of Binn's head ends that loose end. Then one of the other men turns out to have a over fondness for the bottle. Duryea plans the same end for him after the job.
Duryea, who likes things to go smooth and by the numbers, is now thinking about calling the whole robbery off. He just can not shake that something is wrong feeling. He decides to go ahead anyway. The job goes like clockwork and they make off with $300,000 in cash. Duryea just makes it to the getaway car when he is dropped to the ground by a bullet in the back. He is grabbed up by one of the other holdup men and dumped into one of the getaway cars.
They head to the hideout while Duryea is slowly bleeding to death. He figures it is one of the crew trying a double cross for all the loot. While listening to the radio Duryea hears of the capture of the men in the other car. Then, there is a story about two men who while arguing over a fishing boat, had exchanged several shots. It seems it was one of these bullets that hit Duryea. Duryea laughs and then drops dead. The perfect plan has a less than perfect outcome.
This is a nicely put together little episode with some good work from director Bernard Girard. Girard worked on quite a few series during the 50's and early 60's. The story and screenplay was by Sy Bartlett. Bartlett was best known for the novel and screenplay "TWELVE O'CLOCK HIGH". The d of p was Bud Thackery who was a long time fixture at Republic Studios. His work included, UNMASKED, NO MAN'S WOMAN, TERROR AT MIDNIGHT, ACCUSED OF MURDER and later on the Eastwood film, COOGAN'S BLUFF.
FOLLOW THE SUN – Night Song – 1961
This is episode 11 from the 1961-62 series, FOLLOW THE SUN. The series, which ran for 30 episodes, follows a trio of free-lance magazine writers. The three are played by Barry Coe, Gary Lockwood and Brett Halsey. The gimmick here is that they are based in Honolulu. Also with recurring roles are Gigi Perreau as their secretary and Jay Lanin as their contact with the Police. Of course the three newsmen are always getting involved with the usual assortment of nasty types.
It is a darkened nightclub in Tokyo, a sultry voice is moaning out "What's this thing called love?" Of course it is none other than Julie London. Now enters noir favourite, Lawrence Tierney. He grabs a table and watches London finish her set. He then follows her to her dressing room. London turns three shades paler when our boy Lawrence enters her dressing room.
Tierney gives London a few backhands, he then adds, "Nobody leaves me! You will never sing again. I made you, you are mine." He then gives London a bit more of the rough treatment.
Now we switch to Manila several months later. Newsman, Brett Halsey, is in town doing a piece on gold smuggling between Macao and Manila. He stops at his favourite café for a meal. The waitress turns out to be Miss London. Halsey knows exactly who London is, having seen her show during a visit to Chicago the year before.
He strikes up a conversation and the two agree to meet later that night. After a trip to a local casino cleans London out, they hit a small jazz club. London ends up doing a song for the band. Halsey asks why London is doing the waitress bit. London tells Halsey about her problems with Tierney. Tierney was a mobbed up boxing promoter who had taken a shine to London. They had stepped out together for a while and Tierney had helped advance her career.
Of course Tierney was not the type to take London moving on. Every time she got a new gig, he would show and belt her around. He had even put her in the hospital for 2 weeks once. "It is safer to lay low and avoid the man".
Several days later, another noir favourite, Charles McGraw shows up at the café. McGraw and London know each other through Tierney back in Chicago. McGraw is also a mobbed up guy. He sweet talks London into coming to work for him at top dollar. "I'll square it with your ex".(Tierney) London of course is as pleased as punch to return to the stage. McGraw owns a chunk of a local club where London can start her comeback.
What London does not know, is that it is all a plan to flush Tierney out of the U.S. The IRS is hounding the mob over income tax, and they think Tierney might rat them out to save his own skin. They figure Tierney will fly out to put a stop to London's comeback. Needless to say, they are right and Tierney comes a calling.
Tierney and McGraw meet at the club and both go for their iron. Bullets fly and both are soon suffering from a permanent low blood count. This turn of events works out very much in Miss London's favour. Reporter Halsey sees London off back to the States. He decides London has had enough trouble in her life, and decides not to write the article he had planned.
This is a very enjoyable episode with tons of film noir talent in front, and behind the camera. It was a hoot to see the two thugs, Tierney and McGraw glare at each other as they shoot it out.
Tierney had roles in, BORN TO KILL, THE DEVIL THUMBS A RIDE, GHOST SHIP, DILLINGER, SAN QUENTIN, SHAKEDOWN, BODYGUARD, THE FEMALE JUNGLE and THE HOODLUM.
Charles McGraw had bits in, THE KILLERS, THE BIG FIX, BRUTE FORCE, THE LONG NIGHT, ROSES ARE RED, THE GANGSTER, T-MEN, THE HUNTED, BLOOD ON THE MOON, BERLIN EXPRESS, THE BLACK BOOK, BORDER INCIDENT, THE STORY OF MOLLY X, THE THREAT, ROADBLOCK, SIDE STREET, ARMORED CAR ROBBERY, LOOPHOLE and THE NARROW MARGIN.
Miss London, her of the ultimate, "smoky" voice, was in THE RED HOUSE, THE FAT MAN, CRIME AGAINST JOE and THE THIRD VOICE.
Behind the camera we have another film noir veteran, Felix Feist. Feist helmed the noir, THE DEVIL THUMBS A RIDE, THE THREAT, THE MAN WHO CHEATED HIMSELF, TOMORROW IS ANOTHER DAY and THIS WOMAN IS DANGEROUS.
The episode was written by one time Oscar nominated, Harold Jack Bloom. Bloom is best known for writing, THE NAKED SPUR.
The D of P was Floyd (HIGH NOON) Crosby.
GENERAL ELECTRIC THEATER - Into The Night - 1955
This one is an episode of the long running anthology series, GENERAL ELECTRIC THEATER. The series ran between 1953 and 1962 and totaled 300 episodes.
Eddie Albert and Ruth Roman are busy packing their bags for a trip out to Palm Springs. The two are looking forward to a relaxing weekend away from the kids. The babysitter has arrived and it is time to go. A hug and a kiss for the kids, then off they go with only a last stop at the drug store for some odds and ends.
Arm in arm they return to the car and head off. Not a block from the store and up pops Robert Armstrong from the back seat and sticks a gun in Albert's ear. "Drive up a couple of blocks, hang a left and stop!" Albert does what he's told and follows directions. A few blocks later he pulls over and Dane Clark piles into the front seat.
Albert is instructed to drive and not ask any questions. Miss Roman of course is anything but quiet and soon finds herself on the end of another piece. Clark and Armstrong need a ride to the border and the couple better help or else. It seems the two gunmen had held up a store and blasted the clerk when he was less than cooperative.
They soon come up on a roadblock. Clark says it's the gas chamber already for Armstrong and himself so they have nothing to lose by killing Albert and Roman. Behave and they just might live to see the morning. The cops are looking for two suspects so they wave the four of them through. Half an hour down the road and Clark notices the gas needle hitting on empty. They stop at a small station for fuel.
But they only manage a quarter tank before the gas station radio starts with the gunman's description. Clark throws some cash at the gas jockey and starts the car. Roman pulls out her lipstick and Clark cracks, "the world's coming to an end and all you dames worry about is how your face looks!" Roman scribbles a quick note to drop to the gas jockey but Clark spots her play. Clark gives her a couple of sharp ones to the face and say's "naughty, naughty!"
It does not take long till they go through the quarter tank and Clark pulls over into a farmyard. He leaves Armstrong to watch over Albert while he shoves Roman along to the farmhouse door. "Ask for some gas and be quick about it!" Clark hides in the shadows while Roman bangs on the door. The farmer is not happy with the late night wake-up, but comes out to help. As the jerry can is being filled Roman whispers to the farmer about the gunmen and to phone the police. The farmer hands the jerry can to Roman and asks if Roman had said something. "I never had a chance to put on my hearing aid so I can't hear a thing."
Roman starts back to the car and is soon joined by Clark. "Good thing the old geezer was deaf, or I would have had to plug him. I heard what you said to him." Back at the car, Armstrong, who has been nursing a bottle all night lets his guard down and is disarmed by Albert. When Clark and Roman show up with the gas, Albert hauls out his gun, points it at Clark, pulls the trigger. Nothing happens. Clark laughs and barks. "You think I would leave a loaded gun with that useless old drunk." Armstrong mumbles that he is sorry and that he had dozed off. Clark pulls out his own gun and shoots Armstrong dead. "Now it's your turn!" he says to Albert.
But as Clark takes aim he feels a barrel to his own back. It is the farmer with his 12 gauge planted firmly in Clark's spine. Off in the distance a howling police siren is drawing closer. It seems the farmer had heard every word Roman had said. He had noticed Clark in the shadows and played it cool. As the siren's wail gets louder, Albert steps up and drops Clark to the ground. "Hear that punk! You are being paged."
Excuse my somewhat enthusiastic review here, but I found this to be one of the best bits of 50's television noir I've ever come across! A tight story, great acting and a look that makes one believe they are watching an A class film.
One look at the people behind the camera and I know why I loved this episode. The director is none other than Jacques Tourneur. One can see his hand all over the episode. OUT OF THE PAST, CAT PEOPLE, NIGHTFALL are just a few of his films.
The D of P was Oscar nominated (Sayonara) Ellsworth Fredericks. Fredericks was D of P on several low-rent mid 50's Bill Elliot crime films like SUDDEN DANGER and DIAL RED –O. He is better known though as a cameraman on classic Warner Brothers films like, TREASURE OF THE SIERRA MADRE , KEY LARGO, THE DAMNED DON'T CRY, FLAMINGO ROAD and THE BREAKING POINT.
The screenplay was by Mel Dinelli. Dinelli worked on THE SPIRAL STAIRCASE, THE RECKLESS MOMENT, BEWARE MY LOVELY, HOUSE BY THE RIVER and JEOPARDY. The story was by Charles (BLUE GARDENIA) Hoffman.
This is top-flight bit of noir entertainment! I loved it! (b/w)
To Have and Have Not 1957 - LUX VIDEO THEATER
LUX VIDEO THEATER was an anthology series that ran between 1950 and 1959. Several hundred episodes were produced during the run. Guest stars included, Jan Sterling, Thomas Mitchell, James Mason, John Hoyt, Ray Burr, Steve Brodie, Lynn Bari etc. It was a tv version of the popular LUX RADIO THEATER.
No need to retell the story as we all know it. I will just describe the changes from the 1944 film. The two leads are played by Edmond O'Brien in the Bogart role and Beverly Garland filling in for Bacall. O'Brien plays the role with a far more violent and menacing edge than the laid back "leave me out it" style Bogart used in the film.
Beverly Garland likewise turns it up and does her part as if she in just a step away from being a tramp. This really causes the sparks to fly when the two are in the clinches. One would swear they were going to drop their linen any second. There is some real chemistry here.
John Qualen does a straight up copy of the Walter Brennan role and does not stand out at all. Dan Seymour reprises his role from the film as the slimy head of the Vichy Secret Police. Frances Bergen does the role played by Polly Moran while Lyle Talbot plays the American fisherman.
Though there is no Hoagy Carmichael, we do have Sir Lancelot belting out a calypso tune. Lancelot had a small role in the 44 film but most will recall him from BRUTE FORCE. He was the soulful singer of the cell block in that film.
Making up in the rest of the cast is Ken Terrell, Richard Flato, Edward Barrier and Jean De Val. There seems to be some dispute as to who the director was. IMDb says it was Jean Yarbrough but the episode I watched credits a James Yarbrough. A James Yarbrough worked on several series in the 50's. Given the confines of television at the time this production works very well. There is the odd short cut. For example, we only get to see the cast going to, or from the boat. None of these short cuts hurt the story and in fact speed up the action.
This is one of the best bits I've ever seen Garland in. A top flight TV noir. Too bad this was one of the many dvds I lost in the flood of several years ago. I would love to catch it again.
Re: To Have and Have Not 1957 - LUX VIDEO THEATER
Posted by Gordon Gates on 9/11/2019, 9:50 pm, in reply to "Re: To Have and Have Not 1957 - LUX VIDEO THEATER"
Carl:
The Burr and Cotton episode was from FORD THEATER in 1956 called Man Without Fear.
Another great episode of Ford Theatre! Joseph Cotten and Raymond Burr play business partners with a slight problem. The problem? It seems that Cotten has been playing fast and loose with the company funds. He then sets partner Burr up for the crime. Burr gets a 10 year extended holiday from the state. Then Cotten gives the old knife in the back a twist by marrying Burr's ex-wife. Nine years go by and Burr pulls a prison break. Needless to say it is not a friendly visit Burr has in mind when he comes calling. Cotten puts the blame for the frame-up on Burr's ex. Some real entertaining back and forth between the two leads is topped off with a rather unexpected ending. A great half hour's worth of noir entertainment.
Gord
Schlitz Playhouse - STEP RIGHT UP AND DIE (1956)
This one is a 1956 episode of Schlitz Playhouse. Lyle Bettger headlines the episode. Bettger, plays an ex-con who along with his wife, Dorothy Patrick run a 2nd rate fun-house on an amusement pier. He spends his nights waving people in at a dime a time. On one slow night Bettger is approached by a man who hands him a $50.00 bill. "I can't break a fifty for a 10 cent ticket", Bettger says. The man replies that he can keep the bill if he will show him the back door to the fun-house. He has some people following him and needs to give them the slip. 50 bucks is 50 bucks so Bettger gives the man the directions to get out the back of the fun-house.
20 minutes later he is relieved by his brother in-law, Paul Smith. He then goes on a check of the fun-house where he of course finds the man inside dead. Being an ex-con, Bettger grabs up the body and stashes it on one of the fun-house exhibits. He tells the wife and she wants him to call the police. "No way" says Bettger. "One time to jail is enough for me!" Showing up on the scene now is John Doucette, a police detective who just happens to be looking for the dead man. "Never seen the guy" swears Bettger.
The pier closes for the night and Bettger loads up the stiff in his car. He intends to dump the body off a cliff further down the coast. He drives off not noticing the stiff's coat hanging out of the trunk. He is soon pulled over by a motorcycle cop. The cop fails to see the coat and gives Bettger a speeding ticket. He reaches the seaside and dumps the corpse.
Once back at the fun-house he realizes he has lost his watch. It must be back were he dumped the body. It is too late to go look for the watch so he plans on a trip to retrieve said watch in the morning. Doucette however interrupts the plan when he pulls Bettger in for a small chat. Six hours of the old 3rd degree breaks Bettger and he spills all the details. The cops know Bettger had nothing to do with the killing. They figure the killer is the brother in-law, Smith. The dead man was a bookie who Smith had been into for 400 bucks.
A quick return to the fun-house to confront Smith starts a brisk exchange of gunfire. A further chase through a hall of mirrors in needed before the swine is captured.
This episode features an awful lot of story crammed into a half hour runtime.
The episode featured quite a lot of noir talent on both sides of the camera. Doucette had roles in Ride the Pink Horse, I Wouldn't be in your Shoes, Canon City, In this Corner, The Crooked Way, Criss Cross, Reign of Terror, Customs Agent, Winchester 73, Convicted, The Breaking Point, The Big Heat, Cry Vengeance, New York Confidential, House of Bamboo and The Crooked Circle. Dorothy Patrick was in High Wall, Follow Me Quietly, The Blonde Bandit, Federal Agent at Large, House by the River, 711 Ocean Drive, Lonely Heart Bandits, The Sellout and Violent Saturday.
The director was Robert Florey who helmed Face behind the Mask, Dangerously they Live, Danger Signal, Rouges' Regiment, Johnny O'Clock and The Crooked Way. The d of p was George Clemens who worked on 117 Twilight Zone episodes.
A quick little time-waster!
HONG KONG - Suitable for Framing (1961)
Hong Kong: Season 1, Episode 14
A busy club crowd is sitting listening to a slow smoky voice singing, "If I'm Lucky". Rod Taylor wanders into the room and asks the manager how the night is going. The manager nods to the stage and smiles. Taylor heads for the bar and grabs a drink. The singer finishes her set and joins Taylor. The singer? The always hot and sultry, Julie London. The pair talk for a moment and then head out to take in the rest of the night. So opens this episode from the series, HONG KONG.
Rod Taylor headlines as a newsman who is stationed in Hong Kong. Taylor is constantly in trouble with various shady types who are always involving him in their troubles. It usually takes several round of fisticuffs, a dead body or two and a gun battle before things get settled.
Now back to the story. Taylor and London soon notice that they are being trailed by a man who is keeping to the shadows. Taylor sends London off in a cab and heads back to his apartment. The man follows and attempts to break in with gun in hand. Taylor of course is waiting and quickly disarms the fellow with several stiff upper cuts.
The man, Richard Loo, is questioned by Taylor and soon gives up why he was following him. It seems that a story Taylor had done on an electronics importer, Jason Evers, is the reason for Loo's visit. Taylor had exposed his behind the scenes deals with mainland China and Evers was not amused. He had hired Loo to warn him off.
Taylor of course heads off for a little payback. He bursts into Evers place and is delivering a sound beating to the swine when the police put in an appearance. Taylor is hauled off for a night in jail. The next morning, Lloyd Bochner, the local police inspector and a buddy of Taylor, has him released.
Bochner "suggests" that he stay away from Evers or that his next stay in jail might be longer. Taylor says "no problem" and heads back to his apartment. Hiding in Taylor's apartment is Richard Loo again, but with a bigger gun this time. Loo pours them each a drink and asks Taylor to just listen for a moment and then he will leave.
Of course the drink is drugged and down goes Taylor in a heap. He wakes up several hours later with a dented brass candlestick holder in his hand and the dead body of Evers on the floor. "What the hell?" Miss London then puts in an appearance and offers to help clear him with the police. Taylor has no intention of waiting for the cops and bolts out the door with London in tow.
Keeping one step ahead of the police he manages to track down Loo. The only problem is he is not up to talking. Someone has dropped him off a 12 story building. Searching through Loo's apartment he finds the name and address of Nestor Pavia, a wealthy local businessman.
A quick trip to the man's house ends up with another gun being shoved into Taylor's face. It turns out that Evers had been stepping out with Pavia's young bride and Pavia was not amused. Pavia knew of the feud between Evers and Taylor and thought Taylor was ripe for a frame. Pavia had hired Loo, a minor thug, to set up the play. He had then bumped off Loo to cover his own tracks. The play gets rid of Evers and has poor Taylor take the fall.
Pavia's wife, Elen Willard shows up with a piece of her own and plugs Pavia for killing her lover. Taylor is cleared and he is soon back in the arms of London. (Lucky Guy) This one packs a lot of story into it's runtime. This series plays out like a harder edged Peter Gunn.
The story is by Leo Rosten who worked on Walk East on Beacon, The Velvet Touch, The Dark Corner, All Through the Night, Sleep my Love.
The director was Stuart Rosenberg who did Brubaker, Pope of Grennwich Village, The Laughing Policeman, The Drowning Pool, Murder Inc. and Cool Hand Luke.
The D of P was Philip Lathrop who worked on The Driver, Breakfast at Tiffany's, They Shoot Horses don't They?, Pink Panther, Lonely are the Brave, The Cincinnati Kid, Hard Times and Point Blank. His TV work included 20 plus episodes of Peter Gunn.
A nifty little series that is full of full of noir story turns and twists. This one is a reworking of writer Rosten's own THE DARK CORNER.
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