Category Archives: Classic Film & TV

Podcast: Alternative Oscars Episode 2 – 1951

Thanks Canva, for the foolproof interface :)

Thanks Canva, for the foolproof interface 🙂

Since we didn’t do too badly in our first podcasting effort and had a ball doing it, we’re back for a second episode of The Tawfik Zone’s Alternative Oscars Podcast. Joining me again are the dynamic duo, Tawfik Zone contributor Candace Wiggins and Tia Nikolopoulas.

This episode, we tackle 1951, which is a very, well, different caliber of films from 1950. What do you think of our alternative Best Picture choices? Any movies we snubbed? Please feel free to discuss in the comments section. We’d like to hear from you.

PS. I must give a huge shout out to Kevin Macleod of Incompitech for the musical jingle “Allada” that I use in my intro. He’s truly the king of royalty free music.

Obit: Maureen O’Hara

Courtesy of www.zeit.de

Courtesy of www.zeit.de

To cineastes and film scholars Maureen O’Hara, who recently passed away in her sleep at the age of 95, is best known as the woman in a number of John Ford-John Wayne westerns, whose ravishing beauty rivaled that of the wide vistas of the Monument Valley locales; and as dutiful mothers in scores of films, most famously in Miracle on 34th Street and The Parent Trap. Like many her other redhead contemporaries, such as Arlene Dahl and Rhonda Fleming, O’Hara tended to get cast in roles that capitalized on her glamour in Technicolor rather than for her talent.

I would like to write a few words about her work in a film that hasn’t been mentioned in any of her other obituaries. One role that utilized more than her eye-candy quality was the starring role as a talented ballerina who ends up working as a stooge for a burlesque show in the oddball, but compelling dramedy Dance, Girl, Dance (1940). Directed by Dorothy Arzner, the sole remaining female director under the Code (though she fizzled out shortly after this film), O’Hara convincingly transitions her character from a docile waif to an a young woman who develops a firm backbone after dealing with various shysters from her demeaning burlesque gig and getting thwarted around like a yo-yo in the shenanigans of bored and snarky married socialites (Louis Hayward and Virginia Field).

She lucidly and forcefully delivers one of the most articulate and impassioned speeches to a crowd of unruly male hecklers demanding to be treated with respect. She is one of the few female characters who chooses her art over a man and doesn’t get punished for it. Did I mention that she engages in one of the most spirited cinematic bitchfights with a belligerent and opportunistic burlesque dancer (Lucille Ball, also excellent in an against-type role)?

Even in her more ornamental assignments, O’Hara imbued each character with sensitivity, intelligence, pathos, and heart. With her passing, we are closer to the end of the classic Hollywood era.

The Cream of the Crop and Bottom of the Barrel Pt 2: 10 Star Films & 0 Star Films

[Editor’s Note: This is the 2nd of a 2-part article. You can check out Part 1 here.]

By Heather Nichols, Tawfik Zone Contributor

More 10 Star Films, The Cream…

Jaws (1975, Spielberg)

It’s easy to forget now but Steven Spielberg has made some of the best, if not some of the most entertaining films of all time. Had it gone as originally planned, Jaws would have been cheesy. But using the camera and score to personify the shark, pure genius. Here are just three of the many highlights for me; starting with the opening of course. I remember seeing it when I was in the third grade and never before had I been so terrified of the water. The use of the zolly shot. That scene where Roy Scheider is on the beach and sees the shark come out of the water for the first time. And on a different level the inclusion of the Indianapolis, a scene entirely ad-libbed by Robert Shaw.

Star Wars: Episode V The Empire Strikes Back (1980, Kershner)

If you have to pick one Star Wars that is the best, this is the one. Though personally I find Return of the Jedi a little more enjoyable probably due in part to it was the first one I’ve seen, there is no denying this film is a masterpiece. One of the best pieces of science fiction ever produced with great set design, costuming and make up. Not only does it tell an engaging story, but it builds a world you can become fully engrossed in, where at its heart the protagonists are human and believable, one of the key elements to sci-fi.

Courtesy of decider.com

Courtesy of decider.com

Tootsie (1982, Pollack)

Picture Dustin Hoffman when he was an attractive young man and then picture him in drag. It doesn’t sound like the formula for an outstanding film and yet it’s another one of those films that just works perfectly. And it shows a young Jessica Lange before she was antagonizing everyone on American Horror Story. Not as much the everyman story as others on the list, an actor with a bad reputation unable to get work disguises himself as a woman to get a steady job acting in a soap opera. The script is clever and it brings a whole new perspective to the idea of method acting.

Who Framed Roger Rabbit (1988, Zemeckis)

I really wish there were more films that could mix live action and cel animation so seamlessly like this one. If you read my previous article about Bob Hoskins you’ll know he is probably the main reason I love this film. His acting is so good that you think he’s actually in the room with Roger Rabbit. A fun fact, this is Jim Cummings’ first voice acing role. If you don’t know who that is, you need to go on IMDb because odds are you actually do.

Schindler’s List (1993, Spielberg)

After Steven Spielberg was tinkering with mechanical sharks and before Liam Neeson’s family kept getting taken, there was this film. Now I love Jaws more than this film just because I can watch it over and over again whereas this deals with much heavier subject matter that relates to actual history. The visuals: that this film was made in black and white as an artistic choice (something I love having to explain to people), makes this great set up for the little girl in the red coat. While I cannot comment on the historical accuracy of Schindler himself, I can tell you the film is sad, heart wrenching and a masterpiece.

Courtesy of www.sky.com

Courtesy of www.sky.com

Toy Story (1995-2010, Lasseter and various)

This series is Pixar’s single greatest achievement. Not to speak ill of their other works, this is just the best and since the original was their first film ever, it serves as a template for everything that has come since. The animation holds up well even by today’s standards. I would also be as bold to argue that each of the three films are on par with each other in terms of theme. I know some would say the second is the weakest but to that I say, the scene with Jessie’s back story and the Sarah McLachlan song, it made Tom Hanks and Tim Allen cry and if it didn’t make you feel something, I’m sorry. You clearly cannot be immersed in film on a deeper level.

The Hunchback of Notre Dame (1996, Trousdale and Wise)

I have to put it out on the table that I love Disney films but I full well know while many are considered to be masterpieces, most just get a 9 or 9.5 by my rating system. Yes they are generally geared towards children so some issues become overly simplified and in the instance of Beauty and the Beast I’m on board with the whole Stockholm syndrome theory- though I’ve also read La Belle et la BĂŞte, which presents Belle as shallow and the Beast much more sympathetically so maybe I’m just being picky… So here’s the thing, Hunchback isn’t really a children’s movie. Before you argue otherwise, just listen to “Hellfire,” a song that basically says if that woman doesn’t sleep with me I’m going to burn Paris to the ground. The art is gorgeous, the songs are perfect for the film- I don’t know who at Disney thought it would be a good idea to try and market a Victor Hugo novel as a children’s film, but it ended up being a masterpiece.

Princess Mononoke (1997, Miyazaki)

Right up front all of Miyazaki’s films are wonderful, but looking at them critically I can only give two of them perfect scores. This being the first. Interesting fact, it’s actually the first time Miyazaki-san used CGI animation, he combined it with cel animation techniques and the results are amazing.

Courtesy of drafthouse.com

Courtesy of drafthouse.com

Run Lola Run (1998, Tykwer)

This one is hard for me to explain why it’s perfect; I don’t know if “it’s just so darn good,” qualifies. I saw this film my first year in film school and it just stuck with me. Its overall sense of style and the use of the medium are unique and I highly recommend it. Even if you’re “not a subtitle” person, which is really unfortunate, the story is mainly told through its visuals so I think it’s accessible to a wider audience.

Spirited Away (2001, Miyazaki)

I am fully aware I am totally biased in this choice. If you want to know my favorite film of all time and all genres, this is it. One of my favorite English teachers taught me there are basically two different types of stories told; a hero goes on a journey and a stranger comes to town… this combines both. Do yourself a favor and watch this film; it’s visually beautiful, the soundtrack is gorgeous, the characters outstanding, and the world of the story is breathtaking. If I could I would give this 11 stars out of 10.

Persepolis (2007, Paronnaud and Satrapi)

One of the more beautiful aspects of film is that it is able to show us people and places that we would otherwise be unaware of. Besides what the media reports on, I had very little knowledge of the countries that were in the Middle East. It’s just not something they covered in any of the history courses I have been in. Through the eyes of our quirky protagonist we follow Marjane’s life in Iran at the start of the Islamic revolution. It also shows us that even though we may dress differently and speak other languages, we’re all human beings with similar wants and needs. One of my favorite scenes shows her relationship with God, one of the more lighthearted moments of the film.

—–

And now for the bottom of the barrel, actually wait these are so below the barrel they’re cast off to the side, they’re like the filth and barnacles growing along the side. And to not even get a star means that there was clearly no heart, no soul behind the camera. Some of these are horrendous because they’re unwatchable, some are bad because they were made for a quick buck, others because they’re highly offensive and others completely lack a cohesive storyline or plot; they’re offensive to anyone who enjoys film. Have fun…

 

The Terror of Tiny Town (1938, Newfield)

An evil gunslinging midget comes to terrorize the good little people of Tiny Town. The townspeople organize to defeat him, and zany antics ensue. Guys, this is a western musical starring all little people with editing so bad, it makes Xanadu look like gold.

Plan 9 from Outer Space (1959, Wood)

Aliens resurrect dead humans as zombies and vampires to stop humanity from creating the Solaranite (a sort of sun-driven bomb).

The Brain That Wouldn’t Die (1962, Green)

A doctor experimenting with transplant techniques keeps his girlfriend’s head alive when she is decapitated in a car crash, then goes hunting for a new body.

The Incredibly Strange Creatures who Stopped Living and Became Mixed Up Zombies (1964, Steckler)

Jerry falls in love with a stripper he meets at a carnival. Little does he know that she is the sister of a gypsy fortune teller whose predictions he had scoffed at earlier. The gypsy turns him into a zombie and he goes on a killing spree.

Monster A-Go Go (1965, Rebane and Lewis)

A space capsule crash-lands, and the astronaut aboard disappears. Is there a connection between the missing man and the monster roaming the area?

Courtesy of www.musicboxtheatre.com

Courtesy of www.musicboxtheatre.com

Manos: The Hands of Fate (1966, Warren)

A family gets lost on the road and stumbles upon a hidden, underground, devil-worshiping cult led by the fearsome Master and his servant Torgo.

Sgt. Pepper’s Lonely Hearts Club Band (1978, Schultz)

Small town band hits it big, but they must battle a nefarious plot in the music industry. Starring Peter Frampton and the Bee Gees, it still managed to go off the rails and go oh so horribly wrong.

Godzilla (1998, Emmerich)

An enormous, radioactively mutated lizard runs rampant in Manhattan. Now there are some bad Godzilla films… I’d rather marathon them all back to back then watch this film or even acknowledge its existence. Don’t fuck up my kaiju origin story, not cool Matthew Broderick.

Psycho (1998, Van Sant)

A young female embezzler arrives at the Bates Motel which has terrible secrets of its own. Shot for shot remake, with terrible acting; now in color and featuring Vince Vaughn in a dress…

Catwoman (2004, Pitof)

A shy woman, endowed with the speed, reflexes, and senses of a cat, walks a thin line between criminal and hero, even as a detective doggedly pursues her, fascinated by both of her personas.

The Grudge 3 (2009, Wilkins)

A young Japanese woman, who holds the key to stopping the evil spirit of Kayako, travels to the haunted Chicago apartment from the sequel, to stop the curse of Kayako once and for all.

Courtesy of www.denofgeek.com

Courtesy of www.denofgeek.com

The Last Airbender (2010, Shyamalan)

It follows the adventures of Aang, a young successor to a long line of Avatars, who must master all four elements and stop the Fire Nation from enslaving the Water Tribes and the Earth Kingdom. So this time instead of making his own mess, Shyamalan decided to take a dump on a beloved children’s cartoon.

Arthur (2011, Winer)

A drunken playboy stands to lose a wealthy inheritance when he falls for a woman his family doesn’t like. Totally lacking the charm of the original Dudley Moore version. Go home Russell Brand, you’re drunk… and it’s not working!

Jack and Jill (2011, Dugan)

Family guy Jack Sadelstein prepares for the annual event he dreads: the Thanksgiving visit of his twin sister, the needy and passive-aggressive Jill, who then refuses to leave. Starring Adam Sandler and Adam Sandler, and poor Al Pacino, killing his career with this one.

That’s My Boy (2012, Anders)

While in his teens, Donny (Adam Sandler) fathered a son, Todd, and raised him as a single parent up until Todd’s 18th birthday. Now, after not seeing each other for years, Todd’s world comes crashing down when Donny resurfaces just before Todd’s wedding.

Movie 43 (2013, This piece of trash has 13 directors…)

A series of interconnected short films follows a washed-up producer as he pitches insane story lines featuring some of the biggest stars in Hollywood. Made to be funny, but it’s ultimately offensive and unwatchable. Using the names of its stars to draw an audience, this cash cow doesn’t even deserve to be on Netflix, which it totally is.

The Cream of the Crop and Bottom of the Barrel Pt 1: 10 Star Films

By Heather Nichols, Tawfik Zone Contributor

 [Editor’s Note: This is the First of a 2-Part Series]

Now I will admit I’m probably a more lenient critic than most because I know how much money goes into these movies. Even if a movie is god awful and terrible, if there was something in there that shows someone in the creative team cared enough about what they were doing, they’ll still get a rating. When I write the review I like to think of it as a film school critique-  by the way it’s so hard to make a student film. But often times when a film is flawed it’s somewhere in its execution so my job and responsibility as a critic is trying to understand what this film was trying to do.

For a film not to get a zero ranking it has to pretty much look like no one was trying. On the flip side it is very hard for me to give a 10 star rating because a movie has to be darn near flawless, which is not easy to do, making it special and deserving of such high praise.

Films that are so bad they are good do not count because they would not earn either rating. Keep in mind these are only from the films I have seen (like The Shawshank Redemption, I will see it one day I promise) so I am not trying to intentionally snub a film in hopes of being pretentious.

So here we go…  starting with my 10/10 stars. I’ll list these in chronological order. Sequels will be one listing in the event that multiple films in the same cinematic universe are eligible. And to preface a little bit of my general criteria, it breaks down into three main categories. On a technical aspect: framing, lighting, visuals, sound, and editing. Secondly, accessibility; is the story good, are the characters believable, is this something the casual movie goer and the film critic can both enjoy? The third basis is unique for each film; how the film relates to others within its genre, sometimes how it compares to the director’s other works, and anything else that could be counted as a standout factor.  These will be relatively spoiler free, just some basic plot information given in act 1.

Courtesy of www.silentera.com

Courtesy of www.silentera.com

Broken Blossoms (1919, Griffith)

Now I know, D.W. Griffith fans, you expect the film he’s more known for, The Birth of a Nation. Here’s my issue with that film and it’s not the one you’re thinking. It’s nearly three hours long, which I know is not comfortable for most people to sit through. Also people don’t tend to realize that it’s the story of the civil war told through the loser’s perspective and get caught up in thinking it’s just all racism. This is what I like about Broken Blossoms. Sorry America, we’re terrible… in most early cinema the Asian was cast as a drunken, lecherous idiot. This film presents him as a hero, though it is done with yellow face, the message in the film is clear and it’s an apology from Griffith and it asks the audience for tolerance.

Sherlock Jr. (1924, Keaton)

Full disclosure, I like Keaton more than Chaplin. This is not to say Chaplin’s films are not worthy of 10 stars, I’ve just only seen maybe one or two of his films versus many of Keaton’s. I also really enjoy Steamboat Bill Jr as a close second and at the risk of having a dozen Keaton film’s I’m just going to include this one. One of the most impressive facts about Keaton though is he did all his own stunts, and this was before the days of advanced special effects.

Sunrise (1927, Murnau)

How can you compare the silent era to today’s films? Truth be told, the fact that they could do so much without spoken dialogue is in itself incredible. The story is simple. A farmer is unfaithful to his wife, his mistress tries to convince him to kill her, he then finds he’s really not happy with anyone but her and they fall in love again. I’m completely oversimplifying this and not doing it justice. Just trust me, it’s a great film.

Metropolis (1927, Lang)

Meanwhile in Germany… one of the greatest works of science fiction ever made was born. A film so innovative for its time it nearly bankrupted Germany’s film industry, it’s fantastic. Unfortunately we may never see it in its entirety since pieces have gone missing. If there’s only one flaw it’s that the two predominate females present in the film represent the laziest archetypes of the virgin and the whore… but at the time that was often the way it was.

Courtesy of jeezjon.typepad.com

Courtesy of jeezjon.typepad.com

The Wizard of Oz (1939, Fleming)

There’s a reason they play this film numerous times on television and back in the days before DVD and VHS when this film was played on television it was an event. Yes the story is simple but the message is such a reflection of the times; there really is no place like home. I believe this film will continue to enchant for generations to come.

Citizen Kane (1941, Welles)

To be honest I’m more afraid of a mob of film students showing up outside my house with pitch forks if I omit this film. Yes, it’s a great film but I don’t know if I can call it “the best film ever made.” The camera work, the fact that they used cheesecloth to create a ceiling in a shot, and all the other behind the scenes technical aspects are brilliant. The two issues I have with the film are essentially irrelevant to its brilliance. One being if Kane died alone in his bed, how did anyone hear his last words? The second being I completely missed “Rosebud” the first time around and at the end was like “Wait, where was that in the film?” If I needed the metaphor explained I imagine others did as well.

Double Indemnity (1944, Wilder)

Film Noir is one of those genres that is starting to re-emerge slowly into mainstream story telling. It’s a basic formula that can be clichĂ© at times but when executed correctly can be absolutely brilliant. Of the film noirs I’ve viewed this is by far my favorite. With stars Fred MacMurray and Barbara Stanwyck directed by Billy Wilder, it’s a formula for success. What younger audiences might not be as keen to pick up on is the introduction to Stanwyck’s character, Phyllis. Without dialogue, we know she’s a bad girl and she’s out to get what she wants no matter what it takes, all through the use of a towel and Venetian blinds.

It’s a Wonderful Life (1946, Capra)

We’ve all been at a dark point in our lives where we’ve pondered if the world would be better off without us. This film doesn’t shy away from answering that question and it’s beautifully wrapped up into a Christmas film. If you think about the juxtaposition, I don’t think you could have a more appropriate pairing considering the holidays are a time of depression for many. The message still holds up today because it’s another everyman type story- the world isn’t significantly different without him there, but the people who never met him don’t have the joy in their lives that he brought to it because he was never born. It shows us to appreciate what we have. Also it stars Jimmy Stewart who is possibly one of the best actors of all time.

Courtesy of drafthouse.com

Courtesy of drafthouse.com

Singin’ in the Rain (1952, Donen and Kelly)

I confess I have a soft spot for films about film. But this one is extra special because it presents cinema in a way that explains the transition into talkies in 103 minutes versus a semester of film history. The songs are good and you haven’t lived until you’ve seen Gene Kelly perform. There’s also something just so very special about Technicolor.

Rear Window (1954, Hitchcock)

I might be in a minority thinking this is superior to Vertigo. The film has a limited set compared to many other Hitchcock films, with all the action happening in a confined space. In this way we’re almost forced into the wheelchair of Jimmy Stewart as he watches his neighbors day by day until he witnesses something out of the ordinary, a murder committed in a neighboring window. The staging is great, the suspense palpable, a film that really puts you into the shoes of its protagonist.

Some like it Hot (1959, Wilder)

I’m sorry, I haven’t seen Sunset Boulevard which is why it hasn’t shown up here. But you want a classic director look no further than Billy Wilder. This is quite possibly the best comedy that has ever been made. It has three of the greatest stars who ever lived headlining it. Also it deals with subject matter that you have to stop and think was kind of risquĂ© for the time, especially that closing line, “well, nobody’s perfect.”

Psycho (1960, Hitchcock)

I will say most Hitchcock films can be ranked incredibly high on my personal favorite list. There are just so many reasons this film deserves the love, first upon release it was completely snubbed by critics. Oh yeah and this was after Hitch gave up almost everything to get the film made. The studios thought the idea was too vulgar, a toilet shown on camera! Heaven forbid. So it was up to him to work with what he had to get it produced, to the point he almost lost his house. Did I mention this completely redefined the slasher genre? And it’s one of the few films that gives you a heroine to follow and then kills her off, forcing you to identify with Norman Bates… yeah creepy.

Courtesy of www.imdb.com

Courtesy of www.imdb.com

The Graduate (1967, Nichols –no relation)

A film that even today’s audience might be able to relate to. A disillusioned college graduate finds himself drifting through life. Maybe less relatable in the storyline about being seduced by an older woman but finds himself torn when he falls in love with her daughter. If you turn this into a metaphor of wanting to stick to what is older and more familiar with embarrassing new changes in life it might make a little more sense. Mrs. Robinson might be one of the more complex and sympathetic females (yes I said sympathetic) to ever grace the screen.

The Godfather Parts 1 and 2 (1972-1974, Coppola)

So fun fact, I’m half Italian and a distant cousin of mine was up against Al Pacino for the role of Michael Corleone; but that’s not why this film is special to me. First off, what an ensemble cast and everyone brings their A-game. Visually it’s candy for the eyes with brilliant choices in framing and lighting. But even if you’re not a cinephile there’s a great story to go with it that can captivate you for six hours and fifteen minutes (let’s face it, you’re going to watch both in one sitting). At its root part one is about a father who leads a life of crime and his sons, one of whom has evaded the streets, even becoming a war hero. Then slowly he’s pulled into the world of crime and the hero turns into a monster. The scene where Michael says “I’m with you now,” and Don Corleone (Marlon Brando) has a single tear fall, is all the audience needs to know that this is the beginning of the end. Some argue part two tops its predecessor because Coppola was given more artistic freedom, personally I don’t think you can have the second without the first but at the same time part two embellishes part one which is why both are works of perfection.

Tune in next week for more of Heather’s 10 Star Films as well as her 0 Star Films.

TV: 10 Best The Outer Limits Eps

“You are about to experience the awe and mystery which reaches from the inner mind to… The Outer Limits.”

Courtesy of www.badmovies.org

Courtesy of www.badmovies.org

Thus began one of the most original and profound series in TV history which ran from September 1963 to January 1965. It was the brainchild of Leslie Stevens, and although his central contribution is certainly invaluable, the four episodes he wrote and directed are middling entries. More tangibly instrumental to the show’s exceptional quality were producer and most frequent writer Joseph Stefano (who wrote the screenplays for Psycho and Marnie) and director of photography Conrad Hall, who went on to win three Oscars.

Courtesy of wearecontrollingtransmission.blogspot.com

Courtesy of wearecontrollingtransmission.blogspot.com

Although this show was a hit with young people, it didn’t have desirable ratings for the time. (How things have changed as now this is the prime demographic and capturing it is the only way a show can stay on the air.) The MGM executives didn’t dig the show and they continually desecrated the already thin budget. Stefano was fed up and left. Hall brought a distinctive film noir style with stark black shadows. The second season, which only lasted for seventeen episodes, had a less dynamic narrative and visual flatness under the helm of producer Ben Brady and veteran cinematographer Kenneth Peach.

Perhaps more than any series of its time, Limits demonstrates a wide spectrum of quality that results from a large group of freelance writers as opposed to a committed staff. Often from a week to week basis, there was a schizophrenic 180 degree turn as they would alternate from bashing humans and their irrational, reactionary manner to the unknown to hysterical tales of defending humanity from violent tyrannical aliens.

Courtesy of mylifeintheglowoftheouterlimits.blogspot.com

Courtesy of mylifeintheglowoftheouterlimits.blogspot.com

The stark contrast between the sophisticated, somber storylines and the clunky, albeit inventive special effects, gives this show its quirky personality. There have been great strides in the field of special effects and CGI, often this comes at the expense of the story. I’ll take The Outer Limits every time.

For those who are interested in a comprehensive analysis of The Outer Limits, check out Mark and David C. Holcomb’s site. It’s a great way to procrastinate.

Like most of the greatest episodes, there’s a bittersweet postscript. According to the Hollywood Reporter there’s a remake in development, based off fan favorite episode “Demon with a Glass Hand,” (included in my top 10). I’m 95% sure that they’ll take the one man against a bunch of aliens plot but ditch the philosophy. Before the bastardization of this unique show’s legacy takes place, here are my ten favorite episodes.

What do you think? Chime in.

THE ARCHETECTS OF FEAR S1 E3 (aired 30 Sept. 1963)
Prod. Joseph Stefano, teleplay by Meyer Dolinsky, dir. Byron Haskin

A group of nervous scientists picking a name out of a hat is the bitterly ironic way that one doctor (Robert Culp) is chosen to undergo a harrowing transformation into an alien to stop what Earth thinks is an impending alien attack. The alien for some reason got a whole lot of folks hot and bothered, and was subsequently blacked out upon its original release, effectively censoring the third act. I found the transformation leading up to it, where the lesions and skin sagging on Culp’s face, more unsettling. There is some fantastic cross-cutting, especially in one segment that matches the jerky action to show how the wife (Geraldine Brooks) has an intuitive sense that something sinister has happened to her husband. It features the best end narration of all the episodes, a pointed attack on the insidious human flaw that is paranoia.

NIGHTMARE S1 E10 (aired 2 Dec. 1963)
Prod. Joseph Stefano, teleplay by Joseph Stefano, dir. John Erman

Its title might be modest, but its content is not. In the most politically charged episode, Stefano’s teleplay presents an intricate cat-and-mouse saga of five soldiers at war on a different planet who are held hostage and interrogated. There’s a traitor. Who is it? There is some strong allegory to the impending Vietnam War and the mistreatment of military veterans. Out of all the guest aliens, John Anderson gives the most layered performance as the head interrogator whose role is more complicated than is seen on the surface.

THE INVISIBLES S1 E19 (aired 3 Feb. 1964)
Prod. Joseph Stefano, teleplay by Joseph Stefano, dir. Gerd Oswald

Prepare yourself for a bumpy ride with this frenetically paced story about a government agent (Don Gordon) assigned to infiltrate a covert and sinister operation of malevolent high-ranking government officials and aliens who recruit outcasts (The Invisibles) from society to carry out their evil deeds. Contrary to many of their other episodes that feature grandiose ideological speeches, this one has a lot more enigmatic ambiguity.

THE BOLLERO SHIELD S1 E20 (aired 10 Feb. 1964)
Prod. Joseph Stefano, teleplay by Joseph Stefano and story by Lou Morheim and Joseph Stefano, dir. John Brahm

Stefano pens a literary Shakespearian tragedy with elements of sci-fi. Sally Kellerman plays a 60s Lady MacBeth whose grand ambitions for her meek scientist husband (Martin Landau) fester when his machine accidentally attracts an alien to Earth. Her antagonist is her father-in-law (Neil Hamilton), a King Lear surrogate whose megalomania makes him belittle his son; his lust for power and glory is her leverage over him. Landau gives a convincingly low-key and restrained performance as a poor schmuck smacked around by the enormous egos of his wife and father. In her first leading role on TV, Kellerman plays her diabolical character with gusto, making her role oddly sympathetic for her simultaneous honesty and deception about her ambitions, her ability to adapt and think on her feet and for her friendship with her housekeeper (Chita Rivera, unsettling as the taciturn barefoot widow). Script here.

FUN AND GAMES S1 E27 (aired 30 Mar. 1964)
Prod. Joseph Stefano, teleplay by Robert Specht and Joseph Stefano and story by Robert Specht, dir. Gerd Oswald

For some reason, many critics and fans overlook this fantastic episode, which hauntingly captures the emotional drain of war on its participants. A straight-laced nurse (the recently departed Nancy Malone) and hapless gambler (Nick Adams) have been recruited by a nefarious alien to battle for Earth in the form of a demented obstacle course, resembling the actions of many politicians. Though Adams and Malone have equal screen time, Malone’s character has more of a transformation as she bears more of the brunt of saving earth and learning that coming to the realization that she can’t mother people. This is one of the very few episodes that gives a woman agency.

A FEASIBILITY STUDY S1 E29 (aired 13 Apr. 1964)
Prod. Joseph Stefano, teleplay by Joseph Stefano, dir. Byron Haskin

Unlike many of the sensible, rational male protagonists on this show, Sam Wannamaker’s doctor is highly neurotic and unstable. His cold and controlling nature creates a huge rift between him and his wife (Phyllis Love), who resents her ambitions being subjugated to his rigid ideas of married life. Similarly, their neighbors (Joyce Van Patten and David Opatashu) are having marital problems due to his overworking and her loneliness. There is a veiled critique of suburbia and gender relations, that are undone when they must band together to prevent total destruction of the Earth.

THE FORMS OF THINGS UNKNOWN S1 E32 (aired 4 May 1964)
Prod. Joseph Stefano, teleplay by Joseph Stefano, dir. Gerd Oswald

The first season caps off with a bang in this loosely-linear story done in a European art house mode. The first ten minutes bears a strong resemblance to Diabolique where two women (Vera Miles and Barbara Rush) poison their conniving, manipulative blackmailer leader (Scott Marlowe). Things take a German Expressionist phantasmagoric turn as the women stumble upon a secluded mansion with an eccentric man (David McCallum), who is experimenting with altering time. This is just as much cinematographer Conrad Hall’s showcase as he gets to show off a slew of extreme close ups, canted frames, jerky moving camera shots, and long shots. This was a slightly retooled pilot for a series that didn’t make it to the air. What a trip it could have been.

EXPANDING HUMAN S2 E4 (aired 10 Oct. 1964)
Prod. Ben Brady, teleplay by Francis M. Cockrell, dir. Gerd Oswald

Cockrell’s teleplay neatly updates the Dr. Jekyll and Mr. Hyde story with a group of scientists who take an LSD-type of mind-altering drug that gives the user greater strength and super intelligence, but also makes them volatile. Skip Homeier is compelling as the doctor with a duel moralist and bully at odds with one another. It’s a suspenseful episode, with a wary bittersweet conclusion.

DEMON WITH A GLASS HAND S2 Ep 5 (aired 17 Oct. 1964)
Prod. Ben Brady, teleplay by Harlan Ellison, dir. Byron Haskin

In a role written specifically for him, Robert Culp pulls off the difficult role of an amnesiac whose intelligent glass hand guides him through a battle to save humans from extinction from a future alien invasion. His incapacity for love is tested when he encounters a poor garment worker (Arlene Martel), who falls for him. Initially, her character seems hokey, but it takes form as her conflict of abhorring violence but having to use it comes into play. Ellison, whose earlier draft called for more elaborate sets and special effects, effectively scales back, mining the claustrophobic single setting of a slum building to full advantage. The conclusion is iconic!

COUNTERWEIGHT S2 E14 (aired 26 Dec. 1964)
Prod. Ben Brady, teleplay by Milton Krims and story by Jerry Sohl, dir. Paul Stanley

Out of all of the ensemble episodes, this one is the most successful because it has the most plot turns and finds a way to make stock characterizations a fresh asset. Six passengers, all of whom except one are scientists or doctors, are generally congenial as they embark on a journey to another planet. This dynamic quickly sours as an alien gets into their thoughts and exploits each person’s weakness, leading the people to turn on each other and reveal their ugly true selves. Michael Constantine stands out as a crass, ignorant businessman driven to capitalize on the new planet. Many will probably be dismayed with Jacqueline Scott’s story arc of a scientist who wants to be a woman and mother (although her simulation of a traditional woman is entertainingly nightmarish and interesting). Ultimately, there are no heroes, only humans.

Honorable Mentions
S1 E6 The Man who was Never Born
S1 E7 O.B.I.T.
S1 E9 Corpus Earthling
S1 E15 The Mice
S1 E18 ZZZZZ
S1 E31 The Chameleon
S2 E1 Soldier
S2 E9 I, Robot
S2 E10-11 The Inheritors
S2 E15 The Brain of Colonel Barham