Ahh, now I know where to put his face! It's Chief Engineer Vanderberg (Ken Lynch) from Star Trek's "Devil In The Dark"!
You should keep a score of the number of actors who've been in Star Trek.
Trekkies love that shit!
The Twilight Zone — Episode-by-Episode Review Thread
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You should keep a score of the number of actors who've been in Star Trek.
Trekkies love that shit!
This show is going to be a special feature on the Twilight Zone Season 1 Blu-ray.
I liked Mr. Denton on Doomsday a lot. I can see the point you're making about free will but I still think it works. It's bolstered by the performance of Dan Duryea, who really does look like he's down on his luck. Also features an appearance by a very young Martain Landau.
I do love the fact that TZ takes place in various genres and locations like the Old West.
You know, I really should. But that would require me to pay even more attention to the credits than I already do. Let's see if I'll have the ambition.You should keep a score of the number of actors who've been in Star Trek.
Trekkies love that shit!
Yeah, one episode it's an adventure out in space, next one's a western. I love that, too!
"The Sixteen-Millimeter Shrine" (1x04)
Synopsis: An aging film star lives a life of seclusion in her private screening room watching her old movies over and over.
Review: After three rather satisfying episodes this is the first clunker. As far as I'm concerned, only the performance of Martin Balsam as the loyal agend and last friend of Ida Lupino's aging actress kept the episode from being a complete failure. The episode's subject matter isn't an uninteresting one at that: One's mortality is a deeply existential and human theme; I love meditations on it. But the episode makes the mistake to present this theme in the most removed way possible. Hardly anyone should be able to relate to an aging actress who can't handle her fainting fame. But then again, maybe it's just me.
I don't know if it is my familiarity with the structure of the show, but I knew at least ten minutes before it actually happened, that Ida Lupino's character was going to end up in her own movie (= her gloryfied dream world). I don't know, it just felt like there should have been something more than that. I mean, we knew from the first minute that the character was living in the past – in a fantasy world created by her own. A more in depth examination of such a closed-minded perspective and its consequences might have been a more rewarding experience.
I wasn't a fan of that episode either. I found it to be uninteresting.
Ida Lupino would later return to The Twilight Zone, later as a director for the fifth season episode The Masks.
Ida Lupino would later return to The Twilight Zone, later as a director for the fifth season episode The Masks.
Always reminds me of Sunset Boulevard, for obvious reasons. I like it, though.
I wrote a short paper on that for class--gotta love a major that allows the class "Film as Literature." There were so many internal references to real Hollywood everywhere in that movie, just total intertextualizing.
That film is now on my top 10 favorites list. And I need to find the book I used as my major reference--just too interesting.
You should keep a score of the number of actors who've been in Star Trek.
Trekkies love that shit!
Or you can let IMDB do it for you:
http://www.imdb.com/search/name?roles=tt0060028,tt0052520
Boy, I'm glad I'm not the only one who felt somewhat underwhelmed by "The Sixteen-Millimeter Shrine".
"Walking Distance" (1x05)
Synopsis: While middle-aged businessman Martin Sloan visits his hometown, he suddenly finds himself in the past.
Review: "Walking Distance" is a brilliant episode and represents the high point of the series thus far. Everything is in place: the casting, the dialog, the direction, the music – yet the episode seems to be even larger than the sum of its parts, mainly because of its fascinating topic, which – although similiar to "The Sixteen-Millimeter Shrine" in some respects – permits a very easy identification due to how it is presented. Most people should be familiar with the longing for the simplicity of their carefree childhood in the confusing everyday life of adulthood. "Walking Distance" manages to deals with this topic on a reduced, simplified and yet marvelously deep level.
The tools with which this is managed are numerous, but the episode owes much of its effectiveness to Bernard Herrmann's legendary score, which – contrary to many other episodes – was especially composed for "Walking Distance". The music is able to communicate the sweet feeling of innocence which inherits the childhood of the protagonist while at the same time it conveys the emotional force to which he sees himself exposed when confronted with his past.
Additionally, the creative direction of the episode is quite impressive for a television production. The moment when Martin Sloan unknowingly starts to walk into the past and the camera follows him in the reflection of a mirror is particularly well done. Also, there are many moments throughout the episode when the direction subtly brings the fact to the viewer's attention that we are in a dream world.
While Gig Young marvelously portrays the busy melancholic, it is primarily Frank Overton's performance as Martin's father which draws attention to it. Trek fans might remember him as Elias Sandoval from the classic "This Side of Paradise". Although much briefer, his performance is far more impressive here.
The message of the episode is conceivably simple and yet very profound: Our past cannot be brought back. And he who cannot let go of it will never be able to become happy here and now.
That is a great list! I was looking for something like that. Thanks.
"Walking Distance" (1x05)
Synopsis: While middle-aged businessman Martin Sloan visits his hometown, he suddenly finds himself in the past.
Review: "Walking Distance" is a brilliant episode and represents the high point of the series thus far. Everything is in place: the casting, the dialog, the direction, the music – yet the episode seems to be even larger than the sum of its parts, mainly because of its fascinating topic, which – although similiar to "The Sixteen-Millimeter Shrine" in some respects – permits a very easy identification due to how it is presented. Most people should be familiar with the longing for the simplicity of their carefree childhood in the confusing everyday life of adulthood. "Walking Distance" manages to deals with this topic on a reduced, simplified and yet marvelously deep level.
The tools with which this is managed are numerous, but the episode owes much of its effectiveness to Bernard Herrmann's legendary score, which – contrary to many other episodes – was especially composed for "Walking Distance". The music is able to communicate the sweet feeling of innocence which inherits the childhood of the protagonist while at the same time it conveys the emotional force to which he sees himself exposed when confronted with his past.
Additionally, the creative direction of the episode is quite impressive for a television production. The moment when Martin Sloan unknowingly starts to walk into the past and the camera follows him in the reflection of a mirror is particularly well done. Also, there are many moments throughout the episode when the direction subtly brings the fact to the viewer's attention that we are in a dream world.
While Gig Young marvelously portrays the busy melancholic, it is primarily Frank Overton's performance as Martin's father which draws attention to it. Trek fans might remember him as Elias Sandoval from the classic "This Side of Paradise". Although much briefer, his performance is far more impressive here.
The message of the episode is conceivably simple and yet very profound: Our past cannot be brought back. And he who cannot let go of it will never be able to become happy here and now.
If I recall correctly from Mark Scott Zicree's TZ Companion, there was a little bit of concern about all the praise Holliman got considering he wouldn't be in the next episode.
I don't think that's correct. I own the Definitive Set, and I don't remember that on there. I do remember a Serling audio track on the set where Serling says he wrote that for a book called something like "Stories from the Twilight Zone," which were short story versions of TZ episodes, but I don't think this was filmed or was even thought up yet for the pilot script.
My favorite part of the pilot is when Holliman is stuck inside the phone booth, starts banging on it and yelling, only to realize you have to pull the door to open it, not push it. This actually happened to Rod Serling at, I believe, an airport. He went into a phone booth, thought he was stuck and started screaming for help. A guy came and kicked the door, and it came right open, and, as Serling said, he nearly died of embarrassment.
Ed Wynn himself told Serling he didn't think he could play the part, but Wynn was the guy Serling wanted. In the end, it's pretty plain that Wynn was right, but I think I like the heart he puts into the character.
I couldn't disagree more.
I thought the writing was terrible. How often do you meet some schmuck at a gas station you yelled at, only to just blurt out exposition: "Sorry I yelled at you, but you see... I'm a city man in search of myself. I've come back to my hometown to find a piece of my childhood. Maybe I'll find that it was here with me... all along." Please. Serling himself was embarrassed by the dialog years later and flat-out called it stupid writing. I have to agree.
Not that there were some nice moments, but the dialog is horrid.
I just looked it up and as I understand it, they were not specifically worried about the praise Holliman got, but the fact that the show had no recurring elements altogether (other than the concept).
Yeah, the opening bit did feel somewhat unnatural and I think it wouldn't be all that cumbersome had they incorporated all the expository stuff in Serling's monolog, but I guess it just didn't bother me all that much. There are moments later on when the dialog may have been a little stilted, too, but I put that down to it being a fantasy/dream world.
That is a great list! I was looking for something like that. Thanks.
I didn't know IMDb could do that.
Except it shows that, as always, IMDb is prone to mistakes. It lists Richard Kiel as appearing in TOS: "What Are Little Girls Made Of," which is erroneous; they're confusing him with Ted Cassidy.
Not all dialogue is meant to be naturalistic. You think that people in Shakespeare's time really talked in iambic pentameter? Some writers have a style that's more about poetry than naturalism. Ray Bradbury is one; his prose is gorgeous to read, but rarely sounds plausible when spoken aloud as dialogue. Rod Serling was another.
They also erroneously credit Mark Richman with appearing in "Mirror, Mirror". Richman appeared in TNG, but not TOS.
I thought Peter Mark Richman was Garth of Izar? That actor was also in one of my favorite Outer Limits episodes. I don't remember the title, it was the one with the kids and the spaceship built for them.
No, Steve Ihnat was Garth of Izar.
Weird. I could have sworn I saw it. Maybe I just read about it and have a very good imagination.
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