Series of unrelated short stories covering elements of crime, horror, drama and comedy about people of different species committing murders, suicides, thefts and other sorts of crime caused by certain motivations; perceived or not.
After the bankruptcy of their father's stonemasonry firm, brothers Nicola and Andrea emigrate to America to restore their fortunes. After many adventures and near-disasters, they end up in ... See full summary »
Joaquim de Almeida,
After another cardiac arrest, Armand knows he doesn't have long to live. But after more than 70 years in the same house, he doesn't want to die anywhere else. His wife, Rose, has secretly ... See full summary »
Jean Pierre Lefebvre
J. Léo Gagnon,
An ex-convict struggles to survive by brute force alone in a turn-of-the-century slum in Braila. Codine (Alexandre Virgil Platon) is the thug who served 10 years for murdering a friend. He ... See full summary »
Alexandru Virgil Platon,
Catherine, a concert pianist, is surprised one night by the arrival of her best friend from childhood, Marie-Alexandrine (Max), whom she hasn't seen for 25 years. Catherine and Max were ... See full summary »
Series creator Rod Serling made up the phrase "Sixth Dimension" to use in season one's opening narration. William Self of CBS-TV asked him what was the fifth dimension (given that dimensions one through three are exemplified by a line, a plane, and a cube, respectively, and the fourth is time). Serling answered, "I don't know. Aren't there five?" He then changed the narration to "There is a fifth dimension..." See more »
[Opening narration (season 1)]
There is a fifth dimension beyond that which is known to man. It is a dimension as vast as space and as timeless as infinity. It is the middle ground between light and shadow, between science and superstition, and it lies between the pit of man's fears and the summit of his knowledge. This is the dimension of imagination. It is an area which we call the Twilight Zone.
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When It Worked, No TV Show Was (Or Is) More Imaginative
Rod Serling's distinctive approach gave "The Twilight Zone" a unique character that will always keep it among the best-remembered of all classic television shows. Not only that, but it set high goals for itself, and it took a lot of chances - and not chances in the phony, trivial sense in which a lot of more recent series "take chances" by resorting to unnecessarily provocative or indecent material that actually guarantees them attention and acclaim.
"The Twilight Zone" took chances by experimenting with many different kinds of stories and material, and by aiming to provide high-quality entertainment while simultaneously giving you something to think about. As a result, there were a few episodes that didn't quite click, and that seem odd or even dull. But when it worked - as it did a great deal of the time - no television show then or now was more imaginative.
In a short review, it would be impossible to list all of the memorable episodes, or even to cover the full range of the kinds of material that it used. There were chilling episodes like "To Serve Man", which is often remembered by those who saw it decades ago, and there were thought-provoking episodes like "In the Eye of the Beholder", which was also imaginatively filmed.
Many episodes relied primarily on a well-written and well-conceived story, while others, like "The Invaders", relied heavily on excellent acting performances (in that case, by Agnes Moorehead). There were occasional light-hearted episodes like "Once Upon a Time", which was also a nice showcase for the great Buster Keaton.
It's too bad that these anthology-style series went out of fashion, because a number of them were of high quality. This one, in particular, stands well above its subsequent imitators. The best science fiction, like the best of any genre or art form, appeals to the imagination, not to the senses, and imagination is what "The Twilight Zone" was all about.
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