The Alfred Hitchcock Hour: Season 1, Episode 15

The Thirty-First of February (4 Jan. 1963)

TV Episode  |  TV-PG  |   |  Crime, Drama, Mystery
7.4
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Ratings: 7.4/10 from 71 users  
Reviews: 3 user

An inquest rules a wife's death as accidental, but when the widower returns to work, it seems someone is tricking him, including a letter accusing him of murder and one of his wife's ... See full summary »

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(teleplay) (as Logan Swanson) , (based on the novel by)
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Title: The Thirty-First of February (04 Jan 1963)

The Thirty-First of February (04 Jan 1963) on IMDb 7.4/10

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Cast

Episode cast overview:
...
Himself
...
Andrew Anderson
...
Sgt. Cresse
Elizabeth Allen ...
Staats Cotsworth ...
Vincent
William Sargent ...
Peter Granville
...
Charlie Lessing
Steve Gravers ...
The Psychiatrist
Stacy Harris ...
The D.A.
Bernadette Hale ...
Miss Wright
King Calder ...
Reverton
Kathleen O'Malley ...
Valerie Anderson
Robert Carson ...
The Coroner
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Storyline

An inquest rules a wife's death as accidental, but when the widower returns to work, it seems someone is tricking him, including a letter accusing him of murder and one of his wife's letters appearing, revealing she had a lover. Increasingly the widower's own mind tricks him, rejecting logical explanations, instead angrily confronting his co-workers. Written by David Stevens

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TV-PG
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4 January 1963 (USA)  »

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1.33 : 1
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User Reviews

 
excellent
11 October 2013 | by (French Polynesia) – See all my reviews

Expertly written--under the name LOGAN SWANSON--by Richard Matheson and acted this is a fast paced twisty episode, among the best of the hour long Hitchcock shows.

The plot may ultimately be a bit outlandish but dramatically it works and the pay off is powerful. Very good music score by Robert Dassin and well directed by regular actor/director Kejllin.

The moments that could, and do, turn towards soap opera in other episodes produced by Joan Harrison hold together here as drama, thanks to well written dialogue and Wayne's slowly coming apart performance.

Bob Crane is good in a small role. All the possible suspects come and go in convincing fashion and the story of the corporate world also works. Conrad has a great final close up.

It's a well done combination of noir, business world, and even elements of horror and the hand of fate.

Hithcock's segments feature him crammed into the orchestra pit at an Opera.

Top drawer episode for the series all around.


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