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Reviews & Ratings for
"Alfred Hitchcock Presents" Decoy (1956)

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5 out of 5 people found the following review useful:

She Bruises Easily

Author: dougdoepke from Claremont, USA
9 October 2009

Average episode, but average for Hitchcock still means entertaining with a twist. Piano player and arranger Gil Larkin (Horton) has secret crush on song bird Mona Cameron (Williams). The trouble is she's married to a high-powered businessman, so Gil's left to pine away until he finds a bruise on Mona's arm. Convinced that husband is abusing her, he confronts Cameron in his office. There, however, he's slugged, and Cameron is shot by an unknown assailant. Now the cops will think Gil did it and he's got only a few hours to clear himself.

Gil's search is fairly suspenseful, but what I like is the effort to make it unusually colorful. His first stop is a Japanese Kabuki theatre— not exactly a staple of 50's programming—where the two interviewees argue tantalizingly in Japanese, while he's left to puzzle it out. Then, in deep contrast, he goes to a very 50's record hop, where the DJ (Mullaney) sounds like he's only one step away from the funny farm. Two very clever venues for TV of the day.

Horton was an early Hitchcock favorite. Nonetheless, the hunky actor is somewhat miscast as a muscular piano player, but is clearly on his way to bigger roles, which he would get on the long-running Wagon Train series. Mullaney was another early Hitch favorite, unsurprisingly, since he was adept at the kind of offbeat characters the series specialized in. Here his nervous giggle comes across as a neurotic defense mechanism and there's something satisfying in Gil's finally manhandling his giggly evasions. And, of course, there's Cara Williams who, along with Patricia Berry, seemed to have a monopoly on the archly feminine of the day. Anyway, it's an entertaining , if unmemorable, half-hour with a better-than-average Hitchcock epilogue.

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3 out of 4 people found the following review useful:

Can't Trust Those Women

Author: Hitchcoc from United States
30 October 2008

*** This review may contain spoilers ***

A pretty decent episode about a trusting man who becomes manipulated by a woman for whom he has only kindness. Because he sees a bruise on her arm, he jumps to the conclusion that this woman has been abused by her husband. She does nothing to dissuade him. Carrying a torch for her, he springs into action, not knowing that he has been set up. This plays nicely although we aren't always treated fairly by the script. To make things work, as is the case with so many of these kinds of presentations, it calls for some pretty formidable coincidences and fortuitous events. Nevertheless, the acting is good and it does grab one at the conclusion. It is an indictment of impulsiveness.

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3 out of 6 people found the following review useful:

Look behind you!

Author: Robert J. Maxwell ( from Deming, New Mexico, USA
1 April 2012

*** This review may contain spoilers ***

Robert Horton is the protagonist, and a Hollywood-style handsome one with a sincere but inflexible expression. From certain angles he resembles a cross between Efram Zimbalist, Jr., and Hugh Marlowe.

He's a nice guy, an accompanist who arranges tunes for a singer whom he likes from afar, what with her being married and everything. But the singer tells him her husband is a brute, always beating her. Here, just look at these bruises.

Offended, Horton goes to the husband's office to tell him off but before he can get a word out, the husband says, "Richard, don't!" Then somebody conks Horton on the back of the head and shoots the husband, leaving the gun in the hand of the unconscious Horton.

Horton comes to and instead of immediately calling the cops he begins a hasty investigation on his own. He has only one clue. Hubby was on the phone at the time of the assault and whoever he was talking to must have heard what happened. Horton tracks down the three names on hubby's desk.

This quest brings him into contact with a couple of crazy characters -- an uncooperative Japanese couple and one of those "Hey, Dadd-yo", disk jockeys. This is the kind of set-up often found in private eye flicks on the 1940s, in which Philip Marlowe or someone must question musicians, elevator operators, effete hair dressers, and whatnot. It all ends with a rather surprising twist, a sort of deus ex cop. Frank Gorshin appears briefly and has two lines.

If you watch enough of these episodes in sequence, as I've been doing, you begin to notice things about them. For instance, the budgets must have been really low and the tempo really fast. The sets are sparsely furnished. Nothing is shot outside. The paintings on the walls -- bullfighters or art deco horses with stylized manes -- are worse than what you'd find in a cheap motel room.

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0 out of 1 people found the following review useful:

Ritchie! Ritchie! Don't!

Author: sol1218 from brooklyn NY
29 April 2012

*** This review may contain spoilers ***

***SPOILERS*** Going to confront big time theatrical agent Ben Cameron, David Orrick McDermon, in his office about him treating his wife Mona, Cara Williams, like a punching bag and who he was in love with pianist Gil Larkin, Robert Horton, is bopped from behind and put to sleep by an unknown and almost, we just get a glimpse of his face, unseen assailant. Waking up a minute later Gil finds Cameron shot to death with the murder weapon clutched in his hand! the guy was set up in Cameron's murder but who exactly did it! The only clue that Gil's has to who killed Cameron is the last words that Cameron said just before he was plugged: Ritchie! Ritchie! Don't! And the person who can proves Gil's innocence is the one Cameron was talking to on the phone at the time of his murder!

Trying to find the person on the other end of the phone has Gil check out a number of Cameron's clients only to come up with him hitting his head against a brick wall. It's the music that was being played on the other end of the phone line that was still on, the person for some reason didn't hang up after Cameron was killed, when Gil recovered and listened in that clued him into who not only Cameron was talking to at the time of his murder but who was the one who set Gil up to take the rap for it! It was Gil's honesty with the officer in charge of the murder investigation Police Let.Brandt,Philip Coolidge, that convinced him that Gil was innocent.

***SPOILERS*** It's now up to Gil to trapped those who had Cameron murdered by, like finding a needle in the haystack, finding the record that was played at the time of Camerons murder which his killer or the person who put out a contract on him unknowingly left playing! Not realizing that the phone was on with Gil listening in when it was being played! What this Alfred Hitchcock episode proved was that famous quote by P.T Barnon that "There's a sucker born every minute". But in this case the "Sucker" Gil Larkin ended up turning the tables on those who tried to sucker him into a murder that he didn't commit!

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8 out of 19 people found the following review useful:

Cara Williams

Author: jpd1-1 from United States
7 March 2007

This is a wonderful episode - it proves that talent will out - I met Cara Williams recently at a screening of "The Defiant Ones" - I must say, I was star-struck. I've had a good career in film/TV, met many a star, but meeting Cara, well what can I say? Look at this episode - she plays truth itself. I gave her a kiss and a hug that night at the screening - she was so humble - and a bit embarrassed - and quite surprised I should consider her performance so wonderful. I only wish she had stayed in the business longer. It's just great to know she is still around, and by the way, looks fantastic! I wish she would consider getting back into the mainstream - take a shot at acting again - this kind of talent is in-born, not taught. She's an amazing woman with an amazing talent.

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