User Reviews

Review this title
2 Reviews
Sort by:
Filter by Rating:
8/10
William Bendix goes nuts.
gordonl5612 November 2010
Warning: Spoilers
THE FORD TELEVISION THEATER - Segment -1954

This episode stars William Bendix, Rosemary De Camp, Ward Bond and a 23 year old, Joanne Woodward.

Bendix, De Camp and Woodward are a mid-west family on a trip to New York. They check into a major hotel and head for their room. We follow the family up to the rooms with De Camp doing nothing but whine and complain. She sends daughter Woodward down to the lobby for some items while Bendix locks himself in the bathroom.

He figures a wash and a shave might help him tune De Camp out. Nag, nag, nag! Woodward calls from the lobby and De Camp begins to give her hell. Bendix has had enough. He snaps. He hits the mirror and picks up a long shard and heads for De Camp. De Camp screams into the phone as Bendix grabs her. He holds the glass to her neck and yells, " Enough! Enough!" Woodward hears the screams over the phone and informs the hotel manager.

The Police are quickly summoned. Led by Ward Bond, the police try to talk Bendix out of anything he might regret doing. Bendix ignores the hails from outside the room. He tells De Camp how she has made his life a misery and that it is time for it to end. De Camp utters between tears she is sorry and promises to reform. The Police send a sharpshooter to the next building. He has orders that if he gets a clean shot, he is to take it.

Bendix relents on killing De Camp because he knows his daughter needs a parent. Just as he drops the broken piece of mirror, the Police shoot him in the shoulder. At the same time, Ward and the boys break the door in and cuff him.

De Camp however does not press charges and all in apparently OK. De Camp tells Bendix and Woodward that the incident has opened her eyes to her own behaviour. She will be a better person. She then starts in again on Bendix. Bendix sits down and half smiles. The look in his eyes tells the watcher that De Camp is not long for this world after all.

The rest of the cast includes Alan Baxter and Walter Conrad. Bendix was in THE GLASS KEY, THE DARK CORNER, THE BLUE DALHIA, THE WEB, CALCUTTA, RACE STREET, THE BIG STEAL, THIEVES' HIGHWAY, DETECTIVE STORY, CRASHOUT and MACAO. De Camp had roles in, DANGER SIGNAL, NORA PRENTISS and SCANDAL SHEET. Bond had roles in THE MALTESE FALCON, KISS TOMORROW GOODBYE and ON DANGEROUS GROUND.

The director was Fred F Sears whose work included, ESCAPE FROM SAN QUENTIN, THE 49TH MAN, RUMBLE ON THE DOCKS, Miami STORY, Miami EXPOSE, INSIDE DETROIT and CELL 2455, DEATH ROW. He also made several of my favourite 50's sci-fi films, EARTH VS THE FLYING SAUCERS and THE GIANT CLAW.

The story was by writer and producer Michael Kraike. Some of Kraike's producing credits include, DESPERATE, CRISS CROSS and WOMAN IN HIDING.

The d of p was television regular Gert Anderson. He worked on several hundred various TV episodes
3 out of 3 found this helpful. Was this review helpful? Sign in to vote.
Permalink
6/10
Suspenseful moments, but weak
westernone29 April 2016
Warning: Spoilers
CONTAINS SPOILERS.

I saw this same story on a live 1952 Philco-Goodyear Playhouse. This time with more formidable actors, but the flaw is in the production. The story was about a man who suffers all his married life by his miserable, ever-nagging and demeaning wife. While visiting a hotel, she pushes too hard by threatening to reveal to his daughter her real birth status. He smashes a mirror and takes a long sword-like "segment" of broken glass and holds it to her throat, determined to murder her after he finishes his long list of unforgotten trespasses on his dignity.

Police monitor his movements with a remote TV camera with a Zoomar. A sniper nicks his shoulder and they break in to save the woman. Then, after all this insanity and terror, not to mention property destruction, she apologizes very very much, and he does too, AND THEY LET HIM GO! the wife and daughter promise how nice it'll be when they return home and they'll convert a room for his den, etc. Then, without thinking, she starts with small nagging again. The man (William Bendix) looks at us as we fade out. A second longer and he would have given us Chester Riley's payoff line, "What a revoltin' development THIS is!". And he'd be right. The Philco version was so much better, but this is the problem with Ford Theatre in general- They hate real drama and insist on happy endings, no matter what it does to the story. A classic Screen Gems treatment.
1 out of 1 found this helpful. Was this review helpful? Sign in to vote.
Permalink

See also

Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews


Recently Viewed