Harvey Hunnicutt is the stereotypical used car salesman: a fast talker who, to put it politely, is prone to stretching the truth about the cars he sells. He buys a used car from an old gentleman paying him far less that it's worth. After the deal, the old man tells him the car is haunted. Soon, Harvey finds that he can only tell the truth. Not only to customers but even to his wife as well. When he tries to sell the man's car he finds the perfect customer. Written by
The title refers to the oath given a witness before a trial or deposition that he will tell the "truth, the whole truth, and nothing but the truth". See more »
Hunnicut puts a cigar on the bar rail when going to talk to a pair, but during the opening narration in the same spot, it's missing. See more »
This, as the banner already has proclaimed, is Mr. Harvey Hunnicut, an expert on commerce and con jobs, a brash, bright, and larceny-loaded wheeler and dealer who, when the good Lord passed out a conscience, must have gone for a beer and missed out. And these are a couple of other characters in our story: a little old man and a Model A car - but not just any old man and not just any Model A. There's something very special about the both of them. As a matter of fact, in just a...
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There were some weak entries prior to The Whole Truth, but this is arguably the first complete flop. I realize some fans hate to admit that a few episodes-- especially before the final year-- were not just weak, but real duds. Nonetheless, some of them were, and this is one of them, while the only reason to bother with commenting at all is to publicly acknowledge the fact.
For whatever reason, this half-hour lacks style, wit, suspense, mood, depth, chills or any other of the many attributes that lifted the series to classic heights. What it does have is a pedestrian script and plodding direction which ask us to find humor in the fact that used-car salesmen and politicians tell lies. What a surprise-- perhaps there's also humor in shooting fish in a barrel. It also has one of the lamest endings of the 160-plus episodes, a politically correct reference bound to be lost on younger generations. What it does have is Jack Carson, one of Hollywood's most versatile performers, who mugs it up manfully, but can't redeem what is irredeemable. The premise-- forcing professional prevaricators to admit their lies-- may have sounded promising at the concept stage, but the results barely merit a 2 rating. However, Serling is in good company-- even Shakespeare had his share of flops. Fortunately for The Bard, his don't turn up on TV.
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