Aging roughneck (Douglas) is openly two-timed by faithless young wife (Heath) and pacifist friend (Marlowe). Smart young lawyer (Morse) suggests a duel, which is exempted from punishment by California law, a duel that Douglas is bound to win. So, what will the aging millionaire do.
That opening scene is overlong and talky, but is fascinating for its dueling acting styles— regular guy Douglas vs. man of a thousand nervous tics Morse. Then too, catch Dodie Heath's shapely young wife, who's obviously turned on by the prospect of violence. Sadly, Douglas was to die of a heart attack a couple short months after this episode. Considering what he's called on to do here, did all the exertion (no apparent double) add to his condition. He was so good at being the likable roughneck. There's some suspense and a nicely calculated Hitchcock ending. At the same time ace director Brahm makes good dramatic use of that cavernous livingroom. Otherwise, it's a fairly routine entry.
(In passing—Hitch's wrap-around mocks the hit TV series Zorro whose rapier wielding swordsman etched the opening title of each entry.)
That opening scene is overlong and talky, but is fascinating for its dueling acting styles— regular guy Douglas vs. man of a thousand nervous tics Morse. Then too, catch Dodie Heath's shapely young wife, who's obviously turned on by the prospect of violence. Sadly, Douglas was to die of a heart attack a couple short months after this episode. Considering what he's called on to do here, did all the exertion (no apparent double) add to his condition. He was so good at being the likable roughneck. There's some suspense and a nicely calculated Hitchcock ending. At the same time ace director Brahm makes good dramatic use of that cavernous livingroom. Otherwise, it's a fairly routine entry.
(In passing—Hitch's wrap-around mocks the hit TV series Zorro whose rapier wielding swordsman etched the opening title of each entry.)