Again, Naked City offers us the opportunity to see a number of distinguished New York performers whose screen appearances were all too limited.
Alexander Scourby--probably the greatest, most iconic voiceover-narrator in entertainment history, appears as the coddling, over-protective dad whose "buddy-buddy" relationship with his son bears some pretty unfortunate fruit; he ends up slapping (and punching) the gradually unhinged Keir Dullea silly, while his sullen, alkie wife-- excellently portrayed by well-known stage actress Louise Platt-- watches in horror. It's Ms. Platt's very convincing inebriated condition throughout the episode that indicates the family's gnawing dysfunction--which can only be masked for so long as the plot unfolds. Rather unpleasant stuff, but very well acted and directed.
But, for me, it's the rare chance to see actor Roy Poole-- one of the most distinctive of the wonderful stage actors of the era--in the pivotal (but, unfortunately minimal) role of Wells, the blackmailing janitor--- that adds that extra "zing" which makes this episode special. Six years later, Mr. Poole would don an unkempt, white wig and Quaker-style hat to portray crusty old Steven Hopkins in Broadway's (and later the film version of) "1776", in which he was practically unrecognizable. A truly distinctive performer.
Paul Burke performs here with eye-patch; I forget if there was an actual plot-related reason for this in the previous episode, or if he and the director just decided to go for a "new look". LR
Alexander Scourby--probably the greatest, most iconic voiceover-narrator in entertainment history, appears as the coddling, over-protective dad whose "buddy-buddy" relationship with his son bears some pretty unfortunate fruit; he ends up slapping (and punching) the gradually unhinged Keir Dullea silly, while his sullen, alkie wife-- excellently portrayed by well-known stage actress Louise Platt-- watches in horror. It's Ms. Platt's very convincing inebriated condition throughout the episode that indicates the family's gnawing dysfunction--which can only be masked for so long as the plot unfolds. Rather unpleasant stuff, but very well acted and directed.
But, for me, it's the rare chance to see actor Roy Poole-- one of the most distinctive of the wonderful stage actors of the era--in the pivotal (but, unfortunately minimal) role of Wells, the blackmailing janitor--- that adds that extra "zing" which makes this episode special. Six years later, Mr. Poole would don an unkempt, white wig and Quaker-style hat to portray crusty old Steven Hopkins in Broadway's (and later the film version of) "1776", in which he was practically unrecognizable. A truly distinctive performer.
Paul Burke performs here with eye-patch; I forget if there was an actual plot-related reason for this in the previous episode, or if he and the director just decided to go for a "new look". LR