Sort of a light-hearted, distaff version of Rear Window-at no time do we really feel any suspense, but the performances are likeable, I suppose (Mary Scott, in the lead, is both charming and irritating at once). BLANCHARD'S SECRET: A mystery-loving suburbanite is convinced that her neighbor killed his wife. Great atmosphere and setting (and great work by John Williams again)-doesn't really go anywhere though and what's with the "no tribble at all"-style ending in which the cast engages in hearty laughter?ġ3. THE ROSE GARDEN: A book publishing house agent becomes concerned that his client's book too closely mirrors reality. A twist ending that is so obvious that one rejects it as improbable, but fun anyway because of Henry Silva's performance as the poetry-quoting killer.ġ2. THE BETTER BARGAIN: A corrupt businessman hires an assassin to kill his philandering wife. Tough to really sympathize with any character.ġ1. Not bad, but one expects a better ending than the out of left field revelation that we do get. JONATHAN: A young man with an unhealthy obsession with his father returns home for the funeral and confronts his stepmother. Robert Horton, a familiar AHP guest, turns in great work here.ġ0. Tough to describe this episode, but a very good one. CRACK OF DOOM: A compulsive gambler has stolen money in order to stay in the game. Way, way too cutesy at the beginning-it gets better, but this sort of plot was done too many times this season (it comes off as basically an amalgamation of "Kill with Kindness" and "The Rose Garden").ĩ. CONVERSATION OVER A CORPSE: Two batty sisters plot to kill a nasty real estate mogul who wants their property. The show was always masterful at the "best laid plans" endings.Ĩ. A little long to get to the point, but a really fun twist ending. ALIBI ME: A cheap crook has impetuously killed his rival and desperately needs an alibi. Nothing surprising or really that interesting, Tandy's typically fine work aside.ħ. TOBY: A period piece-Jessica Tandy is a mysterious woman who comes to live in an apartment building with her unseen son. A fine twist ending with very subtle direction (I had to go back and rewatch parts of it).Ħ. NONE ARE SO BLIND: Hurd Hatfield, an egotist supreme, plots to murder his rich aunt. Hume Cronyn does his patented loony twit act and James Gleason is fun as the innocent victim. KILL WITH KINDNESS: A batty couple plan on murdering a bum as part of an insurance fraud scheme. One of many "jumping to conclusions" episodes, but this one at least has a juicy ending.Ĥ. DE MORTUIS: Two men come to the conclusion that their buddy has killed his trollop of a wife. George Grizzard, an actor I like, is vaguely irritating as the simpleton escapee.ģ. While the beginning hints at a really scary episode, this comes off as more perplexing than anything else with an uninspiring ending. FOG CLOSING IN: A disturbed woman's life changes when an aslyum escapee confronts her. A bit too talky, but pretty fun-Hardwicke's unflappable dad and John Williams' sap work well. WET SATURDAY: Cedric Hardwicke's daughter has killed a man, but undeterred, he's come up with a perfect way around it. Here's my comments on the episodes so far.ġ. I'm currently watching through the second season (which I rented before the first-not that it matters too much in an anthology series). Nitcentral's Bulletin Brash Reflections: Alfred Hitchcock Presents Alfred Hitchcock PresentsĬlassic Crime & Justice Shows (Discussion Only):īy Mike Cheyne (Mikec) on Monday, Aug5:47 pm:
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