Meanwhile Steiger is loose and edgy in his method acting - and that conflict adds to the scenes' tension. She's spouting her lines in the classical grand enunciation of Bette Davis or Katherine Hepburn. The Bitch hasn't seen Rod Steiger do Al Capone yet, so she isn't as terrified of him as we are. Her new persona is far more familiar to the contemporary viewer: The Bitch (though a rather tame one, by today's standards).
Her Evil Within looks a lot like Jungle Fever. After a hit of drugs, the Stepford Wife loses her grip on the Saturday Evening Post, ditches classical music for Da Blooz, and is hankering for a little wiggle and squirm.
The story, like some other 50's sci-fi, can be seen as a covert slam at the era's stifling pretensions and conformity. It is essentially her solo showcase (with support from Rod Steiger) though, ironically, each cast member's current fame is inversely proportional to the size of his/her role in this episode. With a cast of only three, and one of those three speaking only 12 sentences, it's clear why only Margaret Phillips is credited in this performance. May the Jacob's Ladder concept rise again and may those breathing life into it, resist the urge to ruin it with a happy ending, as these fledgling pioneers were made to. The only one falling short in their duties as a wildly gesticulating distraction mechanism, in this early representation of the propaganda machine sputtering to life, was the young Mr. When she was aware of her surrounding enough to realize she was out of bed, hell awaited us unless she could be waylaid with something shiny, something loud, movement, perhaps a fire on the stovetop. These exaggerated presentations bring back such memories - thank the Blessed Virgin Mary - they kept my mother from bitching about the lack of powerful sedatives for a brief, restful, bucolic moment. I was there when this whole TeeVee Hullabaloo was finding it's balance and am a fan of it's early attempts to sell watch bands and the like by inserting 'filler' between the commercials of such high caliber. The storyline has morphed quite nicely over time.īeing a victim of power-mad-sociopaths posing as directors, cruel bosses, calculating women, lying politicians, greedy family members and yes, even my own thankless cat, I found no fault in the least, when considering the character portrayals herein - not until my fellow IA members so harshly condemned them. As soon as Steiger gave the ghastly details of his discovery, I saw the face of Tim Robbins superimposed over the scene.
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