![]() She begs him not to, but he refuses to discuss the matter. When he arrives he acts withdrawn and uncommunicative, but she tries to help him, offering to cancel their dinner plans and fix something simple.Īs she walks toward the kitchen, her husband finally speaks, explaining that he intends to divorce her. In this episode, perhaps the best known from the entire run of “Alfred Hitchcock Presents,” Bel Geddes plays pregnant housewife Mary Malone, who awaits her police captain husband’s return at the end of the workday. “The Perfect Crime” is a fun, chatty tale worthy of Edgar Allan Poe, with a teleplay by Stirling Silliphant, who later wrote “In the Heat of the Night,” “The Towering Inferno” and “The Poseidon Adventure.”īarbara Bel Geddes stars in “Lamb to the Slaughter,” adapted for television by Roald Dahl from his own story and first seen on April 13, 1958. Production codes being what they were at the time, Hitchcock used his final segment to explain that a cleaning woman knocked over the vase only to find gold fillings among the ashes, which implicated Price in the death of Gregory. We rejoin Price sometime later, on his return from a vacation, when he’s being visited by reporters, and he drops a few hints to tell us he had burned the body and put the ashes in a vase. Confronted with the truth, Price agrees to stay away from Gregory’s clients, but then turns and strangles Gregory. ![]() The tables turn when Gregory explains that there’s another side of the story: the truth, which is that Price sent the wrong person to the electric chair. Price tells the story of that case, explaining how he solved the murder, and how criminals always make obvious mistakes that allow him to catch them. ![]() Gregory has paid a visit to Price’s apartment to talk about a murder case Price had solved involving a small handgun that’s part of his display of murder weapons. As in season two, Hitch directed just three episodes of the series this time out.Īlfred Hitchcock’s first episode in season three of his TV series is “The Perfect Crime,” broadcast on October 20, 1957, and starring Vincent Price and James Gregory, best known as Inspector Luger from the TV series “Barney Miller.” It’s essentially a two-man show, with Price as a self-important detective and Gregory as a defense attorney in New York City, around the 1920s. You can watch a more faithful version of Bradbury’s story, which aired in 1964 during the original run of Alfred Hitchcock Presents, below.We continue our look “Alfred Hitchcock Presents” with episodes from season three directed by Hitch himself. In fact, composer Danny Elfman and screenwriters Michael McDowell and Larry Wilson worked on both. From the eye-popping color palette to the crisp, graphic direction to the painfully ‘80s hairstyles, this work feels very much a part of the same world as Burton’s next movie, Beetlejuice. Sure, Knoll starts to sell art again but his wife also starts to get stabby with a kitchen knife. So, naturally, he places it at the center of his show. Knoll is both fascinated and repulsed by it. Floating inside is what looks like a Dr. There, he pries the titular jar from the trunk of a 1938 Mercedes. The artist flees the show and his belittling harpy of a wife in favor of the local junkyard. The episode opens with a critic savaging Knoll’s new opening, which is filled with large, preposterous conceptual pieces. Instead of being a down-and-out farmer, Knoll (played by Griffin Dunne) is a fading star of the New York art scene. The farmer’s cheating wife, however, loathes it to the pit of her marrow and when she tries to get rid of it, things take a violent turn.īurton gives the story a decidedly Reagan-era twist. People come for miles to gawk at it, strangely captivated by its uncanny charm. ![]() It is described as “one of those pale things drifting in alcohol plasma … with its peeled, dead eyes staring out at you and never seeing you.” This thing, however, has a peculiar charisma. In Bradbury’s story, a failing farmer buys a jar with a curious thing floating in it. On the heels of his feature debut Pee-Wee’s Big Adventure, Tim Burton adapted Ray Bradbury’s “The Jar” (1944) for an episode of the ‘80s reboot of Alfred Hitchcock Presents. How do you follow up on making a children’s movie classic? If you’re Tim Burton, you spin a tale of sex, murder and conceptual art.
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