Unfortunately for King, he has a nasty habit of making Stepp believe things that aren't quite real, which is ultimately his undoing. King disposed of Baldwin's body shortly after he was murdered and kept quiet because he knew if others found out that Baldwin had died it would mean financial ruin, so he hired the look-a-like to fill in. King for a fee of $2,000 to impersonate him. Davidson' who resembles Baldwin and has been brought in by Mr. The man whom Stepp sees after the shooting is a 'Mr. But something doesn't quite fit?īaldwin is dead, so let's get that one sorted now. Not only that but King offers Stepp a raise in his salary and passes off his fantasy as an hallucination. ![]() King dismisses the whole story and proves to Stepp that Baldwin is still alive, in his office. Confused, Stepp returns to the office and confesses to the incident with Mr. On Monday morning Stepp receives a telephone call from the secretary telling him Baldwin wants to speak with him. Stepp then retaliates by doing some firing of his own and shoots Baldwin dead in his office. ![]() Stepp (John Qualen) is an office worker who is fired by his boss Nathaniel Baldwin (Sebastian Cabot) late on Saturday night. Cockrell, Eustance Cockrell (teleplay) Joseph Ruscoll (story) John Qualen, Sebastian Cabot 01 January 1956 24:25 (total) And like the bomb under the table, he clearly preferred that guns not go off either, judging by his sobering epilogue to “Bang,” in which he drops his “usual flippancy” to address parents directly about the importance of keeping guns from children.Series 1, Episode 14 Justus Addis Francis M. ![]() He preferred weapons demanding proximity-knives, neckties, a good old-fashioned push-over firepower. Looking back over a career chronicling villainy, guns play a surprisingly secondary role in Hitchcock’s work. The key, Hitchcock felt, was that the bomb must never go off. The sequence violated his own “ bomb under the table” aphorism, which went like so: The audience should know from the start that there’s a bomb beneath the table, thus ratcheting up the tension with each passing moment as the unsuspecting victims at the table blather on, obliviously. Hitchcock agreed and expressed his regrets. “Bang!” is ostensibly Hitchcock’s corrective to the infamous bus bombing scene in his 1936 film Sabotage, a sequence so explosive Francois Truffaut dubbed it “an abuse of cinematic power” during his extensive interviews with Hitchcock at Universal Studios in 1962. Friends and neighbors all bashfully obey, teasing out the boy’s joke-and the audience’s horror. For a pulse-pounding afternoon, the boy waltzes around town, slipping through each townsperson’s grip as he plays cowboy. A young boy replaces the toy gun in his holster with the real revolver he finds in his uncle’s suitcase, which he partially loads with live rounds. The episode “Bang! You’re Dead,” which originally aired in 1961 and can be viewed in full online, tracks an afternoon of agonizing roulette. With incessant surveillance, melting planets, and robot warfare consuming headlines, there’s no shortage of potential comparisons.īut following the recent wave of accidental shootings at the hands of children-culminating in the heart-wrenching story of a sibling fatality in south-central Kentucky from a gun marketed for children as “My First Rifle”-there’s another classic TV show that applies to a chilling degree: Alfred Hitchcock Presents. Each news cycle is replete with Twilight Zonecomparisons.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |