Thursday, March 21, 2013

John Collier on TV Part Nine: Alfred Hitchcock Presents/The Alfred Hitchcock Hour-Overview/Episode Guide/Rankings

by Jack Seabrook



"Back for Christmas"
John Collier was involved, either as writer of the original story or as writer of the teleplay, in seven episodes of Alfred Hitchcock Presents and one episode of The Alfred Hitchcock Hour. Oddly enough, the first five episodes were all based on his short stories and had teleplays written by others, while the last three episodes were his teleplays based on stories by others. Collier never adapted one of his own stories for the Hitchcock series.

Highlights of the Collier episodes included fine performances by John Williams in "Back for Christmas" and "Wet Saturday" and by Robert Emhardt in "De Mortuis," a great ensemble cast in "Anniversary Gift," and location filming in "I Spy."

Unfortunately, the quality of the episodes started high but declined over the years, reaching its lowest point with the three shows where Collier wrote the teleplays. He does not seem to have been a regular contributor to the series and one could argue that the adaptations he did were random assignments that were not indicative of his talents.

Episode Guide:

Episode title-“Back for Christmas”
Series-Alfred Hitchcock Presents
Broadcast date-4 March 1956
Teleplay by-Francis Cockrell
Based on-“Back for Christmas” by John Collier
First print appearance-The New Yorker 7 October 1939
Notes
Watch episode
Available on DVD?-Yes

"Wet Saturday"


Episode title-“Wet Saturday”
Series-Alfred Hitchcock Presents
Broadcast date-30 September 1956
Teleplay by-Marian Cockrell
Based on-“Wet Saturday” by John Collier
First print appearance-The New Yorker 16 July 1938
Notes
Watch episode
Available on DVD?-Yes

"De Mortuis"


Episode title-“De Mortuis”
Series-Alfred Hitchcock Presents
Broadcast date-14 October 1956
Teleplay by-Francis Cockrell
Based on-“De Mortuis” by John Collier
First print appearance-The New Yorker 18 July 1942
Notes
Watch episode
Available on DVD?-Yes

"None Are So Blind"


Episode title-“None Are So Blind”
Series-Alfred Hitchcock Presents
Broadcast date-28 October 1956
Teleplay by-James Cavanagh
Based on-“None Are So Blind” by John Collier
First print appearance-The New Yorker 31 March 1956
Notes
Watch episode
Available on DVD?-Yes

"Anniversary Gift"


Episode title-“Anniversary Gift”
Series-Alfred Hitchcock Presents
Broadcast date-1 November 1959
Teleplay by-Harold Swanton
Based on-“Anniversary Gift” by John Collier
First print appearance-Ellery Queen’s Mystery Magazine April 1959
Notes
Watch episode-unavailable online
Available on DVD?-Yes

"Maria"


Episode title-“Maria”
Series-Alfred Hitchcock Presents
Broadcast date-24 October 1961
Teleplay by-John Collier
Based on-“Jizzle” by John Wyndham
First print appearance-Collier's 8 January 1949
Notes
Watch episode
Available on DVD?-No

"I Spy"


Episode title-“I Spy”
Series-Alfred Hitchcock Presents
Broadcast date-5 December 1961
Teleplay by-John Collier
Based on-“I Spy” by John Mortimer
First performance-BBC Third Programme (radio play) 19 November 1957
Notes
Watch episode
Available on DVD?-No

"The Magic Shop"


Episode title-“The Magic Shop”
Series-The Alfred Hitchcock Hour
Broadcast date-10 January 1964
Teleplay by-John Collier
Based on-“The Magic Shop” by H.G. Wells
First print appearance-The Strand June 1903
Notes
Watch episode
Available on DVD?-No

And finally, rankings (from best to worst):

“Back for Christmas”
“Anniversary Gift”
“Wet Saturday”
“De Mortuis”
“I Spy”
“Maria”
“The Magic Shop”
“None Are So Blind”


COMING IN TWO WEEKS: THE HITCHCOCK PROJECT--AN INTRODUCTION 



Monday, March 18, 2013

Batman in the 1970s Part 62: March and April 1979


by Peter Enfantino
& Jack Seabrook


Batman 309 (March 1979)

"Have Yourself a Deadly Little Christmas!"
Story by Len Wein
Art by John Calnan and Frank McLaughlin

Christmas Eve in Gotham City is not so happy for young Kathy, whose last five dollars are snatched along with her purse by some hoodlums. Blockbuster grabs the purse and tracks her down after she has taken an overdose of sleeping pills. Batman trails the giant, not knowing that Blockbuster's aim is to save the girl. The Dark Knight loses a fight with the big galoot, who appeals to a street corner Santa Claus for help before running out onto the frozen Gotham River, chased by the Batman. The ice breaks under Blockbuster's weight but he manages to toss Kathy to safety before disappearing under the water.

Jack: Memo to the people in charge of Gotham City's suicide prevention hotline: don't put Batman in the call center! One question from him and Kathy hangs up, ready to slip into oblivion. Blockbuster comes out of nowhere--apparently, his were the giant hands thrusting out of the grave at the end of last issue. He lumbers through the story like King Kong, the misunderstood giant who just wants to care for the pretty blonde, before doing an Eliza on the ice floe and finally sinking like the Son of Kong. Replacing Dick Giordano with Frank McLaughlin lets the weaknesses emerge once again in Calnan's art, and Len Wein's story is filled with cliches. Even though I've gone on record liking Christmas tales, this is the bottom of the barrel.

PE: Truly lousy stuff, Jack. The art by Calnan and McLaughlin is primitive, with Blockbuster resembling early Tom Sutton (not a good thing), and cartoony. The story is a jumbled mess.Were we even told who Blockbuster was? I know he had something to do with S.T.A.R. last issue (Batman tells us so) but, unless I fell asleep again while reading, the only hint as to his identity is in the final panels last issue when one of the scientists mentions the name Mark Desmond. The Comic Book Database tells me that Desmond/Blockbuster had recently appeared in a couple issues of The Batman Family but how would a regular reader of Batman know what was going on?  And for a chick who'd just downed a full bottle of "Sleep Easy," Kathy Crawford manages to get around town alright. The one cliche Len managed to avoid in this story was to reveal that Kathy was Blockbuster's sister or wife (or both maybe, judging by the look of the backwoods giant). I kept waiting for that juicy tidbit to drop but, alas, it was not meant to be. And how about Batman's Christmas present to Gordo? A full canister of tobacco. You wouldn't see Adam West giving Neil Hamilton a can of weed on that show.

Jack: Two interesting notes this issue: Irv Novick returns next time out, and this is the last time we'll see Julius Schwartz as editor of this title. Except for the year when Archie Goodwin edited Detective, Schwartz was in charge for nearly 15 years and presided over some pretty good runs in a sea of mediocrity: O'Neil/Adams and Englehart/Rogers, to name the two that stand out the most.


Detective Comics 482 (March 1979)

"Night of the Body Snatcher!"
Story by Jim Starlin
Art by Jim Starlin and P. Craig Russell

Having transferred his brain into a mighty white gorilla, madman Simon Xavier has deemed it's not the last stop on the New-Body Express. Next up for Xavier: The Dark Knight. The nutty apeman explains to Batman that he plans to transfer his own "intellect" into The Caped Crusader, leaving our hero to fend in the old body of Xavier. While the ape's back is turned, Batman escapes his bonds and destroys the brain-transfer machine, leaving the laboratory in flames. The two take their battle outside, high atop a skyscraper where fate, in the form of a security officer, intervenes and the big monkey is shot to death.

PE: There's not much substance to the story but who cares? We're lucky to get Starlin and Russell on art and sometimes that's all you need. The talking gorilla is obviously an homage to the 1960s DC Comics that so many DC fans love.

Jack: I was going to make some snarky Gorilla Grodd comparisons, but Starlin and Russell's art takes a ridiculous premise and make it into an exciting story, albeit one that is almost all fighting. There is genuine pathos  when Simon realizes he's trapped forever in the gorilla's body.

PE: On the inside cover, Paul Levitz explains the whys and wherefores of the Detective Comics/ Batman Family merger that began last issue. The obvious reason, falling sales of one or both of the titles, is side-stepped in favor of the following explanation: "We hope that the synthesis will prove better than either (of the two titles) by giving us a magazine that has the depth of character possible in the Batman Family concept together with the impact of the grand old tradition of Detective Comics." Based on this and the previous issue, I'm not buying into the logic. The two titles are, ideally, the polar opposites: BF presents stories for those who feel the world would be a better place had that show still been broadcast in 1979 while 'tec is for those who like their Knights Dark.

"A Quick Death in China!"
Story by Bob Rozakis
Art by Don Heck and Frank Chiaramonte

Chinese super-terrorist Wo Fong continues to hold Barbara Gordon and newswoman Leslie Tauburn in an effort to smoke Babs's brother, Tony, out of hiding. Luckily for Babs, Wo is convinced that Leslie is Batgirl and leaves the suit in the open. Batgirl makes an appearance and is set upon by the Sino-Supermen. Tony Gordon arrives in the nick of time but makes the ultimate sacrifice for his sister when Wo Fong's fortress blows sky high.

PE: There's nothing remotely interesting or original in this nonsense. Though I prefer Heck's pencils here rather than over in the Marvel Universe, that may just be because I don't care about these characters nor what he does to them. Heck seems to be in a state of disarray; at times his art resembles that of Alex Toth (a good thing) and at times... well, it doesn't (not a good thing). We're being filled in on a little more information we (blissfully) missed out on by not making Batman Family part of our journey here. I can see why Babs was elected to Congress; nothing gets past her, as when the faux Fu Manchu storms into her cell and she thought balloons: "Wo Fong! He must be behind this!" I've still no idea where Tony Gordon came from.

Jack: Either you like Don Heck's art or you don't, and I think I'm edging toward the "don't." At least it's better than the Rozakis script, which includes Tony Gordon thinking: "I'll bet yen to yoyos that Babs is inside!" Did Tony grab a Sino Supergirl outfit? He looks fetching in a sleeveless blue top and red miniskirt!

"The Eternity Book"
Story by Len Wein
Art by Michael Golden and Dick Giordano

A dying bookseller summons Etrigan, the Demon, to recapture The Eternity Book, an ancient tome from Merlin the Magician's private library. The book has been stolen by one of The Unliving and Etrigan tracks him down and destroys him, but before he can get hold of the book it is snatched up by Baron Tyme.

Jack: I was a fan of Kirby's series The Demon when I was a young sprout and it first ran in the early '70s. This reboot doesn't have much of a story but the art is outstanding, especially the double splash page. It has nothing to do with Batman and is more than a little reminiscent of Dr. Strange--is it a coincidence that Steve Ditko will take over as artist next issue?

PE: For once, I was grateful for the long "Here's what this character is all about" recap and mini-origin that made up the centerpiece of this adventure. I was never interested in Kirby's DC Universe so didn't have the occasion to read a Demon story. What I saw here I liked a lot. Golden and Giordano do a great job of evoking that House of Mystery vibe I ate up like candy in the early 1970s and the story kept me turning pages. It's such a fabulous piece that I'm sorry a new artist will be assigned to the feature effective next issue. That last shot, of Baron Tyme, is very Ditko-esque.



"Bat-Mite's New York Adventure!"
Story by Bob Rozakis
Art by Michael Golden and Bob Smith

Bat-Mite becomes a pest at the DC Bullpen until the staff agree to feature his adventures in Batman Family.

Jack: This throwaway tale reminds me of those silly stories in the back of Marvel annuals of the late '60s. We get a look at some of the DC staff and they look very much like hairy guys from the Disco era. Bat-Mite had not been in a story since 1967 and would not be in another till 1992's "Legend of the Dark Mite," which I must admit sounds pretty funny.

PE: I really didn't think I was gonna like this... and I really didn't. Rather than the silly stories at the back of the Marvel Annuals (I know which ones you're referring to, Jack), this waste of paper reminded me of the crap that Marvel pumped out during "Assistant Editor's Month" in January 1984. Who can forget thrilling to the adventures of "Daringdevil, The Man Without Ears" or Captain America fighting The Three Skulls (MoSkull, Larry-Skull, and Curly-Skull)? I'm still trying.

"The League of Crime!"
Story by Bob Rozakis
Art by Juan Ortiz and David Hunt

Amateur time
The League of Crime is trying out two villains who wish to join their ranks. The Raven is given the task of stealing helium from a balloon carrying two occupants. Robin arrives to save the day in his Whirly-Bat but once he's defeated this villain, another one, The Card Queen, pops right up. The villainess gets the drop on Robin and escapes with the dough but the leader of The League, Maze, vows she'll be found

PE: If not told otherwise, I would have assumed this was a reprint from "The Golden Age" of DC but the more I read of these back-ups, the sneakier the feeling that this is the kind of story the editor wants: stories written in the style of the 1960s. This is one of the worst written and illustrated stories we've come across. Everything about is amateur. I have no idea who Maze is so all the suspense built up to his reveal at the climax is lost on me. Can we please go back to single-story issues?

Jack: This story is dreadful and reads like Rozakis had to put something down on paper to fill the last 12 pages of this issue. The art is like something from the bad old Bat days of the '50s and '60s.


Batman 310 (April 1979)

"The Ghost That Haunted Batman"
Story by Len Wein
Art by Irv Novick and Dick Giordano

After failing to stop the Gentleman Ghost during a jewel robbery, Batman goes undercover as a British butler to track down Alfred, who has disappeared. It seems Alfred has fallen under the spell of fellow Britisher the Ghost, whose powers are not quite strong enough to make Alfred shoot his employer. Batman chases the Ghost, whose carriage careens off a cliff--but the Gentleman's laughter continues to echo through the night.

Jack: I saw the Gentleman Ghost on the cover and was hunting for the usual "JA" signature of Jim Aparo, thinking that it would be cool if Joe Kubert drew this cover, since he was the Ghost's best artist in the Silver Age. Lo and behold, there under the front wheel of the carriage is Joe Kubert's signature!

PE: Ah, if only Kubert had illustrated the interiors as well. Not saying that I don't trumpet the return of Irv Novick (hell, after Calnan, I might have begged Frank Robbins to come back from Marvel) but to see Kubert tackle The Dark Knight would be something special!

Jack: With Dick Giordano inking, it's a welcome relief to have Irv Novick return to the art chores on Batman after we suffered through John Calnan's efforts. The story is still a little shaky, though Wein is trying to develop a few subplots in the background (Bruce Wayne's competitor; Selina Kyle). I always loved the Gentleman Ghost, even if he does come off a bit like the Spook (or a Scooby-Doo villain) in this issue. A quick bit of online research reveals that he actually is a ghost, something I never knew.

PE: The delight, I find, in villains like The Gentleman Ghost is trying to decipher whether there's something supernatural going on here or not. All signs point to the beyond but we know that, even with a climax that spells death for someone just dressing up like a ghost, these bad guys can survive the worst of calamities. Intriguing then, Jack, that you say this guy actually is a spectre. I'm going to log into eBay now to bid on a Gentleman Ghost action figure!

Jack: Annual sales figures are published in this issue--Batman sold an average of 125,421 copies in the preceding year. As the prices rise, the sales fall.

PE: And as the sales fall, so do the illustrated pages, now making up less than half of the package!




May 6, 2013 is the day to enlist! You have been warned!



So which one did you have, Jack?



Monday, March 11, 2013

Batman in the 1970s Part 61: January and February 1979



by Jack Seabrook
& Peter Enfantino



Batman 307 (January 1979)

"Dark Messenger of Mercy!"
Story by Len Wein
Art by John Calnan and Dick Giordano

A homeless old woman is murdered and two gold coins are left covering her eyes. Angry Quentin Conroy storms into Commissioner Gordon's office, claiming that the gold coins were stolen from his collection and he wants them back. Batman journeys to the underground world of winos and bums to track the killer, who appears to be Limehouse Jack, a derelict thought dead but now returned on a mission of mercy to put other unfortunates out of their misery by means of poison-coated coins. All is not as it seems, however, and Batman discovers the truth--Quentin Conroy is the son of Limehouse Jack and has gone off the deep end, pretending to be his father and killing street people.


PE: "Dark Messenger" opens with a bang - the murder of street woman Ballerina is very effective, very nasty - but then devolves into a standard "whoisit" with predictably ludicrous results. Seriously, are we to buy that young Quentin Conroy could completely change his appearance by "twisting his face up?" I'd have fallen for one of those incredible make-up jobs we're always falling for rather than this end result.
Limehouse Jack was obviously inspired by a certain radio star who knew what evil lurked... On the letters page, future writer, publisher and Will Eisner historian cat yronwode (no caps, thank you!) raves about 1978 Award Winner for Worst Script, "Attack of the Wire-Head Killers"(Batman #302). Since cat was already in her thirties and, ostensibly, knew better, I wonder how she arrived at her estimation.


Jack: It is always interesting to read the contemporaneous reactions of letter-writing fans to these stories that we are reading decades after the fact. They rarely seem to agree with our evaluations! I thought this was a decent script, though I had to wonder at the Irish and English folks living below the streets of Gotham and speaking in broad cockney accents. Dick Giordano really helps pull John Calnan's pencils up to a level of respectability; the art is actually pretty good!


Detective Comics 481 (January 1979)

"Ticket to Tragedy"
Story by Denny O'Neil
Art by Marshall Rogers

As a favor to his butler, The Dark Knight travels to London to look after Alfred's cousin, Sir Basil Smythe, a brilliant surgeon who has created a new technique for heart transplants. Batman arrives just in time to see Smythe's best friend gunned down accidentally by an assassin aiming for Smythe. Furious and convinced the world doesn't deserve his new transplant theory, Smythe gives Batman a day and a half to catch his friend's killer or he'll burn the documents. Working only on one clue, a train ticket dropped by the killer, the caped crusader tracks down the murderer and prevents the good doctor's bonfire.

PE: Definitely the least of all the Marshall Rogers stories for Detective, mostly due to the average script. Is it just me or does Alfred have cousins in every part of the world? A wordless full page final scene, depicting Batman handing over the assassin to Smythe just before he burns the transplant papers, is one of Marshall's finest hours. Sadly, this is the last we'll time we'll marvel at the art of Marshall Rogers.

Jack: Rogers really outdoes himself here, inking his own pencils. Set aside for a moment the ridiculous notion that Smythe would throw away his life's work out of bitterness over his friend's murder, and this is an excellent story. I admit that the sight of Batman riding the rails on his Bat boots is a bit far-fetched, but I enjoyed it.



"Does the Costume Make the Hero?"
Story by Bob Rozakis
Art by Don Newton and Dan Adkins

Robin, the Boy Wonder finds himself with three new costumes as a result of agreeing to a local contest.  He'll have plenty of chances to try out these uniforms as he battles The Raven.

PE: Since we didn't cover the Batman Family title, where this strip continues from, I'm completely lost as to what's going on. New girlfriend, new girlfriend problems, new police chief partner, and a costume contest that threatens to break "the fourth wall." Not to be a jerk about this since I don't know the ages of the readers who submitted the three designs, but they aren't too dynamic. Forgettable even. Don Newton's art is dynamic and Golden Age-esque in spots but it's hard to get excited when it's illustrating such a by-the-numbers story.

Jack: Dick Grayson continues the longest college career in history--nine years at Hudson U and counting! By the way, where is page 11? The page numbers in the story jump from 10 to 12 mysteriously. This is not the first time in our journey through the 70s that readers have suggested new costumes for the Teen Wonder, yet they never seem to work out.


"A Slow Death in China!"
Story by Bob Rozakis
Art by Don Heck and Bob Smith

Barbara Gordon (aka Batgirl) is in China investigating The Sino-Supermen, a super-powered group of Chinese baddies patterned after American heroes like Superman and The Flash. After a terrific battle, Babs and her traveling newswoman companion, Leslie Tauburn, are kidnapped by the (COMMIE ALERT!) Sino-Supermen.

PE: Like the Robin strip, we're dropped into the middle of a storyline with not much introduction. Is Babs still the pretty, unassuming librarian we all grew to love "years" ago in her back-up in 'tec? Don Heck hasn't missed a beat since his stint on that aforementioned run (he penciled four of Batgirl's adventures, both solo and with Robin, over in the Batman Family title). His Batgirl art outshines anything he did in the 1960s for Marvel.

Jack: I'm not sure I'd agree that Heck on Batgirl is better than Heck on The Avengers! I'm happy to see the Dominoed Daredoll back in action but I did not know that Yellow Peril stories were still in vogue as late as 1979!

"The Whittles Snatch"
Story by Bob Rozakis
Art by Don Newton & David Hunt

The private eye firm of Bard & Langstrom has a new job: find J.J. Whittles's kidnapped wife. The police have been unable to help, so Whittles turns to the private dicks. After quite a bit of deduction, the pair manage to track down Mrs. Whittles, who admits to just wanting to have a little fun at the discos. As they're leaving the dance hall with Mrs. Whittles, a real kidnapper announces his intentions. With a little help from Kirk Langstrom's alter ego, Man-Bat, Bard & Langstrom quash the attempt and deliver the Mrs. back to her Mr.

PE: Since last we saw him, in 'tec #459, Kirk Langstrom has definitely cleaned up his act: he can monitor his changes, he doesn't want to turn his wife into a vampiress, and he's a private detective. That's some change. What's not clear is whether Jason Bard, once Babs Gordon's sweetie, knows that things can get hairy at times for Kirk. The one thing that hasn't changed for Man-Bat is that he seems to be stuck in sub-par adventures, this one included. There's nothing here that elevates the story above your average lazy comic writing. You could easily subtract the character and replace him with anyone else, as there's no specific element crying out for his participation. With just a few panels of "screen time," Man-Bat is nothing but a gimmick. And has Mrs. Whittles been living in the disco for a week? We don't know as that info isn't forthcoming. She had to sleep somewhere. I will admit to chuckling at the climax, where the beautiful Mrs. Whittles doesn't exactly instill confidence in her dumpy hubby when he asks her if she's had enough of the wild life and she says "For now!"

Jack: I liked this story better than you did, if only for the opportunity to see Jason Bard and Man-Bat again. I did not recall the Langstroms having a baby--that could lead to some interesting tales! The problem with this issue is that we have to read three Rozakis stories in a row. The art is above-average in two of them, but Rozakis--even if he was a super-fan/pro--has yet to impress me with his writing.

"Murder in the Night"
Story by Jim Starlin
Art by Jim Starlin & P. Craig Russell

Three men have been brutally murdered in Gotham City and only Batman can tie the three together. Turns out the three served in WWI with Bruce Wayne's father, Thomas. The four men testified against a fellow soldier, Xavier Simon, and put him behind bars for five years. Upon release, Simon swears vengeance. It takes him years but he finally gets around to it by financing a scientist's mad experiment, a mind-transferring machine that Xavier uses on a gorilla. Batman comes to find out that the three murders are not all that the mad man wants: he's tired of his ancient body and he's got his sights set on a new one. Guess who. To be continued.

The Many Faces of Thomas Wayne
PE: Once again, the goofy chronology problem that most comic books face raises its ugly head with the Xavier Simon character who claims he's ninety years old. Since he was in World War I with Thomas Wayne, that opens up a whole can of ancient worms: just how old is Bruce Wayne? Our flashback panels show Thomas Wayne to be a fairly young guy but if Bruce is supposed to be presently in his mid to late 30s, that would put Thomas in his mid to late 50s. Nope. I'm not sure which artist is responsible but Thomas Wayne is obviously a shapeshifter since he doesn't look the same in any of his panels. The story's been told a thousand times before and is a meandering bore. Ordinarily, that wouldn't be such a problem when you consider the two artists involved, but neither rises to the occasion. The art's not horrible (other than the aforementioned "Thomas Wayne: Man of a Thousand Faces" segment) but it's not what you've come to expect from Jim Starlin or P. Craig Russell. A big disappointment.

Jack: The art is definitely freaky in spots, and not up to the cool front and back covers by Starlin. I did not know he and Craig Russell worked for DC! When I saw we were going down the road of the brain transference I though, uh oh! That never goes well. And sure enough, we get another in the endless line of DC gorilla villains.

PE: So, obviously we have a bigger package each issue but, in the long run, is that a better thing? So far, I'd have to say it's just a larger example of the problem we had with 'tec in the mid-70s: weak back-up stories starring third-rate heroes.

Jack: I liked this, the first Detective dollar comic in the series that will run into the '80s. I thought the stories were okay and the art (except for Heck) was very good. It's interesting to note that Julius Schwartz only edits the first Batman story, while Al Milgrom edits the last four tales. The ad rates must not have been very good by this time, since this issue is free of advertisements.


Batman 308 (February 1979)

"There'll Be a Cold Time in the Old Town Tonight!"
Story by Len Wein
Art by John Calnan and Dick Giordano

Batman's old nemeses are popping up everywhere! Mr. Freeze is back in town, killing a traitor with his freezing ray. Selina Kyle is also back, visiting Bruce Wayne with a plan to invest some of her money in his foundation. Mr. Freeze's latest scheme is to promise immortality through cryogenics to those wealthy enough to pay his price. Unfortunately, the process is not quite working yet, and his subjects end up as frozen zombies. The Dark Knight is captured and placed in the freezing chamber, but some quick thinking prevents him from becoming another ice pop and he puts his old foe . . . on ice. Meanwhile, something is not right in Gotham Cemetery, as a pair of monstrous hands burst up through the ground at the site of a recently buried man.

PE: Like last issue's story, this one starts out on strong footing but quickly unravels into a silly mess. I can believe that The Dark Knight pulled the plug on most of Freeze's power but how would he know about the Cryogenic Chamber he'd be locked into (and, luckily, he knew to bring along some frosty make-up just in case)? I couldn't get a handle on Ms. Hildy, who seems to want to undergo a frosty transformation so that she can, ostensibly, rule the world but can't keep her brilliant plan in the thought balloons but rather talks to herself loud enough for Freeze to hear in the next room! The only time we've had a glimpse of Mr. Freeze in the Bronze Age was as a "juror" in the "Where Were You the Night Batman Was Killed" arc (Batman #291-294) so I didn't know what to expect. I was delightfully surprised to see Freeze wasn't of the Otto Preminger variety (from that show) but rather a muscular madman who can take care of himself. Emphasis on the madman; this guy has no problem committing murder to get what he wants. With only one full Bronze Age appearance, the frosty fiend is easily the most under-utilized of the Rogues' Gallery during our journey. While I liked this incarnation, I much prefer the Mr. Freeze who was rebooted in the mid-1980s.

Jack: I thought this was a great issue! For some reason, the usual 17 page story expanded to a very Silver Age-like 23 pages, squeezing out this issue's letters column and editorial filler.  Wein does a nice job of setting things in motion, such as the Selina Kyle subplot and the mysterious, monstrous hands at the end. Giordano is inking Calnan very heavily, so much so that the lovely Hildy is 100% Giordano gorgeous! I think Wein was having a little fun with Batman and Mr. Freeze in this issue, since the sequence where the Caped Crusader is trapped in the freezing chamber cries out for narration by William Dozier. I liked it a lot and I'm looking forward to more! My only complaint is that when Bruce thinks of the two most important women in his life (Selina and Silver) he forgets his WIFE--Talia!

So who got the cape?




Thursday, March 7, 2013

John Collier on TV Part Eight-The Alfred Hitchcock Hour: "The Magic Shop"

by Jack Seabrook

"The Magic Shop" was the last episode of the Hitchcock series to be written by John Collier, and it was the only one that was an hour long. The story upon which it is based was written by H. G. Wells and was first published in the June 1903 issue of The Strand magazine, the popular British periodical where Conan Doyle's Sherlock Holmes stories appeared.

The story is narrated by an unnamed London man who states that he "had seen the Magic Shop from afar several times" but had never gone in until his son Gip pulled him toward it and they had to enter. Its location was never clear: "nearer the Circus, or round the corner in Oxford Street, or even in Holburn." The boy, Gip, is well-behaved, having inherited "his mother's breeding, and he did not propose to enter the shop or worry in any way." Enter it they do, however, and they meet the shopman, "a curious, sallow, dark man, with one ear larger than the other" and with "long, magic fingers." The establishment is called the "Genuine Magic Shop" and the shopman remarks that Gip is the "Right Sort of Boy," in contrast to another, badly-behaved boy to whom the shop's door is locked.

David Opatoshu as Dulong
The story is very British in tone (distortions in magic mirrors are described as "looking very rum"). Young Gip is entranced and his father is amused by the tricks done by the shopman, who eventually takes the place of the father as Gip begins to hold his finger the way he had previously held his father's. In essence, "The Magic Shop" is a story of the seduction of a child by a dark force that slowly pulls him away from the safe haven of his father. The father begins to notice the "rumness" of the shop and thinks of its contents that he has "a queer feeling that whenever I wasn't looking at them straight they went askew." Gip disappears, leading his father to leap after the shopman and suddenly find himself in Regent Street, having collided with another pedestrian. Gip is at his side and carries four parcels under his arm, but the magic shop is nowhere to be seen. Gip opens his parcels and finds a living white kitten.

Six months later, the father "is beginning to believe it is all right." He asks Gip about the toy soldiers he got from the magic shop and is surprised to hear Gip say that they come alive and "march about by themselves" with but a word from Gip. The father tries to witness this for himself but never succeeds; he tries to find the magic shop to pay for the items but can never find it. He concludes that "these people, whoever they may be," will "send in their bill in their own time."

John Megna as Tony
"The Magic Shop" is a subtle tale that leaves the reader wondering if it is about real magic or if it is an allegory about a child's first steps toward independence, steps that may feel frightening and strange. The story may be read online here.

Sixty years after its publication, "The Magic Shop" was adapted for The Alfred Hitchcock Hour and was first broadcast on CBS on Friday, January 10, 1964, midway through the second season of the hour-long series. According to the credits, John Collier wrote the teleplay from a script by James Parish that was based on the short story by H. G. Wells. The TV adaptation removes any subtlety from the story and expands it to fit the time slot, removing much of the magic and replacing it with an attempt at terror.

Like the short story, the TV show is narrated by the father, now named Steven Grainger. He begins on an ominous note, referring to the "day that changed our lives"--his son Tony's birthday, the day they visited the magic shop. Prior to the visit to the shop, a scene at the Grainger house is added, where Tony's parents shower him with gifts, one of which is a black leather jacket. The location has been moved to the U.S.A., and Tony, rather than being a well-mannered and perhaps shy boy as he is in the story, is very outspoken and somewhat obnoxious. The change in his personality most likely was a decision of the writers that was meant to hint at the evil that would develop later in the show.

Peggy McKay and Leslie Nielsen as Tony's parents
On the way to the magic shop, Tony is chastised by a policeman for jaywalking. Inside the shop, the shopkeeper shows Tony a policeman doll and encourages him to stick a pin in its abdomen. After Steven finds himself back on the street, he is placed in an ambulance alongside the same policeman, who now suffers from acute abdominal pain. This is the sort of obvious development that plagues this show.

The magic shop set is nicely done, with spooky masks, mirrors, and an intriguing shopman played by David Opatoshu. The music score, by Lyn Murray, is notable, especially in the magic shop scene, because it sounds like early electronic music of the sort that would be utilized by John Carpenter in his films of the late 1970s. The chief problem with "The Magic Shop" is the unappealing child actor John Megna, who plays Tony. Undoubtedly, the character was written to be somewhat unlikeable from the start, but his performance does not help matters. It would have been interesting to see the role played by Billy Mumy or Ronny Howard, two child actors who had significant skill even at a young age and were just two years younger than Megna. Mumy played a similar role on The Twilight Zone in the classic episode, "It's a Good Life," which the conclusion of "The Magic Shop" recalls.

Paul Hartman as Mr. Adams
The camerawork, by Hitchcock TV regular Robert Stevens, is impressive, especially inside the magic shop. There is one particularly good shot from behind an aquarium that allows the viewer to realize that the snakes inside it are real, while Steven and Tony believe they are made of rubber. When Tony disappears, his father hears his ghostly laughter as he searches frantically for the boy, even seeing his son's reflection in a fun house mirror. Steven grabs the shopkeeper's head between his hands and it shatters; the revelation that it was a dummy is shocking and effective.

The show progresses quite differently from the story after the scene in the magic shop. When Steven finds himself suddenly outside again, Tony has disappeared. Steven and his wife go to the police station for an interview and Tony suddenly returns a day later, mysteriously reticent about telling them where he has been but insisting that he has been gone for days or weeks. Tony makes a magic pass with his hand over a vase of flowers and they instantly wither. He sees a child psychologist, who tells his parents that the magic shop is on the same street where an apothecary was indicted in 1692 by Cotton Mather and where a magic shop in 1901 was destroyed by "some unknown force." The name of the shopkeeper, the apothecary, and the prior shop are all Dulong; this is also the name that Tony gives to a dog that Steven buys for him in an effort to provide a normal life experience.


Tony's odd behavior continues. He tells his parents that he will do everything the dog tells him to do. He waves his hand and makes balloons pop as the neighborhood children play with them. After his dog attacks the shy neighbor, Mr. Adams, Adams kills the dog, which rots away to pieces instantly. Tony tells his parents that the dog "taught me everything" and says "it's too late." That night, Tony waves his hand by his widow and sets Adams's house on fire, killing the man. Steven realizes that Tony was to blame, and discovers a cut on the side of his own face as Tony carves a photograph of his father with a knife.

The final scene is set a few years later, as the family sits at the dinner table. Steven narrates in voiceover, explaining that he and his wife are their son's prisoners and that they see no way out. Tony sits at the table, looking malevolent in a black suit, much like a magician.

Unlike the story, the television adaptation is unabashedly supernatural, as the subtle uneasiness of the early scene in the magic shop develops into the terror that marks the show's conclusion. One suspects that there were problems with the adaptation, since it is unusual to see a credit where one writer wrote a script and another adapted it into a teleplay. The scriptwriter, James Parish (1904-1974), wrote for television for about ten years, from the mid-50s to the mid-60s. This was his only contribution to the Hitchcock series. He was better known as a British playwright, and it is possible that he was asked to adapt this story for TV but that the producers found his script unfilmable.

Tony casts a fiery spell
H. G. Wells (1866-1946), who wrote the original story, was one of the fathers of the science fiction genre, who wrote stories, novels, and non-fiction books and who was one of the most famous British writers of his time. Robert Stevens (1920-1989) directed the show with his usual skill; it was one of the five he directed for The Alfred Hitchcock Hour. Lyn Murray (1909-1989), who composed the music for this episode, was born Lionel Breeze and wrote scores for 35 Hitchcock hours. He also wrote the music for The Twilight Zone episode "A Passage for Trumpet" and for the Hitchcock film, To Catch a Thief (1955).

Appearing as Steven Grainger was Leslie Nielsen (1926-2010), who was featured in over 100 films and over 1500 TV shows in his long career. Nielsen starred in Forbidden Planet (1956), as well as episodes of Thriller, Night Gallery, and twice on Alfred Hitchcock Presents. He became most famous for his late-career switch to comedies such as Airplane! (1980). His wife was played by Peggy McKay (1927- ), who also appeared twice on Alfred Hitchcock Presents and who as been a regular on Days of Our Lives for the past thirty years.

John Megna (1952-1995), the unappealing child actor who plays Tony, started his acting career on Broadway at age six and had an important role in To Kill a Mockingbird (1962). He was 11 years old when he starred in "The Magic Shop," and he would later play a role on Star Trek ("Miri") before retiring and eventually dying of AIDS at the age of 42.

The final scene
The shopman, Dulong, was played by David Opatoshu (1918-1996). He appeared twice on Alfred Hitchcock Presents and also was seen on The Twilight Zone, The Outer Limits, Star Trek, and in the Hitchcock feature, Torn Curtain (1966). Paul Hartman (1904-1973) played Adams, the neighbor who kills Tony's dog. He was in moves from 1935 and on TV from 1948 and he shows up in three episodes of Alfred Hitchcock Presents, two of The Alfred Hitchcock Hour, as well as Thriller and The Twilight Zone.

"The Magic Shop" was also adapted for the stage by Richard France (the date appears to be 1972, according to copyright records), and a 23-minute film of the story was made in 1982 by Ian Eames. A clip from this film may be seen here; it looks interesting! The Alfred Hitchcock Hour version may be viewed here.

Sources:


"Doollee.com - the Playwrights Database of Modern Plays." Doollee.com - the Playwrights Database of Modern Plays. N.p., n.d. Web. 03 Mar. 2013. <http://www.doollee.com/>.
Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. Churchville, MD: OTR Pub., 2001. Print.
IMDb. IMDb.com, n.d. Web. 03 Mar. 2013. <http://www.imdb.com/>.
"The Magic Shop." The Alfred Hitchcock Hour. CBS. 10 Jan. 1964. Television.
Wells, H. G. "The Magic Shop." Twelve Stories and a Dream. N.p.: n.p., 1903. N. pag. Project Gutenberg. Web. 2 Mar. 2013. <http://www.gutenberg.org/files/1743/1743-h/1743-h.htm#link2H_4_0002>.
Wikipedia. Wikimedia Foundation, n.d. Web. 03 Mar. 2013. <http://www.wikipedia.org/>.










Monday, March 4, 2013

Batman in the 1970s Part 60: The 1978 Wrap-Up


by Peter Enfantino
& Jack Seabrook


1978 was the year of the DC Explosion, but it did not have a significant effect on Batman. Detective Comics began the year as an eight times a year book but switched to bi-monthly almost immediately; as a result, only six issues were published. Batman remained a monthly. Both titles briefly became 44 pages for 50 cents, but this barely lasted four months. Batman celebrated its 300th issue in June with a 52-page, 60-cent giant.

Julius Schwartz edited both books all year. Batman was 36 pages for 35 cents through August, with the exception of the 52-page 300th issue in June. From September through November, it was 52 pages for 60 cents. In December, it went back to 36 pages but was now 40 cents. Detective was 36 pages for 35 cents through August, then 44 pages for 50 cents the rest of the year. The 36 page issues featured one 17-page Batman story each. The 44 page issues featured one 17-page Batman story and an 8-page backup story--these starred Batman in his own title and Hawkman in Detective. There were exceptions: the 300th issue featured a single 34 page story, the June issue of Detective featured a 15-page (condensed) reprint with a new 3-page frame, and the December Batman featured a 15-page lead story and an 8-page backup.

Batman covers were by Jim Aparo (10), Sal Amendola and Al Milgrom, or Dick Giordano. Detective covers were by Marshall Rogers and Terry Austin (3), Rogers and Giordano (2) or Aparo (1). In Batman, lead stories were written by David V. Reed (9) or Gerry Conway (3), while backup stories were written by Reed, Dennis O'Neil or Bob Rozakis (2). The Batman stories in Detective were written by Len Wein (3), Steve Englehart (2) or O'Neil. The Hawkman backup stories in Detective were written by Wein.

Batman lead stories were pencilled by John Calnan (8), Amendola, Buckler, Mike Golden or Walt Simonson. Inks were by Giordano (6), Amendola, Tex Blaisdell, Vince Colletta,  Golden or Dave Hunt. Batman backup stories were pencilled by Don Newton (2), Golden or Win Mortimer, with inks by Hunt (2), Jack Abel or Frank Chiaramonte.

The Batman stories in Detective were pencilled by Rogers (5) or Newton, with inks by Giordano (3), Austin (2) or Hunt. The Hawkman backup stories were drawn by Rich Buckler (inked by John Celardo) or by Murphy Anderson.

The letters columns in both titles were edited by Rozakis; in Batman they were called "Bat Signals," while in Detective they were called "Batman's Hotline." Other features includes The Daily Planet, DC Profiles and Publishorials. Guest villains this year included the Black Spider, the Mad Hatter, the Scarecrow,  the Spook (in Batman), as well as Boss Thorne, Clayface and the Joker (in Detective).

Average sales figures were reported as:

Batman-148,219 per issue
Detective-125,143 per issue

Other Batman appearances included the all-new Batman Spectacular (DC Special Series 15), which came out in the summer. It was 68 pages long for a dollar with no ads and it included three new stories: a 30-pager by David V. Reed, Mike Nasser and Josef Rubinstein; a 20-pager by O'Neil, Golden and Giordano (with Ra's al Ghul and Talia), and a 15-page text feature by Denny O'Neil with illustrations by Rogers, who also did the cover. 

Elsewhere in the DC Universe, Batman continued to appear in the following comics:

Batman Family-6 issues, canceled in December, covers by Aparo, Mike Kaluta or Joe Staton
The Brave and the Bold-7 issues, monthly as of October, covers by Aparo
DC Special Series-1 issue, cover by Aparo
Dynamic Classics-1 issue, cover by Giordano
Justice League of America-12 issues, covers by Buckler, Kaluta, Milgrom or Staton
Limited Collector's Edition-1 issue, cover by Neal Adams and Berni Wrightson
Super Friends-6 issues, covers by Ramona Fradon
World's Finest-6 issues, covers by Aparo or Jose Luis Garcia-Lopez



And finally, our picks:

Jack's:

Best Script: "Sign of the Joker!" by Steve Englehart (Detective 476)
Best Art: "Sign of the Joker!" by Marshall Rogers and Terry Austin
Best All-Around Story: "Sign of the Joker!"

Worst Script: "Batman's Great Identity Switch!" by David V. Reed (Batman 303)
Worst Art: "The Only Man Batman Ever Killed!" by John Calnan and Tex Blaisdell (Batman 301)
Worst All-Around Story: "Batman's Great Identity Switch!"

Peter's:

Best Script: "Sign of the Joker!" by Steve Englehart (Detective 476)
Best Art: "Sign of the Joker!" by Marshall Rogers and Terry Austin
Best All-Around Story: "Sign of the Joker!"

(Let me just say that in any other year, David V. Reed's "The Last Batman Story--?" in Batman #300 might just have topped my list. That's amazing to me since I have such low regard for Reed's work otherwise.)

Worst Script: "Attack of the Wire-Head Killers" by David V. Reed (Batman 302)
Worst Art: "Night of Siege" by John Calnan and Dave Hunt (Batman 306)
Worst All-Around Story: "Batman's Great Identity Switch!"