TUBE YOUR ENTHUSIASM (23)

By: Kio Stark
August 23, 2018

One of 25 installments in a series of enthusiastic posts analyzing and celebrating a few of our favorite TV shows from the Fifties (1954–1963).

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ALFRED HITCHCOCK PRESENTS | 1955–60; 1962–64

In the early 1980s, as a young adolescent, I was either raised to be or was independently turning myself into a funny sort of film snob. I stayed up late to watch classics on channel 11, a local station from NYC, so it seemed extra classy. I taped them and watched them over and over; among these were Hitchcock’s movies. I had begun to care about directors, about whose craft I knew in reality quite little, but pretended expertise. I had opinions.

And I was devoted to the reruns of Alfred Hitchcock Presents, an anthology show created in the 1950s by the master, who thought television a wonderful medium. There were A-list directors (Hitchcock himself directed only a small percentage of the episodes), writers, and guest-star actors on each week. A staple of thematic plotlines, some of which echo Hitch’s movies, sustained the show for five seasons: permutations on murders planned or in process, theft and swindles, young cheating wives, two-timing husbands, snoops suspecting murders, wrongly accused, wrongly killed, people thought to be dead who aren’t, even a man who buys a painting that’s a likeness of his long-missing wife. They were dark. Hitch performed an introduction to each show (he called them “our little plays”) and a conclusion, bracketing the stories with his trademark self-ironizing pompousness and morbid humor.

Watching them again now, I am struck by the formal oddity of where the dramatic stories end. It’s a short time slot, a network show in the ’50s. A degree of clarity is expected. The dramas on AHP are wildly unclear. They tend to end at a moment when it’s inevitable that something unfortunate is going to happen, or the unfortunate thing is going to continue happening, and then it’s a wrap, and Hitch comes on and says the equivalent of “and you might imagine, that didn’t end well.” I puzzle over this now in a way I did not as a kid: Why end before the ending? As a writer, as an avid consumer of narratives in every form, I tend to both write and like unresolved endings. I will shout “CUT” five minutes before the true ending of a movie, where, in my view, it should end, before the wrap-up. I would end before Hitchcock’s exit monologue. As he could not possibly on network television in the ’50s, but I bet he would have rather done. Needless to say this is not appreciated by whomever is watching the movie with me. But I am right. I learned it from the master.

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TUBE YOUR ENTHUSIASM: Series Introduction | Luc Sante on LOONEY TUNES | Chris Spurgeon on THE THREE STOOGES | Adrienne Crew on MY THREE SONS | Barbara Bogaev on ROCKY & BULLWINKLE | Devin McKinney on THE TWILIGHT ZONE | James Hannaham on THE NAT KING COLE SHOW | Mimi Lipson on THE BEVERLY HILLBILLIES | Jessamyn West on THE JETSONS | Gary Panter on THE OUTER LIMITS | Peter Doyle on THE MANY LOVES OF DOBIE GILLIS | Mark Kingwell on ROUTE 66 | Josh Glenn on THE ANDY GRIFFITH SHOW | Lynn Peril on THE DICK VAN DYKE SHOW | Rob Walker on LEAVE IT TO BEAVER | Dan Reines on DAVEY & GOLIATH | Adam McGovern on HIGHWAY PATROL | Erik Davis on HAVE GUN — WILL TRAVEL | Greg Rowland on THE PHIL SILVERS SHOW | Annie Nocenti on THE AVENGERS | Elizabeth Foy Larsen on GUNSMOKE | Sarah Weinman on NAKED CITY | Douglas Rushkoff on THE HONEYMOONERS | Kio Stark on ALFRED HITCHCOCK PRESENTS | Gordon Dahlquist on PERRY MASON | Brian Berger on CAR 54, WHERE ARE YOU? | CODA: Crystal Durant on Marc Anthony & Pussyfoot shorts | CODA: Mike Watt on “A Stop at Willoughby”

MORE ENTHUSIASM at HILOBROW

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