Saturday, August 5, 2017

The Twilight Zone - The Lateness of the Hour



Although once again shot on that ill-advised videotape, I do think The Lateness of the Hour is damn good Twilight Zone. Good twist at the end, too. A genius robotics inventor and his well-tended-to wife hole themselves comfortably in their manor with their automaton domestic servants. The maid, cook, butler, and handyman were all made with a purpose, given life, and they obey as intended while their daughter, Jana, has become frustrated with being a prisoner in her own home. She’s tired of watching her parents being served and looked after for every single need and want. Robots that function only to please and dedicate themselves to their masters: they become this source of misery for Jana who considers them a blight she wants her father to be rid of. Complaints and cries for their absence are met with resistance because her parents so enjoy their presence. They have become dependent of the servants, and this unsettles Jana, just driving her mad.

I do believe there will be some viewers critical of Jana’s unyielding bitching and griping. But I think those who see how she feels from the perspective of someone involuntarily isolated from a society she so desires to associate (her father fled society to his domicile because he found the outside world not to his liking and his wife has become totally accustomed to life inside the manor) might consider her outcry warranted. There is the question of Jana just leaving. Jana just walking right out of that door despite her parents’ protest could have been her option, right? And maybe that is a question worth asking. Why didn’t she just leave? Even if she was “built not born”, given memories from childhood instead of actually having a past as a kid, I didn’t see anything that would stop her from just walking right out that door into the world. Unless, perhaps, in her programming that wasn’t allowed. I could see that as a reasonable excuse for her not leaving the manor. Just the same the point was her not leaving. Jana’s protestation of being trapped in the manor and making demands that the servants be destroyed and removed from her presence was the point so that once all of that was done she’d be left all by herself with the parents, disappointed and crestfallen that it would come to that. John Hoyt fascinated me with his performance, how he takes a lot of flack and shit from Inger Stevens’ Jana, portraying Dr. Loren with this rather alarming calm and ease. No matter how Stevens’ cadence raised, her eyes bulged, and her mouth bellowed, Dr. Loren never wavered in his resolve. Jana’s mother (Irene Tedrow) likes her daily shoulder massages thanks to the soothing fingers of maidservant, Nelda (Mary Gregory). Her moaning seemed quite eroticized, just unnerving Jana to no end. They were certainly eye-raising in how they filled the room, even when Mrs. Loren wasn’t in picture. Her face fixed in orgasmic thrill, the voice certifying that Dr. Loren built Nelda quite well for serving as a pleasing maid. It surprised me.

I’ll be honest: Jana never is satisfied. She’s consistently miserable and never shuts up. When addressing the servant robots, Jana continuously downgrades and belittles them. Despite Dr. Loren providing each servant with memories and a will to live and serve, Jana considers them a calloused sore in the ass of her everyday life. Just seeing them enrages her. The parents try to just enjoy what they have, fine with their closed-in existence, but not Jana. No, not Jana. She just won’t give in. She wants a “normal life”, but Dr. Loren’s revelation regarding her changes everything. What Dr. Loren and Mrs. Loren decide once Jana learns of how she’s “not a real girl” makes for quite a conclusion. It was an available option the entire time, though. Destroying the servants and Jana learning of the truth regarding her own existence, I did ask myself why Dr. Loren and his wife just didn’t come to terms with their “daughter” not “panning out” as they had hoped when creating her. Why destroy the other servants only to not long after shift Jana’s role in their life? It was something I have mulled over.




Stevens’ two TZ appearances sure are quite different…couldn’t be more different. The classic The Hitch-Hiker is more nuanced and subtle while The Lateness of the Hour is full-bore dramatic and noised. Jana is vocal, volatile, and passionate in her stance on living life, not wasting away. I thought it was a hell of a performance. I liked Hoyt’s polar opposite performance to Jana in his robots genius. I like how he’s controlled, unemotional, and practically inert. His wife is just oblivious to Jana’s raving, barely responding to her ranting. It was as if Mrs. Loren could hardly work up the effort to meet the challenge of engaging in dialogue with Jana. I thought the dynamic was fascinating. And how the servants move and behave really were quite robotic…I found them quite creepy. One great moment has Jana pushing a maid down the stairs with her rising up undamaged with a smile on her face! The servants scold Jana for her treatment of her parents but she isn’t budging from behind her pulpit. The independence provided to Jana as opposed to her "kindred", the servants, and the loss of that with her rendered just like them is quite ironic...it is a hell of an ending.


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The Girlfriend Experience- Boundaries

Before I sod off, I have had this on paper for a week! Been either forgetting about it or just avoiding it. Last Thursday night I watche...

Ahs

Ahs

Edc

Edc
Blog's Dead all Over
"... perhaps we invent artificial terrors to cope with the real ones."

--host, Donald Pleasence, Terror in the Aisles (1984)

Sbut

Sbut
Snip. Snip

Hal

Hal
There are many things under the sun
---Dr. Werdegast, The Black Cat

hal1

It's Halloween, everyone's entitled to one good scare.

Jtm 2

Jtm 2

Rave

Rave

Mrub

Mrub

Gb

"Back off, man. I'm a scientist."

--Ghostbusters

sm6

sm6

Rv1

Rv1

Nas

Nas

nos3

nos3

Lok

Lok

Po

Po

Ra6

Ra6

dawn

dawn

Dracula's Daughter ('36)

Countess Zaleska: Be thou exorcised oh Dracula, and thy body long undead find destruction throughout eternity in the name of thy dark unholy Master.

mh2

mh2

z2

z2

Hiii

Hiii

Fred

Fred

Ghspo

Ghspo
Movie, so-so, but poster, cool

Enl

Enl

nos4

nos4

gm

To a new world of gods and monsters!


No 2

No 2
Jason Lives

clothes line

clothes line

Ahorr

Ahorr

Cbi1

Cbi1
Case of the bloody iris

Wsha

Wsha

Mouth3

Mouth3
In the Mouth of Madness

Fdfn2

Fdfn2
Freddy's Dead '91

Vyr

Vyr
Vampyres 1974

Sh fr

Sh fr
Friday the 13th Part 2

Vlov

Vlov
Carmilla's kiss

f133

f133

Edpos

Edpos

Ttf2

Ttf2

Jm2

Jm2
El Hombre Lobo

Psycho '60

It's sad, when a mother has to speak the words that condemn her own son. But I couldn't allow them to believe that I would commit murder. They'll put him away now, as I should have years ago. He was always bad, and in the end he intended to tell them I killed those girls and that man... as if I could do anything but just sit and stare, like one of his stuffed birds. They know I can't move a finger, and I won't. I'll just sit here and be quiet, just in case they do... suspect me. They're probably watching me. Well, let them. Let them see what kind of a person I am. I'm not even going to swat that fly. I hope they are watching... they'll see. They'll see and they'll know, and they'll say, "Why, she wouldn't even harm a fly..."

Kife

Kife
Knife is calling, Psycho 2

Meg

Meg
Meg Tilly, Psycho II

ring 2

ring 2
the ring 2002, "the tape"

poster

poster

exor1

exor1
"the visitor" The Exorcist (1973)

Conj

Conj

Tz1

Tz1
"Masks", Twilight Zone

In the kitchen, The Shape

In the kitchen, The Shape
In the kitchen, The Shape

exc4

exc4

Ps56

Ps56

Hun

Hun
Murders in the Rue Morgue 1932

Ps89

Ps89

Cof

Cof
Victor and Paul, with their Monster

pcushig

pcushig

His

His

Efny

Efny

sus

sus
I'm going to grind you down to blood and screams.

--Innocent Blood 1992
Rest in Peace, Robert Loggia

wb

Even a man who is pure in heart and says his prayers by night, may become a wolf when the wolfbane blooms and the autumn moon is bright.

WZ

WZ

Edfen

Edfen
"Do not enter the city...It belongs to the dead now."

h1

h1
Look behind you!

Bs

Bs
"There is no terror in the bang, only the anticipation of it."
--Alfred Hitchcock

linnea

linnea

Amer

Amer
Taste of metal

The h gang

The h gang

Nlc

Nlc
Old Skool Nostalgia

Hp

Hp

Smoke

Smoke
Got a smoke?

Strek

Strek
Live long and prosper

Hill

Hill

Castle

Castle

SRW

"This seems to be the place where the plot begins to thicken..."
--Spooks Run Wild (1941)

Frere and dummy

Frere and dummy

Mlove

Mlove

Alone/dark

"There are no crazy people, doctor. We're all just on vacation."

--Alone in the Dark (1982)

Lips

Lips

Fhz

Fhz

Ph

Ph

Vestron

Vestron
Vintage VHS

sm 3

sm 3

Monique parent

Monique parent
Erotique in Review

Were5

Were5

f13

f13
November 2015

Bmate

Bmate

--Wes Craven

I think there is something about the American dream, the sort of Disneyesque dream, if you will, of the beautifully trimmed front lawn, the white picket fence, mom and dad and their happy children, God-fearing and doing good whenever they can, and the flip side of it, the kind of anger and the sense of outrage that comes from discovering that that's not the truth of the matter, that gives American horror films, in some ways, kind of an additional rage.

Ms45 w

Ms45 w

Churcvh

Churcvh
The Church 1989

Ww

Ww
The Whip and the Body 1963

Lsho

"Now, no novacaine....it dulls the senses"

--Little Shop of Horrors (1960)

Christopher Lee

Every actor has to make terrible films from time to time, but the trick is never to be terrible in them.

Vampyros lesbos

You are one of us now. The Queen of the Night will bear you up on her black wings

The Unknown 1927

No....not sick. But I have lost some flesh.

Alonzo, the Armless.

Ckvh

Ckvh

Blood of Dracula's Castle (1969)

Glen: We'd like to speak to the Townsends, please.

The Butler: They are not available till after sunset.

Bw5

Bw5

Jill

Jill

Mad Love 1935

Doctor Gogol: Did you ever hear of Galatea?

Lavin - Waxworks Proprietor: Gala - who? Not wanting a statue of him, are you?

Doctor Gogol: I don't want a statue of Galatea. You see, she was a statue herself. Pygmalion formed her. Out of marble, not wax. And then she came to life in his arms.

Lavin - Waxworks Proprietor: [calling to his assistant] Start the motor, Henry. There's queer people on the streets of Montmartre at this time of night.

Doctor Gogol: [handing him his card] Here, a hundred francs if you deliver the statue to my house.

Lavin - Waxworks Proprietor: [reading card] It's a go, Dr. Go... gol. First thing in the morning.