The Incredible Hulk - Death in the Family
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Although a bit overlong—I could see this as a perfect 45
minutes episode trimmed of some fat—I thought this was a perfectly acceptable
second episode (I’ve noticed some consider it an extenuation of the Pilot in
certain circles) before the first season really sets off. It still recalls the
Pilot and mentions Elaina while following Dr. David Banner to Everett,
California, where he encounters a treacherous stepmom and physician secretly
(until he uncovers their hideous scheme) poisoning a young, beautiful heiress,
after being responsible for the murder of her father in a boating explosion.
In this episode, the heiress, Julie (Laurie Prange), on
crutches, has a psychosomatic trauma where she thinks she can’t walk but really
has no problems with her legs, eventually convinced by Banner that it is all in
her mind. Margaret (Dorothy Tristan), the stepmom, pretends to be the worried
parent while Dr. John Bonifant (William Daniels, of Knight Rider & Boy
Meets World fame!) feeds intravenously a supposed medicine to Julie (ultimately
poison masquerading as a medicine, which is supposed to be clear, noticed by
Banner). Gerald McRaney (of Simon & Simon fame) has a guest appearance in
support as a doting orchard farm supervisor, jealous of Banner (going by David
Benton), exploited of his feelings for Julie by Margaret. War veteran, Michael
(John McLiam), keeps a shack near a swamp in and around the orange orchard.
Michael rescued Julie from the boat and keeps Banner’s presence a secret when
the sheriff comes by his place looking for the Hulk. Michael eventually decides
to help Banner and Julie when he must get her away from Margaret’s hound-led
thugs (there is even a hired chopper thug in the sky looking for them), with
seven miles to the local authorities.
What makes Death in the Family so unique within the series
cannon is that both Julie and Michael know of Banner’s condition and even
witness his metamorphosis into and out of the Hulk! This is not that typical as
the series found ways for Banner to change without others witnessing it. The
cloak and dagger cleverness of doing that always amused me. A constant of this
episode is Julie grappling with her mental illness regarding actually walking,
eventually having to force herself to get up on her feet and legs, as Banner
works hard to push her to. When Banner and Julie fall into quicksand and he
turns into the Hulk she has no choice but to get to her feet and secure a
branch to help him out. It is quite neat to see that Banner’s secret is known
by a certain, select few, with Julie able to co-exist so well with both David
and the Hulk. Michael does the same. This episode includes a snake biting
Michael as the Hulk tosses it away and David having to combat a bear in the
swamp, turning into Hulk and hurling the damn thing a great distance in the
air! Julie removing the snake venom from Michael’s leg, Michael hiding
underwater from Margaret’s thugs (who eventually fall into quicksand and lose
Julie and Banner’s trail), and the Hulk throwing a rock into the propeller of
the chopper operated by another hired henchmen of Margaret’s are other
highlights.
A subplot (the mission of Banner) is a radiology device at
the Everett Hospital, state of the art technology that might provide radiation
treatment that could help David Banner. X-rays and the poison have Bolifant’s
fingerprints, provided to Julie by Banner, and his witnessing the evil doctor
chatting with Margaret about their plans in Bolifant’s office closet serve as
evidence…not to mention the thugs sent out after them.
Hulk goes through a wall and carries Julie out of her room
to safety for a trek into the orchard swamp even as she cannot accept (for some
time) that Margaret or Bolifant would want to kill her. Julie telling Hulk not
to follow her and his resistance in allowing her to walk away on her own is a
sweet scene that points out that the green, bulky creature cares about her.
While Dr. David Banner always worries about the carnage in the wake of each and
every transformation, often more than not the Hulk’s rampage is justified and
helps good folks keep from harm. Imagine if Banner doesn’t move off the side of
the road for an orange, notices Julie visiting her father’s grave, and striking
up a conversation with her…what happens afterward would have been tragic. Julie
wouldn’t have made it, with doctored X-rays and complicit trusted members of
the heiress’ entourage secure in their cover-up of a poisoning never
discovered. And Michael wouldn’t have had his reclamation. Banner’s situation,
as bad as it is, often interrupts corruption and crimes as they occur or halts
ongoing underhanded activities and schemes orchestrated by really bad people.
This movie (in syndication as two parts) has plenty of changes from David into
the Hulk while future shorter episodes often only do so twice. The story in
this movie is right out of primetime soap opera melodrama. The travel into the
swamp takes up a lot of the end as Julie usurps her own trauma, eventually
overcoming her psychosomatic crisis. This episode features a lot of Hulk
leaping high in the air and landing smoothly with no difficulty.
McGee returns to look for evidence of the Hulk's presence in the location, wanting a statement from the sheriff and Julie, nearly running into David at Everett Hospital. He was warned in the Pilot (a memorable line in the credits of the credits of every episode) not to make Banner angry, but proves to be a bit of a nuisance, convincing the sheriff, at least, that his grocery magazine has done some serious reporting. You can see that the Hulk's reputation is spreading. At the end, as is always the case for poor David Banner, he makes friends with Julie and Michael but must leave because he can't bear to worry about what his alter ego might tear up when he gets angry.
They still didn't have Ferrigno's pain quite right in this one and when he fights the bear, the paint is coming off of him everywhere the critter touches him. When he chucks it away, of course, it's just a guy in a very unconvincing bear-suit (as your screencap shows).
ReplyDeleteI noticed that, too. Continuity errors run rampant. Editing that must have been a pain.
DeleteYes, they were still editing on film in those days and it was always a rush to get the show done on time. All of these expensive genre shows of the time used a lot of stock footage, some from other projects but mostly from their own previous work. It was a lot cheaper and easier to chop-and-drop already-completed sequences. You get things like transformations to and from the Hulk that are supposed to be taking place in the daytime but footage is used from a night transformation (some of them would be shot with as plain a background as possible with an eye toward making them more interchangeable). One of the worst transformations in the entire run of this show is the one in the pilot where the Hulk changes back into Banner after he smashes his way out of that tank he was in. So, of course, it ends up used over and over again!
DeleteIn the '80s, most shows were still shot on film but they started editing on video, which was a lot more efficient. Unfortunately, this means the masters for tons of shows are on SD magnetic tape, so shows from the '70s and early '80s often look way better in digital than far more recent shows. The '80s TWILIGHT ZONE, which was excellent, was done like this, and then the film elements were apparently lost, so there will probably never be a true HD release of it. I don't know if anyone has looked into whether there still exists the original film elements for CRIME STORY but I hope they're still around; that's a great, great shows I'd love to see cleaned up.
Ok, ranting again! Sorry.