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Hulu has wonderful digital-quality episodes of this wonderful series, but unfortunately, only has 30 of 39 first-season episodes. I'm not sure why, but I'm looking forward to seeing the rest if I can find them - from what I've seen so far, "Alfred Hitchcock Presents" is a superior series to "The Twilight Zone," and I say that as a Twilight Zone fan. All episode links are to the wonderful reference website, "The Hitchcock Zone" - in particular, to their "Alfred Hitchcock Presents" subsection, which contains all directors, writers, and actors. If you're a fan of Alfred Hitchcock, The Hitchcock Zone should be bookmarked on your laptop. Anytime someone is referenced in this thread for the very first time, a hyperlink is made; all subsequent references are accompanied by a number in parentheses, e.g., (4), which is the number of episodes they've been involved with up until that point (in any major sort of capacity - director, producer, writer, etc.) Until all 39 episodes are included in this thread, there will be some numbers skipped - for example, do a "Find," then a "Repeat Find" on the name James Neilson - you'll see that, since episode 29 is missing, he skips from the hyperlink (the first reference) to number (3). Season One (Oct 2, 1955 - Jun 24, 1956) Joan Harrison (39), a close friend of the Hitchcock family, was Associate Producer of all 39 Season One Episodes 1.1. - "Revenge" - Directed by Alfred Hitchcock, Written by - Teleplay: Francis M. Cockrell (Writer of "Breakdown" on "Suspense," "The Expanding Human" on "The Outer Limits," 4 episodes of "Batman"), Story: Samuel Blas Featuring Ralph Meeker (Mike Hammer in "Kiss Me Deadly"), Vera Miles (Rose Balestrero in "The Wrong Man," Lila Crane in "Psycho") [The immediacy of the police car was a bit contrived (they were running out of time), but this is still a really powerful episode - with subject matter that is absolutely shocking considering it's over sixty-years old - and before it's over, you'll have your hands up to your face, saying, "Oh, *no*!"] 1.2. - "Premonition" - Directed by Robert Stevens (Directed 105 and Produced 102 episodes of "Suspense," Director of "Where is Everybody" and "Walking Distance" on "The Twilight Zone"), Written by Harold Swanton (Writer of 14 episodes of "The Whistler") Featuring John Forsythe (Charlie on "Charlie's Angels"), Warren Stevens, Cloris Leachman (Academy Award Winner for Best Supporting Actress in "The Last Picture Show") [Although this was an extremely strong second episode (second episodes are notoriously weak, as people often have "one great idea" they use up for the pilot), "Premonition" has one of the worst fake piano playing sequences I've ever seen in Forsythe (supposedly) playing Chopin's Revolutionary Etude.] 3. - "Triggers in Leash" - Directed by Don Medford (Director of "To Trap a Spy"), Written by - Teleplay: Richard Carr (Writer of "The Riddler's False Notion" and "Death in Slow Motion" on "Batman"), Story: Allan Vaughan Elston (Writer of "Isle of Destiny") Starring: Gene Barry (Dr. Clayton Forrester in "The War of the Worlds"), Darren McGavin (Carl Kolchak on "Kolchak: The Night Stalker"), Ellen Corby (Grandma Esther Walton on "The Waltons") [A fun episode featuring three big-name actors, without going over-the-top in the least, or being condescending to the viewer. There is genuine tension here, relieved by a twist that turns out to be clever and funny, but only when the episode is over and you begin to breathe again.] 4. - "Don't Come Back Alive" - Directed by Robert Stevenson (Director of "Mary Poppins" and "The Love Bug"), Written by Robert C. Dennis (Writer of 4 episodes of "The Outer Limits," 4 episodes of "Batman," "Log 81: The Long Walk" on "Adam-12") Starring: Sidney Blackmer (3 episodes on "Suspense," William Lyons Selby in "One Hundred Days of the Dragon" on "The Outer Limits," Roman Castevet in "Rosemary's Baby") 5. - "Into Thin Air" - Directed by Don Medford (2), Written by - Teleplay: Marian B. Cockrell (Writer of 4 episodes of "Batman" (2)), Story: Alexander Woollcott (The inspiration for Sheridan Whiteside in "The Man Who Came to Dinner") Starring: Patricia Hitchcock (Alfred's Daughter, Barbara Morton in "Strangers on a Train") 6. - "Salvage" - Directed by Jus Addiss (Director of 3 episodes of "The Twilight Zone" (2)), Written by - Teleplay: Fred Freiberger and Richard Carr (2), Story: Fred Freiberger Featuring: Gene Barry (2), Nancy Gates (Martha Bradford in "Perry Mason's" "The Case of the Crooked Candle") 7. - "Breakdown" - Director: Alfred Hitchcock (2), Writer - Teleplay: Louis Pollock and Francis M. Cockrell (2) - Story: Louis Pollock Starring: Joseph Cotten ("Citizen Kane," "Gaslight," "The Third Man," etc.) 8. - "Our Cook's A Treasure" - Starring: Everett Sloan (Bernstein in "Citizen Kane"), Beulah Bondi ("Mr. Smith Goes to Washington," "It's a Wonderful Life," etc.) Director: Robert Stevens (2) Writer: Teleplay, Robert C. Dennis (2) - Story, Dorothy L. Sayers 9. - "The Long Shot" - Starring: Peter Lawford (of "The Rat Pack") Director: Robert Stevenson (2) Writer: Teleplay, Marian B. Cockrell - Story, Alexander Woolcott 10. - "The Case of Mr. Pelham" - Starring: Tom Ewell (Richard Sherman in the play, "The Seven Year Itch") Director: Alfred Hitchcock (3) Writer: Teleplay, Francis M. Cockrell (3) - Story, Anthony Armstrong 11 -. "Guilty Witness" - Starring: Judith Evelyn (Miss Lonelyhearts in "Rear Window"), Kathleen Maguire (Obie Award for Distinguished Performance by an Actress as Leona Samish in "The Time of the Cuckoo"), Joe Mantell (Academy Award Nomination for Best Supporting Actor as Angie in "Marty") Director: Robert Stevens (3) Writer: Teleplay, Robert C. Dennis (3) - Story, Morris Hersham 12. - "Santa Claus and the 10th Avenue Kid" - Starring: Barry Fitzgerald (Academy Award for Best Supporting Actor as Father Fitzgibbon in "Going my Way") Director: Don Weis Writer: Teleplay, Marian B. Cockrell (2) - Story, Margaret Cousins 13. - "The Cheney Vase" - Starring: Patricia Collinge (Birdie Hubbard in "The Little Foxes" - Premiered Feb 15, 1939 at the National Theater, Washington, DC), Darren McGavin (2) Director: Robert Stevens (4) Writer: Robert Blees 14. - "A Bullet for Baldwin" - Starring: John Qualen (Muley in "The Grapes of Wrath," Earl Williams in "His Girl Friday," Norwegian resistance member in "Casablanca"), Sebastian Cabot (Giles French in "Family Affair") Director: Jus Addiss (2) Writer: Teleplay, Eustace Cockrell and Francis M. Cockrell (4) - Story, Joseph Ruscoll 15. "The Big Switch" - Directed by Don Weis (2), Written by - Teleplay: Richard Carr (3), Story: Cornell Woolrich ("It Had To Be Murder" (source for "Rear Window"), "Goodbye, New York" on "Suspense") Starring: George Mathews (Sergeant Ruby in "The Eve of St. Mark"), Beverly Michaels (Betty in "Pickup") 16. - "You Got To Have Luck" - Starring: John Cassavetes (Academy Award Nominations for Best Supporting Actor as Private Victor Franko in "The Dirty Dozen," Best Original Screenplay for "Faces," and Best Director for "A Woman under the Influence"), Marisa Pavan (Academy Award Nomination for Best Supporting Actress as Rosa delle Rose in "The Rose Tattoo," married to Jean-Pierre Aumont for 45 years) Director: Robert Stevens (5) Writer: Teleplay, Eustace Cockrell, Francis M. Cockrell - Story, S.R. Ross 17. - "The Older Sister" - Directed by Robert Stevens (6), Written by: Teleplay - Robert C. Dennis (4), Story - Lillian de la Torre (Writer of "Dr. Sam Johnson: Detector") Featuring Joan Lorring (Academy Award Nomination for Best Supporting Actress as Bessy Watty in "The Corn is Green"), Carmen Matthews (Vinne in "Static" on "The Twilight Zone" (xx), Mrs. Boatwright in "Sounder"), Polly Rowles (Helen Donaldson on "The Defenders") 18. - "Shopping for Death" - Directed by Robert Stevens (7), Written by Ray Bradbury (Writer of "Farenheit 451," "The Martian Chronicles," and "I Sing the Body Electric") Starring: Jo Van Fleet (Academy Award Winner for Best Supporting Actress as Cathy Ames in "East of Eden"), Robert Harris (Seth Bushwell in "Peyton Place"), John Qualen (2) 19. - "The Derelicts" - Directed by Robert Stevenson (3), Written by: Teleplay - Robert C. Dennis (5), Story - Terence Maples (Writer of "The Circuit" on "National Velvet") Featuring Robert Newton (Long John Silver in "Treasure Island"), Philip Reed (Kiing Toranshah in "Harum Scarum"), Peggy Knudsen (Diedre in "A Stolen Life"), Johnny Silver (Benny Southstreet in "Guys and Dolls"), Robert Foulk (Mr. Wheeler in "Green Acres"), Cyril Delavanti (3 episodes of "The Twilight Zone" (xx))

Star Trek: The Next Generation Patrick Stewart as Captain Jean-Luc Picard Jonathan Frakes as Commander William T. Riker Brent Spiner as Lieutenant-Commander Data LeVar Burton as Lieutenant-Commander Geordi La Forge Michael Dorn as Helmsman and Chief Security Officer Worf Gates McFadden as Chief Medical Officer Beverly Crusher Marina Sirtis as Counselor Deanna Troi Wil Wheaton as Ensign Wesley Crusher Denise Crosby as Security Chief Tasha Yar Diana Muldaur as Chief Medical Officer Katherine Pulaski Colm Meaney as Transporter Chief Miles O'Brien Whoopi Goldberg as Bartender Guinan Season 1: Sep 28, 1987 - May 16, 1988 - Executive Producer: Gene Roddenberry 1.1 and 1.2 - "Encounter at Farpoint" - Sep. 28, 1987 - Directed by Corey Allen (Buzz Gunderson in "Rebel without a Cause," Primetime Emmy Award Winner for Outstanding Directing for a Drama Series for "Goodbye, Mr. Scripps" on "Hill Street Blues," Primetime Emmy Award Nominee for Outstanding Directing for a Drama Series for "Jungle Madness" on "Hill Street Blues"), Written by - Teleplay: Dorothy Fontana (Writer of 10 episodes of "Star Trek"), Story: Gene Roddenberry (Creator of "Star Trek") Featuring John de Lancie as Q (TV Executive in "The Fisher King," Donald Margolis in "Breaking Bad"), Michael Bell as Groppler Zorn (Voice of Chas Finster in "Rugrats"), DeForest Kelley as Dr. Leonard "Bones" McCoy (H. Norbert Willis in "The Clover Throne" and Bob Harcourt, Jr. in "1800 Days to Justice" on "Route 66"), Cary-Hiroyuki Tagawa as Court Bailiff (Chang in "The Last Emperor") [Star Trek or not, this Pilot was *rough* - both in terms of the acting (Troi was awful, Q functioned not only as a God-like being, but also as some sort of "nanny chorus," telling us what we didn't need to be told, and Data was seen grinning on more than one occasion (remember how awful Spock was, at first, in the original series - he was grinning too)). My biggest problem here wasn't the plot; it was the condescension of Q, telling the viewer what they're about to figure out for themselves - that is elementary-school TV. This was largely a very interesting plot, but the writers spoiled it for the viewers. I do wonder just how much the creators, e.g., Gene Roddenberry, had in mind when it came to essentially building the entire series around Q - could Roddenberry possibly have envisioned the glorious final episode before the series even began? Nah ....] 1.3 - "The Naked Now" - Oct. 5, 1987 - Directed by Paul Lynch (Director of "Prom Night"), Written by - Teleplay: Dorothy Fontana (2), Story: John D.F. Black (Co-Writer and Associate Producer of "The Naked Time" on "Star Trek") Featuring Brooke Bundy as Sarah MacDougal (Leah in "Firecreek," Elaine Parker on "A Nightmare on Elm Street 3: Dream Warriors"), Benjamin W.S. Lum as Jim Shimoda (Kim Mei Clerk in "Another 48 Hrs.") ["The Naked Time" was George Takei's personal-favorite episode on "Star Trek," as he got to have fun prancing around the decks, shirtless, as a swashbuckler. That episode was written by John D.F. Black, and because of that, he was given credit for having written the story for this episode, a "parallel" version written for The Next Generation. In case anyone has forgotten, this is the one where "Data Does Dasha" (sorry, Tasha, and not to be confused by a porn movie with a similar-sounding name) - him being an android, one can only imagine his thrusts-per-minute - Tasha looked pretty tired when she emerged from her quarters. The Pilot featured a cameo by McCoy; this episode has a verbal reference to Kirk - this was undoubtedly to "ease seasoned viewers into" this new and very different series - it seems like a wise and prudent decision. The "Acting Captain Wesley Crusher" scene may have been the beginning of the hatred for Wesley hijacking the series (according to people who didn't like him; to me, his "precocious genius" got a bit annoying, but never went so far overboard that I couldn't stand him, plus he redeemed himself as the series progressed).] 1.4 - "Code of Honor" - Oct. 12, 1987 - Directed by Russ Mayberry (Director of "Unidentified Flying Oddball") and Les Landau (Assistant Director of "Leadbelly"), Written by Katharyn Powers (Writer of "The Longest Drive" for "The Quest") and Michael Baron (BS Degree in Organizational Systems Management from California State University, Northridge) Featuring Jessie Lawrence Ferguson as Lutan (Calder in "Prince of Darkness"), Karole Selmon as Yareena (Homeless Woman #1 in "The Soloist"), Julian Christopher as Hagon (Prison Truck Guard #1 in "X-Men: The Last Stand") [A very poor episode in the weakest season of the series, "Code of Honor" features bad writing, bad direction, and acting that should have - and could have - been stronger. I can't remember the last time I had to hunt this deeply for something else - anything else - the directors, writers, and actors did outside of "The Next Generation," and it's a shame that *this* has to be the episode with the most primitive black stereotypes in this normally equitable series (Ferengi stereotypes notwithstanding). Just look at what I found for the three guest stars - other than Jessie Lawrence Ferguson, it's downright embarrassing to even cite their other acting achievements, especially when all three people did a perfectly decent job in the episode. Karole Selmon is absolutely lovely, and was fine in her role; yet ... "Homeless Woman #1?" Ugh. For one of the writers, Michael Baron, I couldn't find *anything* else he did, so I simply listed his degree, and then when I researched Cal State Northridge, I couldn't even find the degree. Interestingly, Patrick Stewart is in "X-Men: The Last Stand," and I'm wondering if his influence helped Julian Christopher get his role (Prison Truck Guard #1? Ugh). I'm not very politically correct, but this episode makes even me cringe, and I'm wondering if it should have ever been made in the first place. I don't know of a good way to put this, so I'll just come out and say it: Denise Crosby has too much air time in these first three episodes. The most laughably bad moment in the episode? When millions of people are about to die, Tasha is about to engage in a fight to the death, the Enterprise is in a gravely acute diplomatic crisis with the Ligonians, and Riker - who is acting captain - has just finished making a silent soliloquy about the gravity of the situation. Then, the turbolift doors in the bridge open, and Wesley Crusher is standing there, grinning. Riker greets him as if he were working the registration desk at the Four Seasons in Fiji, smiles warmly, and says, "Care to lend a hand? Sit at ops," as he waves Wesley onto the bridge, gets onto the turbolift himself, and exits the scene with this young child strolling over to the control panel, unattended. Are you kidding me?] 1.5 - "The Last Outpost" - Oct. 19, 1987 - Directed by Richard A. Colla (Director of "Olly Olly Oxen Free"), Written by Richard Krzemien (Writer of "Kentucky Rye" for "The New Twilight Zone") Featuring Armin Shimerman as Letek (Stan the Caddy in "The Caddy" on "Seinfeld"), Jake Dengel as Mordoc (Pee Wee in "Ironweed"), Tracey Walter as Keyron (Lamar in "Silence of the Lambs"), Darryl Henriques as Portal 63 (Life Reporter in "The Right Stuff"), Mike Gomez as DaiMon Tarr (Auto Circus Cop in "The Big Lebowski") [Note: After these first 5 episodes (I'm calling the pilot episodes 1-2), I don't know how this show survived the rest of 1987. I don't think I'd ever seen any of these except for "The Naked Now," and they are all ... just ... largely ... bad. I've actually forgotten, at this point, why I ever liked this show so much. Leigh, I'm very much looking forward to watching the entire first half of Season One (which hasn't been terribly fun), and then purchasing Wil Wheaton's book - it should be the perfect quick read for me when I'm finished. I do think "The Last Outpost" is the second consecutive episode where TNG has reinforced negative stereotypes about a human ethnicity of people (with the Ferengi, you can pick your ethnicity, but they're surely being mocked as "short little mercantile, conniving opportunists who won't hesitate to cheat others"). I don't remember how I initially reacted to the Ferengi appearing on the view-screen as giants, but it certainly echoed, and was influenced by, "The Corbomite Maneuver" in The Original Series, except that Balok was just a wonderful person - the type of guy you'd enjoy sharing a glass of tranya with. My problem, in general, with the Ferengi is that the series makes them just a little too easy to hate, and there's no complexity to them at all - they're defined in black-and-white, shallow, and (I guess the current term among Millenials is, "basic"). Also, it's somewhat painful to see them jumping up, down, all-around while Riker is trying to have a discussion with Portal 63. Sure, they've now been established as a race of entities you'll hate upon their very mention, but isn't that just a little too convenient? Looking back, after having watched every episode (I've written this summary at different times), I don't remember a single moment of honor among them.] 1.6. "Where No One Has Gone Before" - Oct. 26, 1987 - Directed by Rob Bowman (4 consecutive Primetime Emmy Award Nominee for Outstanding Drama Series for "The X-Files"), Written by Diane Duane (Writer of the "Young Wizards" novels) and Michael Reeves (Daytime Emmy Award Winner for Outstanding Writing in an Animated Program for "Batman: the Animated Series") Featuring Stanley Kamel as Kosinski (Dr. Charles Kroeger on "Monk"), Eric Menyuk as The Traveler (Carney in "Der Roachenkavalier" on "Hill Street Blues"), Herta Ware as Maman Yvette Picard (Rosie Lefkowitz in "Cocoon"), Biff Yeager as Chief Engineer Argyle (George in "Edward Scissorhands") [When Troi, Ryker, and Argyle go to meet Kosinski and The Traveler in the transporter room, the cinematography, lighting, and camera angle is all wrong (see the first picture above). In the "Awkward Scene of the Episode," when The Traveler says to Wesley Crusher, "Something troubles you with the way this is configured?" there is silence, as Crusher sits there nodding for four full seconds which seem like an eternity. This episode clearly borrows something from "2001: A Space Odyssey," as the Enterprise is jettisoned one-billion light years away, in an unknown part of the universe which features fantastic lights outside the ship (see the 3rd picture), and where ideas come to life in the form of terrifyingly real characters from times past. Wesley is introduced to the viewers by The Traveler as a Mozart-like genius, to be nurtured (but not informed) by Picard - this sets the stage for him being a Boy Wonder in future episodes. Kamel overacts as the annoyingly arrogant Kosinski, both while intractably cocky, and also while reduced to a blubbering "I didn't mean to do that," before he gets largely elbowed out of the episode - why he wasn't taken into quarters, I'm not sure.] 7. "Lonely Among Us" - Nov. 2, 1987: 8. "Justice" - Nov. 9, 1987: [Note: In "Justice," Worf's comment at 5:58 on Amazon, "Nice planet," was the first laugh-out-loud funny moment I've ever had in any Star Trek episode, from either series. I want to take shore leave on this planet. This series is improving, markedly.] 9. "The Battle" - Nov. 16, 1987: 10. "Hide and Q" - Nov. 23, 1987: 11. "Haven" - Nov. 30, 1987: [Note: Some of these recent episodes were panned by some reputable online sources; I, on the other hand, remember again why I like TNG after watching them. In "Hide and Q," Worf proved himself to be one of the great heroes of the series. Leigh, I assume Majel Barrett will redeem herself later in the series? There's nothing, nothing at all, to like about her in this episode.] 12. "The Big Goodbye" - Jan. 11, 1988: [Note: Does anyone know why there was such a gap between episodes 11 and 12?] 13. "Datalore" - Jan. 18, 1988: [Note: This is the final episode covered in Wil Wheaton's book, so if you've made it to here, buy the book.] 14. "Angel One" - Jan 28, 1988 - 15. "11001001" - Feb. 1, 1988: [Note: It's not the first season that's bad; it's only the first few episodes - the critics are wrong, and I'm loving this. In this highly structured, almost military environment, a logical person might assume that, at this point, the wonky holodeck might become prohibited, but, meh, to heck with logic.] 16. "Too Short A Season" - Feb. 8, 1988 - 1.17 - "When the Bough Breaks" - Feb. 15, 1988 - Directed by Kim Manners (Director and/or Producer of 132 episodes of "The X-Files" (xx)), Written by Hannah Louise Shearer (Writer of "Q-Less" on "Star Trek: Deep Space Nine") Featuring Jerry Hardin as Radue (Deep Throat on "The X-Files" (xx)), Brenda Strong as Rashella (1980 Miss Arizona, Sue Ellen Mischke on "Seinfeld" (xx), Mary Alice Young on "Desperate Housewives," Ilene Stowe on "Fear the Walking Dead"), Jandi Swanson as Katie (Jenny Drake on "Baywatch"), Paul Lambert as Melian (Washington Post National Editor in "All the President's Men"), Ivy Bethune as Duana (Evelyn Tuttle on "Father Murphy") [I get the concept of cloaking a planet visually by bending light rays, but ... isn't there this other force called "gravity?" Regardless, Riker is positively thrilled at the possibility (and realization) of finding the mythical planet Aldea, something akin to Atlantis. "When the Bough Breaks" is an unheralded, but extremely strong, episode with a fine writer in Hannah Louise Shearer, a talented director in Kim Manners, and the sometimes-hilarious, always-alluring presence of Brenda Strong (who guest-starred with Armin Shimerman in the very funny episode, "The Caddy," on "Seinfeld" (Strong is in the first photo up above). You'll see, in the first ten minutes of this episode, that it stands above the norm, and that the slow-starting first season is (and has been) fully on-track - there is beauty, mystery, intrigue, and especially after the uninvited visit to the Enterprise, Hitchcockian suspense, animated by the telepathic powers of Counselor Troi (you get a glimpse here of how effective Troi becomes in later seasons, after getting off to such a clumsy beginning). A subtly hilarious moment occurs right after a little girl named Alexandra disappears - the next scene shows a girl playing a musical instrument, and when she disappears, the instrument simply tips over: This is absolutely a "You have to see it to appreciate it" moment, but if it doesn't slip by you (and it easily could), you might find it laugh-out-loud funny - there's obviously a stagehand holding the instrument who forces it to tip over. It is remarkable just how much Wesley has aged since Episode 1 - he has clearly entered puberty, and has gone from being a boy to a young man in just a few, short months. I'm not certain, but this episode seems to contain a very early reference to the lethal potential of climate change - how many dramas can you think of that mentioned it nearly thirty years ago?] 1.18 - "Home Soil" - Feb. 22, 1988 - Directed by Corey Allen (Buzz Gunderson in "Rebel without a Cause," Emmy Award for Directing "Goodbye, Mr. Scripps" on "Hill Street Blues"), Written by: Teleplay - Robert Sabaroff (Writer of "The Immunity Syndrome" on "Star Trek"), Story - Robert Sabaroff, Karl Geurs (Director and Co-Writer of "Pooh's Grand Adventure: The Search for Christopher Robin"), Ralph Sanchez (Writer and Executive Producer of "Boxcars") Featuring Walter Gotell (Second Officer of the Königin Luise in "The African Queen," Oberleutnant Muesel in "The Guns of Navarone," Hans Lasser in "The Hi-Jackers" on "The Saint" (xx), Morzeny in "From Russia with Love," General Gogol in six "James Bond" films), Elizabeth Lindsey (Miss Hawaii, 1978), Gerard Prendergast (Erik Slade on "Summer"), Mario Rocuzzo (Angelo in "The Locket" on "All in the Family" (xx), Andrew in "Goodbye, Mr. Scripps" on "Hill Street Blues" (xx)), Carolyn Barry (The Metron in "Arena" on "Star Trek" (xx)) 19. "Coming of Age" - March 14, 1988 - 20. "Heart of Glory" - March 21, 1988 - 21. "Arsenal of Freedom" - April 11, 1988 - [Note: "Get Off My Train!"] 22. "Symbiosis" - April 18, 1988 - 23. "Skin of Evil" - April 25, 1988 - [Note: RIP, TY.] 24. "We'll Always Have Paris" - May 2, 1988 - [Note: That's Michelle Phillips from "The Mamas and The Papas."] 25. "Conspiracy" - May 9, 1988 - [Note: My first question: The "homing beacon sent from earth comment at the very end ... what did that imply? It sounds ominous, but nothing seemed to pan out from it in later shows that I'm aware of, so ...? (Answers will be Spoilers)"] 26. "The Neutral Zone" - May 16, 1988 - [Note: And that's a wrap for season one.]

"Infinity Chamber" (originally called "Somnio") is so new that it doesn't even have a Wikipedia entry. I'm not sure if it was even released in theaters, and it just came out on streaming video last month. There was initially an attempt to fund it on Kickstarter - if you watch the video there (which won't give much away), you'll "get to know" Writer-Director Travis Milloy, which makes me feel somewhat guilty for what I'm about to write. This intriguing title is about an equally intriguing subject: A man wakes up with only a vague recollection of being shot, and is imprisoned by a high-tech, futuristic, fully automated "LSO" (Life-Support Operative) named "Howard," which is a self-learning computer, fully (and hilariously) reminiscent of HAL in "2001: A Space Odyssey." (Note that the diminutive of Howard would be "HOW.") *** SPOILERS FOLLOW *** Howard is the best and most memorable part of this film, which the LA Times correctly says is "a little too long." It's actually not only too long, but also too garbled, with an unsatisfying denouement that leaves the viewer with a "What the hell just happened" perception. There are films (such as "Inception") with deliberately ambiguous endings, but "Infinity Chamber" is more than just ambiguous - it's also perplexing, and not in a good way. I'm all-for open-ended endings, subject to interpretation, but this movie was one hell of a long ramble, not justified by the payoff. Christopher Soren Kelly plays Frank Lerner (note the double entendre), Cassandra Clark plays the girl of his dreams, Gabby (note the double entendre), and both are just about perfect in their roles, so the acting here is quite good. Howard is a delight as the laid-back, thoughtful LSO who almost befriends Frank during the arduous time spent getting to "know" one-another. The lighting is good ... until it isn't (the film becomes one of "those" black-as-night films, which leaves the viewer squinting and guessing - they've become a fad, and I'm sick of them), the music by Jacob Yoffee fits the movie, and the angular cinematography is as good as it can be within its severe limitations. This all sounds wonderful, but the actual plot not only plods, but is so infuriatingly vague that the stingy reveal leaves the viewer empty. Did Frank outsmart Howard? Is it all a dream? Did he die despite the ventilator? Is he happy-ever-after? You're welcome to pick-and-choose whatever you wish, and you won't be wrong, unless there's something patently obvious that I've missed. "Infinity Chamber" isn't a joy to sit through; it's hard work at times, and the claustrophobic set must have been the cinematographer Jason Nolte's worst nightmare, because with such a long film, and such a limited space, he simply ran out of things to try. As much as I don't want to say this, I just can't recommend this film to anyone except the most avid science-fiction fans - it does a lot of things right (and doesn't even come across as being low-budget), but there are just too many inherent flaws in the story and direction for talent to overcome - the irony being that I think there is some talent in writer-director Travis Milloy; it just didn't come out in this film.

The first time I ever saw a film by David Lynch was in Manhattan, during the summer of 1981, and it was a re-release of "Eraserhead" on the big screen. I haven't seen this movie in almost 36 years, yet there are images which remain as plain as day in my mind. It was perhaps the creepiest film I'd ever seen at that point in my life. "Mulholland Drive" may not be as creepy - on absolute terms - until, that is, the final 40 minutes, when all sense of logic and reality become distorted: No matter how hard you try and understand what's going on, the film will demand a second watching (at least a second watching). The performances, the direction, the story, the shifting in-and-out of reality, the cinematography, and the music (even the simple doo-wop music (*)) is just so compelling that Lynch was working on a higher plane than mere human existence. I can't describe the movie, but I suggest watching it in parts - perhaps the first 50 minutes twice, then the second 50 minutes twice, and then the final 40 minutes as many times as you need in order to make some sense of things. This is a work of art that is clearly the work of genius; and yet, I can't tell you *why* it's such a great work of art. But it is. Now, I have to go back and watch "Eraserhead" again. Man, what a ride Mulholland Drive is. (*) Just in case you thought it was original:

"The Stepford Wives" (1975) - Directed by Bryan Forbes (Director of "The Whisperers") Produced by Edgar Scherick (Producer of "Sleuth") Written by: Screenplay - William Goldman (Academy Award Winner for Best Original Screenplay for "Butch Cassidy and the Sundance Kid" and for Best Adapted Screenplay for "All the President's Men"), Story - "The Stepford Wives" by Ira Levin (Author of "Rosemary's Baby") Featuring Katharine Ross as Joanna Eberhart (Etta Place in "Butch Cassidy and the Sundance Kid," Elaine Robinson in "The Graduate"), Paula Prentiss as Bobbie Markowe (Liz Bien in "What's New, Pussycat?" Lee Carter in "The Parallax View"), Peter Masterson as Walter Eberhart (Fryer in "In the Heat of the Night"), Nanette Newman as Carol van Sant (Girl Upstairs in "The Whisperers"), Tina Louise as Charmaine Wimperis (Ginger Grant on "Gilligan's Island"), Patrick O'Neal (George Maxwell in "Bed of Roses" on "The Alfred Hitchcock Hour," Harmon Gordon in "A Short Drink from a Certain Fountain" on "The Twilight Zone," Jonathan Meridith in "Wolf 359" on "The Outer Limits," Justus Walters in "A Fear of Spiders" on "Night Gallery"), Josef Sommer as Ted van Sant (District Attorney William T. Rothko in "Dirty Harry"), Franklin Cover as Ed Wimperis (Tom Willis on "The Jeffersons") --- I had managed to avoid "The Stepford Wives" (the original version) for my entire life, but given that the term has entered our lexicon, and more importantly, that the 1975 version was at least an attempt at horror (the latter version mixed in comedy), I thought I'd give it a go. While I can't say "it was a great movie," I also don't regret watching it. My biggest gripe about this film is one that other critics have repeated: It feels like a made-for-TV film, and is also about thirty minutes too long. I can't imagine walking into a movie theater, even when I was fourteen years old, and seeing this on the big screen. Katherine Ross is eight years older than when she played Elaine in "The Graduate," but she weathered those eight years beautifully - she has a very unique loveliness to her, and did a pretty good acting job in this role (I can't honestly say it was "great," but that's because she didn't have much to work with - this script would fit nicely in a thirty-minute episode, or perhaps a sixty-minute episode, of "The Twilight Zone"). *** SPOILERS FOLLOW *** One thing that isn't entirely clear to me is whether or not her husband, Walter, knew about the goings-on in Stepford before leaving New York City - his conversion to one of the Stepford Husbands was seamless and total; yet, how could the town of Stepford trust a complete stranger, whom they'd never before met (or had they?), with this information? Two-thirds of the way through the movie (I'm loathe to call it a "film"), I wasn't quite sure how the transition would be done - was it drugs? Surgery? Or something else entirely? Make sure to see the outstanding 2017 film, "Get Out," which was clearly influenced by this movie, as well as by several other films (I won't insult you by naming them). "The Stepford Wives" is optional viewing; "Get Out" is an absolute requirement.

I loved watching "The Saint" when I was in high school - I felt like I'd snuck into a movie theater, and was watching James Bond for free. Last night, I watched Season 1, Episode 1, "The Talented Husband" for the first time ever, and I can honestly say it was one of the single finest hours I have ever seen on television. If you're a Hulu subscriber, I *urge* you to watch this first episode - you will not regret it. I remember the series as being really good, but not *this* good. Sometimes, people have one, great idea, and that's what they use for the pilot in order to sell the show - I suspect that's what happened with "The Talented Husband." It's really extraordinary television, and it's on Hulu here (subscription required) - do *not* watch the version on YouTube: The background of that version is awful; the free version on Vimeo looks like it's of good quality, but I haven't watched it, so I'm not sure. More than Wikipedia, I highly recommend this website - The Saint - as your home base for each episode. Unfortunately, it's set up so that each episode doesn't have its own URL, so I can't link to them - if you want a real, dedicated, fan-based website, this is the one for you: I'd link to it if I could. "The Saint" car: a 1962 Volvo P1800 with license plate ST 1 - Season One (Oct 4, 1962 - Dec 20, 1962) 1.1 - "The Talented Husband" - Directed by Michael Truman (Director of "Girl in the Headlines"), Written by Jack Sanders Featuring Derek Farr as John Clarron (John Whitworth in "The Dam Busters"), Shirley Eaton as Adrienne Halberd (Jill Masterson in "Goldfinger"), Patricia Roc as Madge Clarron (Caroline Marsh in "Canyon Passage"), Norman Mitchell as Mr. Smith (Gunner 'Parky' Nigel Parkin on "It Ain't Half Hot Mum") 1.2 "The Latin Touch" - Directed by John Gilling (Director of "Shadow of the Cat"), Written by Gerald Kelsey (Writer of 43 episodes of "Dixon of Dock Green") and Dick Sharples (Writer of 35 episodes of "In Loving Memory") Featuring Suzan Farmer (Diana Kent in "Dracula: Prince of Darkness"), Warren Mitchell (BAFTA Television Award Winner for Best Actor on "Till Death Do Us Part") 1.3 - "The Careful Terrorist" -

"Rebecca," Alfred Hitchcock's first American project, is a Gothic tale filled with suspense. There is fine acting, beautiful cinematography and more twists and turns than your favorite roller-coaster. I wanted to see this film because I have watched a number of movies lately starring Joan Fontaine, and this is considered by many to be her finest work. "Rebecca" is the only Alfred Hitchcock-directed film to win an Academy Award for Best Picture. It is based on the 1938 novel of the same name written by Daphne du Maurier. Filmed in black-and-white, "Rebecca" has a darkly brooding, mysterious feel to it. Fontaine is perfect as the naively sweet second Mrs. De Winter, living in the shadow of her predecessor, Rebecca. Fontaine and Laurence Olivier have wonderful chemistry in this film. All of the actors are top-notch, but Dame Judith Anderson is simply unforgettable in her role as the demented housekeeper, Mrs. Danvers. "Rebecca" is a sweeping, captivating picture that every lover of classic films should see.

Watching "Girl in the Headlines," a 1963 British whodunit, drives home the point that the vast majority of films in this forum are in, or nearly in, the elite category. There are *so many* middling, or just plain bad, movies out there, that whenever I see one, it stands out like a sore thumb - such is the case with "Girl in the Headlines." This film is 94 minutes of tedium, followed by a payoff that leaves the viewer feeling cheated - although it is "classic" in that it represents what so many early-1960s British mystery films are, it is nothing more than an average film, and the viewer has to be in a really good mood just to rate it average. As to *why* I watched this? It's because Season 1, Episode 1 of "The Saint" - "The Talented Husband" - is *so* damned good, that I thought I'd give director Michael Truman a go on the big screen, and this is about the only film I could find by him. In fact, this film is so hard to find that I had to get "a subscription within a subscription," signing up for Fandor as a supplement to my Amazon Prime subscription. After one free week, Fandor kicks in month-to-month at $3.99, and it may well be worth it, because all of its films are free, and it specializes in obscure, foreign films that you just cannot find on typical subscription services - I seriously doubt you'll find "Girl in the Headlines" in many other places. Even with my expensive Amazon Prime subscription, I seem to end up paying $3.99 for most films I watch, so Fandor could turn out to be a bargain in the long-term. Oh, you wanted a review of the movie? Okay, here it is: A slain model, a detective, red herrings, numerous suspects, and a twist ending that's just not worth the investment. There's your film. It's not terrible, but it's not good either, and I cannot recommend it when there is just so much else out there worth watching. Given how unbelievably good "The Talented Husband" is, I don't fault Michael Truman for this film; it's more that he had almost nothing to work with - I would instead be skeptical about the producer, screenwriters, the story itself, or a combination of the three - there's nothing about the actual direction that seems so bad; in fact, it has a very nice feel to it - it's just kind of boring. The acting, especially that of the two detectives on the case, is quite good. This film is also out there under the name, "The Model Girl Murder Case."

*** SPOILER ALERT *** *** DO NOT READ THIS IF YOU PLAN ON SEEING THE FILM *** I sent DIShGo an email, with the instructions *not* to open it until she was finished watching "The Usual Suspects," which she finished last night. The email said this: "In my entire life, I have never felt more manipulated or cheated than I did from this movie. The ending made THE ENTIRE MOVIE IRRELEVANT. It could have been *anything*, depending on what they chose to put on the wall. It was insulting, it was bullshit, and it was a complete waste of the viewer's time - yet, all the sheep say what a great movie it is. Yeah, right. Bullshit." --- I'm going to say one other thing, and I may as well say it here: I am *so damned sick* of these wannabe film critics (and I fully realize that I *am* a wannabe film critic) throwing around the word "noir" as if every crime-related movie since 1940 falls into that category - these people are dumb as hell, and don't know what they're talking about, but boy, they sure think they sound smart by using that word. SPARE ME! Sorry.

"Suspense" is one of the very first television anthology series, debuting in 1949, and running 6 seasons and 260 episodes until 1954. It was adapted from a radio program of the same name which ran from 1942-1962, and was broadcast *live*. Many of the scripts were adapted from literary classics by big-name authors, and also featured big-name stars as actors. Although the show was broadcast live, most episodes were recorded on kinescope, and about 90 out of the 260 episodes survive as of this writing. I continue to be amazed that so much early television is just plain *gone*, considering how important the medium is - they taped *over* productions in order to save money! The series has several Producers (one of whom being billed as an "Executive Producer"), and I'm not sure what the difference is between the two positions. Robert Stevens directed 105 episodes, and produced 102 episodes. Season One (Jan 6, 1949 - Jun 28, 1949) 1.1 - "Goodbye, New York" - Story by Cornell Woolrich ("It Had To Be Murder" (source for "Rear Window"), "The Big Switch" on "Alfred Hitchcock Presents")), Sets by Samuel Leve Featuring Meg Mundy (Grandmother in "Ordinary People")

A recent discussion about "Vertigo" on this website made me think about watching "Rear Window" again. I saw this film years ago, and I loved it. I watched it again last night with the same result. This film is regarded by many critics as one of Hitchcock's best. It stars James Stewart as a world famous photographer sidelined with a broken leg. As he sits in his apartment recovering from his injury, he becomes a voyuer, passing the hours watching the lives of his neighbors unfold through their rear windows. The result is a fascinating look at human nature, and our desire to watch. Like Stewart's character, Jeff, we are drawn into the lives of these strangers, without knowing their names or in some cases, ever hearing them speak. Love, marriage, fidelity, success, failure and of course (it is Hitchcock after all) murder--all of these subjects are put on display, simply by allowing us to sit and stare out of the window with Jeff. Grace Kelly is luminous as Jeff's girlfriend, Lisa Fremont. A successful fashion model who is madly in love with him, she appears in one gorgeous dress after another, begging for Jeff's attention, but failing to draw his gaze away from the window with her more than ample charms. Hitchcock films Lisa so that we are seduced by her, even when Jeff is not. She faces the camera as she kisses his neck, begging him to pay attention to her. Her Edith Head wardrobe is divine. Anyone remotely interested in 1950s fashions will love seeing the frocks Kelly so beautifully wears. Jeff ignoring Lisa for his voyeuristic pursuits makes this film feel relevant in 2016. Who hasn't seen groups of people sitting together, heads down, scrolling through their Facebook feeds or reading the news on their phones? Would they be happier if they looked up and talked to each other? Or, consider the concert-goers, taking endless photos and posting them on social media. Would they enjoy the performance more if they pocketed their phones and lost themselves in the music? In 1954, Hitchcock was making a statement about people watching films and, perhaps, TV. Think about how much more pervasive passive voyeurism has become in the past 60 years. "Rear Window" succeeds on many levels. It is a story of romance and mystery. There is a great deal of suspense in this film as it unfolds, all extremely well done by the master. If you haven't seen "Rear Window," I highly recommend that you do.

I try to read at least one novel by each Nobel Prize Winning Author, just for the hell of it - for my own self-improvement, I guess. Having always considered myself fluent (or at least highly conversational) in French, and having read some pretty tough little books in French before, I decided to tackle one of Patrick Modiano's works in his native language, so I had my mother-in-law find and ship me a really nice copy of <<La Place de LÉtoile>>, one of his most important works. I read the preface, and understood the double-entendre. Great! I was going to blitz through this 211-page book in a couple of months. Then I got to the second page, and was staring down things like this list of idiomatic invectives, one right after the other: ... rantanplan ... Vlan! ... cet effréné empaffeur de petites Aryennes! ... Rastaquouère des cocktails infâmes! and so on, and so on. It took me an hour - with a dictionary - to read one page, and I closed the book and said, "To hell with it - this isn't French; this is Martian." So I took the more sensible route - or so I *thought* - and bought a translated book (and there weren't many available): "Missing Person," translated by Daniel Weissbort. One mistake was followed by another, the second being so significant that it stole six months from my life. First of all, "Missing Person" is some editor's *impossibly bad* translation of the novel's real name: <<Rues des Boutiques Obscures>>, which translates much more appropriately - and poetically - to "Streets of Obscure Boutiques." This book is, you see, a mystery novel in which the detective is also the subject - he can't remember who he is, so he spends the entire book chasing down leads as to his real identity, some of which are good, some of which aren't - hence, the beautiful title which was completely ruined in translation, the imagery of some poor man scurrying up-and-down streets with strange, but familiar, looking boutiques a near-perfect allegory of his search for himself. I was hell-bent on giving Modiano the respect of trying to solve this mystery before I got to the end of the book - so much so, that I wrote down, and kept track of, every single name, proper noun, street, etc., in the *entire book*, so when they were referred to again later on, I could go back and find the page on which they were originally referred. That's dedication, right? Yeah, that's dedication. Assuming the book has an ending. When I was 20 pages from the end, after spending about six months reading it, studiously assembling my study guide, an uneasy feeling came over me ... this book wasn't going anywhere. And then I cursed the author when I was 5 pages from the end, because I knew then that this was going to be one of "those" novels - this wasn't a mystery novel; it was a meditation on existence, and all that work I did was for *nothing*. Nada. Zilch. This was going to be a story without an ending. Then I read the final word, closed the book, and said to myself, "That bastard." It was like having read "Waiting for Godot" (for those who don't know: Godot never shows up), diligently writing down every possible clue throughout the entire story, only to have zero payoff at the end, and to have realized you wasted about forty hours of work. If I had only known, I would have read it differently, but I had no way to know. Well, I hope you all enjoy my Study Guide to NOTHING. I even went so far as to separate Rues, from Boulevards, from Avenues, and to think with about 50 pages left, I thought to myself, "You know, I'm going to have to read this a second time and write down all *phone numbers*, because what I'm doing isn't going to be enough. Listen up! Learn from my mistake in attempting to read this as a novel in which you can figure out clues. Had I done this properly, I would have included phone numbers, and also the page numbers for the dates at the very bottom. As it stands, *the entire project was a mistake*, and the novel is best blasted through without worrying about details. Read it in a week; not in six months. Trust me - my loss can be your gain. I will add that I just this moment purchased the hardcover version of this novel in French, and I'm going to "blast through it," <<sans dico>>, both to improve my French, and because I know I'll understand it very well, even though I won't know certain individual words - plus, I now have a brand new hardcover copy for my tiny, personal library, and also a paperback English-language copy to lend to my friends - one thing I am not, is a quitter. Enjoy! I sure as hell didn't. There are no spoilers here, and the page numbers represent the very first time in the book that something was referenced. This is an important note: The reason these lists look so "condensed" is because I often tapped them in on my cell phone, and was trying to keep one note per line. I had no intention of making these public, and they were for my own benefit - but it's obvious to me (now) that someone, at some point in time, might get some use out of them, so here they are in their "raw" format, with my apologies. Don Rockwell's Study Guide to ... NOTHING! Note: This ONLY applies to This Edition of "Missing Person" The sleuth *and* the subject is named Guy Roland - the entire story is about him trying to find out his true identity. Links that Guy Roland uses to get from one lead to the next: Hutte Sonachidze (how?) -> Heurteur Styoppa (funeral of de Rosen) Blunt (photo & funeral of Orlov) Howard (Lutte's directories) Pilgram (Howard's pic + Hutte) Ruddy bartender (Denise born) Mansoure (magazine cover) People mentioned in the story (again, the page cited is the very first time a name or person was referenced in the book - if something "important" shows up later, I'll sometimes write something such as [see 119] which means "see also page 119"): Guy Roland 1 Constantin von Hutte 1 "The dark little man, puffy face" 1 The dark little man's wife 1 Another dark little man 1 Paul Sonachidze 5 Jean Heurteur 7 Styoppa de Dzhagorev 10 Marie de Rosen 13 Georges Sacher 13 Giorgiadze 27 Mara "Gay" Orlov 27 Pedro the South American 27 [identified by Bob 64, lying on bed 115] Bernardy Mac Mahon 32 Kyril Orlov 32 Irene Giorgiadze 32 Waldo Blunt 33 Jean-Pierre Bernardy 33 [see 159] Lucky Luciano 38 Howard de Luz (Jean Simety) 40 (48) John Gilbert 41 Dany Blunt 42 MmeMabel Donahue Simety 48 Claude Howard 49 Freddie [Alfred Jean 158] Howard de Luz 50 Robert "Bob," the Valbreuse caretaker 54 [named 58] French billiard-playing woman 61 Freddy's jockey friend 64 [see 124] Robert Brun 66 (same as Bob 54?) R.L. de Oliveira Cezar, CG 67 Helene Pilgram 68 Policemen standing sentry 71 Mr [Pedro?80] McEvoy 72 [Dominican Republic working at legation 119] Denise [Yvette Coudreuse] 73[79] ["Muth" 119] Leon Van Allen 73 [Dutch 119] Paul Coudreuse 79 Henriette Bogaerts 79 Jimmy Pedro Stern 79 Oleg de Wrede (Paris) 81 [see 137] Ruddy bartender 86 Jean-Michel Mansoure 89 Hoyningen-Huene 95 Alec Scouffi (Greek-Egypt) 97 Blue Rider (Scouffi's killer) 99 Richard Wall 102 10-yr-old girl w/Denise 103 Fat, bald man in pic w/cig 104 Jacques [F 119] dressmaker Denise worked for on Rue la Boetie [#32 119] 107 Sir Basil Zaharoff 108 Pretty dark-haired tropical Latina 112 Man on beach with son 114 King Gustav of Sweden 117 De Swert 118 Mrs. Kahan 118 Georges Stern 120 Giuvia Sarano 120 Cueva 122 Colonel de Basil 122 Andre Wildmer 124 Porfirio Rubirosa 127 [killed in car under?accident 129] Bob Besson 132 Mrs. Jeanschmidt 136 Mrs E. Khan 137 Louis de Wrede, Comte de Montpensier (called Oleg) 138 Duchess rof Uzes 138 Duke of Windsor 138 Mrs. Henri Duvernois 139 Fair-Haired Man at Gare de Lyon 143 [Kyril 146] (Not Gay's father) George (Bar Owner in Megeve) 150 Joseph Simety Howard De Luz 158 Louise Fouquereaux 158 Alex Maguy 162 Japanese actor and his wife 162 Evelyne and a pale young man 162 Jean-Claude the Belgian 162 Fribourg 165 Fat Maori 165 Alain Gerbault 165 Rues (a <<Rue>> is a Street - I left the word "Rue" out of every one except the very first)Rue Vital 1 Anatole-de-la-Forge 5 [see 162] Cambon 7 [Hotel Castille, 8th 119] Claude-Lorrain 13 Charles-Marie-Widor 15 Marie-Widor 15 Boileau 16 Chardon-Lagache 17 [#9 121] Julien-Potin 22 [Pedro McElvoy? 121] [Porfirio Rubirosa 129] Ernest-Deloison 22 du Mont-Thabor 25 du Cirque 33 [21, 23] Rayounard 48 de Bassano 49 [10A] Cambaceres (8th) 68 Jenner (school) 89 [1] Gabrielle (18th) 92 Coustou 93 Lepic 93 des Abbesses 93 Germain-Pilon 93 [97] de Rome 5th floor (17th) 96 [26] de Naples (8th) 105 [11] de Berne (8th) 105 [99] de Rome (17th) 105 [97] de Rome (17th) 105 la Boetie 108 [97] de Rome 4th floor (17th) 110 Molitor (16th) 112 Mirabeau (16th) 112 Royale 114 Saint-Honore 114 Longchamp 117 [24] Bayard (8th) 120 Jouy-en-Josas 123 du Docteur-Kurzenne [22] de Picardie (Nice) 137 Francois-1er 137 [16] Foucault #5 160 Rude 162 de Saigon 162 Chagrin 162 Avenues (for some perverse reason, I thought it might be important to separate out rues, avenues, and boulevards - again, I only used the word <<Avenue>> in the very first one): Avenue Paul-Doumer 1 Niel 3 de la Grande-Armee 7 [see 162] des Champs-Élysées 7 de Versailles 18 Montaigne 33 [25] du Marechal-Lyautey 33 de New-York 40 Hoche 108 Victor-Hugo 109 Boulevards (again, I only used the word <<Boulevard>> in the very first one>>): Boulevard Maurice-Barres 22 Richard-Wallace 22 de Clichy 93 Moulin Rouge 93 Graff's 93 des Batignolles 107 de Courcelles 108 Emile-Augier 113 Places (again, I only mention <<Place>> in the very first one - a <<Place>> is like a Square, i.e., Times Square, Mount Vernon Square, etc.) Place Pereire 3 Blanche 92 des Abbesses 93 Clichy 107 de L'Etoile 108 de Levis 109 de l'Alma 114 de la Concorde 114 Malesherbes 140 des Saussaies 142 All other nouns except for People: Paris 1 Hutte's office and furnishings 1 Nice 2 Hortensias (cafe) 3 Ville d'Avray 6 Saint-Cloud 6 Porte de Saint-Cloud 7 Langer's 7 Hotel Castille 7 C.M. Hutte Agency 9 Tanagra 9 Alaverdi 11 Sainte Genevieve-des-Bois 13 Russian Orthodox Church 13 Le Herisson 18 School of Pages 19 Porte Maillot 22 Pont de Puteaux 22 Seine 22 The Emigration 23 Georgian Consulate 27 Yalta 28 Quai du General-Koenig 29 Bar-Restaurant de l'Ile 29 3 Addresses for Gay Orlov 33 Hotel Chateaubriand 33 Hilton Hotel Bar 33 Sur les quais du Vieux Paris 34 Sag Warum 35 Que reste-t-il de nos amours 35 Quai Branly 37 Pont Bir-Hakeim 37 Palm Island Casino 38 Arkansas 38 Quai de Passy 39 Trocadero Gardens 40 [see 161] Pont d'Iena 40 Hollywood 41 Pont d'Alma 41 Museum of Modern Art 41 Eiffel Tower 44 Auteuil Race Course 46 Military Cross 48 Club du Grand Pavois 48 Motor Yacht Club of the Cote d'Azur 48 Valbreuse, Orne (61,Alencon) 48 Square Henri Pate 16th 49 Golden Tripe Competition 49 Mauritius 49 [Port Louis 158] Chateau Saint-Lazare 54 [named 67] Biarritz 59 The billiard table in the summer dining-room 62 LU Biscuit box 63 Photographs in biscuit box 65 La Baule 65 Port of New York 66 French Argentine Consulate 66 DominicanRepublic passport67 ANJou15-28 67 Ph#s - 10A RueCambaceres68 Lists of embassies/legations 69 Dressmakers workshop 73 Paramaribo, DutchGuyana 74 Dominican Embassy 74 Megeve 74 Gilt box - English cigarettes 75 Dominican Legation 75 "Charlie Chan" 79 "Anonymous Letters" 79 Department du Seine 79 (13th) 9A Quai d'Austerlitz 79 AUTeuil54-73 81 "History of the Restoration" (L. de Viel-Castel) 85 A La Marine (cafe) 85 "Men Spreekt Vlaamsch" 85 Photo of Antwerp 86 Gare d'Austerlitz 87 Belgian cigarettes (Laurens) 87 Quai d'Austerlitz 88 [#9, 13th 119] Belgium 88 Botanical Gardens 91 Wine Market 91 Montmartre 94 Sacre Coeur 94 Vogue 95 Wehrmacht musicians 96 Marie Brizard 97 Alexandria, Egypt 98 "Ship at Anchor" (Scouffi) 98 Skeletal phone conversation 99 Montmartre funicular 100 Sacre Coeur gardens 100 Seine-et Oise (was 78) 103 Seine-et-Marne (77,Melun) 103 Versailles 103 Hotel de Chicago 105 "At The Golden Fish Residential Hotel" (Scouffi) 105 Salle Playel (Brussels) 105 Theatre de la Monnaie (Brussels) 105 Cafe at corner of Rue de Rome and Boulevard de Batignolles 108 Parc Monceau 108 Basque restaurant w/ Gascony fresco 109 The Royal-Villiers, Place de Levis 109 South American legation (Hutte's townhouse) 112 16th arrondissement 112 Cafe at intersection of Rue Mirabeau and Avenue de Versailles 113 Auteuil 113 Chausee de la Muette 113 Russian restaurant with zither player 113 Cours-la-Reine 114 Queen Astrid's 115 Faubourg Saint-Honore 115 Portugal via Switzerland 116 #6 Square de l'Opera 9th 119 Megeve, Haute-Savoie 119 Annemasse, Haute-Savoie 119 Hotel Lincoln 8th 120 Via delle Botteghe Oscure 2 Rome, Italy 120 Valparaiso 122 Plaza Echauren 122 Cerro Alegre District 122 Avenida Errazuriz 123 Protestant church 123 Robin Hood Inn 123 Jouy-en-Josas 123 Wine bar / grocery store on Ave Niel 124 Giverny, Oise 125 Alsace-Lorraine Gardens 127 Eden Roc 127 Square des Aliscamps 128 Neuilly 129 "El Reloj" and "Tu me acostumbraste" (guitar tunes) [129] Luiza School - Pedro's father would pick up him and Freddie [130] [Luiza and Albany School 135] Vincennes 132 Vichy 133 Parc des Sources 133 Hotel de la Paix 133 Cafe de la Restauration 133 Border at Hendaye (closed) 135 Chez Arkady (Russian restaurant) sometime around 1937 137 Siberia 138 Courcelles Metro Station 140 Square Edouard-VII 141 The Cintra 141 Côte d'Azure 141 "Collection du Masque" novels 142 Gare de Lyon 142 Sallanches 143 "Invisible" Mentioned 146 "The Southern Cross" Chalet 147 Rochebrune 147 Paris-Sport Magazine 147 Hotel du Mont-Blanc 149 L'Equipe (Adult Chalet) 150 Comet Garage 153 [see 160] Valda Lozenge 157 Port Louis, Mauritius 158 5 Addresses for Alfred Jean Howard de Luz 158 Island of Padipi 159 Papeete, French Polynesia 164 Bora Bora 165 Salle Pleyel 165 Tuamotu Archipelago 165 Marquesas 165 Moluccan Blackbirds 166 Seaside Resort in Southern Russia 167 Dates (Often given in the form of letters written to Guy Roland from people he asked questions to in his quest to find out about his life - I should have written down the page numbers also, but I didn't): 1872?Marie Rosen born 1885-04-28 Scouffi born 1910-09-30 Waldo Blunt born 1912-07-30 Alfred Jean Howard De Luz born, Port Louis, Mauritius 1912-09-30 Jimmy Pedro Stern born, Salonica Greece 1914 Mara Orlov born 1914 Photo of "black and white" dinner party 1914/1918SalonicaArchivesFire 1917-12-21 Denise born 1920 Scouffi to Feance 1936 Mara Orlov USA->France ????-02-14 Denise and Pedro 1939-04-03 Pedro weds Denise town hall (17th) 1939-04-03 Certified Abstract 1940 Jimmy Stern disappears 1940-12 Pedro McElvoy resides at #9 Rue Julien-Potin, Neuilly, Seine 1941-04 Van Allen opens fashion house #6 Square de l'Opera 9th 1941-07-15 Consulado letter 1945-01 Van Allen's fashion house closes 1943-02 Denise disappears crossing French-Swiss border 1947 C.M. Hutte formed 1950 Mara Orlov dies 1950 Jean Alfred Howard de Luz leaves France for the Island of Padipi, Polynesia, near Bora Bora (Society Isles) 159 1952 Waldo Blunt in Paris 1965-10-23 Gay Orlov memo 1965-11-07 Scouffi memo 1965-11-27 Letter to Pedro from Mrs E. Khan (representing Hutte) telling Pedro all she knows about Oleg de Wrede

I watched this film recently, and enjoyed it while at the same time, thought it didn't represent what I "normally" think about Alfred Hitchcock as a Director. A friend and I recently watched Hitchcock being interviewed, and he acknowledged (at that time) that this was his favorite film, and we figured out he was referring to "in terms of technical, cinematic aspects" - remember, this is the era of "Citizen Kane" (1941), which seems very dated, and in parts almost boring, but in the early 1940s, some of the cinematic devices used were groundbreaking, and Hitchcock was undoubtedly proud of incorporating modern cinematographic technique into "Shadow of a Doubt. I'd like to jump up-and-down, screaming, 'Watch 'Shadow of a Doubt!'", but I recommend this film for people wanting to peel a layer off of Hitchcock's media-bound reputation, helping to expose him for more of an avant-garde director than he's given credit for being - no, Hitchcock isn't avant-garde but the man wasn't some formulaic weaver of yarns, either - he had plenty of tricks up his sleeve, and used them.