Van Heflin stars as a lonely, bitter young man who believed that one quiet little murder could open an opportunity for a better life. He’s resentful about the way his overbearing aunt raised him and how she still meddles in his life, yet he still honors her. That is, until he informs her of his decision to marry. Then his thinking and that of his intended partner, turns toward facilitating her demise. The ending is very Whistler-esque, and it makes you wonder if it was written with that series in mind.
The story was written by Elliott Lewis. Two years he would become the producer of Suspense. It is possible he used some of his own experience in developing the plotline. He had an elopement and a seven day marriage to Anna Wigton in August and September 1940 that was annulled and may have had some familial meddling in that process. Lewis was in the cast of Burns and Allen at that time. (Researcher and performer Patte Rosebank notes at the OTRR Facebook page that Wigton's legal name was "Anne" and she was referred in casual conversation as "Nana").
Van Heflin delivers an excellent performance, as usual. Heflin’s movie career was on a strong uptrend, but he still enjoyed radio. It was claimed that he performed in more than a thousand broadcasts before breaking as a Hollywood movie star. CBS publicity quoted Heflin in a comment about Suspense: “It’s one mystery show that gives an actor a chance to do real characterizations... not just ‘who-dunit’ plots.” His performance has may subtle aspects to it that other actors found challenging to deliver on radio. In just about eight months he will deliver one of the finest dramatic performances of radio’s golden age in Three O’Clock.
The 1948-08-28 Variety reported that Auto-Lite already picked up its first option on the series. Sponsorship contracts were usually in 13 week increments at minimum and required renewals. This was especially important for a new sponsor, and gave them leverage over the show’s management. Upon returning to the half-hour format, Suspense was the fourth largest audience for radio, even though it was measured for only its first two weeks. What may have helped is that the Auto-Lite debut was in the summer and not up against a full slate of its Fall competition. This was good news for a few reasons. First, the problems with the hour-long format did not injure the franchise. Second, the series was off the air for part of April and May and all of June. The year 1948 was a peak pre-television radio audience, and Suspense had none of the benefits of that listenership surge for more than half a year. It was clear, however, that the franchise still had great appeal to listeners when it returned.
The ratings during the Anton M. Leader production year were excellent, but his relationships with CBS were not. Many believe the Leader year had some of the best performances of the Auto-Lite sponsorship. It seems he stepped on too many CBS toes of executives and show staff, and his contract was not renewed for the 1949-1950 season.
One of the things missing from the William Spier years (and Kay Thompson’s influence) is more compelling episode titles. “Song of the Heart” seems awkward and unlikely to draw interest.
Keith Scott reports that Darryl Shelton’s book about the series states that Van Johnson was originally considered for the lead role of this episode.
LISTEN
TO THE PROGRAM or download in FLAC or
mp3
https://archive.org/details/tsp480826r
THE CAST
VAN HEFLIN (Neil Wilson), Betty Lou Gerson (Muriel Jones), Lurene Tuttle (Aunt Alice), Russell Thorson (First Officer), Bruce Kamman (Mike the Second officer), Paul Frees (Signature Voice)
COMMERCIAL: Bill Johnstone (Hap), Gil Stratton, Jr. (Billy), Sylvia Simms (Operator), Frank Martin (Announcer)
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