Wednesday, September 18, 2024

1953-10-12 The Shot

Van Heflin stars in a story inspired by Alexander Pushkin’s 1831 short story. E. Jack Neuman updated the story about honor to be based in the post-Civil War United States. In April 1954, this episode won an Edgar award from the Mystery Writers of America.

Two officers in the Confederate army hold a pistol duel in which the shots are not fired simultaneously. The first shot at Heflin’s character (Lt. Zachary Payton) passes through his hat. He doesn't afford himself the opportunity to take his turn to shoot, much to the confusion of the duel witnesses. Instead, he challenges his opponent to be ready for battle any day, at any place. Seven years later, he claims his shot… after his target is financially successful, and in a happy marriage, and has more to lose than he did seven years ago. Payton initiates the duel in his target’s home… with the wife nearby… after many of his former fellow soldiers did their best to talk him out of it.

Stick with the story as it may seem to drag. Almost two-thirds of the drama is set-up via conversational dialogue, not via a series of events, that leads to a surprising conclusion. Some of the dialogue is nuanced and gives some clues as to the ending. This is not one of those broadcasts that you can have playing in the background and then catch up on something you may have missed. It is a good episode, deserving of its Edgar award.

The conclusion of the broadcast of the prior week’s episode, Action, was blacked out by a network outage for many listeners. The problem was at WTOP in Washington, DC and affected the network from there. CBS publicity announced that it would send printed copies of the ending of the story to anyone who requested it. That announcement is in the broadcast of The Shot. In the final production script, that announcement was originally planned very early in the broadcast, just before the beginning of the opening commercial. It was moved to the end of the opening commercial. That decision was likely made during rehearsal on the day of broadcast.

The drama opens with music that similar to the opening music of the 1947-08-28 broadcast of Double Ugly.

The original story was by Russian poet and novelist Alexander Pushkin. He seemed to have a fascination with duels, and was 37 years old when he died in one.

There are two surviving recordings, with the network recording as the better of the two. There is also an Armed Forces Radio Service recording (AFRS#458) that is in slightly lesser quality sound. That recording has had the AFRS filler music edited out. That music was used at the end of the dramas to fill allotted broadcast time. There are other AFRS recordings available that have the filler music, but those recordings are not as good as the one without it. The drama is complete in this AFRS recording.

The drama portion of the broadcast was recorded on Thursday, October 8, 1953. Rehearsal began at 10:00am, with recording beginning at 1:30pm and ending at 2:00pm.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP531012

THE CAST

VAN HEFLIN (Lt. Zachary Payton), Harry Bartell (Jim Stockwell), Jack Edwards (Ben Rolls), Jane Webb (Marsha), Joseph Kearns (Willis), Barney Phillips (Referee / Pauk), James Eagles (Quincy), Larry Thor (Narrator)

COMMERCIAL: Tom Holland? (Joe College), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Tuesday, September 17, 2024

1953-10-05 Action

Herbert Marshall returns to the series and portrays a mountain climber faced with the prospect of losing his physical abilities because of he suspects may have had a stroke. Fearing a future life of daily dependence that may cause rather his fear of dying, he decides to continue his climbing and be less obsessed about safety. He’s an experienced and capable mountain climber. He’d rather take the risks of extreme mountain adventure that he may find challenging rather than surrender to the life limitations that are likely to await him as a stroke victim. He decides to seek climbs he might have dismissed without his new attitude. He also plans to do these dangerous climbs solo, without fellow climbers. For his first, he deliberately chooses the most difficult climb he can think of, one with an overhang. This is dangerously like climbing the reverse side of a ladder leaning against a wall. He has to carve his own ladder rungs, out of ice, with a sheer drop thousands of feet beneath him. He climbs to within a few feet of the overhang before his strength gives out. As he feels his grip loosening, he hears a cry for help from another climber, a woman, somewhere above him. She is in trouble. She has been climbing with her husband and is now in a precarious situation. She pleads with her husband to cut her loose, so as not to compromise both of their lives and leave their children parentless. Marshall’s character finds the will and the strength to assist them, his desire for life reinvigorated by the challenge.

The story is by C. E. Montague and adapted by Antony Ellis. Montague was a British journalist who wrote Action in 1928. The original story is in a short story collection that can be borrowed at The Internet Archive https://archive.org/details/greattalesofacti00benn/page/254/mode/2up

The wife’s name is not mentioned in short story, but it is mentioned in this adaptation. Her name is “Hillary,” and is a likely nod to Edmund Hillary. He reached the top of Mount Everest on May 29, 1953. The story was done twice on Escape (1948-04-04 and 1949-07-21) and starred Joe Kearns. The Escape adaptation was written by Les Crutchfield. The wife’s name was “Anna” in those productions. Note at the beginning of the Suspense broadcast that Larry Thor says the episode is “a new dramatization,” indicating that it is not the same script used for the Escape broadcasts.

Forty of the CBS network stations were blacked out during this broadcast because of problems at the master controls at WTOP in Washington, DC. Affiliates as far west as Michigan were affected. Auto-Lite was offered a 22 percent rebate of their sponsorship money, which they turned down. It is not known how it was settled financially. The plan was to send mimeographed copies of the conclusion of the drama to anyone who mailed in. Auto-Lite would be able to judge the level of interest in the series. The announcement was made after the opening commercial of 1953-10-12 The Shot.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP531005

THE CAST

HERBERT MARSHALL (Chris Bell), Ellen Morgan (Hillary Gollen), Parley Baer (Gaspard), Herb Butterfield (Tillet / Brough), Richard Peel (Adrian [member #1]), Ben Wright (Conductor / Dr. Teddy Gollen), Larry Thor (Narrator)

COMMERCIAL: Dick Beals (Johnny Plugcheck), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Monday, September 16, 2024

1953-09-28 Hellfire

John Hodiak returns to the series in another script by effects artist Ross Murray. A raging oil fire has to be stopped by the well owner when a fire fighting expert is not able to help him. Hodiak plays a “wildcatter,” and independent well owner, with many failed “dry holes” in the past. His investors are becoming very impatient and want to stop funding his efforts. He finally brings in a real gusher, only to see it burst into an inferno of flame. As a geyser of flame mounts in the sky, he sends out a desperate SOS for the one man who may have a chance to put it out, a man named Burnette. He’s a specialist in fighting large oil fires. But Burnette is away, and the wildcatter decides to battle the fire himself. He has no experience beyond being in the oil business for a long time, but he is intent on using what he learned and knows and decides to take that risk. Dynamite appears to offer the only hope, but there seems no way to plant it without being roasted alive. Unable to bear the sight of his precious well going up in smoke, he moves in with the explosive charge. One of his workers tries to keep him from being seared with a constant spray of water from a high-pressure hose.

Martin Grams had a conversation with Ross Murray about this script when he was compiling his Suspense: Twenty Years of Thrills and Chills book, published in 1998. Murray talked about how he got the idea for the plot.I read a story of Red Adair or his predecessor, who went to Saudi Arabia to put out an oil well fire. I thought about how interesting it would be if some little old wildcat in Texas had his single oil well catch fire, and couldn't get a hold of the professional, and what would he do to put it out himself.” (Martin had sent Murray a letter… and they talked by phone. How lucky he was 25+ years ago that there were still performers and artists around who could answer his queries).

The dramatic portion of the episode was recorded on Thursday, September 10, 1953. Rehearsal began at 10:00am, and the recording was done from 2:30pm to 3:00pm.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530928

THE CAST

JOHN HODIAK (Wally Drake), Joseph Kearns (Smiley), Clayton Post (Pete), Charlotte Lawrence (Dorothy Drake), Jerry Hausner (Collins), Junius Matthews (Hotchkiss), Herb Butterfield (MacLain), Dick Ryan (Whitey), Larry Thor (Narrator)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Sunday, September 15, 2024

1953-09-21 The Empty Chair

Agnes Moorehead stars in a story designed to rattle young drivers and their parents into being more aware of safe driving. In this story, the climax has three rods racing for a bridge only wide enough for two. Yikes! Moorehead portrays a school teacher who tries to intervene to prevent a senseless slaughter. She rents a room in a home where one of her students lives. He’s a brash youngster with a hot rod car and loves high speed driving and racing. Police bring him home one night with a report that he has playing a deadly game of “auto roulette,” a game in which two cars head toward each other at 70 miles an hour. The game is to see who will give way first to avoid a crash. She learns of plans for a three-car race for a two-car bridge, she tries desperately to make the teenager listen to reason, he is in no mood to do so.

Morton Fine and David Friedkin wrote the script. It is always difficult to write a script that does not spring from the organic creativity of the authors. This is why writing for advertising or public relations can be so challenging. The production is presented “commercial free” (but infused with corporate image-building) by Auto-Lite. These stories are rarely good, and you get a sense that the actors do their best to sound like they are not “punching the clock” and not caught up in the story. One of the reasons actors liked appearing on Suspense was that the scripts were often more compelling than other assignments.

Auto-Lite president Royce Martin and Ralph Thomas of the American Automobile Association appear in the spot usually reserved for the mid-show commercial. Martin was also on 1950-08-31 True Report. He was pre-recorded at that time.

The program was rehearsed and recorded on Friday, September 4, 1953. Rehearsal began at 11:00am to 1:30pm and then from 3:00 to 5:00pm as a full dress rehearsal including the speakers from AAA and Auto-Lite. Recording was done from 5:00pm to 5:30pm. This was a full recording, not just drama only, to allow for the commercials to be recorded with Martin and Thomas to avoid and problems the speakers who were inexperienced with radio live broadcasts. Recording the full program also allowed time for the production and pressing of records that would be distributed to schools. Scripts were also made available to the public.

At the end of the broadcast, Agnes Moorehead receives a Golden Mike Award from Elliott Lewis for the prior season. No episode is mentioned, but it was either for Death and Miss Turner or The Signalman. It was likely for the former.

Rene Garriguenc composed the music for this episode; a reason for the absence of Lucien Moraweck is not known.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530921

THE CAST

AGNES MOOREHEAD (Barbara Warner), Joseph Kearns (Mr. Douglas), Sam Edwards (Bobby Morrison), Michael Chapin (David Cooper), Paula Winslowe (Mrs. Morrison), Herb Butterfield (Officer Cleaver / Charlie), Larry Thor (Narrator)

COMMERCIAL: Harlow Wilcox (Announcer)

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Saturday, September 14, 2024

1953-09-14 A Message to Garcia

The 1953-1954 season opens with the famous (at the time) account of an emissary from President McKinley who works to get a message to General Calixto Garcia, a leader of the Cuban insurgents prior to the Spanish-American War. This was a timely and topical story for Fall of 1953 because Cuba was in the news. Fidel Castro and Cuban revolutionaries made a failed attempt in July 1953 to overthrow the government of Fulgencio Batista. The country was in turmoil; Castro would eventually succeed. The story fit Elliott Lewis’ affinity for real-life stories that had elements of suspense and uncertainty.

It is one the curious adventures in American history. Widmark plays Army Lieutenant Andrew Rowan whose assignment it was to make a heroic dash to deliver the message of support and upcoming military intervention to General Garcia. The assignment was suicidal in many ways. The courageous Rowan had to sneak through a hostile Spanish army to tell Garcia that the United States was about to dispatch Army forces to support the Cuban revolt against Spain. The episode opens with a folk song (no, this is not a Suspense musical) that recounts the blowing up of the US battleship Maine. It was that was the incident that precipitated the Spanish-American War. A Cuban patriot in Jamaica assists Rowan to disguise himself as a fisherman and obtain a tiny sailing boat to cross to Cuba. Upon landing there, however, he discovered that he had to cross through virtually the entire Spanish army to reach Garcia. Somehow, the Spanish army learned of his mission and are determined to kill him before he can carry it out.

Special music for the opening and close of the drama was prepared for the episode by Rene Garriguenc in conjunction with the Suspense musical director Lud Gluskin. Garriguenc wrote many pieces for motion pictures and television, especially bridges between scenes and background music.

The broadcast was reviewed in the 1953-09-16 edition of Variety. The review was mildly negative.

Suspense began its eleventh year of broadcasting Monday (14) with a half-hour dramatization of A Message to Garcia, a yarn too weak to most listeners to be “a tale well calculated to keep you in Suspense.” Program made for adequate entertainment, with cast, writer and producer-director all turning in competent jobs. Yarn began with a Calypso singer setting the scene for the ensuing action via a tune relating to the American lieutenant’s efforts to contact Cuba's General Garcia prior to the start of the Spanish-American War. Narrative had Richard Widmark in the starring role of the lieutenant. Program was transcribed. Calypso tune both at the beginning and end of the yarn, gave story added impact. Harlow Wilcox handled the so-so Auto-Lite plugs.

The original story was by journalist Elbert Hubbard and is accessible at The Internet Archive https://archive.org/details/messagetogarciaa014275mbp/page/n7/mode/2up The Suspense adaptation was by Richard Chandlee.

Hubbard’s background is summarized at https://en.wikipedia.org/wiki/Elbert_Hubbard

The story behind the story and how it grew in popularity is at https://w.wiki/BB3s

The original story was incredibly popular, with 40 million copies printed worldwide, an astonishing number in its time. Hubbard was shocked when requests for copies of the article started to come into his small publishing company. The story was considered to be inspiring, because of Lieutenant Andrew Rowan’s dogged determination to locate Garcia and risk his life at every turn and return with Garcia’s response. A request from the New York Central Railroad for 100,000 copies caught Hubbard by surprise. He told them that it would take two years to produce that many in their company. Instead, he gave permission to them to have copies printed by any means of their choosing by going to printing companies that had proper equipment and quicker turnaround. People from around the world started began see copies of the publication when they visited New York and used the railroad to go around the country. The story began to get international coverage and was translated to many languages once these travelers returned home.

The phrase “get a message to Garcia” came into popular conversation and would have still been known at the time of this broadcast, 40 years or so after the first publication of the story. Many listeners would have remembered it, and even more likely used the phrase even if they had no specific knowledge about its origin. It has since fallen out of general use.

The story was made into a 1936 movie, A Message to Garcia, with Wallace Beery and Barbara Stanwyck. It is available for viewing at YouTube https://youtu.be/a5HuyOsHcIU Some listeners may have had familiarity with the story because of that release.

Biographical information about General Calixto Garcia can be found at Wikipedia https://en.wikipedia.org/wiki/Calixto_Garc%C3%ADa

Cuba was in the news in 1953 and the Revolution was in its earliest stages. An overview of the Cuban Revolution of the 1950s can be found at Wikipedia https://en.wikipedia.org/wiki/Cuban_Revolution

At the end of the broadcast, Richard Widmark receives a “Golden Mike Award.” It was his second, this time for the episode How Long is the Night. The awardee was selected by Suspense staff and the show’s regular players. It was intended to bring more news coverage to the series as well as to express gratitude to the selectees.

The rehearsal was on Sunday, August 30, 1953 starting at noon and ending at 4:30pm. The taping of the drama began at 4:30pm and ended at 5:00pm.

At the end of the broadcast, there is an interesting statement that Widmark was in the new movie, The Robe, in Cinemascope, and that there were “no special glasses needed.” There must have been concern that movie-goers would confuse 3-D movies which needed special glasses and Cinemascope, an improved method of filming and projecting movies.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530914

THE CAST

RICHARD WIDMARK (Lieutenant Andrew Rowan), Joseph Kearns (Carter / Sanchez the Soldier), Lillian Buyeff (Teresa), Anthony Barrett (Ceruasio), Jack Kruschen (Dr. Jose Rubio), Ted de Corsia (Dominguin), Edgar Barrier (General Garcia), Ernest Newton (Vocalist [in style of Calypso singer Sir Lancelot]), Larry Thor (Narrator)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Friday, September 13, 2024

1953-06-08 The Mystery of the Marie Celeste

The final episode of the 1952-1953 season features Van Heflin in a fictional solution to the strange 1872 maritime mystery of a fully intact ship found drifting at sea about 700 miles west of Gibraltar. It still holds its untouched cargo and personal belongings of the crew. That crew nowhere to be found. Gil Doud is the writer whose fictional story is that a murderer attempts to escape detection by stowing away on board before the ship leaves port. He is found, but is allowed to stay, however. You would think that the story would head toward his murdering of everyone on board and throwing the bodies overboard, but it is nothing like that. Everything is going relatively well, and they figure out that he is a murderer, and throw him in the brig. One morning he wakes up, still restrained, and hears a lot of noise of people outside, and then nothing. He realizes he is all alone on the ship as it starts moving again.

Listen for the background sound effects of the creaking of the ship almost throughout the drama as it sails.

The story speculates that a large sandbar suddenly formed from a river, caught the ship, and it is assumed everyone left the ship thinking it is an island. Then, almost as quickly as the temporary island formed, it was washed away, taking the crew with it. Heflin’s character is safely in the brig, and cannot see any of this happening. He eventually breaks free, writes what he knows on paper, and drops it in a bottle that he hopes will be found one day.

While such natural events of sand islands occur, it is highly unlikely that it explains this actual mystery. The Wikipedia page about the ship’s history explains the many theories. Some are better than others. One of the problems with the story is that there have been so many fictional accounts of the events that it is hard to determine what the hard and most certain facts are. Suspense does not advance that cause with this presentation https://en.wikipedia.org/wiki/Mary_Celeste

Heflin’s performance is superb, as usual. His style offers a good example of how well long monologues can be delivered with both nuance and conviction. His performance is better than the story.

Lewis appears at the end of the broadcast to say that Suspense will return in the Fall. He announces the summer replacement series, Crime Classics. That series was one of Lewis’ favorite projects.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530608

THE CAST

VAN HEFLIN (Sam Newcomb), Jeanette Nolan (Grace Briggs), William Conrad (Bowle), Paul Frees (Hubbard / Passerby), Joe Kearns (Officer / Captain Briggs), Dan O’Herlihy (Narrator), Hal Gerard (Lindley the Deckhand), Larry Thor (Suspense narrator)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Thursday, September 12, 2024

1953-06-01 A Vision of Death

Ronald Colman returns with another performance as half of a stage mentalist act where his wife suddenly shows signs of true psychic ability. Instead, it’s a ruse by the wife and their agent who have plans to run away together. More details about the story are at the original posting.

Only Charles Calvert repeats his supporting roles (he doubles) from the 1951 production.

The original publicity was for The Voyages of Sinbad with Colman. Sometime before the broadcast of the prior week’s Pigeon in the Cage, this repeated script was selected and Sinbad was shifted over to Escape and broadcast six days later. Ellis wrote the script and was producing and directing Escape at that time. This is an abridged image of the cover page, courtesy of Larry Groebe of The Generic Radio Workshop and Project Audion:

Many newspapers did not receive the publicity with the revised programming in time and were still listing Sinbad as the Suspense broadcast. It is not known why the change was made. It could have been a change in Colman’s schedule, or Colman and Lewis felt it was not a good fit for his talents, or the final script would not be ready in time.

Keith Scott reminds me that Colman's biographer, Sam Frank, wrote "[This was a] rare villainous part for Colman and one of his best radio roles, period. Sharply conniving and cynical performance and story." It's worth the re-listen. 

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530601

THE CAST

RONALD COLMAN (Jud Stone), Mary Jane Croft (Aurora Stone), Hy Averback (Harry Arnold), Benny Rubin (Stanford / Manager), Julie Bennett (Phone operator), Charles Calvert (Telegram guy / Bartender), Larry Thor (Narrator)

COMMERCIAL: Ken Christy (Oscar Auto), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Wednesday, September 11, 2024

1953-05-25 Pigeon in the Cage

Singer Dick Haymes plays a paperhanger named Gerald Brewer. He’s trapped in a quaint elevator with in a posh and expensive home as two murderers wait for him to come out so they can make sure he will never testify as to what he saw and heard them do. This is not one of the series better or memorable episodes. The script by Morton Fine and David Friedkin can make the listener claustrophobic, like they’re caught in the elevator, too. That is a creative aspect to the overall unsatisfying production. It’s definitely a downer of a story, and Haymes seems too monotone to convey the story’s underlying tension and the danger to his character’s life. We can’t really know if this the style that Haymes brought to the story or if he was following Lewis’ direction and vision for the production.

The story begins when his character, Brewer, completed his work for the day. He used the elevator to return to the ground floor, but it stopped between floors. He’s stuck! He makes some fruitless cries for help. There is no one there to hear him. He wants to get home to his wife, but he is helpless until the owners return to re-start the elevator. One of the owners does return: the husband (Mr. Rogers) and his girlfriend. Brewer decides to keep quiet when he figures out there is trouble in the air. They don't realize Brewer is there and can hear them talk about their plans. The husband intends to murder his wife when she arrives home. His girlfriend is anxious for him to do so. Brewer realizes he may be in danger because of what he has heard and what he might witness, so he tries to hide in the darkness of the suspended elevator. The husband and the girlfriend suspect that someone might be in the home, but they are interrupted when they hear the wife’s car outside the home. She comes into the home and is murdered by the husband. They still wonder if someone is in the home and is aware of what transpired. Brewer’s wife calls the house, and the girlfriend answers the call. Mrs. Brewer is wondering if her husband is still there because he did not return home at the normal time. Now they realize that he’s probably stranded in the elevator. When they try to re-start the elevator to find out, Brewer engages the emergency stop button, thwarting their attempt to confront him. Rogers and the girlfriend decide to cover up their malfeasance by making the scene look like a robbery gone wrong. He empties his gun with random shots to make it seem there was a struggle between the wife and a supposed robber. Rogers makes a mistake: he drops jewels and the gun into the elevator as a frame or to possibly bribe Brewer. When Brewer reminds Rogers that he didn’t wipe the gun of its fingerprints, he realizes he has now trapped himself in a stalemate with Brewer. The girlfriend panics and Rogers’ temper explodes, beating her until quiet, and violently killing her. He has nothing to live for, and is essentially immobilized. Now, Brewer can finally leave. He calls his wife first, apologizing for being late because he was trapped in an elevator, and he’ll explain when he gets home. He has the evidence against Rogers, and it’s safe to assume he calls the police. Rogers is presumed left alone in the house, defeated, left to the authorities and the legal justice that will eventually come down on him.

Elevators were known as “bird cages” when they were made of metal frames that allowed passengers to see outside into the open areas around them. They often had ornamental metalwork art designs, sometimes including fine woodwork, designed to fit into the architectural elements around them. The “cages” were frequently found in commercial buildings in the late 1800s and early 1900s, as well as residences of the very wealthy.

The drama portions of the program were recorded on Wednesday, May 13, 1953. Rehearsal began at 1:00pm and the tape session began at 6:00pm.

This was Dick Haymes first and only appearance on the series. He was a popular vocalist in the 1940s with the Harry James and Tommy Dorsey orchestras. He appeared in many movies and had an extensive recording career. His radio musical variety show was sponsored by Auto-Lite from 1944 to 1948. They dropped the sponsorship of his series when the company chose to pursue the opportunity of sponsoring Suspense. Haymes career and life is summarized at Wikipedia https://en.wikipedia.org/wiki/Dick_Haymes

He appeared in three Suspense television episodes. As best can be determined, kinescopes of those appearances have not survived.

About a couple of years earlier, Haymes starred in an unusual ABC radio series, I Fly Anything. He played a pilot with a plane for hire to do any job that was legal. The program lasted from November 1950 to September 1951. He had hoped to bring the series to television. A few weeks after the show’s premiere, the regular cast was expanded to include George Fenneman, better known as a radio announcer, and Georgia Ellis, prior to her famous role as Kitty on Gunsmoke. Only two episodes of the series are known to have survived.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530525

THE CAST

DICK HAYMES (Gerald Brewer), Joe Kearns (Harry Rogers), Charlotte Lawrence (Janice), Larry Thor (Narrator)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Tuesday, September 10, 2024

1953-05-18 Vial of Death

Lloyd Nolan returns to the series as a police lieutenant who has to track down stolen vials of bacteria that could create an epidemic. The story is likely based on an October 1952 incident in New York City.

This was probably Nolan’s best performance of the series. In prior appearances, he had difficulty with long monologues, which are not used in this story. Some parts of the production have a “Dragnet feel” to them. The production is well done with fine supporting performances.

The story begins with the theft of a lab scientist’s car. A satchel containing test tubes with millions of deadly cholera germs, could risk the loss of hundreds of lives of the city, or more, unless they are found. The doctor rushes into police headquarters to report the theft of the vehicle and is directed to go elsewhere in the building. He persists, and tells the lieutenant that the loss of the car is not that important, but the contents of the satchel that was in the car is a much different matter. The lieutenant, working on the overnight shift, gets every officer he can find to start the search for the missing automobile. They find it, but the satchel is missing. Concerned about creating a panic, they get in touch with hospitals with details of symptoms to be aware of, but do not detail that there was a potential case of cholera. Police press their search for the vials, and soon learn that a man was admitted to a city hospital with the violent and unmistakable symptoms. They question him, and in his dazed state, he gives them enough information to help narrow their search. They are led to a pawn shop where the satchel was sold. The shop owner said that their seller emptied the satchel into a trash can in the alley behind the store. They were not there The owner said that neighborhood kids play in the alley, and chalk graffiti indicate that one of the kids might be named “Louie.” The police search for Louie as the sun rises and the city’s day begins. Will they find him?

The script was by Gus C. Bayz and was likely inspired by a newspaper report of stolen vials of bacteria that had national news coverage. Bayz intensified the real-life facts by changing the bacteria that were stolen to cholera.

There was great concern about epidemics at the time, especially of polio. The polio vaccine was still in the research laboratories of the time, and there were still rumors that polio could be spread by mosquitoes, swimming pools, and other circumstances. There were also worries that Cold War tensions might escalate into biological warfare. Members of the public remembered family members who had not survived the flu epidemic of 1918. A story like this one on Suspense would therefore have a greater level of tension among listeners. Many of these diseases did not have available vaccinations at the time. These diseases created even deeper fears than those of the recent COVID events of 2020 because so little was known about them, compared to current times 70 years later. Bacteriology and virology were still emerging disciplines, and had yet to benefit from DNA research, improved lab and testing techniques, and the relatively new field of biotechnology.

These are the newspaper stories that possibly gave Bayz the idea for the script. They were often on the front pages of the papers. Note that many of the script’s elements are in them (and also the inconsistencies of the wire service reports). The 1952-10-14 York PA Dispatch and other Hearst newspapers picked up the story as follows:

DISEASE GERMS STOLEN

13 -State Hunt Underway For Missing Vials

NEW YORK – Police issued a 13-state alarm for two vials. each containing 1,000,000,000 disease germs, which were stolen from automobile of a Cleveland physician while it was parked on a street here. One of the vials contains tuberculosis germs, the other contains a similar number of anthrax bacteria — an animal disease which can be transmitted to humans. Both are labeled and carry the warning: “danger!” The vials were in a brown plastic case which was stolen from the automobile of Dr. Milton H. Weiner, a 25-year-old bacteriologist who had been using the germs in laboratory research at Columbia-Presbyterian Medical Center. Dr. Weiner said: “I only hope the person who took them won't break the ampules and infect himself or let them tall into the hands of children by tossing them in an ashcan.” He said the germs have been weakened by continuous use and there is no danger of an epidemic if they are released.

The Associated Press report was picked up by many newspapers on 1952-10-13.

DEADLY GERM VIALS STOLEN FROM CAR

NEW YORK – Police broadcast a warning today that two glass vials, each containing one billion infectious bacteria had been stolen from a doctor's auto. The vials contained germs of tuberculosis and of anthrax, an animal disease which can transmitted to human beings by inoculation. Police said they did not believe the stolen bacteria were of a “fatal quantity.” A bacteriologist, Dr. Milton H. Weiner of Cleveland, reported the vials were among the contents of a valise stolen from his parked car yesterday. A 13-state police alarm was broadcast, and radio stations were requested to broadcast warnings. Dr. Weiner said he feared the thief might discard the vials, that they might be broken and a dog or cat might pick up the germs and transmit them.

There was also a United Press report picked up by other newspapers in their 1952-10-13 editions.

GERMS ARE STOLEN FROM DOCTOR'S CAR

NEW YORK – A young Cleveland scientist told police today a thief unwittingly had stolen cultures of tuberculosis and anthrax germs from his automobile. Dr. Milton H. Weiner, 30, emphasized, however, there was no cause for panic as the germs were encased in rugged little glass ampules. “I only hope that the person who took them will not break the ampules and infect himself or let them fall into the hands of children by tossing them into an ash can,” Weiner said. The scientist said the thief could solve the problem simply by putting the ampules in a package and mailing it to the nearest board health. The thief broke into Weiner's automobile which had been parked overnight in front of a dormitory n a dark and lonely street in an isolated Manhattan section.

There were no news reports about what happened to the stolen vials. It is not known if the end of the script reflects what happened. In the final moments of the story, it was decided to withhold news of both the loss and recovery of the vials. Did Bayz get his ending by the lack of news coverage after vials were reported stolen? The real-life vials may never have been recovered. Unlike the script, the loss of the vials was made quite public and the geography of the police search for them was quite large. Knowing he had a 23 minute drama limit, Bayz could control the size of the drama by having news the loss be limited to the locality. This added tension to the story, because the wider geographical risk was always hanging in the background.

The episode has one of radio’s more interesting doubles, with Jerry Hausner playing “Sam” but also playing the baby in the story.

Key Suspense sound effects artist and scripter Bayz (announced at the end of the program as “Augustus C. Bayz”), was married the day before broadcast to Lucille Surdum who worked in the CBS script editing department. They honeymooned in Canada, which was probably why Bill James and Tom Hanley handled the broadcast’s effects.

Strange things you find in newspaper searches: In 1956, Dr. Weiner, who lost the real-life vials, married pioneer nuclear scientist Enrico Fermi’s daughter, Nella.

There are two surviving recordings. The network recording is the better of the two. The other is a network aircheck recording.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530518

THE CAST

LLOYD NOLAN (Holloway), Joe Kearns (Froelick), Jerry Hausner (Sam / Baby), James McCallion (Ruby), Truda Marson (Nurse), Martha Wentworth (Landlady), Charlotte Lawrence (Elvie), Joseph Granby (Pop), Clayton Post (Al / Kraus), Naomi Stevens (Woman), Jeffrey Silver (Boy), Larry Thor (Narrator)

COMMERCIAL: Tyler McVey (Sheriff), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Monday, September 9, 2024

1953-05-04 & -11 Othello

Elliott Lewis, in an attempt to build interest in Suspense and broaden its range, turns to a classic play. In general, radio actors loved the theater, and most all of them found great professional challenge and satisfaction in Shakespeare. Getting interest in producing such a play, and doing so over two broadcasts, must have befuddled executives. Producing the play was likely met with great enthusiasm by the cast of players and the Suspense production team. It was not easy. The script was by Antony Ellis and Elliott Lewis and somehow compressed the key elements of the 5-act play into two 23-minute dramas. The actors likely rehearsed more than usual out of their professional interest and respect for the history of Shakespeare’s work. The production was teased in publicity for many weeks.

It is probably best listened to as both parts in a single session. The play was produced that way. One reason was to ensure that all of the same actors and technicians would be available. A more important reason was to ensure the continuity of performance of everyone involved. They would be able to stay in character and maintain their focus.

It may be worthwhile to read a summary of the play prior to listening. A good one is at the Folger Shakespeare Library https://www.folger.edu/explore/shakespeares-works/othello/read/ where the entire play can be accessed, too. There’s always SparkNotes https://www.sparknotes.com/shakespeare/othello/section1/ and Wikipedia https://en.wikipedia.org/wiki/Othello

It must be noted that listening to this production more than seventy years later is likely not as satisfying as it was back in 1953. In some ways, with television looming, Lewis was attempting to re-invigorate radio as a means of entertainment and raise the level of expectation of cultural presentation rather than weekly disposable mystery stories. There was a sense of “look what we can do when we put our minds and resources to it.” To current-day ears, the production is not as good as it was considered at that time. Lewis overacts. Widmark seems wooden. It’s easy to get lost in the play, but at least the narration written for Larry Thor keeps things on track. In 1953, there was a “newness” to it, especially on a series like Suspense, that cannot be captured or duplicated today.

Part 1 sets the stage for the events that will climax in Part 2. The play opens with the elopement of Othello (Elliott Lewis) and Desdemona (Cathv Lewis) who become the intended victims of Iago's schemings. The newlyweds have only a few hours together before Othello, a top general, is called to lead the defense against a Turkish invasion fleet which has been spotted nearing Cyprus. During Othello's absence, Iago weaves a plot to ruin the general, of whom he is insanely jealous, and to wreck his marriage by fabricating evidence of Desdemona's infidelity.

In Part 2, Othello returns triumphant from the wars to govern the Island of Cyprus with his lovely bride, Desdemona. The scheming Iago, jealous because he has been passed over in military promotions, is plotting Othello's destruction, as well as the death of Othello's trusted lieutenant, Cassio. Iago's nasty plan is to frame evidence of a love affair between Othello’s bride and Cassio. He feels sure Othello can be inflamed to kill them both, and then will be held to answer for the murders. This will eliminate all who stand between Iago and his ambitions. He skillfully plays on Othello’s imagination to plant the seeds of distrust and jealousy, and always acts that he is reluctant to impart his poisonous misinformation, making him and the news more genuine than it really is. Othello finally confronts his Desdemona with accusations of infidelity and announces that he intends to kill her.

There is constant mention of the “handkerchief” which belongs to Desdemona. It’s a symbol of faithfulness and commitment. So when she gives it to Othello, has great meaning. In the language of the original play, it is referred to as “napkin,” which has a different meaning these hundreds of years later.

The 1952-05-13 Variety reviewed the production, and was positive:

Considering its venerable heritage, it was rather odd hearing Shakespeare's Othello billed as “a tale well calculated to keep you in Suspense!” on Monday (11) on CBS-Radio’s Suspense. But the tag-line fitted, since Elliott Lewis directed and played the tale of the jealous Moor as though it were a modern blood-and-guts meller [melodrama] and the regular gore-lovers of this whodunit series probably ate it up. Standout in the cast was the versatile Cathy Lewis as Desdemona. She was, by turn, coquettish, sorrowful, pleading, and wracked in agony, her voice marvelously modulated and keyed to her medium. Richard Widmark, usually a knowing performer in films, was adequate as the informing Iago, but his portrayal lacked the vocal inflections necessary for a purely audial medium. Lewis, as Othello, matched his wife with his fury and passion, but unlike her, it seemed at times as he were more concerned with displaying his histrionic pyrotechnics. But since he seemed to seek the melodramatic values of the tragedy purposely, his emoting was exciting on those terms. The “loved not too wisely but too well” speech was delivered with compassion, and it was refreshing to hear radio sanction Shakespeare’s curse line, “Damn her! Damn her!” Larry Thor’s narration was good, and Harlow Wilcox’s delivery of the humor-tinged Auto-Lite commercials was up to snuff.

Critic Magee Adams liked the production, and wrote in the 1953-05-17 Cincinnati OH Enquirer:

In its most ambitious try at the classics. the radio "Suspense" made compelling drama of its two-part broadcast of Othello. Although the first installment was slowed up by necessary groundwork, the second half had the sure grip of inexorable drama. Credit this to the enlightened willingness of the radio Suspense to make the most of any material so long as it has suspense.

Claude Hammerston in the 1953-05-16 Ottawa ON Citizen had somewhat sarcastic but positive comments:

Those days radio advertising into the fields of culture to further its ends. The latest is Shakespeare, that great dramatist who in 1953 crops up on our radios to sell batteries. Suspense producer Elliott Lewis is considering yet another Shakespearean presentation following his two-part offering of Othello. This great work has a certain amount of suspense, but most certainly not the type for which this program strives.

The May 18, 1953 issue of Time magazine reported as follows:

Last week, Elliott Lewis startled his Suspense listeners by producing, directing and acting in his own version of a two-part adaptation of Shakespeare’s Othello. At first he planned to do a fast rewrite of Shakespeare, but a friend asked: “Why paraphrase? Have you got a better line than ‘I hate the Moor’?” In stead, Elliott contented himself with cutting Othello from 146 minutes to 46. Instead of the usual thrill music, he used themes from Verdi operas as bridges between the action. As Othello, Elliott effectively portrayed the Moor’s high-minded simplicity. Cathy played Desdemona as smoothly and efficiently as she plays her comedy roles in My Friend Irma. The real star of the first show was Richard Widmark as the villainous Iago, full of silky menace and tortured hate. Lewis admits that his own “hammy ambition” is the chief reason for the attempt on Shakespeare, but he is quick to add: “I also think Othello is one of the finest suspense stories ever told.”

CBS publicity sent reports of the network’s very positive reaction to the productions. Among the comments picked up by the newspapers were:

  • Letters from listeners have poured into CBS Radio, Hollywood, praising the the recent two-part presentation Othello. Agnes Moorehead, “the First Lady of Suspense, called after the first broadcast to say she'd like to work with Cathy and Elliott Lewis in their next presentation of a classic.

  • Mail continues to flood into CBS stations across the country congratulating Suspense producer Elliott Lewis and the show's sponsor, Auto-Lite, on the unusual, two-part presentation of Shakespeare’s Othello... Virtually all of the cards, letters and telegrams are favorable and enthusiastically request more Shakespeare on Suspense. Those writing in range from teachers of Shakespeare to many who never before had heard one of his plays. Many in the latter group expressed amazement that Shakespeare could be so easily understandable and so exciting. Leo Langevin, president of the Berkeley, California Shakespeare Society, wrote that he had notified his entire membership of the broadcasts and had heard nothing but delighted comments. Other sample comments: “the finest thing we have ever heard on the radio” – Pearl Barry of Los Angeles; “...the most understandable and moving production of Othello I've heard” – Mrs. James Terry of Denver. Producer-director Lewis, who shared the starring roles with his actress-wife Cathy, and Richard Widmark, says he hopes to present another Shakespearean play in the Fall series.

Part 1 and part 2 were both recorded on Sunday, May 3, 1953. A desk reading of both parts was held on Saturday, May 2, from 5:00pm to 7:00pm. Rehearsal for both parts was on Sunday, May 3 beginning at 10:00am to 2:00pm, and resumed at 4:00pm and ended at 6:30pm. Part 1 was taped from 6:30pm to 7:00pm. Part 2 was taped from 7:00pm to 7:30pm.

It is not known if Orson Welles’ 1951 film Othello was a catalyst for Lewis’ desire to produce the play on Suspense. The movie and the play was in the news, and there was familiarity with the name because of it. The 1950s was still a time in the US education system that Shakespeare played an important part in school curricula. That could have been a factor in its selection beyond Lewis having great affection for the play. The film can be viewed at The Internet Archive https://archive.org/details/othello_legendado NOTE: it is in English with Portuguese subtitles. The film was restored in 1992 with the guidance of his daughter Beatrice. It seems not to be available on DVD or other sources, but is currently available at the time of this writing on the free streaming services Tubi and Roku. Other restorations are still available on DVD on Amazon and other sources.

Othello was planned for the Suspense television broadcasts of October 20 and 27, 1953 with Jack Palance. It was teased for many weeks, but it seems that Palance’s film schedule began to impinge on the dates. The TV show originated from New York, and time for his getting back and forth from Hollywood may have been an issue in the pre-jet era. The play was never produced on the television series.

Suspense ratings (measured in households) were declining as television continued to reduce the size of the radio audience. Lewis saw opportunities to move upmarket to higher educated consumers with varied content and some more experimentation. He knew that Suspense had to be compelling appointment listening to keep the series going. Like many of the series’ guest actors, some typecast as comedians and looking for other roles, for example, Suspense was typecast, too. While some of the ventures into new areas seem odd 70 years later, it’s clear what he was doing. Sponsorship dollars were critical to run an operation like Suspense. And if Auto-Lite’s sales results from its radio expenditures were going down, then the radio could be on the chopping block again, as it was after the 1950-1951 season. As producer he had to work to attract, grow, and retain listeners. Lewis had stayed behind in New York after the broadcast of Around the World, and press reports indicated it was to meet with advertisers. Lewis was running multiple shows and had sponsors like Wrigley’s and Auto-Lite. It is not known if he met with them (along with other CBS executives) or was meeting with potential new sponsors should they lose the current contracts. While Lewis was not a fan of the content interference that sponsors often brought with their underwriting, he knew that their dollars were needed to keep going in the manner he wanted. Years later, researcher and now film documentarian John Scheinfeld asked Lewis why he left Suspense after Auto-Lite cancelled their sponsorship. He said something along the lines of “there was not any future in sustained programming.” Just 14 months after this broadcast, he would leave the series.

The closest Suspense had come to a performance of Shakespeare prior to Othello was in John Dickson Carr’s Fire Burn and Cauldron Bubble of 1943-04-06. A woman in the audience for a Macbeth performance is killed. Despite the claimed positive reviews of the Othello broadcast, Shakespeare was never performed on Suspense again.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/tsp53050411

THE CAST

RICHARD WIDMARK (Iago), Cathy Lewis (Desdemona), Elliott Lewis (Othello), William Conrad (Montano), Joe Kearns (Cassio), Irene Tedrow (Emelia), Larry Thor (Narrator)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Sunday, September 8, 2024

1953-04-27 The Man Within

Herbert Marshall portrays a smuggler who is so unhappy with his situation that he rats on his fellow criminals. As the story opens, the character is running for his life across the English countryside from Carlyon, one of the men about whom he had informed. Carlyon and his crew are out to get him. He ends up in a cottage with a woman who allows him to hide for the night, and even to pretend to be her brother at an upcoming wake for her father. The coffin for the father is already in the house, and while talking with her, he is smitten. She lies to his pursuers to throw them off the track. When Carlyon learns that the girl has tricked him, he vows to kill her, too. It just happens much too fast to be credible. Eventually it ends up in trial, threats against his life, and that of the woman whom he adores. In the end, it doesn’t work out well.

Herbert Marshall’s performance and that of some of the supporting actors is somewhat stilted, and it’s not all their fault that much of the dialogue just doesn’t flow. The title comes from Marshall’s character being a coward throughout. He has to inwardly search and find “the man” within him that will allow him to finally be courageous and upright against those who want revenge. The turmoil in the story is the tension of whether his being an informer showed courage against evil or cowardice against eventual punishment. That torment is really the core of the story, but the support around the core is not particularly good.

This was popular mystery novelist Graham Greene’s first novel and was adapted by Morton Fine and David Friedkin. Published in 1929, its success allowed him to become a full-time novelist. Many of his books were adapted for film, including this one, and he wrote the screenplay for Orson Welles’ The Third Man. A film of The Man Within was released in Britain in 1947 and was edited and retitled as The Smugglers for release in the US. Greene did not like the film and later called it “terrible.”

The name of the gangleader is “Carlyon” and there are times in the script that “Carlisle” is on the verge of slipping out between their lips. At about 21:25 Marshall almost slips “...Carlisle will catch me...”

There is a brief gap in the recording at about 14:30 at the end of the mid-show commercial and the introduction to the second half of the drama. This may be a private recording and not a studio recording. The only part of the introduction that is missing is repeating that Herbert Marshall is the star. The drama is not affected.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530427

THE CAST

HERBERT MARSHALL (Andrews), Joe Kearns (Henry), Betty Harford (Elizabeth), Ben Wright (Carlyon), Raymond Lawrence (Priest / Voice), Richard Peel (Judge), Bill Bissell (Harry), Larry Thor (Narrator)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Saturday, September 7, 2024

1953-04-20 Public Defender

Frank Lovejoy stars in an E. Jack Neuman story as a cool and casual killer who finds himself in the somewhat unnerving position of being defended in court on a burglary charge by a lawyer whose wife he had murdered. The murder is committed in the opening moments of the story at an Armistice Day parade. Lovejoy’s character is a petty thief, looking for an easy steal of a purse. He finds a woman with one, goes up behind her and places a knife against her back. The crowd is busy watching the parade. He senses the right time to grab the purse. When she screams, he presses the knife into her, he prevents her from falling to conceal what he had done. He waits until the crowd’s attention is diverted to an exciting moment in the parade. He walks away as she slumps to the ground. He skips town for a while to allow interest in the crime to fade away. He returns, but police visit him and question him about a robbery. It is a lesser crime, a $450 burglary; he is arrested. He claims he is innocent but tells the court that he has no money for a lawyer. An attorney is assigned to defend him: the man whose wife he murdered!

Joe Kearns has another fine performance as the skeptical public attorney, made a widower by his assigned client. It’s a good story, and Lovejoy is excellent in his unsavory role. It is a much less frantic part than he had in The Storm, just a few weeks before.

Robert Ryan was originally announced to make his third Suspense appearance, and was announced at the end of the prior week’s program. Ryan appeared twice on the series, both times in the hour-long period. He was in Beyond Reason (an awful episode) and Crossfire (a superb episode). He never appeared in a half-hour format show. Some newspapers used CBS publicity about Ryan being the guest star for this episode and mistakenly stated it was his first Suspense appearance. Those weeks of hour-long episodes seem out of the collective CBS memory just five years later.

The cast change was made too late for most newspapers to report it, and was probably made just a few days before broadcast.

There are three surviving recordings, and the network recording is the best of the three. There is an aircheck that has a time tone and a gap that may have allowed some local stations to insert a news bulletin (this station did not; there was breaking news about Korean Conflict and release of some American soldiers; this is only speculation about the length of the gap). The aircheck is missing the reminder for listeners to call for information about their nearest Auto-Lite dealer. The network ID is also missing. There is an Armed Forces Radio and Television (AFRTS) recording of their program Mystery Theater. This was an AFRTS program in the 1970s that would add new “wrappers” to an edited version of an older program, such as Suspense. Sometimes the program would be run at a faster speed to fit the time slot the AFRTS schedule allowed. In many areas of the world in the 1970s and 1980s, AFRTS radio programs were the only way that listeners could be entertained by drama broadcasts because television stations were not always available or reliable.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530420 

THE CAST

FRANK LOVEJOY (Phil), Joe Kearns (Tyler), Charles Calvert (Jailer), Paula Winslowe (Woman / Mrs. Weaver), Larry Thor (Quinn / Narrator), Lou Krugman (Lacy / Kaloman), Whitfield Connor (Hale), Herb Butterfield (Magistrate)

COMMERCIAL: Tom Holland (Hap), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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