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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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Friday, September 6, 2024

1953-04-13 The Great Train Robbery

Fred MacMurray returns to the series, but not as a sturdy, strong-willed, and inspiring military pilot like he was in Flight of the Bumble Bee, but as an unhappy and struggling husband named “Walter,” who is anxious for the better things in life. A little criminality, however, may help solve his problems. He and his wife of sixteen years live paycheck to paycheck ($62 a week, about $38,000 annually in US$2024). They never seem to get ahead. Then, cousin Eugene comes to visit. He may be nice on the outside, but he is a conniving thief, and sensing the husband’s problems, he privately convinces Walter to help rob a train. The train reliably picks up money from a casino in Reno, Nevada and delivers it to a bank. The schedule is so predictable that they develop a plan to get on the train, grab the loot, and head off to financial freedom. Walter makes a case for being the person on the train because his appearance is so plain and nondescript that no one will be able to identify him. Before they execute their plan, Cousin Eugene tells Walter “Don’t forget to put the money in your suitcase.” It is a key line in the story, after the 19:00 mark.

Walter will be taking the train from Reno and will meet Eugene near Soda Springs, California (there is a Soda Springs in Idaho, which would be the wrong direction). The robbery goes well, and instead of taking just one bag of money (with about $25,000, almost $300,000 in US$2024) to split with Eugene, he takes two, so they can each have their own bag. After Walter jumps off the train, Eugene picks him up. Eugene is surprised at the two bags… but he may have been proud at the same time. Walter finally gets home to find that his wife was so concerned about his disappearance, she reported him missing. The police are there, and relieved to see that he is fine. She was so concerned about him, and now wants to pamper him by washing his clothes from what she thought was a fishing trip. So she opens the suitcase, against Walter’s pleading to leave it alone, and finds… well, it’s pretty obvious.

Electronic money transfers and the recent elimination of most forms of currency in casinos in favor of electronic cashless technologies, and credit cards, make these story details virtually impossible today.

This is another fine script by Richard-George Pedicini.

The program was rehearsed on Thursday, April 2, 1953 starting at 10:30am, and recording of the dramatic segments began at 3:00pm and ended at 3:30pm. It is likely that Elliott Lewis was in transit to New York at this time, necessitating Norman Macdonnell taking over as producer and director. Elliott Lewis remained in New York for meetings after the Around the World broadcast. Macdonnell spent a year in the 1949-1950 season as director of Suspense under producer William Spier. Macdonnell made his mark mainly with Gunsmoke, but did so earlier with Escape. When Auto-Lite left sponsorship in June 1954, and Lewis left a little while later, Macdonnell became the Suspense producer until the end of the year.

CBS publicity called this role “offbeat” for MacMurray. Seems like they forgot his chilling role as a corrupt insurance salesman involved in a murder plot in 1944’s hit movie Double Indemnity. This role is just mildly evil in comparison.

There are three recordings and the network recording is best. There is an aircheck recording with the network time tone that is close in quality. It is possible that the network recording is a better aircheck recording that had the time tone edited out. There is also an Armed Forces Radio and Television Service (AFRTS) from the late 1970s or early 1980s recording that is in low quality sound.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530413A

THE CAST

FRED MACMURRAY (Walter), Paula Winslowe (Bess), Joseph Kearns (Eugene), Hy Averback (Conductor / Red), Jerry Hausner (Baggage Man / Cop), Larry Thor (Narrator)

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

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Thursday, September 5, 2024

1953-04-06 Around the World

The auto industry had a big promotional event in New York City in April 1953, and Auto-Lite was one of the event’s biggest bankrollers. The “Easter Parade of Stars” featured the latest cars, some experimental models, events, and many celebrities, and one of the drivers from the 1908 race, Montague Roberts. The biggest highlight may have been the live broadcast in the Waldorf-Astoria ballroom, of this very episode, promoted in newspapers as “See Van Johnson, in person!”. It was followed a night later, by an Auto-Lite sponsored television event that took the place of the usual Suspense television broadcast.

The very entertaining radio script was written by Morton Fine and David Friedkin, and focused on the “real” event of the 1908 race around the world. It started in New York and concluded in Paris. One of the companies, Thomas, used the publicity opportunity to promote its Thomas Flyer. It was a car model that anyone could buy from a dealer but was durable and resilient enough to be used for this wild journey with only minor alteration. The car sold for $3,000, which is almost $100,000 in US$2024. The script took some liberties in the telling of the 152 day trip to squeeze it into about 24 minutes of broadcast time.

Van Johnson was recruited as guest star for the broadcast. He likely came "all the way from Hollywood" just for the event. Event publicity made a big deal about his appearance. A cast of New York actors were in the supporting roles. Because he did not make the trip, taped commercials and announcements by Harlow Wilcox were played. The event was free to the public. As best as can be determined, this may be the only Suspense episode ever broadcast in front of a live audience.

The New York Times offered $50,000 first prize award for race winner. That was in 1908 dollars; that is about $1.7 million in US$2024 dollars.

The phrase “stock car” is used in the story, and that phrase does not mean the exact same thing as it does today. It literally meant a car that any everyday consumer could buy out of regular dealer inventory, meaning that the dealer had it “in stock.”

Why is one of the first stops of the race in Buffalo, New York? That is where the Thomas Flyer was manufactured. The mention was a nod to that company and the historical role it played in the story. The company’s car production ended in 1919. A Wikipedia entry has background about the company https://en.wikipedia.org/wiki/Thomas_Motor_Company

At about 17:45 Johnson stumbles over “Vladivostok” and you can “hear” him “smirk” as he corrects it.

At about 19:40 the Americans find themselves without gas since the French team purchased it all. They need to improvise to get money for it and get access to it. A high stakes card game with some Russian military personnel turns out to be their best opportunity to acquire some. “Spit in the ocean” is a variant of poker where the dealer designates a card to be wild for that particular game. Because of the wild card, the games tend to be faster than regular hands of poker in traditional rules. This is how enough money, or gas supply, could be won, and quickly.

There seems to be a very quick tape or disc flaw at 19:58. In some surviving recordings it is more pronounced. At about 22:20 there is a very brief odd scratchy sound in the background that might be disc damage.

At around 22:11, Johnson flubs the number of miles the team traveled per day. He says “We arrived a hundred and two” and he drags out that “two” and corrects himself “We averaged a hundred and fifty-two miles a day…”

Thomas ran an ad in the 1908-08-02 Buffalo NY Courier that highlights some of the events of the race, including the gas problem they had in Vladivostok:

The Thomas Flyer entered Paris Thursday, July 30th, winning the New York to Paris race, the greatest endurance contest in history, by TWENTY-SIX DAYS, and being the ONLY car of all those entered TO GO THE OFFICIAL ROUTE. The Thomas traveled 2,385 miles on land under its own power MORE than its nearest competitor, and this over the worst, the most racking portions of the route, and under the worst conditions. In addition to this the Thomas traveled 3,246 farther by water – a total of 5,031 miles farther than its nearest competitor, which shipped by rail from Pocatello, Idaho, to Seattle, avoiding the most severe portion of the road across the American continent. That the Thomas should arrive in Paris only four days behind the German car, which traveled 5,031 miles less, is sufficiently remarkable to cause world-wide comment.

The Thomas Flyer which won the New York to Paris race was selected only six days before the race. It already crated and tagged to be shipped to the agent in Boston. It was a stock model pure and simple and no change of any kind was made in any mechanical part, except the replacement of the drop front for one of the straight, such as are ordinarily used on Thomas cars shipped to Western districts. After traveling 13,431 miles over the worst roads ever attempted any any car, the Thomas is reported to be in excellent condition, save for the physical exhaustion of its crew due to the terrific pace they made driving day and night through almost trackless wilderness COULD START FROM PARIS AND COME BACK OVER THE SAME ROUTE.

The route of the racers led over the worst roads of the American continent at the worst time of the year, through the heaviest of the snows of the winter through the enormous snowdrifts, the heavy wind and deep ruts of Russia and Siberia in the rainy season through almost impassible swamps, thousands of miles remote from civilization and repair shops, through unknown countries, over unknown and unbroken roads. A large portion of this traveling done at night, when road obstacles, avoidable in the daytime, assumed the most dangerous proportions. Contrast this performance with the EASY TRAVEL OF A TOUR ON WELL TRAVELED ROADS, ALWAYS AMIDST FRIENDS AND IN SIGHT OF VILLAGES OR FARMHOUSES, and the difference between the Thomas feat and the most trying public performance of American cars will be readily apparent.

That the Thomas should perform this feat in spite of days lost by misdirection – in spite of days lost by the cornering of all the gasoline at Vladivostok by a foreign competitor – these facts and the fact that the Thomas which performed this is a regular stock car, are the reasons why all Europe is admitting today that America produces the best cars in the world, and that no car ever produced in any land can compare with the Thomas, or begin to duplicate its performance.

Every 1907-8 stock Thomas Flyer is a mechanical duplicate of this world champion, and every 1908-9 Thomas Flyer is equal to this car in EVERY way, and superior to it in MANY ways, and ready at any for a trip around the world.

Alan Hewitt is the “signature voice” of this Suspense production since it is in New York and Wilcox did not make the trip. Hewitt had been on Suspense before in the 1942 New York run, and was also on the show in Hollywood in 1945. Ted Osborne is in the cast, and was the original “Man in Black” when the show was produced in New York in 1942. He would he heard in the 1960s New York productions as well. Larry Haines would appear on the show when it moved back to New York, as would Danny Ocko.

The next day, the show was closed to prepare for the television program that Auto-Lite used for the weekly Suspense television episode. Instead, they used it to promote the manufacturers that used their part in their cars. Collector Randy Riddle found that a transfer of the kinescope was available on YouTube. It can be viewed at https://www.youtube.com/watch?v=Oq7iJyGDmp4

Randy’s comments about the video, originally posted on Facebook on the Old Time Radio Researchers group page, noted the awkwardness of many of the participants throughout the broadcast:

This isn’t some ordinary infomercial, this is the story of a big star, Irene Dunne, trapped in a disaster of a live TV show where she has to trade lines and stage business with executives from the auto industry who are completely frightened of live television.

Will Irene Dunne make it through the live broadcast without killing the agent who got her into this mess? Will she be able to hold on through the half hour to make it to the end? Will her career survive?

Spoiler alert: When things go completely off the rails in a cringe-inducing awkward moment where everyone, including Irene Dunne, forgets their lines and don’t know what to do. Suspense TV host and Auto-Lite pitchman Rex Marshall quickly enters to save the day and get Irene Dunne and the auto executives safely out of harm’s way.

The 1908 race was the inspiration for Blake Edwards’ 1965 film The Great Race with Tony Curtis and Jack Lemon. It bears little resemblance to the actual events. But there is a very big pie fight that took multiple days to film, which makes up for any of the movie’s many imperfections.

The actual history of the 1908 race can be reviewed at Wikipedia https://en.wikipedia.org/wiki/1908_New_York_to_Paris_Race

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530406

THE CAST

VAN JOHNSON (George), Alan Hewitt (Signature voice / Colby), Ted Osborne (French team), Larry Haines (Monty), Steve Roberts (German rep / Czar rep), Danny Ocko (Italian rep / Tatar Chief), Cameron Andrews (Race Starter / Man on Snowshoes)

COMMERCIAL: Harlow Wilcox (Announcer, by tape recording)

[Keith Scott notes that the voices of the New York actors were identified and verified with the generous assistance of collector and noted radio researcher Karl Schadow.]

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Wednesday, September 4, 2024

1953-03-30 Tom Dooley

Joseph Cotten stars in another Suspense musical based on Morton Fine and David Friedkin. Cotten plays Tom Dooley who is back home in North Carolina after fighting with the Confederate army in the Civil War. He is greatly disappointed to find his sweetheart engaged to a Yankee schoolmaster. His first reaction is to beat up his Yankee rival, but that only serves to antagonize his estranged sweetheart. Later, he apologizes and even volunteers to play the fiddle at a betrothal party for the girl and her schoolmaster. His bitterness remained, and he killed her. His attempt to get away was thwarted, he was captured, and sentenced to death. The line “hang down your head, Tom Dooley” is an instruction to him so the hangman’s noose can be placed around his neck. It’s not a compelling episode, but it is always good to hear another Cotten performance.

Details about the events behind the song and its performance and recording history are at https://en.wikipedia.org/wiki/Tom_Dooley_(song) Who knew? This song is considered an example of a genre of music called “Appalachian murder ballad.”

A traditional version of the song was released in 1953 and can be heard at The Internet Archive https://archive.org/details/lp_sings-american-folk-songs-and-ballads_frank-warner/disc1/02.06.+Days+Of+%2249%22.mp3

Harry Stanton returns to sing the folk song for a “musical.” He was the singer for the episode Wreck of the Old 97. That song showed much more of his range and ability.

The script was used again in 1958 when the Kingston Trio version became popular and became the top song in the Billboard Hot 100. The Trio’s version was used in that broadcast.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530330

THE CAST

JOSEPH COTTEN (Tom Dooley), Sammie Hill (Laura Foster), William Conrad (Cousin Noah), Joseph Kearns (Jess / Jailer), Bill Bissell (Paul Cabot / Aaron the Yankee), Larry Thor (Doctor / Narrator), Harry Stanton (Singer)

COMMERCIAL: Ken Christy (Sheriff), Harlow Wilcox (Announcer)

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Tuesday, September 3, 2024

1953-03-23 The Signalman

Agnes Moorehead stars in an Irving Reis adaptation of the 1866 Charles Dickens story. The only other actor in the drama is Joe Kearns. They have a good chemistry in the performance of what is often referred to as a “ghost story.”

The story was originally presented on Columbia Workshop on 1937-01-23 with Reis writing and directing. Lewis changed the lead role from a man to a woman, allowing the broadcast to garner the high level of attention that a Moorehead appearance could reliably bring to the broadcast.

Moorehead portrays a magazine writer who revisits her home town after many years. She seems to walk into the most fascinating and horrifying story of her career. The strange story begins with her attempt to interview a railroad signalman who lives alone in a shack huddled by the tracks. Her appearance startles him as he is certain he has seen her face before. He has a recurring vision which has come to him as a warning of disaster before several train wrecks. She’s really skeptical about it and tries to explain it away as a combination of coincidence and optical illusion. His vision is so disturbing to him and he insists they are real. She ends inadvertently playing the tragic role in which his visions of her and disaster included.

Irving Reis was the creator of Columbia Workshop. He became a prominent film director for Paramount and RKO in the 1940s. Reis was beloved and respected by the pioneers of radio production as its techniques were often being created and developed for their first broadcast use by programs like Columbia Workshop. Moorehead worked with Reis in his years at that series. It was known that Reis was very ill at the time of this broadcast. In a letter that William N. Robson wrote to Edward R. Murrow in April 1953, he noted that Reis had cancer surgery at the Mayo Clinic in December 1952. Lewis may have selected the script because he knew that Reis’ health was in serious decline. Reis passed away in July 1953, at age 47. https://en.wikipedia.org/wiki/Irving_Reis

Rehearsal for the drama portion of the program was on Sunday, March 22, 1953 starting at 3:30pm. The recording began at 8:00pm.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530323

THE CAST

AGNES MOOREHEAD (Amy Sears), Joseph Kearns (The Signalman), Larry Thor (Narrator)

COMMERCIAL: Ken Christy (Oscar), Harlow Wilcox (Announcer)

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Monday, September 2, 2024

1953-03-16 The Mountain

John Hodiak stars as “Bob Foster” in an Antony Ellis story about a dangerous climb up one of the world’s tallest peaks. Foster inches his way up that icy, gale-swept peak, but he’s linked by rope to fellow climber he no longer trusts. The story begins with the team of six tired and half-frozen climbers at the 24,000 foot level. The peak is hidden in mist, and towers almost a mile above them. Foster is the leader, and picks two of the stronger men to join him in an assault on the peak. If they fail, the other three are to have their chance. As they pass the mark, with the wind trying to team them off the icy slopes, Foster hears a scream and then feels the terrifying tug of the rope as one of his companions plunges over the edge of the crevasse. The rope holds, for a time, with the two remaining men digging in desperately. Then it suddenly goes slack. There is a cry, and a dark figure hurtles downward. The rope has broken... or has it been cut? When Foster sees the rope, it’s not frayed, it’s been cut clean by a knife! Is his surviving climbing partner a murderer? Or did he cut the rope in a panicky effort to save his own life and Foster’s? By the time he learns the answer, it is too late to matter. His life is now irrevocably bound to the other, possibly murderous survivor, by a rope as they make a dangerous return to camp. How will Foster explain what happened?

It is likely that Antony Ellis had the Mount Everest on the border of Tibet and Nepal in mind for the story. Its peak is 29,000 feet, and at the time of the broadcast, its height had never been conquered. A Swiss expedition failed in December 1952, and was in the news. A UK team was assembled shortly after that, and their planning for ascent was in newspapers at the time Ellis was writing the script. About ten weeks after the broadcast, Tenzing Norgay and Edmund Hillary made the first documented full ascent of the mountain. Norgay was part of the Swiss attempt that came within 1,000 of the peak in 1952. By 2023, more than 6,500 climbers had reached the peak.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530316

THE CAST

JOHN HODIAK (Bob Foster), Paul Frees (Perrucci), Ben Wright (John Eldridge), Joe Kearns (Thomas), John Fraser (Harry Feldman), James McCallion (Gaines), Larry Thor (Narrator)

COMMERCIAL: Dick Ryan (McSorley), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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Sunday, September 1, 2024

1953-03-09 The Dead Alive

Herbert Marshall stars in a Wilkie Collins story adapted by Sam Rolfe. Collins drew his plot from a real life wrongful murder conviction in Vermont in the early 1800s. The victim was later discovered to be alive. Collins does not follow that case but uses some of the facts and themes in the story.

Marshall portrays an English lawyer who heads for a long rest to visit distant relatives at a New England farm. His doctor told him “Your disease is overwork. Your cure is rest. Your alternative is death.” The doctor explained and warned that excitement would kill him, and thought the trip sounded dull enough to effect a cure. (Today, the cruise would be the rest, but trans-ocean cruises at that time were not often particularly restful or entertaining). The moment he finally arrives at the farm, he is aware of an atmosphere of tension and violence among the family group. He’s barely there a day when he realizes he’s walked into a perfect setting for murder that includes a secret love affair and a lime kiln where bones are discovered that might be a missing farm worker. That worker is the farm overseer who seems to have annoyed everyone in the story.

That lime kiln comes into the story early, and its presence makes for a predictable plot. Old farms at that time had kilns for making quicklime to enrich soil to stimulate plant growth and health. Quicklime also developed a reputation for helping to destroy flesh, leaving just bones behind. It was a favorite element of crime stories that involved destruction of evidence of murder. Small kilns were obsoleted over time as manufacturing plants could make the product more predictably and with lower costs. Many old farms still had them.

This is the first Wilkie Collins story to be adapted for Suspense. The next will be the two-part Collins classic The Moonstone and the last would be the final Auto-Lite episode, Terribly Strange Bed. Collins was often compared to and was a contemporary of Charles Dickens. An overview of his life is at Wikipedia https://en.wikipedia.org/wiki/Wilkie_Collins

The Boorn Brothers murder case that inspired the story has an interesting legal background as the first wrongful conviction and exoneration.

This is Sam Rolfe’s second series script. He wrote the underappreciated Too Hot to Live. Its blogpost is at https://suspenseproject.blogspot.com/2024/04/1950-10-26-too-hot-to-live.html Rolfe’s interesting background is at that page. He went on to have a very successful career.

There are times at the end of the story where it almost sounds like an episode of The Shadow where a crazed delusional killer is revealed. This production, while entertaining at times, is not particularly good compared to other Suspense episodes. Lewis may have been drawn to it because of the Boorn case and his fascination with “real life” stories.

LISTEN TO THE PROGRAM or download in FLAC or mp3
https://archive.org/details/TSP530309

THE CAST

HERBERT MARSHALL (Philip), Mary Jane Croft (Naomi), Lamont Johnson (Silas), Jeanette Nolan (Lettie), Joe Kearns (John), Larry Thor (Narrator)

COMMERCIAL: Jerry Hausner (Stan), Harlow Wilcox (Announcer), Sylvia Simms (Operator)

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