The Incredible World of Horace Ford
"The Incredible World of Horace Ford" is an episode in season four of the American television anthology series The Twilight Zone. In this episode, a toy designer fixated on his childhood days finds that he travels back to those times whenever he revisits his old neighborhood. Horace Ford is a 38-year-old toy designer whose life is dominated by blissfully happy memories of his childhood, his colleagues and mother have all become frustrated with his obsession. One day, he decides to revisit his childhood neighborhood. Ford discovers, to his amazement, he recognizes the boys he played with in his childhood --. Frightened, he returns to his apartment, but he visits his old neighborhood again on each of the next several nights; each night the same scene plays out and he stays longer, before returning to his apartment. On his last visit, he hears his old friends complaining that he did not invite them to his birthday party, he tries to talk to them, turns into a boy again. His friends bully and assault him, as Horace realizes that his childhood was not as pleasant as he would nostalgically recall.
After his wife finds him, he "grows up"—returning to his own time period and age group with a new-found appreciation for life as an adult. This episode revisits themes used in the series in the episodes "The Trouble with Templeton" and "Walking Distance" —namely, a person's propensity to romanticize and try to relive a past that may not have been at all as good as they like to remember it. Reginald Rose wrote "The Incredible World of Horace Ford" as a teleplay for Westinghouse Studio One, which aired live on June 13, 1955, starring Art Carney in the title role, with Leora Dana as Laura; the original ending was somewhat downbeat, producer Herbert Hirschman asked Rose to create a different ending. Accordingly, the Twilight Zone version of the script is identical to the Studio One version, except that an epilogue has been added. In the Studio One version, the story ends at the Fords' apartment, with the audience invited to assume that Horace has been permanently transported back to his miserable past.
In the Twilight Zone version, the story continues on: Laura leaves the apartment to find Horace, who magically transforms back into an adult and vows not to live in the past any longer. Pat Hingle as Horace Maxwell Ford Nan Martin as Laura Ford Ruth White as Mrs. Ford Phillip Pine as Leonard O'Brien Vaughn Taylor as Mr. Judson Jerry Davis as Hermie Brandt Billy E. Hughes as Kid Mary Carver as Betty O'Brien Jim E. Titus as Horace as a boy DeVoe, Bill.. Trivia from The Twilight Zone. Albany, GA: Bear Manor Media. ISBN 978-1-59393-136-0 Grams, Martin.. The Twilight Zone: Unlocking the Door to a Television Classic. Churchville, MD: OTR Publishing. ISBN 978-0-9703310-9-0 "The Incredible World of Horace Ford" on IMDb "The Incredible World of Horace Ford" at TV.com
Three in the Attic
Three in the Attic is a 1968 film directed by Richard Wilson and starring Christopher Jones and Yvette Mimieux, with Judy Pace and Maggie Thrett. Nan Martin, John Beck, Eve McVeagh appear in supporting roles. Jones plays Paxton Quigley, a lothario who swears his fidelity to all three of the women he is dating, each of whom is unaware of his deception; when they learn the truth about Paxton, the women lure him into a college dormitory attic, where they each take turns tormenting and pampering Paxton physically. Paxton Quigley, a renowned womanizer, is a student at the fictional Willard College for Men, located a mile away from the fictional Fulton College for Women; the schools are located in small college communities in the middle of Vermont. After meeting at a Zeta Chi fraternity party, Paxton and a Fulton undergrad, Tobey Clinton, begin dating, they take their relationship to the next level by spending the summer together by the beach in Provincetown. Paxton and Tobey are caught living together by Tobey's parents at their family house in Provincetown.
Following a fight between Tobey and her mother, the two separate for the last two weeks of summer break. Tobey, by now in love, is ecstatic to be with Paxton upon their return to school. While out on his motorcycle, Paxton has a chance encounter with a young artist in need of a ride; the young artist, another Fulton student, entreats Paxton to let her paint him naked. When she is finished, Paxton learns that she only wanted to paint his face, but got him naked for fun, she promises to get nude for Paxton as compensation. After a meal, they retire to a motel. Following his initial escapade with Eulice, Paxton brags to his fraternity brothers that he feels no remorse. While they are on a trip to a cabin, Tobey asks Paxton to move out of his fraternity house and move into an apartment with her. Paxton overreacts. A bitter fight ensues. Paxton receives a phone call from Eulice at his fraternity house, is goaded into seeing her again. While racing over to Eulice's residence Paxton trips and happens upon a hippie-girl, making a flower-collage in the woods.
They strike up a conversation, soon after, Paxton takes Jan to his favorite motel. The two eat some of Jan's "magic-brownies" and Jan uses body paint to cover Paxton's back in flowers; as soon as Paxton makes a move, Jan runs for the door. Paxton aggressively attacks her, stops and feigns to be homosexual, abused by a junior high school coach; this exploitative trickery wins her sympathy and they soon become intimate. Again, Paxton brags about his exploits back at his fraternity house. One of his brothers gives him the idea of dating all three girls at the same time, they scheme over some beers, come up with an elaborate plan for Paxton to trick all three girls into thinking he is seeing each one exclusively. While at a movie which Paxton is watching with Tobey, he is discovered by both Eulice and Jan, who spot him from the front. Paxton returns to the Zeta Chi house and walks into a party where brothers are taking advantage of a drunken co-ed. Paxton, hit with a sudden sense of guilt, tries to protect the girl from the brothers' jeers.
Paxton, filled with his new-found conscience, rents an apartment for himself and Tobey and goes to her dorm building to surprise her with his new level of commitment. Tobey very distraught, tells Paxton to follow her into her attic, where she reveals that Eulice and she have discovered Paxton's secret infidelity. Tobey caught him after seeing Eulice's painting of Paxton at an art show and tracking down the artist; the three lock Paxton in the attic and plan to continue sleeping with him to physically wear him out as a punishment. Paxton rebels by going on a hunger strike. After noticing his drop in class attendance, the dean of Willard College sends out a description of Paxton to neighboring colleges, labeling him as a missing student. A nosy dorm mate of Tobey's notices the actions of Paxton's captors and reports them to the assistant dean of Fulton. Meanwhile, Paxton is being worn to physical extremes from a combination of nearly two weeks of malnutrition and being unable to resist the relentless advances of Tobey and Jan.
The assistant dean of Fulton, Dean Nazarin, connects information listed in a missing person's report and information from a nosy student. She concludes that Paxton is being held in the attic of Fulton's Ford Hall, Tobey's residence. Tobey explains the situation. Although unable to condone the actions of the young women, the dean offers a chance for Tobey to carry out Paxton's "punishment" while turning a blind eye. Meanwhile, Paxton has vivid hallucinations where he accuses his three captors and fantasizes that they are unanimously hated by all of Fulton College while he is shown love and comfort. Failing to make Paxton explain his actions, Tobey consents to release him from the attic, disoriented, he stumbles into an unsuspecting female dorm, he is knocked unconscious. An ambulance soon takes him away. Due to intervention from Dean Nazarin, the three girls get out of the scandal without punishment. With the help of Eulice, Paxton is able to chase down Tobey before she leaves town on a bus, reconciles with her after a desperate display of love.
Paxton Quigley - Christopher Jones Tobey Clinton - Yvette Mimieux
Martin Patterson Hingle was an American character actor who appeared in hundreds of television shows and feature films. His first film was On the Waterfront in 1954, he played tough authority figures. Hingle was a close friend of Clint Eastwood and appeared in the Eastwood films Hang'em High, The Gauntlet, Sudden Impact. Hingle was born in Miami, the son of Marvin Louise, a schoolteacher and musician, Clarence Martin Hingle, a building contractor, he attended Weslaco High School. Hingle enlisted in the United States Navy in December 1941, he served on the destroyer USS Marshall during World War II. He returned to the University of Texas after the war and earned a degree in radio broadcasting in 1949; as a Navy Reservist, he was recalled to the service during the Korean War and served on the escort destroyer USS Damato. Hingle began acting in college, after graduating, he moved to New York and studied at HB Studio and the American Theatre Wing. In 1952, he became a member of the Actors Studio; this led to End as a Man.
On Broadway, he originated the role of Gooper in the original Broadway production of Tennessee Williams' Cat on a Hot Tin Roof. He played the title role in the award winning Broadway play J. B. by Archibald MacLeish. He appeared in the 1963 Actors Studio production of Strange Interlude, directed by Jose Quintero, That Championship Season, he earned a Tony Award nomination for his performance in Dark at the Top of the Stairs. In 1997, he played Benjamin Franklin in the Roundabout Theatre revival of the musical 1776, with Brent Spiner and Gregg Edelman. Hingle's first film role was an uncredited part as bartender Jock in On the Waterfront. In his career, he was known for playing judges, police officers and other authority figures, he was a guest star on the early NBC legal drama Justice, based on case histories of the Legal Aid Society of New York, which aired in the 1950s. Another notable role was as the father of Warren Beatty's character in Splendor in the Grass, directed by Elia Kazan, the director of On the Waterfront.
Hingle was known for portraying the father of Sally Field's title character Norma Rae. He played manager Colonel Tom Parker in John Carpenter's TV movie Elvis. Hingle had a long list of television and film credits to his name, going back to 1948. Among them were The Fugitive, Carol for Another Christmas, Nevada Smith, Mission: Impossible, Hang'Em High, The Gauntlet, Sudden Impact, Road To Redemption, When You Comin' Back, Red Ryder?, Brewster's Millions, Stephen King's Maximum Overdrive, The Grifters, Citizen Cohn, The Land Before Time and Shaft. Hingle played Dr. Chapman in seven episodes of the TV series Gunsmoke, Col. Tucker in the movie Gunsmoke: To the Last Man. In 1963, Hingle guest-starred in an episode of The Twilight Zone called "The Incredible World of Horace Ford" as the title character, he guest starred in the TV series Matlock and Murder, She Wrote. In 1980, he appeared in the short-lived police series Stone with Dennis Weaver, he played its three sequels. He is one of only two actors to appear in the four Batman films from 1989 to 1997.
In November 2007, he created the Pat Hingle Guest Artist Endowment to enable students to work with visiting professional actors at the University of North Carolina Wilmington. Hingle married Alyce Faye Dorsey on June 3, 1947, they had three children: Jody and Molly. The couple divorced. In 1979 Hingle married Julia Wright, he and his second wife had two children. In 1959 while playing J. B. on Broadway, he was offered the title role of the 1960 film Elmer Gantry but lost it to Burt Lancaster because Hingle had a nearly fatal accident. He was trapped in the elevator of his West End Avenue apartment building in Manhattan, when it stalled between the second and third floors, he crawled out and tried to reach the second floor corridor, but lost his balance and fell fifty-four feet down the shaft. He fractured his skull, wrist and most of the ribs on his left side, he lost the little finger on his left hand. He lay near death for two weeks, his recovery required more than a year. Hingle died at his home in Carolina Beach, North Carolina, of myelodysplasia on January 3, 2009.
He was cremated and his ashes were scattered in the Atlantic Ocean. Pat Hingle on IMDb Pat Hingle at the TCM Movie Database Pat Hingle at the Internet Broadway Database Pat Hingle at the Internet Off-Broadway Database Pat Hingle at Find a Grave AP Obituary in The Charlotte Observer
The Hogan Family
The Hogan Family is an American sitcom that aired on NBC from March 1, 1986, to May 7, 1990, on CBS from September 15, 1990, until July 20, 1991. It was produced by Miller-Boyett Productions, along with Tal Productions, Inc. and in association with Lorimar Productions, Lorimar-Telepictures, Lorimar Television. The show was titled Valerie and starred Valerie Harper as a mother trying to juggle her career with raising her three sons by her absent airline pilot husband. Harper was written out of the series after the second season because of a dispute with the show's producers. Sandy Duncan joined the cast as the boys' aunt, who became their surrogate mom. During the show's third season, the series was known as Valerie's Family: The Hogans, as The Hogan Family. Valerie Harper as Valerie Hogan Jason Bateman as David Hogan Danny Ponce as Willie Hogan Jeremy Licht as Mark Hogan Josh Taylor as Michael Hogan Sandy Duncan as Sandy Hogan Christine Ebersole as Barbara Goodwin Judith Kahan as Annie Steck Edie McClurg as Mrs. Patty Poole Tom Hodges as Rich Steve Witting as Burt Weems Willard Scott as Peter Poole Angela Lee as Brenda Josie Bissett as Cara John Hillerman as Lloyd Hogan Originally, the show was known as Valerie and its stories revolved around Valerie Hogan, who lived in Oak Park, Illinois, a Chicago suburb, struggled with everyday problems raising her three sons during her airline pilot husband Michael's long absences due to his demanding work schedule.
She contended with the regular uproar caused by girl-crazy and sometimes narcissistic 16-year-old David and his 12-year-old fraternal twin brothers and jockish Willie, brainy Mark —whose spotless academic and behavioral record at school came to be pierced by occasional bursts of rebellion. Valerie worked as the buyer for an auction house and was matched in wit and charm by her best friend, Barbara Goodwin; the family dog, died in a season-one story line. In season two and producer/husband Tony Cacciotti had increasing creative control over the show, the candy-coated tinges of storytelling were replaced by realistic humor. Barbara was written out of the show, the close friend/cohort role became occupied by neighbor Annie Steck, mother of a teenage daughter Rebecca. Another neighbor, busybody Patty Poole, began appearing as did David's friend Rich. A jock with a big-man-on-campus attitude, Rich was known for calling David "Hogie". Valerie had switched careers, now working as a freelance graphic artist, so she could be more available to her sons.
Like most American sitcoms in the 1980s, the series sometimes dealt with moral conflicts, but not in a heavy-handed fashion. In the episode "Bad Timing", which first aired February 7, 1987, David and a former girlfriend debate whether to have sex; the episode featured the first use of the word condom on a prime time television program. Parental advisory warnings were issued in ads for the episode and NBC placed an advisory warning before the episode aired stating that parents may want to watch the episode with their children; because of the episode's subject matter, some of NBC's affiliates either aired the show outside of prime time or refused to air it at all. The episode was released to home video for teachers and health educators to use as a tool to promote safe sex. After a modest start in the ratings, countered by critical success, Valerie had begun to show growth in the Nielsens by the end of the 1986–87 season, its most significant ratings jump occurred after its moving to Mondays at 8:30/7:30c in March 1987, following ALF.
NBC renewed the series for a third season in May. In light of the show's success and Cacciotti approached their producers and NBC about per-episode salary increases and a larger cut of future syndication revenue; when all of the couple's requests were refused and Cacciotti walked out on Valerie. Harper had prior history in this situation, as she staged a walking out in 1975 following the first season of her hit series Rhoda, which resulted in a pay increase; the couple continued to negotiate with Miller-Boyett Productions, Lorimar-Telepictures and NBC during the next few months as the behind-the-scenes struggle became well publicized. NBC programming chief Brandon Tartikoff, unhappy with the feud, publicly stated that he would replace Harper with another actress if the fighting did not cease. Tartikoff suggested Sandy Duncan as a replacement to Miller and Boyett, who both sided with the network chief in this possible casting decision. Duncan had signed a contract with NBC for a starring vehicle, Tartikoff felt that this would be the best opportunity for her to make use of it.
The announcement was unprecedented at the time. There was never a show that had a lead actor or actress fired from a show named after him or her, with the series continuing with a different star. Harper and Cacciotti felt Tartikoff was trying to spite them with this attempt of a threat and criticized his notion that marquee st
The Invaders is an American science fiction television program created by Larry Cohen that aired on ABC for two seasons, from 1967 to 1968. Roy Thinnes stars as David Vincent, who tries to thwart an in-progress alien invasion with doubting officials and public; the series was a Quinn Martin Production. Roy Thinnes stars as architect David Vincent, who accidentally learns of a secret alien invasion underway and thereafter travels from place to place attempting to foil the aliens' plots and warn a skeptical populace of the danger; as the series progresses Vincent is able to convince a small number of people to help him fight the aliens. In many episodes, at least one individual a key figure such as a USAF intelligence officer, a police officer, a U. S. Army major, or a NASA official would become aware of the alien threat and survive the episode in which he or she was introduced. In "The Leeches", a millionaire survives an alien abduction after being rescued by Vincent, while in "Quantity: Unknown" a scientist is convinced of alien technology.
In "The Saucer", guest stars Charles Drake witness an alien saucer's landing. In the second season, larger groups of surviving witnesses were featured, as in episodes "Dark Outpost" and "The Pursued", three scientists in "Labyrinth". Most significant of these is millionaire industrialist Edgar Scoville, who became a semi-regular character as of December 1967, heading a small but influential group from the episode "The Believers". Episodes saw the military involved, as Vincent's claims were now being taken more seriously. In "The Miracle", after an alien encounter, Vincent manages to retain a piece of alien technology both as evidence and for examination by both his group and the authorities; the series depicted an undercurrent of at least partial credulity among authority figures regarding Vincent's claims in the first season, as in early episodes such as "The Mutation" where a security agent is keeping an eye on Vincent and ends up inclined to believe him. In "The Innocent", the USAF Officer guns down an alien who incinerates in front of him, tying in with Vincent's claims, while at the end of the episode after disbelieving Vincent he phones USAF security to run a full background check on an officer who Vincent claimed was an alien.
In "Moonshot", the NASA official is expecting Vincent to arrive, in "Condition: Red", a NORAD Officer and staff witness an alien UFO formation onscreen, are left convinced. Each of these incidents is kept to just the individual episode, with hinted official backing of Vincent. Elsewhere, Vincent is shown as being publicly'dismissed as a crank' by the authorities, while behind the scenes they take him seriously—for example in "Doomsday Minus One", where Vincent has been invited by an Army Intelligence official and is given classified information, thus viewers were left to draw their own conclusions as to the situation regarding Vincent's actual standing. Some controversy arose regarding the sudden ending of the television series after season two as it was deemed no proper ending had been written, yet the final season-two episode "Inquisition" does stand as some kind of series conclusion where Vincent convinces a key figure, an skeptical special assistant to the Attorney General, that the Invaders have arrived, after first defeating an alien plan with a special weapon.
The aliens had withdrawn all their key personnel from Earth prior to its use, the closing narration is that Vincent, Edgar Scoville, the now convinced Special Assistant will join forces as the vanguard to watch for any return of the Invaders. Thus this episode can be seen as showing Vincent achieve his goal of'convincing disbelieving authorities' at least, the Invaders' plans temporarily thwarted, leaving the door open for any possible sequel or spinoff series. Roy Thinnes as David Vincent Kent Smith as Edgar Scoville Max Kleven as Alien William Windom as Michael Tressider Lin McCarthy as Col. Archie Harmon Alfred Ryder as Mr. Nexus The series was produced by Quinn Martin, looking for a show to replace the immensely popular The Fugitive, ending its run in 1967. Larry Cohen, the series' creator, had conceived two earlier series with similarities to The Invaders. Chuck Connors starred in Branded as a soldier court-martialed for cowardice, who traveled the West searching for witnesses and proof that he had acted valiantly, Coronet Blue about Michael Alden, a man suffering from amnesia, being pursued by a powerful group of people.
All he could remember were the words "Coronet Blue". Another inspiration was the wave of "alien doppelgänger" films which had come ten years before in the 1950s, typified by Invasion of the Body Snatchers and the British film Quatermass 2, known in America as Enemy from Space. While these paranoid tales of extraterrestrials who lived among us, posing as humans while planning a takeover, are linked with a Red Scare subtext, Martin wanted a premise that would keep the hero moving around and that would explain why he could not go to the authorities (i.e. not only had some aliens infiltrated human institutions alread
Hamlet (1964 film)
Hamlet is a 1964 film adaptation in Russian of William Shakespeare's play of the same title, based on a translation by Boris Pasternak. It was directed by Grigori Kozintsev and Iosif Shapiro, stars Innokenty Smoktunovsky as Prince Hamlet. Grigori Kozintsev had been a founder member of the Russian avant-garde artist group The Factory of the Eccentric Actor, whose ideas were related to Dadaism and Futurism. In 1923 he had been planning to perform Hamlet as a pantomime in the experimental manner of FEKS, but the plan was not put into effect, Kozintsev's energies shifted into the cinema. However, he returned to the theatre in 1941 with a Leningrad production of King Lear. In 1954 Kozintsev directed a stage production of Hamlet at the Pushkin Theatre in Leningrad, using Boris Pasternak's translation. Kozintsev wrote extensively about Shakespeare and a major chapter in his book Shakespeare: Time and Conscience is devoted to his thoughts on Hamlet together with a historical survey of earlier interpretations.
In an appendix entitled "Ten Years with Hamlet", he includes extracts from his diaries dealing with his experiences of the 1954 stage production and his 1964 film. Kozintsev's film is faithful to the architecture of the play, but the text is truncated, achieving a total running time of 2 hours 20 minutes; the opening scene of the play is cut along with scenes 1 and 6 of Act IV, but other scenes are represented in sequence though some are drastically shortened. There is some resequencing of material in Act IV to illustrate the outwitting of Rosencrantz and Guildenstern on the voyage to England. Kozintsev seeks to represent the content of the play in visual terms, there are notable sequences which are constructed without the use of dialogue. Unlike Laurence Olivier's 1948 film, which removed most of the play's political dimension to focus on Hamlet's inner turmoil, Kozintsev's Hamlet is as political and public as it is personal. Kozintsev observed of his predecessor: "Olivier cut the theme of government, which I find interesting.
I will not yield a single point from this line." Where Olivier had narrow winding stairwells, Kozintsev has broad avenues, peopled with ambassadors and courtiers. The castle's role as a prison is emphasised; the camera looks through bars and grates, one critic has suggested that the image of Ophelia in an iron farthingale symbolises the fate of the sensitive and intelligent in the film's tough political environment. The film shows the presence of ordinary people in ragged clothes, who are like the grave digger: good-hearted and only wishing to live peacefully; the camera is continually mobile and extended shots enable the physical exploration of the spaces of the court and castle. Of the castle itself, Kozintsev said: "The general view of the castle must not be filmed; the image will appear only in the unity of the sensations of Elsinore's various aspects. And its external appearance, in the montage of the sequences filmed in a variety of places". Many of the exteriors were filmed on the border of Russia and Estonia.
Much of the film takes place out of doors. Apart from the backdrop of the castle, the imagery of the film is dominated by elements of nature. Kozintsev saw this as a vital way in which he could give visual form to the text: "Strangely enough they have always sought to film Hamlet in studios, but it seems to me that the key to reincarnating Shakespeare's words in visual imagery can only be found in nature". "It seems. In decisive places, they should express the essentials. I have in mind stone, fire and sea"; these elements are present throughout, including the opening shot in which the cliff-top castle is represented by its shadow falling across the surging waters of the sea, the final scene in which Hamlet walks out of the dark palace to sit against the rock facing the sea as he dies. Although shot in black-and-white, this was the first film version of the play in a widescreen format and stereophonic sound; when the film appeared in 1964, it received a number of prizes both in abroad. Its reception among British and American reviewers was favourable, despite the fact that this version of a prized work of English literature was not made in English.
The New York Times reviewer took up this point: "But the lack of this aural stimulation - of Shakespeare's eloquent words - is recompensed in some measure by a splendid and stirring musical score by Dmitri Shostakovich. This has great dignity and depth, at times an appropriate wildness or becoming levity"; the author noted the strengths of the film: "is concerned with engrossing the eye. And this he does with a fine achievement of pictorial plasticity and power.... Landscape and architecture and atmosphere play roles in this black-and-white picture that are as important as those the actors play". In academic literature, the film has continued to receive prominent attention in studies of the methods of filming Shakespeare in a play which consists so much of internal thought; the British director
Thicker than Water (2005 film)
Thicker than Water is a 2005 American made-for-television drama film starring Melissa Gilbert and Lindsay Wagner. It premiered on Hallmark Channel on March 12, 2005. After the death of her father, Natalie Travers discovers he was married to a rodeo star before he married Natalie's mother. Upset that her father kept part of his life a secret from her and bewildered over how a prominent judge could fall for a cowgirl, she sets out to find Maggie Mae Jarrett, but Natalie meets Maggie's daughter Jessie Mae Jarrett, struggling to keep the wild horses on her land alive and safe. Melissa Gilbert as Natalie Travers Lindsay Wagner as Jess Jarrett Brian Wimmer as Sam Nelson Lindy Newton as Lulu Nichols Robert Mailhouse as Larry Gorman Grainger Hines as Tom Grove Nan Martin as Abygail Jordan Sondra Currie as Sally Thicker Than Water on IMDb Thicker Than Water on Hallmark Channel Thicker Than Water at AllMovie