The Twilight Zone (1959) s01e11 – And When the Sky Was Opened

The magic of And When the Sky Was Opened is Rod Taylor’s lead performance. He’s an astronaut who holds on while reality loses track of his astronaut copilots after they return to Earth. Whether he’s loud or quiet, Taylor makes the episode work.

The concept is simple enough, but Taylor is able to sell the emotion of it all. When he realizes he forgets his girlfriend (Maxine Cooper), the viewer too realizes he or she has forgotten all about her too. She’s not important to Taylor at that moment; there’s no reason the viewer should worry about her either.

The episode also features a nice supporting performance from Jim Hutton. His job’s mostly just to react to Taylor, but he eventually gets his own moment in the spotlight.

Charles Aidman, in the distant third role, is mediocre. He’s not terrible, but he’s not doing anything amazing like Taylor.

It’s good.

Tell Them Willie Boy is Here (1969, Abraham Polonsky)

Is that the one where Katharine Ross plays an Indian?

Sorry, I couldn’t resist.

Tell Them Willie Boy is Here starts incredibly strong. It gives a real sense of building towards something, but when that something arrives–Robert Blake and Katharine Ross on the run from a posse–it’s handled so poorly, the film falls apart. Maybe it doesn’t fall apart, maybe it just ceases to be good and interesting. The relationship between Blake and Ross, which started as interesting, turns into propaganda. It’s fine, it’s for a good cause, but their scenes lose all sense of importance in terms of character development, motivation… any attempt at honesty. Actually, Willie Boy starts to fall apart earlier. Polonsky cannot handle, as a director, a lot of shots. The essential scene, the crime Blake commits to have to go on the run, is incompetently shot. It’s not until later, with the Dave Grusin score going non-stop, it becomes clear Polonsky had seen The Shooting and was aping its style. It’s not even a bad job of aping, it’s just Polonsky also seemed to think he needed to ape The Shooting‘s copout, indie-friendly ending.

For the first twenty or so, everything’s good in Willie Boy, then the Blake and Ross stuff falls apart, but there’s the excellent, complicated Robert Redford and Susan Clark story going to maintain interest and actually make important observations on the human condition. Except, it’s not propaganda, so Polonsky drops it and that story is the most important–most unique–part of Willie Boy. At the end, when he has a chance to reclaim it, he instead conjures some malarky about Redford the sheriff surrounded by people who think it’s still the old days being the alter ego of Blake, the Indian wrongfully on the run. It’s a bunch of crap and it’s really unfortunate, considering Redford’s excellent work in the film. Blake is okay, but his performance is identical to Charles Bronson’s performances in the early 1960s. Almost no different really.

As a conflicted Native American schoolteacher, Ross is silly sometimes and okay sometimes. When she’s quiet–actually, besides the scenes with Clark and Redford, everything is better when it’s quiet in Willie Boy. Clark’s fantastic and she and Redford deserved a lot of better of a project to work on together.

I don’t think there’s much else to say about the film, other than it being less an incredible disappointment than an unfortunate failure. Polonsky was screenwriter and a more understanding, more capable director would have turned out a far better, far less pretentious product… almost any director, really. Redford would have done wonders.