The Dark, Dark Hours is the story of two desperate beatnik gunmen who just pulled a job and one of them took a bullet. They need a doctor and they find Ronald Reagan. The beatniks are James Dean and Jack Simmons. Simmons is the shot one. Dean’s the moody one whose undoubtedly tragic life has led him to being a beatnik outlaw.
Sometimes they need to listen to some bops to get right.
Meanwhile, Reagan’s got a wife, Constance Ford, who thinks he’s letting these two punk kids push him around. Is Reagan a coward or is he just following the Hippocratic Oath? Does it even matter?
Dean gets some speeches, Reagan gets some speeches, Ford gets some speeches. Reagan and Ford get close-ups from director Medford; they’re good solid people, not beatniks like Dean. Dean is mostly in medium shots, usually having to share the frame. He only gets close-ups after his comuppance.
Dark, Dark Hours isn’t so much predictable as never surprising. Medford directs the episode pretty well, particularly the opening with Dean and Simmons arriving at the house. Medford doesn’t bring much tension to it. Arthur Steuer’s teleplay doesn’t have much tension–really, it’s just speeches from Dean about being a sad beatnik thug. He’s probably on the reefer or something.
Dean’s fine. It’s not like he’s got some great monologues to perform. Same for Reagan. Ford’s too annoying.
It’s not a terrible twenty-five minutes but it’s also not particularly worth seeing.
Directed by Don Medford; teleplay by Arthur Steuer, based on a story by Henry Kane; produced by Mort Abrahams; aired by the Columbia Broadcasting System.
Starring Ronald Reagan (Joe), James Dean (Bud), Constance Ford (Betty), and Jack Simmons (Pee Wee).