Dorothy Gish isn’t just top-billed in Harvest, host (and narrator) Robert Montgomery introduces the episode hyping her presence. So it’s a tad disappointing when it turns out Gish gets less and less to do throughout the hour-long television play. When she does get things to do, they happen off-screen. Instead of giving her an arc, writer Sandra Michael actually takes away from Gish in the third act, giving time to a newly introduced character.
It might be okay if there were something more interesting going on, but there’s really not. Most of Harvest has to do with nonagenarian Vaughn Taylor preparing for his one hundredth birthday. Mentally preparing, not party-planning. Taylor’s in a bunch of makeup and sort of dodders around, talking too loud about how grandson James Dean isn’t going to take over the family farm.
Dean gets a lot to do. He’s in love with city girl Rebecca Welles, who just can’t understand why he’d want to stay on that smelly old farm anyway. Dad Ed Begley doesn’t know Dean doesn’t want to be a farmer–writer Michael knows Begley and Dean ought to have some scenes together because the characters have things to talk about, but Harvest skips every single one of those conversations. Instead, Begley either tells Gish or Taylor he’s talked to Dean.
The action takes place around the house, specifically the kitchen, occasionally the front porch. Harvest takes some side trips–into the city, out into the field, 1,000 miles away to check in on Gish and Begley’s other sons–but it’s mostly just the kitchen. Where Gish prepares coffee, Begley sits silently, Dean sits jittery, and Taylor dodders.
Harvest doesn’t take any of its characters seriously enough. If it’s going to be about homesteader turned farmer Taylor turning one hundred and watching his family farm collapse, the writing needs to be better and a better actor needs to be playing the part. Director Sheldon doesn’t do much with his actors, but no one’s anywhere near as problematic as Taylor. While Begley is mostly scenery (which is almost better than when he gets lines because Michael writes them so poorly), he’s better than Taylor’s “best” scenes.
Dean’s okay. Harvest cuts away from his character development just as it gets interesting. Gish is okay. She really doesn’t have anything to do but make coffee in a percolator but she does it with a level of engagement far beyond anyone else. Begley looks lost.
Welles is pretty bad.
Montgomery’s narration is obnoxious, but no worse than the frequent choir singing reminding the viewer how blessed are the starving farmers and aren’t they quaint. Keep hope alive for tomorrow is Harvest’s motto (or some such thing). Instead, it seems like the television play just wants to avoid responsibility for its content.
Sheldon’s direction–outside his lack of interest in the performances–is fine. Harvest never feels cramped, one primary set or not.
Directed by James Sheldon; written by Sandra Michael; produced by Robert Montgomery; aired by the National Broadcast Company.
Starring Dorothy Gish (Ellen Zalinka), Ed Begley (Karl Zalinka), Vaughn Taylor (Gramps), James Dean (Paul Zalinka), Rebecca Welles (Arlene), John Connell (Chuck), John Dennis (Joe), Joseph Foley (Herb), Nancy Sheridan (Louise), Mary Lou Taylor (Fran), and Frank Tweddell (Mr. Franklin); narrated by Robert Montgomery.
Don Siegel can compose no matter what ratio, so his shots in The Self-Improvement of Salvadore Ross are all fine. There’s a lack of coverage and the edits are occasionally off, but it’s a TV show (an episode of “The Twilight Zone”); it’s expected.
And Siegel does get in the occasional fantastic shot. He’s got a great lead actress with Gail Kobe and Vaughn Taylor’s all right as her father. The problem’s the lead, Don Gordon. Gordon has some great monologues but when he’s acting or reacting to someone else, he falls apart. It’s probably the script, which concerns a listless thug who discovers he can magically trade physical and psychological conditions with people.
He figures to “improve” himself with the power. But the character has no motivation other than filling twenty-some minutes of a television program.
Still, a single great Siegel shot makes up for the rest.
Directed by Don Siegel; teleplay by Jerry McNeely, based on a story by Harry Slesar; “The Twilight Zone” created by Rod Serling; director of photography, George T. Clemens; edited by Richard V. Heermance; produced by Bert Granet; aired by CBS Television Network.
Starring Don Gordon (Salvadore Ross), Gail Kobe (Leah Maitland), Vaughn Taylor (Mr. Maitland), J. Pat O’Malley (Old Man), Douglass Dumbrille (Mr. Halpert) and Douglas Lambert (Albert).