Peter Falk as Ramos Clemente, gazing into the mirror that will display his downfall |
“The Mirror”
Season Three, Episode 71
Original
Air Date: October 20, 1961
Cast:
Ramos
Clemente: Peter Falk
General
DeCruz: Will Kuluva
Cristo:
Antony Carbone
Tabal:
Arthur Batanides
Garcia:
Rodolfo Hoyos
D’Allesandro:
Richard Karlan
Father
Tomas: Vladimir Sokoloff
Crew:
Writer:
Rod Serling (original teleplay)
Director:
Don Medford
Producer:
Buck Houghton
Production
Manager: Ralph W. Nelson
Director
of Photography: George T. Clemens
Art
Direction: George W. Davis and Phil
Barber
Set
Decoration: H. Web Arrowsmith
Assistant
Director: E. Darrell Hallenbeck
Editor: Bill Mosher
Editor: Bill Mosher
Story
Consultant: Richard McDonagh
Sound:
Franklin Milton and Bill Edmondson
Music: Stock
And Now, Mr. Serling:
“We’ve
had some performances of great depth on The
Twilight Zone and next week is no
exception. A distinguished and incredibly talented young man lends us his
services when Peter Falk stars in ‘The Mirror.’ This is the story of a tyrant
and his assassins, a shattered dream, and the death of a cause. Next week on The
Twilight Zone . . . ‘The Mirror.’”
Rod Serling’s Opening Narration:
“This
is the face of Ramos Clemente. A year ago a beardless, nameless worker of the
dirt who plodded behind a mule, furrowing someone else’s land. And he looked up
at a hot, Central American sun and he pledged the impossible. He made a vow
that he would lead an avenging army against the tyranny that put the ache in
his back and the anguish in his eyes. And now one year later the dream of the
impossible has become a fact. In just a moment we will look deep into this
mirror and see the aftermath of a rebellion in The Twilight Zone.”
Summary:
Ramos
Clemente, leader of a bloody political revolution in an unnamed Central
American country, basks in the adulating cries of the crowd gathered below the
balcony of his new office. Together with his four trusted advisors he drinks
wine in a toast to the new regime.
Clemente
has the deposed leader, General DeCruz, brought in so that he, Clemente, can
explain how all of DeCruz’s supporters will be executed and how DeCruz’s own
death will be long and painful. DeCruz, however, is unaffected by Clemente’s
threats. He tells Clemente that they are more alike than Clemente is willing to
recognize and now that Clemente has taken control life will be fraught with
fear and suspicion. He then warns Clemente that the large, ornate mirror hanging
on the wall in the office will reveal the assassins who will come for Clemente’s
life.
Paranoia
sets in quickly. As Clemente gazes into the mirror he sees a series of visions
in which each of his most trusted men threaten him with an array of deadly
weapons, from machine guns to knives to poison. In each case, Clemente either
kills the man himself or has the man killed, all in quick succession. Clemente
ponders how he can kill his best friends and yet feel nothing at all. Despite
warnings from his most trusted friend, Cristo, Clemente cannot see the error of
his ways. Even Cristo falls victim to Clemente’s murderous paranoia. When a
priest, Father Tomas, arrives to beg Clemente to cease the ongoing executions
of DeCruz’s supporters, Clemente rages against the idea, displaying the full measure
of his psychosis.
When
the priest leaves, Clemente throws his gun at the mirror, shattering the glass.
From without, the priest hears a gunshot. Accompanied by Clemente’s men, he
rushes back into the office to find Clemente dead on the floor from a
self-inflicted gunshot wound. The final assassin, states the priest, is the one
they never recognize until it is too late.
Rod Serling’s Closing Narration:
“Ramos
Clemente, a would-be god in dungarees, strangled by an illusion, the will-o’-the
wisp mirage that dangles from the sky in front of all ambitious men, all
tyrants. And any resemblance to tyrants living or dead is hardly coincidental,
whether it be here or in The Twilight
Zone.”
Commentary:
“The
Mirror” is marred by a derivative premise, a divisive lead performance, an
uneven supporting cast, unintentionally funny special effects, and a ludicrous
ending. Despite this uneven quality, Rod Serling’s “The Mirror” is interesting for the audacious move to dramatically illustrate the terror and corruption
immediately evident in the regime of Fidel Castro, and, by extension, the regimes
of the many dictators that had recently risen to power in Central and South
America.
By utilizing a
thinly-veiled, fictionalized version of the young Cuban dictator, as well as
his then-enforcer Ernesto “Che” Guevara, here portrayed by Arthur Batanides as
“Tabal,” Rod Serling delivered perhaps the most violent and angry episode of
the entire series. It comes a mere two years after the end of the Cuban Revolution, illustrating
not only how quickly established was the Castro cult of personality, as well as
that of Che Guevara, the one-time overseer of Castro’s execution squad whose
stylized likeness is now used as a counter-cultural symbol of personal freedom, but
also how much Rod Serling had his finger on the pulse of social and political issues.
This is demonstrated time and again on the series, from the red scare of “The
Monsters are Due on Maple Street” to the threat of nuclear annihilation in “The
Shelter” to the aftermath of the Holocaust in “Deaths-head Revisited,” Serling was
always working to fit the directly frightening aspects of the modern world into
a relatable cultural context for the modern viewer.
“The Mirror” does not
present an abstract social issue like the aforementioned episodes. It deals
directly with its subject in an immediately recognizable way. Only one other
time had the series presented a real-life communist leader in an episode, this
when the veiled figure of Nikita Khrushchev, the premier of the Soviet Union,
appeared in the humorous, shot on videotape, second season episode, “The Whole
Truth.” In “The Mirror,” a decidedly non-humorous episode, the deposed leader, General
DeCruz, alludes to three real-life dictators when delivering his warning to
Castro stand-in Ramos Clemente. DeCruz mentions Castro, Batista, and Trujillo. The
character of DeCruz is the fictional stand-in for Fulgencio Zaldívar Batista,
the dictator deposed by Castro in the Cuban Revolution. Rafael Trujillo was the
President, and longtime shadow dictator, of the Dominican Republic from 1930
until his assassination in 1961.
One presumes these issues
were fresh in the minds of most members of the American viewing audience. Either
way, by the spring of 1961, with the Bay of Pigs disaster, and into the fall,
with the Cuban Missile Crisis, there remained little doubt that Serling’s, and
many a political commentator’s, view of the issue was both prescient and, in
many cases, blindly optimistic. Serling was no different in his ultimately optimistic
depiction of the violent usurper Ramos Clemente besieged by paranoia and
self-inflicted violence. What lends the character of Clemente depth is the fact
that he was a poor, idealistic young man who grew, in only the space of a
calendar year, into a cold, sociopathic leader more brutish than those he rose
up against. It was this sort of ideological hopefulness meeting the brutal
nature of reality that made the bloody coupes of the period so disheartening
for the United States and its own ideological foundations.
Viewing
the episode 55 years after its initial broadcast, it still manages to shock and
provoke, even as we see through the thin storytelling, due mostly to the
powerful, and contentious, performance of Peter Falk and the heated dialogue in
Serling’s script. It was this type of bold social and political commentary
which set the series apart from almost any other dramatic series of the time,
especially any other science fiction series. It is this quality also which most
closely relates The Twilight Zone to
the well regarded science fiction series that followed in its wake, from The Outer Limits to The X-Files, and, conversely, which separates it from the series
which seem unable to emerge from its long shadow of influence.
A
lot of filmed science fiction contemporary to The Twilight Zone, including the series itself, presented social and political commentary through the malleable
symbolism of alien invaders, mad scientists, and atomic monsters. At its best, The Twilight Zone didn't bother to
cloak its message to the viewer in any veneer of fantasy other than the most
threadbare kind. The Southern California Group of writers, of which Serling was
a satellite member and who collectively wrote virtually all of the material for
The Twilight Zone, are notable for
the fact that their approach to fantasy was to set it in as realistic a
situation as possible. They approached fantastic material as would a writer of
realist fiction, something they borrowed from notables like Jack Finney (The Body Snatchers), Shirley Jackson (The Haunting of Hill House), and
Theodore Sturgeon (More Than Human). It
was the model set beforehand by Sturgeon, the brilliant short fiction writer,
which exerted the strongest influence on the group. In 1958, Sturgeon published
both a short story and a collection entitled A Touch of Strange, the idea being that to create a convincing
fantasy for the modern reader the writer must create a wholly believable
setting and set of characters, one to which the modern reader can instantly relate,
only then to introduce a touch of something strange, an intrusion of the
fantastic upon the lives of the characters.
The most successful
episodes of The Twilight Zone come
with no deconstruction required at all. Think “The Monsters are Due on Maple
Street” or “The Obsolete Man” or “The Shelter” or “Deaths-Head Revisited” or
“He’s Alive.” All Rod Serling penned episodes and all moral tales painted in
strokes broad enough for an average middle school child to easily comprehend,
which undoubtedly explained both the popularity of the show among children and
its fascination for adults. So it is with “The Mirror.” Serling doesn’t feel
the need to convince the viewer of the truth of the fantasy element, in this
case a magic mirror, but rather decides to leave it purposefully ambiguous. The
episode can just as easily, perhaps more easily, be interpreted from a psychological
perspective, the fantasy element being a result of psychosis on the part of the
protagonist. There are assassins everywhere, intimates DeCruz, and whether or
not it is only in the mind of Clemente is left for the viewer to decide. A
quick interesting note is that Serling previously used the name DeCruz for the
villain among villains in the second season episode “The Rip Van Winkle Caper.”
In that episode, DeCruz was played by Simon Oakland.
Serling
had earlier exited the dramatic anthology programs which soon after died away
and underwent a transformation from cutting edge drama to unthreatening and
watered-down television movies of the week. Here he is in 1961 with a twenty
six minute play consisting almost entirely of a fictional Fidel Castro systematically
murdering an array of people, including his own entourage, and culminating in
his own self-inflicted death. Clemente’s brutal murder of D’Allesandro, slammed
through a set of glass doors and thrown bodily over a balcony, should be
indication enough that this was a different sort of program than those Serling
was writing five years before.
It’s hard to imagine
the corporate sponsors on Playhouse 90 giving
a script like this the green light. Yet, here it is on Serling’s “kooky” (his
word) Twilight Zone presenting
just such a scenario. There was a
reason the series aired at 9:00, the traditional time slot where a more mature
block of programming commenced. If we as regular viewers of the series have
become accustomed to the nostalgic comforts inherent in The Twilight Zone, “The Mirror” is anything but comforting or
nostalgic, which may explain its status as an almost forgotten episode and one
which is rarely commented upon in the circle of science fiction and fantasy
fans that examine such things.
The
major problems with “The Mirror” are the problems with most of Serling’s moral
episodes. If you’re looking for an original plot, look elsewhere. As a writer,
Serling was clearly more interested in using science fiction and fantasy as a
lens through which to view the world around him than in developing unique story
concepts. Not that he was unable to achieve the latter but only that he couldn’t
be expected to produce “Eye of the Beholder” or “The Masks” each time out, nor
did he care to do so. Serling was always keenly aware of the fantasy tradition
and was never shy about using familiar concepts as springboards to drive his
stories across.
During the course of
producing The Twilight Zone, Serling
was always beleaguered with calls of plagiarism and, for the vast majority,
undeservedly so. The burden of producing a science fiction show, and the grave
mistake of a call for open submissions prior to the first season, something
which was still plaguing Serling three seasons in, was such that every episode
put out, however successful or unsuccessful, would be claimed by some quack in
his living room or by some professional writer irked by viewing a genre
outsider like Serling, and don’t be fooled, he was viewed as such, clutching
his Hugo and Emmy Awards at the end of each television season. Science fiction,
fantasy, and horror have always been communal pools from which everyone drinks.
One must simply stop short of drinking from someone else’s cupped hands.
In “The Mirror,” Serling is using fairly
standard fantasy elements to explore a very modern problem, the rise of the
violent dictator in the 20th century. There is the old adage that
science fiction isn’t really talking about the future; it’s talking about the
present. So it goes with many of Serling’s Twilight
Zone episodes. Serling’s plot constructions often suffered from cliché and
repetition. One can hardly fault the guy since he was still writing about
sixty-five percent of everything on the series, along with assuming his duties
as executive producer. That aspect has been examined in detail before here in
the Vortex, as has his reliance on
common concepts of folklore, and
there’s no need to go over it all again, except to say that “The Mirror” contains
elements that go back to the Black Forest fairy tales of the Brothers Grimm,
themselves records of a much older oral tradition.
There is the haunted
mirror which tells of a possible future. There is the character who seals his
fate through the action of attempting to avoid a dire portent. The deposed
leader, de Cruz, plays the role of both the accuser and of the one that lays
the curse at the feet of the new leader. There is the wise old villager, here
played by Vladimir Sokoloff, a Moscow-born character actor again relegated to
playing a Hispanic character as he had previously done in the season two
episode, “Dust,” who begs for understanding and spells out the moral for the
audience at the conclusion of events. These are surely elements familiar to
anyone with even a cursory interest in film or literature. Once passed through
the cipher of Serling’s moralizing oratory the story becomes less about plot, thankfully,
and more about what William Faulkner termed “the human heart in conflict with
itself,” something at which Serling was masterful.
It is remarkable how
confined are many of The Twilight Zone episodes.
This was less to serve a small budget and more the series not needing the
decorative aspects of a less cerebral, or more outer space oriented, science
fiction series. The series was exceptional at minimization and producer Buck
Houghton was not only a master at managing the production, along with Ralph W. Nelson,
but had assembled a group of technicians that thrived within the constricted
confines of the show. The effectiveness of the MGM backlot, the finest such
studio backlot at the time, didn’t hurt matters either.
“The Mirror” takes
place on two sets, one interior (Clemente’s office) and one exterior (the
office balcony), and is all the better for it. It lends the episode intimacy
which masks many of the missteps in narrative. Much like the later fifth season
episode, “The Masks,” the use sound indicates vastness, as great crowds and the
gunfire of the execution squads can be heard continuously roaring beneath the
windows of Clemente’s office. Clemente never leaves the office, never changes
clothes, so strong is his paranoia, so defined is his cause. Never is the
viewer allowed to imagine this man with anything resembling a personal life. As
far as we know, he has no wife, no children, no mother, no father, nor any
siblings. He is a single minded individual, driven by will, desperation,
violence, and an unacknowledged need for exoneration. Serling reminds us again
and again, violence begets violence, hate begets hate, and prejudice begets
prejudice. Clemente is the latest personification of this. There is a moment
late in the episode which seems unnecessary and yet perfectly displays who and
what Clemente represents. After murdering all but one of his entourage,
Clemente wonders aloud how he can murder men he thought of as brothers and feel
nothing about it.
Peter Falk portrays
Ramos Clemente. Falk would later, of course, become famous as Lt. Frank Columbo
in the show of the same name. Serling was very impressed with the young Falk as
evidenced in his preview narration. Falk was nominated for two Academy Awards,
for Murder, Inc. (1960) and Pocketful of Miracles (1961) and would
go on to win five Emmy Awards and a Golden Globe. His performance as Clemente is a manic, exuberant performance
which has undoubtedly left many viewers divided. Falk hovers the line between
parody and effectiveness yet is unquestionably menacing and perfectly
displays the single-minded arrogance of a man who knows only achievement
through violence.
Even
as early as the late 1970's, when author Marc Scott Zicree was conducting
interviews for The Twilight Zone
Companion, series producer Buck Houghton was apologizing for Falk’s performance,
finding it too flamboyant and explaining it as the way in which many Americans
viewed the Cuban leader. The problem which this assessment is that even though Falk
is clearly made up to resemble Castro, he is playing a much broader character, an amalgamation intended to represent the maniacal dictators which had risen to power in several nations in Central
and South America at the time. Whether or not Falk’s performance is a result of
American perspective or not, the violence sweeping through that portion of the
world at the time is undeniable fact, as are the leaders responsible for it.
Antony
Carbone, an Italian-American actor, matches the broad nature of Falk’s
performance, often delivering his lines which one eye squinted closed and his
teeth bared in a grimace. The other supporting players are simply fodder for
Clemente’s mania and are not given ground to really offer anything to the
episode. The ever-present Robert McCord makes another uncredited appearance at
the end of the episode as an off-screen voice and the Priest’s companion.
The
final aspect of the episode that needs to be briefly commented upon is the
ineffective mirror effects. One after another each of Clemente’s men are viewed
in the mirror approaching the paranoid leader with a different array of deadly
weapons, gun, knife, poison, etc. The effect simply doesn’t work and very
closely skirts the line of being unintentionally humorous, especially the image
of D’Allesandro (Richard Karlan) wielding a large machine gun and turning in a
semi-circle. Perhaps Serling felt that he must show something in the mirror but
one wonders if the episode would have been more effective if the viewer were
not privy to what Clemente saw but left only to imagine what he beheld in the
mirror.
Director
Don Medford was a veteran of television direction and is probably best remembered today for directing the two-part finale of The Fugitive. He was at the helm for four
additional Zone episodes, including
the similar and more successful “Deaths-head Revisited,” about a Nazi war
criminal (Oscar Beregi, Jr.) who revisits the concentration camp where he
committed his atrocities, which was filmed before “The Mirror” but aired
afterwards. It is very likely Medford’s work on “Deaths-head Revisited” indicated
he was the right man for the “The Mirror.”
In
all, “The Mirror” is not an episode easy to recommend as something other than
an oddity in a third season populated with established classics. It is never
boring and the high third season production values hold the viewer’s attention,
as well as the opportunity to see a genuine artifact of the Cold War era. Call it average, though that hardly speaks to the unique qualities offered by
the episode.
Grade:
C
Notes:
--Don Medford also directed “A Passage
for Trumpet” from season one, “The Man in the Bottle” from season two, “Deaths-head
Revisited” from season three, and “Death Ship” from season four.
--Vladimir Sokoloff also appeared in the
season two episode, “Dust.”
--Arthur Batanides also appeared in the
season one episode, “Mr. Denton on Doomsday.”
--Richard Karlan also appeared in the
season one episode, “Execution.”
--Rodolfo Hoyos appeared in an episode of Rod Serling's Night Gallery titled "The Miracle at Camafeo."
--Rodolfo Hoyos appeared in an episode of Rod Serling's Night Gallery titled "The Miracle at Camafeo."
--“The Mirror” was adapted as a Twilight Zone Radio Drama starring Tony
Plana.
-Jordan Prejean
I always liked this episode,but then I always enjoy seeing Peter Falk. I had to go to Wikipedia to confirm Lt. Columbo's first name as Frank. I always thought he was (first) nameless, like Agent 99!
ReplyDeleteLt. Columbo was 'first-nameless'.
DeleteWilliam Link always said so - as co-creator, he'd be in the best position to know.
In this case, Wiki was waki.
The original intention was to have him remain without a first name but by necessity Columbo's badge shows his first name to be Frank. Check the 1971 episode "Dead Weight" and the 1976 episode "A Matter of Honor."
DeleteThe "necessity" you're referring to was a rogue prop guy at Universal who was made to do an insert shot of the badge.
DeleteThe producers/writers were not consulted.
William Link maintains to this day that he never even knew about "Frank" until screen grabs became possible in recent times.
Since Link is the surviving creator of the character, I'll go with him.
Hey, I'm with you, Mike. Thanks for the info. I threw that in the post just as a bit of trivial knowledge and it is in no way a point of contention with me. I'll go with Link's view, as well.
DeleteI really enjoy this performance though a lot of what I've read indicates that it's not a very popular one. I think it's easily the most interesting aspect of an otherwise dishwater episode. The viewer must accept that it's intentionally over-the-top and not intended to be a version of Castro like you would see in a biopic, and certainly not intended to be politically correct.
ReplyDeleteI hated this episode the first time I saw it, and my mind has not changed. It's the Twilight Zone at its worst, and if I were someone who wanted the show to be canceled appearing at a CBS symposium around the time the series was up for renewal I'd bring a copy of The Mirror as proof of how dreadful the show is,--even though the series as a whole is much better than this particular episode. Just sayin'...
ReplyDeleteI will be using this episode in my history class when dealing with the early 1960s and JFK/Castor/Cuban Missile Crisis. I've found using some of the Twilight Zone episodes (The Shelter, Monsters are Due on Maple Street, Obsolete Man) are great ways to look at this era of history. It helps the kids "associate" everything going on.
ReplyDeleteVery cool! I agree that The Twilight Zone can be an excellent teaching tool. I've heard from several viewers who first encountered the show in the classroom. Good luck with it and I hope it gets a great response from the students.
DeleteGeorge Bernard Shaw once said "When a man wants to murder a tiger, he calls it sport; when the tiger wants to murder him, he calls it ferocity. The distinction between crime and justice is no greater." Even if one doesn't accept this pronouncement as a valid view of the criminal-justice system (I don't, except with regard to the so-called "war on drugs"), it is absolutely on target with regard to the United States' monstrous policies in the Caribbean and Latin America over the past century. "The Mirror" is a perfect illustration of traditional American attitudes on the question of politics in this part of the world. We support Batista in Cuba, and then can't fathom where Castro came from -- ditto Somoza to Ortega in Nicaragua, and so on, and on, and on. It all puts me in mind of something a Russian woman said a few years back: "Since 1991, we've learned two things in Russia. The first is that everything the West ever told us about Communism was true. The second is that everything the Communists ever told us about capitalism was also true."
ReplyDeleteI was drawn to Peter Falk right away. He is an excellent actor. If you are not familiar with Columbo, he could easily be unrecognizable. There is nothing he has done that I don't like. I love this episode because I saw him in a different role. He was one of the best.
ReplyDeleteSo it's anti communist drivel. I'd only see a few twilight zone episodes at this point & this episode was so eh. I like the more univeral social episodes that withstand the test of time.
ReplyDeleteStill it is interesting to see Capitalist Propaganda against Castro from the time it was fresh before it became so cartoonish