“In His Image”
Season Four, Episode 103
Original
Air Date: January 3, 1963
Cast:
Alan
Talbot/Water Ryder, Jr.: George
Grizzard
Jessica
Connelly: Gail Kobe
Old
Woman: Katharine Squire
Man:
Wallace Rooney
Driver:
George Petrie
Sheriff:
James Seay
Hotel
Clerk: Jamie Forster
Girl:
Sherry Granato
Grizzard’s
double: Joseph Sargent
Crew:
Writer:
Charles Beaumont (based on his story
“The Man Who Made Himself”)
Director:
Perry Lafferty
Producer:
Herbert Hirschman
Director
of Photography: George T. Clemens
Production
Manager: Ralph W. Nelson
Art
Direction: George W. Davis &
William Ferrari
Editor:
Edward Curtiss
Set
Decoration: Henry Grace & Edward
M. Parker
Assistant
to the Producer: John Conwell
Assistant
Director: John Bloss
Sound:
Franklin Milton & Bill Edmondson
Music:
stock
Serling’s
Wardrobe: Eagle Clothes
Filmed
at MGM Studios
“What
you have just witnessed could be the end of a particularly terrifying
nightmare. It isn’t. It’s the beginning. Although Alan Talbot doesn’t know it,
he’s about to enter a strange new world, too incredible to be real, too real to
be a dream. It’s called – The
Twilight Zone.”
Alan
Talbot is accosted by a religious fanatic in the form of an old woman while
waiting for a subway train in the early morning hours. They are alone on the
platform. Alan has lately been plagued by discordant sounds inside his head
which strike without provocation or warning. As the train enters the station
Alan again hears the strange sounds and is irresistibly compelled to push the
old woman down onto the tracks. He runs from the scene after committing this
terrible act.
Alan next arrives at his girlfriend's house. Her name is Jessica Connelly and together they are taking a trip to Alan's hometown, Coeurville, so that Alan can introduce Jess to his friends and family. Alan has been in New York City for only a few days and in that time has met and began courting Jess. Alan seems to retain no knowledge of pushing the old woman in front of the train.
Alan next arrives at his girlfriend's house. Her name is Jessica Connelly and together they are taking a trip to Alan's hometown, Coeurville, so that Alan can introduce Jess to his friends and family. Alan has been in New York City for only a few days and in that time has met and began courting Jess. Alan seems to retain no knowledge of pushing the old woman in front of the train.
Jess becomes concerned
about Alan’s mental state but truly loves him and so tries to help him get to
the bottom of this mystery. Alan leads her to the cemetery to visit his
parent’s graves. Instead, he finds headstones for a Mr. and Mrs. Walter Ryder,
people he does not know.
Later that night, as
Jess drives them down the highway, Alan suddenly become ill, strange sounds
again whirling within his head. Jess pulls the car over and Alan runs off into
the dense undergrowth. He leans against a tree and picks up a large rock. He
calls out to Jess, compelled to kill her. At the last moment Alan manages to
control his deadly urge and tells Jess to run away. She leaves him there.
Alan runs to the road
and is nearly hit by a passing motorist. The motorist stops to help Alan and
there, in the light from the headlamp, Alan examines a wound suffered while
dodging the vehicle. It is a small slit in his forearm which he opens to expose
wires and circuits beneath the skin.
Alan
locates Walter Ryder, Jr. in the phonebook and goes to his home in the middle
of the night. There he finds a man who looks exactly like himself. Walter Ryder,
Jr. tells Alan an incredible story. Walter is an inventor and Alan is his
invention, a synthetic man built in an attempt to create a perfect version of
himself. There was a problem, however, a glitch in the framework which manifests
itself as an unpredictable homicidal urge. Days before, Alan tried to kill
Walter with a pair of scissors.
Alan
disbelieves. Walter takes him down into a basement laboratory to display the
apparatus which was used to create Alan. Alan asks if he can be repaired. When
Walter says he cannot, Alan tells him about Jess. Suddenly, the deadly urge
again overcomes Alan and he attacks Walter.
Later,
there is a knock on Jess’s door. She opens to find Walter, whom she believes to
be Alan. Walter has survived Alan’s attack and has come to continue where Alan
left off. They begin their courtship anew, cleansed of the danger which previously
lay between them.
In
a final shot we see Alan lying dead on the floor of the laboratory. Despite the
violence of the scene around him, his face is set in an expression of peaceful
parting.
“In
a way it can be said that Walter Ryder succeeded in his life’s ambition, even
though the man he created was, after all, himself. There may be easier ways to
self-improvement but sometimes it happens that the shortest distance between
two points is a crooked line through –
The Twilight Zone.”
Commentary:
“Pete
Nolan knew everything about his past life up to the present, but the trouble
was he couldn’t find anybody to verify his existence!”
-original publication tagline for “The Man Who Made Himself”
Original magazine illustration by W.E. Terry |
In
one sense, “In His Image” provides a comparative view of Charles Beaumont’s
principal concerns as a fiction writer: the pliable nature of reality, the
disorder of perception, and our over-reliance upon memory as the basis of
self-identity. Beaumont’s contributions to The Twilight Zone are filled with characters whose senses deceive
them and whose memories prove faulty, from the unfortunate astronauts in
“Elegy” to the unwary traveler who encounters “The Howling Man” to the man who
wakes up as an non-entity in “Person or Persons Unknown.” In Beaumont’s fictional
constructs, however, the world around us is confusing not only because we fail
to properly perceive it but because it actively changes its nature to harass or
destroy us. For Beaumont there is another, often more malevolent, layer to individual
existence.
The romantic poet,
artist, and philosopher William Blake, in his influential work The Marriage of Heaven and Hell (1790-93),
suggests that the five senses of human perception are inlets to the soul and a
path to natural truth. It is the nature of perception which writers have relentlessly
confronted in the decades since Blake printed his masterwork, but Blake’s metaphysical
view of human perception has proven far too restrictive for subsequent
generations, particularly in the years after psychology and related behavioral studies
became a codified scientific field.
For Charles Beaumont, writing
one hundred and sixty years after Blake, the only truth derived from our senses
is that our senses alone cannot lead us to truth. These are unreliable,
malformed tools we use to perceive something astonishingly complex and our
senses are constantly under the degrading effect of outside forces. “In His
Image” features a protagonist assaulted with a barrage of disturbances
concerning sight and sound, those tools most essential for committing
experience to memory. Alan’s homicidal episodes occur when he is disoriented or
irritated, accompanied by bursts of jarring noise suggestive of phonophobia, an
aversion to loud noise which can cause acute stress and panic in one who
suffers from the condition. Walter Ryder, Jr. later characterizes this condition
as Alan's lack of inhibition, though we can all sympathize with Alan's
annoyance at being accosted by a cloying religious zealot even if very few of
us would push the woman in front of an oncoming train.
Charles Beaumont faced many
challenges in his short life, from an abusive, transient childhood to the
devastating illness which robbed him first of his creative ability and then of
his life. "In His Image" presents a form of tragic irony in its story
concerning a man who finds the solid foundations of his memory suddenly
contorted into ever-increasing unreliability. In 1963 Beaumont began his own
tumultuous path down the slippery slope of forgetfulness, a real-life situation
not entirely dissimilar to that experienced by Alan Talbot in “In His Image.”
Beaumont’s condition
initially disguised itself as the effects of an ever-increasing workload. Beaumont
rarely turned down a professional writing assignment and by 1963 he was drowning in
deadlines for film and television scripts, essays, stories, and book
publications. In the midst of this professional chaos was Beaumont’s
increasingly full home life. 1963 saw the birth of Beaumont’s fourth child. Beaumont
sought respite in alcohol and one of the few changes Beaumont made in
transitioning the story “The Man Who Made Himself” into the television episode
“In His Image” is the addition of the shadow of alcoholism. Jess asks to stop for
a drink before meeting Alan’s Aunt Mildred. Walter Ryder, Jr. is a drunk, whose
alcoholism has dulled his drive to capitalize on his natural intellectual gifts
beyond the obsessive desire to create another self.
By the spring of 1963
the effect of the early-onset Alzheimer’s which eventually took Beaumont’s life
began to manifest itself. Friends Jerry Sohl, John Tomerlin, OCee Ritch, and
William F. Nolan stepped in to complete Beaumont’s writing assignments,
including four Twilight Zone episodes,
but rarely received credit for their efforts. This was
largely by design. Beaumont’s friends wanted the money from the assignments to
go completely to Beaumont’s family. By year’s end Beaumont’s writing career was
effectively over. The summer of 1964 brought the terrible diagnosis which
stated that in some strange, Twilight
Zone manner, Beaumont, a youthful man in his thirties, was suffering from a
fatal, degenerative mental disease which remains uncannily rare for someone so
young. An even crueler twist is that the disease manifested itself at the
height of Beaumont's creative powers. The fourth season of Twilight Zone may well be Beaumont’s strongest. Unlike Rod Serling
and, to a lesser degree, Richard Matheson, the hour-long format seems to have
magnified Beaumont’s strengths as a writer, evident in such episodes as
“Miniature,” “Printer’s Devil,” and “Passage on the Lady Anne.”
In another sense, “In
His Image” is highly derivative, the culmination of ideas and images previously
presented on the series in “The After Hours,” “A World of Difference,” “The
Lateness of the Hour,” “Five Characters in Search of an Exit,” and the
aforementioned “Person or Persons Unknown.” What elevates “In His Image” above
the derivative nature of its plot and theme is the convincing love story at its
center and the excellent dual performance from George Grizzard, here portraying
a very different character from his comedic turn in the first season episode
“The Chaser.” Both of these elements are greatly assisted by the presence of
Gale Kobe as Jessica Connelly. Kobe is a familiar face to regular viewers of
the series, having previously appeared in the thematically similar episode “A
World of Difference” and soon to appear in the fifth season episode “The
Self-Improvement of Salvadore Ross.” Kobe (1932-2013) was born Gabriella Joyce
Kobe in Hamtramck, Michigan and trained in acting and dance at UCLA, after
which she entered television, gracing dozens of shows with guest appearances
throughout the 1950s and 1960s, mostly westerns and detective dramas but
occasionally genre programs such as Alfred
Hitchcock Presents and The Outer
Limits. Kobe discovered a second career in the industry when she moved into
a producer’s chair in the 1970s, overseeing production on an array of daytime
dramas including Guiding Light and The Bold and the Beautiful. “In His
Image” offers Kobe her strongest role on the series and she and Grizzard
display the finest onscreen chemistry since William Shatner and Patricia
Breslin in “Nick of Time.”
The episode is also
graced with excellent photography from George T. Clemens, an effective use of
stock music cues, and subtle visual effects, including the nearly invisible insertion
of future film director Joseph Sargent as George Grizzard’s double. Perry
Lafferty was behind the camera for “In His Image” and his work on the episode
set a precedence for quality which unfortunately would not be sustained
throughout the fourth season. Lafferty was born in 1918 in Davenport,
Iowa and initially trained as a pianist at the Yale School of Music before
moving into radio production and direction in the 1940s. Lafferty directed a
handful of television episodes but is better known in the industry as a
producer and network executive. In 1965 CBS promoted Lafferty to the head of their West
Coast production unit. Lafferty directed two additional Twilight Zone episodes, “The Thirty Fathom Grave” and “Valley of
the Shadow,” both of which immediately followed “In His Image” in broadcast order. He
died in Los Angeles in 2005.
The tale of the
artificial person (or the person created by artificial means) is a staple of science fiction older than the genre itself,
stretching in time from the Golem of Jewish folklore to the increasingly self-aware
beings which populate Westworld. The
most interesting subset of this story type is that which uses the artificial
person to explore questions of identity, existence, perception, memory, and the
ways in which these fundamental, yet abstract, aspects of an individual can be
changed or altered by near and outlying factors.
As science fiction in America dragged itself out of the pulps writers began to incorporate aspects of mainstream literature to explore themes of the genre. The 1950s, a decade
gaining favor in critical circles as the true Golden Age of the genre, saw an uptick in the production of the artificial person story type as writers gradually
turned the science fictional lens inward to the mind and self. By the time
Beaumont came to write “The Man Who Made Himself” in 1957, he was preceded in
his effort by such writers as Ray Bradbury, whose 1949 story “Marionettes,
Inc.” allowed henpecked husbands to create duplicate versions of themselves at
a fatal price, Clifford D. Simak, whose 1951 tale “Goodnight, Mr. James” (aka
“The Duplicate Man”) described a future society in which wealthy citizens
created duplicate versions of themselves to perform undesirable tasks, and
Philip K. Dick, whose 1953 story “Impostor” featured a protagonist very much
like Alan Talbot, an artificial man who does not know his true nature and,
owing to Dick’s penchant for political thrillers, harbors within his artificial
body a weapon of mass destruction. All of these stories have seen dramatic
adaptation, Bradbury’s on radio’s Dimension
X and on television’s Alfred Hitchcock
Presents and The Ray Bradbury
Theater. Simak’s appeared as an episode of The Outer Limits and Dick’s as a 2001 feature film. Dick returned
to the themes found in his story for his most famous work, the 1968 novel Do Androids Dream of Electric Sleep?, filmed by Ridley Scott in 1982 as Blade Runner.
Other examples of this
story type abound in and out of the science fiction genre. Beaumont’s own 1953
story “Last Rites” covers much of the same ground despite a fundamental
inversion to the theme of the tale. “Last Rites” concerns an artificial man who
has found religion and, on his deathbed, calls upon a priest to administer
last rites. The story is primarily concerned with forms of the soul and the
afterlife but clearly demonstrates that Beaumont was concerned at an earlier date
with the themes of “In His Image.” Like the prior story, Beaumont imbues “In
His Image” with overtones of spiritual faith. Unlike “Last Rites,” however,
Beaumont here presents religion as antagonistic, the symbolism of which
(a religious pamphlet) twice triggers Alan’s homicidal outbursts, including
what is likely the most shocking opening sequence of the series. There is also
the rather obvious choice of the title “In His Image,” taken from Genesis 1:27, the Christian tale of the
creation of the human race. “The Howling Man” is another Beaumont episode with
obvious religious overtones, though one dealing with the broader sociological
question of good and evil.
The tale of the artificial person is a story
type intimately related to the tale of the doppelgänger, the uncanny other
which can manifests itself equally as an internal or external being. The most
famous treatment of the doppelgänger in English is Robert Louis Stevenson’s The Strange Case of Dr. Jekyll and Mr. Hyde (1886),
a work which has been endlessly adapted since its original publication and is
directly alluded to in “In His Image.” Stevenson was preoccupied with the theme
and his similar 1885 tale “Markheim” was in some ways a trial run for the more
complex and satisfying Dr. Jekyll and Mr.
Hyde. The Twilight Zone approached similar material with the underrated
first season episode “Mirror Image” and to a lesser degree with episodes such
as “Long Live Walter Jameson” and “Number Twelve Looks Just Like You,” the
latter two episodes derived from Beaumont’s story material.
Another essential tale to which “In His Image” alludes is Mary Wollstonecraft Shelley’s 1818
novel Frankenstein, in which a young
medical student constructs a man from the parts of cadavers and imbues the
creature with life through an ambiguous means generally interpreted to be
electricity. Like the young Victor Frankenstein, Alan Talbot declares his early
and ongoing obsession with the creation of artificial life. For Alan, however,
it is not so much about playing God as it is about creating a perfect version
of himself, someone with none of his insecurities, fears, or weaknesses. The
fatal flaw in his design, and one with which Dr. Jekyll could certainly relate,
is that his perfect self also possesses none of his inhibitions, those learned
behaviors developed in our formative years which prevent us from acting upon
our baser, more violent instincts. The relationship between “In His Image” and Frankenstein was duly noted by contemporary
critics and, unfortunately, resulted in many of these critics writing the
episode off as a weak derivation.
Beaumont typically
remained very faithful to his own stories when adapting the material for The Twilight Zone and “In His Image” is
no exception*. The entire course of events is mirrored almost exactly from the
short story and Beaumont lifts large portions of dialogue as well. The changes
imposed by Beaumont are those to be expected when adapting from a medium which
is primarily interior to one which is primarily exterior. The most notable change
is in the title, which Beaumont alludes back to in Rod Serling’s outgoing
narration, and in the names of the principal characters. Alan Talbot is Peter
Nolan in the story. Nolan, of course, is for William F. Nolan, one of
Beaumont’s closest friends who also served as the inspiration for the
protagonist Charley Parkes in Beaumont's later episode “Miniature.” Jessica Connelly is Jessica Lang in
the story. Again, Beaumont chose the name of an acquaintance, this time the
celebrated German expatriate film director Fritz Lang. Beaumont first met Lang
when the teenage Beaumont traveled from his home in Everett, Washington to Los
Angeles to interview Lang for Beaumont’s amateur fanzine Utopia. The two became friendly and Lang later helped to get
Beaumont signed to an acting contract at Universal, though nothing resulted
from Beaumont’s attempts at professional acting. Beaumont long intended to
write a biography of Lang but the project never came to fruition. Finally,
Walter Ryder, Jr. is Walter Cummings, Jr. in the story.
Another change is the way
in which Alan/Peter discovers his true nature. In the episode he is nearly hit
by a car and suffers an injury to his arm. In the story he angrily punches a
tree until the skin breaks across his knuckles. Also altered is the way in
which the reader realizes it is Walter and not Alan/Peter who arrives at Jess’s
door to conclude the tale. When Walter is attacked in the story, it is his face
which is scarred, not his chest. Thus, the reader realizes that the man who
arrives at Jess’s door to end the tale is Walter when Jess calls attention to
the scar on his face. The episode does provide a nice, if brief, bit of suspense
when the audience is unsure whether Alan or Walter has survived the laboratory
fight.
“In His Image” begins
the fourth season with a very strong effort which operates at a high level in
nearly every aspect of production. Though “In His Image” generally does not
suffer the pacing issues which plagued the hour-long fourth season episodes,
there are some minor pacing problems, particularly in transitioning from Alan’s
discovery of his true nature to his encounter at Walter’s home. Some of the
production design leaves more to be desired as well. Walter’s basement
laboratory is highly stereotypical and William Tuttle’s makeup designs for the
aborted attempts which lie upon the laboratory slabs have not aged well. These
are small problems, however, and hardly detract from the overall artistry of
“In His Image.” This one comes recommended, especially for viewers wary
to engage in the hour-long episodes.
Grade:
B
Grateful acknowledgement is made to
William F. Nolan for information found in The Work of Charles
Beaumont: An Annotated Bibliography (revised 2nd edition, Borgo Press,
1990), and to the Internet Speculative Fiction Database (isfdb.org), the Internet Movie Database (imdb.com), and the Internet Archive (archive.org).
* “The Jungle” is a notable exception. See my review for a story to episode comparison.
---Charles
Beaumont’s original story, “The Man Who Made Himself,” was published in the
February, 1957 issue of Imagination magazine, edited by William L. Hamling.
Beaumont included the story, as “In His Image,” in his 1958 collection Yonder:
Stories of Fantasy and Science Fiction (Bantam
Books). The story has seen subsequent inclusion in such volumes as The
Twilight Zone: The Original Stories (editors:
Martin Harry Greenberg, Richard Matheson, and Charles G. Waugh; Avon Books,
1985), Mass for Mixed Voices: The Selected Short Fiction of Charles
Beaumont (editor: Roger Anker; Centipede
Press, 2013), and Perchance to Dream: Selected Stories (Penguin Classics, 2015).
--Charles
Beaumont wrote 17 additional episodes of the series, with another 4 written by
other writers under his byline. Among the many exceptional episodes written by
Beaumont are “Perchance to Dream,” “Long Live Walter Jameson,” “The Howling Man,”
“Shadow Play,” and “Miniature.”
--Perry
Lafferty also directed the season four episodes “The Thirty Fathom Grave” and
“Valley of the Shadow.”
--George
Grizzard also appeared in the first season episode “The Chaser.”
--Gail
Kobe also appeared in the first season episode “A World of Difference” and the
fifth season episode “The Self-Improvement of Salvadore Ross.”
--Katharine
Squire also appeared in the third season episode “One More Pallbearer.”
--Wallace
Rooney also appeared in the second season episode “The Rip Van Winkle Caper”
and the third season episode “Young Man’s Fancy.”
--George
Petrie also appeared in the 1980s Twilight
Zone episode “Shadow Play,” a remake of
Charles Beaumont’s original series episode.
--Joseph
Sargent appeared uncredited in the second season episode “Twenty Two.”
--“In
His Image” was adapted as a Twilight
Zone Radio Drama starring John Heard.
-JP
Nice writeup, Jordan. I recently bought the complete set from Amazon (at a steal) and now have no excuse not to revisit these episodes.
ReplyDeleteThanks, Jack. There are definitely some episodes from Season 4 well worth revisiting, "In His Image" certainly being one of them.
DeleteI love this episode. The idea you're not a thirty-something on the threshold of marriage but only a few days old and that all your memories and experiences are simply implants courtesy of a woefully insecure creator is frightening, compelling stuff. True, the second-half, with Alan talking to his creator, is a bit padded -- and it's pretty laughably obvious when they square off that two stuntmen, and not two George Grizzards (which wouldn't be possible), are doing the fighting. Plus, it's a shame Walter doesn't tell Jessica that he's not Alan but Alan's creator (I know they have only so much time, even with fifty-something minutes, and this is the sixties, when the interests of women were not nearly taken into account like they are today, but still ....). Despite these reservations, this is cool, ahead-of-its-time television, and along with "Miniature" and "On Thursday We Leave For Home," probably fourth season "TZ" at its finest.
ReplyDeleteGreat assessment, Gregory, and it's refreshing to find someone else who appreciates the quality fourth season episodes (few though they are). I'd personally throw "Death Ship" in there as well. It wasn't until I began writing my review that I saw the tragic parallels between what is happening to Alan (the confusion, memory loss, disoriented anger) and what happened to writer Charles Beaumont. It's a sad fact that Beaumont was still in the prime of his creative abilities when he was suddenly struck by early onset Alzheimer's. Thankful we have these episodes to watch over and again. Thanks for reading!
DeleteThis comment has been removed by the author.
ReplyDelete"Death Ship" is a good one as is "The Parallel," though the latter gets a lot of flack for its padded nature. I will concede it would have been improved by a twenty-four minute running time. Still, I love its premise, the subtly eerie tone, and the fact that it's cited often as an early example of "The Mandela Effect"... Fascinating comparison you draw between Beaumont and Alan. Keeping this in mind when one watches the episode lends it an additional layer of poignancy. Amazingly, despite what Beaumont was enduring, he still, of all the "TZ" writers, probably emerged the most unscathed, creatively-speaking, by season four's ill-advised hour-long format.
ReplyDelete"The Parallel" would have made an excellent half-hour segment as it is certainly very eerie but can't quite be stretched out to forty-plus. On the whole I think the series performed those dimensional slip episodes quite well and in my mind I bracket "The Parallel" with "A World of Difference" and "Person or Persons Unknown," two episodes I enjoy. I recently listened to the Twilight Zone Radio episode of "The Parallel" and enjoyed it very much.
DeleteI completely agree about Beaumont and the fourth season. He seemed to easily slide into that hour-long format, which makes it all the more tragic that he was cut short in the middle of its run. For me, the only misstep from Beaumont in the fourth season is "Valley of the Shadow," which is enjoyable but not altogether successful. I find "In His Image," "Miniature," "Passage on the Lady Anne," and "Printer's Devil" all to be very good episodes which successfully utilize the hour-long format. I really enjoy "The New Exhibit" as well though Jerry Sohl wrote that episode entirely.
I just saw "In His Image" for the fourth or fifth time on MeTV, and I realized that I'd forgotten several things about it. (Except that I loved it before, and still do). First, George Grizzard is SUPERB, especially as Walter. I can't remember the last time I saw an actor convey world-weariness, self-loathing, and the pain of loneliness so subtly, entirely through facial expression and tone of voice. Second, the writing is typical Charles Beaumont (i.e., wonderful). (The scene in the laboratory, where Walter explains Alan to himself, is one of the highlights of the entire series). Third, Alan's murder of the religious fanatic in the first few minutes is easily the most shocking opening of any "Twilight Zone" episode. (Not to mention a guilty pleasure for anyone who's ever been tempted to do just that with street crazies).
ReplyDeleteHowever, "In His Image" does have several flaws along the way:
1. How can Walter, at the conclusion, possibly know that Alan used the "Junior Woodchuck" line with Jess earlier?
2. Why doesn't Walter tell Jess that his real name is Walter Ryder, Jr., and that he's just recovered his memory of his real life? Jess would buy it (it would explain his prior connection to Coeurville, and his visit to the Ryder family tombstones), and it would account for his lovely house, his wealth, and all the other things about him that Jess is pretty much going to have to know about if they marry.
3. Has anyone ever noticed that, when the fight starts in the laboratory, the machines start spouting sparks and going ka-blooey before either man (or "man") hits them?