Philip Redfield (Ed Nelson) and his dog Rolly during their trip through Peaceful Valley |
“Valley of the Shadow”
Season Four, Episode 105
Original
Air Date: January 17, 1963
Cast:
Dorn:
David Opatoshu
Philip
Redfield: Ed Nelson
Ellen
Marshall: Natalie Trundy
Connolly:
Jacques Aubuchon
Evans:
Dabbs Greer
Father:
James Doohan
Girl:
Morgan Brittany (as Suzanne Cupito)
Attendant:
Sandy Kenyon
Townspeople:
Henry Beckman
Bart Burns
King Calder
Pat O’Hara
Crew:
Writer:
Charles Beaumont (original teleplay)
Director:
Perry Lafferty
Producer:
Herbert Hirschman
Director
of Photography: Robert Pittack
Production
Manager: Ralph W. Nelson
Associate
Producer: Murray Golden
Assistant
to the Producer: John Conwell
Art
Direction: George W. Davis, John J.
Thompson
Film
Editor: Everett Dodd, A.C.E.
Set
Decoration: Henry Grace, Don
Greenwood, Jr.
Assistant
Director: Ray de Camp
Music:
stock
Sound:
Franklin Milton, Joe Edmondson
Mr.
Serling’s Wardrobe: Eagle Clothes
Filmed
at MGM Studios
And Now, Mr. Serling:
“Next
on Twilight Zone, a marvelously exciting excursion into a very
strange place called ‘Valley of the Shadow.’ It comes from the probing mind of
Mr. Charles Beaumont, and whether you’re a science fiction buff, a fantasy
lover, or just needful of some escape, this one should fill most of your
requirements.”
Rod Serling’s Opening Narration:
“You’ve
seen them, little towns tucked away from the main roads. You’ve seen them but
have you thought about them? What do the people in these places do? Why do they
stay? Philip Redfield never thought about them. If his dog hadn’t gone after
that cat he would have driven through Peaceful Valley and put it out of his
mind forever. But he can’t do that now because, whether he knows it or not, his
friend’s shortcut has led him right into the capital of The Twilight Zone.”
Summary:
Philip
Redfield, a reporter, is traveling by car with his dog through New Mexico. He
attempts a shortcut and becomes lost. Soon, he spots a sign for a small town
named Peaceful Valley. When he arrives he is immediately put off by the local
gas station attendant who not only struggles to find the gas tank on Redfield’s
car but also states that Redfield will have to travel eighty miles to get back
to a main highway. Redfield is further annoyed when the attendant informs him
that the only restaurant in town is closed.
Redfield’s
dog leaps from the car to chase a cat from the arms of a little girl. Redfield
quickly follows and arrives in time to see the little girl use a small device
to make Redfield’s dog disappear. Redfield demands to know what happened to his
dog. The girl’s father attempts to mollify Redfield by suggesting that the dog
ran around the back of the house. After the men split up to search for the dog,
the girl’s father uses a device to bring the dog back. Redfield is happy to get
his dog back but realizes there is something very strange about this town.
Meanwhile,
the few townspeople Redfield encounters seem desperate to be rid of him. Ellen
Marshall, who works at the local hotel, claims there are no rooms available
despite the rather obvious fact that there are no guests in the hotel. Perturbed
but nonetheless ready to be out of Peaceful Valley, Redfield climbs into his
car and drives away. At the edge of town his car suddenly crashes into an
invisible barrier, stunning Redfield and throwing his dog from the car.
Four
men appear and insist on escorting Redfield back into town to see a doctor.
Redfield checks on his dog and finds the animal dead. Redfield initially puts
up a fight but eventually allows himself to be taken back to town. One of the
men stays behind and uses a small device to bring Redfield’s dog back to life.
Instead
of being brought to a doctor, Redfield is led to the mayor’s office. The mayor,
Dorn, arrives along with two associates named Connolly and Evans. They question
Redfield about what he has seen in the town. After consulting one another, they
inform Redfield that he will not be allowed to leave Peaceful Valley. Dorn
proceeds to relate an incredible story. Many years ago a man arrived in
Peaceful Valley. He may not have been from Earth. He introduced Peaceful Valley
to scientific wonders far beyond the ability of mankind. They have used these
wonders to build lives of peace and comfort for themselves. Their greatest fear
is that their secrets will become known to the world-at-large, which will use
the technology to bring devastation upon the planet. For this reason, Redfield cannot
leave town.
Dorn
displays many amazing instruments for Redfield, including a machine which can
heal grievous injury and another which can produce objects (from ham sandwiches
to handguns) using coded cards. Redfield is given two options: death or
assimilation. Redfield chooses assimilation. Though he is given a comfortable
house and finds himself strongly attracted to Ellen Marshall, Redfield plans
his escape from town. The idea that this technology, which could be used to
cure disease and alleviate hunger, is being kept a secret in this small town
drives him mad. When Ellen appears to reciprocate his feelings, Redfield
springs into action.
He
returns to Dorn’s office and uses a machine to produce a handgun. He steals the
book of secret formulas from a wall safe, setting off an alarm system. When
Dorn and his men arrive and try to stop him, Redfield shoots them. On the edge
of town Ellen suggests that Redfield look inside the book of secret formulas.
The pages are blank. The entire escape was a setup to gauge Redfield’s
adjustment to his permanent life in Peaceful Valley. The only option left is
execution. Or is it?
Using
their technology, Dorn turns back time to the moment Redfield was preparing to
leave the gas station. Although Redfield is mildly bewildered, especially when
he sees Ellen, he leaves town ignorant of his extraordinary adventure.
Rod Serling’s Closing Narration:
“You’ve
seen them, little towns tucked away far from the main roads. You’ve seen them
but have you thought about them? Have you wondered what the people do in such
places, why they stay? Philip Redfield thinks about them now and he wonders,
but only very late at night, when he’s between wakefulness and sleep, in The Twilight Zone.”
Commentary:
With
“Valley of the Shadow,” writer Charles Beaumont is far more interested in the
ideas presented by the narrative than in the narrative itself. His principal
interest is to challenge the viewer on the ethical implications which accompany
great advancements in technology. This goes some way in excusing the logical
missteps in the narrative, which include the fact that a town which wishes to
remain unnoticed by outsiders would place a directional sign at a crossroads.
Also the fact that such a town would be caught completely unaware and
unprepared when an outsider found their way to town. In this regard, Redfield
is immediately presented with a surly gas station attendant who cannot find the
gas tank on a car as well as a hotel manager who doggedly repeats an easily
contested lie. It is also difficult to believe that the townspeople would be so
progressive as to allow a child to possess a device which can destroy and
recreate matter.
The viewer also wonders
how a generation of townspeople, even those who live a technologically enhanced
life of comfort, could all be content to remain isolated their entire lives.
Surely someone would desire to leave town if only out of curiosity. Lastly, the
solution to the problem of Redfield, to use advanced technology to turn back
time, is one which should have been arrived at nearer the beginning of the
ordeal. For Beaumont it is an uncharacteristically, though necessarily, convenient
solution akin to the “it’s only a dream” ending. As noted in Marc Scott Zicree’s
The Twilight Zone Companion, at least
one contemporary reviewer did not fully understand that time had been reversed,
instead believing that Redfield daydreamed the events.
Upon
repeat viewings it becomes clear that these inconsistencies are merely the
straw ladder which Beaumont climbs to get where he really wants to go, that
being an (ultimately unresolved) exploration of the dilemma presented by
Redfield’s presence in Peaceful Valley. Similar to Beaumont’s previous episode,
“In His Image,” another tale of technology, violence, and the ethics of
progress, the narrative arc serves as an examination of what it means to wield
enormous technological power and whether that power should be used if it can
conversely cause great harm.
Further evidence that
Beaumont is unconcerned with narrative logic is the expedient, fable-like story
of how Peaceful Valley came into possession of such advanced technology. To
quickly recap: a strange man, possibly extraterrestrial, arrived suddenly in
Peaceful Valley, bringing great technological wonders with him. He gifted the
technology to the town with the admonition that the townspeople must never
share the technology with the world at large. Why? Because it would certainly
get into the hands of people who would use it to make weapons of mass
destruction. Albert Einstein and the Manhattan Project are alluded to at this
point.
Another interesting
observation is that Peaceful Valley, despite the presence of advanced
technology, is frozen in time. Redfield spots a decade old newspaper in the
hotel lobby and the overall feel of the town is one of rural isolation. One
hardly expects Peaceful Valley to resemble the 1960s version of the City of the
Future but one also does not expect it to be a New Mexico Mayberry. Although,
according to the directional sign, nearly a thousand people live in Peaceful
Valley, we are only shown a scant dozen or so townspeople, giving the
impression of a ghost town, or one in which progress has long since passed by. It
is not until Redfield is shown behind the curtain, so to speak, that the production
is given over to some semblance of futuristic display with a minimalistic
design typical of the series.
It can be difficult for
the viewer to determine the significance of these divergent qualities. The
obvious answer appears to be that the rural nature of the town is a façade to
fool unwanted outsiders. If this is the case, however, why is the town so
unprepared for Redfield’s appearance? Is it rather that Beaumont suggests that
technological innovation is not the path to societal progress, or that technology
brings such comforts as to create a community of a slothful citizens? Both of
these thematic angles are old pathways in the SF genre. Whatever the case, the insular
lifestyle adopted by Peaceful Valley seems also to have intellectually and
emotionally affected the townspeople. They appear to be ignorant of basic human
interactive behavior and their impulsive responses to Redfield’s natural
curiosity is largely the catalyst for the chaos which follows. Only the mayor,
Dorn, is able to remain reasonable amid the events which unfold after
Redfield’s intrusion.
The final sequence of
the episode only adds to the confusion. Redfield commits a calculated act of
violence which likely alienates the viewer but also serves to reinforce the
townspeople’s suspicion of Redfield’s ultimate goal, to abscond with the town’s
technological secrets. We can be reassured by the idea that Redfield knew the
townspeople could be healed with their technology but it still illustrates that
the desire for advanced technology can drive people to violence. This is a
similar structure to that previously used by Beaumont in “In His Image,”
although that episode used a final sequence of violence as an act of purgation.
Here it serves only to bring us back to where we began. The experiment is over
and it has failed.
Typical of the series,
the special effects in “Valley of the Shadow” were achieved through a
combination of economy and ingenuity. The effect of people, animals, or objects
appearing and disappearing was achieved through editing and film reversal, as
was the effect of Evans (Dabbs Greer) miraculously healing after being stabbed
by Dorn in a bizarre and unsettling display of the town’s abilities in medical science.
The most impressive effect in the episode occurs when Philip Redfield’s car
crashes into the invisible barrier which surrounds the town. Author Marc Scott
Zicree, in The Twilight Zone Companion, learned
the secret of this effect from director Perry Lafferty. Two 1959 Chevrolet
Impala convertibles were used for the scene. One of the cars was front-end wrecked
and the other was not. Ed Nelson was filmed driving the un-wrecked car toward
the mark. Then, with a stunt performer inside, the chassis of the un-wrecked
car was tethered by chain, with a bit of slack, and then slowly driven to the
mark where the car was to crash into the invisible wall. There, the chain
pulled taut and abruptly jerked the car to a stop*. This was filmed from a
close side angle to obscure the tethering. Ed Nelson was then filmed behind the
wheel of the front-end wrecked car. A framing shot of the wrecked car completed
the scene and the sequence was edited in a way to give the appearance of the
car crashing against an invisible barrier.
The Twilight Zone is often casually summarized as a series in which ordinary people are
placed into extraordinary circumstances. Perhaps no story type better
epitomizes this quality than the tale of someone arriving upon a strange town. Among
the variations of this theme explored on the series are Rod Serling’s first
season episodes “Where Is Everybody?” and “Walking Distance,” Beaumont’s own first
season episode “Elegy,” and Earl Hamner, Jr.’s fifth season episode “Stopover
in a Quiet Town.” Other writers on the series found this story type useful as
well. Stories such as Richard Matheson’s short story “The Children of Noah” and
Ray Bradbury’s “Mars Is Heaven!” and “The Town Where No One Got Off” come immediately
to mind. Unlike these related episodes and stories, there seems to be no
satisfactory revelation in “Valley of the Shadow,” no shocking twist ending or
profound change in character. Whatever lesson is to be learned from the proceedings,
if there is a lesson to be learned at all, must come from the viewer.
Beaumont in this rare mode
of social commentary reminds the viewer of the moral fables of series creator Rod
Serling, who approached similar material in episodes such as “The Shelter,”
“The Gift,” and “The Old Man in the Cave,” the latter an adaptation of a Henry
Slesar story. An observation upon the series as a whole is that technology is
rarely presented as something which brings about prosperity and happiness. This
is obvious in such dystopian episodes as “Eye of the Beholder” or “Number
Twelve Looks Just Like You” but is more effectively presented in episodes in
which an adverse psychological change occurs in one or more characters, such as
in “Where Is Everybody?”, “The Lonely,” or “The Trade-Ins,” all written by
Serling. Richard Matheson’s “A World of His Own” may be the only episode in
which technology brings about preferable change, though Gregory West’s magical
Dictaphone can better be classified as magic.
David Opatoshu
(1918-1996) is the surprising top-billed actor in the episode,
playing Dorn,
the mayor of Pleasant Valley. Opatoshu’s credits date back to 1939 but he came
into his own in the early years of dramatic television. Though he appeared in a
handful of prestige films (The Brothers
Karamazov (1958), Torn Curtain (1966))
Opatoshu is likely better known to television viewers, particularly genre
television viewers. Opatoshu’s earliest genre credits include an episode of Inner Sanctum (“Nobody Laughs at Lou”
(1954)) and the infamous dystopian episode of Playhouse 90, “A Sound of Different Drummers” (1957), which
achieved infamy as an unauthorized adaptation of Ray Bradbury’s 1953 novel Fahrenheit 451. Opatoshu also appeared
in episodes of Alcoa Presents: One Step
Beyond (“Earthquake”), Alfred
Hitchcock Presents (“On the Nose,” “Strange Miracle”), The Alfred Hitchcock Hour (in a memorable adaptation of H.G.
Wells’s “The Magic Shop,” adapted by writer John Collier and director Robert
Stevens), The Outer Limits (“A
Feasibility Study”), Star Trek (“A
Taste of Armageddon”), Voyage to the
Bottom of the Sea, and The Time
Tunnel. Opatoshu also appeared in an episode of Rod Serling’s The Loner (“Westward, the Shoemaker”)
and Earl Hamner’s Falcon Crest (“Acid
Tests”). His last credit was for the short-lived 1991 comedic medical series Stat.
David Opatoshu |
Ed Nelson (1928-2014),
playing reporter Philip Redfield, learned his craft in the
local theater and
television venues of New Orleans, even serving as director of local station
WDSU-TV, now a MeTV affiliate, before relocating to Los Angeles in the
mid-1950s. There he began to appear in B-grade science fiction and horror films
such as Attack of the Crab Monsters (1957),
Invasion of the Saucer Men (1957),
and The Brain Eaters (1958) before
landing numerous roles in television westerns and police dramas. Nelson still
found time to appear in a number of memorable genre series, including a
whopping four episodes of Boris Karloff’s Thriller
(“The Fatal Impulse,” “Dialogues with Death,” “The Cheaters” and “A Good
Imagination”), The Alfred Hitchcock Hour (“Captive
Audience,” “I’ll Be Judge – I’ll Be Jury”), The
Outer Limits (“Nightmare”), Rod
Serling’s Night Gallery (“Little Girl Lost,” no relation to the Twilight Zone episode of the same
title), The Sixth Sense, and the Logan’s Run television series. His last
credit was for the 2003 film Runaway
Jury.
Ed Nelson |
The striking actress
Natalie Trundy (b. 1940), playing the naïve yet alluring
Ellen Marshall, was
born in Boston and raised in New York City where she worked her way on the
Broadway stage by age 12. Television work arrived in 1953 and Trundy smoothly
transitioned from child actor to young adult on such series as The Alcoa Hour, The Goodyear Playhouse, and
Studio One. Genre credits include
episodes of Climax! (“Along Came a
Spider”) and, memorably, Boris Karloff’s Thriller,
starring opposite Leslie Nielsen in the premier episode, “The Twisted
Image.” Trundy also appeared in an episode of The Alfred Hitchcock Hour, “The Long Silence,” which was adapted by
writers Charles Beaumont and William D. Gordon from the Hilda Lawrence’s story
“Composition for Four Hands.” Trundy suffered a career-halting back injury in a
1963 car accident but returned to acting in 1967. She married producer Arthur
P. Jacobs in 1960 and appeared in four of Jacobs’s Apes films, including Beneath the Planet of the Apes (1970), Escape
from the Planet of the Apes (1971), Conquest
of the Planet of the Apes (1972), and Battle
for the Planet of the Apes (1973). Trundy retired from acting in 1978, her
last credit being for an episode of Quincy,
M.E.
Natalie Trundy |
Other familiar faces in
the cast include James Doohan (1920-2005) as the father
of the little girl who
causes Redfield’s dog to vanish. Doohan, of course, is well-known as Montgomery
“Scotty” Scott on the original series of Star
Trek and its accompanying films. Doohan also appeared in episodes of Suspense (“Go Home Dead Man”), Tales of Tomorrow (“Plague from Space”),
The Outer Limits (“Expanding Human”),
and Voyage to the Bottom of the Sea before
securing the role of Scotty.
James Doohan |
Morgan Brittany (b.
1951), here billed under her birth name Suzanne Cupito,
plays the little girl
who makes Redfield’s dog vanish. Best known for her role as the villainess
Katherine Wentworth on Dallas, Brittany
appeared in two additional episodes of The
Twilight Zone, the first season episode “Nightmare as a Child” and,
memorably, as the scheming little girl Susan in the fifth season episode
“Caesar and Me.” Brittany also appeared as a child in episodes of Boris
Karloff’s Thriller (“The Fingers of
Fear”) and The Outer Limits (“The
Inheritors: Part II”). Although she continues to occasionally appear in films
and television series, Brittany is better known today as a conservative
political commentator who is an occasional guest on news programs and talk
shows.
Morgan Brittany (Suzanne Cupito) |
Regular Twilight Zone viewers are sure to
recognize the gas station attendant as
actor Sandy Kenyon (1922-2010), who
appeared in two additional episodes of the series, “The Odyssey of Flight 33”
and “The Shelter,” portraying the villainous Frank Henderson in the latter, a
racist who incites violence among neighbors during a panic over a possible
nuclear attack. Kenyon also appeared in episodes of Alcoa Presents: One Step Beyond (“Front Runner”), Thriller (“The Hollow Watcher”), and The Outer Limits (“Counterweight”).
Sandy Kenyon |
Although “Valley of the
Shadow” is an episode filled with ideas of varying interest and complexity,
Beaumont hardly has the space to fully explore any of it and we are left with
one of the few missteps from Beaumont on the series. The cast is a treat for genre
fans and the pacing is not nearly as brutal as the worst of the fourth season
but ultimately “Valley of the Shadow” is unable to satisfactorily drag itself
out of the quagmire of its ambitions.
Grade:
C
Grateful acknowledgement is made to Marc
Scott Zicree for information found in The
Twilight Zone Companion (2nd edition, Silman-James, 1992), and
to the Internet Movie Database (imdb.com).
*Lafferty also relates to Zicree the fact that the stunt performer who
drove the wrecked car, despite only driving the car at 12 mph, needed to be
hospitalized after the stunt.
Notes:
--Perry
Lafferty also directed the fourth season episodes “In His Image” and “The
Thirty Fathom Grave.”
--Ed
Nelson also appeared in the second season Night Gallery segment “Little
Girl Lost.”
--Dabbs
Greer also appeared in the third season episode “Hocus-Pocus and Frisby.”
--Morgan
Brittany also appeared (as Suzanne Cupito) in the first season episode “Nightmare
as a Child” and the fifth season episode “Caesar and Me.” Brittany also performed
in the Twilight Zone Radio Dramas “The Passersby” and “Mirror Image.”
--Sandy
Kenyon also appeared in the second season episode “The Odyssey of Flight 33”
and the third season episode “The Shelter.”
--Henry
Beckman also appeared in the second season episode “A Thing About Machines,” as
well as the first season Night
Gallery segment “They’re Tearing Down Tim
Riley’s Bar.”
--King
Calder also appeared in the second season episode “The Trouble with Templeton.”
--Pat
O’Hara also appeared in the second season Night Gallery segment “A Feast of
Blood.”
--“Valley
of the Shadow” was adapted as a Twilight
Zone Radio Drama starring Chelcie Ross.
--The
title of the episode is taken from the fourth line of the 23rd psalm
from the Book of Psalms: “Yea, though I walk through the valley of the shadow
of death, I will fear no evil: for Thou art with me; Thy rod and Thy staff they
comfort me.”
-JP
I don't remember this one at all, but your review makes me want to check it out. Natalie Trundy is always worth a look!
ReplyDeleteIt's definitely worth a look, Jack. It's one of those rare episodes that doesn't really deliver on its premise but is still fairly engaging.
DeleteNatalie Trundy also appeared in Beneath The Planet Of The Apes the second in the series.
ReplyDeleteThanks, Dale! I added it.
DeleteI generally like this episode, but there is no denying that there's a gaping hole in its narrative logic. If "the mysterious stranger" really felt that his supply of technological wonders were too dangerous to be given to mankind, then why tell ANYONE about them -- including the residents of Peaceful Valley? Also, Dorn tells the reporter that "the mysterious stranger" arrived in their midst "104 years ago". If the episode's release year of 1962 is meant to be the story's "present", then that means he showed up in 1858. To people of that era, the telephone, automobiles, the electric light, and motion pictures would have seemed like miraculous inventions. They would have been driven nearly insane at the sight of the devices that we see in the story -- especially since there was no science fiction literature in that era, to provide even a fantasy context for these items. (If one of us in 2018 were shown a matter transmitter by an alien scientist, we could "contextualize" it by saying "Oh, yes; it's like the one on 'Star Trek' ". A person in 1858 couldn't do that.) Finally -- just to show how anal-retentive I am -- if the reporter is their first visitor, and no one ever leaves, where on Earth did that 1953 newspaper in the hotel come from?
ReplyDeleteAll very good points. The material got out of hand on this one and Beaumont couldn't bring it together in a satisfactory way. As for the newspaper, I assumed that some of the townspeople do venture out every once in a while but always choose to return to the "paradise" of their small town.
Delete