Original Story by Charles Beaumont | ||||||||||||||||||||||||||||||
Teleplay by Lynn Barker | ||||||||||||||||||||||||||||||
Directed by Peter Medak | ||||||||||||||||||||||||||||||
Original Airdate - November 22, 1985 | ||||||||||||||||||||||||||||||
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Based on the original Twilight Zone's "Dead Man's Shoes," written by Charles Beaumont, this updated version is well done and inventive. The teleplay was written by Lynn Barker, who also wrote the "Little Boy Lost" script that should never have been produced. Here, though, she does a credible job by changing the protagonist from a man to a woman. By doing that, she has opened up the story to take a completely different twist. Everything came together in this episode and it's one of the best of the series. Casting Helen Mirren in the role was a stroke of genius because she was one of the best actresses working then and now. She is completely credible as a frumpy type, working at a local thrift store and being hit on by the lowlifes who frequent such places. Seeing Robert Pastoreilli as the lowlife hitting her is amusing in itself; he looks very like a dime store Elvis. It's tough to make Mirren look mousy, but by subtly changing her body langauge she gave the impression of timidity and low self-esteem. Using that same ability, Mirren becomes electric when she takes on the "Susan" persona. She radiates self-confidence, and her walk is the stride of a beautiful woman with a purpose, completely different than the shuffling rythym she had as the thrift store worker. Her performance is more than matched by Jeffrey Tambor as the conniving husband. He doesn't have much screen time, but what he does have he uses marvelously. During their phone conversation, the camera is set on a static shot of both of them. For Mirren, it's just her expressive lips we see (Mirren has astonishing facial muscle control…she can express myriad emotions with just her nose and lips in this scene), as she tells her husband what he did, and for Tambor, we see his full face. In his eyes we read an evil that is belied by his impassive face. He has limpid brown eyes, but they show the depravity of his personality, and the emptiness of his soul. These are two talented actors at the height of their powers, and the telephone conversation is magnificently staged. Therese Saldana is effective as the maid, rather too imperious with her employer than she should be, in the early scenes, though it could be she suspected him of murder all along and it influenced her actions. I loved her performance in "I Wanna Hold You Hand," where she seemed much more vivacious. But, that was made before 1980, when she was attacked by a crazy fan who stabbed her several times; she was rescued by a water deliveryman who was driving by and saw the attack. She recovered from that and went back to acting, but in this teleplay she's a bit too restrained. |
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