Born
on 29 December 1937 in Birkenhead, Cheshire, Barbara [Winifred] Steele
studied art at the Chelsea Art School and in Paris at the Sorbonne, even
as she worked in film. Signed by the Rank Organisation as an art
student, she began appearing in minor film and TV roles in the late
1950s. Her contract was sold to 20th Century Fox in 1960, and soon
thereafter she abandoned her contract for Italy, where she became famous
primarily for her numerous, mostly Gothic horror movies, including some
classics. By 1969, she was married to the American screenwriter James Poe
(4 Oct 1921 – 24 Jan 1980) and living in California. The couple had one
child, Jonathan, and divorced in 1973 (some sources say 1978). Her
acting jobs became less and her parts smaller, and she began producing
television projects — highly successful ones. She hasn't been seen
onscreen in a "real" film since 2014.
And
now, enjoy Part II of our typically meandering and all-over-the-place career
review on a true Babe of Yesteryear and Scream Queen extraordinaire.
Also go here:
(1960, dir. Anthony Simmons)
The plot: "Gay (Peggy Cummins) and Pelham (Donald Sindem [9 Oct 1923 – 12 Sep 2014] of Rentadick [1972 / trailer]) Butterworth, a young couple expecting to inherit a small fortune through a legacy, imagine they will be able to pay off their many debts and still maintain their large house. They discover, however, that the legacy stipulates that only the wife can receive a small allowance as long as her husband is alive or their marriage is intact. At first, Gay and Pelham take in an odd assortment of lodgers to pay off the debts, but, because no one pays rent, a divorce is arranged with the understanding that the couple will remarry as soon as possible. A misunderstanding makes the divorce seem more permanent, but everything is resolved when Pelham becomes Gay's paying guest in the house. [TCM]"
A scene from
Your Money or Your Wife:
A mostly forgotten film, the title of which was reused in 1972 for a television movie (full film) that shares none of the plot points and is probably just as forgotten.
Your Money or Your Wife was directed by a forgotten but respected Anthony Simmons (16 Dec 1922 – 22 Jan 2016), written by a forgotten Ronald Jeans (10 Mar 1887 – 16 May 1973), and based on a forgotten stage play by Jeans titled Count Your Blessings that originally hit the stage in 1951. Barbara Steele, who gets prominent credit on the film's poster, is on hand to play a character named Juliet Frost — that's her in pink more-or-less lying across Pelham's lap on the poster and film still further above. On the poster, Georgina Cookson ([19 Dec 1918 – 1 Oct 2011] of The Woman Who Wouldn't Die [1965 / trailer]) is to the left....
According to David Parkinson at Radio Times, "Nice title, shame about the movie. This is a farce in every sense of the word [...]. Both screenwriter Ronald Jeans and director Anthony Simmons seemed to think that an abundance of slapstick, a little innuendo and bags of mugging would be enough to have the audience in convulsions. Tune in just to see how wrong they were."
Aside from that of Barbara Steele, the most noteworthy name of this movie is Peggy Cummings (18 Dec 1925 – 29 Dec 2017), at least for fans of classic film noir. Ms. Cummings, an Irish actress, appeared in an extremely limited amount of American movies in her day, but one is a true classic: Gun Crazy, from 1950, her last US movie, which was selected in 1998 for preservation in the United States National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". She plays the female and definitely the more trigger-happy half of the film's anti-hero duo — and the inspiration for the movie original title, Deadly Is the Female.
Trailer to
Gun Crazy (1950):
Flaming Star
(1960, dir. Don Siegel)
The one that got away? (Big question mark here.) Released 16 December 1960, a good four months after the next Barbara Steele film we look at, this is a film that she started and allegedly quit, which quite possibly was one of the dominoes that led to her subsequent fame as a Queen of Horror.
Trailer to
Flaming Star:
Prior to this film, Ms. Steele had been under contract with The Rank Organisation, which had put her in most of her past films. (See, in Part I: Bachelor of Hearts [1958], Sapphire and Upstairs and Downstairs [both 1959].) Then Rank sold her contract to 20th Century Fox — and Steele was incongruously cast as the lead female opposite some guy named Elvis Presley (8 Jan 1935 – 16 Aug 1977) in a Don Siegel (26 Oct 1912 – 20 Apr 1991) Western titled Flaming Star, in which the guy (Elvis) ended up giving one of his best acting performances. (Siegel, you might remember, also assisted some guy named "Bush" Fabian — below, not from that film — to do his "best" performance the previous year in the Western Hound Dog Man [1959 / full film].)
Fabian sings
Hound Dog Man:
Over at House of Freudstein, the request proffered to Ms. Steele to confirm the quote, in regard to Flaming Star and Hollywood, that she said "I went to Hollywood with very little and came back with nothing," was met with the response: "I can't remember what's real or not myself, but that sounds about right."
Ms. Steele was far less circumspect when talking to Diabolique Magazine in 2012, where she says: "[20th Century Fox] broke the contract when I walked out of a movie they put me in. The whole thing blew up into an enormous scandal in Hollywood. It was an Elvis Presley movie: Flaming Swords or something. I had a tremendous fight on the third day of shooting, drove straight to the airport and flew to New York, and called them up the next morning. 'I won't be in make-up,' I said, 'because I'm here in New York.' They said was it snowing or something! Then they added: 'Come back or we'll sue you for the money we gave you.' 'Well, do,' I told them, 'because I've spent it and I'm never coming back.' That was it. They let me go because it was easier..."
The movie itself, based on Clair Huffaker's 1958 novel Flaming Lance, had been scripted by its respected screenwriter Nunnally Johnson (5 Dec 1897 – 25 Mar 1977) as a vehicle for Marlon Brando [Elvis History Blog]. The iconic Andy Warhol image of Elvis brandishing a gun (one version below) comes from this film.
According to Elvis History Blog, in the book A Siegel Film: An Autobiography, which came out two years after the director's death in 1991, Don Siegel manages to be both insulting and consolatory in his explanation of the events behind Ms. Steele's departure from the film. Steele was put into the film by the studio, to the displeasure of the film's producer, David Weisbart (21 Jan 1915 – 21 Jul 1967), who noted that not only had she "very little experience and is not a good actress", but that he didn't "like the leading lady towering over Elvis" — which is exactly what she did. Siegel, in turn, said he "didn't want her in the picture [...] to protect Presley" and because he "feared Elvis' reaction when he was asked to stand on an apple box to be eye-level with her". But Ms Steele was sent to the shoot, with "blonde hair, a slight stoop and a Western accent straight from Birmingham". Siegel goes on to say, "I liked her personally, but her woeful lack of experience and strange Western accent, plus her height, proved her undoing." He was supposedly subsequently charged to give the actress the news that she was dumped — but to his own astonishment, she responded that she had found the role "uncomfortable" and that she was "happy" to be off the picture. [Elvis History Blog]
She was subsequently replaced by a young, beautiful, and perfectly coffered Barbara Eden (of The Amazing Dobermans [1976 / full film]).*
* All the "concern" seems a bit out of place when you consider that the lead female role that Barbara Eden eventually played in Flaming Star is not even Elvis's girl: she is the girlfriend of his brother. In a total change of pace for an Elvis film, the man himself has no girlfriend or love interest in the movie.
Some Guy named Elvis sings
Summer Kisses, Winter Tears*:
* From the film, sort of... but for a better version by Julee Cruise (1 Dec 1956 – 9 Jun 2022), set to scenes from the Thai art western Tears of the Black Tiger (2000 / trailer), go here . Summer Kisses, Winter Tears, like the song Britches, was cut from the final release of the movie.
In any event, the plot of the Elvis film that does not feature Barbara Steele, as supplied by Brian W. Fairbanks, who thinks "Presley is effectively cast as Pacer Burton, a half-breed torn between two peoples": "When the Kiowa Indians launch an attack on the neighboring white settlers, burning homes and savagely murdering the people, the Burton homestead is spared. Though the family is headed by a white man (John McIntire [27 Jun 1907 – 30 Jan 1991]), his wife (Dolores Del Rio [3 Aug 1904 – 11 Apr 1983]) is a Kiowa. One son (Steve Forrest [29 Sep 1925 – 18 May 2013] of Phantom of the Rue Morgue [1954 / trailer]) is white, but the youngest (Elvis the Pelvis) is a half-breed. Suddenly, the whites, who had accepted the family and welcomed them into their homes, turn against them, threatening to shoot the half-breed should he set foot on their property. Meanwhile, the Kiowas hope to enlist Pacer in their cause. 'If a half-breed white leaves his father's people to fight for his mother's people, it will make the strongest magic I have,' the chief tells the troubled lad, but he refuses to join their battle. When his mother is shot by a white man and dies after being refused treatment by the white doctor, Pacer's long held but hidden feelings that he never belonged in the white man's world suddenly surface. He abandons his home and joins his mother's people on the warpath. But he remains an outsider, painfully aware that as a half-breed, no matter whose side he takes, he is always fighting himself."
The movie does not end with Elvis riding off into the sunset with his brother's girlfriend...
The image above, btw, is an AI-generated artistic depiction of Barbara Eden, uncensored prints of which are available at Glossy Treats.
Some Guy named Elvis sings
Flaming Star:
Black Sunday
(1960, dir. Mario Bava)
Cut free from Flaming Star, Barbara Steele ended up starring in this classic horror film instead — and the rest, as one says, is history.
The Italian title is La maschera del demonio, but the movie has been released and re-released with a good dozen other titles, the most well-known one probably being Black Sunday, the title bestowed upon the shorter, re-cut English-language version (83 minutes vs. 87) released by AIP, complete with a new soundtrack from Les Baxter (instead of the original by Roberto Nicolosi [16 Nov 1914 – 4 Apr 1989]).
In what can only be seen as a truly incongruent double feature, Black Sunday was often paired with The Little Shop of Horrors (1960 / trailer, see Dick Miller Pt. 1) when released in the US.
As justification for its new title, the A.I.P. edit opens with a narration that says something to the effect of "One day in each century, it is said that Satan walks among us. That day is called 'Black Sunday'." (The title Black Sunday, btw, was reused some 17 years for a half-way decent thriller [1977 / trailer] that has absolutely nothing in common with the Steele film.)
La maschera del demonio was the "official" feature film directorial debut of the cinematographer Mario Bava, who, prior to Black Sunday, did uncredited directorial work on a variety of other fun films: Riccardo Freda's I Vampiri a.k.a. Lust of the Vampire (1957 / trailer), the first Italian horror film of the sound era; Paul Heusch's La morte viene dallo spazio a.k.a. The Day the Sky Exploded (1957 / trailer), the first Italian science fiction film of the sound era; Petro Francisci's Ercole e la regina di Lidia a.k.a. Hercules Unchained (1959 / trailer), with Steve Reeves ([21 Jan 1926 – 1 Max 2000], below not from the film); Freda's cheesy sci-fi horror Caltiki il mostro immortale a.k.a. Caltiki, the Immortal Monster (1959 / trailer); and Jacques Tourneur's rent-paying La battaglia di Maratona a.k.a. The Giant of Marathon (1959 / trailer, also with Steve Reeves, of Jail Bait [1954]).
The generally accepted lore is that Mario Bava wanted to do a horror film with British leads because of the resounding success of Hammer's Dracula (1958 / trailer), the coattails upon which he wanted to ride, and that he pulled Barbara Steele into the project to play the dual roles of good gal Princess Asa Vajda and bad gal Katia Vajda after seeing a photo spread of Steele in Life magazine; how he came to his British lead male actor, a still unknown John Richardson (of One Million Years BC [1966 / trailer], Umberto Lenzi's Eyeball [1975 / trailer], The Church [1989 / trailer] and so much more), like Steele a former Rank Organisation contract player, is the topic of no apocryphal tale. Richardson's contract with Rank, however, like that of Steele, had likewise been sold to Fox and he, in search of work, had likewise gone to Italy.
Black Sunday is loosely based on Gogol's short story Viy (which you can read here); and while Bava wrote the original four-page treatment, the eventual screenplay, written by multiple authors credited and uncredited, supposedly has little in common with Bava's outline.
Long story short: Released in August of 1962, Black Sunday may not have been a critical success in its day, but while it was not that big of a financial hit in Italy, it raked in the money in the US. It was simply banned in the UK well into 1968, when it was finally released as Revenge of the Vampire. Since then, the film has long earned its just reputation as a classic Gothic horror film, if not a masterpiece of horror, and is justifiably found on many a person's "Best of Horror" list — ours, too. And that despite some at times truly questionable acting and dubbing, which luckily enough are simply and easily overcome by the mood, atmosphere, production design, and cinematography.
Black Sunday:
Black Sunday is one of those films — like, for example, Christensen's Witchcraft (1922 / full film below), Whale's Frankenstein (1931 / trailer), Romero's Night off the Living Dead (1968) and Tobe Hooper's Texas Chainsaw Massacre (1974 / trailer) — that anyone who claims to be a "true horror fan" has to see at least once, regardless of which cut. (We ourselves prefer the uncut English-language "European version" marketed at one point as The Mask of Satan.) And like most true masterpieces of horror, it is a movie that one can watch with non-fans of horror, who will likely also find it a good film.
Christensen's Häxan (1922):
The plot, as found at Ancient Slumber: "In 1630 Moldovia, a witch named Asa (Barbara Steele) and her paramour Javuto (Arturo Dominici [2 Jan 1916 – 7 Sep 1992] of Castle of Blood [1964] and Investigation of a Citizen above Suspicion [1970 / trailer]) are sentenced to die by Asa's brother. Before being burnt at the stake, a metal mask with spikes on the inside is hammered onto Asa's face as she curses her brother and his descendents. Two centuries later, a pair of travellers [Dr. Choma Kruvajan (Andrea Checchi) and his assistant, Dr. Andrej Gorobec (John Richardson)] waiting for their coach to be repaired wander upon Asa's tomb. After observing the death mask and crucifix placed upon her grave one of the travellers is disturbed by a bat and accidentally smashes the objects placed there for protection, cutting his hand in the process and dripping blood on Asa's corpse. Outside the pair meet the beautiful Katia (again played by Steele), who tells the men that she lives in a supposedly haunted castle with her father Prince Vajda (Ivo Garrani [6 Feb 1924 – 25 Mar 2015] of Atom Age Vampire [1960 / trailer]) and brother Constantine (Enrico Olivieri [14 Dec 1939 – 29 Jan 2022] in his last film). Meanwhile, thanks to the traveller's blood Asa has awoken and uses her powers to resurrect Javuto from his grave. Now looking to take revenge on her brother's descendents, Asa and Javuto go to Prince Vajda's castle in an attempt to drink Katia's blood and gain immortality. [...]"
"From the opening scenes as a witch is burned at the stake, Black Sunday has its audience in the palm of its hand. The ritualistic horror of that opening gives way to the mythical lore of the vampire as it is unleashed upon a small village. From the gorgeous gothic design to the ominous lighting, Black Sunday is one of Mario Bava's absolute finest horror films. Maybe it is imperfect, but that's even more reason to love the chills and frights that Black Sunday provides. [Cineccentric]"
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Trivia: Neither the voice of Steele nor that of Richardson is the actual voice of either in any of the existing versions of the film.
Mario Bava's son, director Lamberto Bava (see: Demons [1985], Per Sempre [1987], Ghost House [1988] & Graveyard Disturbance [1987]), retooled the basic plot of Black Sunday in 1989 for an Italian TV horror film titled Sabbath: The Mask of Satan (Italian trailer below). That film is "often billed as Demons 5 and a loose remake of Black Sunday,
but nowhere near as bananas as the former nor as beautifully gothic as
the latter, [...] is still just surreal and Italian enough to be pretty
entertaining. [Tony the Terror]"
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Sabbath: The Mask of Satan:
The German poster below, which tries to sell the movie as a pure Dracula flick, with Javuto (Arturo Dominici) going for the jugular of a blonde, is by the great German poster artist Hans Braun (1925 – 8 Sept 2011). Born in Wiemar, he moved to West Germany in 1953, where he did his first movie poster the following year. He soon became one of the busiest movie poster illustrators of Germany, doing roughly 800 posters by the time he retired in the 1970s. Today, he is virtually forgotten.
Black Sunday –
the full movie:
The Pit and the Pendulum
(1961, dir. Roger Corman)
"There was a depth to her. On the surface she was a beautiful brunette woman. Beneath that — and you could almost get poetic here looking into her eyes — you could see layer, upon layer, upon layer. I could probably best, and inadequately, describe it as a kind of exotic mystery."
Roger Corman on Barbara Steele @ Cinebeats
In what was perhaps a case of kismet, after Black Sunday (1960), Barbara Steele's next film job, The Pit and the Pendulum, released 23 August 1961, was for another cult director and producer, the great Roger Corman.
The Pit and the Pendulum is the second of his famed Edgar Allan Poe adaptations, all of which but for one feature Vincent Price (27 May 1911 — 25 Oct 1993) — it was preceded by House of Usher (1960 / trailer) and followed by The Premature Burial (1962 / trailer [without Price]), Tales of Terror (1962 / trailer), The Raven (1963 / trailer), The Haunted Palace (1963 / trailer), The Masque of the Red Death (1964) and The Tomb of Ligeia (1964 / trailer) — and Corman pulled her into the project because of Black Sunday: "I thought she was wonderful in it. I hired her simply off the performance in Black Sunday. Barbara was a good actress and very beautiful. There was also a dark tone to her just as Vincent was a leading man with a little quirkiness. I thought there was sort of a dark mysterious quality behind Barbara's performance. [...] She was very cooperative and a good actress. [...] Barbara had a working-class British accent, which I had not anticipated. All of the characters in The Pit and the Pendulum were aristocrats or upper class. So, I brought in a dialogue coach. He worked with her for the picture, to get the accent I was looking for. [Latin Horror]"
The script, based on the barest of bones of Poe's eponymous bare-boned short story from 1842, was supplied by Richard Matheson (20 Feb 1926 – 23 Jun 2013), whose excellent book I Am Legend became an Italian Vincent Price vehicle in 1964, The Last Man on Earth; Matheson later also scripted the over-rated Hammer film The Devil Rides Out (1968) and Spielberg's excellent TV movie, Duel (1972). His film kept the pit and the pendulum of the original tale, but little else.
"[The Pit and the Pendulum] remains one of [Corman]'s most frightening achievements, generating a palpable sense of dread within its opening minutes with help from Les Baxter's bone-chilling score. It is also one of American International Picture's best-looking productions [...]. Richard Matheson's script is surprisingly innovative, adapting Poe's suspenseful tale told by a single nameless protagonist into a full-blown gothic drama with multiple characters and elements of mystery, romance, and supernatural horror. In addition, Vincent Price delivers one of his greatest performances here as the ill-fated Don Nicholas Medina, a deeply troubled character who alternates between profound melancholy and all-consuming madness. And last but certainly not least, it has the distinction of being the first American horror film featuring the beguiling Mistress of Menace, Barbara Steele. [Cinebeats]"
And the plot? The AFI has a detailed synopsis: "In sixteenth-century Spain, Francis Bernard (John Kerr [15 Nov 1931 – 2 Feb 2013]) journeys to the foreboding castle of Nicholas Medina (Price), the husband of Francis's recently deceased sister, Elizabeth (Steele). Francis is told that his sister, although very much in love with Nicholas, had become increasingly depressed by the gloomy atmosphere of the castle and had spent most of her time in the dungeons built by Nicholas's father during the Inquisition. One night, after locking herself inside an iron box in the torture chamber, she died of fright. The explanation fails to satisfy Francis, and he decides to remain for a few days. Gradually it becomes apparent that Nicholas is obsessed with the thought that he may have buried his wife alive, a fate that befell his adulterous mother (Mary Menzies [15 Feb 1929 – 8 Mar 2017]). One night, Nicholas hears a woman's voice calling his name, and he follows it to the burial room where Elizabeth, very much alive, rises from her coffin. She is joined by Dr. Leon (Antony Carbone [15 Jun 1925 – 7 Oct 2020] of The Creature from the Haunted Sea [1961 / trailer], The Last Woman on Earth [1960 / trailer] and A Bucket of Blood [1959]), Nicholas's closest friend, and, as Nicholas's mind snaps, the two lovers gloat over their plot to drive him mad and inherit his wealth. The crazed Nicholas suddenly assumes his father's identity, battles with Dr. Leon, who falls to his death in the pendulum pit, and locks his unfaithful wife in the iron box. Francis enters the chamber and is seized by the insane Nicholas and lashed to a table under a swinging, razor-sharp pendulum. But before the blade reaches him, he is rescued by Nicholas's sister, Catherine (Luana Anders [12 May 1938 – 21 Jul 1996] of American Strays [1996], The Killing Kind [1973 / trailer] and Dementia 13 [1963, with William Campbell]), and the butler, Maximillian (Patrick Westwood [10 Dec 1924 – 21 Apr 2017]). In the struggle, Nicholas meets the same fate as Dr. Leon, when he falls into the pit. Catherine decides to seal up the torture chamber forever — unaware that imprisoned in the iron box is the terror-stricken Elizabeth."
"Price is on his usual top form, gracious and possibly hiding madness behind that charming smile, while Kerr and Carbone pitch their performances just perfectly, playing more level-headed characters without ever being overshadowed by that magnificent central performance. Anders is a ray of loveliness in a rather dark and dire environment, and Steele is given another role that makes the most of her haunting beauty. [For It Is Man's Number]"
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For those of us raised on the after-school "Creature Features" of yesteryear, we are familiar with The Pit and the Pendulum including a somewhat nonsensical prologue mostly unrelated to the rest of the film featuring Luana Anders in a madhouse: not part of the original cinema release, it was tacked on later when the film was sold to TV and it needed some additional running time to properly fit in the commercial breaks.
In general, The Pit and the Pendulum is considered as one of Corman's best (if also somewhat campier) Poe films, but of course there is always a dissenting voice somewhere — for example 366 Weird Movies, which, incorrectly says Steele is dubbed: "[...] The Price/Steele pairing in The Pit and Pendulum should have been a star teaming worthy of the Karloff/Lugosi collaborations of the 1930s. Unfortunately, Steele is wasted (and worse, dubbed) as the doomed (and believed dead) unfaithful wife-in-waiting. [...] Pendulum is an eclectic low budget genre soaper, sloppily utilizing elements from numerous Poe stories. Steele isn't the only wasted talent. Reliable character actors Luana Anders and John Kerr, poorly directed, come off as surprisingly stiff and mechanical. At the polar opposite is Price at his hammy worst. His performance here is a cringe-inducing caricature. Crosby's atmospheric lens work, Baxter's throbbing score, a predictable but still effective finale, and, briefly, Steele as a smoothly ornamented, darkly mysterious Tahitian pearl (barely) save Pendulum from being a total disaster."
Over at Trailers from Hell, director Mary Lambert would disagree...
Mary Lambert at Trailers from Hell on
The Pit and Pendulum:
The German poster above, which really isn't all that spectacular, is by the artist Heinz Schulz-Neudamm (7 Jul 1899 – 13 May 1969), who was born Paul Heinz Otto Schulz in the town of Neudamm, Germany, which is now the Polish town of Dębno. Among his best-known posters is that for Fritz Lang's Metropolis (1927 / movie), which became the most expensive film poster in the world when one of the four known copies fetched $690,000 on auction.
Alfred Hitchcock Presents: Beta Delta Gamma (1961)
Normally we don't look at TV projects, but in this case we'll make an exception: Alfred Hitchcock Presents (1955 – 65), after all, is up there alongside the original Twilight Zone (1959 – 1964) as one of best anthology series on television ever.
Beta Delta Gamma the sixth episode of the seventh season, aired on 14 November 1961, and Barbara Steele appears to play a character named Phyllis.
The episode was written by Calvin Clements Sr. (14 Feb 1915 – 11 Mar 1997), whose only filmscript of note is that for the relatively forgotten, star-studded western Firecreek (1968 / trailer). Beta Delta Gamma was directed by TV mainstay Alan Crossland Jr (19 July 1918 – 18 Dec 2001).
Beta Delta Gamma also features the debut of another Barbara, namely Barbara Harris (25 Jul 1935 – 21 Aug 2018), later found in fun stuff like Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad (1967 / trailer), Nice Girls Don't Explode (1987 / trailer), and Grosse Point Blank (1997 / trailer).
Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad:
The plot: "Mark (Duke Howard of Murderer's Row [1966 / trailer]) and Alan (Burt Brinkerhoff) are frat boys. During a party at a beachfront frat house, Mark challenges Alan to a drinking contest. Alan drinks a full pitcher of beer, but Mark refuses to do the same. Alan becomes angry, but he and Mark eventually pass out. Alan's frat brothers decide to play a joke on him by injecting Mark with a substance to make him appear dead. They place a bloody weapon in Alan's hand, hoping that when he wakes up he'll think he killed Mark. The pranks goes off according to plan until Alan decides to cover up the 'murder'. He buries Mark's body on the beach. When the prank is revealed to him, he desperately returns to the beach. Unfortunately the high tide has washed away all traces of Mark's grave. (Hitchcock Zone)"
The full episode can be found here.
Burt Brinkerhoff went on to a long and successful career as a TV director, during which he occasionally took a detour to make a fun, bad feature film like Acapulco Gold (1976 / trailer) and Dogs (1977 / trailer below).
Trailer to
Dogs:
Up next:
Barbara Steele, Part III (1962-63)
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