It's too bad that CBS President J. Aubrey was pushing for more babes n' bikinis in the series, hence the pointless scene at the beach, which should have been cut. In it's place, we might have seen more of Tod's desperate search for witnesses, which would have helped to build momentum and tension leading up to the trial. The scene with old Mr. Bell on the porch could then have been better integrated with the plot... a nice, relaxed, philosophical "time-out" from Tod's quest for more crucial evidence.
And what's with that weasely reporter? He sure got dropped in a hurry, as if the director said: "Hey...we don't need any more of that jerk.....".
In fact, with all of the anti-Linc hooplah in town --including street protesters-- I expected the courtroom to be jammed and in total chaos for the big trial. It was pretty sedate.
However--- the episode is very moving, thanks to the performance of the great Miriam Hopkins. Her final scene on the porch with Linc is unbearably sad; the look on her face as she steps out onto the porch clearly indicates the emotional confusion and torment in her mind---since she is re-living her youthful, passionate attraction to her late husband, "reincarnated", as it were, in LInc. It is a riveting dramatic moment, aided immeasurably by Glenn Corbett's restrained and equally heart-felt performance.
(Miriam Hopkins would go on next to deliver an absolute tour-de-force performance --as another eccentric woman who lives alone in a big, old house who also laments her long-lost husband--- in the utterly bizarre "Don't Open 'til Doomsday" episode of THE OUTER LIMITS. If you like Ms. Hopkins and have never seen "Doomsday"-- make it a point to watch it!)
Other notable things:
1.) I checked into the credentials of Roy Fant-- the quaint old guy in his porch rocker who engages Tod in conversation. I couldn't tell if the guy was a very talented amateur-- or a VERY talented professional actor who PLAYED an old man in small-town Florida. He was the latter, and had a very distinguished stage career, appearing in significant roles with Walter Huston, James Dean, Constance Ford, etc.
You never can tell who's going to turn up on Route 66!
2.) I always like Ralph Meeker, but his powerful presence and energy seems to have diminished in the '60's, as he went from playing virile, "manly" characters
(the lead role in the stage version of "PICNIC", Mike Hammer in the loopy "Kiss Me Deadly", etc), to much more sedate roles, such as we see here. Something was missing.
3.) I agree that the main musical theme of the episode, pretty as it is (with piano and strings evoking a somewhat "genteel", parlor idiom) is OVERUSED. (I kept thinking it was an actual Old-American folksong (?) IN fact, the cue kicks in at almost EVERY juncture of the show, whether appropriate or not. But it sure works beautifully in the final scene.
4.) Good to see Cliff Hall (Ralph Kramden's "Racoon" Lodge President) as the judge, and young Richard Mulligan as the Prosecuting Attorney.
5.) Another "CHEVY-CENTRIC" town, where nearly everyone drives one. Nothing like "Product Placement" to help sales.
Despite its flaws, this episode leaves quite a powerful impression, due largely to the final 10 minutes. And...oh yes.....the little pooch was fine. LR
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