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Michaeltuz3
Reviews
Science Fiction Theatre: The Throwback (1956)
Genetics Equals Predestination?
This story starts out with a fascinating premise; the concept of genetic memory. It's intriguing to think that there may be some knowledge, some wisdom, some intellectual traits that we don't have to learn, but which instead are passed down to us by our ancestors. Young Professor Hughs believes in this hypothesis and sets out to find proof of its validity. Unfortunately, the plot quickly veers away from the concept of inherited memory and into the realm of reincarnation, suggesting that the same person can and will be born again within the same bloodline. Then the tale becomes even more convoluted with the implication that genetic memory is the same as predestination, that not only do we inherit the traits of that ancestor, but that we are also destined to repeat all of the specific details of how they lived and died. What began as an intriguing exploration of a scientific theory sadly degenerates into a silly mixture of the supernatural and mysticism, more fantasy than science ... or science fiction.
Science Fiction Theatre: The Phantom Car (1956)
Compelling Desert Mystery
Science fiction movies of the 1950s frequently used the California desert as their settings. The remoteness, the barren nature of the landscape, the oppressive solitude combined to create a terrestrial otherworldliness that effectively enhanced their bizarre premises. In "The Phantom Car" director Herbert L. Strock continues that tradition quite nicely; in his hands the desert seems to be more than a place, but rather a co-conspirator with mysterious autonomous vehicle. There is an eeriness throughout the tale not found in many other entries in this series, and the desert setting has much to do with that. If not for the fact that this was an episode of Science Fiction Theatre, a supernatural cause would have been plausible. The story moves well and advances believably; while expedient, things happen at a comfortable pace, with each revelation building upon the previous ones until the riddle is solved. One of the better entries.
Science Fiction Theatre: Beyond Return (1955)
An Interesting Departure
Most episodes of Science Fiction Theatre espouse the virtues of science. The general tone of the series is in the premise that, despite its foilbes, science is ultimately beneficial to Mankind. But "Beyond Return" veers into the the realm of sci-fi films of two decades earlier by suggesting that there are some forces of nature with which man was not meant to tamper. In this story two doctors attempt to cure a young woman who is dying of tuberculosis by injecting her with an experimental hormonal extract. The treatment works incredibly well, restoring her to full health within a week. But soon the doctors realize that they, like Frankenstein, have unwittingly created a monster; a chameleonic sociopath who uses her ability to take whatever she wants and destroy those who get in her way without remorse. In the end, the doctors take action against their creation in a resolution that is as ethically and morally questionable as any of the woman's crimes against humanity.
Science Fiction Theatre: Friend of a Raven (1955)
A Most Disturbing Moral
I found this episode rather difficult to rate. On the one hand, "Friend of a Raven" is very well made. The storytelling is tight and concise, all of the cast members turn in solid, believable performances. But what troubles me is the underlying message, the point of the story.
Richard Eyer was one of the better child actors of the fifties, and he is at his best here, portraying Timmy, a boy who has more than compensated for his inability to hear or speak, finding true happiness and contentment among the animals and within nature. He has an afinity, an inate harmony with all living creatures on or near his father's farm. He is totally at peace with himself and his environs in a way that few people ever will be.
Unfortunately, this story is a product of the 1950s, so rather than teaching us to embrace our individuality, the focus is upon the importance, the necessity of conformity. Timmy is not allowed to remain different and happy. Instead teachers, doctors, truant officers - and finally even his own father - all conspire to make Timmy 'normal,' to make him lose his non-conformity and fit into the mold of societal normalcy 'for his own good,' no matter what the cost.
For the perspective of 1955 this may have been regarded as a hopeful parable with a happy ending. To me, it seems like a most disturbing horror story; albeit a well made one.