Saturday, March 25, 2017

The Caroline Munro Archive: Caroline in Film Review - Part 1

by John Scoleri

Welcome to the latest installment of this semi-regular feature on bare•bones in which I share rarities from my Caroline Munro collection. This time out we look at several of her appearances from the UK Film Review magazine, including a great interview from 1975. Caroline was frequently featured in Film Review, so watch for future updates as I acquire them!

Film Review
Vol. 25 No. 5
May, 1975

The 'double life' of Caroline Munro by Iain F. McAsh

Caroline provided the most interesting curves in the round trip in The Golden Voyage of Sinbad.
It is always a pleasure to watch the delicious Caroline Munro on our screens—and doubly so to meet her in person. Last year she played Sinbad's winsome slave/girlfriend in The Golden Voyage of Sinbad. Before that she as glimpsed briefly as the wife of the abominable Dr. Phibes (Vincent Price), and has even provided a tasty morsel for a couple of blood-sucking Hammer vampires.

Hardly a month goes by without her shapely figure appearing in TV commercials, or seeing her stare at us from the front cover of glossy magazines or giant poster hoardings. For curvaceous Caroline leads a double life as an actress and top model girl—with equal success in both careers!
She is always eager to watch other actors at work and to learn from their performances. When we met recently at Pinewood Studios, she was watching co-star Joan Collins playing a grisly scene in a child's nursery for an exciting shock-thriller with supernatural overtones called I Don't Want to Be Born.

Caroline's shapely figure has adorned the pages of Film Review on many occasions, and I was happy to tell her that our readers are always asking for "more Munro". She smiled and brushed her long dark hair out of her hazel brown eyes before replying: 'I don't remember exactly when I first wanted to be an actress. It wasn't until I made Dracula—A.D. 1972 that I suddenly felt I really wanted to act. I had very little to do in that film, but I loved making it and it spurred me on. None of my family have been actors. My mother is rather psychic. She predicted I would soon make a film, and within a week I was cast for I Don't Want to Be Born.

'Modeling has definitely helped me with my acting. It helped me be aware of the camera. The biggest difference in film acting is that you have to pretend the camera isn't there.'

Caroline is famous as the bewitching girl in the Babycham and Lamb's Navy Rum poster ads. 'Even for modeling you're really acting a part', she believes. 'Those posters make me look quite tough and aggressive, but I'm not really like that at all. At home in front of a mirror there are no problems, but I do tend to get scared acting in front of the crew on a film set. Atmospheres and vibrations do affect me terribly—especially with people. I've always been terribly shy of meeting people for the first time, ever since I was a little girl. Which makes it all the more strange that I should have wanted to be an actress, which is not a profession identified with shy people. 
So far Caroline's film appearances have tended to be on the light side. 'No, i haven't done any heavy drama', she told me. 'My first film A Talent for Loving, was a comedy. I had marvelous people to work with. Richard Widmark and Topol were the stars—with Derek Nimmo as my lover.t fie The girl I played was an innocent but fiery Mexican-American.'

The title A Talent for Loving was also appropriate for another more personal reason. 'I met my husband, American actor Judd Hamilton, in Spain on that film', Caroline smiled. 'He played my brother in the picture. Then he went back to the United States. I knew him for two years before we got married. I used to fly to America to stay with his parents in Los Angeles. Our marriage ceremony was very memorable. It took place in Las Vegas during a stage show. I was just 19 at the time.'

Caroline and her husband now make their permanent home in London, where Judd is a singer and producer. Although she has no children of her own, Caroline does have two step-children by Judd's former marriage—a boy and a girl, named Chip and Tami.

Caroline believes that the turning point in her film career came when she played in Dracula—A.D. 1972.

'It's the favorite of my own movies,' she explained. 'I came closest to being believable, which is what acting is all about. Belivability! Although I got killed off by Christopher Lee, it was fun making the film.'

Caroline's most recent role was a starring one in The Golden Voyage of Sinbad, opposite John Phillip Law in the title part. 

'I was among all those fabulous monsters created by Ray Harryhausen', she remembers. 'Of course, there were no monsters when we were filming on the set and we had to pretend to look terrified at a blank space where one of Ray's fantastic creatures would be edited into the final film. When I first read the script, I didn't think of it as a glamour part at all.'

Which brings Caroline's movie career right up to date with  I Don't Want to Be Born at Pinewood. 'I'm one of the few characters who don't get murdered,' she says happily. 'I play a West End nightclub girl who gets caught up in a series of shocking events.'

Caroline has never appeared nude in her films, and says she has no intention of breaking this strict self-imposed rule. Although some of her scenes may have appeared daring on screen, she has a firm no-nudity clause written into each of her movie conracts. 'My long hair covers up most of me when I'm supposed to be naked', she admits, 'and for the rest I wear a flesh-coloured bikni. Judd won't let me do nude scenes, so I agreed to compromise.'

Caroline admits she needs a lot of encouragement to overcome her genuine shyness when she is acting. 'I'd love to talk to an actor like Rod Steiger because I'm sure he would give me the kind of encouragement I need', she says. 'I admire actors like him who really study and can get right into the skin of the characters they play.'

'I need a director who will coach ad coax me,' she went on, 'because I need encouragement all the time. I think it's all right if a director bullies you a bit, but they should be sensitive to your feelings. I could accept a director bullying me into a rage or tears. I like a director to tell me straight out whether I've done a scene well or badly.  It's when he doesn't say anything that I feel insecure. I might prefer bullying to that because it might bring results. An actres must know where she stands, but saying nothing just leaves you uncertain and out on a limb. When I finish a film I always seem to have one regret that I can't go back and do it all over again.'

As her surname suggests, Caroline is of Scottish parentage, although she was born in Windsor, right opposite the famous Castle. In person, she appears much taller than she looks on the screen. 'I'm 5 feet 7-1/2 inches,' she agreed, 'but it depends on what heels I'm wearing. I do seem to look much taller in my films.'

Caroline is a natural home-grown beauty who has the happy knack of being able to display sex appeal and glamour on the big screen. Let's hope that 1975 will be the year when some perceptive producer decides to give filmgoers 'more of Munro' by signing her up for a starring role in movies.


Film Review
Vol. 26 No.8
August, 1976

Caroline as the princess of a subterranean tribe in At the Earth's Core (an Amicus Production released by British Lion).

Film Review
Vol. 27 No. 7
July, 1977

Caroline Munro who has graced our pages on previous occasions, this time turns up as a femme fatale. She plays Naomi, the strong-willed girl friend of the kinky mastermind Stromberg (Curt Jurgens).

Stay tuned for more rarities from my Caroline Munro Archive!   

Monday, March 20, 2017

Star Spangled DC War Stories Special 100th Issue!: June/July 1968

The DC War Comics
by Corporals Enfantino and Seabrook

Celebrating Our 100th Issue!

 Our Army at War 194

"A Time for Vengeance!"
Story and Art by Joe Kubert

"Second-Best Means Dead!"
Story by Howard Liss
Art by Jack Abel

Jack: In the early days of the Allied invasion of France, Sgt. Rock is given a special assignment by Army intelligence. The Nazis have developed new buzz-bombs that, if used successfully, could change the course of the war. Rock parachutes in alone, behind enemy lines, and hooks up with the boys of Unit 3 to try to derail the train carrying the bombs as it passes through the village where the boys' families were killed.

Nazi Col. Kaltbludt runs the village now and Rock and Unit 3 engage in Operation Diversion. Rock walks right up to the Colonel's headquarters and fights like a tiger before being taken captive. After being tortured, he tells the Colonel that Unit 3 plans to blow up the Nazi ammunition building. The Nazi forces are diverted there, allowing Unit 3 to derail the train carrying the buzz-bombs. Rock and Unit 3, aided by a group of freed villagers wielding pitchforks, know that it's "A Time for Vengeance!" and wipe out the Nazi presence in the village. Rock bids adieu to Unit 3, suspecting he'll see them again soon.

"A Time for Vengeance!"
Taking over the writing chores from Bob Kanigher, Joe Kubert turns in an exciting story with stunning art on every page. I wonder if the secret agent/spy craze of the mid-1960s is reflected here, since Sgt. Rock is operating solo and acting more like a super-spy than an Army sergeant. The lads of Unit 3 are featured prominently on the cover and the splash page, where they are given individual names, so I expect they will be regular characters for the near future.

Peter: I must say that "A Time for Vengeance" took me by surprise. I was just complaining last issue about little kids with lollipops and machine guns and here Joe Kubert, in his first solo effort, manages to work up the pathos and the excitement. I actually cared about these little crumb crunchers this time out. I must also say that, having seen the "Next Issue" blurb on the final page touting the return of Unit 3 yet again, I'm pretty sure the novelty is going to wear out quickly.

Jack: In Germany in 1913, the great pilot Hans Hesse trained an American named Tom Watkins and a German named Rudy Krauss how to fly biplanes. When war breaks out, Hans becomes a squadron commander and Rudy soon becomes an Ace. As the war continues, Tom also becomes an Ace, and Rudy sends him a message, challenging him to an aerial dogfight. When their planes meet over No-Man's Land, a pitched battle results in a victory for the American, but this is followed by a new challenge: Hesse wants to fight Watkins. Knowing that "Second-Best Means Dead!" Tom takes the challenge, and another dogfight in the air concludes with Tom surviving a crash landing. He does not realize that his skills result in a crash landing for Hesse as well.

"Second-Best Means Dead!"
Jack Abel often rises to the challenge of a good script, and this is a good one. The cliche of friends in peacetime being forced to fight in wartime has been over used, but Liss and Abel make the air battles exciting and the conclusion satisfying.

Peter:"Second-Best Means Dead!" looks like a reprint but it's actually a fairly effective variation on the old "German buddy/American buddy meet on opposite sides of the war" chestnut. I had to look at that final panel a few times before it dawned on me just what had happened. Very "Enemy Ace"-esque.

With the war comics dated June 1968, Robert Kanigher handed over the editorial reins to Joe Kubert. In an interview that appeared in The Comics Journal #172 (Nov. 1994), Kubert explained that, though he didn't think Bob Kanigher's scripts glorified war, his new policy was that he "wanted the readers to understand that (Kubert) wasn’t doing war books for the purpose of glorifying war or killing." Very soon after taking the job, Kubert initiated a policy of running a "Make War No More" logo on every story in the war titles. Joe goes on to explain to interviewer Gary Groth that then-DC publisher and editorial director Carmine Infantino offered the job to Kubert because Kanigher was having a nervous breakdown, ostensibly due to his tremendous workload. Joe would retain the title of editor until 1977.


G.I. Combat 130

"Battle of the Generals!"
Story by Robert Kanigher
Art by Russ Heath

"Landing Postponed!"
Story Uncredited
Art by Ross Andru and Mike Esposito
(Reprinted from Our Army at War #49, August 1956)

Peter: After a brutal tank battle ends in a victory for the good guys, General Jeb Stuart pops up to warn his descendant, tank commander Jeb Stuart, that both Jebs will be fighting a battle to the death today and the outcome of both battles is dependent on each other. The General turns and is greeted with the hard steel of Attila the Hun. The two specters clash while, below their feet, Jeb Stuart watches in awe the "Battle of the Generals!" Jeb's lunch break is cut short, however, when the Haunted Tank is attacked from above; a Nazi fighter plane with an Attila emblem strafes the men and then flies away.

The men of the Stuart are given the command by their C.O. that they are to "hold Vecy bridge open at all costs" until their comrades can arrive to cross. The job becomes extra tough when the Attila-tagged plane comes back for more, this time intent on blowing up the bridge as well. The Jeb destroys the buzzard just as the General delivers a nasty sword slash, sending Attila the Hun back to hell. Russ Heath's art makes even the worst of scripts palatable; "Generals" isn't even close to horrible but it could have used a few more pages. As it is, the promised "Battle of the Generals" gets so little coverage, it might have been closer to the truth for Bob to have christened this "The Slight Skirmish of the Generals." It is refreshing, though, that the co-star of the strip gets more than just his requisite two panels and actually participates in the action.

Jack: We've seen Attila's ghost before in this series but it's been a long time. I think the real Attila would've made short work of Jeb Stuart. Peter would know better than I, but can a ghost be killed? If so, where do they go next? The story's not half bad; there are no surprises but it's good to see the ghost get more panel time.

Peter: In the reprint, a young man finds civilian life taxing since he can never seem to get anywhere on time; there's always a delay on his train, plane, or boat. So, it's with great happiness that he joins the war effort in anticipation of getting to his destination in a timely manner. That's not how war works though, is it? And our poor young friend finds that out very quickly. "Landing Postponed!" is a dopey, badly-drawn waste of time that will surely give any reader a headache after its twentieth reminder that this kid is not going to be delayed! And what's with that odd splash page that almost hints at some kind of supernatural or extraterrestrial presence? On the letters page, Joe Kubert introduces himself as new editor (see reprinting far below) and then answers an excited reader's plea to know who writes the Rock stories. "The Sgt. Rock stories has (sic)  been and will continue to be written by Robert Kanigher," writes Joe, the same month that he kicks off writing some of the Rock stories himself!

Jack: These early DC War stories are more straightforward battle tales with less characterization than we'd see develop in the '60s. Andru and Esposito's art is better here than it would be later on, when they got into some bad habits with bulging eyes. There's one particularly nice, large panel of a ship getting torpedoed.

 Star Spangled War Stories 139

"Death Whispers--Death Screams!"
Story by Robert Kanigher
Art by Joe Kubert

Peter: While involved in an air battle, Hans von Hammer thinks back to his childhood, when his father planted in him the seed that would produce the Enemy Ace! Living in a castle with his father, Hans has become accustomed to a grand life but the elder von Hammer reminds his son that the castle has withstood many invasions, thanks to the "honor" of the von Hammers. Hans begins mastering the art of killing through fencing and firearms, training that will come in handy years later. The Hammer is jolted back into the present by the sight of the French ace, the Hangman, perhaps the only pilot in World War I who could shoot down the infamous Hammer. During the dogfight, Hans's Fokker becomes damaged and he has to crash land, forcing the Enemy Ace to watch as the Hangman heads after one of Hans's new recruits, Ludwig. With his plane in flames and heading Earthward, Ludwig steps out of his cockpit and salutes the man who has just killed him; von Hammer can only watch in horror. The Hangman drops his rival a note, promising to meet with him over Crecy in five days for their inevitable face-off.

Von Hammer heads back to the base, where he tries to relax by heading into the woods to meet up with his lupine companion for a bite to eat, and then travels to the Austrian Alps for a bit of skiing. The rest seems to do him good and, five days later, he keeps his appointment with destiny. The two aces circle each other and the Hammer gets the drop on the Hangman, forcing the Frenchman to land on the river below. The Enemy Ace flies away, promising the two assassins will meet again. On the way back to his Jagdstaffel, von Hammer comes upon a British dirigible out for a bombing run and dives down toward his next kill.

Behind what will probably be my pick for Best Cover of the Year lies what will, no doubt, be my pick for Best Story of the Year (unless the next installment knocks it down a peg). To say that both Kanigher and Kubert are at the top of their games with this series is an understatement. The meetings between the two aces make for compelling, edge-of-your-seat reading. We're fairly certain the Hammer will survive since this series is only just beginning but what of the Frenchman? Hopefully, Joe and Bob keep him hanging around for quite a while.

Art highlights: the atmospheric splash; the two-page dogfight that opens the story; the Hammer's walk to the woods while his men talk behind his back; and perhaps the most gripping image we've ever seen in the DC war comics: Ludwig stepping out of his flaming cockpit, falling calmly to his death, while saluting the Hangman. Absolutely top-notch story-telling. And, to think, just a couple months ago, we were trying to come up with new adjectives to describe the dino-stories. This issue also features the debut of a new "Battle Album" centerfold, presenting the blueprints for the Spad and the Fokker.

Jack: Peter, I agree with you completely. This issue blew me away and will be hard to top for Best of 1968. The splash page reminds me of something Jerry Robinson would have done in a Golden Age Batman, with the giant figure of death holding the Enemy Ace in his hand above a chessboard. The sight of Ludwig falling to his death made me click over to Wikipedia to see if German pilots had parachutes in WWI. It seems they did not, at least not yet and not handy. They weighed too much, took up too much space, and didn't work all that well. This is a GREAT comic book, and it doesn't hurt that one of the house ads shows what I recall was the first comic I ever read!

Our Fighting Forces 113

Story by Howard Liss
Art by Jack Abel

"Tanks Are More Than Steel"
Story by Howard Liss
Art by Jack Sparling

Jack: Once again, the Hellcats are sent behind enemy lines, this time to blow up a Nazi factory where a new secret weapon is being made. The initial plan, which involves swimming through pipes to get inside the factory, fails when an alarm is tripped and Nazi gunmen open fire. The backup plan, to destroy a nearby dam and flood the factory, goes more smoothly. Now the fun begins as the Hellcats will stay behind enemy lines for the duration of the war. Can they survive?

It doesn't seem fair to have to compare these Hellcats stories to the work of Joe Kubert and Russ Heath, who draw between them the other four issues we read this time around. The art is Abel at his worst and the stories all seem the same. At least we don't have any offensive Asian stereotypes.

Is this physically possible?

The soldier's face on
the left expresses our
opinion of this story
("Tanks Are More Than
Peter: Howard Liss introduces an interesting concept, one that might actually make for good reading--someday, but not this issue. The concept of the Hellcats staying behind enemy lines and living off the fat of the land can't help but inject some pizazz but this issue's action is just more of the same. The art is bad Jack Abel (with a lot of panels showing a big fist and a Nazi head flung back at the reader) and the dialogue is atrocious (in particular, Brute's faux-New Yawk accent). I sure miss Pooch.

Jack: Two new tanks roll off the assembly line and are itching for combat; they refer to themselves as Hot Shot and Tin Can. They see action in the North African desert and are ordered to hold a pass near an oasis. Damaged in battle, they make a last stand until their crews decide to scavenge parts from one to get the other moving. Tin Can and its wounded crew are left to fight to the death as Hot Shot rolls off to fight another day. The sentient tanks are awful and Sparling's art is worse. It's hard to believe Howard Liss, who could write some very good stories, could also follow some of Bob Kanigher's worst traits.

Peter: Just when you think it can't get worse, Howard reaches back into the ol' Kanigher bag of tricks and pulls out the "thinking weapon" plot. Toss in a typically sketchy, amateurish Jack Sparling art job and you've got a contender for Worst Overall Story of the Year. Yeccccch!

Our Army at War 195

"Dead Town!"
Story by Robert Kanigher
Art by Joe Kubert

"A Promise to Joe!"
(Reprinted from G.I. Combat #97, January 1963)

"Nobody's Friend!"
Story by Howard Liss
Art by Frank Springer

Jack: Sgt. Rock is back with the boys of Unit 3 in occupied France. Henri, one of the boys, is convinced that his pretty cousin Mignon will keep her appointment to be married that day in a country village, but when Rock and the lads get there they find it to be a "Dead Town!" with Nazis hiding in the remnants of the buildings that remain. After defeating the enemy fighters, Rock and Unit 3 locate the wedding party, hiding behind a waterfall in the nearby woods. But wait--the groom was among the young men from the village taken by the Nazis for slave labor! Rock and Unit 3 intercept the Nazi trucks transporting the laborers and, after a quick fight, the groom is rescued and the wedding goes ahead as planned.

"Dead Town!"
This pose recalls the very first Sgt. Rock story,
as he stands in the middle of the road like a wall.
Last issue, it made sense that Rock was dropped behind enemy lines to work with Unit 3 on a specific mission. This time, he just happens to be hanging out with Unit 3, wandering around occupied France. It can't be a continued story from last issue, because we went from snow to nice weather, and Rock said goodbye at the end of the previous adventure. Also, Kanigher wrote this one and Kubert wrote the last one. Perhaps they just liked the idea of Unit 3 and decided they didn't need to explain.

Peter: Though nowhere near as good as last issue's Sgt. Rock/Unit 3 team-up, "Dead Town!" is enjoyable enough, but I'm wondering what the thought process was behind these "Rock and the Little Rocks" installments. "Dead Town!" is certainly lightweight material (Rock and the boys saving a groom and getting him back to the altar before the vows are spoken is about as lightweight as an enlisted mule) and ignores (for the most part) the gritty "War is Hell" message we've come to count on from Bob and Joe. The Unit 3 lads will take a little time off, though, and next issue we'll see one of the most celebrated Rock stories of all time.

"Nobody's Friend!"
Jack: When new recruit Rick Blair arrives in Europe to fight in WWII, he tries to make friends with everybody, but gruff Sgt. Yablecki doesn't have time to be his buddy. Rick's gun jams during a fight and his sergeant is killed; Rick soon becomes jaded and no longer looks to make friends with his fellow soldiers, who are likely to die on him. Promoted to sergeant, he is as gruff as Yablecki until the war ends, when he suddenly reverts to his old, friendly self. It's unusual that the story is better than the art in a DC War comic, but this is one of those times. Blair's puppy dog-like efforts to make friends are ground down over time through bitter experience, but Frank Springer's art just can't keep up with the changing emotions in Liss's script, and the last page is particularly unfortunate.

Peter: I didn't like this one at all, script or art (Springer and Starling are just as bad here as they were over at the DC mystery comics). Liss is getting way too comfortable with the catch phrases that added to Hank Chapman's eventual downfall.

Next Week
We welcome the New Kid on the EC Block!

Saturday, March 18, 2017

The Caroline Munro Archive: Ace, September 1970

by John Scoleri

Welcome to the latest installment of this semi-regular feature on bare•bones in which I share rarities from my Caroline Munro collection. This time out I'm pleased to offer up a very rare article that appeared in Ace: The Magazine For Men of Distinction. This recent acquisition was the first time I had seen any of these photos, and this may very well be their first appearance online.

Vol. 12 No. 6
September, 1970 

Chastity Belts May Put An End To The Women's Liberation Movement

A Medieval Novelty is Getting A 20th Century Revival
Or—how are you going to stay in business once the door is locked?

Chastity belts, like women used to wear in the 17th century, are getting some sort of fashion revival in England (where the women's lib movement hasn't reached the same frenetic peaks as in the U.S.A.).

Shown on these pages are photos of British actress Carolyn Monro (sic), modeling this modern knock-off of female restraint. And not too incidentally, this check on a woman's freedom was designed by a woman. There must be a moral in that somewhere. The designer, Mrs. Anne Huguessen, an antique shop owner (now that ought to tell you something), claims that she's sold over 1,200 chastity belts.

Now, there's no predicting how far this fad will go. One would think that a free-loving, free-spirited chick isn't going to take being locked in-laying down. Although, after having taken a good hard look at some of the birds in the women's lib. movement, the belt may not be a bad idea—not for their protection, but for the guys'.


But as for you Carolyn (sic), tell us it isn't so!

According to Carolyn's (sic) enterprising publicity men, it is said she likes wearing this uncomfortable device. It is claimed she has given the key to her fiance, who lives in New York. But somewhere, we are told, on reliable authority, there's a duplicate key. 

As you can seen, the belt can be worn stylishly, simply, for fashion or out of necessity (?)

It's difficult to believe the whole idea isn't just a put-on—no pun intended! The idea of anyone taking seriously the idea that Carolyn (sic), or any reasonable substitute, would find her freedom behind a lock and key is totally ridiculous. 

Anyway, there are no bad side effects, and no sign reading that 'Chastity belts may be dangerous to your health.' But, is that living!!!

Stay tuned for more rarities from my Caroline Munro Archive!

Thursday, March 16, 2017

The Hitchcock Project-James Bridges Part Six: The Cadaver [9.8]

by Jack Seabrook

The title card for "The Cadaver" states that James Bridges wrote the teleplay based on a story by Robert Arthur. The TV show was scheduled to air on CBS on Friday, November 22, 1963, as the first episode written by Bridges to be broadcast in the second season of The Alfred Hitchcock Hour, but the assassination of President Kennedy earlier that day meant that all scheduled programs were pre-empted and the episode did not air until January 17, 1964.

The short story on which it is based is "The Morning After" by Andrew West, first published in the February 1964 issue of Mike Shayne Mystery Magazine. According to the Catalog of Copyright Entries, Andrew West was a pseudonym for Robert Arthur, who registered the copyright with a publication date of December 1, 1963. It seems likely that Arthur wrote the story and sold it both to the producers of the TV show and the magazine editor at the same time, since the magazine came out right after the TV show was supposed to air.

"The Morning After" begins as Paul Baxter, a student at a Midwestern law school, awakens one June morning in his two-room apartment, having gotten drunk the night before while celebrating graduation. Engaged to beautiful Susan Davenport and set to go to work at her father's Chicago law firm, he worries that his fall off the wagon will hurt his prospects, since he has been sober for an entire year. His friends Bert and Steve tried to stop him, but to no avail, and he recalls little of the night before; he slept till noon and has a lunch date with Susan and her father at 12:30. Getting up from the couch where he spent the night, he observes the figure of a blond woman lying in his bed, but when he tries to wake her he discovers that she is dead and that the marks on her throat show that she was strangled.

Paul assumes he brought her home while he was drunk and killed her in a rage; he thinks of how this will ruin his plans to marry well and become a successful lawyer. Bert and Steve knock at his door but he does not respond, so they leave to catch a plane to the Coast. Deciding that he has no choice but to find a way to dispose of the body, Paul realizes that this will prove difficult, since the campus is crowded with students and their families visiting for graduation. Old Annie, the maid, comes in to clean his rooms but he convinces her to give him more time by telling her that a friend is asleep in his bedroom. Frantic for a way to get rid of the corpse, he spies the dumbwaiter that leads to the basement garage where his car is parked.

Michael Parks as Baxter
After buying himself some time when Susan telephones, Paul stuffs the body into the dumbwaiter and leaves his room, running into his neighbor Ruppert but ignoring the young man who wants to tell him something. Paul rushes to the basement and manages to distract Charlie, the janitor, from bringing down the dumbwaiter by telling him that there is half a bottle of booze waiting for him upstairs. Alone in the basement, Paul removes the body and crosses the room to a door that leads to a series of maintenance tunnels running beneath the campus. He carries the body uneasily through the dimly-lit, cramped tunnels, finally emerging in the basement of the medical school building, where he intends to dispose of it among others in a large vat of preservative, but he is caught by Jensen, another janitor, who tells him that the body is Number 87, a strangling victim just brought in from the County Morgue. Jensen tells him that it's "One of the oldest jokes in medical school--to plant a cadaver on someone!" and Paul collapses to the floor in laughter.

Ten years later, it is 1964 and Paul meets up with Bert and Steve at a school reunion. They admit having planted the corpse in order to try to scare him out of ever taking another drink. Shocked to learn that his best friends were behind the prank, Paul attacks them, "screaming with laughter," before men from an ambulance come and take him back to the asylum--a nurse explains that he has been confined there for ten years and slipped away while on an outing.

Joby Baker as Doc Carroll
"The Morning After" is an effective story of a practical joke gone wrong. Paul is a problem drinker who has turned his life around, but when his carefully constructed new world is threatened, he makes the wrong choice and tries to cover up what he thinks is his own crime. He is caught and his mind snaps when he learns that it was a prank. His efforts to dispose of the body are suspenseful and the ending is a real surprise.

In adapting Robert Arthur's story for television, James Bridges took bits and pieces of the source and used them to craft an outstanding script that changes the focus of the original and expands it, completely reworking the ending and hitting on themes that had been touched upon in prior episodes of the Hitchcock TV series.

The show opens in an anatomy class at a college, where the lecture is disrupted when a cadaver covered by a sheet suddenly sits up and is revealed to be practical joking student Doc Carroll, who corresponds to Bert and Steve in the short story. In the Bridges version, the students are in college rather than law school, and much is made of the fact that Doc, the prankster, is a brilliant student with a love for playing jokes that threatens to endanger his academic career.

In a residence hall late that night, Doc's studying is interrupted by the arrival of Skip Baxter, his roommate (who corresponds to the story's Paul Baxter, who lived alone); Baxter is drunk once again and determined to throw his girlfriend Barbara in the shower. Skip is a chronic drunkard, unlike Paul in the story, who has been on the wagon for a year, and Skip is comfortable with violent acts toward women and men--he holds Barbara under the shower and attacks Doc when he pulls Skip off of her. Right from the start, Skip is shown to be out of control.

Martin Blaine as the professor
The next morning, Doc is up early grading papers and we see that he tied Skip to the bed the night before. Skip, hung over, jokingly asks: "I didn't kill anybody, did I?" The next scene is at the annual Halloween Carnival, where Skip tries to break the record for drinking the most beers in a single sitting. He has barely escaped being expelled from school but the experience did not change his self-destructive behavior. The carnival is held at a tavern, where there is a waitress named Ruby with platinum blond hair. Doc sees a fellow male student in drag wearing a platinum blond wig and has an idea: if Skip is made to think that he killed someone during an alcoholic blackout, the shock might be enough to make him quit drinking. Skip comments that he has a date with Ruby, the waitress, after she gets off from work. Late that night, Doc visits the morgue.

The next morning, Skip awakens with another hangover and sees a woman in his bed; actually, all he sees is the platinum blond hair covering the back of her head. Doc tells him that it is Ruby the waitress and she is dead. As usual, Skip recalls nothing and Doc tells his roommate that he found her that way in Skip's bed that morning, strangled. This marks a significant departure from Robert Arthur's story, where Skip lived alone and discovered the body himself. His friends tried to tell him it was a joke but the message was never delivered. In the TV version, Doc purposely lies to Skip, whose reaction is understandable.

Skip leaves his room with the body in the rug
Doc goes to class, promising to return in a half hour and telling Skip not to look at the corpse; again, Doc goes beyond a simple prank by encouraging Skip to believe that he committed murder. Outside Skip's room, in the hallway, Doc and another student share quiet laughter, demonstrating Doc's cruelty. The TV show begins to follow the story as Skip is left to wait alone in his room with the corpse when Doc is delayed in getting back from class. There are a couple of close calls: first, two students come to do a room check (replacing the Irish maid in the short story) and Skip puts them off; next, a student athlete named Ed Blair enters Skip's room to tell him that his place on the school football team is in jeopardy due to his having missed so many classes due to his drinking. Skip has hidden the body in a closet and we see it reflected in a mirror on the back of the closet door when Ed opens it. Throughout this scene, there is cutting back and forth between the events in and around Skip's room and the class where Doc is helping out; suspense builds as it becomes clear that Doc cannot return in time to help his roommate.

After the class is done, the professor discovers that a corpse is missing from the morgue, and Doc admits having removed the body. This is a departure from the short story, where no such thing occurs. The professor, taking the place of the medical school janitor in the story, tells Doc that this is an old prank and orders him to have the body back in its drawer by the next morning. Meanwhile, Skip has wrapped the body in a rug and carries it out in full view of other students, explaining that he is taking the rug to be cleaned. Gone is the entire episode with the dumbwaiter and gone is the fear Paul feels in the short story about how he will get the corpse out of his room. Skip does not go to the basement and carry the cadaver through the maze of underground tunnels in order to return it to the morgue. Instead, Bridges takes the show in a completely new direction.

Ruth McDeVitt as Mrs. Fister
Doc returns to the residence hall and finds Skip gone. That evening, we see Skip driving through town in his convertible, the rug sticking out of the car's back seat. An old woman wheels her garbage can down her driveway to the curb and loses control of it; it rolls into the street, where Skips car bumps into it. Skip meets Mrs. Fister, a chatty woman who is happy to carry the conversation for both of them, since Skip is nearly silent. She mentions that a new law requires that all garbage be wrapped and Skip is initially agitated by her chatter, but when she offers him a drink he agrees to follow her into her house. "I'm 67 years old," she tells him, "my intentions are honorable." Mrs. Fister is a charming character, which makes what happens later all the more horrible. One should note that Doc's attempt to cure Skip's alcoholism by making him think that he committed murder is a failure, as Skip jumps at the first chance he gets to resume drinking.

Skip pulls his car into Mrs. Fister's garage and we see her late husband's work bench, where she demonstrates a circular saw that he used to use in the evenings to do wood work. She mentions how they used to be able to burn garbage and we can see Skip's mind working on a way to dispose of the body. He barely speaks while she chatters on and on. Mrs. Fister calls her neighbor to remind her to wrap and put out her trash and she remarks that it will all be thrown into a truck and ground to a pulp, meaning that it will disappear before anyone is awake the next morning. The camera zooms in on Skip's face as he continues to formulate his plan. In a nice piece of editing, he begins to turn his head and there is a cut to the tavern, where Ruby's head completes the turn. We are reminded that, while Skip thinks she is dead, she is very much alive. There is more cutting back and forth between the tavern, where Doc has gone to look for Skip, and Mrs. Fister's house, where Skip is drinking his host under the table. Before she passes out, she again mentions her husband's saw and the importance of wrapping the garbage.

Skip prepares to cut up the body
Once Mrs. Fister is asleep, Skip goes out to her garage, where he lifts the rug onto the work bench. There is a cut back to Mrs. Fister, who wakes up, goes over to the couch and lies down to sleep. Back in the garage, Skip selects a large circular saw blade and lays down some newspaper. Back on the couch, Mrs. Fister hears the saw start to whine and smiles, recalling her late husband. The screen goes dark and we are left to imagine what happens next in the garage. Early the next morning, Skip stands by the window watching as the garbage truck collects the evidence of his supposed crime. The job done, he shuts his eyes in relief. Later, Mrs. Fister has fixed them both a big breakfast, but Skip refuses to eat and leaves for class, prompting anger from Mrs. Fister, who comments that "You men are all alike--inconsiderate, vicious, cutting . . ." (a great pun). She says that they "trample on other people's feelings . . . crush the beautiful"; this is great writing, as her verbal attack on men unknowingly reveals the truth about what Skip has done in her garage.

Back at school, Skip is in the locker room, where he watches each piece of his football equipment being cataloged and tossed in a bucket. Very quickly, we realize that this parallels his own acts of the night before, where he took the pieces of the body and tossed them in the garbage can. The last piece of equipment is the helmet, and when it falls on the floor Skip jumps, recalling the cadaver's severed head. Skip refuses to pick up the helmet, even though Ed tells him "It won't bite." What superb work by James Bridges to come up with these scenes, which are completely new to the story!

Doc has taken the place of the cadaver
The conclusion of the show occurs when Skip returns to the tavern and is shocked to see Ruby alive. The ordeal he has been through was for naught and, when Doc comes in and admits the prank, Skip tells him that he never looked at the woman's face, "not even in the garage." He promises to take Doc to see the body and leads him out of the tavern by the hand. The show's final scene is a classic: the anatomy class is in the morgue and, when the drawer is opened where the woman's cadaver should be, it has been replaced by the dead body of Doc, whom Skip has killed. Unlike the story, where Paul returns ten years later and is shown to be insane before he can do any harm, Bridges has Skip kill Doc in revenge for the prank. The professor asks "Why?" and there is a cut to a skeleton hanging on the other side of the room. We hear Skip laughing and see him standing behind a pillar, clearly insane.

"The Cadaver" features an outstanding script that benefits from the usual careful attention to structure by James Bridges. Alf Kjellin's direction is quite good and the performances are entertaining, especially that of Ruth McDeVitt as Mrs. Fister. The theme of cutting up a body recalls other episodes of Alfred Hitchcock Presents such as "Bad Actor," "The Hatbox," and "The Sorcerer's Apprentice."

Jennifer West as Ruby
Robert Arthur (1909-1969), who wrote the short story, was born in the Philippines, where his father was stationed in the Army. He earned an M.A. in Journalism from the University of Michigan before moving to New York City in the early 1930s and becoming a prolific writer of short stories. He later was an editor at Dell and Fawcett, but is best known as the ghost editor of many of the Alfred Hitchcock anthologies. He also wrote a beloved series of books about Alfred Hitchcock and The Three Investigators for young adult readers. In 1959, he moved to Hollywood to write for television and edit screenplays. Before that, he won two Edgar Awards as a writer for radio. Many of his stories were adapted for TV; three episodes of the Hitchcock series were based on his stories and he wrote one additional teleplay himself. There is a website devoted to him here.

Alf Kjellin (1920-1988), the director of "The Cadaver," directed twelve episodes of the Hitchcock series; the last one discussed here was "A Tangled Web."

Starring as Skip Baxter is Michael Parks (1940- ), whose career onscreen began in 1960 and continues today. He starred in the TV series Then Came Bronson (1969-1970) and also had a singing career. He played Jean Renault on Twin Peaks (1990-1991) and later was in both parts of Quentin Tarantino's Kill Bill (2003-2004). There is a website devoted to his career here.

Don Marshall
Ruth McDeVitt (1895-1976) is wonderful as Mrs. Fister. Born Ruth Shoecraft in Michigan, she was on Broadway and radio before her screen career began in 1949. She was active until 1974, with a role in Hitchcock's The Birds (1963), two appearances on The Alfred Hitchcock Hour, and a regular role on Kolchak: The Night Stalker (1974-1975). I have never seen her in a role where she was less than delightful.

Playing the doomed prankster, Doc Carroll, is Joby Baker (1934- ), who was born in Montreal and had a career on TV and in film from 1952 to 1978. He was on the Hitchcock show four times, including "The Right Kind of Medicine" and "Madame Mystery," and later had a career as a painter, as shown by his website here.

The working class sexpot waitress Ruby is played by Jennifer West
(1939- ), who played a similar role (with short shorts) in "The Star Juror." She was on screen from 1958 to 1970 and later wrote a memoir called Thora Ann. She now travels and performs with her husband, as is shown here.

The professor is played by Martin Blaine (1913-1989), who had a career on screen from 1958 to 1973 but not many credits. This was his only appearance on the Hitchcock show.

Rafer Johnson
"The Cadaver" also features two African-American actors of note. Don Marshall (1936-2016) plays Tom Jackson, who comes to check Skip's room. Marshall had a long career on screen, from 1962 to 1992, and was seen in three episodes of The Alfred Hitchcock Hour, including "Isabel." He was also on Star Trek but is best known for his role on Land of the Giants (1968-1970) as one of the marooned crew.

Finally, Rafer Johnson (1935- ) plays Ed Blair, the team manager on Skip's football team. An athlete turned actor, he won an Olympic Gold Medal in 1960 and was one of three men who tackled Sirhan Sirhan after he shot Robert Kennedy in 1968. Johnson was only on the Hitchcock show once but had a career on screen from 1960 to 1989.

"The Cadaver" is not yet available on DVD or online.

Thanks to Peter Enfantino for helping to find this elusive story and for providing a copy to read.

ADDENDUM: After this article posted, a comment from someone identified as "Blakeney" revealed that the short story was based on a radio play from 1949. Robert Arthur and David Kogan were the directors and producers of Murder By Experts, a radio series that premiered June 13, 1949. The first episode, "Summer Heat," is almost identical to the short story titled "The Morning After." The story is credited to Andrew Evans and the radio play is credited to Arthur and Kogan. I think it very likely that Andrew Evans is another pseudonym for Arthur, who later copyrighted the story under his own name.

The radio story differs from the published short story in a few ways. It begins at the ten-year reunion, then mostly occurs in flashback before returning to the reunion at the end. Rather than finding a dead woman in his bed, Paul finds a dead man in his bed, and in the man's chest is Paul's hunting knife. Instead of carrying the body through tunnels, he puts it in the back seat of his car and covers it with a blanket. He has a couple of close calls with a policeman and a gas station attendant before returning and meeting the janitor at the morgue. I have not been able to find any evidence of publication prior to 1949, so it seems likely that Arthur took his old radio play and dusted it off for TV in 1963. The title refers to the heat that Baxter must endure as he drives around with the corpse. Coincidentally, Alfred Hitchcock became the host of Murder By Experts toward the end of its run in 1951.

Many thanks to "Blakeney" for this tip. If you would like to be credited by name, please let me know. Listen to the radio show here.

Arthur, Elizabeth. "Robert Arthur, Jr. Bio." Robert Arthur, Jr. Bio. Web. 05 Mar. 2017.
"The Cadaver." The Alfred Hitchcock Hour. CBS. 17 Jan. 1964. Television.
Catalogue of Copyright Entries. Third Series: 1965: July-December. Vol. 19. Washington, DC: Copyright Office, Library of Congress, 1968. Print.
"The FictionMags Index." The FictionMags Index. Web. 05 Mar. 2017.
Grams, Martin, and Patrik Wikstrom. The Alfred Hitchcock Presents Companion. Churchville, MD: OTR Pub., 2001. Print.
IMDb. Web. 05 Mar. 2017.
West, Andrew. "The Morning After." Mike Shayne Mystery Magazine February (1964): 31-50. Print.
Wikipedia. Wikimedia Foundation. Web. 05 Mar. 2017.

In two weeks: "Murder Case," starring John Cassavetes and Gena Rowlands!