Rod Serling launched his second memorable television series after the legendary success of 'The Twilight Zone' for several seasons. Here, he wrote the script and hosts, introducing a trio of stories to be told over the course of the next 99 minutes. He deals with themes such as guilt and just desserts, always good for satisfying entertainment when it comes to the genre. The quality is generally very good, with no weak segments to speak of, and a good pace, not to mention some VERY fine performances. There are some superb twists in each segment; particularly delicious is the double-twist ending of the first tale.
And the first tale to be told is 'The Cemetery'. Roddy McDowall is supremely slimy as the greedy, grasping nephew of a sickly old man. He hastens the old mans' demise in order to inherit his home and wealth. But a particular painting in the household appears to continually change, driving McDowall just about insane with its implications.
'Eyes' marked the directorial debut of a very young Steven Spielberg (only 23 or so at the time). It stars Joan Crawford as a miserly blind woman who pays a hard-luck schmuck ('Happy Days' dad Tom Bosley) to part with his eyes so that she may glimpse the world for the first time, even if only for a brief period. As can be expected, there's an unexpected circumstance that crops up to prevent her experience from being a happy one.
Finally, there is 'The Escape Route', starring Richard Kiley as a former Nazi war criminal hiding out in South America. He becomes fascinated with the painting of a fisherman at the local museum, reminding him of when he wanted nothing more in life.
As one can see, paintings play a major role in this three-part narrative which serves a generous amount of suspense and chills, not to mention a little bit of humour. In addition to Spielberg, the other directors are Boris Sagal ("The Omega Man") and Barry Shear ("Across 110th Street"), who helmed 'The Cemetery' and 'The Escape Route' respectively. All three make their journeys into the macabre visually effective, especially Spielberg and Shear.
The cast couldn't be better. McDowall, Crawford, and Kiley are superb. In fact, Kiley *almost* makes you sympathize with his creep at times. They are extremely well supported by Ossie Davis as a dignified but indignant butler, Barry Sullivan as a doctor & surgeon, Sam Jaffe (just wonderful) as a Holocaust survivor, and George Murdock as an agent on Kileys' trail.
Excellent music by Billy Goldenberg is the icing on this cake; 'Night Gallery' would go on to last for three seasons. Future director John Badham ("Saturday Night Fever", "War Games", etc.) was the associate producer.
Eight out of 10.
And the first tale to be told is 'The Cemetery'. Roddy McDowall is supremely slimy as the greedy, grasping nephew of a sickly old man. He hastens the old mans' demise in order to inherit his home and wealth. But a particular painting in the household appears to continually change, driving McDowall just about insane with its implications.
'Eyes' marked the directorial debut of a very young Steven Spielberg (only 23 or so at the time). It stars Joan Crawford as a miserly blind woman who pays a hard-luck schmuck ('Happy Days' dad Tom Bosley) to part with his eyes so that she may glimpse the world for the first time, even if only for a brief period. As can be expected, there's an unexpected circumstance that crops up to prevent her experience from being a happy one.
Finally, there is 'The Escape Route', starring Richard Kiley as a former Nazi war criminal hiding out in South America. He becomes fascinated with the painting of a fisherman at the local museum, reminding him of when he wanted nothing more in life.
As one can see, paintings play a major role in this three-part narrative which serves a generous amount of suspense and chills, not to mention a little bit of humour. In addition to Spielberg, the other directors are Boris Sagal ("The Omega Man") and Barry Shear ("Across 110th Street"), who helmed 'The Cemetery' and 'The Escape Route' respectively. All three make their journeys into the macabre visually effective, especially Spielberg and Shear.
The cast couldn't be better. McDowall, Crawford, and Kiley are superb. In fact, Kiley *almost* makes you sympathize with his creep at times. They are extremely well supported by Ossie Davis as a dignified but indignant butler, Barry Sullivan as a doctor & surgeon, Sam Jaffe (just wonderful) as a Holocaust survivor, and George Murdock as an agent on Kileys' trail.
Excellent music by Billy Goldenberg is the icing on this cake; 'Night Gallery' would go on to last for three seasons. Future director John Badham ("Saturday Night Fever", "War Games", etc.) was the associate producer.
Eight out of 10.