Charlie Hill is mesmerized by a strange jar at a carnival sideshow. He buys it from the owner, but his wife Thedy Sue is frightened and wants it thrown out. The townspeople come from miles to see it ...
Series of unrelated short stories covering elements of crime, horror, drama, and comedy about people of different backgrounds committing murders, suicides, thefts, and other sorts of crime caused by certain motivations, perceived or not.
The show consisted of forty episodes, half were live and half were on film. The shows, often involving murder, were designed to confuse and mystify the audience and dealt with their fears ... See full summary »
A continuation of the dramatic anthology series hosted by the Master of Suspense and Mystery. When the series Alfred Hitchcock Presents was revived in 1962, the name was changed, but the format stayed fairly true to the original. In each episode, viewers would be strung along with the story, never knowing which way the final twist would turn.Written by
Jean-Marc Rocher <email@example.com>
Walt Disney refused to allow Alfred Hitchcock to film at Disneyland in the early 1960s, because Hitchcock had made "that disgusting movie, Psycho (1960)." Hitchcock's intended project is unidentified at this time, but it may have been for an episode of his television series. See more »
Alfred Hitchcock was famous for his highly amusing opening and closing narratives. However, for each episode more than one opening and closing were filmed, as Hitchcock's famous jibes at the sponsors were unappreciated in the European markets. So for each episode, Hitchcock filmed two openings and two closings: one would be for American viewings (jokes about sponsors) and the second would be for European showings (jokes about Americans and not about sponsors). For most of the third season, Hitchcock even did the opening and closings in French and German, as he spoke both languages fluently. See more »
Alfred Hitchock Presents ran half-hour shows, which stuck strictly to whodunits. The Alfred Hitchock hour tended more toward one-hour dramas with twist endings. As usual, each episode boasted a pageant of stars. Stories were not as tightly knit. Some episodes were laconic. This was television's last attempt at the Playhouse 90s, Alcoa/Goodyear TV Playhouses, the Loretta Young Shows and Kraft Mystery Theatres. It was the last of an age of television, which story lines lasted an entire hour, rather than being broken up into various story lines and woven subplots. Here were the the last of the great playwrights, in their eleventh hour, just before Fred Silverman turned television into tedium.
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