A young gold digger gets hooked up with a mob boss. He gets killed in an attempt to take over his territory and she starts running. She gets off in a little Ohio town, meets a nice guy who sorts mail at the railroad station, and moves into a boarding house. Since she witnessed the shooting, the bad guys are after her. She is a frightened rabbit, afraid to face up to anything. She is incredibly unappealing. The nice guy falls for her but can't figure her out. If, at some point, she could have leveled with him, the plot would have stopped. I kept thinking, "I hope they shoot her and put her out of her misery!" There is some suspense here, but it just doesn't work very well. Of course, there is a time to pay the piper. One thing I wondered. How did she pay for the things she needed while on the lam. Oh well, no need to nitpick.
9 Reviews
"I was better off when I was just a pony in the chorus line."
classicsoncall24 September 2012
Warning: Spoilers
I guess when TV was in it's early days one could watch just about anything. This entry in the Westinghouse Studio One series isn't too bad, but it's certainly dated by today's standards. Peggy Ann Garner stars as a gangster's wife on the run after she witnesses his murder, winding up in a small town in Ohio. Remember how Fifties TV shows always had separate beds for the husband and wife, and you couldn't have words like 'pregnant' in the script? This entry surprised me when the rooming house lady (Anne Seymour) thought Honey Weber wound up in town to have a little problem taken care of, if you know what I mean.
I've seen a handful of these Studio One productions and they're fairly adequate but nothing I'd really go out of my way for. Their value today serve as a reminder of the early days of TV and how far we've come over the past six decades. The kicker for me actually is catching the old Westinghouse product commercials shown during the intermissions, generally hosted by Betty Furness who went on to become New York City's Director of Consumer Affairs for quite a few years.
This episode featured three household appliances that every family would want to own at some point. The 1953 Westinghouse Dryer as demonstrated here could dry an orlon coat 143 times faster than drip dry - can you imagine that! You also had the Westinghouse Electric Roaster Oven for $42.95, and if you're in a mood for indoor tanning, the Westinghouse Sun Lamp for $8.50; throw in an extra thirty five cents for the clip-on holder. That sun lamp looked positively scary.
I've seen a handful of these Studio One productions and they're fairly adequate but nothing I'd really go out of my way for. Their value today serve as a reminder of the early days of TV and how far we've come over the past six decades. The kicker for me actually is catching the old Westinghouse product commercials shown during the intermissions, generally hosted by Betty Furness who went on to become New York City's Director of Consumer Affairs for quite a few years.
This episode featured three household appliances that every family would want to own at some point. The 1953 Westinghouse Dryer as demonstrated here could dry an orlon coat 143 times faster than drip dry - can you imagine that! You also had the Westinghouse Electric Roaster Oven for $42.95, and if you're in a mood for indoor tanning, the Westinghouse Sun Lamp for $8.50; throw in an extra thirty five cents for the clip-on holder. That sun lamp looked positively scary.
Fascinating historical document
gridoon202410 January 2013
Warning: Spoilers
This is one of the earliest television programs I have ever watched, and it holds an undeniable fascination just for that: it is EXTREMELY cheap, but its cheapness actually becomes a tool of artistic experimentation - you can observe how it tries to tell an admittedly simple story through very limited means. Peggy Ann Garner, whom I remember as a very talented child star from the obscure "Home, Sweet Homicide", pitches her performance too high here, in my opinion; she comes across as sympathetic but hysterical at times. More natural is Jean Carson, as her best friend. The most enjoyable parts of the program are actually the vintage commercials of the time, hosted by a perky Betty Furness, which are included in the DVD presentation. **1/2 out of 4.
A Subtext
dougdoepke25 June 2018
No need to recap the plot that others have done better than I. There's something of a subtext to this early TV entry. In her fashionable mink coat, Honey (Garner) is not just escaping from murderous gangsters, she's in the process of learning a new set of values from the glamorous ones she's used to. That's not apparent to her right away when she drops off the train into a small Ohio town and meets station attendant Alan (Overton). She's attracted somewhat to his gallant attention to her plight, but there he is in workman's clothes, not the spiffy suits and materialistic values she's used to. Thus, she remains a bit standoffish despite his masculine appeal. But now she's in a different environment from fast-paced, glamorous city life. So the question is whether she can see through the veil of mink coats to the deeper community values of the small town she's suddenly dropped into. Wisely, the script underplays this value conflict, but it's behind much of Honey's internal dilemma.
Garner gives the emotionally tormented Honey her all, and she certainly doesn't stint. But at just 19, she comes across as rather youthful for what's really a more mature role. Good to see such solid stalwarts of the time as Overton, Webber, and Seymour picking up well-deserved paydays. Plus, director Nickell keeps his agile camera moving inside some of the dingiest sets on record, the likely result of budget constraints. All in all, the 60-minutes shows why early TV showcases like Studio One still merit a look-see
Garner gives the emotionally tormented Honey her all, and she certainly doesn't stint. But at just 19, she comes across as rather youthful for what's really a more mature role. Good to see such solid stalwarts of the time as Overton, Webber, and Seymour picking up well-deserved paydays. Plus, director Nickell keeps his agile camera moving inside some of the dingiest sets on record, the likely result of budget constraints. All in all, the 60-minutes shows why early TV showcases like Studio One still merit a look-see
A Young Woman And A Mobster
Rainey-Dawn15 May 2016
A 21 year old gold digger gets herself hooked up with a mobster boss. "I'm tired of men talking in the corners" she tells him in the beginning and he quickly reminds her that she got what she wanted - money. The gang of mobsters are tired of their boss they want to get rid of him. A bit later she witnesses a murder, gets scared and runs - goes on the lam. She takes a boarding room and meets a nice guy who will help her if she will only open up to him. Will our gold digger escape from the mob?
This one I found LAME! The 21 year old is very, very whiny. Yes overly emotional and irritating to watch. And she is our "star" of the show - which makes it worse.
1/10
This one I found LAME! The 21 year old is very, very whiny. Yes overly emotional and irritating to watch. And she is our "star" of the show - which makes it worse.
1/10
Excellent bit of early television.
gordonl5624 December 2010
Warning: Spoilers
This is a live 1952 episode of the long running anthology series, WESTINGHOUSE "STUDIO ONE".
The episode stars Peggy Ann Garner, Robert Webber, Bruce Gordon, Jean Carson, Frank Overton and Victor Thorley. Garner is an ex-showgirl who is now married to mid level mob boss, Bruce Gordon. She has everything she always thought she wanted, money, jewels, furs and a big car. Everything that is, except freedom. Gordon won't let her out of his sight unless she has an escort of one of his gunsels. She moans, "I was better off when I was just a pony in the chorus line." Tonight's "guard", is smooth talking rat in a good suit, Robert Webber. The two go out to see a club singer friend of Garner's, Jean Carson. They catch Carson's act and then Garner joins Carson for a chat. While the girls are talking, Webber is approached by club owner, Victor Thorley. Thorley is a fast rising mobster who has a proposition for Webber. Thorley intends to bump off Gordon and take over his rackets. Would Webber like a job running the numbers and bookie end of the business? Webber agrees and tells Thorley that Gordon is already on his way to collect wife Garner. Gordon shows and drags Garner out the back to his car. Waiting in the shadows with drawn pistols are Thorley and Webber. They step out and quickly give Gordon's body four large unneeded holes. Garner manages to escape and heads for the train station. She grabs the first train out and gets off at the first hick town she passes through. There she gets a place in a rooming house and lays low. Frank Overton plays the local train station manager who falls for Garner. The two soon start seeing each other with Garner saying nothing of her past. Meanwhile, back at the ranch, err, nightclub, Thorley and Webber are less than amused with the loose end Garner presents. They send men out to check all the stops along the rail line. If she got off someone must have seen her. The search hits pay dirt and Thorley and Webber soon come a calling. They try to grab up Garner at the rooming house but she escapes out a window. She makes a dash for the rail station and Overton. Anne Seymour, the rooming house owner, knows something is amiss and calls the local law. Thorley and Webber trail Garner to the station. Guns are produced and shots exchanged. Then a first rate dust-up between Overton and Webber is needed before the issue is settled. The Sheriff then arrives and hauls away Thorley and Webber.
Not bad at all if I do say so myself.
Peggy Ann Garner had bits in DASIY KENYON, THE BLACK WIDOW and SIGN OF THE RAM. Overton had bits is THE LAST MILE, MYSTERY STREET, NO WAY OUT and BOOMERANG. Webber was 12 ANGRY MEN and HIGHWAY 301.
The director was TV vet Paul Nickell. Nickell helmed hundreds of episodes of various series including 139 "STUDIO ONE" episodes.
The episode stars Peggy Ann Garner, Robert Webber, Bruce Gordon, Jean Carson, Frank Overton and Victor Thorley. Garner is an ex-showgirl who is now married to mid level mob boss, Bruce Gordon. She has everything she always thought she wanted, money, jewels, furs and a big car. Everything that is, except freedom. Gordon won't let her out of his sight unless she has an escort of one of his gunsels. She moans, "I was better off when I was just a pony in the chorus line." Tonight's "guard", is smooth talking rat in a good suit, Robert Webber. The two go out to see a club singer friend of Garner's, Jean Carson. They catch Carson's act and then Garner joins Carson for a chat. While the girls are talking, Webber is approached by club owner, Victor Thorley. Thorley is a fast rising mobster who has a proposition for Webber. Thorley intends to bump off Gordon and take over his rackets. Would Webber like a job running the numbers and bookie end of the business? Webber agrees and tells Thorley that Gordon is already on his way to collect wife Garner. Gordon shows and drags Garner out the back to his car. Waiting in the shadows with drawn pistols are Thorley and Webber. They step out and quickly give Gordon's body four large unneeded holes. Garner manages to escape and heads for the train station. She grabs the first train out and gets off at the first hick town she passes through. There she gets a place in a rooming house and lays low. Frank Overton plays the local train station manager who falls for Garner. The two soon start seeing each other with Garner saying nothing of her past. Meanwhile, back at the ranch, err, nightclub, Thorley and Webber are less than amused with the loose end Garner presents. They send men out to check all the stops along the rail line. If she got off someone must have seen her. The search hits pay dirt and Thorley and Webber soon come a calling. They try to grab up Garner at the rooming house but she escapes out a window. She makes a dash for the rail station and Overton. Anne Seymour, the rooming house owner, knows something is amiss and calls the local law. Thorley and Webber trail Garner to the station. Guns are produced and shots exchanged. Then a first rate dust-up between Overton and Webber is needed before the issue is settled. The Sheriff then arrives and hauls away Thorley and Webber.
Not bad at all if I do say so myself.
Peggy Ann Garner had bits in DASIY KENYON, THE BLACK WIDOW and SIGN OF THE RAM. Overton had bits is THE LAST MILE, MYSTERY STREET, NO WAY OUT and BOOMERANG. Webber was 12 ANGRY MEN and HIGHWAY 301.
The director was TV vet Paul Nickell. Nickell helmed hundreds of episodes of various series including 139 "STUDIO ONE" episodes.
Escape from the planet of the underworld.
mark.waltz4 August 2016
Warning: Spoilers
A mob hit leaves young Peggy Ann Garnet a widow, and the only way out other than in a pine box is going into hiding. Garner chooses a small whistle stop as her place of residence, falling in love with the young station worker and moving into Anne Seymour's boarding house. She is desperate to escape her past life which meant marriage to a man she obviously didn't love. Former child star Garner never did find an A list career, but she makes a good heroine in this "T.V. Noir" that depends on a lot of dark shadows to move its story forward. Frank Overtun is the handsome hero with Jean Carson particularly memorable as a hard boiled night club singer (complete with raspy voice) who risks everything for Garner. A young Robert Webber is one of the thugs. Pretty good for early anthology T.V.
HISTORICALLY INTERESTING
cbmd-3735228 December 2021
Two things would have been apparent to 1952 audience that the current viewers may not be aware, and they both affect understanding this episode.
Alan(Frank Overton) is at least 30, and the original viewers would have recognized him as a veteran of WWII, living the veterans dream of living in his hometown among friends and family, not regimented in a regular job, but doing what he wanted when he wanted, and looking for a nice girl to marry and start a family. He has had all the excitement he wants in his life.
But the girl (Peggy Ann Garner) is much younger, only a child during the war, married for the exciting life and money of her gangster husband. Now being part of that dangerous lifestyle threatens her as much as the war threatened Alan. Her character is really irritating, because she has not grown up yet, but she starts to by the end of the episode.
Ironically, those 2 main actors situations were completely opposite the roles they played. Peggy Ann Garner was known internationally for her childhood movie roles in Jane Eyre( Elizabeth Taylor had an uncredited bit part), and A Tree Grows in Brooklyn, for which she won an AcademyAward.
Frank Overton may have been known locally(NYC) from his performances on Broadway and summer stock, but he had had only 3 bit parts in movies, and this was only his fifth TV role, and the biggest. From this point on, his career kept growing, and hers stagnated.
Alan(Frank Overton) is at least 30, and the original viewers would have recognized him as a veteran of WWII, living the veterans dream of living in his hometown among friends and family, not regimented in a regular job, but doing what he wanted when he wanted, and looking for a nice girl to marry and start a family. He has had all the excitement he wants in his life.
But the girl (Peggy Ann Garner) is much younger, only a child during the war, married for the exciting life and money of her gangster husband. Now being part of that dangerous lifestyle threatens her as much as the war threatened Alan. Her character is really irritating, because she has not grown up yet, but she starts to by the end of the episode.
Ironically, those 2 main actors situations were completely opposite the roles they played. Peggy Ann Garner was known internationally for her childhood movie roles in Jane Eyre( Elizabeth Taylor had an uncredited bit part), and A Tree Grows in Brooklyn, for which she won an AcademyAward.
Frank Overton may have been known locally(NYC) from his performances on Broadway and summer stock, but he had had only 3 bit parts in movies, and this was only his fifth TV role, and the biggest. From this point on, his career kept growing, and hers stagnated.
I liked this one....
planktonrules1 May 2012
Warning: Spoilers
This episode of "Studio One" is the only writing credit on IMDb for Violet Wolfson. It's a shame, as I enjoyed the story quite a bit--even if many of the story elements are rather familiar. I was surprised to see that the show stars Peggy Ann Garner--who was the little girl from "A Tree Grows in Brooklyn" (for which she received a special Oscar). Here, she is 19 and taking on some tough material. One reviewer felt she was a bit too emotional in the show (she does cry A LOT and get very emotional), but I felt considering the story, it wasn't out of line. The show also starred Robert Webber (a very capable and versatile actor) and Frank Overton, who, unfortunately, died at age 49 from a heart attack. You might recognize Overton from an episode of the original "Star Trek" series--then again, maybe you won't.
The show begins in the big city--you assume it's either New York or Chicago. A young lady (Garner) comes to a nightclub to see an old friend--an old friend who had warned her against falling in love with a gangster. Now, Garner realizes her mistake--and the exciting life of a mobster's life isn't all it's cracked up to be. But it gets a lot worse--her husband is murdered and she witnesses it. Not surprisingly, she runs--and the gunman gives chase. He and his new boss don't want any loose ends. She eventually ends up in a small town in Ohio, and slowly she begins to relax. She also begins dating Overton. However, she can't run from her past forever--especially since the killer isn't about to stop looking.
Considering this was done live on television, I was impressed. It had a lot of action and the acting was quite nice. All in all, although this is not one of the famous episodes of the series, it proves that live teleplays were an exciting part of the early days of TV--something we probably will never experience again. It's a shame, as some of the teleplays went on to be sensational films for Hollywood--some of the best of the 1950s and 60s--such as "Marty", "Requiem for a Heavyweight", "Days of Wine and Roses" and "12 Angry Men". I wouldn't put "Plan for Escape" in their league...but it is reasonably close.
The show begins in the big city--you assume it's either New York or Chicago. A young lady (Garner) comes to a nightclub to see an old friend--an old friend who had warned her against falling in love with a gangster. Now, Garner realizes her mistake--and the exciting life of a mobster's life isn't all it's cracked up to be. But it gets a lot worse--her husband is murdered and she witnesses it. Not surprisingly, she runs--and the gunman gives chase. He and his new boss don't want any loose ends. She eventually ends up in a small town in Ohio, and slowly she begins to relax. She also begins dating Overton. However, she can't run from her past forever--especially since the killer isn't about to stop looking.
Considering this was done live on television, I was impressed. It had a lot of action and the acting was quite nice. All in all, although this is not one of the famous episodes of the series, it proves that live teleplays were an exciting part of the early days of TV--something we probably will never experience again. It's a shame, as some of the teleplays went on to be sensational films for Hollywood--some of the best of the 1950s and 60s--such as "Marty", "Requiem for a Heavyweight", "Days of Wine and Roses" and "12 Angry Men". I wouldn't put "Plan for Escape" in their league...but it is reasonably close.
See also
Awards | FAQ | User Ratings | External Reviews | Metacritic Reviews
