In memoriam to a wonderful actor, Cliff Robertson, who passed away yesterday, I watched a terrific little Twilight Zone episode featuring him as a nineteenth century pioneer man who has been leading a wagon train through hostile territory facing the elements and Apache, his wife tired, son running fever, and the company of families with him absent hope or belief that California, a place where such a journey offered the possibility of prosperity and purpose, was worth their sacrifice (leaving Ohio), the effort and time they have spent fighting hunger, heat, cold, and illness.
Christian Horn (Robertson) tells his wife and men (one of which is John Astin, Gomez Addams of "The Addams Family" fame) that he will go over a rim not too far ahead and see what lies in front of them before the company decides it might be wise to turn back and just give up. What Horn finds is beyond his comprehension: power lines and a highway, including a giant monster that nearly hits him (a truck). He treks a mile or so, finds a diner, its owner, Joe (John Crawford) and Joe's wife, Mary Lou (Evans Evans). Horn learns from an equally perplexed Joe (taken aback by Horn's stovepipe hat, unusually "new" relic of a rifle, and serious look of bewilderment) that he is in Arizona, outside of Phoenix. Invited in to the diner, Horn is stunned by what he sees. When Horn discovers that he is in the year 1961, instead of 1847, you can imagine his surprise.
A pure performance from Robertson, who I think just nailed the role to perfection, as he conveys a man totally shell-shocked by what he sees in this new time. It's authentic because we would carry the same expression if facing similar circumstances. Horn sees these "inventions" that are so far advanced from the time he comes from, the experience would elicit shock and awe. All Horn can do is look at a jukebox, the inside of a diner, the instant appearance of a glass of cool water with mouth agape and in total silence. I think the characters of Joe and Mary Lou are just as important because they have a hard time conversing with such an *oddball* (you see, to them he is strange because of his outfit and puzzled demeanor), needing to call the local doc (Edward Platt, Chief of "Get Smart" fame) to help them out. Doc chats with Horn and informs Joe and Mary Lou that the patient's details of his pioneer travels, family, and struggles seem so intricate that such a delusion (as they three believe, because the preposterous notion that he really is a man from 1847 is just too hard to accept) would be incredible to create. When Doc calls the local authorities, Horn flees, running hard and fast to get back to his family. Will Horn be able to return to his family?
The inclusion of penicillin and how an encyclopedia describes Horn's son, the time paradox theme, always used so effectively on the Twilight Zone, once again is utilized to describe how a man—somehow taken from his time and transplanted to the future—can be put somewhere else seemingly for a reason, a purpose he may soon learn later. I just love the idea of the fish-out-of-water formula, regarding time travel and the way others within the "future"(normally in the 60s when the Twilight Zone was current)respond (and vice versa) to their *visitor*. That awkwardness that derives from such an impossible series of events has a special place in the Twilight Zone. Rest in everlasting peace, Cliff Robertson.
26 out of 27 found this helpful.
Was this review helpful? Sign in to vote.
Permalink