Despite not boasting a particularly favourable reputation among TWILIGHT ZONE episodes, "Escape Clause" is a tremendously enjoyable episode in my humble opinion. It ranks high among the episodes thus far in terms of amusement factor and the episode, is by large, a dark comedy about the nature of life and its mortal curse. It helps having two rather memorable and charismatic lead performances in David Wayne as the hypochondriac protagonist and Thomas Gomez as the Devil who acquires the former's soul in exchange for immortality.
In many ways, "Escape Clause" reminds me of the show's second episode, "One for the Angels" which was a light-hearted tale about an aging man's confrontation with Death and his gradual acceptance of his life reaching its expiration. "Escape Clause" however, is much darker, and this is evident in the tonal shift from pure comedy to dark comedy. The episode begins with the bedridden, but perfectly healthy protagonist, paranoid about his health and his constant agitating of his loyal and receptive wife is amusing to watch. His encounter with the Devil is amusing and when the deal is made that he will achieve immortality in exchange for his soul, the episode takes a rapid turn. The protagonist no longer has cause for the paranoia that had previously consumed his every thought. The fear of death and illness is eliminated with this fortuitous offer that had come his way and he now exercises his liberation by performing death defying 'stunts' that ultimately ends with the accidental murder of his wife.
Where that goes with the protagonist landing in prison, only to reveal that his next ambition in his immortal life is to reach the electric chair is another example of the episode's fine sense of dark humour. It was written by Rod Serling, no doubt one of the great minds of the television medium and his script here is very sharp. Even today, near six decades after the episode first aired, it holds up almost perfectly and it is a testament to Serling's unhinged imagination as well as his great control in his writing. No element of the script appears dated and that is quite an accomplishment.
The performances of David Wayne and Thomas Gomez, even if the latter has only a short appearance in this episode, are fantastic and both performances and on-screen chemistry reminded me of "One for the Angels" which paired Ed Wynn and Murray Hamilton even if this particular episode, in my opinion, does not reach the earlier heights.
"Escape Clause" was an immensely satisfying experience for me and watching the episode evolve from a broad comedy to a dark comedy suited the narrative of the episode as one about life and death. An exceptionally well-paced, wonderfully well-acted and superbly written episode, "Escape Clause" is one of my favourites in the few episodes of the show so far.
In many ways, "Escape Clause" reminds me of the show's second episode, "One for the Angels" which was a light-hearted tale about an aging man's confrontation with Death and his gradual acceptance of his life reaching its expiration. "Escape Clause" however, is much darker, and this is evident in the tonal shift from pure comedy to dark comedy. The episode begins with the bedridden, but perfectly healthy protagonist, paranoid about his health and his constant agitating of his loyal and receptive wife is amusing to watch. His encounter with the Devil is amusing and when the deal is made that he will achieve immortality in exchange for his soul, the episode takes a rapid turn. The protagonist no longer has cause for the paranoia that had previously consumed his every thought. The fear of death and illness is eliminated with this fortuitous offer that had come his way and he now exercises his liberation by performing death defying 'stunts' that ultimately ends with the accidental murder of his wife.
Where that goes with the protagonist landing in prison, only to reveal that his next ambition in his immortal life is to reach the electric chair is another example of the episode's fine sense of dark humour. It was written by Rod Serling, no doubt one of the great minds of the television medium and his script here is very sharp. Even today, near six decades after the episode first aired, it holds up almost perfectly and it is a testament to Serling's unhinged imagination as well as his great control in his writing. No element of the script appears dated and that is quite an accomplishment.
The performances of David Wayne and Thomas Gomez, even if the latter has only a short appearance in this episode, are fantastic and both performances and on-screen chemistry reminded me of "One for the Angels" which paired Ed Wynn and Murray Hamilton even if this particular episode, in my opinion, does not reach the earlier heights.
"Escape Clause" was an immensely satisfying experience for me and watching the episode evolve from a broad comedy to a dark comedy suited the narrative of the episode as one about life and death. An exceptionally well-paced, wonderfully well-acted and superbly written episode, "Escape Clause" is one of my favourites in the few episodes of the show so far.