The After Hours (TAH) is one of the more fondly remembered gems that Rod Serling created for his memorable first season of the TZ. In it, he dealt yet again with one of his favorite TZ plot elements---when attempting to understand what appears to be a human representation, how can we tell the difference between what is real and what is not---especially when at the same time we may also be afflicted by a universal fear of the unknown?
In TAH, a customer goes to a department store to embark on a seemingly uneventful shopping visit. The trip becomes increasingly stressful as she senses sights and sounds that appear to defy logic and experience. In particular, why do some of the store mannequins project some sort of a life of their own? And why is this increasingly difficult adventure happening to her? These and other questions are finally resolved by Serling, but only after taking the viewer through a somewhat terrifying journey on the road that separates fantasy and reality.
Producer Buck Houghton signed the beautiful and talented Anne Francis in the leading role of the increasingly disoriented and unsettled customer. In two subordinate but important supporting roles, Elizabeth Allen played the mysterious and somewhat menacing store saleswoman who waited on Francis, and John Conwell acted the part of the bland yet distracting store elevator operator who took Francis "to the ninth floor." Douglas Heyes directed the episode with careful attention to the mood both suggested and implied by all the strange goings on at the store. It is a miniature masterpiece of illusion and resulting suspended disbelief.
As previously mentioned, the store mannequins occupy a significantly essential part of the narrative. This is because at different times, the mannequins are transformed from inanimate to human form---and visa versa. To resolve the logistical challenge of how to successfully pull this off, Serling, Houghton and Heyes had veteran makeup artist WilliamTuttle make facial molds of Francis, Allen and Conwell. From these molds, Tuttle cast duplicate plaster heads painted with lifelike acrylic colors. The finished plaster heads were then attached to mannequin bodies. The total effect was so realistic that it is difficult to distinguish the real from the fake. Much credit for this must also go to both the actors' skill and the inspired direction of Heyes. The enormous set itself became a character in the episode as well, and allowed for many fright-inducing scenes to be developed with creativity and imagination.
A special nod of appreciation must go to James Mullhollin as Armbruster, the department store floor walker. For those of you who remember the veteran comedic actor Franklin Pangborn---Mullhollin could double as Pangborn's "black sheep" brother. Mullhollin steals almost every scene he appears in. Quite a talent!
But in the end, TAH belongs to Anne Francis. She created a startling and compelling "human" character that moved us very much as we suffered with her during what started off as a seemingly routine shopping trip. But then again, nothing is routine in the TZ!
In TAH, a customer goes to a department store to embark on a seemingly uneventful shopping visit. The trip becomes increasingly stressful as she senses sights and sounds that appear to defy logic and experience. In particular, why do some of the store mannequins project some sort of a life of their own? And why is this increasingly difficult adventure happening to her? These and other questions are finally resolved by Serling, but only after taking the viewer through a somewhat terrifying journey on the road that separates fantasy and reality.
Producer Buck Houghton signed the beautiful and talented Anne Francis in the leading role of the increasingly disoriented and unsettled customer. In two subordinate but important supporting roles, Elizabeth Allen played the mysterious and somewhat menacing store saleswoman who waited on Francis, and John Conwell acted the part of the bland yet distracting store elevator operator who took Francis "to the ninth floor." Douglas Heyes directed the episode with careful attention to the mood both suggested and implied by all the strange goings on at the store. It is a miniature masterpiece of illusion and resulting suspended disbelief.
As previously mentioned, the store mannequins occupy a significantly essential part of the narrative. This is because at different times, the mannequins are transformed from inanimate to human form---and visa versa. To resolve the logistical challenge of how to successfully pull this off, Serling, Houghton and Heyes had veteran makeup artist WilliamTuttle make facial molds of Francis, Allen and Conwell. From these molds, Tuttle cast duplicate plaster heads painted with lifelike acrylic colors. The finished plaster heads were then attached to mannequin bodies. The total effect was so realistic that it is difficult to distinguish the real from the fake. Much credit for this must also go to both the actors' skill and the inspired direction of Heyes. The enormous set itself became a character in the episode as well, and allowed for many fright-inducing scenes to be developed with creativity and imagination.
A special nod of appreciation must go to James Mullhollin as Armbruster, the department store floor walker. For those of you who remember the veteran comedic actor Franklin Pangborn---Mullhollin could double as Pangborn's "black sheep" brother. Mullhollin steals almost every scene he appears in. Quite a talent!
But in the end, TAH belongs to Anne Francis. She created a startling and compelling "human" character that moved us very much as we suffered with her during what started off as a seemingly routine shopping trip. But then again, nothing is routine in the TZ!