Warner Bros. Presents A Failure - Pt II

 Original 1955 "Kings Row" publicity headshot from the La Bartista Kellection. Caption: "Jack Kelly, who has served an acting apprenticeship which included movies, television, stage and radio will appear as Dr. Parris Mitchell in 'Warner Bros. Presents' TV series 'Kings Row' for ABC-TV"

Our examination of "Kings Row" continues:

Into A Spin

Aside from the show’s bland scripts (which were churned out mostly by less experienced and thus less expensive writers), the promotional aspect of Warner Bros. Presents was another annoyance.

TV Guide concluded its review of the series by noting, “Actor Gig Young, a personable host, serves as guide on the studio tours that wind up each week’s show. Some behind-the-scenes techniques are engrossing. But, Young’s interviews with Warner stars would be more interesting if they weren’t such blatant commercials for new movies.”

Douglas Kirkley of the Baltimore Sun noted, "The 'hour' program is overburdened with what amounts to long commercials for Warner Bros.' film department."

The show’s sponsors were also unhappy. In return for letting Warner Bros. toot its own horn, advertisers expected Warner Bros. Presents to be of the same caliber as Warners’ top-flight feature films. (The series had been sold to sponsors solely on the Warner name and reputation, without even a pilot episode.) Instead, they got a schlocky infomercial for Warner Bros. for their advertising dollars.

  

Warner Bros. Presents was plagued by problems from the start. Filming began in June for the September premiere. I own an original final copy of the script for “Lady in Fear”, the very first episode of “Kings Row”. It shows a completion date of June 10, 1955, with filming completed on June 24.  A Screen Actors Guild strike that August shut down production for twelve days, throwing a monkey wrench into the already hectic filming schedule. In September, Los Angeles was broiling with a late summer heat wave (which prompted JK to install an air conditioner in his WB dressing room, one newspaper reported). 

Other issues, such as spiraling episode costs, were caused by Warner’s lack of experience with television production. Columnist Aline Mosby reported, “At Warner studio, ‘stepchild’ television is causing more headaches. Budgets of $65,000 per episode were set for the studio’s three series, ‘King’s Row’, ‘Cheyenne’ and ‘Casablanca’. But, the cost has soared to around $72,000 [per episode]. Two producers on the Warner series resigned in mid-stream. ‘They’re behind schedule and confused’, says one executive at ABC-TV, which is releasing the show. ‘TV has thrown them into a spin. They’ll come out of it eventually, after a shake-down process.”

Quality control was another casualty of the rush to get Warner Bros. Presents on the air. Warner's film editors and technicians were still learning the ropes of network television, where the break-neck pace often left little margin for error. Mistakes weren't always caught before air time. As a result, some episodes of Warner Bros. Presents were broadcast with major editing gaffes.  

For example, a viewer wrote to entertainment columnist Sidney Skolsky that they'd noticed repeatedly that the sound on Warner Bros. Presents was sometimes out of sync and wondered how this was allowed to happen: 

“I would certainly like to know how a thing like that could get by unnoticed, especially when the announcer stresses how great and qualified they are at Warners. It must be embarrassing for the people connected with putting together the reel and releasing it for TV.” 

Naturally, ABC demanded changes. Among other tweaks, it was decreed that the stories on "Casablanca" and "Kings Row" should contain more action to attract male viewers.  

Unfortunately, "Kings Row" was anchored to its small-town setting. By contrast, "Cheyenne" was the name of the title character (played by Clint Walker) and not the town, which opened up the entire Old West as a setting. Cheyenne Bodie could become involved in action-packed adventures in different locales, whereas Parris Mitchell and friends were confined to Kings Row.

Warners toyed with the idea of revamping "Kings Row" with new characters, varied locations and heightened tension in the stories. A script was even written in which an escaped killer terrorizes a teacher and her pupils in the Kings Row schoolhouse.

In the end, however, it was easier (and cheaper) to just cancel “Kings Row” rather than fix it. It disappeared from the Warner Bros. Presents lineup in January 1956. 

So, now you know why "Kings Row" was such a dog. ;)

Original 1955 "Kings Row" still from the La Bartista Kellection. Caption: "'Dr. Parris Mitchell' (Jack Kelly) plays with 'Little Doc' in this scene from 'Kings Row', to be presented on Warner Bros. Presents, Tuesday, October 4, 7:30 pm, EDT, over ABC-TV."

THERE'S STILL MORE TO THIS STORY--PLEASE STAY TUNED!

Warner Bros. Presents a Failure

I purchased this rare original "Kings Row" wardrobe test photo of Jack Kelly a number of years ago--sharing it here in TDS for the first time

Hello Everyone!

We all know that the 1955 series "Kings Row", in which Jack Kelly had his first TV starring role as “Dr. Parris Mitchell”, was a colossal flop. But, you may not know why the show laid such an egg. 

I’ve researched this subject and have learned that "Kings Row" was doomed to failure. It was part of a hastily developed concept which was run up the proverbial flagpole to see if TV viewers would salute it. (They didn’t.) 

So, please sit back and discover why "Kings Row" didn't have a snowball's chance: 

Ballyhoo 

“If we may believe the ballyhoo, television history will be made tonight.”

So wrote television critic James Abbe in the Oakland Tribune on September 13, 1955.

The “ballyhoo” was for the anthology series Warner Bros. Presents, which would debut that evening with the first episode of "Kings Row". 

Warner Bros. Presents even had a Hollywood-style premiere, but with a twist: there were actually five premieres held simultaneously around the US, with the stars of "Kings Row" and "Cheyenne" appearing in the homes of private citizens chosen at random from phone books! Jack Kelly popped up at a home in New York:

Abbe continued, “At 7:30 our time KGO-TV will relay the first of a three-part series of hour-long movies tailored to televiewers by that old established firm of movie-makers, the Warner Brothers."

He concluded, “This surrender to new-fangled TV by the firm that pioneered talking pictures back in the Twenties exemplifies that old saw ‘If you can’t beat ‘em, join ‘em’…tonight’s premiere should not be missed by televiewers. Especially viewers who eagerly scan the TV horizon for evidence of new ideas, new blood and new approaches.”

However, Warner Bros. Presents was cobbled together from old ideas. The three rotating segments of the anthology—"Casablanca", "Cheyenne" and "Kings Row"—were based on vintage Warner Bros. feature films. This approach was nothing new for Warners, which often recycled material from its vast library of properties. 

Actually, the primary purpose of Warner Bros. Presents was to promote Warners’ theatrical films. The “hour-long movies tailored to televiewers” (which were really only 45-minutes long) were considered less important by WB than the interviews with movie stars such as Alan Ladd and glimpses of the Warner Bros. backlot which were presented at the end of each episode. 

Actor Gig Young—who wasn't associated with any of the three dramatic segments—served as the series’ host and interviewer for the promo inserts. Instead of talking about the stars and stories of Warner Bros. Presents, Young talked up the studio’s upcoming feature films. 

Another function of Warner Bros. Presents was to help the studio and the ABC TV network gauge which segments “clicked” with viewers. Each segment was chosen for its familiar title and its appeal to fans of different genres. "Cheyenne" represented the western; "Casablanca", intrigue; and "Kings Row", melodrama. 

According to Christopher Anderson in his book Hollywood TV—The Studio System in the Fifties, “The alternating format of Warner Bros. Presents offered both the studio and the network a chance to test the prime-time waters. In fact, the production agreement assumed that not all three series would find an audience; in case any of the series failed in the ratings, the contract specified that ABC and Warner Bros. would substitute one from an entirely different genre.

“As far as both companies were concerned, Warner Bros. Presents was something of a fishing expedition in which alternating series, identified with specific genres, would be used to attract certain elements of the TV audience. The alternating format represented an unsystematic effort to acquire greater knowledge about television viewers through a process of trial and error. Variety’s review of the series speculated that 'Cheyenne' was designed for children, 'Casablanca' for teenagers and 'Kings Row' for adults.” 

Indeed, the feature film version of Kings Row was pretty adult for its time (1942). Based on a popular novel by Henry Bellamann, Kings Row explored the dark side of an outwardly upright community. It gave Ronald Reagan his famous line “Where’s the rest of me?!” after his character’s legs are amputated by a sadistic doctor played by Charles Coburn.

Soap Opera-Ish

Nothing remotely like that happened in "Kings Row" the TV show, which was basically a soap opera aimed at female viewers. Critic James DeVane wrote in the Cincinnati Enquirer after viewing the first episode, "So suds-like was it that someone chuckled while watching it that it should have been called 'Young Doctor Mitchell'".  Unlike daytime serials, though, each episode of "Kings Row" was self-contained, without continuing storylines. 

The plots centered on progressive young psychiatrist Dr. Mitchell (JK, whose role was played by Robert Cummings in the film), his life-long friends “Drake McHugh” (Reagan’s role in the film, played here by Robert Horton) and “Randy Monaghan” (played by Nan Leslie here and by Ann Sheridan in the film), plus other denizens of quaint Kings Row in 1905.  

The first airing of "Kings Row" got decent ratings, but the ratings fell with each successive episode. Viewers, critics, sponsors and the network quickly became disenchanted with the lackluster writing and plodding plots typical of Warner Bros. Presents teleplays, especially where "Kings Row" and "Casablanca" were concerned. The scripts for this "prestige" project were strictly builder grade. 

Donald Kirkley of the Baltimore Sun wrote after "Kings Row" premiered, "There have been so many alterations to the [original] characters and situations that it would be confusing to list them. This is a watered-down, simplified and sentimentalized adaptation, made, apparently, in the fat-headed belief that the television audience is less discriminating than the movie audience, and may be treated with condescension and contempt.

"If this theory is to be followed all through the series, it may well be that [Warner Bros.] is in for some costly disillusionment. The opener, despite shreds of quality carried over from the original film, was not good television. It was slick and smooth, all right, and full of handsome young men and pretty girls, but it had the lack of depth which marks the Class B feature, and can't compete with the better TV drama shows. It was pat and corny."

And, as TV Guide’s review of Warner Bros. Presents stated, “The Hollywood studios may know how to turn out movies for theaters, but Warner Brothers, for one, still has much to learn about producing movies for TV. ABC’s hour-long Warner Bros. Presents is no better than most of the half-hour telefilm dramas turned out regularly in Hollywood. It is well-produced and competently acted, but the producers seem to have forgotten that the play’s still the thing…The 'Kings Row' regulars—Jack Kelly, Nan Leslie, Robert Horton and Victor Jory—are good in soap opera-ish stories about a young psychiatrist struggling against the superstitions and tradition-bound medical practices of a small town in the early 1900s…Each film reflects a lavish budget and technical skill. The same cannot be said for the quality of the scripts.”

COULD ANYTHING HAVE BEEN DONE TO SALVAGE "KINGS ROW"? FIND OUT NEXT TIME IN TDS!

The Not-So-Wild West :)

Hello Everyone!

In May 1955, Jack Kelly starred in an episode of Cavalcade of America, a TV series which dramatized inspiring historical incidents from the lives of real-life Americans.

JK was cast as "James E. West", an attorney and advocate for children. Born in Washington, D.C., in 1876, West spent most of his own childhood in an orphanage after his parents died. 

While in the orphanage, West was diagnosed with a tubercular hip, which left him with one leg shorter than the other. He wore a leg brace until he was strong enough to use crutches. 

Unable to do physically demanding work like the other boys, West was relegated to the orphanage's sewing room with the girls. But, he longed to attend school. He was eventually permitted to attend classes and later graduated with honors from high school. 

West taught himself to ride and repair bicycles, and attended law school while working at various administrative jobs. He passed the bar in Washington, D.C., and in 1902 was appointed by President Theodore Roosevelt to the Board of Pension Appeals in the Department of the Interior. 

It's during this phase of West's life that the plot of "Sunrise on a Dirty Face", JK's episode of Cavalcade of America, begins. 

"HAPPY HOMECOMING--Marion West (Lois Collier) welcomes her attorney husband, James (Jack Kelly) from his visit with Theodore Roosevelt in the White House in a scene from 'Sunrise on a Dirty Face' on Cavalcade of America on ABC-TV. "

One day, a youngster named Jeremy Haggott is caught stealing coal from a bin at West's home. West declines to press charges, but the boy is taken into custody: 

"'BUT YOU PROMISED ME'...Jeremy Haggott (Peter Reynolds, right) voices his ire to James E. West (Jack Kelly) as he is taken into custody by a constable in 'Sunrise on a Dirty Face'. "

When Jeremy ends up in court, West serves as his attorney. He's appalled by how badly juvenile delinquents are treated by the court. West successfully lobbies to establish the juvenile court system in America. 

In reality, a young man stole West's car and it was that incident which prompted the attorney to ensure that juvenile offenders would be treated fairly in court. West also pushed for reform in the child care system, working to dismantle the orphanage model and encouraging foster care. From 1911-1943, he served as Chief Scout Executive of the Boy Scouts of America. West died in 1948.

Cavalcade of America, sponsored by Du Pont, became Du Pont Cavalcade Theater the following season and focused on more contemporary events. However, "Sunrise on a Dirty Face" must have been rerun that season, because the second photo above is promoting Du Pont Cavalcade Theater and is dated May 1956. 

West? East? Which direction will TDS go next? Please stay tuned and find out! 

All Day With JK! :)

Hello!

While researching the previous posts about Drive A Crooked Road, I came across this block of movie ads from February 1, 1955:

Look closely. Notice anything interesting? 

Well, three movies with Jack Kelly were playing in theaters on this day: The Violent Men, Black Tuesday and They Rode West. Both the first and last of these films also co-starred his future wife May Wynn (Donna Kelly).

So, one could have spent all day watching JK! :)

Of course, we can do that today, too. And, thanks to modern viewing technology, fans can watch JK in his various roles at home, without having to rush between three different theaters. Still, it would have been fun to see him on the big screen.

Although JK played only supporting roles in these three films, he managed to attract the eye of a moviegoer when she and her friends saw him in Black Tuesday. She asked a fan magazine about "the good-looking actor who played 'Frank Carson' the reporter...Although his part was small, my friends and I were impressed." 

"The facts", but they got JK's birthday wrong! :0

Please stay tuned for more about our good-looking guy in TDS. :)

Horton Has A Flop (And So Does Jack Kelly) :)

Hi Everyone!

Here's another little tidbit about Kings Row, from a 1958 magazine article about actor Robert Horton of Wagon Train fame. Horton co-starred with Jack Kelly in the ill-fated Kings Row series and naturally had nothing good to say about the show:

"Turning to television in preference to what he calls bad movies, Horton soon found himself--like Jack Kelly of Maverick and Nan Leslie late of The Californians--an unhappy alumnus of Kings Row, first of Warner Bros.' TV 'trilogy' of 1955-'56.

"'I was never so glad to see anything come to end,' he says emphatically. 'Actually, Kelly got hurt much worse than I did. He was hot, and I wasn't. So all they figured was that Kelly had a flop.'

"Actually, Horton today believes that Kings Row saved his professional life. 'They told me it was going to be the big hit of the three [shows]--Casablanca and Cheyenne were the other two--and I believed every word of it. It taught me to be a lot more selective about what I do.'"

And, just as Robert Horton got back on the horse and became Flint McCullough, JK also dusted himself off from the Kings Row fiasco and became Bart Maverick. 

JK and RH were later interviewed for an article in "Show Business Illustrated" about TV westerns. JK also guest-starred on Wagon Train, but by that time (1963), RH had already left the series.

Please stay tuned for more Jack Kelly lore in TDS--and stay safe and well. :)

Page-ing Doctor Mitchell :)

Happy Friday Everyone!

You know the old saying: "April showers bring May flowers". Well, where I live, April showers brought May showers in addition to flowers. Hopefully it will stop raining by June! :)

Anyway, here's a wonderful photo from the Kellection of Jack Kelly and Joy Page enjoying some flowers in an episode of the very short-lived 1955 TV series Kings Row:

 

This episode is called "Ellie" and Ms. Page plays the title role, as the info on the back of the photo explains: "Lovely Joy Page appears as Ellie, co-starring with Jack Kelly, as Dr. Parris Mitchell, in the third Kings Row offering of Warner Bros. Presents, Tuesday, October 25, at 7:30 p.m., EDT, over the ABC-TV network. Dr. Mitchell uses his knowledge of psychiatry to reveal to Ellie Banning that she is being destroyed by her mother's possessive love."

 

Incidentally, Joy Page had very strong ties to Warner Bros. Her stepfather was none other Jack L.Warner, head of the studio. She married actor William Orr, who later became the first head of television production at Warners. If you've watched Maverick or virtually any other Warner Bros. TV series from the mid-1950's through the mid-1960's, you've seen his credit as "Wm. T. Orr".

 

I shared some British lobby cards for "Ellie" in one of the earliest posts in TDS. In fact, I thought the photo above was on one of the lobby cards, but it's actually different:

 

 

Please stay tuned for more about Kings Row next time in TDS...and stay well. :)

 

Dr. Mitchell's Bedside Manner :)

Happy Friday!

Two rare stills from Jack Kelly's short-lived 1955 television series Kings Row recently joined the Kellection. JK starred as "Dr. Parris Mitchell", an American psychiatrist trained in Vienna who encounters small-minded opposition when he brings his big-city treatment methods to his hometown of Kings Row in 1905.

These stills are from the show's very first episode, "Lady In Fear", which premiered on September 13, 1955. They illustrate Dr. Mitchell's thoughtful bedside manner as he evaluates his patient, a young wife named "Eloise" (Peggy Webber). 

The doctor suspects that the root of Eloise's invalidism is emotional rather than physical:

However, as this original newspaper ad for the episode says, "If he couldn't break through her curtain of fear--no doctor could help!"

"Parris was sure he could cure Eloise...if only he could talk to her, win her confidence! But how...with her husband and all of Kings Row against him?"

Well, I'm sure if Parris was my doctor, he'd cure me of whatever was ailing me! :)

BTW, I've seen JK steeple his fingers like that in at least a couple of other photos:

And, I noticed how opulent the furnishings look in those two Kings Row stills, which seemed unusual for a TV show. I found the explanation in a newspaper story which quoted actor Paul Stewart, who directed "Lady In Fear": "Stewart proudly displayed the Kings Row sets, which fill Stage 16 on the Warner lot. 'Everything is done in the authentic 1905 era,' he remarked. 'Some of the stuff is fabulous. I'd estimate we have $30,000 worth of furnishings here.'"

Alas, Stage 16 would soon be used for other productions as Kings Row was quickly canceled. The final episode aired in early 1956. Fortunately, JK had his eye on the future. Another newspaper item reported that "Jack Kelly of Kings Row has invested all of his earnings in a Hollywood tailor shop."

We'll revisit Kings Row soon in TDS--please stay tuned! :)

Three Days of "Night" Pt. III

And finally, the U.S. pressbook for The Night Holds Terror:

It contains 16 oversized pages of newspaper ads, blurbs and suggested publicity campaigns for the film.

The campaigns--like the ads--play upon the audience's fear of being victimized by juvenile delinquents and other criminals. The intro page states:

"'NIGHT' HOLDS SHOWMANSHIP--Title and theme of The Night Holds Terror make the film an exploitation 'natural' in this time of increasing headline concern with juvenile delinquency and crime. The Night Holds Terror can hit your town like a ton of shocks, if you pave the way through showmanship aimed at newspapers, radio/TV, public officials...and every citizen for whom The Night Holds Terror today!"

Some of the suggested campaigns include: creating safety posters which incorporate the film's title into slogans including "Beware! The Night Holds Terror!" and "Don't Stop for Hitch-Hikers--The Night Holds Terror!"; persuading local merchants to offer crime deterrents such as locks, police whistles, alarms, door chains, window bars, etc., and then having them advertise, "The Night Holds Terror, But Not For Our Customers!"; and holding an essay contest seeking the best answer to the question "If a Stranger Walked Into Your House With a Loaded Gun, What Would You Do?" (Run!)

Theatre owners were also advised to make the "pointing gun-hand" artwork (as shown on the pressbook cover above) the focal point of their lobby displays for The Night Holds Terror. "When blown-up and cut-out", the artwork is "a shocker for your inner theatre lobby", the pressbook explains. The image could also be printed on cards placed on the sidewalk to direct patrons into the theatre and be used to cover door panels, overhead boards and stair risers in the lobby.

Then, there are the spine-tingling newspaper ads:

 

 

 

And the provocative posters:

(Moviegoers were probably "Terror"-fied before they even saw the picture!)

The pressbook also contains some blurbs about the actors, including a nice write-up about Jack Kelly:

 

Well, that wraps up our look at pressbooks for The Night Holds Terror. Please stay tuned for much more about JK in TDS! :)

Three Days of "Night" Pt. II :)

Happy Monday!

Presenting an Italian pressbook for The Night Holds Terror:

I've actually had it for a little while and have shared the cover in TDS before. Here's the first inside page with a synopsis titled "Una notte senza fine" ("An endless night"):

 

The next page displays stills from the film (the text at the top translates as "Hours of uncertainty and a sudden decision"):

 



Please stay tuned for one more pressbook from The Night Holds Terror.

Three Days of "Night" :)

Hello!

Three different pressbooks for The Night Holds Terror recently joined the Kellection and I'm here to share them with you in TDS.

First up: a French-language pressbook which screams the film's title (Nuit De Terreur) on its vivid yellow and white cover. Jack Kelly and his co-star Vince Edwards are pictured in a spooky illustration:

 

The next two images show the inside of the pressbook:

 

 

Finally, here's the back cover, which shows examples of posters and hair-raising phrases to use when publicizing the film such as "Vous aussi vous pourriez vivre cette...Nuit de Terreur!" ("You, too, could live this...Night of Terror!"):

 



Please stay tuned for a look at another pressbook for The Night Holds Terror.

The Night Holds Lobby Cards ;)

¡Hola!

Presenting a sensational Mexican lobby card for The Night Holds Terror which just joined the Kellection:

Translated it reads: "'Terror in the Night' - You desire to kill this man!"

Here's JK in the same image on the US lobby card (which, according to the stamp on the back of the card, is actually from Alberta, Canada!):

You can be sure that more about Jack Kelly is "in the cards" in TDS--please stay tuned! :)

That Has a "Crooked Ring" To It... ;)

Hi!

Let's "ring in" 2018 with some ephemera relating to Jack Kelly's 1955 movie Crooked Ring. Don't recognize the title? That's what the film was called in Great Britain. In the US, it was known as Double Jeopardy.

Below are scans of the film's British press brochure. It consists of one double-sided sheet. It's also legal-sized, so I fit as much of it as I could in my letter-sized scanner.

Highlights include one small photo of JK and a blurb which says, "UP-AND-COMING STAR IN 'CROOKED RING'--Jack Kelly, handsome six-footer in Republic's story of big-money blackmail, Crooked Ring...has only been in Hollywood since 1950, but from his record it appears he's likely to stay. To date, he has appeared in seventeen feature motion pictures and has been starred in six top-rated TV shows. For those who are superstitious, it might be well to note that Kelly's first Hollywood appearance was in a studio tryout play titled 'All It Takes Is One Good Break.'"

[Of course, this ignores the fact that JK acted in Hollywood films as a child, and thus his "first Hollywood appearance" took place years before he participated in studio showcases at Universal-International.]

Another write-up mentions JK: "TWO VILLAINS STUDIED LAW--Robert Armstrong and Jack Kelly, the two villains in Republic's drama of big-time blackmail, Crooked Ring...both studied to be lawyers prior to embarking upon acting careers. Armstrong studied law for three-and-a-half years at the University of Washington law school, while Kelly pored over legal books for one-and-a-half years before turning to thesping. World wars diverted each from the study of law. Armstrong served in World War I, while Kelly did his duty in World War II. Following their respective bits for their country, each sought a career in the entertainment world."

JK is also described in the brochure as "the believable 'cad' on whom [Gale] Robbins lavishes her extra-marital attentions".

Where in the world will TDS travel to next? Please stay tuned and find out! :)

JK in "The Night Holds Terror" Pt. IV




This very photo of a pensive JK was scanned and used in
Linda Alexander's 2011 print bio
'A Maverick Life--The Jack Kelly Story'

The terrifying night finally ends at the Courtier home and it's time to pick up the balance of the money. However, it's less than expected because Gene still owed money on the car. 

Batsford decides Gene will be worth more as a hostage and the thugs prepare to wisk him away. Batsford warns Doris not to call the police or Gene will die.

The frightened Doris tells him that she'll notify the police if Gene doesn't contact her within 30 minutes. Batsford has secretly rigged the phone and checks back five minutes later to ensure that Doris hasn't lifted the receiver.

While they're driving to a secluded hideout, Logan informs Batsford that Gene, while earlier pleading for his life, had told him that his father was the wealthy owner of a chain of grocery stores and could afford to pay a sizeable ransom for him.

Batsford calls Doris from a phone booth and demands a $200,000 ransom from Gene's father. By this time, Doris has already called the police, since she hadn't heard from Gene in the specified time. When Batsford puts Gene on the phone, he blurts out that the trio is monitoring the police frequency on the radio. 

(Phone booth appears to be located outside the Alibi Room at Larry Potter's Supper Club on Ventura Blvd. in North Hollywood, CA)

Doris contacts the police again and they cancel the radio dispatch on the case. A reporter learns about the kidnapping, but the police also silence the press to help ensure Gene's safe return. 

When Batsford phones Doris again to ask about the ransom payment, the police are able to partially trace the call and narrow down the kidnappers' location.

While Batsford goes to find another vehicle, Gene is able to knock Gossett out. Logan, who had told Gene he barely knew Batsford and Gossett, tries to help Gene escape by hotwiring a car. 

However, Batsford catches them, killing Logan and forcing Gene to make one last call to Doris as proof of life. Gene stalls on the phone, giving the police more time to trace the call and arrive at the scene. Doris is still on the line as shots are fired and is relieved when Gene comes on to tell her that he is indeed safe. 

The Night Holds Terror and JK generally received kudos from the critics. For example, The Oakland (CA) Tribune noted that JK and Ms. Parks were "especially good" as Gene and Doris Courtier. 

Here are some other interesting tidbits about the film:

•  The film's cinematographer was Fred Jackman, Jr., who at one time was married to JK's sister, Nancy.
• Virginia Stone edited the film on the pool table in the basement of her home.
• In a bizarre postscript following the film's release, one of Gene Courtier's real-life kidnappers sued Columbia Pictures for damages! Portrayed as "Batsford" in the film, the convict claimed that the film invaded his privacy and damaged his reputation. It's unknown how the suit was resolved. 

Well, we've wrapped up the story of The Night Holds Terror just in time for Christmas. What's up next? "Yule" just have to stay tuned and find out! :)

JK in "The Night Holds Terror" Pt. III

 

Back cover of Italian pressbook

Gene and his captors arrive at the Courtier home. Gene's wife, Doris, is frightened and anxious about the safety of their two children, Deborah and Steven, as their home is invaded by armed strangers.

Original still with the film's working title on the snipe. Caption reads: "GANGLAND TACTICS - John Cassavetes, David Cross and Vince Edwards hold Jack Kelly (center, seated) captive in Columbia's Terror in the Night,
produced and directed by Andrew Stone."

The Courtiers must remain silent about their situation or risk being hurt or worse by the trio. They turn away neighbors who show up unexpectedly. And, when Gene's father telephones, they cut the call short, not wanting to set off the kidnappers.

 

Original linen-backed still with Terror In the Night on the snipe

 

Another linen-backed Terror In the Night still 

 

Gosset, a ladies' man nicknamed "Dame Boy", gets drunk and makes Doris dance with him. Gene angrily throws a punch at him. Gosset punches back, only adding to the tension in the home.

 

 

After Batsford commandeers the master bedroom, Gene and Doris are forced to occupy a smaller room near the children.

 

 

Gosset, who is keeping watch as Batsford sleeps, nods off himself. When Logan momentarily steps away, Gene seizes his chance. He raises a pair of scissors over Gosset, planning to kill him and take his gun:

 

 

 

But, Logan returns before Gene can stab the slumbering hoodlum:

 

 

And, when Gosset awakes, he scuffles with Gene:

 

This still is from a newspaper archive. A clipping on the back dated 8/25/1955 is captioned: "With utter abandon, Courtier leaps at Gosset. There is some wild commotion for a few moments but Gene is battling against hopeless odds. One unarmed man against three gunmen is done for."

 

Please stay tuned for Part IV!