Original Airdate: October 17, 1964
Writer: Harlan Ellison
Director: Byron Haskin
Producer: Ben Brady, Leslie Stevens
Cast: Robert Culp, Arline Martel
“Demon With a Glass Hand” is a wonderful, complex science
fiction story hidden underneath a beautifully shot film noir. It was “Blade
Runner” long before that huge Geisha appeared on the skyscraper…and has better
voice-over to boot. Writer Harlan Ellison sued the studio behind “TheTerminator” for plagiarizing his other (lesser) “Outer Limits” episode
“Soldier” in a move that, to this writer, seems like quite a stretch. But
though the mythology here is much different than “Blade Runner,” it’s
impossible to not see all the inspirations, from the emotionless hero to the
final twist.
Despite my obsession with all things “Twilight Zone” and
love for anthology series in general, I’ve never before watched “The Outer
Limits,” despite having the original series on DVD for a few years now. After
finally digging in and watching several of the most popular episodes (“The
Zanti Misfits,” “The Chameleon” and “Soldier,” among others), I was very much
let down. Despite gorgeous cinematography and some good acting, the one-hour
format stretched most of these science-fiction stories to their breaking point,
despite very good ideas at their core. When half of your episodes feel like
filler, you have a problem – the same one that “The Twilight Zone” dealt with
when it expanded to an hour in its fourth season.
That’s one of the reasons why “Demon With a Glass Hand”
(whose name doesn’t really make sense in retrospect) feels like such a breath
of fresh air. Instead of filler scenes placed upon other filler scenes, writer
Ellison provides us with an ever-changing Rubik’s cube of mythology, often so
dense that the viewer is playing catch-up. It begins with a man named Trent
(Robert Culp, purposely wooden) lost in modern times with a
partially-constructed glass hand and several alien killers on his tail who are
recognizable because they wear panty hose (not kidding) on their faces. Trent
has no idea who he is, only that he supposed to be humanity’s savior, and he
must retrieve the three missing fingers for the glass hand to understand
entirely what has happened to him and what he must do to save the humanity of
the future. And trust me, I’m just scratching the surface here. There’s more,
lots more.
The first ten minutes of the episode feel like an exposition
bomb has gone off. First Trent gets a boatload of information from the
mysterious panty hose aliens, then more exposition from his hand, then he meets
up with a woman and explains even more to her. It’s difficult to keep
everything straight and would usually signal very clunky writing, but because
Trent is almost as confused as we are, the exposition dump actually works to
the episode’s advantage. We go along for the ride, waiting for pay-offs to
mysteries we only half understood to begin with, and when those pay-offs come
they are both surprising and fascinating.
Everything speeds up once Trent gets to an office building
where the aliens are headquartered. Though director Byron Haskin and his
fantastic cinematographer Kenneth Peach employed the shadows of noir from the
first frame of the episode, the noir look goes into overdrive in this
beautifully rendered building, filled with fantastic architecture and maze-like
hallways. It reminds me a lot of the office in Billy Wilder’s “Double Indemnity,” and I wasn’t surprised to read that Ridley Scott used the sameplace to film the third act of “Blade Runner” (there’s that movie again).
Trent runs into a woman named Consuelo (Arline Martel) who
was working late and turns her into his companion, not by choice, but because
the aliens have put an invisible barrier around the building. Together they
move up the several floors of the building, ultimately to the roof, before
Trent descends back into the danger below as Dante did into the inferno.
"Cowabunga, dude!" |
Many of the more sci-fi elements of the episode are almost
laughable, and this is true of the show in general. The killer ants in “Zanti
Misfits” had cute teddy bear faces and were obviously horrible models swung on
strings during the final siege. The aquatic monster in “Tourist Attraction”
would have fit better as one of Ariel’s pets in “The Little Mermaid” than on
“The Outer Limits.” Here Trent’s glass hand isn’t the most impressive prop
(and, for a long period of time, is stuck in a “Cowabunga, dude!” position).
The aliens all wear a big necklace that, when torn off of them kills them and
sends their bodies back to the future – and yet none of them think they might
be safer if they just tuck it into their shirt. And I did mention the
panty-hose faces, right?
I’m willing to forgive many of these in part because of the
show’s budget, time period and that, yes, “The Twilight Zone” had many shoddy
effects too. But what really saves the more eye-rolling parts of the production
are the film noir elements. Even the most laughable costumes look awesome when
shot in shadow, and the kookiest villains look menacing when you can barely get
a good look at them. It’s inspired that Trent and the aliens use guns, actual
guns, to do their battle. Ellison apparently was horribly unhappy with that
decision, but seriously, what adaptation of his work has he not all-but-disowned
after the fact, and here the guns bring a unique level of urgency to the
storytelling missing from other science fiction (the guns used here are
infinitely scarier than, say, the ray gun from Ellison’s other episode
“Soldier”).
The twist at the end of the episode is a genuinely
surprising one that hits the viewer on both an emotional and intellectual
level, and fits perfectly in the world of noir. It is also darker and
self-defeating than one would expect from an anthology, a trait that seems to
be repeated throughout almost every “The Outer Limits” episode I’ve seen.
Humanity always sucks, things never get better, and our heroes must
consistently suffer for little reward. It’s a very dire notion for stories
whose imagination is supposed to reach from the inner mind to the outer limits,
and perhaps that’s another reason why I haven’t become fully invested in the
series. The ending worked beautifully here, that’s for sure, but in the other
episodes I’ve seen it just felt tacked-on, as if it was trying to prove a
point. Ah well, the show still has many great qualities and I’m looking forward
to diving into the remainder of the episodes. I will say one thing about it:
the opening credits are much cooler than any of those in “The Twilight Zone’s”
history. So that’s, uh, something.
“Demon With a Glass Hand” is available on DVD, AmazonInstant Video, Hulu, iTunes and YouTube.
Nice review. It's my favorite episode. Robert Culp does a great job here.
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