The Outer Limits - "Demon With a Glass Hand"

Season 2, Episode 5

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.

Star Trek – “The City on the Edge of Forever”

Season 1, Episode 28

Original Airdate: April 6, 1967

Writer: Harlan Ellison

Director: Joseph Pevney

Producer: Gene L. Coon, Gene Roddenberry

Cast: William Shatner, Leonard Nimoy, DeForest Kelley

Odd that the best episode of “Star Trek” also seems to argue against everything that the series holds dear. While the show always presents war as something the Federation and Enterprise will do anything to avert, here it appears to tell us it is necessary, and while the crew and Captain always seem to find a way to save lives no matter what the risk, here they seek to allow an innocent woman to die.

Of course upon further examination there’s so much more to it than that, but let’s not get ahead of ourselves.

The episode begins with Dr. McCoy (DeForest Kelley) accidentally overdosing on a drug that gives him manic paranoia. He escapes the Enterprise before he can be secured and manages to slip into the time stream thanks to a talking rock, and soon changes the course of history to the point where the Enterprise and Federation no longer exist. Captain Kirk (William Shatner) and Spock (Leonard Nimoy) follow him to 1930 San Francisco to stop him from doing whatever it was that created this mess, and in the process Kirk falls for dreamy soup-kitchen owner Edith Keeler (Joan Collins). Soon Kirk and Spock realize that Edith is meant to die and McCoy saves her, which accidentally allows Hitler to win World War II and change everything. Phew.

In case you couldn’t tell from the above paragraph, the storytelling here is very complex, but never to the point where you lose yourself in the intricacies.  Often, the first “Star Trek” series doesn’t get enough credit for its story structure and great complex storylines, but rewatch an episode like this or “The Trouble WithTribbles” and you’ll be surprised by how many balls the writers juggle with ease. While the plot here has many facets, it never feels forced or rushed. It was written by Harlan Ellison, then famously revised and rewritten by several producers and ghost-writers, and instead of feeling watered-down or convoluted because of the multiple voices, it soars on both a mechanical and emotional level. It would have been so much easier to write the episode about Kirk and Spock preventing McCoy from killing someone in his madness, but this is much more intriguing.

Joan Collins - Soft focus, angel lighting

There’s even time to create a sweet love story between Kirk and Edith. If we didn’t feel a connection between these characters then the episode would only feel like an exercise instead of a tragedy, which it really is. Director Joseph Pevney did his part by shooting Collins in close-up early and often – and almost always in soft focus and lit with the “halo” effect over her head to make her seem angelic. Honestly, it gets to be a bit much by the end of the episode, but thankfully the writing rises to the occasion. Though Edith gives Kirk and Spock kindness early, Ellison paints her as a character with many opinions and inner strength. She also owns a soup kitchen, which would normally be taking it a step too far into sainthood, but this actually serves a logical function within the episode. Of course Kirk and Spock would end up there, and of course the insane McCoy would be brought there as well. She’s a genuinely fascinating character in her own right, and Collins wisely underplays it (surprising considering her most memorable onscreen persona is just the opposite), and we can see why her beauty and personality attracts Kirk. I also have to applaud Shatner’s performance in the episode. He is known for hamming it up in this series and others, but here he beautifully carries the emotional weight of a man who has a date with destiny he doesn’t want to keep. Look at the pain on his face when he admits to Spock (and himself) that he’s in love with Edith, and watch the amazing moment when he hears Edith die and cradles his head into McCoy’s shoulder, unable to deal with what he did.

I said earlier that the episode seems to be pro-war, but upon further examination I don’t think so. McCoy breaks the Prime Directive by going back in time and changing history, and the episode is about setting that right, not insisting that lobbying for peace is silly and delaying the inevitable. Spock blatantly states: “She was right, but at the wrong time.” History happened the way it happened, and that is that. Any change, for the better or worse, is unfair to all it would effect in the future. Ellison was anti-war but other producers were against peace demonstrations and said the episode obviously lobbied for that, but I don’t think so. As a writer, I hate to admit it, but perhaps having multiple voices giving input into the story resulted in a far more complex question that the viewer continues to think about long after the episode ends.

I’m painting the episode as fully dark and depressing, but it really isn’t. In fact, there’s plenty of levity here. Kirk’s brief romance with Edith is charming, and there is a lot of early fun centered on Spock’s Vulcan ears and how Depression-era Earthlings react to it (“They were caught in an electric rice picker” is how Kirk explains it). By allowing us to laugh, it makes the emotion of the finale all the more impactful.

Time travel stories have always had a very special place in the “Star Trek” canon. Three of the best features (“Star Trek IV: The VoyageHome,” “Star Trek: First Contact” and the reboot/sequel “Star Trek”) deal heavily with time travel, and whenever it’s used in the many spin-offs (the two-part “Time’s Arrow” in “Star Trek: The Next Generation” and “Trials and Tribble-ations” in “Star Trek: Deep Space Nine” are notable examples) the shows fire on all cylinders. And here there’s something so…fun…about seeing our characters wandering through the streets of a backlot trying to make sense of being out of time.

The original “Star Trek” series shot for the stars (pardon the horrible pun) and really tried to be about “something” instead of just presenting phaser battles and weird-looking aliens like the “Flash Gordon” serials and sci-fi monster movies of decades before. Like “The Twilight Zone,” its fantasies shrouded stories of real meaning in a digestible form. You never felt like you were being preached to, but you understood that the stories were on a different level. And the reason the franchise has lasted so long and through so many incarnations is that it tried to remember that. Sometimes the show failed, and sometimes it did get preachy, but sometimes, particularly episodes like “The City on the Edge of Forever,” it found that perfect balance.

Also, who would have ever thought that an episode about a talking, light up rock would be a masterpiece?

Addendum: I haven’t seen the episode since Paramount inserted new special effects into the series, but the results seem pretty damn flawless. I’m curious to see what the rest of the series looks like revamped.

“The City on the Edge of Forever” is available on the first season DVD of “Star Trek: The Original Series,” on iTunes, on AmazonInstant Video and on startrek.com