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vinyl LP front cover
photo by Styrous®
Today is the birthday of British actress, director, writer, and producer, Ida Lupino, who was born on February 4, 1918, at 33 Ardbeg Road in Herne Hill, London. She is widely regarded as the most prominent female filmmaker working in the 1950s during the Hollywood studio system. With her independent production company, she co-wrote and co-produced several social-message films and became the first woman to direct a film noir, The Hitch-Hiker, in 1953.
From Wikipedia:
Among Lupino's other directed films, the best known are Not Wanted (1949), about unwed pregnancy; Never Fear (1950), loosely based upon her own experiences battling paralyzing polio; Outrage (1950), one of the first films about rape; The Bigamist (1953) (which was named in the book 1001 Movies You Must See Before You Die); and The Trouble with Angels
(1966). Her short yet immensely influential directorial career,
tackling themes of women trapped by social conventions, usually under melodramatic or noir coverings, is a pioneering example of proto-feminist filmmaking.
She was the only woman to direct an episode of the original The Twilight Zone series (The Masks), and the only director to star in an episode (The Sixteen-Millimeter Shrine). There is an excellent analysis of the episode on YouTube (link below).
vinyl LP back cover detail
detail photo by Styrous®
The score for the episode was written by veteran film composer, Franz Waxman who also scored the film Sunset Boulevard, which also dealt with the theme of aging actresses.
The episode tells the story of Barbara Jean Trenton, a former silver-screen starlet whose radiant beauty and flourishing career were the envy of the 1930s. Now living in the twilight of her life, Barbara is a disillusioned actress struggling to come to terms with her faded fame and the inexorable march of time that has carried both her youth and her career away from her.
Unable to accept her current reality, Barbara secludes herself in her opulent but lonely mansion, where she spends her days in her private screening room. There, she obsessively watches her old films, living vicariously through the black and white images that capture her in her prime, a time when she was adored by fans and surrounded by the glamour of Hollywood's golden age.
The world outside of Barbara's curated screenings is jarringly different. The contemporary film industry has little interest in the aging actress, and her attempts at a comeback are met with a harsh reception—parts are scarce, and the few that come her way are demeaning and far from the leading-lady roles she once monopolized. Friends from her past have moved on or passed away, and she is left with only her loyal agent, Danny Weiss (Martin Balsam), who tries in vain to help her find a place in the changed landscape of the entertainment world.
Barbara's devotion to her past glories turns compulsive and unhealthy. The characters in her films start to seem more real to her than the people outside her projection room. She grows increasingly detached from reality, finding solace only in the flickering light of the projector that casts illusions of a past that no longer exists.
As Barbara's fixation deepens, the story takes an eerie turn, true to The Twilight Zone signature blending of reality and the supernatural. Unsettling occurrences blur the lines between the celluloid world and the physical world, suggesting that her nostalgia may have opened a door to something extraordinary. Her refusal to move forward in time sparks a mysterious chain of events that tease at the possibility of a world where time stands still, maintaining the images and emotions of one's greatest moments eternally.
The Sixteen-Millimeter Shrine is a contemplative episode, rich in symbolism and thematic depth. It explores the human preoccupation with the past and the sometimes-destructive nature of our yearning for days gone by. Through Barbara Jean Trenton's story, viewers are invited to consider the dangers of living in a cocoon of memory, where the comfort of nostalgia can become a trap that disconnects us from the progression of life.
The narrative is beautifully framed within Rod Serling's trademark introduction and closing monologues, which provide philosophical commentary on the tale at hand. As with all episodes of The Twilight Zone, viewers are thrust into a world that is at once familiar and unsettlingly strange. The episode examines the nature of success and the ephemeral quality of fame, highlighting the conflict between a person's inner world and the relentless forward push of time.
Unable to accept her current reality, Barbara secludes herself in her opulent but lonely mansion, where she spends her days in her private screening room. There, she obsessively watches her old films, living vicariously through the black and white images that capture her in her prime, a time when she was adored by fans and surrounded by the glamour of Hollywood's golden age.
The world outside of Barbara's curated screenings is jarringly different. The contemporary film industry has little interest in the aging actress, and her attempts at a comeback are met with a harsh reception—parts are scarce, and the few that come her way are demeaning and far from the leading-lady roles she once monopolized. Friends from her past have moved on or passed away, and she is left with only her loyal agent, Danny Weiss (Martin Balsam), who tries in vain to help her find a place in the changed landscape of the entertainment world.
Barbara's devotion to her past glories turns compulsive and unhealthy. The characters in her films start to seem more real to her than the people outside her projection room. She grows increasingly detached from reality, finding solace only in the flickering light of the projector that casts illusions of a past that no longer exists.
As Barbara's fixation deepens, the story takes an eerie turn, true to The Twilight Zone signature blending of reality and the supernatural. Unsettling occurrences blur the lines between the celluloid world and the physical world, suggesting that her nostalgia may have opened a door to something extraordinary. Her refusal to move forward in time sparks a mysterious chain of events that tease at the possibility of a world where time stands still, maintaining the images and emotions of one's greatest moments eternally.
The Sixteen-Millimeter Shrine is a contemplative episode, rich in symbolism and thematic depth. It explores the human preoccupation with the past and the sometimes-destructive nature of our yearning for days gone by. Through Barbara Jean Trenton's story, viewers are invited to consider the dangers of living in a cocoon of memory, where the comfort of nostalgia can become a trap that disconnects us from the progression of life.
The narrative is beautifully framed within Rod Serling's trademark introduction and closing monologues, which provide philosophical commentary on the tale at hand. As with all episodes of The Twilight Zone, viewers are thrust into a world that is at once familiar and unsettlingly strange. The episode examines the nature of success and the ephemeral quality of fame, highlighting the conflict between a person's inner world and the relentless forward push of time.
The Sixteen-Millimeter Shrine uses the unique format of The Twilight Zone to delve into the human psyche, scrutinizing our attitudes towards aging and the inevitable changes that life brings. Herein lies an allegorical exploration, a tale of a woman lost in the shadows of her own life, unwilling to emerge into the stark light of the present. The story raises the question: what happens when our desire to relive the past becomes more than just a figment of our imagination? Can one ever really reclaim what has been lost to time—or does such an attempt come with an unspoken price?
While the theme of "be careful what you wish for" permeates many episodes of The Twilight Zone, The Sixteen-Millimeter Shrine wraps this message in a hauntingly beautiful narrative that stays with the viewer long after the final credits roll. It is an episode that encapsulates the spirit of the show—a journey into another dimension, not only of sight and sound but of mind, where each twist of fate lies just beyond the borders of the known and into the shadowy outskirts of The Twilight Zone.
Tracklist:
Side 1:
Side 1:
A - House In Cypress Canyon, Voice Actor – Robert Taylor - 30:00
Side 2:
B - Fugue In C Minor, Voice Actors – Ida Lupino, Vincent Price - 30:00
Companies, etc.
Phonographic Copyright ℗ – Great American Audio Corp.
Manufactured By – Great American Audio Corp.
Distributed By – Great American Audio Corp.
Credits:
Suspense Theme Written By Franz Waxman
Notes:
Original episode numbers and broadcast dates are:
Track A: Episode 222 - 12/05/1946 - The House In Cypress Canyon: A chilling story of the supernatural.
Track B: Episode 094 - 06/01/1944 - Fugue In C Minor: A story about a huge pipe organ built throughout an entire house, that tends to play itself.
"Radio's Outstanding Theatre of Thrills"
Two Complete Unedited Radio Adventures
Licensed For Home Use Only © MF Productions, Inc.
Robert Taylor (11) / Vincent Price (2) And Ida Lupino – Suspense (Original Radio Broadcast)
Label: Nostalgia Lane – NLR-1022
Format: Vinyl, LP
Country: US
Released: 1978
Genre: Non-Music
Style: Radioplay
Label: Nostalgia Lane – NLR-1022
Format: Vinyl, LP
Country: US
Released: 1978
Genre: Non-Music
Style: Radioplay
Viewfinder links:
Net links:
MeTV ~ Ida Lupino
The View From the Junkyard ~ The Twilight Zone: The Sixteen-Millimeter Shrine
Virtual Virago ~ Ida Lupino and The Twilight Zone
YouTube links:
The Twilight Zone: 16mm Shrine (Episode Analysis)
photo: Everett Collection
