![]() ![]() But it’s an extremely laborious, expensive process that’s only viable for shows capable of repaying the massive investment via physical and streaming releases, broadcast syndication rights, etc. This has happened for various popular TV programmes of the era, perhaps most notably The Twilight Zone (1959–1964) and Star Trek: The Original Series (1966–1969). To make them would involve scanning the original negatives or earliest extant materials, and possibly reconstructing/editing each episode from scratch don’t forget, there are well over 200 hours of programming. Though they’ve long been available on DVD and streaming, there are repeated calls for both of Hitch’s iconic original TV series to be released on Blu-ray but despite being shot on 35mm film, there are simply no HD masters in existence. Again, this was probably an oversight, presumably relating to it being pulled from the series.Īlfred Hitchcock Presents/ Hour – Martin Purvis Similarly, there’s no renewal for ‘The Sorcerer’s Apprentice” in the database, but then there doesn’t appear to have been an initial registration for it either, which would be grounds for “instant” PD status. This suggests that ‘The Cheney Vase’ is PD in the US due to failure to renew, surely an admin error, given that everything else appears to have been. However, unlike all other episodes of the series, there’s no record of a renewal. According to film historian Nick Cooper, “The earlier episode was registered, with a copyright date of Septemon the US Copyright Office database, a few months before the first transmission. Two episodes are in the public domain: “The Cheney Vase” (1955) and “The Sorcerer’s Apprentice” (1961). Ken Mogg episode reviews: “ Back for Christmas” (1956), “ Banquo’s Chair” (1959) and “ An Unlocked Window” (1965). Presents YouTube channel | monologues, Cat, Ketchup | S.1 best openings | cellphone shorts Hitch’s lifelong friend Norman Lloyd, who was second only to Harrison with his tally of over 270 shared screen credits, claimed that after Allardice’s death, Hitch felt the voice of Presents died too and didn’t want to continue without him.Ĭreators speak: Television Academy video interviews with 28 cast and crew members of Presents and Hour However, their working relationship was brought to a premature end by Allardice’s tragic death from a heart attack at the age of only 46, a mere nine months after what was to be the final episode of Presents aired. But he did so without an official credit, as was also the case with Hitch’s witty, self-presented film trailers in the same period, and an unknown number of gags and speeches authored for the director’s many public appearances. He penned every one of Hitch’s pitch-perfect opening, middle and closing segments for 361 episodes of the half-hour Alfred Hitchcock Presents (1955–1962) and its lengthier successor The Alfred Hitchcock Hour (1962–1965) during their 10-year run. Hitch’s long-term scriptwriter Joan Harrison may well be cited as the master’s most frequently credited onscreen collaborator but an honourable mention must go to comedy writer James B. Good Evening: AH on Radio – Charles Huck and Martin Grams, Jr. But the roots of Hitch’s long-gestating series go all the way back to his arrival in America and involvement with The Lodger’s 1940 radio play. Presents rose to become the foremost and best remembered of the many popular thriller-suspense TV and radio series of its time – perhaps of all time: only Rod Serling’s similarly auteur-helmed The Twilight Zone can be claimed as a serious competitor. Subscribe to the email list to be notified when new ones appear.ĪHP Collectors’ Guide, Part 2: Soundtracks and spin-offsĪlfred Hitchcock Presents by Annamaria Ward, 2023 ( original) ![]() Note: this is part of an ongoing series of 150-odd Hitchcock articles any dead links are to those not yet published.
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