Rod Serling is best known as a TV wizard, but for his centenary, we dive into the lesser-celebrated side of his screen work in film.
Born 100 years ago today, Rod Serling was a television man. He came up in the 1950s, at the dawn of the medium, during the days of live televised plays—Big names would star in meaty productions without the opportunity for a second take, racing from one set to the next in the hopes that they wouldn’t miss their cue, and would have enough breath left to speak the words Serling had written for them. It was a wildly popular format for a while, but within a decade, it had almost disappeared.
Although the settings could hardly be more different—the former takes place in offices with chandeliers and oak paneling, the latter in sweaty locker rooms and dive bars—the two movies are both downbeat productions that ponder how a person can retain their inherent goodness in a poisonous world.argues that it’s possible, but might well demand the good person in question be forever robbed of their dignity., Fred is basically a good man, who is kind to all he meets.
at the end of that year. “Television gave me identity as a writer, you can’t knock that. It’s just now I like the movies better.”. Adapted from the novel by Fletcher Knebel and Charles W. Bailey II, it was the most accomplished, glossiest entry in Serling’s filmography.
Simply put: astronaut George Taylor crash lands on a planet ruled by apes, from whom he has to escape. Even if you haven’t seen the original, the likelihood is you’ve culturally osmosed its—it originated as a novel by French author Pierre Boulle.
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