Revisiting The Wild Wild West: The Night of the Simian Terror

"The Night of the Simian Terror" 

Written by  Earl Barret and Robert C. Dennis
Directed by Michael Caffey

Synopsis: The estate of a senator and his family is being stalked by a perhaps inhuman killer. What family secret do they harbor related to this horrifying events? West and Gordon must unravel the mystery before more people die.

Trey: In which Robert Conrad utters that immortal line: "Get your hands off me you dirty ape!"

Jim: That didn't happen. 

Trey: No, not really.

Jim: It should be no surprise that this episode is a favorite of mine. This is a perfect example of the type of gothic horror story I would have liked to have seen more often. 

Trey: Yes, this is definitely one of the more Gothic episodes. We get the same estate gates we see in all the Gothic episodes from the first season on.

Jim: They're part of a really atmospheric opening, with Jim and Artie standing at those gate at night, the wind blowing wildly, as they call on the forbidding mansion. 

Artie's use of the small drill and miniature spyglass feels like an appropriately retro bit of spyware. 

Trey: The drill is a bit weird, because there's no reason he needs to see who's in the room since he already knows! It's only purpose is to let the audience see the speakers to better sort them out and make the scene more interesting.

Jim: It was nice to see Richard Kiel return to the show! After this, he would later get a recurring role as Moose Maron owner on the short-lived William Shatner western Barbary Coast. I have to think his appearances on WWW helped get him that role. 

Trey: It is good to have Kiel back. This is his last appearance on the series, though.

Jim: A historical question here: I know that Thomas Savage found gorilla bones in 1847, but how well known would they actually have been at the time of this episode?

Trey: his episode probably takes place in 1874 or so. Gorrillas would probably have still be exotic, but stuffed ones (and fake ones) had toured around by over a decade at this point.

I feel like Dimas and gorilla are perhaps not handled as well as they might be. The episode seems to be trying to misdirect to the idea that a gorilla is doing the murders (and the title helps with that) in sort of a reverse "The Murders in the Rue Morgue" fakeout. But the family seems to know what the deal is the whole time (and they're right) and their behavior doesn't make sense if it's a gorilla, so you're never entirely convinced. Then, we find out the murderer's Dimas AND there's a real gorilla. It allows for the escape scene and the pathos at the end, but I feel like restructuring to either utilize the gorilla more or eliminate it entirely would have been best.

Jim: I never thought I'd see the day when you were saying you wanted fewer apes in a tv show! Don't you have a statute of the Lawgiver from Planet of the Apes in your house?

Trey: Look, my religion is a private affair, ok?

Revisiting the Wild Wild West: The Night of the Amnesiac

 

The Night of the Amnesiac

Written by: Robert Bloomfield, Leigh Chapman

Directed by: Lawrence Dobkin

Synopsis: West is wounded while guarding a shipment of smallpox vaccine and both he and the vaccine disappear, having been hijacked by outlaws who leave Jim for dead. The Secret Service receives an ultimatum: pardon and free Furman Crotty (Edward Asner), a nihilistic crime lord currently serving time in Leavenworth, or the vaccine will not be returned. Since waiting six days for a new supply means that many more people will die of the disease, the thieves' demands are met. Gordon sets out to follow Crotty, find West and stop an epidemic in the making. And finding Jim won't be easy, since the outlaws' attack left him with amnesia and he's wandering around trying to remember who he is...

Trey: This episode has a fair amount of action and moves along reasonably well. The opening business with the guy drinking out of the gun barrel is cinematic feeling, like some quirkiness you might see in a Spaghetti Western.

Jim: That was a neat scene. There are a number of flourishes in this episode that were enjoyable, but overall, I think the sum was less than its parts.

Trey: How so?

Jim: The key to a successful amnesiac themed episode is watching the hero discover their skills and abilities throughout the episode. Usually they are accompanied by a helpful stranger as they face off against a group of opponents. It's such a common way to run with this idea that it could be describing anything ranging from The Bourne Identity to the Six Million Dollar Man episode Stranger in Broken Fork.

This episode starts off in this direction, with West being taken in by Cloris Colton, played by the lovely Sharon Farrell. Farrell may be best known from later seasons of Hawaii Five-O in the role of Detective Lori Wilson.

However, that's about all the play we get out of the usual amnesiac formula. True, with the fight scenes, we get to see West use some of his skills (the bar fight was excellent) but that's about it. I think the problem is, this episode demonstrates that West's skills, as remembered by the writers of this episode, are a bit limited - or the writers just didn't want to go in that direction.

Trey: I can see what you’re saying. To me, the episode just feels very conventional (for lack of a better word) . Like the amnesia plot is so played, this could have been in virtually any action show of the era.

 

There's also some evidence, I think, of script changes. The subplot with the usurper brother seems under-fed and so pointless. Asner's character reveals himself to be a full blown super-villain with his discussion about unleashing a plague, but the "nothing but me and machines" comes out of nowhere. Perhaps he was supposed to be some mad tinkerer or something, but little in the episode as presented supports that.

 

Jim: You're right - that "machines and me" line comes out of nowhere. This episode had three writers, Robert Bloomfield is credited with the story, while Leigh Chapman and Michael Garrison wrote the script. Your suggestion that the script was tweaked during production makes me wonder what the original story looked like.

 

Trey: Ed Asner makes a good villain, though! I think this is the first villainous live action role I've seen him in, though he's done villainous voices on a number of DC animated things.

 

Jim: I agree with you on Asner in this episode. I wondered how he might be in the role of a villain. On one hand, his demeanor and physical presence make him seem like a natural, but unlike many guys with the same qualities, he seemed to avoid getting type casted in that role.

Trey: It sounds like we’ve covered this episode pretty well. Any final thoughts?

Jim: The banner saying Bible Class closed due to Epidemic spoke to me on several levels!

Trey: It was all too real!

Revisiting The Wild Wild West: The Night of the Undead

"The Night of the Undead" 

Written by  Marvin J. Chomsky
Directed by Calvin Clements Jr.

Synopsis: Searching for a missing scientist, West stumbles upon a voodoo ceremony--and possibly the walking dead.

Trey: I would be tempted to think this episode was inspired by Live And Let Die--if it didn't predate the film by by four years! Thinking about it more, I think White Zombie (1932) is it's likely antecedent.

Jim: Yeah, this episode busts out of the gate hard with the voodoo motif - and I like it! From the Stork hooded voodoo priestess to the seemingly zombie henchman, this episode really starts off in a way that suggests we are going to have another dip in the world of supernatural--an area not explored since the Sammy Davis Jr. episode, "The Night of the Returning Dead."

Trey: Though the answer is mad science, not magic, we are definitely back in the realm of the weird. An area this season as mostly avoided!

Jim: Well, this episode was written by a guy who gave us a first season episode with a strong premise, "The Night of the Steel Assassin." Though it felt that one didn't live up to its promise.

Trey: I feel like he delivers in this one.

Jim: Oh yeah. Artie's search for the source of the skull medallion gives Ross Martin a good bit of screentime. I suspect that on any other show, the amount of lines Martin is often given over Conrad would be a point of contention. However, I'm willing to bet that as long as he got some prime action scenes, Conrad was okay with Martin getting a lot dialogue.

Trey: Conrad was like: "Give me a shirtless scene and some fights. That's what the audience is here for!"

Jim: Ha! A quick question about West's fight scenes: Are they better than those of Captain Kirk's? I want to say yes. I feel like Conrad puts more physical intensity into his fight scenes, but that's just my unscientific opinion.

Trey: Absolutely, yeah. Conrad was into both stunt work and fighting. I don't think Shatner particularly cared about those things.

Jim: The underground vineyard is one of the better setpieces we've seen this season. It has multiple levels even!

Trey: Yeah, I thought that was really good, too, though I was suspicious it might be a redress/rearrangement of the set from "The Night of the Bubbling Death." But very Bond-like, I think, and also pulpy.

Jim: Dr. Articulus' plan to marry the daughter of his long lost love has got to be the creepiest master plan we've ever had on this show! Combined with the web covered mansion, this weird romantic angle gives the episode a very gothic feel. 

Trey: Agreed. It's like "The Night of the Man-Eating House" in that respect...Which also featured Hurd Hatfield!

Jim: You're right! So the voodoo setup we got in the beginning may have been a ruse, but it all works.

Revisiting The Wild Wild West: The Night of the Death Masks

"The Night of the Death Masks" 

Written by  Ken Pettus
Directed by Mike Moder

Synopsis: West and Gordon are caught up in deadly mind games, part of an elaborate revenge plot by an escaped criminal they put away.

Jim: Conrad spends a lot of time walking around with his mouth open in this episode. Is that going to be some new affectation that I can't stop noticing now? Or has he always done that, and I'm just now noticing it?

Trey: That's where you're going to start? But anyway, I think it's new.

Jim: Well, how's this? The opening scene with West fighting the three soldiers was sort of funny. West is over at the piano plinking away a few notes as he calls out the soldier's behavior. He doesn't bother trying to diffuse the situation. He knows how it's going to go down. He's all out of fucks, as the kids say.

Trey: I agree, though ironically, I feel like this is (for much of the episode) a bit darker than the usual WWW fare.

Jim: Yeah. It definitely goes in that direction. I get the feeling that West wandering the empty town is supposed to be a big gimmick in the episode. However, a lot of the creepy tension of Paradox is undercut by our knowledge that West was shanghaied and taken there by Stark's cronies. 

I feel like if you are going to go with a gaslighting plot like this one, then there's some value to holding out information from the viewer. The mystery should be drawn out more. When Artemis gets the news that Stark has broken out of prison that should be our first reveal as to what's going on.

As it is, there isn't a lot of narrative tension in the empty town. Even when Betsy Cole is supposedly killed and vanishes, and it's pretty obviously part of the game. Cole, by the way, is played by Patty McCormack who alarmed audiences ten years earlier as the murderous little girl in The Bad Seed.

Trey: Your point is well  taken, but I wasn't bothered as much as you by what was going on being obvious to the viewer and not to West. Indeed, I think this episode plays that sort of  The Prisoner-esque plot better than the season 1 Loveless episode that dips its toe into the same thing. 

Jim: The back story of Emmet Stark and the robbery at the mint, even though it's apocryphal, makes me wish we saw more old adversaries return to the series. In some ways, it's a hallmark of the series that's not capitalized on enough.

Trey: Seems like we've gotten a couple of those, but yeah, it's not common. Stark is one of the weaknesses in the episode to me, though. Ultimately, Emmett Stark is just a name. Beyond this plot he's  a cypher. I think a better actor with more lines could have made him seem a worthy foe. Also, I think it's too bad we don't see all the conspirators brought to justice. I know they were minor, but still!

Jim: Totally agree on the vacuum created by Stark's absence for most of the episode. The problem is, how do you work him into more of the episode, but keep the mystery going? What we really could have used was a scene with Stark addressing his cronies, which could have served the dual purpose of explaining why they were helping him.

Trey: Though expected, the one part that works really well is the unknowing gunfight between West and Gordon. 

Jim: It definitely seems the intended set piece of this episode, but it feels like we got to it in a bit of a roundabout fashion. Once it's in full swing though, it makes for a rousing action scene. My only complaint is the resolution depended on Gordon flat out missing West when shooting at him. 

Trey: Does he practice his marksmanship more after that, I wonder?

Revisiting The Wild Wild West: The Night of the Underground Terror

"The Night of the Underground Terror" 

Written by  Max Hodge
Directed by James B. Clark

Synopsis: On the trail of Colonel Mosely, a Confederate war criminal, West encounters Major Hazard, the leader of a gang of crippled veterans who are seeking revenge on Mosely for the tortured he inflicted on them while they were detained in a prisoner of war camp.

Jim: This was by far, my favorite episode of the season so yet.

Trey: Yeah, It's one of the most memorable episodes to me, even though it doesn't have the "weirdness" I often like to see in WWW.

Jim: The masquerade ball makes for a great opening setting. Seeing West in a domino mask makes me wish the show had worked in a crossover with Zorro at one point. Maybe an older, retired Zorro would be fit in the WWW continuity.

Trey: It would have to a really old Zorro, but the crossover has appeal.

Jim: The flaming skull that turns into a gas bomb is a great gimmick. It makes a perfect prop for Artie's Hamlet costume, too.

Trey: There are a lot of details here that are so well done. And then we've got Nehemiah Pershoff.

Jim: He gets his third appearance on the show, this time as Major Hazard. Pershoff is another one of those exceptional actors who uses vocal dynamics and facial expressions to convey a wide range of emotions. 

Trey: He makes a good, laconic villain. One of a couple of villains in this story.

Jim: You gotta mention the Wagner story. Having watched this episode, the inspiration seems obvious. In addition to the cadre of maimed veterans, there is also a similarity between Mosley and Masale. Combine that with the quest for hidden treasure, and I think it's an open and shut case.

Trey: I thought so too! It's a Sword & Sorcery short-story by Karl Edward Wagner called "Lynortis Reprise." It's definitely worth checking out, as is all of Wagner's stuff.

Jim: Anyway, West's piercing of Hazard's ruse is handled well. This is a rare glimpse of a smarter agent West than what we normally see in the show. 

Trey: Despite his shrewd skills of observation, he's in dire straits until Gordon shows up.

Jim: Yeah, his diviner is a humorous addition to this episode. That the gold was actually hidden in a water container is a nice bit of symmetry! And then we learn that West actually fights better when he's shirtless. Damn, he makes quick work of Hazard's gang. 

Trey: Given how tight his clothes are, I feel like that's actually plausible! So, there's only one thing that bothers me about this episode. The daughter is apparently unaware of the true plan (and identities) of Hazard and his cronies. Was she too young during the war to know her dad was on the Confederate and not the Union side? Does her father and the gang stay in character constantly around her, including wearing the uncomfortable stuff to make them appear disabled? That's dedication to a bit!

Jim: That's some Jared Leto level of commitment to a role!

Revisiting The Wild Wild West: The Night of the Headless Woman

"The Night of the Running Death" 

Written by Edward J Lasko
Directed by Alan Crosland Jr.

Synopsis: West and Gordon investigate a plot to decimate America's cotton crops using boll weevils.

Trey: Two in a row written by Lasko! I have to say: he's not my favorite.

Jim: He's trying! With the threat of a boll weevil infestation, I believe this is our second biological warfare episode in the series, the first being "TNOT Deadly Spring".

Trey: There's a couple more, I would say: the threatened disease carrying rats of "Man-Eating House," and the first season Theo Marcuse appearance in "Sudden Plague."

Jim: Oh yeah! Marcuse gets very little screentime as Abdul Hassan here. Especially compared to The Six Million Dollar Man's Richard Anderson as Harbor Commissioner James Jeffers.

Trey: Hassan is more intriguing.

Jim: Yeah. His hacienda makes quite the spectacular villain's lair. The set decorators added some eye-catching details. Among the attributes that make this show stand out amongst other western fare, I feel like lavish sets are one of them. It goes hand and hand with a notably eccentric villain.

Trey: Definitely. Kesler doesn't think this episode is particularly good, and I'm inclined to agree. The basic villain plot is good, and the mystery regarding the true villain are good stuff to work with, but there's too much skulking around on docks and the fights aren't as exciting as what we're used to. Hassan with his elaborate lair and moll is clearly meant to seem the primary villain, but his meeting with West is all too brief and perhaps too early in the episode. I think a restructuring with parallel investigations by West and Gordon for more  of the run time would have worked better.

Jim: Plotwise, this episode does feel like it's all over the place with the various villains. But seeing Artemis wander around the docks of San Francisco, I again think this show should have been based in this town. The setting seems to lend itself to some of the general air of intrigue and skullduggery that benefits the show. Not only that, but such a location would have provided a means to build up a supporting cast that could have helped in many ways.

Trey: That is an opinion you've expressed before. Season 1 won you over to San Francisco, then you liked getting away from it, now you want it back again.

Jim: See, perfectly consistently...Anyway, back to skulking: West skulking around in his pancho really shows us why Artie is the Disguise Guy on the show!

Trey: True! Oh, In our guest star run down we forget to mention Dawn Wells.

Jim: Wells won't be the last Gilligan's Island alumni to make an appearance on this show. It's a shame Russell Johnson didn't give us a turn as a scientist at some point, though.

Trey: Does this episode have the weirdest ending of any we've watched?

Jim: Yep. The bug sex watching bit at the end is a rather odd coda. I have no idea how the writers got that by the censors.

Revisiting the Wild Wild West: The Night of the Running Death

"The Night of the Running Death" 

Written by Edward J Lasko
Directed by Gunnar Hellström

Synopsis: Gordon and West join up with a wagon train of itinerant entertainers while on the trail of an elusive assassin. Can they undercover his identity before he kills his target?

Jim: Before I get into the overall episode, I gotta talk about the final scene(s)...

Trey: Starting at the ending! That may be a first for this.

Jim: I'm a switching it up a little! Anyway, here were two places were I thought the episode was going to end and go into a freeze frame, but it didn't: When West bid farewell to the princess, and the again when Artie was wincing over the taste of cherry jubilee with molasses. But then, we get the poker scene, I began to wonder if I had missed some important plot detail.

Trey: Yeah, the "Three Act" denouement was weird.

Jim: Also, I think we are looking at a major rewrite for some reason. The way so many characters are introduced when West shows up to save the caravan from Indians makes me think this episode was going to lean on the wagon train setting more than it actually did. When the story moves to Denver, I feel like it loses its momentum a bit. Then the fight in the bar is completely unnecessary. It may have been tacked on, just like the three endings.

Trey: I can definitely buy your rewrite hypothesis, perhaps as a mashup of two ideas, neither of which added up to a full episode on their own? I am suspicious that everyone on the wagon train besides the ones that died and our two agents were Enzo's accomplices at some point in the script, but I could be wrong. Anyway, we are left with a lot of plot holes: How did Topaz escape being buried alive (or not getting buried)? What happens to Coco? Why does Enzo kill the people he kills? Do they even tell the authorities that two people were murdered on the trail and one disappeared?

Jim: On the positive side, It was nice to see Maggie Threat again in the show.  I also enjoyed seeing Ken Swofford in the bar fight scene. Swofford was a staple of 60s and 70s television, showing up in almost everything. He finally made it big with a recurring rule on Fame. 

Trey: I do think it's an effective episode in many ways. Enzo seems a real threat for West and Gordon in a way that super-villains with armies of thugs often don't on the show.

Jim: The reveal of Enzo's identity made for a good twist, though I find West's explanation of how he spotted the ruse to be a little unconvincing. 

Trey: He's a man with who pays attention to details. Matronly women's hands just happens to be one of them.