Drab, garrulous and studio bound despite being in colour, and with sets and furniture that snap like balsa wood during the big brawl scene.
Bookended by an unusual present-day prologue, in order to distinguish this from a TV episode, director Bernard McEveety employs a restless camera, flashbacks within flashbacks, a noisy music score and a couple of moments of macabre violence.
As usual we get an interesting supporting cast of veterans making fleeting appearances (of whom Arthur O'Connell and Joan Blondell register most strongly) and a couple of faces later familiar on TV, Frank Gorshin & Jamie Farr. The latter gets even less screen time than Gloria Grahame in her only screen appearance of the sixties (when she was busy raising a family), and that's saying something.
Bookended by an unusual present-day prologue, in order to distinguish this from a TV episode, director Bernard McEveety employs a restless camera, flashbacks within flashbacks, a noisy music score and a couple of moments of macabre violence.
As usual we get an interesting supporting cast of veterans making fleeting appearances (of whom Arthur O'Connell and Joan Blondell register most strongly) and a couple of faces later familiar on TV, Frank Gorshin & Jamie Farr. The latter gets even less screen time than Gloria Grahame in her only screen appearance of the sixties (when she was busy raising a family), and that's saying something.