Rod Serling ֍ David Wayne & Thomas Gomez in The Twilight Zone Season 1 Episode 6: Escape Clause (1959)
You're about to meet a hypochondriac. Witness, Mr. Walter Bedeker, age forty-four, afraid of the following: death, disease, other people, germs, draft, and everything else. He has one interest in life, and that's Walter Bedeker. One preoccupation: the life and well-being of Walter Bedeker. One abiding concern about society: that if Walter Bedeker should die, how will it survive without him?
Here are 10 things you should know about Thomas Gomez, born 117 years ago today. The talented character actor enjoyed success on the stage, in pictures and on television.
If all Westerns looked like John Ford’s or Anthony Mann’s, I think I’d be a much bigger fan of the genre. Of course, it’s almost unfair to call Mann’s THE FURIES (1950, Criterion Channel, YouTube) a Western. It’s more of an anti-Western. It features the same conflict as in most of the genre — the frontier vs. civilization — but in this case civilization is represented not by home, family and the feminine but rather by business interests, particularly banks. And as shot by Victor Milner, the wide-open spaces are more oppressive than liberating. These characters don’t need railroads and cities and farms to fence them in. They’re already confined by their own twisted passions. Walter Huston is the tyrannical, mercurial owner of a ranch called The Furies. He’s Lear on horseback. He plans to leave everything to his tough, adoring daughter (Barbara Stanwyck) as long as he can control her life, including whomever she might marry. Then he comes home from a business trip with a wealthy widow (Judith Anderson) out to take Stanwyck’s place, and the fur and the scissors fly. Charles Schnee adapted the script from a Niven Busch novel, and at the start it has the meandering quality of a lot of fiction. You can’t quite tell where the story’s going, but the characters and atmosphere are so rich it doesn’t matter. And when you get to see Huston (in his last film) and Stanwyck interact, who needs a plot. There’s a terrific score by Franz Waxman and wonderful supporting work from Anderson, Gilbert Roland, Thomas Gomez, Blanche Yurka and Beulah Bondi, who’s barely on screen five minutes yet manages to capture her character simply in the way she transfers her fan from one hand to the other. Censorship imposed a certain racism on the film. Where Stanwyck and Roland had an affair in the novel and even married, that was turned into a friendship and Roland’s unrequited love, because his character, a Mexican, couldn’t be intimate with a white woman. And then there’s Wendell Corey. He’s better than in a lot of his leading roles, but he hardly seems magnetic enough to capture Stanwyck’s passions. And the character, as written for the screen, doesn’t make a lot of sense. He uses Stanwyck at first and then suddenly falls in love with her. Nor does it help that he has a misguidedly chauvinistic proposal scene: “And don’t ask me to be your husband. If we marry, remember one thing. You’ll be my wife. Whenever you’re wrong, I’ll tell you so. If I’m ever wrong, you just keep your little mouth shut.” Would anybody ever believe he could exercise that kind of control over a Barbara Stanwyck? Or a Barbara Hale? Or even a Barbara Pepper?
Adventure
Running Time: 87 minutes
Written by: Michael Hogan
Directed by: John Rawlins
Featuring: Jon Hall, Maria Montez, Sabu, Leif Erikson, Billy Gilbert, Edgar Barrier, Shemp Howard, Thomas Gomez, Turhan Bey, Elyse Knox, Acquanetta and Carmen D’Antonio
Scheherazade: “I would swear I have seen this man before. But where?”
Ali Ben Ali: “Maybe in your dreams.”
Critical…
"I don't hate you. I only hate the thing that's come between us: your voice."
"Yes, I know. You were out front tonight. I felt your eyes on me. Like you're looking at me now. Go away. Get out of here! I'm afraid of you."
"You needn't be. I love you, my darling, you know that. I'd give my life for you. This thing that shuts me out, I won't let it, I tell you I won't let it. It's here... now, between my fingers. I've only to close them to silence it forever."
Beneath the Planet of the Apes (1970) starring James Franciscus, Kim Hunter
Beneath the Planet of the Apes is a rescue mission. Astronauts are sent from Earth to search for the missing Taylor and his crew from Planet of the Apes. They go through the same issues, only to fall into a final war between the apes and the mutant humans.
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