The Outer Limits is turning 50.... (1 Viewer)

[Hollywoodaholic]

I'm not reading any actual objective reasons why you think this is an effective episode, so maybe it's more of a personal favorite. At face value, it's more cobbled together scenes than an actual drama, and ultimately feels poorly executed. I dont know how Frontiere scored it unless he took a "library cue" approach.

With me it's always the writing, first and foremost. Stefano let it all hang out here, creating very definable characters, putting them in the boiling pan and exploding their cracks in very believable ways for each character. The twist that it's a test is just a cruel joke at that point, and it's foreshadowed early in the story with the shot of the generals watching behind the glass with the Ebonite, but a good character study story like this works for me even without that twist.

There is no moment of corniness in the dialogue; it's all totally distinct to each character, and the acting is totally up to the task of giving it the gravitas necessary for the 'nightmare' situation. Man, when I was a kid, I'll never forget actor Bill Gunn's moment when he talks about bargaining to get his sight back in return for seeing Krug's corpse and then breaking down saying "He didn't have a heart. There was just a hole in his chest!" That gave me some real chills and nightmares. Because when you have great writing and acting, you don't need to show everything. Gunn's reaction is more powerful and horrifying than any graphic scene of what he actually saw... A lesson lost on most media these days when CGI can just do anything and the creative ways writer's used to make you use your own imagination to complete the scene through dialogue or narrative alone is so easily and lazily abandoned.

I'm by no means 'objective,' but these are some subjective reasons this episode always grabs and impresses me. And there's so much more to come (this first season).

 

[Craig Beam]

I saw a movie 20 plus years ago that I wish I could remember the name of the film or the actors that were in it. It was the same premise of "Nightmare" set in current times. USA fighter pilots were captured and tortured to see how they would act under those conditions. One of the prisoners was a female. I saw it on HBO in the early 90's. Quite intense.

Are you sure you aren't thinking of the remake of the episode from the Showtime Outer Limits series? As I recall one of them was female.

 

[Blimpoy06]

Are you sure you aren't thinking of the remake of the episode from the Showtime Outer Limits series? As I recall one of them was female.

I was wondering if that was I was thinking of too. But I'm pretty sure the movie was "present day" with no sci-fi setting and set in a jungle environment reminiscent of Vietnam. I'm thinking Tom Skerritt was one of the pilots.

 

[JohnHopper]

10. My two cents, continued: (spoilers)

"Nightmare"

I find this a very effective and memorable episode; perhaps one of the most memorable of the series.

The last time I watched this when my son was 14, he described the set as very "ghetto," which I understood to mean 'extremely financially compromised.' I had to laugh. Just a bare stage floor, some cheap looking rocks and a flat background. Looking back, you might think it was a 'bottle episode' to save budget, but when you consider the large and considerably talented cast, maybe not.

It has all the markings of a good play that has no dependency on the set, but hangs it success solely on good characters, pointed dialogue and a story with good twists. I wonder if it's ever been re-figured or staged as a play; it wouldn't be hard to adapt and expand.

This time around, whenever the Ebonite waved the rod and zapped one of the prisoners, I kept hearing Expecto Patronum in my head. I don't know why.

"A poorly-educated man rarely refuses the opportunity to speak." Truer words by Major Jong were never spoken, and never more relevant than today.

And let's give some credit to the diversity casting here. Gene Roddenberry gets all the credit for imagining a racially and culturally diverse crew serving peacefully together on the same spaceship in the future, but this episode beats him to that achievement by a good three years.

What’s most remarkable to me is that this is the third episode in a row to essentially drill the military a ‘new one.' Between the jilted Bertram Cabot with the M-1 up his butt, to Colonel cowardice failing to suppress O.B.I.T., to the sheer complacency here of the high command working with aliens to deceive and torture their own personnel, it’s a pretty shocking indictment.

For context, perhaps you go to President Eisenhower, who, before he left office at the end of 1960, warned of the vast, growing insatiable beast known as the “military industrial complex.” And this from a former general in the military. The documentary, “Why We Fight,” covers this fascinating speech. Then you have bestselling books at the time such as “Seven Days in May,” which also was made into an all-star movie (Kirk Douglas, Burt Lancaster, etc.) showing a coup by the military. Add in the chomping at the bit desire by the high command (Curtis Lemay) to bomb the Russian missile sites popping up in Cuba in 1962 and probably launch World War III, and you have an atmosphere where you wonder who the real enemy at the height of the Cold War was – the Russians, or our own overzealous military. I just think it’s remarkable so soon after World War II and the Korean War to have all these depictions of a terribly flawed, often cowardly, ruthless, and even deceitful military.

Looking back, I wonder what my dad (a Captain in the European theater in WWII) must have thought watching these episodes with me when I was eight. Did he share the mistrust of command after his experiences? Did he agree with Eisenhower's warning? (Maybe so, he voted for Kennedy in 1960). Or did he just skip by all the context and dismiss it all as just silly science fiction? I don't remember him speaking up to me about it, but then, of course, he was one of the highly-educated.

I do distinctly remember what he always said about watching "Combat!" with his 10-year-old son shortly after this time ... "Why don't those guys ever reload or run out of bullets?"

From day 1, I never liked it. It was cheaply produced on a bare soundstage
and it played like filmed theater in which we underwent 50 minutes of masochism and torture. Hell no!
Only interesting for Martin Sheen's appearance.

 

[Sadsack]

And let's say it's worth the cost of launching a couple rockets with handfuls of men just to convince them their interrogation is real - why send men who anyone can see would flip out from the start? How can sending 6 guys to duke it out on an alien planet be a serious threat? At least they correct that in the remake by delivering a planet-destroying bomb.

 

[Sam Favate]

With me it's always the writing, first and foremost. Stefano let it all hang out here, creating very definable characters, putting them in the boiling pan and exploding their cracks in very believable ways for each character.

In David Schow's Outer Limits Companion, which I'd say is the book on the Outer Limits, he says, "Arguably Outer Limits' best-written show, "Nightmare" is a tour de force of ensemble acting that illustrates just how resourceful the program's cast and crew could be when squeezed by the limitations of time and budget."

I saw a movie 20 plus years ago that I wish I could remember the name of the film or the actors that were in it. It was the same premise of "Nightmare" set in current times. USA fighter pilots were captured and tortured to see how they would act under those conditions. One of the prisoners was a female. I saw it on HBO in the early 90's. Quite intense.

I also remember that there was a movie based on this, but I can't recall what it was. I know this because when I saw the episode on the original DVDs 15 years ago, I remember thinking "That could make a great movie," and when I looked it up, I found it had been. Memory fails though, as to what it was.

 

[Sadsack]

In David Schow's Outer Limits Companion, which I'd say is the book on the Outer Limits, he says, "Arguably Outer Limits' best-written show, "Nightmare" is a tour de force of ensemble acting that illustrates just how resourceful the program's cast and crew could be when squeezed by the limitations of time and budget."

Yes, it is "arguable."
Did he mean time and budget limitations for the series in general or that specific episode? Because they've done better jobs in other episodes, so maybe he's saying they did a good job relative to their resources, not a good job, period.
Anyway, wouldn't be the first time I've disagreed with Schow's opinions (likewise with Zicree's opinions about Twilight Zone). His book is informative, but that doesnt make him right, like his rant in his FUN AND GAMES commentary. But I understand why you would quote him.

 

[Sadsack]

I was wondering if that was I was thinking of too. But I'm pretty sure the movie was "present day" with no sci-fi setting and set in a jungle environment reminiscent of Vietnam. I'm thinking Tom Skerritt was one of the pilots.

Then why not check Skerritt's movies on imdb???
https://www.imdb.com/title/tt0091688/

In the future, search for - "Plot Keywords: male rear nudity"

 

[Blimpoy06]

Then why not check Skerritt's movies on imdb???

Thanks. I did, but I used Wikipedia instead. They don't always have plot descriptions for every film in an actor's career. I'm not a fan of IMDB because of all the ads.

 

[Sadsack]

Guess I never noticed ads on imdb. Adblocker must be preventing them, although I didnt think there was anything there to block. Anyway, imdb is much more comprehensive than wikipedia.

 

[BobO'Link]

I, too, use an adblocker. IMDB is almost impossible to use without one.

 

[JohnHopper]

In David Schow's Outer Limits Companion, which I'd say is the book on the Outer Limits, he says, "Arguably Outer Limits' best-written show, "Nightmare" is a tour de force of ensemble acting that illustrates just how resourceful the program's cast and crew could be when squeezed by the limitations of time and budget."


Keep in mind that writer Joseph Stefano didn't like how his script was translated to the screen.
Unfortunately, without the input of Conrad Hall and Gerd Oswald, such ambitious script doesn't work.
David J. Schow has his biased opinion, by the way.

 

[Hollywoodaholic]

In David Schow's Outer Limits Companion, which I'd say is the book on the Outer Limits, he says, "Arguably Outer Limits' best-written show, "Nightmare" is a tour de force of ensemble acting that illustrates just how resourceful the program's cast and crew could be when squeezed by the limitations of time and budget."


Keep in mind that writer Joseph Stefano didn't like how his script was translated to the screen.
Unfortunately, without the input of Conrad Hall and Gerd Oswald, such ambitious script doesn't work.
David J. Schow has his biased opinion, by the way.

Hall or Oswald can enhance a great script but in no way are responsible for one. And neither of them worked on this episode. Joseph Stefano's excellent dialogue and character work stands alone here (but with a suitably eerie and very avant garde score by Dominic Frontiere - in fact the whole episode is tre avant garde.)

 

[Sadsack]

I'm not sure what's avant garde about the episode besides the music. The minimal set design? That seems like a budget problem, like the Star Trek episode set at the OK Corral - they couldnt afford to shoot elsewhere, and added an explanation in the dialog. It works there because it's not suppose to be real. In the OL, it's suppose to be another planet, not an avant garde theater production. A worse example are the "corridors" in THE GUESTS episode which are just shaded areas over the actor in a dark soundstage. The effect doesnt work.
Regarding how great the script is...I can only hope you're just testing us to see our reactions, and who will "break" under the pressure of this charade.

 

[JohnHopper]

Hall or Oswald can enhance a great script but in no way are responsible for one. And neither of them worked on this episode. Joseph Stefano's excellent dialogue and character work stands alone here (but with a suitably eerie and very avant garde score by Dominic Frontiere - in fact the whole episode is tre avant garde.)

I disagree. “Nightmare" is not an avant garde episode from an aesthetical standpoint.
The only ‘avant garde' episode remains "The Forms of Things Unknown", in my book.

 

[Nelson Au]

Guys, I had broken my streak of one episode a week and indulged in two episodes tonight. I had kind of seen The Human Factor once a decade ago and it didn’t click. The other episode I watched is 100 Days of the Dragon. And I’d seen that before and I didn’t really like it or hate.

I guess The Human Factor doesn’t hold a lot of high regard if it didn’t get an audio commentary. I watched it with an open mind despite not having a good reaction to it before, mainly for the monster image. But this time, I was hoooked by the story. I thought it started a little slow, but once the transference of the minds took place, it was a pretty exciting episode. I mainly remember Sally Kellerman for her role as Judith in the Bellero Shield, so this appearance was a new experience. It was like watching this episode the first time. Perhaps it was too straight forward or simple a story for some, but I liked it a lot more then I thought I would. It was interesting to see Kellerman be the key to solving the story. I hope she didn’t get in trouble for locking the guy in the closet. It was pretty cool to see her here in an earlier performance as a more sympathetic character, plus before her Star Trek and MASH work. I’d seen her photo from the Daystar promos of this episode, so it was good to finally see the episode itself. Also fun to see Ivan Dixon in an earlier role.

I had seen The Hundred Days of the Dragon before, but it was like the first time too watching it this time. I was as hooked on this one as I was with The Human Factor. I was surprised. Perhaps it was the subtle performance of Sidney Blackmer. There was some interesting facial work that I couldn’t help but think was done on purpose to elicit an Asian face while in the guise of Selby. I was also wondering if the Vice President was able to foil the plot. I know the plot was foiled from the earlier viewing, but this time I had not recalled the exact resolution. It was funny to see Phillip Pine who I mostly see in evil roles. Also cool to see James Hong. He’s been really able to carve a nice long career, though in smaller roles. He managed to make an impression.

What a funny coincidence to pair two episodes that covers the subject of impersonation of another person. It was also nice to see two episodes in a new light too.

I also can’t help but find the episodes a lot more fascinating to watch by the massive improvement of the image quality. Especially the Conrad Hall episodes.

 

[Sadsack]

Sometimes we're blind to faults in favorite episodes. I've seen "100 Days of Dragon" so many times, I'm not sure I ever questioned why the Vice President's home wasnt guarded. It's a big plot hole to modern viewers unless you consider historical context: VP protection was optional starting in 1951, only made mandatory in 1962. The omission is not so farfetched for 1963 TV episode.
I have no nostalgia clouding my mind over "Nightmare," watching it now after 30 years. Perhaps the script is good on the page, but the execution undermines some viewers' appreciation of it.
Speaking of the Dragon episode, if it happened today, the scientists involved wouldn't need a duplicate mask of the president - just clawing the impersonator's face would be good enough.

 

[Craig Beam]

I disagree. “Nightmare" is not an avant garde episode from an aesthetical standpoint..

How is "Nightmare" NOT avant-garde? Is the design of the Ebonite planet unusual or experimental?

avant-garde (noun): new and unusual or experimental ideas, especially in the arts, or the people introducing them.

 

[Hollywoodaholic]

I don't know why I'm still defending "Nightmare," but it keeps the thread discussion alive and kicking.

Here's science fiction author (and The Outer Limits at 50 co-author) Ted C. Rypel's take:

A beautifully written episode, despite the cost-cutting measures that cast it as a show that could readily be re-imagined as a stage production.

Stefano's lyrical dialogue always commands attention, if you're at all interested in how words can be as dynamic as actions, how they can crackle with poignance and poetry and emotional immediacy. And the "Sunday supplement psychology," while superficial, to be sure, is nonetheless accurate in rendering useful sketches of the players in this dark fable set on a bleak, stage-bound planet.

Get past the stylized theatrical conventions, an inevitable by-product of budgetary concerns, and you have a gripping drama of a (perhaps too pat) cross-section of humanity caught up in the stress of unbearable fears and tensions.

Even the archival coverage of the episode in DJS' inestimable COMPANION is some of the most cogent in that landmark book. Having trouble appreciating this entry? Listening with sympathetic attention to David's coverage and then checking out the episode again might help shade your opinion.

Accepting its physical parameters and logistic limitations, I don't find much to dislike about this episode. It's aesthetically pleasing, and I'm in tune with most of its cynicism and borderline misanthropy anyway.

I can't help wondering at the nature of these guys' mission; at what was supposed to be accomplished by a task force composed of five officers and a single grunt.

The characters ARE a bit of a too-convenient lab-ready cross-sampling. But they're essayed by a grand assemblage of solid acting pros and a genre-lover's Who's Who: Ed Nelson (NIGHT OF THE BLOOD BEAST, THE BRAIN EATERS, ATTACK OF THE CRAB MONSTERS). King 'B' Whit Bissell (INVASION OF THE BODY SNATCHERS and too many others to mention). Willard Sage, who always looks like he's warming the part for genre-fave Fritz Weaver. PSYCHO and Twilight Zone's John Anderson, as the Ebonite Interrogator, beginning the short-list TOL tradition of burying well-known character actors under deep alien cover (Simon Oakland, John Hoyt).

Gen. Luminoid's (Ben Wright) voice by now commands instant recognition. And that Ebonite sense-control wand might come in handy with too many audiences I've been stuck in the middle of.

This remains a lockdown favorite, and its subtext concerning the human condition feels as valid today as ever.​

 

[Blimpoy06]

Regarding "Nightmare". I always found it to be a profoundly effective study on humans under stress in small groups. The setting and surroundings are secondary to the emotional issues being discussed. The writers of the era spent very little time on backstory and set-up as we would expect today. I'm fine with that. Rod Serling wrote a similar piece for the Twilight Zone that I'm very fond of. "Five Characters In search Of An Exit". The set there is even more simplistic, but no less effective due to the superb dialogue and performances. As I stated in the Star Trek thread, the same director of "Nightmare" would helm the third season Trek episode "The Empath" , which had a similar story and limited sets. I wonder if the choice of John Erman was deliberate based on the similarities? Or was the set design a choice Erman made in both cases?