episode #20, segment 2: Button, Button
Base of Galactic Science Fiction :: SCIENCE FICTION in TELEVISION :: The Copper Age of TV Sci-Fi
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episode #20, segment 2: Button, Button
BoG Sat Apr 24, 2010 5:08 pm
#20b: BUTTON, BUTTON written by Richard Matheson; Directed by Peter Medak
I guess the inclusion here of an almost prototypical O. Henry ending, the twist - one of poetic justice - is what makes this one of my favorite episodes. But, as with a couple of other episodes, there is also the style of the presentation, thanks to director Medak - it's offbeat and some of it is unforgettable. The story centers on a couple who are barely making ends meet and live in a small apartment. The wife (Mare Winningham) has a nasty disposition; she's always in a bad mood and griping. The husband (Brad Davis) seems to appreciate what little they have. They both have slightly quirky personalities and are kind of overplayed, exaggerated.
I realized, as the episode progressed, there was a madness to this method. The tale is basically a dark farce. It ends up making some fun of such human beings; they live their lives desperately in a way and, soon, life will take full advantage of their sadly comical situation - take full advantage, rather, of their weak character traits.
A small package is mysteriously delivered to the couple's front door. Inside is a box with a red button on top; the button is covered by a plastic dome. Later, the wife is visited by Steward, a tall man dressed in a suit and black hat. He gives her a key to open the plastic dome. He explains to her that if she pushes the button, two things will happen: someone she does not know will die and she will receive $200,000. He leaves. The wife isn't sure what to make of all this and tells her husband when he arrives home from work. The husband is initially disgusted by the entire scenario and throws away the box, even though they determine that there's no way for anyone to know if the button is pushed anyway (there are no wires or anything inside the box).
But, the wife
A wicked little twist, what? This episode divides the fans - there are those who don't like Winningham's overly stylized performance. But, I found I couldn't take my eyes off her; she's a bundle of exaggerated gestures and weird twitches, over-wrought inflections and stressed out attitudes. She understands that she's in a dark comedy, which this is, of course - wickedly dark, with a wicked twist.
But, the one who takes the acting honors is Basil Hoffman as Steward, the tall dark man. With a voice that is at once soothing and sinister, Hoffman glides in and out of the story like the gentleman's version of the urbane Satan. At the very end, he pauses in the doorway of the couple's apartment as he leaves, his tall figure almost silhouetted against the opening. It's an image I've never forgotten, even over 20 years later. Also, the camera zooms in on the wife's eye as she makes the bloodcurdling realization of what's in store for her. As I said, the style sometimes makes a story - in film and TV, at least. BoG's Score: 8.5 out of 10
This story, based on Richard Matheson's original, was remade as a film, The Box, in 2009. Here's a short parody:
I guess the inclusion here of an almost prototypical O. Henry ending, the twist - one of poetic justice - is what makes this one of my favorite episodes. But, as with a couple of other episodes, there is also the style of the presentation, thanks to director Medak - it's offbeat and some of it is unforgettable. The story centers on a couple who are barely making ends meet and live in a small apartment. The wife (Mare Winningham) has a nasty disposition; she's always in a bad mood and griping. The husband (Brad Davis) seems to appreciate what little they have. They both have slightly quirky personalities and are kind of overplayed, exaggerated.
I realized, as the episode progressed, there was a madness to this method. The tale is basically a dark farce. It ends up making some fun of such human beings; they live their lives desperately in a way and, soon, life will take full advantage of their sadly comical situation - take full advantage, rather, of their weak character traits.
But, the wife
- Spoiler:
- digs out the box later that night and apparently can't get the thought of pushing the button out of her mind. It preys on her until she finally pushes it. Steward shows up again the next day to pick up the box and leaves the couple a suitcase with the money, as promised. He also assures them that someone has indeed died. Before he leaves again, he explains that the box will now be delivered to someone else and, he states, looking at the wife, it "will be someone you don't know." The wife immediately realizes what this means for her.
A wicked little twist, what? This episode divides the fans - there are those who don't like Winningham's overly stylized performance. But, I found I couldn't take my eyes off her; she's a bundle of exaggerated gestures and weird twitches, over-wrought inflections and stressed out attitudes. She understands that she's in a dark comedy, which this is, of course - wickedly dark, with a wicked twist.
But, the one who takes the acting honors is Basil Hoffman as Steward, the tall dark man. With a voice that is at once soothing and sinister, Hoffman glides in and out of the story like the gentleman's version of the urbane Satan. At the very end, he pauses in the doorway of the couple's apartment as he leaves, his tall figure almost silhouetted against the opening. It's an image I've never forgotten, even over 20 years later. Also, the camera zooms in on the wife's eye as she makes the bloodcurdling realization of what's in store for her. As I said, the style sometimes makes a story - in film and TV, at least. BoG's Score: 8.5 out of 10
This story, based on Richard Matheson's original, was remade as a film, The Box, in 2009. Here's a short parody: