From Beyond Television: The Wildest Episodes of The Wild, Wild West Season 1

This compilation is literally what the title means -- the wildest episodes from seasons 1-4 of this immensely creative and innovative television series. It's not a 'Best Of', although some episodes seen throughout this quartet could be deemed among the best. Season One was quite dark and sinister at times with some of its subject matter. It's arguably the most adult of the entire run, containing some truly creepy episodes with a unique horror element to some of them. Granted, all but a few of the season one programs had some sort of James Bond gadget or wacky scripting device; these listed here were frequently pushing the envelope for anachronistic and phantasmagorical spectacle (the series would get really crazy in season 2). 11 of the 28 season one episodes are on this list. An article about the entire series can be found HERE.

THE NIGHT THE WIZARD SHOOK THE EARTH

6th episode shot; aired October 1st, 1965



James West is assigned to foil an attempt by Dr. Loveless in obtaining a formula for a special type of explosive from a former colleague named Professor Nielsen. West fails, and the professor is killed by a pea-sized bomb. Loveless then plans to kill 5,000 Californians unless the formula is handed over to him. 

This was the world's introduction to the crazed, super intelligent villain, Dr. Miguelito Quixote Loveless. Played by Michael Dunn, the adorable midget madman became hugely popular with viewers. There are four Loveless episodes in season one, four in season two, and one a piece between seasons three and four. Sadly, declining health resulted in Dunn's dwindling participation in succeeding seasons. All the Loveless shows are wild, but this one, outside of being one of the best shows, is notable for being the first to display his kooky genius. You'll also see him tossing big burly men around during a wrestling session!



Gadgets include a weapons-laden carriage (Hal Needham is the guy jettisoned out of the coach) Artemus builds for West. Richard Kiel plays Loveless's thuggish henchman, Voltaire (he played the role three times). He also participated in the horror themed season three show, 'The Night of the Simian Terror'. The duplicitous Miss Piecemeal (Sigrid Valdis aka Patricia Crane; Bob Crane's wife) returned later in season one for 'The Night of the Torture Chamber' episode.

THE NIGHT OF THE GLOWING CORPSE

9th episode shot; aired October 29th, 1965



During a scientific conference at the French Embassy, a consignment of Franconium -- a radioactive substance that causes anything exposed to it to glow -- is stolen by an "old woman" and a giant man. With the enemies of France having their sights on the substance, Jim and Arty must try to retrieve it before it's smuggled out of the country.




Irving J. Moore's first WWW episode has a great carnival sequence (one of numerous other carney/circus style plot contrivances throughout the series) that features a cameo by the Metaluna Mutant (the head, anyways) from THIS ISLAND EARTH (1955). There's a plethora of traps and weird devices such as Artemus's early version of an artificial lung that will hold up to five minutes worth of oxygen. Of course, this apparatus comes in handy when Jim is trapped inside an enclosed metal box with lethal gas pumped in. The series occasionally had a lumbering, imposing thug for Jim and Arty to contend with; in this case, it's a mute giant with Iron legs and feet.

THE NIGHT THE TERROR STALKED THE TOWN

11th episode shot; aired November 19th, 1965 



Dr. Loveless's second appearance sees him kidnapping Jim West to his underground laboratory. He plans to turn his deformed assistant Janus into an exact double of the secret services most trusted agent in an effort to get back his atomic formula for making devastating explosives. Of course, once this plan is enacted, the real West will no longer be useful.



This is a fun episode featuring little in the way of gadgets, but with Loveless onscreen, there's never a dull moment. Dunn is in Mad Doctor mode for this one; a role he undertook a few times in an effort to realize his diabolical plans. This time his Frankensteinian skills are put to use as a plastic surgeon; turning a deformed subordinate into a doppelganger of James West. Voltaire (Richard Kiel) also returns as his brutish assistant. Both Wests' end up battling each other and only a woman's kiss can determine who the real one is. A similar contrivance befell Mr. Spock in the season three ST episode, 'Whom Gods Destroy' only there was no kissing involved.

THE NIGHT OF THE TORTURE CHAMBER

14th episode shot; aired December 10th, 1965 



This episode is a ton of fun, and its major reason for being on this list is in the hilarious plan of the main villain, Professor Horatio Bolt (Alfred Ryder). He intends to absorb millions from the State Treasury to finance the most expensive, and extensive art collection in the world! Insane, I know, but Ryder is hilarious as Bolt. The governor is kidnapped and replaced with a lookalike. When Jim and Arty are sent to investigate, Bolt plans to kill them using various traps set in his house.

Highlights include Artemus (Ross Martin) donning one of his best disguises as a French art critic who informs Bolt that his entire collection is made up of forgeries! Another has our heroes trapped inside a wine press. This was one of a handful of episodes that would seem to have influenced Italian westerns. Stunts and fights are plentiful and exciting as usual. This was Fred Frieberger's last producer credit on WWW. The series went through a slew of producers and they lost a good one in Frieberger who later went on to produce episodes of STAR TREK -- a series that occasionally borrowed, or resembled WWW.

THE NIGHT OF THE STEEL ASSASSIN

16th episode shot; aired January 1st, 1966



Having rebuilt his body with metal limbs and pieces, Torres seeks revenge against seven former members of his Civil War regiment that he believes are responsible for the bodily destruction he suffered during an explosion. One of the men is Ulysses S. Grant, now the President of the United States.

This was the very first WWW episode I remember seeing as a kid. The sight of a skulking man with metal plates built into his body -- some of which are exposed on the outside -- made an impression on me. It's a basic revenge episode with hypnotism and a presidential assassination plot thrown in for good measure. There's a definite air of horror about it. There's some choice stunts and action, too -- a staple of the series. These include Jim shooting the villain in the head peeling his skin away revealing the metal underneath; and the assassination attempt on the president -- one rocket is set to fire at president Grant and another targeted at a bound Jim West.



There's one plot hole here -- after Jim and Arty manage to escape from Torres's clutches, they end up at a dead end and are gassed into unconsciousness. In the next scene, Jim is captured again, yet Arty is free and next seen disguised as the president. It's presumed Artemus has gotten away, yet it's not mentioned, nor does Torres show any concern that Artemus has escaped.

THE NIGHT OF THE GRAND EMIR

19th episode shot; aired January 28th, 1966 



For this episode, Jim and Arty are assigned to protect a Middle Eastern ruler targeted for assassination. The agents discover a plot by an upper class club of assassins that want the Emir's life. Noting Jim's amazing skills in action, the club tries to make him an honorary member, or kill him trying.



This is a fast paced episode with lots of action, intrigue, and a lot of characters engaging in near constant subterfuge. Yvonne Craig (Batgirl on the 60s BATMAN show) plays the gorgeous hit girl who ends up as Jim's love interest. Richard Jaeckel has a supporting role as another member of the killers club. This episode is a bit more violent than normal -- there's a glass container death device rigged with poisons; an early version of The Flying Guillotine via a head lopping tambourine; and a great stunt-filled, upstairs-downstairs fight between Jim and around ten assassins.

THE NIGHT OF THE WHIRRING DEATH

20th episode shot; aired February 18th, 1966 



Jim West and Artemus Gordon must collect $5,000,000 from three of the wealthiest men in California to help keep the state from falling into bankruptcy. However, Dr. Loveless intervenes by delivering explosive toys to the three unlucky, rich recipients.The tiny madman's scheme this time is to steal each of the 5 million in donations, plunge the state into chaos, and take it over as sole ruler of California.



The first segment of this show has a bit of A CHRISTMAS CAROL feel about it. The use of innocent toys as a means for destruction is a novel, if brutal idea. Loveless even secretly runs a toy shop where he builds his elaborate, and deadly toy soldiers and train sets. This was Dr. Loveless's third television appearance, and Voltaire's last appearance. Interestingly, Voltaire is showcased with a more child-like persona and also gets more dialog than his previous two episodes.

THE NIGHT OF THE PUPPETEER

21st episode shot; aired February 25th, 1966




Zachariah Skull (Lloyd Bochner), thought to be dead after jumping from a prison train, seeks revenge on the Supreme Court Justices who sentenced him to death by using lethal marionette's as his instruments of retribution. Jim is captured by Skull, who resides deep beneath the Earth inside a dark, cavernous facility.



To call this episode bizarre is an understatement. It's arguably the most macabre season one show what with its creepy, deformed puppets and PHANTOM OF THE OPERAish finale. The story and setting is beyond wild, not to mention about as outlandish a concept as you can get. The photography is exceptional. Not only one of series favorite Irving J. Moore's best, but one of the best shows of the entire run. Fans will recognize Lloyd Bochner as the man attempting to decipher what 'To Serve Man' truly means from that classic TZ episode.

THE NIGHT OF THE DRUID'S BLOOD

24th episode shot; aired March 25th, 1966



Jim West's former professor, Dr. Robey, dies in a gruesome fashion by Spontaneous Combustion. After attempts to remove him from the case, Jim discovers a string of violent deaths of prominent scientists all linked to a creepy satanist named Asmodeus (played by Don Rickles!) and the beautiful, young wife of Senator Waterford.

This episode is in the running for wackiest season one show and easily on par with the above 'Puppeteers' show. Put up against season two, it'd have some serious competition. 'Druid's Blood' is possibly the craziest season one WEST, period. There's some cool stunts and traps (including a pit of poisonous snakes) and the finale revealing the true main villain, an evil scientist who uses the disembodied brains of the dead scientists for his experiments!

THE NIGHT OF THE BURNING DIAMOND

26th episode shot; aired April 8th, 1966 



Serbia's irreplaceable Kara Diamond is inexplicably stolen by an invisible force while in federal custody. Jim gets blamed for involvement in the theft and ultimately discovers who the true thief is -- a young scientist who has created a serum that enables a person to move faster than the eye can see! 



Ken Kolb wrote this sci-fi west tale about a diamond elixir capable of allowing those who drink it to move so fast, everyone around them appears motionless. Jim and Arty are either suspects, or on the run throughout this episode, and features one of many scenes during the course of the series where Jim leaps through a window. If you're a STAR TREK fan, this plot device will sound familiar to you. It was a feature of the season three episode, 'Wink of an Eye'.

THE NIGHT OF THE MURDEROUS SPRING

27th episode shot; aired April 15th, 1966



The subject of drugs are the main focus in this ghastly, if darkly humorous episode. Dr. Loveless is at it again, this time determined to both torture, and take out his nemesis, James West. Loveless sneaks a powerful powder into his shaving water which, upon contact with the skin, results in Jim hallucinating. The evil midget's plan this time is to destroy humanity with this drug transferring it around the world via a flock of geese.

This was the fourth Dr. Loveless episode; and the most violent and downbeat of the ten featuring the diminutive madman over the course of the series. Loveless was always evil, but here, he's especially diabolical. There a few blackly humorous moments with Loveless and the hefty Kitten Twitty in between Jim's Twilight Zone style hallucinations (where he kills Artemus, for instance). However, the highlight of the show is a very disturbing sequence where the mad Doctor proves his potions potency by using it to turn his entire staff into raving maniacs! While 20 people scream and pound the walls killing each other in another room, both Loveless and his frequent companion, Antoinette sing 'Lullaby and Goodnight'. 



Phoebe Dorin was the real life singing partner to Michael Dunn. She played Antoinette in a total of six episodes spanning the first two seasons. This was Richard Donner's second of three WEST programs -- the others being season one's 'The Night of the Bars of Hell' and season two's 'The Night of the Returning Dead'.

This season by season list of the Wildest WILD, WILD WEST episodes continues with SEASON TWO...

Cult Film Faves Not On DVD: The Gamma People (1956) review

THE GAMMA PEOPLE 1956

Paul Douglas (Mike Wilson), Leslie Phillips (Howard Meade), Walter Rilla (Boronski), Eva Bartok (Paula Wendt), Michael Caridia (Hugo Wendt)

Directed by John Gilling

"A thing without a mind is nothing... an unfortunate failure."--the hypocrisy of the villain, Boronski, who controls people via his Gamma Ray machine and through oppression.

The Short Version: This barely discussed bit of Quatermass-lite British science fiction from the late 50s is a curious blend of quasi-horror and comical repartee between its "Odd Couple" leads and the arrogant genius of a pint-sized brat -- the creation of an evil Hitlerian mad scientist. Among this sinister doctors creations are an army of mindless goons that have seemingly had their memories wiped, acting as brutish automatons. It seems the filmmakers were at odds as to what sort of picture they really wanted to make. Gilling's bizarro concoction works in spite of its peculiar plot and frequent comical moments resulting in a generally satisfying little B-movie programmer.




Two reporters--one American and one British on assignment to cover a Salzburg music festival, end up stranded in Gudavia, an unmapped Eastern European village lorded over by a dictatorial mad scientist. By using gamma rays to turn people into mindless automatons, the effects of the rays also create a small army of pint sized geniuses with potentially dangerous inclinations.

This obscure British science fiction oddity comes from the same hand that guided Hammer horrors THE PLAGUE OF THE ZOMBIES, THE REPTILE (both 1966), and THE MUMMY'S SHROUD (1967) a decade later. But unlike those films, what little horror there is in THE GAMMA PEOPLE is derived from using science to create a super race of beings, and to turn people into mindless goons, or living zombies. One gets the feeling the filmmakers may have been trying to replicate the success of Britain's Quatermass film series here. However, the potentiality for suspense and terror is undermined by numerous comical scenes and chases; and therein lies the conundrum of this movie. 

Gilling's B/W curio almost defies description. It's one part sci-fi and one part comedy with a bit of post WW2 socio-political commentary. Overall, it's an overly silly, if fun, and wholly entertaining movie.

A lot of this has to do with the lively script (co-written by Gilling) packed with goofy banter between the odd couple reporters; two men who stumble into investigating strange goings on in this tiny totalitarian town. Just shy of 79 minutes, there are some plot points that could do with some fleshing out (the main villain, in particular, and we could see more of the zombie slaves), but the performances are engaging enough to look beyond minor details. 



Arguably the best thing about Gilling's GAMMA PEOPLE is the bratty genius, Hugo (Michael Caridia). He does a fabulous job of playing a tiny terror, but one with an unusually high intelligence and propensity for devout sarcasm. Three of his best moments are his introductory during a piano scene, a chess playing exchange between him and co-lead Phillips and again with Phillips while little Hugo embraces "the child in all of us".



The devilish, diminutive, brainy brat is just one among a motley clutch of creepy kids seen here. This other bunch are seen only sparingly, but grouped together, they evoke slight imagery, and look forward to the classic VILLAGE OF THE DAMNED from 1960. However, only two of the children (Hugo and a child piano expert) are seen as possessing uncanny abilities. 
 


The success of this forgotten 'B' programmer is owed to a large degree to the unlikely duo of the two lead actors, Douglas and Phillips. Their interactions with each other just prior and during their unwitting arrival in the mysterious town of Gudavia display numerous low key comical moments. They also play very well off of each other even if they don't look like your typical sci fi movie heroes.



The tyrannical villain Boronski appears modeled partially on Hitler and Mussolini. The Cold War era totalitarian system is also a sinister presence; yet it, too is undermined by a lack of concrete danger brought on by the intermittently jovial tone. Boronski not only controls his zombies with his gamma ray machine, but uses fear and oppression to control the townsfolk as "zombies" of another sort. Once these two interlopers enter the fray, the subtext of a free society vs. dictatorial rule seeps into the narrative and remains there till the end.



Working with what is obviously a low budget, the mad scientist lab and other villainous accouterments have an Ed Woodian look to them. This, too, offsets any serious atmosphere the film may have wanted to incur. A Frankenstein mentality is introduced late in the picture once we finally see Dr. Boronski's headquarters, which is revealed to be situated within a European castle. He has turned this oldeworld fortress into a hi-tech facility complete with electronic doors built into its medieval architecture.

The B/W photography by Ted Moore (of James Bond fame) is also worthy of mention. Frequently the actors are dwarfed by the majesty of the European countryside. Some of the opening shots (and others spread out over the course of the movie) reflect a stark view of isolation and entrapment that adds an air of believability that this Hitlerian mastermind could rule over a small populace with an iron hand virtually unnoticed. Flanked by mountainous terrain and a pervasive overcast, this adds much scenic splendor as well as a gloomy aura to a movie that unfolds with two different styles simultaneously.



Ted Moore also was DP on the last two Harryhausen Sinbad adventures, and also CLASH OF THE TITANS (1981). His other genre work includes THE DAY OF THE TRIFFIDS (1962), PSYCHOMANIA (1973) and ORCA (1977).

Director John Gilling also helmed some Hammer adventure pictures like THE PIRATES OF BLOOD RIVER (1962) and THE BRIGAND OF KANDAHAR (1965); and other horror pictures such as THE FLESH & THE FIENDS (1960), BLOOD BEAST FROM OUTER SPACE (1965) and his last, the troubled CROSS OF THE DEVIL -- a film originally to have starred Paul Naschy.



While I wouldn't recommend this to diehard horror fans, or anyone expecting monsters and overt seriousness, THE GAMMA PEOPLE is a very interesting film, especially on the second viewing. For nostalgia merchants and less stringent viewers of old fashioned science fiction, this nifty little 'B' picture delivers 79 minutes worth of breezy, if off kilter entertainment.