Alfred Hitchcock Presents

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“Good evening.” With those two words, Alfred Hitchcock welcomed viewers into a weekly world of murder, mystery, suspense and wonderfully dark humor.

Alfred Hitchcock Presents premiered on CBS in 1955 and ran for seven seasons as a half-hour anthology. In 1962, it expanded into The Alfred Hitchcock Hour, continuing for three more seasons until 1965. Each episode told a separate story, usually ending with an unexpected twist or a criminal discovering that the perfect crime was not quite perfect.

The opening became almost as famous as the stories. Hitchcock stepped into a simple outline of his unmistakable profile while Charles Gounod’s “Funeral March of a Marionette” played. Hitchcock had drawn the nine-stroke caricature himself.

Although he introduced every program, Hitchcock directed only 17 episodes of the original half-hour series. Producers Joan Harrison and Norman Lloyd helped select stories, writers, directors and actors who could deliver a complete suspense film in less than 30 minutes.

The television series also influenced Hitchcock’s movies. He later used members of the show’s experienced television crew to make Psycho, helping him film quickly and economically while creating one of the most famous thrillers ever made.

Did the theme music make you uneasy before Hitchcock even said, “Good evening”?

Love, American Style: The Show Where Familiar Faces Got Another Shot

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Love, American Style was one of those shows that could only have come from that late ’60s and early ’70s TV era. It aired on ABC from 1969 to 1974 and was built as a romantic-comedy anthology, with different short stories each week about dating, marriage, misunderstandings, and all the funny little disasters that came with love.

The format was the secret. Since every episode had new stories, the show could bring in all kinds of guest stars: older stars people already knew, TV regulars between shows, comedians, singers, and young actors just starting out. It was a perfect landing place for performers whose biggest days may have cooled off, because they didn’t have to carry a whole series. They could pop in for one funny segment, remind viewers they were still around, and get a little prime-time shine again.

It also helped launch or boost newer names. Future stars like Diane Keaton, Sally Struthers, Albert Brooks, and Harrison Ford appeared on the show, and one segment later became the starting point for Happy Days.

That was the charm of Love, American Style. You never knew who would show up. One week it might be a familiar face from older TV or movies, the next week someone who would become famous later. It was light, colorful, a little cheeky for its time, and full of that ABC Friday night energy.

For a lot of actors, it wasn’t just another guest spot. It was a way to stay visible, stay working, and remind America, “Hey, you remember me.”

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