Murder She Wrote - "Reflections of the Mind" - 1985

In an episode of Murder She Wrote, Ann Blyth got to go nuts, stab her husband with scissors, and be accused of murder.  It must have been a swell gig.  Certainly, it was a deviation from the good girl image we discussed in our last post, here.  (As were two murder mystery episodes of Quincy, M.E. that we’ll discuss down the road.)  Not that there weren’t opportunities for more wholesome assignments in the 1970s and 1980s for an actress who had more range than her wholesome reputation seemed to indicate, but wholesomeness trailed her like a long shadow. 

The makers of Hostess snack cakes made good use of that image in a series of television commercials.  Have a look below for these commercials now on YouTube:

There is a collection of Ann Blyth’s Hostess cupcake commercials in the Library of Congress.  I don’t know…that just makes me smile.  And crave Crumb Cakes. 

Becoming a television spokesperson for Hostess may have been only a lark for Ann, especially as it gave her a chance to work with some of her children in front of the camera, but she did have her weather eye out for TV roles, even if she was selective.  In an interview with syndicated columnist Vernon Scott in 1976 she remarked,

“Rather than just appear on television for the sake of it, as many do,” she said, “I’d rather wait for things that appeal to me.”

One role she apparently would have liked was a part as Amelia Earhart’s mother in the 1976 NBC-TV movie Amelia, based on the life of aviatrix Amelia Earhart, played by Susan Clark.  Miss Blyth was 48 years old at the time, but according to columnist Marilyn Beck, was not chosen because she looked too young to be the mother of a grown daughter.  We should all have such a problem.  She lost out to Jane Wyatt, then 64 years old, who had once played Ann’s mother in One of Our Own (1950), which we’ll discuss later in the year.

By 1985, the year she did the Murder She Wrote episode, Ann Blyth was still active in a long stage career, performing the role of the Countess in Song of Norway in March at the Long Beach (California) Convention Center for the Long Beach Civic Light Opera.  She played opposite Bill Hayes, with whom she had appeared in Brigadoon in 1968 in St. Louis, would later team in a series of musical variety cabaret performances. 

Just before the show opened, in the decade after she lost the role of Amelia Earhart’s mother for looking too young, Los Angeles Times columnist Jack Hawn remarked, interviewing her at the Brown Derby restaurant, “At 57, she verily glowed.”

The Murder She Wroteepisode, called “Reflections of the Mind”, was telecast November 2, 1985, the sixth episode of the second season of what would become a long-running and much beloved series, due mainly to the talent and likeability of its star, Angela Lansbury as the intrepid mystery writer, Jessica Fletcher.

 

The show would be a reunion of sorts: between Ann and Martin Milner, who played the sheriff in this episode who accuses her of murder, and who appeared with Ann in the above-mentioned One of Our Own as her sister’s boyfriend.

Ben Murphy, who plays Ann’s younger second husband (14 years her junior in real life), was also a regular in the late  TV 1960s show The Name of the Game when Ann did a guest star role on that series in an episode called “Swingers Only” in 1969.

Most especially enjoyable to fans was the matchup of Ann and Angela, who four decades earlier were both nominated in the same Best Supporting Actress category for the 1945 Oscars.  Ann, 17 years old, had been nominated for Mildred Pierce, which we discussed here.  Miss Lansbury, 20 years old, was nominated for The Picture of Dorian Gray.  Both lost out to veteran actress Anne Revere.

A fond and teasing reference to their earlier careers must be the framed photograph we see at the very beginning of the episode of a young Ann and Angela standing together before what appears to be a microphone.  The occasion is clearly not the Oscars, but if anyone knows of any radio show they did together, I’d love to know about it.  It looks like early 1950s to me.  I haven’t been able any to track any information about that photo yet, but I’ll let you know if I do.

 

This comes from the fun fan blog The Definitive Guide to Murder She Wrote.

Speaking of intriguing images, there’s a large oil painting in one of the rooms of the mansion (the setting of the story is the home of Ann’s character, who is wealthy).  The painting depicts a young and glamorous Ann lounging seductively in a chair in a long gown with the figure of a man standing behind her.  I’d love to know more about that painting.

 

The episode starts with a slow pan across family photos, including the pic of Ann and Angela in younger days, and then we see Ann lying on her bed, having nodded off reading one of Jessica Fletcher’s books.  Ann plays Francesca Lodge, a really rich lady in Ohio with a grown daughter and a younger second husband.  She and Jessica are old pals from days gone by.  For those of you familiar with the series, you know that Jessica has friends and family all over the country, all over the world, and they are frequently murdered, have committed murder, or were somewhere on the premises when a murder was committed. 

It’s not really a good idea to be a friend of Jessica Fletcher’s because of this.  But Ann is, so you know there’s going to be a murder.

Ann is troubled lately with forgetfulness, delusions, and seems to be haunted by images and reminders of her late first husband.  She is especially plagued by a music box he had given her years before, that plays unexpectedly by itself.  We hear it, too, so perhaps she’s not really nuts, maybe somebody is driving her nuts, “gaslighting” her, as it were.

Still, she flips out during a thunderstorm, hears things, sees things, and when her second husband, Ben Murphy arrives home, she attacks him with a pair of scissors.  A manic fit of hysteria is always a good way to start an episode, and we see Ann is in fine form, tearing around the house, staggering down a palatial staircase, and swiping at Ben Murphy like a nervous Zorro.  Anyone who can slap Joan Crawford and send her sprawling down a few stairs is certainly going to be pretty handy with a pair of scissors.

Ann ends up in the psychiatric ward of the city hospital, where Jessica, who has been summoned (you always go to writers for help), arrives at her private hospital room and offers sisterly comfort.

Ann is released (because even Jack the Ripper would be released into the custody of Jessica Fletcher), and Jessica bunks at Ann’s house while we settle into story. 

Mysterious reminders of her first husband continue to terrorize Ann, whose screams rouse Jessica into action.  Funny how on TV people roused in the middle of the night always look perfect in attractive robes. I’d stagger into the hall, disheveled  and  far less articulate than Jessica Fletcher in ascertaining the problem at hand.  My interrogation would be more like, “Huh?  Wha…mmpfh...z-z-z-z-z.”

But I digress.

Ben Murphy runs his wife’s family business, and it turns out his secretary is also his mistress.  There’s a lot of suspicious characters around, including that secretary; Ann’s grown daughter who is a former drug user and runaway; a creepy gardener who keeps peering into windows; and the family doctor with the in-your-face manner of a creepy child’s party clown.  The aloof housekeeper played by Esther Rolle also seems suspicious—I still don’t get how the switcheroo with the dead canary could be done so quickly. 

The only two people we trust are Angela Lansbury and Martin Milner as the sheriff.  I love Martin Milner.  He’s been on Murder She Wrote a handful of times as different characters.  The innocent open-faced boy we saw in Life with Father (1947) here, and I Want You (1951) which we discussed here, grew into a frank and confident and no-nonsense guy you’d want on your side.  You can almost smell the Old Spice.

I’ll not give away the details, this being a mystery, but it’s a treat to watch Miss Lansbury and Miss Blyth together as a couple of pros who grew up in the business.  Ann Blyth here is fragile, high strung, at the breaking point.  Regrettably, the climax occurs when she is out of the room.  Our last image of her is back in the psychiatric ward screaming at that weird doctor.

It’s the last time we saw her play a character on television.  Only in her late fifties, she seems too young not to have done more TV, but it had already been an over 50-year career for this woman who started as a child of six.  Nor was the career over, for there would be more live appearances on stage doing what she started out doing as a six-year-old child: singing.

We’ll take that up another time.  Come back next Thursday when we jump back to 1948 and one of Ann’s finest performances as a dramatic actress, playing the sultry and devious young Regina in Lillian Hellman’s Another Part of the Forest.

 

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The Definitive Guide to Murder She Wrote blog.

Karr Collection Television Commercials, Library of Congress. http://www.loc.gov/rr/mopic/findaid/karr/karr16.html

Los Angeles Times, February 28, 1985, article by Jack Hawn.

The Milwaukee Journal, January 27, 1976, syndicated article by Vernon Scott p. GS1, also April 12, 1976, syndicated article by Marilyn Beck, p. 3.

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HELP!!!!!!!!!!

Now that I've got your attention: I'm still on the lookout for a movie called Katie Did It (1951) for this year-long series on the career of Ann Blyth.  It seems to be a rare one.  Please contact me on this blog or at my email: JacquelineTLynch@gmail.com if you know where I can lay my hands on this film.  Am willing to buy or trade, or wash windows in exchange.  Maybe not the windows part.  But you know what I mean.

Also, if anybody has any of Ann's TV appearances, there's a few I'm missing from Burke's Law, Switch, The Name of the Game, The Dick Powell show, the Dennis Day Show (TV), the DuPont Show with June Allyson, This is Your Life, Lux Video Theatre.  Also any video clips of her Oscar appearances.  Release the hounds.  And let me know, please.