Alfred Hitchcock Presents: "Mother, May I Go Out to Swim?" - a toupological analysis.

"Mother, May I Go Out to Swim?" is a fifth season episode of the anthology series Alfred Hitchcock Presents. This installment, broadcast in April 1960, is Bill Shatner's second appearance in the series, the first being the classic third season episode "The Glass Eye" in 1957.

Star Trek alumni Herschel Daugherty directs with William Shatner starring as John Crane, privileged mamma's boy. Our story begins with Crane attending a coroner's inquest, apparently the subject of a murder investigation.


Cue flashback: John's mother Claire (Jessie Royce Landis) is off to visit her daughter Alice to tend to sick grandchildren, while John is heading off to Vermont to indulge his photography hobby (his mother says she will join him there later).


Mother and son are evidently very close. Claire has even adapted part of the family home to create a separate apartment for her pampered son.


Up in Vermont, John meets an attractive young lady while buying film for his camera.


The pair then take a walk to a nice nearby waterfall and strike up a bond over their mutual experiences of loss. John suffered polio as a child and, as a result, walks with a limp. Lottie (Gia Scala) is an orphan from Germany and carries vivid childhood memories of WWII. "When my father died, he left us fairly well off" remarks John on his present-day sense of security. He then tells Lottie that his mother is coming to Vermont and that she will soon get to meet her.


But then John abruptly leaves: his mother always calls at 9pm!


In spite of Claire's ubiquitous presence in John's life, romance soon blossoms.


And it isn't long before marriage is on the cards.


But what will John's mother make of Lottie? And can John really fully tear away from his mother and devote his attentions to his future wife?

Claire (her son often refers to his mother by her first name) finally arrives in Vermont...


...and John, sure that his mother will love her future daughter-in-law, arranges for the three of them to have afternoon tea.


But Claire and Lotte have a chance meeting (unaware of each others' real respective identities) before this fateful event - and it doesn't go very well at all as Claire acts rather snobbishly toward the foreigner she sees before her in the store...


Oh, that was you! Oops! The formal introduction is ruined as the pair recognize each other. Lottie excuses herself.


Lottie and Claire are evidently not going to become fast friends. But can they ever learn to co-exist? Or should the happy couple simply wait for Claire to die before they can live in peace in the home John will inherit?


Or is there perhaps another, darker solution?


And that's where we'll leave it...


So what to make of all this?

Of course there's a major twist in this episode, which we won't reveal here. And the story is really set up with that as the climactic payoff. Judging from the 9.5 (out of 10) rating "Mother, May I Go Out to Swim?" received at tv.com, this is quite a popular episode of Alfred Hitchcock Presents. We don't disagree that it is good, but at only around twenty-five minutes long, it all feels more like an hors d'oeuvre than a main course. Kind of like a Columbo episode comprised of only the first act (the murder) or imagine Psycho ending after the shower scene!


What does it all mean? What are the implications and the emotional consequences of all that unfolds before us? A story under the Alfred Hitchcock banner about a voluptuous blonde and a man who has an unusual relationship with his mother. So much raw material there...


It's all good and fun to watch, with solid performances and fair direction. But the truncated length and the way the story is geared towards that one wow payoff doesn't really allow for a more developed and richer tale to be presented. Bill Shatner's other effort in this series, "The Glass Eye", had a twist too, but it also made better overall use of its brief running time to present an atmospheric, unsettling and ultimately far more rewarding drama than "Mother, May I Go Out to Swim?", which never quite seems to escape the weight of presenting necessary exposition in order to instead make a forceful emotional or stylistic case to the viewer.

1957's "The Glass Eye" - a more effectively presented story.

Let's move swiftly to the hair...

As with other early 1960s Bill Shatner performances like "Nick of Time", there is a definite spring in the actor's step evident as the resplendence of the "fresh out of its wrapper" "Jim Kirk lace" is subtly shown off from every conceivable angle. The young actor happily tilts his head towards the camera in a manner that not long ago - struggling with sprays and combing techniques to conceal his thinning locks - was becoming increasingly impossible.


One can only imagine how Bill Shatner must have felt after saying "yes" (“It’s easy to say no...saying yes carries more danger to it. Saying yes is risky business — but how much richer my life has been because of it.” source) to this new toupee and, after having it fitted, realizing that a whole new chapter was opening up in his life...

As for toupological moments, there's really only one very subtle one: an interesting close-up of the rear of the toupee showing some carefully trimmed neck hair:

But the toupological import of these early sixties performances are far less about individual moments of toupologcal interest than they are about a wider symbolism. A new decade. A new, youthful toupee. And in America a new youthful president was about to be elected. Was JFK's Inaugural Address inspired by Bill Shatner's toupee-wearing?

"Let the word go forth from this time and place, to hair and scalp alike, that the torch has been passed to a new generation of toupees—designed in this century, tempered by lace, disciplined by the hard and bitter pieces worn by others, proud of a since withering heritage of real hair—and unwilling to witness or permit the slow undoing of that follicular plenty to which this scalp has, until recently, always been privy, and to which I am re-committing today both at home and in public. Let every person know, whether they wish me well or ill, that I shall pay any price, bear any burden, meet any hardship, support any friend, oppose any foe, in order to assure the survival and the success of my new toupee."

A toupee that would symbolize the spirit of the New Frontier...

We should also note that the Master of Suspense served as a presenter of each segment of Alfred Hitchcock Presents. And in a very subtle manner, the famous director also appears to pay tribute to Bill Shatner's new toupee, leaning down in the episode's prologue to expose his bare scalp (we suspect that a toup-less Bill Shatner today would strongly resemble Alfred Hitchcock)...


In the closing segment, Hitchcock tosses away an artificial device covering his head (an umbrella).


Is this too a subtle message? "The toupee is all very well when you're young, but if you're still wearing it when you reach my age, it may be time to lose it..."

Bill Shatner may have failed to heed the apparent advice of his mentor, but in a way he has paid the late director an even greater tribute. By wearing the toupee for so long; by denying its existence save for a few very clever teases; by undertaking all manner of stunts over his career that unnerved the viewer as to the stability and resilience of the toupees he wore, the actor has both honored Hitchcock's stylistic legacy and himself laid claim to being known as the true Master of Suspense.


"Mother, May I Go Out to Swim?" is available to purchase as part of the newly-released fifth season Alfred Hitchcock Presents box-set. A good episode in the series, but perhaps not a classic...


We should also note that a couple of times, including in our previous post, we alluded to what we thought was a (toup-less) behind-the-scenes photo from the making of this episode. Thanks to our eagle-eyed readers, it turns out that the picture in question is actually from a TV show called Tactic and features William Shatner (apparently in a very late-era toup-less performance), Alfred Hitchcock and actress Diana Van der Vlis. There's really nothing out there on the web about this specific episode that we could find, and we wonder whether footage from it even survives. The prospect of seeing Bill Shatner act with Alfred Hitchcock in a 1959 toup-less performance is certainly a very tantalizing one! Double the suspense!!

Toupee or not toupee?

Apologies for the Hamlet-inspired headline - it had to happen sooner or later! Following on from our previous post, we have another interesting image from which our toupologists are unable to draw a firm conclusion.

The above image shows Bill Shatner on the set of a 1959 series called Tactic - with co-star Alfred Hitchcock standing behind the actor. We know almost nothing about this episode or series.


We all know the basic contours of the "Jim Kirk lace" - the frontal swoosh and the thick moon-crest-like cap over the rear. Yet, this image lacks these unmistakable characteristics:


Further, the image reveals far more real short hair above the neck than we usually see; the bulk provided by the toup absent.

Until this (if that's what is is), we had no image of Bill Shatner toup-less beyond 1957 or early '58, so we can only guess at his level of baldness. But it's pretty certain that he still had hair at this point (except for a growing bald patch at the back), and that it was just too thin to be convincingly photographed as thick and plentiful anymore - the major balding likely kicked in during the mid-1960s.

The above image would appear to correspond to the progression of thinning that we have been able to chart: thin hair - a frontal hairline still in place - grown longer in this case and combed back (or squashed down from on-screen toupee wearing). In other words, the style visible in the image, seems to be what we might expect to see an early 1960 toup-less Bill Shatner looking like.

Bill Shatner toup-less in 1957 - more here.

Bill Shatner toup-less in December 1957 - also a rare example of his naturally curly hair being visible.

So could it really be a toup-less picture - a rehearsal in progress before any costumes, makeup or toupees were applied? Our toupologists have told us they aren't prepared to make that call yet - not without further study and some major touposcopic work.

A touposcope housed at the William Shatner School of Toupologcal Studies

Or could it just be a squashed toup, after all? Perhaps. But unlike our previous post, where, as readers noted, the confusion could all just be a stray shadow or a part of the cap, here, there is far more to observe and draw conclusions from. "We think that there might be something to this image," one source at the WSSTS, who declined to be identified as they are not authorized to speak on behalf of the institute, told us "It could indeed be Bill Shatner without his toupee, which would be a remarkable find for this era - but we can't be sure at this point."

Let us know your thoughts!



CORRECTION: Thanks to eagle-eyed readers, we have corrected this article to confirm that the behind-the-scenes image is not from 1960's "Mother, May I Go Out To Swim?", as we originally and incorrectly wrote, but rather from an episode of a 1959 series called Tactic - the episode in question guest-starred William Shatner, Alfred Hitchcock and actress Diana Van der Vlis. More here.

Alfred Hitchcock Presents:"The Glass Eye" - a toupological analysis.

"The Glass Eye" is a 1957 episode of the famous Alfred Hitchcock Presents series that originally ran for ten seasons from 1955-65. The episode stars the legendary Jessica Tandy, with Bill Shatner serving as both co-star and narrator.


Jim Whitely (Shatner) and his wife Dorothy are cleaning out the apartment of the former's deceased sister Julia (Tandy). Julia lived a very lonely life, with one exception - a story that Whitely is reminded of as he rummages through her belongings and locates a glass eye.


Whitely proceeds to tell his wife how Julia fell for a famous ventriloquist called Max Collodi:


Enchanted by his performances, Julia decides to follow Collodi as he tours England.


She writes him letter after letter...


...until she finally receives a response.


A brief initial five-minute meeting is granted. Julia sets out to visit the reclusive artist.


Collodi, remaining partly in the shadows like some Blofeldian figure, expresses his gratitude for Julia's efforts - he too has lived a very lonely life.


Julia then casts abandon to the wind and spills out her joy at these two, apparently kindred souls, finding each other.


But wait...


That's where we'll leave it as we don't want to spoil the twist ending for you!

This really is a great little piece of drama - and snappy too, running at just a little over 25 mins. A simple punchy story coupled with strong performances, dynamic shot compositions, great lighting and the overall rich dramatic earnestness of a now bygone golden era of movies and television.


Bill Shatner's performance (one of two he did on this show) couldn't be more understated in this installment.


The actor's style of diction as narrator is so restrained and un-caricature-Shatner-like as to be hypnotic. Whether it's affected "leading-man" speak, an attempt at a British accent or whatever, it's certainly noteworthy and very interesting to listen to.


Let's move to the hair...


This is one of the last toup-less screen performances by Bill Shatner (another is here) - 1957 was a crucial year toupologically, a brief nexus of visible thinning and continued touplessness.


Bill Shatner's hair is already thinning, particularly at the back, but it is still thick enough to provide an illusion of relative plenty with some clever combing, spraying and other movie-magic techniques.


Nonetheless, evidence of fluffiness is particularly visible at the back and despite all efforts, there is a noticeable lack of volume to the hair.


The frontal hairline is still entirely in place, but the longer hair combed back underscores attempts to bulk up.


There's an interesting line of dialogue spoken by Bill Shatner in "The Glass Eye". As the actor holds the artificial eye - which forms the center of the story - in his hands, his character says:

"If ever a life was symbolized by any one single object, Julia's was."

Perhaps Bill Shatner already knew that he would soon be turning to the toupee. As the actor studies the glass eye, also an appliance that provides an illusion, the sheer import of how future toupee use might change his life was perhaps beginning to dawn on the actor.


"The Glass Eye" is available on the season 3 box-set of Alfred Hitchcock Presents; presently, it's also up on YouTube. A wonderful little piece of old-fashioned drama - well worth watching.