The Twilight Zone (TV Series) The Lateness of the Hour (1960) User Reviews

Inger Stevens gives us a master's class in acting

[jppu · 8/10 · 19 May 2013]

Maybe it was the stage where her star would have shown the brightest. I say that because as it was shot on video tape, this episode has a theater feel to it and Inger Stevens is the "grande dame" of this short play.

As a former actor/director myself (not on any big scale or even small), I can tell that this young lady clearly did her homework on this part and she took advantage of the wonderful words and character she was given to create, I suspect, in a very short amount of time. Each motivation was strongly chosen and came from deep within her. I like Inger Stevens because she's raw and she's real. I don't see that too much with today's stars (as opposed to actors).

In defense of the six episodes that were shot on video. I like them and I wish they did more (but certainly not all)! I like to intimate, live TV/theater, daytime soap opera feel that black and white video tape gives. For this particular episode, it was totally appropriate to shoot this on video. I think it made it even creepier. Twilight Zone was partially about experimentation with this new medium of TV and I, for one, am glad they did.

Later Than She Thinks

[AaronCapenBanner · 7/10 · 26 October 2014]

Inger Stevens stars as Jana, an attractive young woman still living at home with her elderly parents(played by John Hoyt & Irene Tedrow) She has grown increasingly dissatisfied with this living situation, and yearns to be out on her own, and away from the stifling atmosphere of their home with their android servants, but sadly for Jana, marriage and friends will not be possible... First of the videotaped episodes suffers for it the most, as the stagy nature of the dramatics become even more glaring, but the acting is top notch, and the final twist still holds quite a punch for how cold-hearted it really is when you think about it.

as old as the first machine.

[aalejandoamador · 7/10 · 6 April 2008]

Like many episodes of this series, this one tells an interesting story. It peeks into one of the yearning questions that bothers men as science progresses and somehow seems to escape the stiff control of the human being. The story has haunted people since our early days: The creation that revolts against the creator has one of its classic takes on Frankenstein, so maybe the variations of the theme shouldn't surprise us anymore; nevertheless it still has the force to impress us. But what is startling is that this episode was shot 47 years ago, but it has aged well. The question haunts us today as it has for 200 years. Nowadays we not only talk about robots, but we speak about cloning human beings. So our fears not only haven't diminished, but they have increased geometrically. To add to the interest of this episode is the acting of Inger Stevens as the daughter. Not only is she one of the most beautiful presences of the screen, but she carries quite well the drama of the story. Her acting subtly conveys the predicaments of the confrontation of men against the machine. This combination of great acting skills in such an attractive creature is rarely seen today.

An interesting experiment

[jennatar · 18 January 2009]

Several reviewers have noted that this episode looks cheaper than other episodes.

In 1960, early into its second season, The Twilight Zone had already gone well over its budget. To cut production costs, six episodes were taped on video. These six episodes ("Static," "The Whole Truth," "The Night of the Meek," "Twenty Two," "Long Distance Call," and this one) were indeed shot on a sound stage, and they are therefore notable for their plots' occurring entirely in one indoor location.

As anomalies, though, each of the six episodes is interesting because each is carefully written and constructed as a low-budget, more cerebral affair. In each, stagey dialogue takes the place of action and exposition because, obviously, each of the six experimental episodes had to be filmed without making use of costly sets, special effects, or exterior shots. "The Lateness of the Hour" is among the more successful attempts, I think.

The cheapened production was obvious to viewers, though, and to quote Wikipedia, the savings were not so great as to "justify the loss of depth of visual perspective, which made the shows look like stagebound live TV dramas. The experiment was therefore deemed a failure and never attempted again."

"I want my freedom!"

[classicsoncall · 7/10 · 11 April 2010]

For Twilight Zone fans trying to guess the ending, it could have gone a number of ways. Dr. Loren (John Hoyt) and his wife (Irene Tedrow) might have turned out to be robots, or maybe it would be daughter Jayna. Then again, the robot staff could have turned on the Hoyt's to everyone's consternation, making them the servants. Interesting idea there.

In hindsight though, the story provides a couple of glaring plot holes that viewers of the era were probably willing enough to dismiss, since The Twilight Zone was something of a rarity for network TV back in the early Sixties. For starters, it wasn't until near the end of the story that Jayna (Inger Stevens) mentions there were no pictures of her growing up in the family photo album. Curiously, that wasn't on her mind when she challenged back stroker Nelda (Mary Gregory) in an early scene for never growing old. Later, in that impassioned speech at the top of the stairs, she proclaims that she found it impossible to feel love, but she obviously wasn't constrained to be upset with her parents, or angry at the idea of not having the freedom to enjoy normal activities outside the home. Can't have it both ways you see. If you don't have emotion, you can't manufacture it to suit the needs of the script.

But that's all OK, because the Twilight Zone episodes usually went on to make a point, although this one was a tough call. For all of Dr. Loren's posturing about the love for his daughter, it didn't take long for the decision to reprogram her for less fuss, no muss. If you're not expecting it, the closing scene is a shocker, but when you stop and think about it, there wasn't anything else the Loren's would have done. A matter of practicality actually, for a couple of jaded folks who really only thought of themselves.

It's What's Inside

[Hitchcoc · 8/10 · 13 November 2008]

This appears to have been filmed live on a sound stage. It's about a man who has been able to create robots, house servants, who cater to his family's every wish. The daughter, played by Inger Stevens, comes to realize they are dying a slow, dull death of boredom and pointlessness. She begs her father to put these robots down, that they are destroying the family humanity. She is quite emotional and wants to leave the house and begin a life of her own. She is stopped at every turn and can't figure out why they are so adamant about what they have. There is one really eerie scene where the robots surround their master when it is announced that he is being controlled by them.

This is remindful of Ray Bradbury's "Marionettes, Inc." for those of you that have read the story. Check it out if you haven't.

A Thing About Machines...

[Anonymous_Maxine · 7/10 · 26 June 2008]

The first thing that will strike you about this episode of the twilight zone is the way it was shot, on video, as another reviewer has already noted. It looks totally different than other episodes because of this format, but I think it's mostly the uneven panning and tilting of the camera that gives the show a feel that it was shot quickly on a cheap set. It reminded me of the look of a show you might see made at your local TV station.

The story is about a family that lives in a completely isolated world, with a controlled environment and man-made robots to do every chore imaginable, leaving the family, basically, with nothing to do but relax. The daughter of the family becomes unhappy with the situation and rebels against it, leaving her father, who created the robots, totally baffled as to her unhappiness and showing that scientifically brilliant minds do not necessarily have the first clue about what makes girls or children happy. How could he have based his life's work on something that would so quickly and so obviously make his wife and daughter miserable?

Then again, we begin to understand why he may have done this when the parents and daughter begin talking about grandchildren, and the mother is visibly upset. It reminds me of a horror movie that I saw years ago (and can't remember the name of anymore) about a family that had numerous children, all well into their 70s and 80s, wandering dressing and acting like children, because the parents so desperately didn't want them to grow up.

At any rate, the father is upset at her request for the windows to be opened and the robots to be dismantled, having devoted his entire life to creating that situation, but ultimately obliges her. I imagine there is meant to be some suspense created when the robots object to being ordered to go and wait for him in his workshop, but I was more intrigued by the apparent fact that, in creating them, he had installed in them programming so that they would talk back, object to orders and/or requests, and argue with him. Strange.

The ending of the episode gives a chill stronger than most episodes, although it makes no sense whatsoever. I won't ruin it (although one IMDb reviewer has already done that), but let's just say we can chalk it up to some serious lack of foresight in the programming department! Still a worthy episode and, because of the different way it was shot, with a distinctly different feel than most of the others.

Perfection isn't always perfect

[The_Void · 8/10 · 10 March 2006]

The Lateness of the Hour represents another sterling success for The Twilight Zone! The plot idea behind this episode has been used many times since, and it follows the idea of perfection. We are acquainted with a family; mother, father, daughter and servants. However, the daughter has become bored with their existence. The family lives in the perfect environment, with no contact with the outside world; and she craves more. More than what her parents and the servants can give her… The brains of this tale make up its backbone. I love the way that the writers can take twenty five minute of screen time and give you a tale that makes you think more than most feature films do! The way that the story takes place in what seems like a whole other world ensures that it very much feels like a part of The Twilight Zone. All the trademarks of the show; from the over the top music score, to Rod Serling making an appearance to add in important plot details every now again feature, and I've got to say that this is one of the most ingenious episodes of the classic TV show that I've seen yet! Highly recommended like all the other episodes.

"The Lateness of the Hour" is well-done if not original tale

[chuck-reilly · 7/10 · 30 January 2009]

Inger Stevens stars in this 1960's Twilight Zone entry about a young woman who begins to sense something terribly wrong in her "perfect" home environment. Her inventor father, played by John Hoyt, has developed life-like robots to serve as butlers, maids and other household help to keep everything running as smoothly as a swiss clock in their luxurious estate. Her mother (Irene Tedrow) seems content to go along with the scenario and doesn't mind being surrounded by these automatons. Unfortunately, Ms. Stevens begins to grow suspicious of her own natural existence when she discovers to her horror that there are no pictures of her younger years. Slowly but surely she learns the truth despite everything her "parents" do to prevent her.

"The Lateness of the Hour" isn't a totally original concept, but the execution here is quite chilling. It's the classic "monster rebelling against its creator" theme but on a more subtle level than usual. All the players do justice to their roles, especially Ms. Stevens. Of course, her own tragic end adds some poignancy to this story. Prolific television and feature film director Jack Smight handles his duties with his usual craftsmanship. As some reviewers have noticed, this episode was also one of the few Zone episodes filmed on tape and its grainy quality doesn't enhance the production values to any degree. That said, this is one of the better Twilight Zone stories (written by Rod Serling) and it's still great to watch the beautiful and talented Inger Stevens in the prime of her brief career.

Stop criticizing this as predictable

[rpgrosso-1 · 9/10 · 15 January 2022]

I object to those reviewers who complain about this episode being predictable. This show is over 60 years old. This has inspired so many other shows and movies that you shouldn't be surprised that you may have seen this before. At the time this was highly original. And this is one of the best episodes, in my opinion. No credit for those who can predict the twist 60 years after seeing twists this inspired.

Adolescence

[claudio_carvalho · 6/10 · 25 May 2018]

Jana is the daughter of the inventor Dr. Loren and his wife and lives with them in a comfortable house. Their domestic services are done by robots with human appearance but Jana feels suffocated with their way of life. The stubborn Jana asks her father to disassemble the robots and leans a hidden secret.

"The Lateness of the Hour" is an ironical episode of "The Twilight Zone". The story of a teenager with the typical rebellious behavior of adolescence is witty and has a funny conclusion. My vote is six.

Title (Brazil): "O Tardar da Hora" ("The Lateness of the Hour")

Please stop moaning at every single thing!

[abbiela · 9/10 · 17 April 2020]

I wish the mother would just stop moaning. It makes me uncomfortable.

That's all.

A new direction for the zone.

[mark.waltz · 6/10 · 20 April 2019]

For its 44th episode of the series, rising costs caused the decision to videotape select episodes of the series rather than use the more expensive in higher-quality film. That is why this episode looks like a 1960's soap opera episode. the decision to change from film to video tape actually works for this theme, because it is supposed to be claustrophobic and stagy looking. The older characters are recluses, and their lonely daughter (Inger Stevens) longs to join society. She is frustrated by the servant's robotics nature and for good reason. They really are robots. For parents John Hoyt and Irene Tedrow, the fact that Stevens learns of this is heartbreaking to them, because they have more secrets to hide, and her demand that they get rid of these non-human elements of their home creates great conflict.

There are holes within the story and script that would have been great to have been filled in, but there is only so much you can cover in 26 minutes. It is obvious to me that when Stevens angrily pushes one of the servants down the stairs and this servant gets up, grinning evilly, that something was up. Stevens basically is the whole episode with moments by Hoyt to provide the moments of truth, and for Tedrow to be the comforting passive voice of worry. It is a decent transition to video, but by doing so, the show began to look like other anthology mysteries around the same time. that explains why this is not one of the more popular episodes, although it is still a must. The seclusion of the two older characters is a sad reflection on a harsh society that they could not handle, and if there is a theme and moral to be learned from the story, it is that shutting yourself away from a changing society is not the way to be happy.

Bad...real bad.

[planktonrules · 2/10 · 13 June 2010]

This episode starts off very poorly. John Hoyt and Inger Stevens are at home as the mother (Irene Tedrow) sits there--making orgasmic sounds as the maid massages her shoulders. It's a horrible case of overacting and the show's director SHOULD have told the veteran actress to emote a lot less! Sadly, it comes off rather badly as a result.

Soon, Stevens begins having a bit of a hissy-fit. Sure, the character was right that Tedrow's sounds of pleasure were overboard and her contention that having all these perfect robot servants was bad might have made sense...had she, too, not overacted during this soliloquy! It's ironic--think about a person overacting as they comment about another overacting! Again, poor direction was perhaps the problem.

Stevens also seems to hate how she's been locked up in this house all her life. She hates this as she feels like a prisoner in her own home. What happens next (and it's not even halfway through the show) is 100% predictable. And with all these histrionics, it's a LONG way to the end! This is an odd episode, because usually no matter how bad the plot, the acting is always top-notch on this series. Here, however, THE weakest link clearly is the acting--which is often histrionic and fake. As for the plot, it's okay but not enough to support the half-hour format, as the twist is very, very clear from the onset. Not a good show by any standard.

The Compelling Inger Stevens

[dougdoepke · 5 January 2017]

Stevens carries the 30-minutes with a top-notch turn. As the daughter of upper-crust parents, Jana's (Stevens) growing increasingly bored with her cloistered life inside a lavish mansion. Seemingly to lack very little, the three live in extreme comfort tended by a crew of super-obedient servants. So why is Jana unhappy when so much is at her fingertips, and everyone else seems so contented.

I expect Stevens' strong performance was aided by the deep unhappiness of her personal life, unfortunately one of Hollywood's most tragic. And since there's not much action or change of scenery, much viewer interest depends on Stevens' abilities. The premise, however, is an interesting one, delving into questions of personal identity, and how much of that depends on the reality of recollection. There are a number of holes in the logic as the story progresses (e.g. how is it that Jana craves freedom), but still the story compels. For another reviewer and myself, there is a striking moment when the maid smiles eerily after tumbling down the stairs. It forebodes tellingly what is later revealed.

All in all, it's an uneven episode that should have done more showing (like the smiling maid) and less telling. Nonetheless, it's an interesting half-hour, serving too as a brief tribute to the tragically star-crossed Inger Stevens.

The Lateness of the Hour

[Scarecrow-88 · 6/10 · 13 May 2012]

Man, the limits of videotaping are staggering in this episode of Twilight Zone illustrating the frustrations regarding a daughter being cooped up in her parents' comfortable, all-amenities-provided-for mansion, equipped with "domesticated robots" as servants. Jana (Inger Stevens) looks out the window and wonders what life is like "out there" while her inventor father, Dr. William Loren (John Hoyt, memorable for another Twilight Zone episode, "Will the Real Martian Please Stand Up?") and always-relaxed mother (Irene Tedrow) bask in the lavish lifestyle of having all of their personal pleasures realized thanks to the "created help". Just wanting to be released from her extravagant prison, Jana believes that if the robots are "put away", she can, along with her parents, live a normal existence free from the current insulation that comes with a sheltered life. While you feel like you are watching a soap opera, the actors do what they can within the limitations of the setting, performance and dialogue trying to compensate for the inability to advance the premise because of the constraints associated without the benefits of film and getting away from everything feeling stagy. Good cast and there's a definite creep factor associated with robot servants operating as they are programmed despite Jana's outbursts and temper tantrums. The twist regarding Jana's true identity was obvious to me pretty early, but the result of her discovering this really left me rather unsettled; that is, what Loren decides to do with her when the shock of the discovery seems to leave only one other alternative besides "termination". Stevens sells the torment and anguish of her situation reasonably well, but I found her to be hard to like, although if you think about what she desires, her outcry does make sense. It is just that people who pitch fits and constantly whine about their predicament, as well as hers is in this case, does tend to get on my nerves, but it is the idea that having your life move at a mundane state, life existing beyond the walls even if you have the creature comforts many would cherish that I think has potency. The tragedy is not knowing the truth until you push and push, the revelation presenting more than you bargained for.

Perfection comes at a price

[Woodyanders · 8/10 · 11 August 2017]

Jana Loren (a fine and moving performance by Inger Stevens) can no longer stand living at home with her inventor father (the always excellent John Hoyt), who has created a series of lifelike robots who work as servants.

Director Jack Smight relates the engrossing story at a steady pace and ably crafts a gloomy claustrophobic atmosphere. Rod Serling's thoughtful script makes an interesting and provocative point on how perfection can be its own stifling prison and offers a grave warning on the danger of becoming too reliant on machines. Stevens and Hoyt do commendable work in their roles; they receive sturdy support from Irene Tedrow as Jana's smothering mother. The surprise ending is quietly devastating. A worthy show.

Mechanical Service

[Coventry · 6/10 · 29 March 2018]

The times certainly have changed! I'm working for the Learning & Development department of a large retail company and the last couple of years we've been investing heavily in trainings around hospitality and authentic service. The reason for this is because, via customer satisfaction studies and surveys, consumers nowadays indicate that they're mostly turned off by mechanical, almost robotic service from the outlet staff. However, mechanical service apparently was exactly what the protagonists in "The Lateness of the Hour" were searching for! Dr. Logan, a brilliant inventor, and his spoiled wife wanted to live in total seclusion and thus their remote country house is full of servants that Dr. Logan built himself. The only daughter Jana revolts against their isolated lifestyle and puts her father under pressure to destroy all their robotic slaves, but it's only then that she discovers a devastating little secret about herself. "The Lateness of the Hour" is a routine TZ-episode with a familiar plot and a predictable conclusion. It's still entertaining thanks to the competent performances and a few atmospheric touches, like the eerie thunderstorm at the beginning of the tale or every time when the stoic and emotionless staff gathers in the hallway. Inger Stevens is terrific as the rebellious daughter, but her other passage in this legendary series - in the superb season 1 episode "The Hitch-Hiker" - still is more memorable.

Simulacra.

[rmax304823 · 8/10 · 25 March 2013]

Inger Stevens, with her uncommon beauty, is the daughter of an inventor. She and her parents live in a house precisely designed to always be at perfect temperature, with a fireplace that projects exactly the right amount of heat. Everything is always neat and tidy because Stevens' father, John Hoyt, has not only designed the perfect house but a half dozen perfect mechanical robots to tend it. They all have personalities and built-in childhood memories. There's a mechanical cook, a maid, a handyman, and so forth. They all look human and speak politely and follow every order, no matter how unpleasant, without rancor. Everything works together perfectly, like an expensive Swiss watch. In other words, the house and family resemble my own, a great deal. That perfectly ordered and sterile house could be a simulacrum of my own, except that mine is an abandoned railway car and has discarded soiled clothing all over the floor, a couple of empty liquor bottles under the bed, and receives some decidedly unsavory guests from time to time.

Anyway, never mind my house. I don't know why you brought it up in the first place. This is Inger Stevens' story. The perfection of her life, and the accompanying isolation, is beginning to irritate her. She rails against the robotic servants and against her parents for not allowing the family to go out in the world, even when it's raining. They're sympathetic but insistent. But she goes on bitching until the final reveal, which is probably not necessary to spell out.

There's more to it than Inger Stevens' existential dilemma. It's really about role enactment. The servants are playing roles, of course, but aren't we all? We play "daughter" too, or "son", or "student," or "helpful husband," or "minority group member", and so forth. The difference between the robots and the rest of us is that we can control the depth of our role enactment. The servants can't be anything but servants, whereas our enactment can vary from the most casual ("Have a good one," says the lady at the checkout counter) to the most intense (method actors, psychosomatic illnesses, hypnosis).

The story is hobbled by its having been taped instead of shot on film. The method of shooting was awkward, resembling live television, and produced fuzzier images. But it's a disturbing story. As the father, John Hoyt is properly distant and formal in his speech. But then everyone in Rod Serling's scripts sounds a little elegant or rather sounds like a middle-brow's version of elegance. Hoyt himself has shrunken features, almost skull-like, but they don't necessarily suggest villainy. As an actor, he has a nice range. He was one of the assassins in MGM's "Julius Caesar" and did a credible job. In another episode of TZ he was the Martian with three arms. One hopes that in neither case was he too deeply involved in the role.

The perfect family?

[AvionPrince16 · 6/10 · 17 May 2023]

Pretty interesting that episode about Robots/servants who created a dependance for the family and made the father and mother and the daughter access a certain security but also some boring, uninteresting routine that repeat days after days. The daughter seems really motivated to get out of the habits of servant and her protective father and mother but we will witness the big revelation of the episode: the daugher also is a robot and she is a creation of her own father. After that discovery, the daughter will be devastated and we discover at the end that they transformed her into another servant. It was pretty predictable that the daughter was a creation too. I discovered that by myself and was pretty logical. But i think they should also showed a new daughter or a new character that will take the role of the ancient daughter to let us feel the routine and that kind of habits that the parents will get once again used by the same routine despite the change of the appearance of the daughter: a nice episode anyway.

It's meh until the last 5 minutes

[DanteRiggs · 9/10 · 17 May 2020]

While watching this episode, I thought to myself this ep is a 6/10. 7/10 at best. I don't really agree with the "lesson" of this episode. And the acting isn't always great. And then come the last 5 minutes. SPOILERS: I was sure the father (and maybe the mother) was replaced by the robots. The old "machine turning against men". I was wrong. The ending really took me by surprise. And the "NO PAIN" line actually gave me goosebumps. This might be my favorite The Twilight Zone episode.

Lackluster Episode with a Classic TZ Twist

[Samuel-Shovel · 6/10 · 13 August 2017]

I was excited when I saw Inger Stevens in the cast listing, loving the previous episode she starred in, but unfortunately this one does not live up to her previous role. Stevens plays a shut-in daughter with her parents who are waited on by a robot staff hand and foot. But Stevens has tired of their isolated, robotic life and wants a change.

This is a bottle episode that makes the audience feel confined inside the house with Stevens and the family. The tone is perfect but sometimes the dialogue and acting leaves a little to be desired. While the twist is nice, it can be seen coming from a mile away. The final shot is one for the ages though. Not a great episode but very TZ-esque.

Inger Stevens showcase.

[vitoscotti · 10/10 · 1 April 2024]

Absolutely sensational performance by beautiful Inger Stevens. Fun seeing her tone down her Swedish accent. Actually sounded very believable with an American accent. The whole episode was fun from beginning to the surprising hilarious ending. I'd seen the episode years ago but honestly couldn't remember how it ended. And I'm sure like me every one who couldn't remember the ending thought "oh yes, that's it" when the ending was revealed.

Good to see John Hoyt as Dr Loren. Always has a creepy but likeable vibe to his acting. I particularly remember his work from a few highly memorable appearances in "Leave it to Beaver". Also good to see veteran classic TV actors Jason Johnson, and Tom Palmer who who were on "The Andy Griffith Show".

Little problem with Jana only now seeing a scrapbook or how a programmed robot could even be rebellious. The series' temporary drop in video quality has little or no impact on viewing enjoyment. Though, just minor flaws to an outstanding fun episode.

Not TZ's finest hour.

[darrenpearce111 · 6/10 · 4 December 2013]

A disappointing entry that begins with a strangely atmospheric air of intrigue and stars the delightful ,talented and tragic Miss Inger Stevens. Some creepy moments like when a robot-maid tumbles down stairs and instantly reacts with a mischievous grin. Yet the promising signs coming from this odd scenario lead to an unsatisfying conclusion. Inger Stevens (also in 'The Hitch Hiker',series one) plays an inventors daughter who suddenly becomes discontent with her status in a 'perfect' environment, waited on by robotic servants. With a little more care in the writing and direction this could have been a good part for her. However ,there is too much outright telling of narrative issues rather than showing, and the ending is one of the worst in the Zone.

I preferred Rod Serling's story from 'Night Gallery' called 'You Just Cant Get Help Like That Anymore' where Chloris Leachman and Broderick Crawford played a crazy couple with robot servants and Lana Wood played a maid.

Feels Like a Dress Rehearsal

[buccola13 · 5/10 · 20 April 2019]

Perhaps it was and was not deemed good enough for a real filming, but used by producers anyway. Everything about this episode is off. The plot and acting are substandard, the audio is lower quality and less frequent, the episode is filmed with different film, and even the cinematography is different. It seems as though every shot was kept with one take, with many shots out of focus and used anyway. Serling also looks off camera at his lines in his opening monologue, and it is more like an unprepared SNL host than the standard he had set prior. The ending fits the series however, and on a Netflix binge watch it doesn't interrupt the flow too much.