I disagree with the other review for this episode.
"One More Mile to Go" is a fine addition to the works of Alfred Hitchcock, and is leaps and bounds better than many of the instalments of "Alfred Hitchcock Presents" and other shows of the time.
The story is simple: Sam Jacoby (the ever-excellent David Wayne) kills his wife, and intends to dispose of her corpse. He loads her into the trunk of his car, and sets off to ditch her where she'll never be found. Along the way, a motorcycle cop pulls him over for a faulty tail light. Will the cop discover the body?
Aside from Wayne's superb performance, the show has all the hallmarks of great Hitchcock: almost the entire first act is silent, as Hitch finds interesting ways to tell the story, keeping himself (and the audience) amused. He must also have taken much delight from the scenario: he places the audience firmly on the side of David Wayne's character... we are on the edge of our seat every time the cop or the mechanic comes close to that trunk, every time they try to pry it open, and therefore we are as guilty by implication as he is!
Along with Hitchcock's other forays into television, this segment shows him to be a masterly -- and somewhat subversive -- director, whose only concern was to tell a good story visually. He was so far ahead of his time it just isn't funny, and this and his other episodes hold up exceptionally well. Highly recommended.
"One More Mile to Go" is a fine addition to the works of Alfred Hitchcock, and is leaps and bounds better than many of the instalments of "Alfred Hitchcock Presents" and other shows of the time.
The story is simple: Sam Jacoby (the ever-excellent David Wayne) kills his wife, and intends to dispose of her corpse. He loads her into the trunk of his car, and sets off to ditch her where she'll never be found. Along the way, a motorcycle cop pulls him over for a faulty tail light. Will the cop discover the body?
Aside from Wayne's superb performance, the show has all the hallmarks of great Hitchcock: almost the entire first act is silent, as Hitch finds interesting ways to tell the story, keeping himself (and the audience) amused. He must also have taken much delight from the scenario: he places the audience firmly on the side of David Wayne's character... we are on the edge of our seat every time the cop or the mechanic comes close to that trunk, every time they try to pry it open, and therefore we are as guilty by implication as he is!
Along with Hitchcock's other forays into television, this segment shows him to be a masterly -- and somewhat subversive -- director, whose only concern was to tell a good story visually. He was so far ahead of his time it just isn't funny, and this and his other episodes hold up exceptionally well. Highly recommended.