This is a recently recovered episode which, to many, may be of value because of a certain Chris(topher) Lee appearing on the cast list. While it's always good to see him, it turns out he only has a small role, mainly just one scene.
Even if you are not a Lee completist, there are reasons to watch, mainly due to the lead actress, Mary Morris.
In appearance, Morris reminds me of '30s Katharine Hepburn, and her work shares some of the same internalized fire-a woman who is headstrong, but left in turmoil due to struggling with both her femininity and her striving for roles given to men in society.
However, unlike Hepburn, whose roles often contained the more typical Hollywood ending of either landing a man or dying nobly due to lack of one, Morris is given a slightly more nuanced fate to play. And she plays all of the material in a complex, intelligent manner that carries the character along.
The inherent misogyny in such a tale is undercut by the relatively restrained screenplay-there is no easy East vs West posturing, and the potential picture of a bitter, loveless woman of the state lashing out at the family-and-marriage-defined ingenue is given more shading than one might expect.
We are left with a woman who has had to face questions about herself, and the choices she made - choices the state made for her - and in the end, she has no easy answers. She just has to go on with her life, whatever that life is going to be. In that sense, this episode holds up far more than one might expect.