I NEVER write reviews of individual episodes, but when i saw the awesome Thelma Ritter AND Mary Wickes in this one, i hadda. The two of them, sipping on the straws, gossip-ing about who-dunnit. then... we're in flashback! "Lottie" (Ritter) recounts what she knew about the night of the moidah. Ritter made this one in between Rear Window and Piller Talk. Also stars Michael Ansara, but he has a pretty small role here. The plot is rather inane, but worth watching, just to see Ritter and Wickes. Directed by Robert Stevens, who worked with Hitchcock on SO many projects. Story by Emily Neff, who had written several stories for several Hitchcock TV series. Also Theodore Newton and Carole Mathews. Anyone heard of them??
12 Reviews
The Thelma Ritter episode
Archbishop_Laud3 July 2013
A brassy older babysitter (Thelma Ritter) is speaking to a police sergeant about an unsolved murder. She relishes the attention. Much of the story is flashback: she has a crush on the father of the young woman who was killed (who, we are later informed, had a blond beaver).
Did our protagonist do it? This theory is raised by her friend early on. The ending worked for me but, ultimately, it's all on Ms. Ritter to carry this one. If nothing else, it's nice to see a woman who isn't all emotional or distressed the whole time.
Bonus: trying to lose weight, she's on the floor using the bungee-cord like contraption. I didn't know they had stuff like back then.
Did our protagonist do it? This theory is raised by her friend early on. The ending worked for me but, ultimately, it's all on Ms. Ritter to carry this one. If nothing else, it's nice to see a woman who isn't all emotional or distressed the whole time.
Bonus: trying to lose weight, she's on the floor using the bungee-cord like contraption. I didn't know they had stuff like back then.
Fantasy versus reality
TheLittleSongbird30 March 2022
Thelma Ritter was an amazing actress, known better for her show stealing supporting roles and basically she was of those that indeed made everything she was in better. So seeing her being billed in the lead role raised expectations for "The Baby Sitter". As well as that it is an episode of the uneven but very interesting 'Alfred Hitchcock Presents', not to mention that it has Robert Stevens is in the director's chair. Was disappointed by Stevens' previous episode but have liked to loved plenty of his episodes.
For me though, "The Baby Sitter" doesn't reach that level and falls a little short. It is a long way from bad and has plenty that is good. It is also an uneven outing and a case of the lead performance being better than the episode itself. "The Baby Sitter" is one of the "in the middle of the pack" episodes of Season 1 and 'Alfred Hitchcock Presents' in general, rather than being on either extreme of best or worst. Stevens also did better and worse, but at least this feels more like him unlike his previous episode.
Am going to start with the good. The best thing about "The Baby Sitter" and the aspect that carries it is Ritter, who proves she can be as equally adept in lead roles as in her supporting roles. It is a riveting portrayal that tonally is also quite different from her usual roles, not to mention the character is interesting psychologically and where the story most excels. Mary Wickes is also a very strong presence. Stevens directs more than competently.
Production values are solid and suitably atmospheric, while the main theme fits the creepy and ironic tone of the series overall extremely well. Hitchcock's bookending is typically droll and doesn't ramble. The script entertains and intrigues, while the fantasy element while not one's idea of imaginative still has a wonderfully odd and at times charming atmosphere.
However, "The Baby Sitter" did have potential to be a lot more. The mystery is too on the thin side and lacks suspense, while the ending comes over as more silly and bland than anything else.
While Theodore Newton does his best, he is given virtually nothing to do and comes over as dull. The pace could have been a good deal tighter, especially in the second half where the story thins out.
Overall, above average if uneven. Ritter makes it. 6/10.
For me though, "The Baby Sitter" doesn't reach that level and falls a little short. It is a long way from bad and has plenty that is good. It is also an uneven outing and a case of the lead performance being better than the episode itself. "The Baby Sitter" is one of the "in the middle of the pack" episodes of Season 1 and 'Alfred Hitchcock Presents' in general, rather than being on either extreme of best or worst. Stevens also did better and worse, but at least this feels more like him unlike his previous episode.
Am going to start with the good. The best thing about "The Baby Sitter" and the aspect that carries it is Ritter, who proves she can be as equally adept in lead roles as in her supporting roles. It is a riveting portrayal that tonally is also quite different from her usual roles, not to mention the character is interesting psychologically and where the story most excels. Mary Wickes is also a very strong presence. Stevens directs more than competently.
Production values are solid and suitably atmospheric, while the main theme fits the creepy and ironic tone of the series overall extremely well. Hitchcock's bookending is typically droll and doesn't ramble. The script entertains and intrigues, while the fantasy element while not one's idea of imaginative still has a wonderfully odd and at times charming atmosphere.
However, "The Baby Sitter" did have potential to be a lot more. The mystery is too on the thin side and lacks suspense, while the ending comes over as more silly and bland than anything else.
While Theodore Newton does his best, he is given virtually nothing to do and comes over as dull. The pace could have been a good deal tighter, especially in the second half where the story thins out.
Overall, above average if uneven. Ritter makes it. 6/10.
Deftly Humorous
dougdoepke29 March 2009
Women in their 50's have never been a popular commodity on TV, especially during the glamour-obsessed 1950's. But then this series was not typical of its time, which is why it's still being re-run 50 years later.
This is a slender, character-driven episode with some deftly humorous touches. The murder mystery is secondary to Lottie Slocum's little fantasy world where she imagines herself a size 10 again and the object of handsome Mr. Nash's affections. In reality, she's an aging, plain- faced babysitter with little to look forward to except old age. No wonder she dreams. Her gawky friend Blanche enjoys puncturing these harmless exaggerations and we wonder why Lottie puts up with her.
Together actresses Ritter and Wickes play off one another beautifully, with needling little exchanges that are often subtly amusing. In fact, it's quite a clever script with thoughtful touches from director Stevens (Lottie embarrassingly on the floor when the cop walks in). Still and all, it's hard to feel too sympathetic toward Lottie. Maybe it's Ritter's voice tone which can be grating or maybe it's Lottie's insistent little dream world which prevents her from seeing what we do. Nonetheless, in my book, it's a rather memorable little episode entertainingly told Hitchcock style.
(In passing—note that Newton's Mr. Nash never speaks a word even though he takes up significant screen time. Was that to keep costs down {non-speaking parts cost less} or maybe to keep his character dreamlike which is how Lottie sees him. Anyway, it seems odd.)
This is a slender, character-driven episode with some deftly humorous touches. The murder mystery is secondary to Lottie Slocum's little fantasy world where she imagines herself a size 10 again and the object of handsome Mr. Nash's affections. In reality, she's an aging, plain- faced babysitter with little to look forward to except old age. No wonder she dreams. Her gawky friend Blanche enjoys puncturing these harmless exaggerations and we wonder why Lottie puts up with her.
Together actresses Ritter and Wickes play off one another beautifully, with needling little exchanges that are often subtly amusing. In fact, it's quite a clever script with thoughtful touches from director Stevens (Lottie embarrassingly on the floor when the cop walks in). Still and all, it's hard to feel too sympathetic toward Lottie. Maybe it's Ritter's voice tone which can be grating or maybe it's Lottie's insistent little dream world which prevents her from seeing what we do. Nonetheless, in my book, it's a rather memorable little episode entertainingly told Hitchcock style.
(In passing—note that Newton's Mr. Nash never speaks a word even though he takes up significant screen time. Was that to keep costs down {non-speaking parts cost less} or maybe to keep his character dreamlike which is how Lottie sees him. Anyway, it seems odd.)
Thelma Ritter AND Mary Wickes, CHARACTER ACTOR HEAVEN
poetcomic121 July 2014
Two of the most distinctive and adored character actors of all time and both of them scene-stealers yet together they are in 'perfect sync'. If you are a Ritter fan she has more speaking lines in this little playlet than she does in some of her most famous movies and does a range from wise-ass classic street smart to a kind of Bronx Blanche Dubois.
Robert Stevens directed a lot of Hitchcock Presents and Hitch was very happy with him. He knew how to get a lot of mileage out of little touches - notice the emphasis on sweets, ice cream sodas, chocolate cake, food etc. in The Babysitter. Thelma Ritter finishes a romantic novel and next to her is a plate of chicken bones when the final scene is enacted. Stevens reached his highpoint in 50's and 60's anthology series such as Suspense and Hitchcock. Never made it big after. He had an 'economical' flare for the '26 minute' playlet format. He also would add little Hitchcock touches at times.
Robert Stevens directed a lot of Hitchcock Presents and Hitch was very happy with him. He knew how to get a lot of mileage out of little touches - notice the emphasis on sweets, ice cream sodas, chocolate cake, food etc. in The Babysitter. Thelma Ritter finishes a romantic novel and next to her is a plate of chicken bones when the final scene is enacted. Stevens reached his highpoint in 50's and 60's anthology series such as Suspense and Hitchcock. Never made it big after. He had an 'economical' flare for the '26 minute' playlet format. He also would add little Hitchcock touches at times.
"Say, I've got a few ideas about that murder."
classicsoncall28 July 2021
Warning: Spoilers
It seems like I have a different take on these Hitchcock episodes than most other reviewers who come here. What didn't make sense to me was Mr. DeMario's (Michael Ansara) appearance in the story to threaten Lottie Slocum (Thelma Ritter), ostensibly because he gave her a ride home on the night of Clara Nash's (Carole Mathews) murder. Why? We know he wasn't guilty by any stretch once we're privy to the twist ending with Mr. Nash (Theodore Newton) making his own call on Lottie. Obviously it makes some kind of sense while the story is under way because he was potentially a suspect. But after the fact, there's no reason why he should have called on Lottie in the first place.
Have you ever thought about how many times you've seen Ray Teal in the role of a sheriff, police detective, prison warden or some other lawful authority? This was his third appearance in a Hitchcock episode in the first season, and one of eight over all.
Have you ever thought about how many times you've seen Ray Teal in the role of a sheriff, police detective, prison warden or some other lawful authority? This was his third appearance in a Hitchcock episode in the first season, and one of eight over all.
A complete waste of a very, very good actress.
planktonrules19 February 2021
Thelma Ritter was an amazing supporting actress...so much so that she was nominated six times for the Oscar! Although she never won, she always made every film better with her wonderful acting. While not as famous, Mary Wickes was also marvelous. When I saw either in a film, I was guaranteed to enjoy it. However, this is not true in "The Baby Sitter", an episode of "Alfred Hitchcock Presents" that really disappointed.
The episode begins after Mrs. Nash was murdered. Lottie (Ritter) definitely did not like the woman and now that the police are investigating her murder, Lottie is enjoying all the attention she's receiving...because apparently she is the last known person to have seen her as she was babysitting Nash's son. Unlike Mrs. Nash, Lottie really likes Mr. Nash....her ex-husband. She feels sorry for him and she entertains ideas, crazy ideas, that now he might be interested in her! Well, it turns out that he is...just not the way she hoped.
The episode gives Ritter a great chance to act...her acting was NOT a problem here. The problem was the script. The surprise twist you expected at the end came as no surprise and it just seemed like a very lazy episode...lazy as well as disappointing.
The episode begins after Mrs. Nash was murdered. Lottie (Ritter) definitely did not like the woman and now that the police are investigating her murder, Lottie is enjoying all the attention she's receiving...because apparently she is the last known person to have seen her as she was babysitting Nash's son. Unlike Mrs. Nash, Lottie really likes Mr. Nash....her ex-husband. She feels sorry for him and she entertains ideas, crazy ideas, that now he might be interested in her! Well, it turns out that he is...just not the way she hoped.
The episode gives Ritter a great chance to act...her acting was NOT a problem here. The problem was the script. The surprise twist you expected at the end came as no surprise and it just seemed like a very lazy episode...lazy as well as disappointing.
I love Thelma Ritter
dannymiller-126 January 2008
What? Thelma Ritter as a "thoroughly classless mess?" As far as I'm concerned, Ritter lifts every film or TV show she's in, including this one which I just watched. Her comic timing, delivery, and poignancy can't be beat. I find her believable in every scene here. I think the previous commenter is objecting more to the script than the performance. As far as Ritter goes, I think she is one of the most underrated actresses of our time. Her performance in the opening of "All About Eve" is amazing. As is her performances in the Doris Day/Rock Hudson movies. She was also great in "Rear Window" and "The Misfits." She was nominated for six Academy Awards.
A Miscalculation!
Hitchcoc23 October 2008
This is pretty lightweight stuff. Thelma Ritter plays a babysitter who works for a pretty wealthy family where there is a lot of tension between the husband and wife. She feels that the man is getting short changed in the family and frequently pokes her nose in where it doesn't belong. She has another old maid type sidekick who is always asking questions and tormenting her. Unfortunately for her, her bad judgment really works against her. She fancies herself as a soul mate or even the next wife of this man. She crashes and bashes her way in and out of situations that would make one cringe. Of course, most of what she has is in her head. This isn't a very good episode.
A barrel of stinky red herrings
insect-0901821 December 2022
Warning: Spoilers
It is one of the weaker episodes, because of rather ham-fisted execution. Compare with the peerless 'The Glass Eye'. That story uses a framing device and misdirection to superb effect. The narrative has a strong central spine. Importantly, in a short time information is conveyed economically and concisely. This story, by contrast, is unfocused and confused. A middle-aged woman who worked as a babysitter for a wealthy couple witnesses the murder of the wife. The babysitter harboured fantasies about the husband, who was cuckolded and ridiculed by the wife. We see in flashback the babysitter's recollections and projections. Strangely, the murder of the wife is omitted entirely, The husband is a mute cipher, a fantasy object, which makes sense, but feels half-formed. The wife has been having an affair with a young man, who shows up just before the commercial break to threaten the babysitter. Presumably, he is prime suspect in the murder of the wife, though this is left for us to infer rather than being spelled out, which turns out to be a red herring. There needs to be some smoking gun which would give the young man reason to fear being arrested which could also be resolved at the conclusion. This lack of consistency is conveyed by the title - it is irrelevant that the title character is a 'Babysitter'. She could just as easily be a cook or maid, for all the bearing it has on the plot. No 'baby' was apparent to me on viewing. Also, what is the crux of the story? The Babysitter's propensity for fantasizing? Or her unfulfilled desire for the man of the house? Her daughter and neighbour being skeptical of her daydreaming gossip and stories ought to be turned on it's head in the climax. It isn't, which leaves an unsatisfying paucity. Red herrings are fine so long as the payoff justifies the onfuscation. The wife is less the one-dimensional - sure, she's the object of the babysitter's envy. We see her through a jaundiced spyglass. There's not enough there to convince the viewer of any substance there at all. In fact, the whole affair might be more profitably read as a complee fabrication, dreamed up by a bored woman with a mediocre imagination. Not wishing to harp on about 'The Glass Eye' but consider this: the motif of the glass eye is introduced at the outset. The relevance of same does not become clear until the very end, and it has a satisfying relevance. The lack of a strong motif, and the feeling of aimless meandering rather than a mystery tour, that is all the while drawing one inexorably and unknowingly into the centre of a vortex of horror, leaves this one between floors. All in all, a carelessly constructed episode. Thelma Ritter is a good actress, but it's up to her to carry the whole show, and she comes across as shrill and annoying.
I love Thelma Ritter too!
pclockbatnet29 July 2021
The Baby Sitter
bombersflyup14 March 2020
Warning: Spoilers
The nurse from "Rear Window," in an annoyingly dull episode. Instead of something happening on screen, we get a recollection of events from the elderly babysitter and an abrupt ending. We see entirely nothing, excellent.
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