La dimensión desconocida The Trouble with Templeton (1959–1964) watch online HD

Brian Aherne very ably plays the role of Booth Templeton, an aging actor, whose one true love -- Laura, his first wife -- had died early, leaving him to marry a much younger woman in his grief who flagrantly cavorts with young men at their own pool. He longs for his beautiful wife, and -- this being the Twilight Zone, after all -- things take an interesting turn, but it's not quite as easy to predict as one might think. At the close of the scene that is the central part of this story, you see a young Pippa Scott wordlessly convey more emotion with her eyes, face, and body than anyone could ever do with words, which she speaks not one during this part. It's an incredibly poignant moment, and it lifts an already good story into a great one, and Aherne elegantly carries it. Don't look for anything terrifying in this one, but you will find one of the finest episodes in this one.

A wonderful episode that doesn't seem to get the credit it deserves. Brian Aherne does a special job with his role here, and carries the day, but that isn't all there is to this one. The writing was first rate, and I believe this writer (E. Jack Neuman) was a rookie to the Twilight Zone. The twist was not predictable, and was carried out very well by the supporting cast. Also fun was seeing Sydney Pollack when his hair was still dark. Its tempting to say this is not a run-of-the-mill Twilight Zone episode, but actually, none of them were, so I guess my point is that this one stands out for reasons one might not expect, and since I don't want to write any spoilers here, I'll leave it for you to watch and see for yourselves. For me, I'll happily watch this one again, even knowing what the ending is.

An underrated time dislocation episode about an aging stage actor (Brian Aherne) in an unhappy second marriage to a much younger floozey who finds himself extremely nostalgic about his past. His travel back to the past takes unexpected turns, and makes a sharp lesson for him and the viewer. The twenties are stylishly and movingly evoked, with Pippa Scott making one fantastic flapper. An extremely young Sydney Pollack shows up in the present, playing an obnoxious director (there's a stretch!). But the show is Aherne's and he does a wonderful job with it, reminding us of the quality actors this series attracted. Nothing horrifying or scary, but it's one that sticks with you.

Revisiting one's youth and halcyon days was a familiar theme for Rod Serling. The pressures of Hollywood, TV ratings, deadlines etc. were all part of Serling's anathema for Show Business, in general. Although Serling himself didn't write this particular episode (E. Jack Neuman did), this is one after his own heart, as they say. Brian Aherne plays Booth Templeton, an old-time Broadway actor who's reluctant to continue his career now that most of his peers have passed on. After a heated argument with his young director (Sydney Pollack of all people) Templeton enters the Twilight Zone for some first-hand nostalgia. There he meets the long-ago love of his life (Pippa Scott) and many former friends and associates. Of course, everyone is a ghost and after a brief stay in this netherworld, Templeton finds that he is unwanted. He just doesn't belong there....yet. Templeton discovers that his trouble has been that he's living in the past and it's killing him slowly. When he arrives back in the present, he soon has a new appreciation for the "here and now" and is able to begin his career again in earnest.

Veteran actor Aherne is outstanding as Templeton and his performance here is a late career high-water mark for him. Within a few years after the Twilight Zone series ended, Pollack became one of Hollywood's great directors and it's quite ironic that in this episode he actually portrays one. Lately, Pollack has gone back to acting with some good results. As for Pippa Scott, she's the life of the party in this entry and still a working actress today.

PLEASE watch this grossly overlooked and under appreciated entry in the anthology. If you think of the Zone as just tales with a twist, aliens, cowboys, or comedy anti- heroes, THEN THIS WLL CHANGE THAT PERCEPTION.

Templeton (Brian Aherne) is an aging actor unhappy in the present and still missing his deceased first wife Laura (Pippa Scott). He clashes with a director (Sydney Pollack-good casting) and starts to walk out of the first rehearsal of a new play. Templeton finds himself back in his heyday-the 1920's- and meets his wife again.

There is a superb scene in a speakeasy where the action comes to a halt, producing one of the loveliest moments in TZ.

Overlooked, but you can do something to change that.

..That many here have not understood the meaning of this excellent episode. It is, in one sense VERY much like "Walking Distance". AS a matter of fact, the meaning is essentially the same. I see some reviews that state the meaning is to show Templeton that the past is not what he thought is would be, and that his wife and his friends were not what he thought and that he is the one that has changed. I believe that is totally incorrect. Templeton is totally disgusted with what he sees his young wife as...because his wife and friends are acting that way on purpose to discourage him from embracing the past. They want him to live in the now. The proof of this is when Templeton leaves his wife and friends... suddenly his wife and everyone else stops their silly actions and have a very serious look..as if to wish and hope Templeton finds his happiness in his current world. That moment lets the viewers know that the entire actions of his wife and friends is just that..an act. They are in essence, ghosts who understand his issues and what is at stake....namely his sanity and ability to adjust to the now.

This is actually a very human story of an actor who has had acclaim throughout his career, but who has now reached that age where his appearance no longer benefits him. He also has the disadvantage of two things. One is that he quite kind in a bloodthirsty, winner take all society. He is also living in the past. He is still carrying a torch for his wife, who died very young. This is about a man who must confront his past in order to move on. The acting is quite good and the transitions between contemporary time and the past work quite well. We get to see how he can become superior to the dream world he always saw as the model for his life. It's about the reclamation of a life lost.

In what is one of the best episodes of the Twilight Zone that I've seen so far, Brian Aherne stars as Booth Templeton, an aging Broadway play actor unhappy with what his life has become. One day, after witnessing his trophy wife flagrantly galavanting with an attractive lodger half Templeton's age, he beings lamenting about his lost past, and soon finds himself transported back to it.

Anytime I see time travel stories in movies or TV shows, one of the most interesting things to me is how the actual time travel is presented. In this case, it's not presented at all, Templeton literally walks out to the door to go to work, we go to commercial, and when we come back he's dropped off more than 30 years in the past, but this episode still has more layers of meaning than any other episode of the show I've seen so far.

Templeton is understandably shocked to find himself transported into his past, and succumbs to the obvious desire to get alone with his wife who, at the time we had met Templeton at the beginning of the episode, had been dead for many years but remained very much alive in his memories. In one of the show's most interesting scenes, he and his lost wife get into an argument, leading him to tell her he doesn't like what she has become.

What we in the audience know, and Templeton eventually figures out, is that it's not her that has become anything, it is him who has been changed by the decades that have passed since the last time they saw each other. It's an interesting analysis of how people change over the years, both from who they were when they were younger and, unfortunately often, from the person they have chosen as their life partner. We wonder how happy Templeton and this woman would be had she lived.

Watch for Sydney Pollack in an early role as an obnoxious director, of all things, and for Adhere's revelation early in the show of the fact that he has no idea how to tie a necktie. Past and present become confused at the end of the episode, but it's still one that makes you think even more than most other...

The nostalgic actor Booth Templeton I still longing for his former wife that is deceased and his life in the past. Out of the blue, when he leaves the theater through the stage door after a discussion with the new director and producer, he returns to 1927 where he meets his first wife Laura and his best friend Barney Fluegler. Soon he realizes that his past was not the way he had recollections.

"The Trouble with Templeton" deals with a usual behavior of people when get older, the feeling of nostalgia of the past that is usually idealized and the bad things are forgotten. It was necessary to Templeton to travel to The Twilight Zone and stop in the best year of his life to recall that his wife and friend were not so good as he misses. Mature audiences will certainly understand this episode. My vote is six.

Title (Brazil): "O Problema com Templeton" ("The Trouble with Templeton")

Brian Aherne stars as an aging stage actor. He is rich and famous, but very unhappy and tired. Most of this is because he's feeling that life has somehow passed him by--he's a relic of the past. His trophy wife isn't particularly interested in him and he longs for his long dead first wife and his idyllic youth.

When he arrives late for the first rehearsal of his next play, the director (real-life director Sydney Pollack plays this part) is brash and obnoxious--further pushing him to long for the good old days.

Then, suddenly, upon leaving the theater it's now 1927. He looks the same but everyone else is younger. And, to his great surprise, his old friend and wife are alive and full of life. You'd think that this would be everything he'd ever wished for, but Aherne soon learns that you can never go back.

The theme of this episode is living in the moment and while this installment of the series isn't as weird or unpredictable as most, it manages to work well because of the nice leisurely pace that was created by Aherne. He glides slowly and deliberately through his role--instilling it with both class as well as sentimentality that I really liked. Not a great episode but also one well worth seeing.

Aging and worn-out veteran actor Booth Templeton (a fine and affecting performance by Brian Aherne) finds himself transported back to 1927 in which he's reunited with his vibrant flapper wife Laura (well played by Pippa Scott) and his old since deceased friends.

Director Buzz Kulik ably crafts a wistful and melancholy tone and relates the poignant story at a steady pace. E. Jack Neuman's thoughtful script makes valid points about the perils of living too much in the past and how it's better to concentrate on the present instead. Aherne brings a touching pathos to his role; he receives sturdy support from Sydney Pollack as brash and overbearing young hotshot director Arthur Willis, Dave Willock as loyal servant Marty, and King Calder as smarmy financial backer Sid Sperry. A lovely show.

Brian Aherne plays a renowned stage actor named Booth Templeton who is dissatisfied with his life since his new young wife is openly having an affair, and his thoughts turn toward his first wife Laura(played by Pippa Scott) long deceased. After getting cold feet about starting a new play with a young and firm director(played by future film director Sydney Pollack) Booth discovers himself back in time when his wife and best friend Barney were still alive, but they don't act the way he remembers them... Underrated episode is a real gem, with superb performances and direction, and a most poignant and intelligent story that ends perfectly. Deserves to be better remembered by fans.

I'm bemused that so many reviewers seem to have missed the point of this stellar and poignant excursion into The Twilight Zone.

Brian Aherne plays Booth Templeton, an aging stage icon who dwells in the past, still longing for his late wife, Laura, who died at 25. The first day of rehearsal for a new play brutally catalyzes a trip backwards during which Booth is reunited with not only with Laura but beloved friends as well, all deceased.

While I'm not going to spoil the episode for those who somehow haven't yet seen it, suffice it to say that its point is ultimately NOT "the past isn't all that it's cracked up to be," or some such. The actual resolution, which is far more subtle and ingenious, is what fuels Booth with the resolve to move on with his life and leaves us, the viewers, glowing like a torch. See it for yourself and behold the glory of 1960s television at its finest.

Rod Serling often took his main character to another time and another place (Walking Distance, A Stop at Willoughby), usually in an attempt to fulfill a longing desire to fill a hole in their lives. Reliving one's youth is a common theme, and in 'The Trouble With Templeton', the protagonist achieves his wish by literally walking through a door. What Booth Templeton (Brian Aherne) discovers on his sojourn into the past is not the rose colored view of his early acting career, but a stark confrontation with a life that wasn't all that it was cracked up to be. The reverential way he remembers his first wife Laura (Pippa Scott) is shattered upon seeing her dance the night away in utter disregard for his desire to recapture the past. With this profound new insight, Templeton decides to take command of his life in the present, and assumes his career with new gusto.

I can empathize with Booth Templeton, having rounded that corner of my youth. It's an easy exercise to see things not so much for the way they once were, but the way we would have liked them to be. Too much of that kind of daydreaming can leave one paralyzed and dysfunctional however, and that's what writer E. Jack Neuman seemed to be saying. The episode is an intriguing indictment on living in the past, although truth be told, I don't think it's so bad to hang out there once in a while.

"The Trouble with Templeton" certainly isn't the most overwhelming or spectacular TZ-outing, but it's arguably one of the most intelligent and subtle episodes of the entire franchise. The short tale features a very typical and almost routine premise: an ageing stage actor is nostalgic and sentimental about the earliest years of his career, back when he was successful, respected and - most of all - married to the love of his life, Laura. But his Laura died very young and now, decades later, Booth Templeton is married to a much younger girl (of which he doesn't care if she cheats or not) and heavily struggling with the next generation of directors' new styles. And then, quite archetypal for the Twilight Zone, Booth goes through a door and gets catapulted back to his glory year 1927. But when he finds his beloved Laura and his former best friend Barney, they're not as perfect as Booth remembers them. Up until here, "The Trouble with Templeton" feels very derivative and commonplace, but then comes one beautifully mysterious sequence. When Booth leaves the noisy bar, the place literally fades out and the expression on Laura's face is utmost somber. These mere five seconds are some of the most significant and powerful of the entire series thus far, and they give a whole different swing to the story. The second of nine episodes directed by Buzz Kulik ("Villa Rides", "Bad Ronald") and benefiting from solid performances from Brian Aherne and sixties' beauty Pippa Scott. There's also a very well-cast role for Sydney Pollack as over-ambitious young director.

Plot-- An aging star actor is dissatisfied with current life and pines for former life with a deceased wife, all of which causes problems for those in his new play.

Rule of thumb--- when we step into a theatre, we step into a different world; when we step back into the street, we step back into the real world. Seems like an inarguable law of nature, except of course in the TZ.

Good episode, with Aherne delivering a nicely calibrated performance. And catch that 1920's speakeasy or should I say speakloud that really rocks, what with all the illegal liquor flowing. Scott too, shines as a sexy jazz baby that makes me wish I were born a lot sooner. And catch real life director Pollock playing a make-believe director. His mean guy is tyrannical enough to bully Hitler, let alone his forlorn cast. Gutsy career move on Pollock's part. Anyhow, what starts off as a character study transitions into sci-fi that transitions into thoughtful ending. All in all, it's a typically challenging 30-minutes from our friends at TZ.

Such a beautiful story, and so well acted. It's about life as theater and about living in the present and not be stuck on the past. The mind can play tricks on us, especially when it comes to recalling the past. We are traveling on a continuum of time. This continuum is divided into discreet moments, each one separate. Together they form our life. Booth Templeton (played by Brian Aherne who gives a masterful performance),mixes those discreet moments, thus disrupting his life. Once he returns to the present, all is well again and he can go on with his life, secure in the knowledge that the past is gone and not to be relived but only to be remembered.

Not too much to add; I just want to give another 10-star rating. Read Zigomanis and EllisFowler, who make on-the-spot comments about why this is such a fabulous and meaningful episode. Why "perfect"? Having watched pretty much every installment of my favorite show of all time at least five or ten times, I get picky and notice little things that slightly mar even otherwise top-notch episodes (e.g., Serling's habitual "I think... I think..." "What are you thinking, Marsha?") -- but there are a few that are so perfectly constructed, with great dialogue, superb acting and direction, and compelling messages around the key question "is the Zone somewhere else, or it it inside your mind?", that they stand out as the very best. Templeton is one.

Here's kind of an odd episode. Here we have an actor who wishes he was back in the 1920's when his first wife was still alive. Guess what happens? I just thought the pacing could be better here. They should have done the time travel sooner. It's still nice enough to recommend.

It is kind of heartwarming, but you do have to think about it for awhile. It teaches the moral of how we can always do good things in the present. You know, not dwell in the past. Kind of basic, but nice. There's still good acting here. It's just not too memorable. ***

All of the episodes in this series are improbable but, for the most part, logical. After all, anything can happen on an asteroid. And supernatural forces can do whatever they want. Want to argue about it? I thought not. Come to think of it, though, if these supernatural musclemen can do anything, can they make a rock that's so heavy they can't lift it?

Well, never mind all that. Brian Aherne, in a classy performance, is an aging Broadway star who is overcome with nostalgia for the Jazz Age when he was young and his now-deceased wife, Laura, was alive and they were in love and everyone was drinking bootleg liquor in the speakeasies and doing the Charleston. Well, read "The Great Gatsby." The new director of his play, though, is a real authoritarian. He bosses everyone around and speaks down to Aherne. The director is a young Sidney Pollack, and there is no trace of his later, curly-haired, accommodating, avuncular presence. You won't recognize him when you see and hear him.

Aherne flees the theater in a panic attack. But at the stage door, he finds it's 1927 again. A crowd applauds him and he's informed that his wife, Laura, is waiting for him at a cafe around the corner. She's there alright -- Pippa Scott, the elder daughter in "The Searchers" -- and looking good. However, the place is jammed and noisy, and a band is blaring up-tempo jazz on the stand. Furthermore, Scott is shallow. She eats and drinks like a slob and treats Aherne as an old fuddy-duddy. He begs her to come away but she wants to indulge her senses. Finally she slaps him and he leaves, confused and sad.

When Aherne leaves the jazz club, we get the eeriest moment in the film. The moment he's out the door, the cacaphony stops, the action comes to a halt, all of the patrons stare at the closed door, and the lights dim in silence until we can only see Pippa Scott wearing a sober expression.

Back at the theater, Aherne discovers it was all a play. The actors read their lines and treated him badly because they wanted to teach him a lesson, which in fact they did. Aherne returns to the play with new confidence in himself.

The series had a lot of time-travel stories (eg., "Back There") and many that reflected a nostalgia for the old days (eg., "The Sixteen Millimeter Shrine"). But there's nothing supernatural about this story, and it barks its shins on reality.

Unless he's a mental midget, Aherne should have caught on almost at once, as soon as he ran from the theater. It's supposed to be 1927, in the middle of a big city, and yet passers by must have been in modern dress. All he had to do was stop a stranger, ask what year it was, and then explain it all to the nice doctors at the institute.

In addition, what the hell is going on with the speakeasy? Aherne's wife has been dead for more than thirty years. And he thinks Pippa Scott is Laura? What is she, a clone? Finally, it's all been staged to teach Aherne a lesson. Some lesson! All the guy has left are his dreams, and now they try to rob him of those. He was a bore in the past and a sadly aging actor in the present. And this is supposed to make him happier and restore his self confidence? If so, it belongs to a therapeutic tradition called tough love. I'd have gone back, borrowed the trombonist's instrument, and crowned every phony in that club. Let's see them do the Charleston with the brass slide wrapped around their necks.