Uno straniero con noi

If you go to www.warnerarchive.com you can order "The Stranger Within" which is an official release and not a bootleg copy. Note they include a disclaimer that says "not re-mastered for the purposes of this release but taken from the best possible print." Anyway, it would be great for all of us to see our beloved "Jeannie" in a movie where she is clearly a totally different person. David Doyle as the couple's friend is a treat as he puts Eden into a trance so they can find out how she got pregnant. At first, she says nothing but on the second try, she tells them it was an alien. Great fun for the '70's--may be dated today.

It's pretty obvious that "The Stranger Within" is sort of a "Rosemary's Baby" knockoff with a few tweaks here and there. The big surprise to us viewers is that sweet, cute Barbara Eden CAN look terrifying (check out some of the faces that she makes). The movie itself was mostly what I expected.

Now here's something else. This marks the second time that an "I Dream of Jeannie" cast member has had a brush with a mysterious pregnancy in a movie. Emmaline Henry, who played Amanda Bellows on the show, played a supporting role in "Rosemary's Baby". In fact, the men on the show also appeared in apocalyptic movies: Larry Hagman (Maj. Nelson) co-starred in "Fail-Safe" (a weaker version of "Dr. Strangelove"), and Hayden Rorke (Dr. Bellows) co-starred in "When Worlds Collide" (about an object on a collision course with Earth).

So, it's not a great movie, but I liked it.

My wife and I were talking a few years back and we got to talking about movies that freaked us out as kids. Well, it turned out that two made for TV films in particular were scary--and we both remembered them decades later. One was "Crowhaven Farm" and the other was this film, "The Stranger Within". So, I was thrilled to find out that both are finally on DVD and I picked up copies. I was interested to find out that whether or not they really were as weird and scary as I'd remembered. Regardless, the movie sure had an impact on us!

The film begins with a wife (Barbara Eden) telling her husband (George Grizzard) that she was pregnant. Normally this isn't a bad thing, but the husband had gotten a vasectomy three years earlier! And, after he goes to the doctor, the doctor tells him conclusively that he cannot be the father! So who is the father? Is sweet Barbara cheating on him? And if not, HOW?! And, why is she beginning to behave so weirdly?! The answers are freaky....and I don't want to say more as it would clearly spoil the film.

Now seeing the movie several decades later, my impressions of the thing have changed considerably. While I still think it's worth seeing, I noticed three things I never saw as a kid. First, it really wasn't a scary film at all but a weird one. Second, the plot is pretty thin and could have been told better in an hour or less. Third, it's pretty obvious what's going on relatively early in the film and the surprise ending isn't all that surprising. Still, as I just said, it's well worth seeing and is one of the more diverting made for TV films I have seen--even with all its cheesy faults.

Back in the '70s a lot of good made for TV movies came out, including sci-fi/horror and mysteries. "Brotherhood of the Bell," "Something Evil," and "Deadly Dream," to name a few.

Barbara Eden stars in this popular, well-regarded TV-movie written by Richard Matheson, expanding his own short story, about a well-heeled professor's wife who announces to her stunned husband that she's two months pregnant--this despite the fact her spouse had a vasectomy three years prior after she suffered a traumatic miscarriage. Eden admirably throws herself into this dramatic role (with its "Exorcist" underpinnings), but it isn't an attractive part for her. The pregnancy makes her disagreeable, uncontrollable, often on the verge of hysteria; she's also speaking in a foreign language, has become addicted to salt and coffee, and reads medical journals at an alarming rate. Director Lee Philips attempts to invest the movie with visual personality (chiming clocks, billowing curtains, a hand-held camera), but he cannot make up for the faults in Matheson's teleplay, which is exceedingly thin (not to mention derivative and anticlimactic). Technically, this is one of the better-made television movies of the 1970s, and the story is certainly involving, but it's eventually depressing and pointless instead of eerie.