“A Young Robert Redford Almost Ruined An Otherwise Great Twilight Zone Episode”
In the pantheon of classic television, few series hold the enduring legacy of “The Twilight Zone.” Created by Rod Serling, the anthology series became synonymous with thought-provoking storytelling and unexpected twists. However, not every episode hit its mark perfectly, and one in particular stands out for almost missing its stride due to a casting choice that, in retrospect, feels off-key. This is the tale of how a young Robert Redford nearly derailed an otherwise great episode of “The Twilight Zone.”
The episode in question is “Nothing in the Dark,” the 16th episode of the show’s third season, which aired on January 5, 1962. It tells the poignant story of an elderly woman, Wanda Dunn (played by Gladys Cooper), who lives in constant fear of death. Her fear is so overwhelming that she isolates herself in a dilapidated apartment, shunning all contact with the outside world. The drama intensifies when a wounded policeman, Harold Beldon, portrayed by a then-unknown Robert Redford, appears at her door.
Redford, who would later become a Hollywood legend with films like “Butch Cassidy and the Sundance Kid” and “The Sting,” was just starting his career. His role in “Nothing in the Dark” was one of his earliest television appearances. Yet, it was his inexperience and the incongruity of his screen presence that almost tipped the balance of this delicate narrative.
At the heart of the episode is the intense interaction between Wanda and Beldon. Redford’s role as the young, seemingly innocent policeman who is revealed to be the personification of Death is crucial. The twist, a hallmark of “The Twilight Zone,” hinges on the believability and emotional impact of this character. However, Redford’s youthful vigor and radiant charm, which would later serve him well in romantic and adventure roles, seemed at odds with the gravity and somber tone needed for this part. His inexperience was apparent in his delivery, which lacked the depth and subtlety required to convincingly portray the multifaceted nature of Death.
Critics and audiences of the time were divided. Some appreciated the fresh-faced actor’s performance, viewing it as a contrast to the stereotypical depiction of death as dark and ominous. Others felt that Redford’s casting was a misstep that undermined the episode’s potential for poignancy. His demeanor, more suitable for a charming lead in a romantic drama, inadvertently softened the existential dread that the episode sought to explore.
Despite this casting hiccup, “Nothing in the Dark” managed to shine, largely due to Gladys Cooper’s masterful performance. Cooper, a seasoned actress with a career spanning decades, brought a heartbreaking vulnerability to Wanda Dunn. Her portrayal of an elderly woman clinging to life out of fear was both touching and deeply human. Cooper’s nuanced acting provided the emotional anchor that kept the episode from veering off course.
Rod Serling’s script also deserves credit for maintaining the episode’s integrity. The narrative’s strength lies in its exploration of fear, acceptance, and the inevitability of death, themes that resonate universally. Serling’s deft storytelling ensured that the episode retained its philosophical depth, even if the execution of certain elements wavered.
In hindsight, the casting of Robert Redford in “Nothing in the Dark” can be seen as a curious footnote in “The Twilight Zone” history. It serves as a reminder that even the most revered series can have moments of near-miss. Redford’s subsequent rise to stardom and his later, more fitting roles have overshadowed this early misstep. Yet, it is a testament to the resilience of “The Twilight Zone” that the episode remains memorable, if not for its minor flaws, then certainly for its overarching message and the brilliance of its leading lady.
“Nothing in the Dark” continues to be a fascinating study in how casting choices impact storytelling, and how, even in the face of potential derailment, great art finds a way to prevail.
