January 5, 1972: Night Gallery features three stories: "Green Fingers," with Elsa Lanchester (the Bride of Frankenstein) as a gardener who can grow anything, natural or UNnatural; Richard Matheson's "The Funeral" and "The Tune in Dan's CafĂŠ."
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seen from United States
seen from United States
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seen from United States
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seen from United States
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seen from China
seen from Russia
January 5, 1972: Night Gallery features three stories: "Green Fingers," with Elsa Lanchester (the Bride of Frankenstein) as a gardener who can grow anything, natural or UNnatural; Richard Matheson's "The Funeral" and "The Tune in Dan's CafĂŠ."

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Passport to Destiny
The ads for Ray McCareyâs PASSPORT TO DESTINY (1944, TCM, YouTube) heralded Elsa Lanchester as âa one woman laugh invasion.â That she is, only the film starts to forget it toward the end.
Sheâs a Cockney scrubwoman during World War II who, on discovering her late husbandâs good luck charm, decides to use it to guarantee her safety as she travels to Berlin to take out Hitler. She stows away on a ship headed to France, survives a shipwreck and then scrubs her way to Germany, where she passes herself off as unable to hear or speak. That lands her a job cleaning offices in the chancellery. But she also overhears the plight of a captain (Gordon Oliver) working with the resistance whose fiancĂŠe (Lenore Aubert) has been taken into custody. Naturally, she uses what sheâs overheard to help them out, but thatâs going to interfere with her original plan.
Lanchester is a delight. In one of the few U.S. films to give her a leading role, she dominates the screen with wit and grace. Her line readings of a not terribly good script are spot on and her physical comedy when she gets to hold the screen alone is often inspired. She has a few funny interactions with Fritz Feld as the chancelleryâs chief janitor, though the film could use more of them. Had she had a good script and director with which to work, the film could have been a a cult favorite (contemporary audiences werenât in the mood for a comedy about killing Hitler).
But the script is inane. She keeps talking to herself where she could easily be overheard. And though sheâs perfectly capable of carrying a more dramatic scene, switching to heavy melodrama as the Nazis close in is a structural mistake. We want to see this plucky charwoman outsmart the enemy, even if we know she wonât achieve her objective. We donât want to see her seriously threatened by them, even if weâre pretty sure sheâs going to get out of this alive. And McCarey, the brother of Leo McCarey, doesnât always know how to time a gag. When Lanchester is on her own, he just has to point the camera at her. But when there are other people involved, he canât seem to get the timing or even the framing right. One pratfall in particular is hidden by the door that causes it. Thereâs also an in-joke: Lanchesterâs late husband is represented by a picture of her off-screen spouse, Charles Laughton. Thatâs good for a laugh once or twice, but McCarey keeps cutting to it to the point you wish theyâd just used a stock photo of some extra.
BBC2 Dracula, Frankenstein and Friends (1977)
The Bride Of Frankenstein (1935)
Elsa Lanchester
BBC2 Dracula, Frankenstein and Friends (1977)
The Bride Of Frankenstein (1935)
Elsa Lanchester
BBC2 Dracula, Frankenstein and Friends (1977)
The Bride Of Frankenstein (1935)
Elsa Lanchester

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BBC2 Dracula, Frankenstein and Friends (1977)
The Bride Of Frankenstein (1935)
Elsa Lanchester
The Glass Slipper (1955)
**Proud and feisty Ella is the town pariah. Dismissed by the towns people as they prepare for Prince Charles' return to the town, all Ella wants is to be treated with kindness but is only met with hostility, especially by her own family, who view her only as a servant. Forced to sleep amongst the ashes of their fireplace, Ella's stepmother refuses to allow her out to see the Prince's arrival.
1927. English actress Elsa Lanchester (1902-1986)
The picture shows a young Elsa Lanchester during her early theatrical career in England, a few years before she moved to Hollywood.