The Twilight Zone Had Several Depictions of the Devil, But Julie Newmar Gave Us the Best One

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If there’s one thing the original Twilight Zone loved to do, it was making deals with the devil.

For five seasons from 1959 to 1964, Rod Serling’s famous anthology series, often seen on SYFY, included numerous confrontations with Satan. Some standout episodes include “Escape Clause” (Season 1), “The Howling Man” (Season 2), “The Devil in Printing” (Season 4), and “Recent Thoughts on Cliffordville” (Season 4).

As a devoted fan, I found the episode “Cliffordville” particularly captivating due to its unique portrayal of Beelzebub. This is the only time the show featured a woman in this role, a choice that, in my opinion, powerfully highlighted Rod Serling’s exceptional ability to infuse profound social commentary into seemingly ordinary genre storytelling. The narrative trope of the Faustian bargain was skillfully employed here, offering a fabulous reward with ironic consequences, but it was the exploration of Beelzebub that truly set this episode apart.

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Why Julie Newmar played The Twilight Zone‘s best Satan

Titled “Recently I Recall Cliffordville,” this episode is based on Malcolm Jameson’s short story “Blind Alley” and features Albert Salmi in his third and final appearance on The Twilight Zone. In the role of William Feathersmith, a 70-year-old tycoon weary of the immense wealth and authority he accumulated over five decades, this ruthless businessman finds solace in the realization that the painful journey of stepping over people and destroying lives was the most satisfying part of it all. Yearning to revisit those glory days, who better to fulfill the heart’s deepest wish of a deceitful man than the ultimate trickster himself?

In this episode, Julie Newmar, who would later become Catwoman, portrays Satan as a seductive and horned woman fatale named “Devlin’s Travel Service” on the 13th floor of Feathersmith’s office building. Since he forfeited his eternal soul long ago due to unscrupulous business dealings, the elderly magnate is presented with a financial offer instead. For most of his vast fortune, he can travel back in time to his hometown of Cliffordville, Indiana, and have a second chance at life. Feathersmith eagerly accepts this proposition, failing to realize the cunning deception being offered.

In this scenario, it appears that portraying the Devil as an alluring woman serves to underscore the enticing nature of the proposition itself, reminiscent perhaps of Eve tempting Adam with the forbidden fruit from the Tree of Knowledge in the Garden of Eden. A closer examination suggests that Rod Serling may have been using this creative choice to subtly critique the chauvinistic attitudes prevalent in America during the 1950s and ’60s.

Feathersmith embodies traditional male dominance, preferring to hire female secretaries in his outer office while viewing members of the opposite sex as trophies. In his perspective, women are inferior to him, both mentally and professionally. This antiquated thought process ultimately leads to his downfall, as he neglects to discern danger hiding within enchanting allure (Newmar superbly portrays the character of an unpredictable temptress). Instead, he impulsively enters into an agreement without thoroughly examining potential legal pitfalls that could be used against him.

In the inevitable souring of his brief journey into the past, where both his body and knowledge of the future fell apart, Feathersmith finds himself in Devlin’s hands, pleading for a return to the present. She grants him this, but not without first scolding him harshly, pointing out his numerous flaws that have always made him a useless leech on society. Once he’s been brought low, Feathersmith is sent back to the current era, left with nothing but his shattered pride and empty pockets.

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2025-01-15 22:31