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"DELIA" -- SEASON (2) EPISODE (32). May 3 1960.
COMMENTARY (spoilers alert): After again transcending the role of TV host and narrator by interacting with the dramatis personae of the episode in question (in the fashion of "The Inheritance" and "Vanishing Point"), John Newland listens intently in "Delia" as an islander (why do these things always happen on islands?) describes a tale of tragic love. It is the story of Phillip Wilson, a disillusioned, bitter man with two ex-wives. Unexpectedly, Wilson has fallen for Delia, a beautiful young woman who disappeared after one fateful meeting, never to be seen by Wilson again. And as the years passed, Wilson grew ever more desperate to share even a moment with his beloved again.
If that set-up sounds like the stuff of a tear-jerker, it is. "Delia" is a sad story about lovers who have been crossed not by the stars but by time and the psychic mechanisms of an indifferent universe. In a virtual replay of the setting and concept driving "The Return of Mitchell Campion," a soul bi-locates or astrally projects to a distant island, only to find love there. In this case that love proves devastating, and it destroys Phillip Wilson. And, like Campion in "The Return of Mitchell Campion," it is a devastation not shared by two. Some eight years after Wilson's crisis, Delia is still young and beautiful, and she is able to dismiss her love of Phillip as merely a dream she once had. He lost his life over a love that was unrequited and virtually unremembered. Depressing.
Despite "Delia's" obsession with tragic love, the story tends to play out as trite. Delia and Phillip meet and, in the tradition of all bad television, are instantly in love. They speak immediately of destiny and of love, and it all seems a little saccharine. Of course, they are pressed for time because the episode is only a half hour long, but still, the lock-step feel of the romance tends to take away from the feeling of a meaningful love shattered.
Perhaps the most interesting thing about "Delia" is the sheer number of stock "One Step Beyond" ideas it recycles. The island setting (rerun #1), the out-of-body bilocation (rerun #2), the alcoholic protagonist (rerun #3), the insertion of Newland into the story by describing that he is "on a vacation" from the show (rerun #4), the time hiccup (rerun #5), and the protagonist's "Cassandra" status as disbelieved (rerun #6), all contribute to a feeling that this romance is really by-the-numbers rather than a truly meaningful love story.
In the remainder of the second season and in the third season: "One Step Beyond" would depict marvelous love stories of truly bizarre and original concepts in four superior episodes: "The Visitor," "The House of the Dead," "Legacy of Love" and "Nightmare." "Delia" is not in the same class as those stories, but in a way it is comforting in its steadfast reiteration of common series conventions. Like an old shoe: "Delia" fits well even if it doesn't look great . . .
From John Kenneth Muir's definitive book "An Analytical Guide to Television's One Step Beyond": • ▶ "One Step Beyond" Ba...