Crowhaven Farm: A Creepy Made-for-TV Tale

When her cousin Henry dies in a car accident soon after inheriting Crowhaven Farm, Maggie Porter becomes the estate's new owner. She and her husband Ben move to the rural New England property. He hopes to find success as a painter and Maggie accepts a position as a legal secretary to the town's handsome--and single--attorney. Ben's jealousy fuels already existing marital discord caused by the couple's inability to conceive a child.

Meanwhile, Maggie discovers that she knows things about Crowhaven Farm, such as the location of secret rooms in the house. She also has visions of a woman being "pressed", an unpleasant method of killing witches by placing a wooden door on their prone bodies and stacking large stones on the door. A local historian unintentionally makes matters worse when he tells Maggie the story of the Brampton witches, a coven that existed in Puritan times.

Lange with Patricia Barry, who starred
in a memorable Thriller episode.

As is often the case in these kinds of movies, Ben doesn't take Maggie's concerns seriously. In fact, he's not very observant at all, even failing to notice that the 10-year-old girl they "adopted" seems to prefer him significantly to Maggie. And that's just the beginning of Maggie's problems.

Made in 1970, Crowhaven Farm is an eerie supernatural tale that was made for the ABC Movie of the Week. It was produced and written by John McGreevey, whose many television writing credits include The Waltons. The film's opening scenes can be described as a Waltons plot with sinister overtones. The local handyman, played creepily by John Carradine, isn't the pleasant local craftsman that one would expect. The kindly physician turns out to be a villain. Even the picturesque countryside is revealed to be the site of sacrifices. (Note: Click here to read our interview with Michael McGreevey, John's son, who acted in numerous films and became a successful writer-producer as well.)

Handyman John Carradine.

While watching Crowhaven Farm, I was struck by the similarities with Ira Levin's Rosemary's Baby and Thomas Tryon's Harvest Home. The former pre-dates Crowhaven Farm; not surprisingly, Rosemary's Baby inspired a number of movies about witches' covens. However, Crowhaven Farm was actually made three years before Harvest Home. Tryon's novel features a premise in which a couple with a strained marriage relocates to an old house in a rural community so the husband can pursue an artistic career. Sound familiar?

For me, the most effective supernatural thrillers are those grounded in normal characters who become gradually exposed to unnatural events. In the case of Crowhaven Farm, the casting of Hope Lange as Maggie helps immeasurably. It's hard to think of an actress more capable of portraying conventional and believable characters. Although pretty enough to be a model (which she was), Lange carved out a successful acting career playing naïve teenagers, understanding mothers, and patient wives. Her convincing performance in Crowhaven Farm is one of the reasons this film has lingered with me since I first saw it 46 years ago.

Cindy Eilbacher as Jennifer.

Watching it recently, though, I was also struck by the film's potency. While it's never gory, the image of the witches stacking stones on top of Maggie is pretty strong stuff. There's also a disturbing scene in which young (fully clothed) Jennifer sneaks into Ben's room and climbs into bed with him when they are home alone. It may have been innocent enough in the early 1970s (obviously, the censors didn't object). However, in today's context, Ben casual acceptance of this situation seems highly questionable and caused this viewer to squirm a bit.

If you've never seen Crowhaven Farm, you're in luck: There are several prints on YouTube. The visual quality varies, but they are watchable.


This post is part of the Terror TV Blogathon hosted by the Classic TV Blog Association. To read all the fabulous posts in this blogathon, click here.

A Visit to the Williamsburg Film Festival

With its big star lineup and restoration premieres, the TCM Classic Film Festival has become the annual convention for many classic film fans. However, if you prefer a more intimate setting, a smaller crowd, and the chance to chat with the stars, there are better choices! Last year, I attended the Western Film Fair and Nostalgia Convention in Winston-Salem, NC, where I spent an afternoon interviewing Piper Laurie as she signed autographs. Earlier this month, I attended my first Williamsburg Film Festival in the historic Virginia town.

Presented by the Williamsburg Classic Film Guild, the Williamburg Film Festival has been an annual tradition since 1997. Like the Western Film Fair, it was started by fans of old cowboy films. Although the festival's scope has expanded, those passionate Western film buffs still make their presence known. On the day I attended, there was a theater devoted for much of the day to "B" Westerns featuring favorites such as Tex Ritter and Allan Lane. There were also a number of attendees dressed in elaborate Western gear, to include six-shooters danging on their hips.

Despite icy weather, the vendor room
was a popular place.

The festival's format follows the same formula as the Western Film Fair, Mid-Atlantic Nostalgia Conventions, and similar events. Movies play in multiple theaters throughout most of the day. Each star participates on an interview panel (usually following a showing of one of their films or a TV series episode) and answers questions from the audience. And there's a banquet on the last evening. However, the highlight for most festival attendees is the "vendor room," where the stars sell personally autographed photos and other memorabilia and vendors offer everything from comic books to collector plates featuring famous stars.

The best-known guests for this year's Williamsburg Film Festival included:

Lana Wood.

Lana Wood. Natalie Wood's sister never achieved major stardom, but remains a favorite among James Bond fans for her appearance as Plenty O'Toole opposite Sean Connery in Diamonds Are Forever. She also played the "Younger Debbie" in The Searchers (Natalie played the older Debbie) and was a regular for two years on the Peyton Place TV series. Lana was one of the reasons I wanted to attend the festival and she kindly agreed to do an interview with me.

Johnny Crawford. The actor who played Chuck Connors' son on The Rifleman is always a popular attraction. He headlines the Johnny Crawford Dance Orchestra these days and will autograph a copy of one of his CDs. He loves to chat with fans, but be prepared to wait in line for awhile if you see him at another nostalgia convention.

Michael McGreevey.

Michael McGreevey. A Disney regular in TV and film during the 1960s and early 1970s, McGreevey is a fine storyteller. He started his career on the TV series Riverboat with Darren McGavin and Burt Reynolds. He eventually became a writer-director and penned episodes of TVs series such as The Waltons and Fame. He recently participated in a documentary about Waltons creator Earl Hamner, which was shown at the festival. Needless to say, he gave a great interview.

Belinda Montgomery and friend.

Belinda Montgomery. One of the busiest actresses on American television in the 1970s and 1980s, Montgomery was a regular in three prime time series: Aaron's Way, Doogie Howser, M.D. (she played Neil Patrick Harris' mother), and Man from Atlantis (with Patrick Duffy). She also appeared intermittently on Miami Vice as Sonny Crockett's first wife (and later ex). On the big screen, Belinda Montgomery co-starred as real-life skier Audra Jo Nickolson in The Other Side of the Mountain (1975) and its sequel.

Sharon Farrell.

Sharon Farrell. A familiar face to film and TV fans for three decades, she starred alongside major stars such as Steve McQueen (The Reivers), James Garner (Marlowe), and Kirk Douglas (A Lovely Way to Die). It seems like she guest-starred in almost every hit TV series that aired in the 1960s and 1970s, from The Man from U.N.C.L.E. (three appearances) to Love, American Style. She also starred in Larry Cohen's cult classic It's Alive.

If you're interested in learning more about the Williamsburg Film Festival, click here.

An Interview with Michael McGreevey: The Actor-Writer Discusses Riverboat, Disney, the Fame TV Series, and The Waltons

Michael McGreevy and Sally Field in The Way West.

Michael McGreevey made his film debut at age of 7 in the 1958 Jane Powell musical The Girl Most Likely. He would soon become one of the most in-demand child actors of the 1960s. He appeared as a regular on the TV series Riverboat (1959-60) and starred in several multi-part episodes of Walt Disney's Wonderful World of Color. He also guest-starred in classic TV series such as Route 66, Naked City, and Bonanza. On the big screen, he made films like The Way West (1967) with Kirk Douglas, Richard Widmark, and Robert Mitchum. Michael also continued to work for Disney, playing Kurt Russell's best friend in the three Dexter Riley movies (e.g., The Computer Wore Tennis Shoes). In the 1970s, he moved behind the camera and became a successful writer for TV series such as The Waltons, Fame, and Quincey, M.E. Michael McGreevey recently appeared at the Williamsburg Film Festival and kindly agreed to an interview.

Café: You were around 11 when you starred in Riverboat. In addition to stars Darren McGavin and Burt Reynolds, it featured a huge number of then-current and future stars. Are there any that you remember fondly?

As Chip Kessler in Riverboat.

Michael McGreevey:  That's the show I met Doug McClure on. It was one of the first things Doug ever did. He was a great guy and became a lifelong friend. Of course, he went on to do The Virginian. Mary Tyler Moore was on the show. I remember her because she was really cute (laughs) and very nice to me. There was Suzanne Pleshette, who went on to do a ton of stuff. Then, there were people on the show that I became very close to: Jack Lambert, who was a great character actor and a regular; John Mitchum, Robert Mitchum's brother; and, of course, Darren (McGavin) and Burt (Reynolds).

Café:  I've read where Darren McGavin and Burt Reynolds didn't get along. Is that true?

MM:  Oh, yeah. They were just two very different personalities. I think that Burt was insecure. It was his first job in Hollywood and Darren was a very polished actor. It was Darren's show really--he was Captain Holden. I think Burt was a little jealous of Darren and they clashed quite a bit. What finally happened was that Burt left the show. But I loved them both. Darren was very much a father figure for me and Burt was like a big brother. He had been a football player at Florida State and I was impressed with that because I was into football. The first football I ever got--in fact, I've still got it--he got me. We used to play catch. I still see Burt every once in awhile. He still says: "Don't tell people you were only 11 years old when we were on Riverboat."

Café: How did you get cast in Texas John Slaughter, your first episode of Walt Disney's Wonderful World of Color?

MM:   I had done a small part in a thing called Toby Tyler, which was just a one-day shoot. My agent had said: "It's only one day, but you should do it because you might get in over at Disney and become one of the Disney kids." I thought, OK, I'll do it. After that, they called and I did the Texas John Slaughter episode. Then, I did Sammy, the Way-Out Seal, which was a big deal. I remember going for several interviews with director Norman Tokar. Bill Mumy and I got the parts. I showed up on the set and Ann Jillian was my girlfriend on the show. She became my girlfriend in real life later on, which was sort of neat. That was the beginning of the Disney run.

Café: You appeared in several multi-part Disney episodes. Which one was your favorite and why?

Billy Mumy and McCreevey in Sammy.

MM:   That's hard. Sammy, the Way-Out Seal was the most fun, because we were kids and we got to spend two days in a pool swimming with the seal. My favorite of the TV episodes was later, when I was an adult. It was called Michael O'Hara the Fourth and starred Dan Dailey and a wonderful actress named Jo Ann Harris. It was a two-part detective story, sort of a Nancy Drew thing. I really liked my performance in that one. It was a fun thing to do and very few people know that particular one.

Café: What was it like working on the Disney lot while making those shows?

MM:  It was wonderful, especially in the '60s when Walt was still alive. He'd come every day on the set if you were on the lot. There was a real family feeling on that lot at that point. It wasn't like the other studios. And because so many children worked there, it was a more conducive place for them in general. The crews were used to kids. Mr. Disney--Uncle Walt...I always called him Mr. Disney and he would always correct me--set the tone. It was like going to summer camp. I loved it.

Café:  And did you really beat Walt Disney in ping pong?

MM:  No. Actually, I never beat him. I tried. My mother said you'd better lose. Kurt Russell claims to have waxed him.

Café:  Was he good at ping pong?

Kurt Russell and McGreevey in
The Strongest Man in the World.

MM:  Walt? Yes. I don't know if I ever played Kurt. When we used to compare notes, I said I used to play ping pong with Walt and Kurt said: "So did I." I said I never beat him and Kurt said he beat him all the time.

Café:  You and Kurt Russell made a great team in the three Dexter Riley films. Did you get along off camera?

MM:  Yes, we were roommates for four years. I tell people that I could ruin Kurt Russell (laughs). We roomed together in our twenties. We're still good friends. I talked with him before I came here.

Café:  What are your memories of acting in The Way West with Kirk Douglas, Robert Mitchum, Richard Widmark, and Sally Field?

MM:  I think that was the most fun I ever had in a movie. I was a little disappointed in the end product. I thought it could have been a much better movie. In my opinion, they sort of ruined it in the editing room. In terms of the actual shoot and the cast, I adored Sally (Field). Director Andy McLaglen was just a wonderful man. I enjoyed that role. I met (Richard) Widmark on that film, who became my mentor. I did another film with him (Death of a Gunslinger). We spent four months in Oregon, too. I made some lasting friendships. John Mitchum was in it and Bob Mitchum, Kirk Douglas, and Timothy Scott, who later went on to do a lot of great work. It was just a wonderful experience.

Café:  What led to your decision to enroll in UCLA and to pursue film writing and directing?

Michael McGreevey at the 2015
Williamsburg Film Festival.

MM:  My father (screenwriter John McGreevey) was a writer, so I always had some aspirations to write. UCLA was the best choice, because I could sort of go to class and still work if I had to. I really wanted to be a psychiatrist, but got into chemistry and realized I wouldn't make it through medical school. So, I became a psychology major and then got to statistics and realized I wasn't going to get through that. So, I went and became a film major. I had always been an actor, but I didn't really have any idea about the other side of the camera. I had seen it done as a kid. I became convinced that I could write, produce, and direct. I kept acting for about five more years. The Disney movies, although they were a delightful experience, typecast me. People forgot the other movies and thought I was this comedic actor, though I had never really done comedy until those last two or three Disney movies. I thought, well, great, I can just disappear and start writing. I was lucky enough to have a father that was well established and had a lot of contacts.

Café:  What inspired you to write the 1978 made-for-TV movie Ruby and Oswald, which became a collaborative effort between you and your father?

MM:  I had started on my own to research Jack Ruby. I was fascinated with him. I went to my Dad to get some advice on how to approach the screenplay. He said it might be more interesting to parallel Ruby with Oswald. I said I'll do that. I went back and did some stuff with that and realized there was all this documentary footage with Kennedy. In reality, the movie, although it's called Ruby and Oswald, is a three-way depiction of those four days in Dallas where we cut back and forth between the documentary footage of Kennedy and the recreated story with Ruby and Oswald. Dad and I both knew a man named Alan Landsburg, who had done a lot of documentaries. We went to him with the project first and he knew Mel Stuart, who had done an Academy Award-winning documentary called Four Days in November (1964). So, Mel was attached to direct it and we went into CBS and sold it right away as a three-hour special event movie. I was very proud of that movie; it was very well done.

Café:  You've written episodes for several first-rate TV series such as Fame and The Waltons. What was your favorite series to work on?

MM: Fame, by far. I started as a free-lance on one episode of Fame. I later became the story editor and then became the creative consultant--they kept moving me up. I ended up producing the show the last season. I did a total of four seasons on Fame. My background was in musical theater. It was like Mickey Rooney and Judy Garland--let's put on a show every week. And they were paying me all this money to do it. It was fun. I loved The Waltons. I just finished a movie about (Waltons creator) Earl Hamner called Earl Hamner Storyteller. The Waltons were an important part of my life and I really enjoyed working on that show.

Café:  Do you have any upcoming films or appearances that you'd like to share with our readers?

MM:  We just screened Earl Hamner Storyteller, a ninety-minute documentary about Earl Hamner in Lynchburg (Virginia). Tuesday night, we screened it in Richmond for University of Virginia mucky-mucks and the governor of Virginia. It should appear on television in the fall. It will probably be on the Hallmark Channel. Earl is 91 and we got to screen it for him in Los Angeles in February and he got a standing ovation. It made my year.

Café:  He was such a great TV writer. People think of him with The Waltons, but he also wrote episodes of Twilight Zone and created Falcon Crest.

MM:  That's all in the documentary. He has been a family friend, my Dad's best friend. My Dad wrote 20 episodes of The Waltons and I wrote four. So, he's been Uncle Earl my whole life. But doing this movie was really fun, because I got closer to him and found out things I didn't know about Earl.

Café:  Thank you so much for doing this interview, Mr. McGreevey.


You can learn more about Michael McGreevey at his web site www.michaelmcgreevey.com and you can "like" his Facebook page.