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The Goddess of Death


A beautiful model causes all artists who paint her to become instantly enamored with her. When a moody painter falls for her, he begins to wonder if she is truly of the earthly plane.



Air Dates

  • First Run - November 30, 1982
  • (No Repeat) - January 1, 1970





45     12

2 Responses to Episode 1397

"The Goddess of Death" was, for the most part, a fairly uneventful listen; but not completely uneventful. Many artists claim that they are possessed in some way when they create, write, or paint. They don't claim to be possessed by an evil entitty, but something that pushes their talent beyond their bounds. Boring listen, incredible ending, thought provoking. 3 stars.

Davy Joe

I rate this episode ★★★★☆ for GOOD. This episode, written by James Agate Jr., is based off of a story by Barry Payne. There isn’t a lot of information online on who Barry Payne was, nor when this story was published. The plot in this episode is fascinating where the chemistry between George Halle: the painter and Yvonne: the model was compelling. But the obsession of the model took a turn. George Halle put soul into his painting, but being fixated on the model that could be the personification of a deity is a little mind-boggling. One thing I found interesting is at the 24:16 mark when George Halle refers her model to “Diana The Huntress.” I wonder if James Agate, Jr. wrote that in the episode to mention Sam Dann’s episode of #1263-DIANA, THE HUNTRESS. Anyway, the relationship between the 2 was convincing, but the obsession was uncanny. In our Host’s Prologue, Tammy Grimes talks about female models that that inspire artists on their work. In ACT-1, we meet our main characters in December 1879 in Paris. After the death of one artist, Tammy Grimes points out that the works of men are immortal. In ACT-2, pointing out that the strange relationship between model & artist where it represents a half-love for them, but a half-death for someone else. In ACT-3, the relationship between the model and the artist develops, but with longer silences. In the end, the outcome of our main artist with his life and career. In her Epilogue, quoting a line from “Still To Be Neat, Still To Be Dressed” by English poet Ben Johnson. Tammy Grimes’ narrations were informative, but no input of her own on what she thought about the relationship between artist and model. Sound effects of footsteps, doors, gun shot, newspaper, howling wind, clock chiming, French music playing in the background, tea cups clinking, sketch papers, and moving of the canvases were very useful and supportive in every scene. The music was terrific, particularly the tunes during the painter’s narrations. But the music track that really fits into the story was the atmospheric tune at the 37:35 mark where the painter talks to his model as she poses with glowing eyes. But what glowed or shined the most in the episode was the cast: Diana Kirkwood (as Yvonne), Mandel Kramer (as George Halle), and Robert Dryden (as Pierre Maurice and Max). Wonderful job from Robert Dryden with his 2 roles. Mandel Kramer was outstanding for his role as a painter developing a relationship with his model. And Diana Kirkwood was tremendous as the leading lady in her final performance on CBSRMT. This story succeeds on being a mystery and fans of Diana Kirkwood should check this episode out. SPECIAL BONUS: This episode has a commercial of the Crime Prevention Coalition featuring McGruff the Crime Dog with his classic phrase: “Take a bite out of crime.” Until next time…pleasant dreams.


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