Tom_Barrister Reviews

The Life and Legend of Wyatt Earp: The Kansas Lily (1958) Season 3, Episode 22

Jimmy Noel gets a substantial (for him) role

[10/10 · 6 September 2022]

Jimmy Noel came to Hollywood in the 1940's, after a modest career as a bandleader. His rough looks didn't bode well for the big screen, but he found substantial work when many studios produced Westerns for television. One that he was generally in demand for was this series. Star Hugh O'Brian valued loyal background players (extras), and those who put the show ahead of other engagements had steady work. Noel was the most loyal of all; he had more appearances (over 150) on the show than anybody else except O'Brian. Extras back in that day made a flat daily fee, but it was adjusted upwards if the extra did more than stand around, such as stand in with the stars, speak, bow, or do much of anything. The more substantial the work, the better the day's pay. The generous O'Brian tried to spread additional work around his loyal core group of background players, including Noel, Ethan Laidlaw, Chet Brandenburg, Bill Coontz, Phil Shumaker, and Jack Tornek.

Unfortunately, Noel had very little acting ability, and his voice was on the rough side. Therefore, like Tornek (who was a decent actor, but who had a heavy Russian accent), any additional perks were generally on the non-speaking side or in minor stunts.

Here, he has a part more substantial than anything else he did on the series. His acting was wooden, and his voice sounded shaky, but both fit the character assignment he was given, and he ended up looking good. Such as it was, this was his moment in the sun.

When the producers of Gunsmoke were looking for a stand-in for the frail Milburn Stone (Doc), O'Brian recommended Noel, who was about the same height, build, and hair style as Stone, and who could do stunts when needed. Noel was signed on in 1960, and he worked with the series until it ended in 1974. To help pad his income, he was also given many bit parts and additional background work.

The Life and Legend of Wyatt Earp: The Judge (1960) Season 5, Episode 34

Something different for Fowley

[10/10 · 12 August 2022]

Douglas Fowley played two main characters on this show: the eccentric and funny Doc Fabrique for a few episodes, and the stone serious Doc Holliday (which was also played by Myron Healey). Here he has a different role: an old man who has some mysterious business with a man in town. To tell more would be revealing spoilers, but if you're a fan of Fowley, you don't want to miss this episode.

The Life and Legend of Wyatt Earp: The Buntline Special (1960) Season 5, Episode 28

Two prolific extras get bit parts here.

[10/10 · 9 August 2022]

Next to the star Hugh O'Brian, Jimmy Noel and Ethan Laidlaw appeared in more episodes of the series than anybody else, although they were almost always uncredited. The generous O'Brian saw to it that his regular background players were taking care of.

Back in those days, background players (extras) got paid a flat rate for the day, plus adjustments for whatever additional things they did over and above what somebody just standing in the background would get. Standing in a group with a co-star paid a bit more, speaking any words paid extra, and bit parts paid more yet.

At the time this episode was shot, Noel had only about ten years experience on sets and had limited acting ability, while Laidlaw was an old hand, with nearly thirty years in the trade. Both were reliable and showed up when asked. In this episode, they're given bit parts as drunks ready to fight --- sort of --- when Earp breaks it up. Laidlaw, who is in the foreground with O'Brian, was given the more substantial role, mainly because he could be trusted to handle it better, and he pulls off the part of the drunk with comic brilliance. Noel overacts a bit, but Laidlaw carries him through the bit until they are hauled off into the cell by Shotgun Gibbs, and he even addresses Noel by his real first name (something not uncommon then) as they're being led away.

Perry Mason: The Case of the Scandalous Sculptor (1964) Season 8, Episode 3

Something different from June Lockhart

[8/10 · 19 May 2022]

The storyline is standard for this show. What is novel is the rather unique casting of June Lockhart. One would scarcely recognize her as the same woman who played the mother of. Timmy on "Lassie," the mother on "Lost in Space," or any of her other wholesome roles. While not being too specific to require spoilers, suffice it to say that this is NOT your grandfather's June Lockhart character role.

What -- No Spinach? (1936)

One of the best of the Fleischer era

[10/10 · 13 May 2022]

The man reason that the early Popeye cartoons were popular was that the characters were depicted as ordinary working-class types in everyday urban surroundings, which many in the Depression era could identify with. This more or less ended when Paramount bought out the series in the early 1940's and put their own take on it.

Very popular among viewers were the asides mumbled by the voice of Popeye Jack Mercer. The quick-witted Mercer would often ad-lib these asides randomly. Some needed to be edited out, because they wouldn't get past the censor, but most were left in as-is. Mercer continued to voice Popeye, except when overseas during World War 2, until his death in 1984.

Gus Wickie was the voice of Bluto in about 20 of the early cartoons. When the Fleischer brothers moved from New York City to Florida, Wickie decided to stay in The Big Apple, where could more-easily find work as an entertainer.

In this cartoon, and others in the series, Wickie was also allowed to ad-lib asides, which were also popular with the public. Neither Wickie's predecessor, William Pennell, nor his successor, the talented Jackson Beck, opted much for the same ad-libbing,

Also, the character of Wimpy had a more prominent role in this cartoon than in others during the era.

The interaction and dialog between the three is among the best in the series.

My Foolish Heart (1949)

Good, if you ignore the Hollywoodization of Salinger's novel

[8/10 · 20 August 2021]

Author J. D. Salinger struggled for the first half of the 1940's, to get his works published by various magazines. In 1948, The New Yorker magazine published his short story "Uncle Wiggly in Connecticut," a dialog-driven exposé of suburban society, which was well-received. Shortly after, producer Sameul Goldwyn offered to buy the movie rights to the story. Salinger, who had been disappointed when Hollywood producers had hinted at turning his 1943 story, but backed out later, jumped at the chance, figuring that a movie version would advance his career. At Goldwyn's insistence, he relinquished control of the movie version.

Goldwyn didn't spare much expense. Teresa Wright and Dana Andrews were cast as the leads, with Julius and Phil Epstein ("Capablanca") hired as writers, the respected Mark Robson brought in to direct, and Victor Young hired to score the music. The story, as written, would have made an ideal Broadway play, but it wasn't suited for the silver screen and would need a major overhaul --- something that Goldwyn certainly knew when he demanded control of the movie, and which he certainly didn't mention to Salinger. Just before shooting, Wright backed out of the movie and was replaced by Susan Hayward. When the Epstein brothers and Robson were finished, and the movie reached the theaters, readers of "Uncle Wiggly" would have scarcely recognized the movie.

The critics weren't pleased, either, The movie was roundly lambasted for being an over-sentimental "four-handkerchief" movie with a far-fetched plot, a "bastardization" of the original story, and other unkind things. At the box office, the movie did modestly well, grossing about $1.725 million (58th place in 1950). More importantly, it received two Academy Award nominations: one for Hayward and one for Victor Young and Ned Washington. While critics in the ensuing 70 years have only been mildly kinder, the movie is still a staple on such as Turner Classic Movies and various streaming sites.

The movie itself is very good. While the storyline is mundane, it has its bright points. The acting, direction, and music are first-rate from top to bottom, and there are patches of excellent dialog interspersed throughout. I can't say much good about the writing; this was not one of the Epstein brothers' better efforts. The movie has a much happier ending than Salinger's story did, a fact that outraged Salinger so much that the author never again sold the movie rights to another of his stories, even though Hollywood clamored to produce a movie based on his best-known story: "Catcher in the Rye." I can't say that I blame him, either.

Bring Me the Head of Dobie Gillis (1988 TV Movie)

The movie that didn't take itself seriously.

[10/10 · 6 July 2021]

What many other reviewers don't understand is that this movie was intended to be tongue-in-cheek from the word "go." . The plot isn't important, and the acting is supposed to be overstated and corny. Unlike the pilot from a decade earlier ("Whatever Happened to Dobie Gillis), which actually tried to restart a sequel to the original series, this movie has no such aim: There were no plans for a sequel or a new "Dobie" series, and the movie is mostly an excuse for Dwayne Hickman, Bob Denver, and Sheila James-Kuehl to get together again and recreate some of the antics they did in the series. William Schallert returns as Mr. Pomfritt (and is actually playing the piano), and Steve Franken is there as Chatsworth. The actors who played Dobie's parents weren't present; Frank Faylen had died three years prior to the movie, and Florida Friebus was probably too ill to participate; she passed away a few months after it aired, as did the original show's creator Max Shulman.

Much content is inserted for the boomers to remember: There is a reference to Denver's "Gilligan's Island" when Thalia mentions rescuing Maynard from a desert island. Many things that happened and existed in the old series appear here: Maynard's aversion to the word "Work!" is here, as well as a collection of his malaprops, misunderstanding of situations, and overreactions. Several of the old routines Dobie and Maynard did are recreated here. As in the original, Hickman does fourth-estate monologues in front of a backdrop containing a plaster replica of "The Thinker." One bit you won't want to miss is Hickman's talk with his movie-son, especially his classic line: "The Birds and the Bees are about plumbing."

It's unclear whether Tuesday Weld was asked to appear as Thalia. In any case, it didn't happen. Instead, Connie Stevens took the role and managed to create a sinister (and slightly over-the-top) version of Thalia.

While this TV movie is hard to get hold of, you can view full-length copies of it on certain video sites, and if you're a fan of the old series, you won't be disappointed with this effort. Just ignore the plot and enjoy the people and antics.

Whatever Happened to Dobie Gillis? (1977 TV Movie)

Nothing like the original.

[2/10 · 6 July 2021]

At some point in time in the mid 1970's, the powers-that-be at CBS decided that a sequel to "The Many Loves of Dobie Gillis" would be a good idea. The original creator, Max Shulman, was brought in and wrote a script that executives liked. Series stars Dwayne Hickman (Dobie), Bob Denver (Maynard), Shield James-Kuehl (Zelda), TV dad Frank Faylen, and Steve Franken (Chatsworth) were recast in their roles. Unfortunately, Hickman's TV mom Florida Friebus was working on "The Bob Newhart Show" and was probably unavailable at the time.

A man named James Komack was put in charge of production and direction. Komack had several hit shows to his credit, including "Welcome Back Kotter" and "Chico and the Man." What he didn't have was any clue about the original show, and he admittedly had never watched it.

With that in mind, creator Max Shulman was fired within a week. Komack told Shulman that he (Shulman), who had created the character of Dobie Gillis in the 1950's and been involved in almost every episode of the original series' four-year run, didn't understand what Dobie Gillis was about, while Komack, who had never seen a minute of the original show, knew what was best for it. The next thing Komack did was can the old script and get some writers from "Kotter" and "Chico" to write a new one. Also, some Kotter-like young actors were hired, one of whom played Dobie's son. The whole pilot went from being about Dobie Gillis to being a thinly-disguised new version of "Welcome Back Kotter." To make matters worse, the script was changed nearly every day, and by the time filming began, nobody had much of a clue what they were supposed to do, and most of the jokes fell flat. I can't imagine what went through the minds of the original cast as they were forced to film this monstrosity, but those thoughts probably can't be printed.

Other problems were also evident. Other original series characters weren't recast, notably Mr. Pomfritt (William Schallert was busy with two other TV Series) and Thalia Menninger (likely a mutual decision by Tuesday Weld and Dwayne Hickman). Frank Faylen appeared to be in frail health (and in fact this was one of the last times he was on TV or in movies), and he didn't appear to be able to withstand the rigors of a weekly series.

The result was a show that didn't appeal to fans of the original series, and which was probably unappealing to modern viewers. With all of this going against the pilot, it was no surprise that CBS wasn't interested in picking up the series, and as far as I know, the pilot never re-aired on TV after its initial showing. I can't imagine it getting many favorable reviews, either at the time or now.

You can find the pilot on some video sites and possibly on YouTube. Fans of the original may find it boring and/or painful to watch.

Tilt (1979)

Durning and Shields outshine the others

[10/10 · 18 January 2021]

For almost ten years, writer/agent Rudy Durand had tried to turn his story about the world of pinball machines into a movie. Eventually writing the screenplay himself, he sent a copy of it to Orson Welles. Welles read the screenplay and liked it so much that he spoke to Durand about it and recommended that Durand direct it himself. Welles then talked glowingly about the screenplay on "The Tonight Show. The phone calls began to come in for Durand, who was offered as much as $900,000 for the screenplay. Unfortunately, all such offers called for a more seasoned director than Durand, who wanted control over filming. Finally, real estate developer Mel Simon, who dabbled in independent productions (i.e. the "Porky's" movies), offered to fund the film and to give Durand full control over creative content.

Welles wasn't avaiable to play the part of the Whale, but veteran character actor Charles Durning was an excellent replacement. Much padding was added to the clothing of the already-hefty Durning, and much makeup was applied to make him look more weathered than he really was. Newcomer Ken Marshall was cast as Neil Gallagher, and an assortment of "B" actors filled out the other minor parts. Durand's first two choices for the role of Tilt were Jodie Foster, who wasn't interested, and Tatum O'Neal, who wasn't avaialble. Brooke Shields' mother Teri Shields was more than happy to get her daughter on the screen again. Filming began in late 1977 and ran for five months. Except for a few on-location shots in Corpus Christi, shooting was mainly in the L.A. area.

After Durand put together his director's cut of the film, it and all footage were sent on to distributor Warner Brothers. The studio decided to create its own version, which was eventually sent out to theaters in April of 1979. It bombed and saw limited theatrical release, although it was shown frequently on late-night cable TV in the 1980's, notably on TBS. To say that Durand was unhappy about Warner deciding to use its own version, rather than his, would be a major understatement. He asked the studio to rerelease his version of the movie. When the studio refused, he sued them, representing himself in court appearances. Thirteen years and over 150 court appearances later, including before the California Supreme Court, he was awarded a large, but undisclosed settlement. Unfortunately, Durand never did release his version of the film commercially. The film as we know it has been largely forgotten, and only a VHS version was ever released by Warner, although at least one copy exists on YouTube. It may be possible to purchase a copy of Mr. Durand's version from him.

Except for Durning, John Crawford, and possibly Shields, the acting in the movie is somewhat bland to say the least. You can find reviews of the movie elsewhere. Remember that you're seeing reviews of Warner's release of the movie. Durand's version had to be much better. I am certain of this, because Orson Welles wouldn't have gone on national TV to praise the version that appeared on screen. In light of that, I want to focus on the footage towards the end of the movie, when Tilt goes to see Mr. Remmens/"The Whale" (to give more details would require putting a "spoiler" notice on this review). This appears to be one of the areas of the movie that was altered the least by the editors at Warner. The manner in which the amused Remmens handles the self-assured (and somewhat mouthy) Tilt, and the way that he eventually warms to her by the end of their encounter, is a case study in character acting by one of the masters of the art. Durning is superb throughout the movie, but the scene with Shields is especially good. There is nothing wooden or artificial about this scene, and I wouldn't be surprised if Durning helped Shields through its performance. If you find the movie (and it's online at a popular video location), watch this scene carefully to see what I mean.

Every Sunday (1936)

Never mind the plot; listen to two future stars sing

[10/10 · 6 February 2020]

In July of 1935, Louis Mayer of MGM was looking to produce a musical based on the life of operatic contralto Ernestine Schumann-Heink, who was in poor health at that time with what was eventually determined to be leukemia, which she died of the following year. MGM was having difficulty finding an actress to play Schumann-Heink as a girl. Casting director Rufus LeMaire heard about a 13 year old named Edna Mae Durbin, who was a member of the Ralph Thomas Academy in Los Angeles. LeMaire arranged an audition with the studio's music director Jack Robbins and sang the aria "Il Bacio" by Luigi Arditi. She repeated the aria for Mayer, who was said to be most impressed. While her coloratura voice was at the opposite end of the vocal spectrum as that of Schumann-Heink, Mayer still decided that there was someplace he could use Durbin, and he signed her to a six month contract.

Frances Ethel Gumm, who changed her professional name to Judy Garland in 1934, was already a veteran of show business, despite being six months Durbin's junior, having appeared with her sisters since at least age three. Songwriter Burton Lane ("On a Clear Day You Can See Forever") heard Garland and her sisters perform, and he hurriedly arranged an audition with Robbins. The music director was floored by her performance of James Hanley's "Zing! Went the Strings of My Heart" and all-but-dragged Mayer down to listen. Mayer was so impressed that he had Garland repeat the number for virtually every employee of the studio, and the "audition" ended up running for nearly 10 hours. Garland, who had made a screen test with the studio a few months earlier (without singing), was hired on the spot.

Mayer now had two 13 year old stars, which was a problem, because he didn't know what to do with either of them. They were a bit too old to be child stars and still too young for glamour or ingenue roles. Garland had the more dynamic personality and a voice better-suited to the music of that time, while Durbin was even then proving a bit difficult to deal with. Eventually, Mayer renewed Garland's contract but let Durbin's lapse. When Joe Pasternak of the struggling Universal Studios found out that Durbin's option had lapsed, he immediately signed her to a contract, had her change her professional name to "Deanna," and set his writers to making a movie that would showcase her talents, said movie being "Three Smart Girls," which is widely said to have saved the studio from bankruptcy.

Around that time, Mayer had come up with a script to showcase his two singers. A clause in Durbin's contract allowed Mayer to use her for one film, provided that she hadn't begun filming with another studio. Pasternak had no objections, since he had Durbin under contract and could use the free publicity, and "Every Sunday" went into production. The plot is simplistic; two teenagers save an orchestra conducted by one's grandfather from being fired from a Sunday park concert series and help him by singing with the orchestra. The music is what this eleven-minute short is about. Durbin repeats her signature "Il Bacio," while Garland sings a specialty medley written for her by Con Conrad and Herb Magidson, "The Americana." The two then team up for a duet of the latter song, in which Durbin's coloratura is sung in counterpoint to Garland's vibrant swing voice.

Durbin went on to save Universal from bankruptcy and become the studio's flagship performer for the next twelve years. At one time, she had the largest fan club in the country. She was no less difficult to handle at Universal than she had been at MGM, but her moodiness and demands were tolerated because of her popularity. She eventually grew tired of the industry and promptly departed in 1948, living in reclusion in France for the remainder of her life and only granting one interview (to David Shipman) for the remainder of her life.

Garland, of course, became a star in her own right, appearing in many musicals for MGM between 1938 and 1950, including "The Wizard of Oz," and on stage and the TV variety show and nightclub circuit thereafter. Unfortunately, she sufered from insecurity, which led to drug use, and that plagued her for the remainder of her life. Garland always claimed that MGM got her and co-star Mickey Rooney started on drug usage, Rooney denied that, stating that he and Garland chose that path themselves. The abuse caused her death at a relatively early age.

Micro-Phonies (1945)

One of Curly's last.appearances is one of the best of the Stooges efforts

[10/10 · 27 June 2019]

At some point in late 1944 or early 1945, Curly Howard suffered the first of what was to be a long series of strokes. Due to this, his ability to function and to perform varied widely from day to day and week to week. Always-protective brother Moe insisted he check into a hospital, where the younger Howard was diagnosed with acute hypertension, obesity, and eye problems. He had also been a heavy drinker for years. The doctors (and Moe) insisted that Curly rest; as a result, the Stooges cut back production in 1945. Over the next two years, Howard's abilities varied greatly; the comedian often appeared sluggish, and many scenes had to be shot repeatedly. Nonetheless he made 16 more shorts in the interim, until a massive stroke on the set of "Half Wits Holiday" ended his career in early 1947.

Fortunately for Stooges fans, Curly was near the top of his game for "Micro Phonies," because it is one of the best that the trio made. With new director Edward Bernds at the helm, the film is put together well, with a good mixture of slapstick, music, and dialogue.

Observant viewers will notice that Curly is lip-syncing most of the actual words to "Voices of Spring" (which was actually sung by Christine McIntyre). The Italian aerie that Gino Carrado is trying to sing as the boys throw cherries into his mouth is "Vieni Sul Mar." And during excerpt from the recording of the Sextet from Lucia, while there is considerable clowning around,, you can actually see Larry and Curly lip-syncing many of the correct words of the their parts of the aria --- in Italian! This isn't surprising to Stooges fans, as all three were known to be perfectionists who took their craft, slapstick or not, seriously.

It should also be known that Moe was a good bass-baritone singer who was in casual quartets. Larry was a studied violinist and pianist, but he wasn't known as a singer.

Overall, "Micro Phonies" is one of the better Stooges works, and it deserves a look if you find it on TV or the internet.

Hogan's Heroes: Hogan, Go Home (1968) Season 3, Episode 19

CBS's Laugh Track Experiment

[10/10 · 21 May 2019]

From its beginning, the artificial laugh track was controversial, with those who liked it and those who didn't. Most wanted or tolerated the laugh track. By and large, those shows whose creators and/or stars objected to laugh tracks or live audiences had their shows canceled after short runs. A notable exception was Charles Schultz; his Peanuts specials were met with critical acclaim, sans the canned laughter.

In the summer of 1967, CBS executives decided to try an experiment. They chose a sitcom with both comedic and serious elements, "Hogan's Heroes," and made two versions: one with and one without a laugh track. Then they screened them to different audiences. The versions with a laugh track were well-received, and those without largely failed. The shows with the laugh track were aired (I remember them well), and CBS ended the experiment, although they did tone down the laugh track in select future series.

Through an error, some of the shows without the laugh track were distributed to certain outlets (i.e. METV), including this one, and they're shown as-is. The United Kingdom went a step further: they removed the canned laughter from all episodes (which is possible if the laugh track has its own channel), preferring to emphasize the serious aspect of the show.

M*A*S*H was made this way, with the laugh track made optional to distribution points, and it's well-known that it was eliminated from operating room scenes early in the series.

Hogan's Heroes: An Evening of Generals (1967) Season 3, Episode 13

CBS experiment soon discarded

[10/10 · 16 May 2019]

As television was developing in the mid-to-late 1960's, the three networks did a good bit of experimenting with show formats, story lines, novelties, special effects, and backgrounds. In the 1967-68 series, One of the things that CBS decided to try was elimination the laugh track on a comedy that was considered to be "intelligent." "Hogan's Heroes," which was a comedy with serious elements, fit the bill as well as any other on the air at the time, so the network decided to eliminate the laugh track during one episode to see if the comic element could stand on its own merits. Ratings showed that the laugh track was needed, and it was used thereafter, although CBS did lessen its use in certain situations, such as the operating-room scenes in M*A*S*H after the first two seasons.

The story itself is well-done here and is a cut above most in the series.

Lost in Space: The Questing Beast (1967) Season 2, Episode 17

Harris in a brief serious role.

[10/10 · 17 November 2018]

Hans Conried and June Foray were well known for their cartoon voice work. Among other credits, both worked on the "Rocky and Bullwinkle" shows, Foray as Rocky, and Conried as Snidely Whiplash. Conried also did Uncle Waldo on "Hoppity Hooper," and Foray did many voices for Warner Brothers, notably Granny in the Tweety cartoons. Conried was also known as Uncle Tonoose in "Make Room for Daddy," which meant he had worked with Angela Cartwright.

In this episode, Conried plays a bumbling medieval knight named Sagramonte, who finds his way to the Robinson's planet in pursuit of his quest beast Gundemar (voiced by Foray). Conried's "armor" looks like castoffs from various B movie sets, and Gundemar's outfit appears to have been made by primary school students on a budget of less than $10.

The plot follows slapstick for the first 40 minutes. Without warning, it turns stone-serious, as Dr. Smith realizes that he and Sagramante have betrayed Will and left the boy hurt and cynical. Smith leaves his pompous panicky bumbling usual character, puts on his big boy pants, and goes out and rectifies the situation in a mature manner. Harris plays the stern serious role very well. His line to close out the episode is excellent and memorable: "It isn't the quarry that makes the hunt, nor the goal the game.", and the wistful lines that follow are so out of Smith's usual character that Angela Cartwright has to struggle to keep a straight face.

Fans of the series should view this episode. It's one of the few times we get to see Harris in a serious and mature moment.

The Life and Legend of Wyatt Earp: A Good Man (1959) Season 4, Episode 17

Denver Pyle and Glenn Strange in dramatic roles

[10/10 · 12 October 2018]

Most people remember Denver Pyle as the Uncle Jesse on "The Dukes of Hazard," Buck on "The Doris Day Show," or perhaps Briscoe Darling on "The Andy Griffith Show." Before he began playing father figures and gruff older men, Pyle had many dramatic roles, mostly in westerns. He was one of director John Ford's go-to actors. Pyle has a substantial one in this episode as a troubled self-proclaimed preacher with character flaws., and he does well with it.

Most remember Glenn Strange as Sam the bartender in "Gunsmoke." Strange was well-cast in Westerns, because he was a cowboy himself. His talents on the guitar and violin are showcased in various episodes of Gunsmoke. In this episode, he has the role of a down-to-earth rural type who is sympathetic towards Pyle's preacher character.

To tell more is to provide spoilers for the plot, but fans of the series should see this episode when it airs on TV.

At War with the Army (1950)

Lewis and Martin's first starring roles is not one of their better efforts

[6/10 · 11 September 2018]

Dean Martin and Jerry Lewis had been a team since 1946 and had already appeared together in two movies in supporting roles: in "My Friend Irma" and My Friend Irma Goes West." Lewis and Martin were so popular with moviegoers n both pictures that they were giving starring roles in this movie.

This movie isn't as good as their later efforts. The pace is uneven, the movie drags in spots, and much of the comedy is dated to the era, an issue that they avoided in later movies. Martin is overbearing and intolerant of the antics of Lewis, another issue that was corrected in later films. Lewis wasn't as unbuttoned as he got in later movies, and oddly: Lewis is given more opportunities to sing than Martin got.

There are a few gems in this rough effort; one comes towards the end of the movie: when Martin and Lewis recreate a scene from "Going My Way," but it's largely dull and boring, compared to what was to come.

Have Gun - Will Travel: In an Evil Time (1958) Season 2, Episode 2

Hank Patterson has a field day

[10/10 · 30 July 2018]

Hank Patterson, who began as a serious musician and who spent many years in vaudeville, is probably best-remembered as Fred Ziffel on "Green Acres" and "Petticoat Junction." When he gravitated to TV in the early 1950's, he was at the age when which most people retired. Instead, he put his weathered-looks and gravel voice to good use, playing various old codgers on many CBS westerns in the 1950's and early 1960's. And the man could act, too, as is evident in this role, and he was a natural for this role. Writer Shimon Wincelberg wrote this episode with the idea of casting Hank Patterson in the role of Pappy French. It was a good choice. The self-deprecating Patterson became the self-deprecating old codger in the role. To tell more would spoil the plot.

Of course, we know that Richard Boone was a fine actor. The two of them dominate the episode, with only bit appearances by Westerns staple Charles Horvath and William Stevens, and it doesn't get boring or drag on at any point. Be sure to see this episode when it shows up on TV.

For those wondering the words spoke by Paladin at the end of the episode are from Ecclesiastes 9:12.

The Life and Legend of Wyatt Earp: Shadow of a Man (1957) Season 3, Episode 15

Willam Tannen Has His Day

[10/10 · 21 June 2018]

William Tannen was the son of the well-known vaudeville monologist Julius Tannen and the brother of actor Charles Tannen. After a brief career on Broadway in various revues and productions, Tannen made his way to Hollywood. From 1935 until his retirement in 1970, Tannen found steady work in movies, and later on TV. With over 300 screen appearances, most uncredited, the versatile actor appeared in many different roles and was respected for his abilities, but he didn't have the face, voice, or charismatic presence to be molded into a star. He eventually found a niche in TV Westerns, which were popular in the 1950's and 1960's, and he did considerable work in several of them. His best-known role is as deputy Hal Norton on "Wyatt Earp" during the years the series was set in Dodge City Kansas.

While most of his roles were small, he was given a few weightier assignments on "Wyatt Earp." The biggest of these was the episode "Shadow of a Man," in which Wyatt leaves Dodge for a while and appoints his chief deputy as acting marshal. Deputy Norton handles various problems that arise through flashbacks showing how Wyatt dealt with similar situations or in which Earp explained his reasoning for certain decisions. Inspired by these, Norton rises to each occasion and handles them adequately, albeit very roughly and more than a bit unsure of himself. To pull off this kind of characterization without overacting the weaknesses or incorrectly becoming a carbon copy of the person portrayed is a challenge for even the greatest actors. Tannen manages it well, and the result is believable.

As a result of this, Tannen was given bigger roles in subsequent episodes of the show, and when the series moved to Tombstone and ended the need for Tannen's services, he was in high demand in movies and on TV until he left the industry in 1970.

The Dick Van Dyke Show: Coast to Coast Big Mouth (1965) Season 5, Episode 1

Carl Reiner shows off his talents.

[10/10 · 8 September 2015]

Early in his career, Carl Reiner decided to forego acting and channel his talents into writing and producing. In addition to producing the Dick Van Dyke Show, he also did much of the writing and was responsible for many of the story lines. Such was a full-time job, and when he did appear on the show, it was usually in a limited role. He did have a few fleshed-out roles: the eccentric painter Sergei Carpetna in "October Eve," the hard-to-understand writer Everett Sloane in "I'm No Henry Walden," and others. In this episode, he plays the role he played most often: Alan Brady. Without listing the details, the extended scene he has with Laura and Rob is one of the best sketches in the series. It's a must watch for fans of the show.

The Karen Carpenter Story (1989 TV Movie)

Heavily censored and modified fluff

[8/10 · 19 August 2015]

Karen Carpenter had a singing voice that only comes along in the world every few decades. It was instantly recognizable. She had a full three octaves of range, with the lower two of those possessing a rich timbre and an uncanny ability for a very soothing slow-vibrato (my term).

Karen's problems were partly caused by her desire to be accepted and were intensely driven by her stage-demon of a mother, Agnes Carpenter. The problems perpetuated because her family lived in denial that a problem existed. They refused outside help until the damage to Karen's heart from her abuse of ipecac (which she eventually discontinued because she feared that it would damage her vocal cords) was irreversible.

The acting in the movie is good, and the songs are well-mixed, but it takes unreasonable liberties with reality. Over half of the scenes that Barry Morrow wrote were rejected by the family (mainly by Agnes Carpenter), who didn't want any negativity. It drove Morrow to the point where he refused to work on the movie any longer. His replacement had the same problem, and a third writer was brought in to finish. The whole thing is contrived, and to anybody who knew the actual situation, the movie has very little to do with how things really were.

Anybody who wants a realistic view of how things were should read the book "Little Girl Blue" by Randy Schmidt, which offers an objective view.

The Dick Van Dyke Show: The Case of the Pillow (1965) Season 4, Episode 21

Ed Begley steals the show

[10/10 · 7 August 2015]

Ed Begley had a long career on Broadway, in movies, and on television, specializing in dramatic roles. In this episode, Begley who won a Best Supporting Actor Academy Award in 1962 for his role of Boss Finley in "Sweet Bird of Youth," and who had a notable role in the film "12 Angry Men," plays a harried judge in a small claims court who is obliged to deal with Rob's inadvertent attempt to turn a simple small-claims court case into an episode of "Perry Mason." He and Van Dyke play well off of each other, and his straight-reactions to Rob's bumbling make this one of the better episodes of the series.

Alvy Moore's portrayal of the man who misrepresented a sale to the Petries may have been a precursor to his later role of Mr. Kimball on "Green Acres."

Bat Masterson: Marked Deck (1959) Season 1, Episode 21

A very different Denver Pyle

[8/10 · 4 August 2015]

When one thinks of Denver Pyle, one gets the image of a country guy, as per Mr. Darling, the down-to-earth Buck in "The Doris Day show, and Jesse Duke in "The Dukes of Hazzard." In this episode, Pyle plays a debonair, well-groomed, and well-dressed businessman who runs a crooked town. Pyle shows no trace of Southern Accent or any drawl in his role. One could easily not recognize him. It's a totally different role for the man who spent much of his career working for CBS in westerns and country-themed comedies.

The episode itself is formula for the series. Bat gets cheated out of $500 in a card game, finds a couple who got also got cheated by the same people, and gets his and the couple's money back by out-swindling the swindlers.

Dragnet 1967: Bunco: $9,000 (1969) Season 4, Episode 12

Nydia Westman steals the show

[10/10 · 9 June 2015]

Jack Webb had an affection for actors and actresses who could play eccentric roles, as they provided a humorous counterpart to his straight-man character. Many such actors were called upon several times for his Mark VII television shows (i.e. Dragnet, Adam 12).

One such actress was Nydia Westman, who was playing eccentric elderly spinsters long before she became elderly herself. Webb used her on 7 separate episodes of Dragnet, usually in the role of a self-absorbed old gal. In "Bunco $9,000," Westman has a field day as a widow who rambles on and on, oblivious to Friday, who patiently tries to inform her that they've recovered the $9,000 that she lost. The scene goes on for nearly 7 minutes, which is remarkable in itself, as Webb was known for fast-talking and for cramming as much as possible into a short period of time. The seemingly endless prattling of Westman's character doesn't get boring or old and is a refreshing change of pace from the usual format of the show.

This was one of Westman's last roles; she died of cancer, at the age of 68, a few months after this show aired.

Adam-12: Log 72: El Presidente (1968) Season 1, Episode 8

Del Moore steals the scene

[11 May 2015]

Jack Webb liked actors who were good at playing offbeat characters, and he used them often on his television shows. Actors like Burt Mustin, Foster Brooks, Vic Perrin, and the ill-fated Jill Banner were called upon often by Webb. One of these actors which found work frequently with Webb was Del Moore. Moore, who began as a radio announcer, also did much work for Lucille Ball and Jerry Lewis.

In this episode, Moore plays a man who is mistaken by some Mexican tourists for the President of the United States and is letting them hold a fiesta for him. Moore's down-played interaction with Malloy and Reed is one that is best left for the viewer to see.

Dragnet 1967: Homicide: DR-22 (1969) Season 3, Episode 14

Burt Mustin Has a Field Day

[10/10 · 19 April 2015]

Mustin began his acting career in 1951, at age 67. He did much work at CBS in the 1950s and early 1960s, working for such as Desilu, Danny Thomas, and Filmways. As these shows folded, Mustin made his way to other networks and production companies. One that was interested was Jack Webb's Mark VII Productions, who had used Mustin as early as 1954. Webb liked Mustin's spryness and fast, wisecracking style and called upon him at least nine times, mostly for bit roles involving eccentric old men.

Webb certainly had Mustin in mind when this episode was created. It's probably the most substantial role Mustin had in his long career. Mustin (who was 84 at the time) plays the 91 year old manager of an apartment building in which a murder was committed. Throughout the episode, Webb and Mustin exchange snappy one-liners with each other, with the manager telling Sgt. Friday and Officer Gannon how to do their jobs, the bad part being that what he's telling them is usually right. The two dismiss him as another police-fan, but they're in for a surprise later.