January 4, 2021

What's on TV? Wednesday, January 5, 1955


For the first week of the new year, the new year being 1955, we've chosen Wednesday. Certainly, one of the biggest shows of the evening is Disneyland, ABC's prestige union with Walt Disney, and tonight's feature is part one of Treasure Island, the 1950 live-action movie starring Bobby Driscoll and Robert Newton. Critics of the time hailed "some of the most beautiful color photography ever shot," which makes it particularly unfortunate that it's broadcast (like all of the network's programming) in black and white. One show that will be in color tonight is the debut of the sitcom Norby, starring David Wayne. It doesn't really air at 10:30 p.m,. at least not nationally; it was actually on at 6:00 p.m., right when WNBQ (and, presumably, many other stations) were showing their local news programs. Maybe that's why it only lasted 13 weeks. Oh well, them's the breaks. This week's listings come to you from Chicago.

January 2, 2021

This week in TV Guide: January 1, 1955

Growing up, I always felt that a holiday falling on a weekend was something of a letdown. After all, Saturday and Sunday were already like holidays; any day without school was like being let out of prison on a work-release program. (Little was I to know that it wouldn't get any better as an adult, except that the sentence was more like 40 years, and you got paid while doing time.) They were, in a way, less special; when it came to television, even less so. amon

New Year's Day 1955, which falls on a Saturday, is one of those days. You're enjoying a day off that you already have, and you're probably spending it watching college football, just like you've done every Saturday for the last three or four months. What's the big deal about that? It is, I would learn, just one of the harsh realities of life. Be that as it may, here we are at the first day of 1955, and if you aren't still getting over your hangover from last night, there's no end of reminders that this Saturday is not quite like those of the last twelve months.  

Our first clue comes at 11:15 CT, with NBC's coverage of the 66th Tournament of Roses Parade, live from Pasadena, California, with the theme "Familiar Sayings in Flowers," . Bill Goodwin (announcer on the Burns and Allen radio program) and Betty White are NBC's hosts, and they'll be introducing, among others, the parade's Grand Marshal, Chief Justice of the United States Earl Warren. There's also a strong contingent of Western stars, befitting the genre's status as television's reigning programming, including Roy Rogers and Dale Evans, Hopalong Cassidy, Andy Devine, Leo Carrillo, Guy Madison and Rex Allen. We should also note that "unique feature" of NBC's coverage, "the placement of a television camera in a dirigible hovering between 700 and 1000 feet above the parade." That's right: it's not just any dirigible, but the very first appearace at the Rose Parade of the Goodyear Blimp, without which no major event today would be complete. There may be many imitators, but there's only one Goodyear. And I'm sure the roses look lovely in living black-and-white.
 
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You wouldn't have seen these teams in yesterday's bowl games—except for one lucky school, that is.

It's ironic that Hopalong Cassidy is appearing in the Rose Parade, since his namesake is playing in the Rose Bowl. (I wonder how many times that's happened?) I'm talking about Howard "Hopalong" Cassidy, star back of undefeated, top-ranked Ohio State, third in the voting for the Heisman Trophy (he'll win it the following season), and future member of the college Hall of Fame. He came by his nickname honestly; after one game, a sportswriter said he "hopped all over the field like the performing cowboy." Ah, of such things are legends made. 

Anyway, the game is played in a steady rain (the last time rain falls on a Rose Bowl game), and Ohio State rides a dominant performance to a 20-7 victory over USC. The game likely would have been more competitive had the Buckeyes played UCLA, the undefeated and second-ranked team, but the Uclans were prevented from playing in their second consecutive Rose Bowl due to the Pacific Coast Conference's "no-repeat" rule. (The networks would never allow that to happen today.) And speaking of networks, you can see one reason why the Rose Bowl has always enjoyed such big ratings compared to other bowl games: the Orange Bowl airs at 1:00 p.m. on CBS, the Sugar Bowl at 1:00 p.m. on ABC, and the Cotton Bowl at 1:00 p.m. on NBC, leaving the 4:00 p.m. timeslot wide open for Pasadena. It's a priviledge that, with a handful of exceptions over the years, the Rose Bowl enjoys to this day.

Oh, and in the other games: Duke 34, Nebraska 7; Georgia Tech 14, Arkansas 6; and Navy 21, Mississippi 0.

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But what's that, you say? You don't like football? Well, there's not a lot of hope for you, at least during the day. You can watch Pygmalion, the original, non-musical George Bernard Shaw story from which My Fair Lady was adapted (4:00 p.m., WGN), with Leslie Howard and Wendy Hiller as Rex Harrison and Audrey Hepburn. (Psst - Leslie Howard was probably as good a singer as Rex Harrison.) Range Defenders, an hour-long Western, airs at the same time on WBBM. At 5:00 p.m., it's Superman to save the day, at least on WBKB.


In primetime, Victor Borge hosts a special on NBC immediately following the conclusion of the Rose Bowl (6:30 p.m. or thereabouts), while at 7:30 (following The Mickey Rooney Show), it's the debut of This Is Hollywood (actual title: So This Is Hollywood), a sitcom presenting the adventures of stunt girl Queenie (Mitzi Green) and her roommate, aspiring actress Kim (Virginia Gibson). It runs for 24 episodes, and, unlikely as it may seem, there's an episode of it here. At 9:00, The Jimmy Durante Show (NBC, again), with special guest George Raft.

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We all know, though, that while a year lasts 365 days, New Year's Day only lasts for one, so here's a look at the highlights from the rest of the week

In the Sunday afternoon cultural ghetto, Omnibus (4:00 p.m., CBS) features an excerpt of the trial scene from George Bernard Shaw's St. Joan, accompanied by background information by host Alistair Cooke. That's followed at 5:00 p.m. by You Are There, with Walter Cronkite and other CBS correspondents looking at "The Torment of Beethoven." Moving into primetime, the monthly Max Liebman Spectacular (6:30 p.m., NBC, preempting the Colgate Comedy Hour) pits Liebman's "new trio" of Judy Holliday, Steve Allen and Dick Shawn (!) against the "zany" Ritz Brothers in dueling sketches, songs and dances. That goes up against Ed Sullivan's Toast of the Town (7:00 p.m., CBS) with a guest lineup that includes Pearl Bailey, June Valli, Sam Levenson, Ted Lewis, and Francis L. Sullivan and Patricia Jessel in a scene from the new Agatha Christie Broadway play, Witness for the Prosecution. Both Sullivan, as barrister Sir Wilfrid Robarts (later played in the movie by Charles Laughton), and Jessel, as Romaine Vole (Marlene Dietrich in the movie) will go on to win Tonys for their performances. And in an event that should be circled on the calendar of my friend Hal Horn, it's the premiere of The Bob Cummings Show, also known as Love That Bob (9:30 p.m., NBC), which runs for five successful seasons. The MeTV website suggests that it was the first series to debut as a midseason replacement, and who am I to disagree? Maybe Hal knows.

Under the category "a new year calls for a new start," Monday sees a trio of daytime premieres on NBC, starting with Way of the World (9:30 a.m.), an anthology of short stories taken from women's magazines. That's followed at 9:45 a.m. by The Sheila Graham Show, a 15-minute update on the latest in Hollywood news hosted by the TV Guide columnist. And at 11:00 a.m., it's the debut of the Tennessee Ernie Ford show, with singer Molly Bee and a six-piece musical group. 

Rod Serling, who always had something interesting to say about men in battle, takes another look at in on Tuesday in Armstrong Circle Theater's "Save Me From Treason" (8:30 p.m,. NBC), as a young soldier in Korea contemplates getting even with his heartless father by defecting to the communists. The cast isn't listed in the issue, and even on the IMDb we don't really know who played who, but we'd probably remember it more if the lead had been played by a young actor in the cast, one making his television debut, who appeared in only one uncredited scene. His name: Steve McQueen.

Wednesday night, CBS's Best of Broadway presents a comedy that was certainly among the bests on Broadway: Arsenic and Old Lace (9:00 p.m.), with Helen Hayes and Billie Burke as the murderous-yet-loveable spinsters, Orson Bean as their befuddled nephew, Boris Karloff as the serial killer who looks like Boris Karloff and Peter Lorre as the plastic surgeon responsible for his appearance, John Alexander as the man who thinks he's Teddy Roosevelt, and Bruce Gordon, in his pre-Untouchables days, as a policeman. Hard to say how it is compared to the movie (Cary Grant hated his performance in it, by the way), but it certainly has the look of a winner.

There's a rare morning special breaking up the regular schedule on Thursday, but it's not just any special. It's President Eisenhower's State of the Union address (11:30 a.m., all networks). The State of the Union didn't become a primetime television spectacle until President Johnson's address on January 4, 1965 (the opening day of the new Congressional session), but the idea of giving it in the evening actually dates back to Franklin D. Roosevelt in 1936*, and I'm guessing the reasons were the same: to reach the largest audience possible. (By the by, two weeks later Ike will conduct the first televised presidential press conference.) Later, on the mystery series Climax (7:30 p.m., CBS), Art Carney (above) plays a private detective enmeshed in shady dealings and a double-double cross in "The Bigger They Come," based on the short story by A.A. Fair, the pseudonym of Erle Stanley Gardner.

*According to the House of Representatives history site, FDR's decision created quite a protocol stir, leading some to wonder if formalwear ought to be worn. (It was only the second time a president had ever addressed Congress at night.) Imagine wearing white tie or evening gown for a presidential speech.

On Friday, it's a future star of another kind, as Gillette Cavalcade of Sports presents future champion Floyd Patterson, 20 years and three days old, against Willie Troy, whom he defeats in five rounds in a light-heavyweight bout. It's already Patterson's 20th professional fight, and he'll fight again ten days later, defeating Don Grant. (Ah, the energy of youth.) Less than two years later, he'll knock out Archie Moore to win the heavyweight championship. And Edward R. Murrow's Person to Person (9:30 p.m, CBS) visits Dinah Shore and her husband, actor George Montgomery.

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Finally, how about some gossip? I don't see anything online about Ike's State of the Union speech, but based on what columnist Earl Wilson says, I'd imagine it went pretty well. Actor Robert Montgomery has been serving as the president's unpaid consultant and coach, and, according to Wilson, "Montgomery's suggestions on President Eisenhower's TV style have finally begun to pay off. 'Ike' was so eloquent—and smooth—at a recent dinner that his speech topped all others. Montgomery sat on the front row—'watching him like a mother,' said one observer. Montgomery, homburg-hatted and all, looks almost like a diplomat these days."

On the other side of the aisle, Wilson reports that Margaret Truman, daughter of the former prez, "has agreed to do three or four more shows for Jimmy Durante in late winter or spring." Durante has a letter from Harry, "thanking him for being so nice to Margaret."

In a sign of things to come, the Teletype notes that The Great One, Jackie Gleason, is "very interested" in an offer from Milton Berle's sponsor (Buick?) "to finance a half-hour telefilm version of The Honeymooners next season." In a throwaway line, reporter Bob Stahl notes that "the comedian would also share in rerun sales." No dummy he. Today, that single season of shows is known as the "Classic 39."

Also in the Teletype, Jack Paar is taking a couple of weeks off from his CBS morning show to vacation in (pre-Castro) Cuba as a guest of the government, "in honor of Paar's employing Pupi Campo and Jose Melis, both native Cubans," on the Morning Show. Replacing Paar while he's off: Johnny Carson. 

I kid you not. TV  

January 1, 2021

Dawn Wells, R.I.P.

If there's one phrase that keeps appearing in the outpouring of affection and sadness over the death of Dawn Wells, it's a charmingly outdated one: "the girl next door." Is there such a thing anymore? Judging by the way women are portrayed on television--not just in scripted comedy and drama, but in reality shows as well--it seems as if "desirable" has come to mean being overly made up, overly endowed, overly loud and overly dramatic. And I suppose that would describe the girl next door, if you lived next door to the Osbornes or the Real Housewives of whatever city happens to be cursed at the moment. 

But for people here in flyover country, it means something else to be the girl next door, and if you want to know what that means then all you have to do is look at the career of Dawn Wells, especially during the three seasons she played Mary Ann Summers on Gilligan's Island. She was bright, pretty, well-scrubbed, and had a goodness about her that was obviously there and obviously real. And, judging by the comments of those who knew her or worked with her over the years, that was pretty much Dawn as much as it was Mary Ann. Not for nothing does Mary Ann win all those "Mary Ann vs. Ginger" polls.

It would be cynical of me to suggest that the idea of the girl next door no longer exists; it speaks ill not only of the women who fit that category, but the men who hope to meet them. And yet I'd be less than truthful if I didn't at least note that, in a year where so much that once seemed timeless and permanent has either been cast out or simply drifted away, this somehow seems to put a stamp on it. And if this, too, smacks of excess cynicism, then let's keep in mind that Dawn Wells hasn't really left us. She's there any time we watch one of her performances, when we can still make time stand still, for an hour or so at a time. TV  

December 30, 2020

Tomorrow and tomorrow and tomorrow

I don't think anyone's really going to miss the end of 2020, do you? In retrospect, the omens were there for anyone to see, with so many people talking about it being the start of a "New Roaring 20s,"* and we all know how that turned out: the aftermath of the Great War introduced a spiritual nihilism, prohibition, the first sexual revolution, massive labor unrest, the rise of Marxism, the Great Depression, and finally—a decade later—a second world war that included the Holocaust and culminated in the introduction of nuclear weapons and the start of the Cold War. 

*Not to be confused with the TV series of the same name. We could have used Dorothy Provine this year.

And now here we are, one year later, and the first year of the new Roaring 20s has given us the worst twelve months since, what? 2001? 1968? 1941? It doesn't matter, I guess, except in degrees. It's like asking whether you'd rather have your skull smashed or your heart torn out. No matter which one you choose, it's gonna hurt. I know there are people out there who think 2021 will be a better year, and you can't blame them for that hope. Hey, I hope it's better, too. 

In a way, New Year's provides us with a choice, a fork in the road. One path continues the status quo, the other leads to something new, different, uncertain. Sure, this may be symbolic more than anything else; after all, you don't need to wait for a new year to start to make decisions about your future. Seeing that date 1/1 does make things so much easier, though.

The Monsters
I suppose this last essay of 2020 serves as something of a "best of" for the blog; over the past year, I've written several times about the foreboding nature of 2020, of those prescient movies and television shows that seem to reflect in their black-and-white images the nightmarish visions of today; paranoia, people ratting on their neighbors, the dehumanizing isolation into which so many have been fooled or forced. From 1984 to "The Monsters Are Due on Maple Street" we see it all unfolding before us. The scientists in the Outer Limits episode "The Architects of Fear" assumed they had the answer, if only the right question is asked, but found out that they knew nothing at all. It is, indeed, Apocalypse Theater, and every time you see this rerun on TV you wonder how it can be happining, whether or not this Great Reset is in fact a Great Betrayal, and you want to cry out, in David Shoemaker's words, You told us this was fake. You lied!   

Tomorrow at midnight, another year joins the pantheon of history, and there are those out there who think that we're headed for some kind of epiphany in which this brave new world will take care of everything. To say that I'm apprehensive about the future is an understatement; 2020 looks to me like it was just the prelude to a complete meltdown: soft totalitarianism, social credit systems, elections that don't count, unending constraints on basic social interaction, globalists who want to control what we can and can't think and say and believe, wars and rumors of war—from biological to civil—and you can't even face them with a smile, because nobody'll see it behind your mask. 

It only takes Two
But then, there are those two paths I talked about, and invariably the stories from Apocalypse Theater offer us that moment of choice, when disaster can be averted, when our leaders pull their fingers away from the button at the last moment. Perhaps, a la Jack Benny in the TV version of The Horn Blows at Midnight, we'll have a little angelic intervention on our behalf. And, of course, we haven't even begun to discuss that other popular genre, the post-apocalyptic story. In the Twilight Zone episode "Two," it is suggested that humans (in the form of Charles Bronson and Elizabeth Montgomery) can, after all, come together to create a hopeful future: true, that's only after the war has been fought, but at least there's a future, and that's something to hang on to. I always like to think that, in a twist on the old saying, where there's hope, there's life.

          There would have been a time for such a word.
          — Tomorrow, and tomorrow, and tomorrow,
          Creeps in this petty pace from day to day,
          To the last syllable of recorded time;
          And all our yesterdays have lighted fools
          The way to dusty death.

Tomorrow night we say "Good Riddance!" to 2020 and look forward to 2021, but we'd better be careful what we wish for.  TV  

December 28, 2020

What's on TV: Tuesday, December 28, 1971




Here we are, on the final Tuesday of 1971.  On Saturday, Cleveland Amory delivered his verdicts on several of the season's more disappointing series, and throughout this issue we can see evidence that some of these shows have already run out of time. Tonight, for instance, is the final episode of The Funny Side, and Sarge will air its final episode on January 11. James Garner as Nichols (yes, that's its full name) has until March, despite the unusual decision to kill off Garner's character in the final episode and replace him with—James Garner. Well, the clock is always ticking on failure, but there's also plenty to be seen in this listing from the New York City edition, such as an all-star week on The Mike Douglas Show, featuring Sammy Davis Jr. So don't despair; 1972 will be a better year. Right?