Last week, I attended one of those 60’s nostalgia concerts, this one called “The Happy Together Tour”. Headlining the bill was The Turtles (well actually A Turtle, but we’ll get to that later), Chuck Negron of Three Dog Night, Gary Puckett (minus The Union Gap), the founding fathers of The Buckinghams, The Classics IV (well, two of them anyways… The Classics II?), and the surviving members of The Cowsills.
For those of you unaware, The Cowsills were a family band from Newport, RI consisting of brothers Bill, Bob, Barry, John, and Paul; sister Susan, and Mom Barbara, who had a string of bubblegum pop hits in the late 60’s beginning with “The Rain, The Park, & Other Things”:
Bill, Paul, and Susan entertained the crowd with that, plus “We Can Fly”, “Indian Lake”, “Hair”and another number they introduced to the world, “The Theme from LOVE, AMERICAN STYLE”, which brings me to that 1969-74 comedy anthology series. The two-time Emmy-winner featured three-four different segments each week, focusing on some aspect of romance and relationships, with all titles beginning with “Love and…” followed by whatever hot topic: The Pill, The Dating Computer, The Singles Apartment, The Conjugal Visit, The Motel Mix-Up, The Generation Gap… you get the picture!
Guest stars included those on their way up and on their way down. A complete list of them would be as exhausting to write as it would be to read, so I’ll just share a small sample of some of the more interesting Familiar Faces: Joan Bennett, James Brolin, Sid Caesar & Imogene Coca, Yvonne Craig, Broderick Crawford, Richard Dawson, Bob Denver, Davy Jones, Patsy Kelly, Jack Klugman, The Lennon Sisters, Tina Louise, Paul Lynde, Roddy McDowell, Darren McGavin, Burgess Meredith, Mantan Moreland, Ozzie & Harriet Nelson, Julie Newmar, Regis Philbin, Stefanie Powers, Vincent Price (“Love and the Haunted House”), Aldo Ray, Burt Reynolds (“Love and the Banned Book”), Cesar Romero, Kurt Russell, Sonny & Cher, Larry Storch, Tiny Tim (“Love and the Vampire”), Nancy Walker, Deborah Walley, and Adam West.
One particular 1972 segment titled “Love and the Television Set” featured a hormonal 1950’s teenager named Richie Cunningham (played by Ron Howard ) and his equally horny pal Potsie (Anson Williams) trying to score with babes after Richie’s family gets the first TV set on the block. This backdoor pilot served as the basis for the hit series HAPPY DAYS, which ran from 1974-84 and introduced the world to Henry Winkler as the ever-cool Fonzie (for better or worse – you make the call!).
As for The Cowsills (Remember The Cowsills? We were just talking about them!), their rock’n’roll family life served as the basis for another hit TV series, THE PARTRIDGE FAMILY, which ran from 1970-74, and starred Shirley Jones and her soon-to-be-teen-idol stepson David Cassidy, spawning hit records like “I Think I Love You” and “I Woke Up in Love This Morning”:
Earlier, I said The Turtles were really A Turtle on that “Happy Together Tour” I attended (which got this whole rambling post started!). Mark Volman’s musical partner of over fifty years, Howard Kaylan, has been ill, and in his stead singer Ron Dante has been filling his shoes. You may not know the name Ron Dante, but you certainly know his voice: Dante sang commercial jingles for such products as Coppertone Tanning Lotion, Budweiser Beer, Campbell’s Soup, McDonald’s, and both Coke and Pepsi! In addition to producing Barry Manilow records in the 70’s, Ron sang lead for the Saturday Morning Cartoon rock band The Archies, and fifty years ago had the Number One hit on the planet, “Sugar Sugar”:
And that’s more than enough rambling on from me! Have a good night, and drive safely!
If comedy is a gift, then Tim Conway was America’s Santa Claus, delivering bags full of laughter directly into our homes for over fifty years. The cherubic Conway, who died May 14 at age 85, was mainly known for his television work, but also starred in films, on stage, and in the home video field, making him a true Renaissance Man of Comedy.
Young Tim got his start in his hometown of Cleveland, not exactly a hotbed of humor (with apologies to Jim Backus, Kaye Ballard, and British transplant Bob Hope ), writing and appearing in skits with local TV personality Ernie Anderson during breaks in a morning movie show. Anderson himself would later gain fame as a horror host (Cleveland’s Ghoulardi) and a network announcer, ‘The Voice of ABC’ (“Tonight on The Loooo-ve Boat….”).
Comic actress Rose Marie, on a cross-country tour promoting THE DICK VAN DYKE SHOW, saw some clips of Tim and Ernie’s skits and helped him land a spot on Steve Allen’s national program. This led to Conway being cast as the bumbling, naive Ensign Charles Parker on a new sitcom titled MCHALE’S NAVY, set during WWII and starring Oscar winner Ernest Borgnine as the conniving Lt. Cmdr. Quenton McHale. Parker’s inept ensign was a constant thorn in the side of stuffy Capt. Binghamton (‘Old Leadbottom’), played to perfection by the nasal-voiced Joe Flynn, who was always trying to find a way to rid himself of McHale and his crew of reprobates. But it was Conway who was the comic glue holding things together during the series four-year run, and his slapstick antics delighted both kids and adults out there in TV land.
The series proved popular enough to inspire two feature films, the first (1964’s MCHALE’S NAVY) featuring the entire cast. 1965’s MCHALE’S NAVY JOINS THE AIR FORCE was made without Borgnine (who was busy filming FLIGHT OF THE PHOENIX), giving Conway the chance to showcase his comedy talents. This one finds Ensign Parker embroiled in a case of mistaken identity with an Air Force lieutenant (Ted Bessel), and bumbling his way into becoming a war hero! Conway and Flynn made a great comic duo, but no more MCHALE’S films were made.
Tim tried and failed several times at starring in his own sitcom (RANGO, THE TIM CONWAY SHOW, ACE CRAWFORD PRIVATE EYE), but was in demand as a guest star on other programs. Most notoriously, he hosted the first (and as it turned out, only) episode of TURN-ON , a sketch show ripped off from the then-popular ROWAN & MARTIN’S LAUGH-IN that was so offensive, it was immediately cancelled after the first airing. Tim’s hometown of Cleveland didn’t even wait that long – station WEWS pulled the plug before the show was halfway through! Conway took his sitcom failures with good humor, though; his license plate read “13 WKS” (which was how long most of them lasted!).
It didn’t look like Tim would ever be more than a second banana, until Disney came a-calling. His first for the studio was 1973’s THE WORLD’S GREATEST ATHLETE, with the late Jan-Michael Vincent as a jungle boy who brings sports success to a failing college program. Tim’s next Disney movie was fortuitous indeed; 1975’s THE APPLE DUMPLING GANG paired him with another sitcom refugee, Don Knotts , as a pair of inept Wild West outlaws mixed up with a gold heist and a trio of cute kids. Critics trashed it, but families turned out in droves, and THE APPLE DUMPLING GANG was the tenth-highest grossing film released that year, spawning a sequel, 1979’s THE APPLE DUMPLING GANG RIDES AGAIN.
Tim and Don teamed in a pair of comedies that Conway co-wrote: THE PRIZE FIGHTER (1979) and THE PRIVATE EYES (1980). The former has Tim as a broken down boxer and Don his manager, the latter finds the duo as slapstick sleuths on the loose in London. Both give Tim and Don plenty of opportunities to strut their silly schtick, and were box office hits for Roger Corman’s New World Pictures. They would team one more time in a cameo as goofy Highway Patrolmen in CANNONBALL RUN II, and we fans wish they would’ve made more movie madness together!
Tim had been making guest appearances on Carol Burnett’s weekly variety show since it began in 1967, and became part of the regular ensemble in 1975. He was given free reign to create crazy characters and out-there comic skits, and really began to shine. His pairings on the show with fellow funnyman Harvey Korman are TV classics, as Tim never failed to break Harvey up with his insane antics and ad-libs. A case in point is the classic skit “The Dentist”, which you can find here . His shuffling, stumbling World’s Oldest Man was another comedic highlight, as was his Swedish boss Mr. Tudball, constantly frustrated with blonde bimbo secretary Mrs. Wiggins (Carol in a blonde wig and tight dress). He also joined in on ‘The Family’ sketches (which later morphed into the sitcom MAMA’S FAMILY) as Korman’s bungling employee Mickey, and this outtake shows why Tim was the Comic’s Comic:
Life after Carol found Tim hitting the lucrative home video market with DORF ON GOLF (1987) as a so-called sports expert. Dorf talked in the same accent as Mr. Tudball, but was only about four feet tall (Tim achieved this by effect by sticking his knees in a pair of shoes). More Dorf videos ensued, each as popular with home audiences as the next.
Tim made new fans later in his career as the voice of Barnacle Boy, sidekick to superhero Mermaid Man (voiced by Tim’s old buddy Ernest Borgnine) on the Nickelodeon cartoon show SPONGEBOB SQUAREPANTS. Tim Conway delighted TV and movie lovers for generations, and he was rewarded for his efforts with six Emmys. Inventive, fertile comedy minds like his don’t come around too often, but fortunately for us, we can still enjoy his peculiar brand of silliness for generations to come. Thanks for all the laughter, Tim, and rest in peace.
As the world still mourns the loss of Doris Day yesterday, another great has left us – TV comedy genius Tim Conway, who died today at age 85. Tim rightfully deserves a tribute post of his own, and he’ll get it, but until then, enjoy this classic bit of comedy gold from THE CAROL BURNETT SHOW (and watch Harvey Korman try to keep a straight face!):
You won’t find the name of John Llewellyn Moxey bandied about in conversations on great film directors. Truth is, though Moxey did make some features of note, he spent most of his career doing made-for-television movies, a genre that doesn’t get a lot of respect. John Llewellyn Moxey wasn’t a flashy director or an “auteur” by any stretch of the imagination, but he was more than capable of turning out a solid, worthwhile production, and some of his TV-Movie efforts are just as good (if not better) than what was currently playing at the local neighborhood theaters or multiplexes at the time. Moxey’s passing on April 29 at age 94 was virtually ignored by the press, but his career deserves a retrospective, so Cracked Rear Viewer is proud to present a look back at the film and television work of director John Llewellyn Moxey.
Moxey was born in Argentina, his father the overseer of a coal and steel empire. He was a movie-mad youth, and after serving in the British infantry during WWII, found work as an editor and assistant director in England. He got the opportunity to direct a few TV shows before taking on his first, best, and most famous feature, 1960’s HORROR HOTEL (also known as CITY OF THE DEAD). This now-classic tale is filled with shock after shock, and starred Christopher Lee in a tale of Satanism and witchcraft in New England. Moxey shows he knew how to handle a good horror story, building the tension slowly, and would become a genre specialist in the years to come.
The director followed with a string of low-budget British thrillers based (loosely, I might add) on the works of mystery writer Edgar Wallace: DEATH TRAP, RICOCHET, FACE OF A STRANGER, DOWNFALL, STRANGLER’S WEB; the films featured familiar actors like Maxine Audley, Patrick Magee, and Barbara Shelley. Also on tap was 1966’s PSYCHO-CIRCUS (retitled CIRCUS OF FEAR for American audiences by AIP), another Wallace crime drama with some horror elements. This British-German coproduction reunited Moxey with Christopher Lee, along with Klaus Kinski, Suzy Kendall, and Leo Genn. During this time period, Moxey worked in British television directing episodes of CORONATION STREET, Z-CARS, THE BARON, THE AVENGERS, and THE SAINT.
Moxey moved his base of operations to America in the mid-60’s, directing episodes of NYPD, JUDD FOR THE DEFENSE, MISSION: IMPOSSIBLE, NAME OF THE GAME, HAWAII 5-0, and THE MOD SQUAD. In 1969, the struggling ABC network took an old concept (the anthology series) and spun it on its ear with the ABC MOVIE OF THE WEEK. Budgeted at around $350,000 apiece and clocking in at 90 minutes (including commercials!), these were like the ‘B’ movies of the old studio days, featuring mainly faded stars of the past and up-and-coming actors in mysteries, romances, thriller, comedies, and even Westerns. Moxey’s first foray into the genre was THE HOUSE THAT WOULD NOT DIE, a haunted house chiller involving Revolutionary War-era ghosts terrorizing Barbara Stanwyck and her niece (Kitty Wynn) in Pennsylvania Amish country. Mr. Moxey had found his niche, and would become TV’s most prolific TV-Movie director. 1971 alone saw him do ESCAPE (Christopher George as an escape artist/private eye), THE LAST CHILD (a sci-fi drama dealing with overpopulation that featured the last acting work of Van Heflin ), A TASTE OF EVIL (psychological horror with Stanwyck, Barbara Parkins, and Roddy McDowell), and THE DEATH OF ME YET (a Cold War thriller with Doug McClure).
The next season saw Moxey helming a true classic: 1972’s THE NIGHT STALKER. The Richard Matheson teleplay follows Darren McGavin’s down-on-his-luck reporter Carl Kolchak investigating a Las Vegas serial killer that turns out to be ancient vampire Janos Skorzeny (Barry Atwater). THE NIGHT STALKER was a huge hit, the highest rated TV Movie ever up to that time, and inspired a sequel (THE NIGHT STRANGLER, directed by producer Dan Curtis ) and a brief weekly series (KOLCHAK: THE NIGHT STALKER). This well-done little gem compares favorably to any horror/exploitation theatrical film of the day, and has become a cult favorite for horror buffs, thanks in large part to Moxey’s taut direction.
More Moxey TV-Movies followed, including a pair of 1972 Westerns starring Clint Walker (HARDCASE, THE BOUNTY MAN). HOME FOR THE HOLIDAYS (’72) was a Christmas-themed shocker with Sally Field, Eleanor Parker, Julie Harris, Jessica Walter, and Walter Brennan; GENESIS II (1973) a pilot for a new Gene Roddenberry sci-fi series starring Alex Cord; A STRANGE AND DEADLY OCCURRENCE (1974) another haunted house chiller, this time with Robert Stack and Vera Miles; WHERE HAVE ALL THE PEOPLE GONE? (’74), post-apocalyptic sci-fi with Peter Graves and Verna Bloom; CONSPIRACY OF TERROR (1975), a creepy Satanism-in-the-suburbs tale featuring Michael Constantine and Barbara Rhodes. Moxey was also busy doing episodic TV, like SHAFT, POLICE STORY, KUNG FU, and the pilot episode of CHARLIE’S ANGELS.
Two 1976 TV-Movie efforts are worth noting. NIGHTMARE IN BADHAM COUNTY could have fit right in on a Southern Fried Exploitation double feature with MACON COUNTY LINE or JACKSON COUNTY JAIL. In this one, Deborah Raffin and Lynne Moody are travelling down south when they encounter sleazy sheriff Chuck Connors, who wants to write them more than a ticket, if you get my drift! They’re arrested on false charges and brought before the judge, who happens to be the sheriff’s cousin (Ralph Bellamy, no less!), and sent to a grueling labor camp, where they undergo the familiar harsh conditions and sexual harassment. Sure, it’s a TV knockoff, but extremely well handled by Moxey and his cast, which also features Tina Louise, Robert Reed, Della Reese, and Lana Wood, and is a personal Guilty Pleasure of mine!
SMASH-UP ON INTERSTATE 5 was the TV-Movie version of a disaster flick, done on a much smaller scale, concerning a 39 car pile-up on a California highway that results in many injuries and deaths. The movie follows a select few who’ll be involved on the fateful day, and like its big screen brethren, it features an all-star cast (though again, on a much smaller scale): Robert Conrad, Buddy Ebsen, Herb Edelman, Scott Jacoby, Sue Lyon, Vera Miles, Donna Mills, David Nelson, Harriet Nelson, and Terry Moore (with an early role for young Tommy Lee Jones as a traffic cop on the scene).
Into the late 70’s and 1980’s, Moxey’s output slowed down, but there are a few worth mentioning. INTIMATE STRANGERS (1977) was one of the first films (TV or otherwise) to tackle the issue of domestic violence, with Dennis Weaver as the rage-oholic, Sally Struthers his battered wife, and Tyne Daly in an Emmy-nominated performance as her supportive friend. SANCTUARY OF FEAR (1979) was a pilot for a mystery series featuring Barnard Hughes as G.K. Chesterton’s priest/sleuth Father Brown. THE VIOLATION OF SARAH MCDAVID (1981) was another tough drama ripped from the headlines, as inner city teacher Patty Duke is brutally beaten and raped, and battles the system while the higher-ups (led by Ned Beatty) create a cover-up. DEADLY DECEPTION (1987) won an Edgar Award for Best TV Mystery Teleplay (by Gordon Colter), about a reporter (Lisa Eilbacher) aiding a father (Matt Salinger) locate his long missing and presumed dead son. LADY MOBSTER (1988) was an over-the-top melodrama with Soap Opera Queen Susan Lucci taking on the Mafia – and winning!
After directing 8 episodes of MAGNUM PI and 18 of MURDER SHE WROTE, John Llewellyn Moxey retired from filmmaking. His body of work features some outstanding efforts, and as a director he had a high batting average indeed. He’ll be remembered for his home runs (HORROR HOTEL, THE NIGHT STALKER), but the rest of his filmography features some solid doubles and triples, and though the mainstream press hasn’t paid much attention to his passing, Cracked Rear Viewer fondly salutes you, Mr. Moxey. Job well done.
Sometimes, while scrolling through the Internet doing research, I run across some truly bizarre things. Let me set the stage for you: Merv Griffin was a former Big Band singer whose biggest hit was 1950’s “I’ve Got A Lovely Bunch of Coconuts”. He turned to television, becoming first a game show host, then a successful talk show host (and created both WHEEL OF FORTUNE and JEOPARDY later on). Merv was a nice guy, but the very definition of a ‘square’, though he did present some rather thought-provoking guests over the years (including hippie radical Abbie Hoffman and John & Yoko Lennon).
Edie Sedgwick was an underground legend, a Warhol “Superstar” that epitomized Swingin’ 60’s culture, dubbed the New ‘It Girl’ and a Vogue Magazine ‘Youthquaker’, famous just for being famous before that was even a thing. She modeled, acted in Warhol’s underground films, had songs written about her by the likes of Bob Dylan and the Velvet Underground, and became well-known for the posthumous movie CIAO MANHATTAN, released after her death from an alcohol and barbiturate overdose in 1971.
Andy Warhol was… well, Andy Warhol. There was no one quite like him, an avant-garde pop artist whose paintings and films set the straight world on its collective ear. During Merv’s first year hosting his long-running (1965-86) chat fest, he had Andy & Edie on as guests. The following clip of that interview is a treasure of a time capsule indeed, with an engaging and delightful Edie doing all the talking, as Andy refused to answer questions except by whispering in Edie’s ear. Also appearing is actress Renee Taylor (later Fran’s mom on TV’s THE NANNY), and a pair of gentlemen I can’t identify (I think one is Renee’s husband, Joe Bologna). WARNING: at around the seven minute mark, the clip ends, and restarts on a loop):
Strange days indeed, as Lennon once said (John, not Vladimir).
Well, there were slim pickings in this year’s Super Bowl commercial race. Mercedes Benz featured The Road Runner and Wile E. Coyote, Stella Artois gave us the return of The Dude, and that Bud Light/Game of Thrones mash-up was pretty cool. But the ad that had everyone at the Super Bowl I attended roaring with laughter was this one starring Craig Robinson:
Yeah I know, it’s sophomoric, but also funny as hell!!
I’ve always said if Ken Berry had been born a bit earlier, he would have taken up the mantle of song-and-dance masters Fred Astaire and Gene Kelly in films. But Berry, who died this past weekend at age 85, came up at a time when Hollywood musicals were, if not dying, definitely on life support. Berry had his greatest success in the world of TV sitcoms, though he did find opportunities to display his dancing skills in variety shows of the era.
Moline, IL born Ken won a talent contest at age 15 and toured with popular Big Band leader Horace Heidt’s Youth Opportunity Program. Joining the Army after high school, he was assigned to Special Services to entertain the troops. His sergeant encouraged Ken to head to Hollywood after his hitch was over. The sergeant’s name: Leonard Nimoy ! Ken begun his professional show biz career as a Universal contract player, though he didn’t get in any films. Instead, he wound up working in Vegas as part of Abbott & Costello’s revue. Small television parts followed: a stint as Woody the bellhop on THE ANN SOUTHERN SHOW, comic relief Dr. Kapish on DR. KILDARE. A pair of episodes on THE DICK VAN DYKE SHOW as choreographer Tony Daniels allowed Ken to show off those song-and-dance skills, but it looked like he’d be forever relegated to second string before a fateful call in 1965 changed his life.
That call was for the role of Captain Wilton Parmenter on F TROOP (1965-67), casting Ken as the bumbling, klutzy, accidental Medal of Honor winner who’s sent to command Fort Courage in the wild and wooly West. Berry’s dance training came in handy as Parmenter, who was forever stumbling about – he could take a pratfall with the best of ’em! F TROOP is slapstick farce at it’s best, definitely not politically correct, and still one of my favorite sitcoms. Veterans Forrest Tucker and Larry Storch costarred as Sgt. O’Rourke and Cpl. Agarn, a pair of hustlers grateful to have the clueless Captain around so they can continue their money-generating O’Rourke Enterprises. 16-year-old (at the time) Melody Patterson played Berry’s love interest, the feisty cowgirl Wrangler Jane, who was definitely the aggressor in their relationship. Frank De Kova was Chief Wild Eagle, leader of the friendly Hewkawi tribe (as in “Where the Heck Are We”), co-conspirator in O’Rourke’s schemes.
The spoofs ran wild and the series featured a host of familiar TV guests: Milton Berle , Jack Elam , Bernard Fox, Harvey Korman , Paul Lynde, Julie Newmar, Don Rickles (as Wild Eagle’s renegade son, Bald Eagle!). Even Vincent Price showed up as an ersatz bloodsucker in the horror lampoon “V is for Vampire”! Ken Berry more than held his own amid all the anachronistic jokes (a rock band in the Wild West?), catchphrases, sight gags, loony supporting cast (including Western vet Bob Steele as Trooper Duffy, last survivor of the Alamo!), and the manic antics of Storch as the dimwitted Agarn. His Captain Parmenter was the Krazy Glue that held the whole thing together.
Next up , Ken moved from the Wild West to a much more sedate setting: Mayberry. Berry’s character, widowed farmer Sam Jones, had been introduced in the final season of THE ANDY GRIFFITH SHOW , and was poised to star in the spinoff, MAYBERRY RFD. Griffith had tired of the weekly sitcom grind after eight years, but didn’t want to give up his cash cow completely. In contrast to the bumbling Parmenter, Sam Jones was the moral center of this new show. Mayberry denizens Jack Dodson (Howard), George Lindsey (Goober), and Paul Hartman (Emmett) provided continuity, as did Frances Bavier’s Aunt Bee for the first season, replaced by Alice Ghostley as Sam’s Cousin Alice. MAYBERRY RFD ran three seasons and was still in the ratings Top 20 when it was cancelled along with several other ‘country’-themed programs ( THE BEVERLY HILLBILLIES, GREEN ACRES, HEE HAW ) in 1971 during CBS’s “rural purge”, as the network sought a younger, more urban demographic.
Ken survived the “purge” and became a frequent guest on variety shows, even hosting his own brief summer replacement series THE KEN BERRY WOW SHOW in 1972 (featuring a young comic named Steve Martin). He made nineteen appearances on Carol Burnett’s hit series, and made the rounds of THE LOVE BOAT and FANTASY ISLAND. He returned to weekly TV in Burnett’s own spinoff show MAMA’S FAMILY (1983-4; 86-90), based on the popular skits about the Bible-belt Harper family. Vicki Lawrence reprised her role as sassy matriarch Thelma Harper, and Ken was cast as her somewhat dopey son Vinton, whose “tramp” wife Naomi (Dorothy Lyman) was the constant butt of Mama’s wrath. The series ran for a year on NBC, then was revived in syndication, where it achieved it’s greatest popularity.
Berry never made the leap to feature film star, though he did headline a pair of 70’s Disney family comedies, HERBIE RIDES AGAIN and THE CAT FROM OUTER SPACE. While never achieving superstar status, Ken Berry was a reliable performer, a likeable presence who always gave his all in whatever the part called for. Even though his first true show biz love was as a song-and-dance man, starring in three hit sitcoms over three decades is certainly nothing to sneeze at! F TROOP alone would have cemented his legacy among sitcom aficionados. Thanks for the laughs and Godspeed, Captain Parmenter.
I was a Larry Cohen fan before I even knew there was a Larry Cohen! Before IT’S ALIVE! , before BLACK CAESAR , I was watching the following Cohen Creations on my parents big, bulky TV console:
BRANDED (ABC 1965) – Cohen’s first series as creator debuted as a midseason replacement for Bill Dana’s failed sitcom. THE RIFLEMAN’s Chuck Connors returned to TV as Jason McCord, a disgraced Cavalry officer court martialed and drummed out of the service after being falsely accused of cowardice. McCord then wanders the West getting involved in a new adventure every week while trying to clear his name. Viewers welcomed Connors back to the small screen, and the half-hour black and white Western was renewed for a full season – this time “in living color”! The show featured a memorable opening theme song by Dominic Frontiere and Alan Arch…
… unfortunately, Jason McCord never did get to clear his name, as the show was sent scampering away by ratings juggernauts THE ED SULLIVAN SHOW and THE FBI. BRANDED can be viewed Saturday afternoons on the INSP Network’s Western lineup, and still holds up well today!
BLUE LIGHT (ABC 1966) – Spies were the “in” thing, and this half-hour World War II drama cast deep-voiced singer Robert Goulet as David March, a traitorous American journalist now working for the Nazi propaganda machine – only he’s really a double agent working for the Allies undercover in a project called “Code: Blue Light”! All his fellow spies have been discovered and assassinated, and now March is pretty much on his own, trying to maintain his cover and do what he must without getting killed himself. French actress Christine Carere costarred as French underground agent Suzanne Duchard, under deep cover as a member of the Gestapo. and one of only a handful of people who know David’s true identity. Larry co-created the series with film director Walter Grauman (LADY IN A CAGE), and BLUE LIGHT was noted for being one of TV’s most violent at the time (are you surprised, with Cohen and Grauman at the helm?). The show was a midseason replacement for Sally Field’s GIDGET, who moved into THE DONNA REED SHOW’s old time slot, and from what I can remember was pretty darn good, but didn’t catch on and lasted just 17 episodes.
THE LEGEND OF CUSTER (ABC 1967) – Or “Counter-Culture Custer”, in this series “suggested by Larry Cohen”. Young Wayne Maunder, with his long golden locks, starred as young Lt. Col. Custer, in charge of a bunch of misfits and reprobates known as the 7th Cavalry. Custer’s methods were always at odds with his commanding officer General Terry (Robert F. Simon), representing the establishment. Western vet Slim Pickens was cast as scout California Joe to give the series some sagebrush cred, but after 17 episodes CUSTER was defeated, not by the Sioux at Little Big Horn, but by another establishment figure – James Drury’s ratings monster THE VIRGINIAN. As for Maunder, he survived to costar on the Western LANCER for two seasons, the short-lived Jack Webb/Stephen J. Cannell crime drama CHASE, and the Russ Meyer film THE SEVEN MINUTES. Maunder recently passed away on November 11 at age 82.
CORONET BLUE (CBS 1967) – Cohen switched from ABC to CBS for this summer replacement series, which only lasted 13 episodes. The pilot found Frank Converse as a man attacked, drugged, tossed in the river, and left for dead… but lives, and the only thing he remembers is the phrase “Coronet Blue”! The now-amnesiac man assumes the name ‘Michael Alden’ and wanders about seeking to uncover clues to his true identity while trying not to get killed by assassins. This was a good premise, one I really enjoyed, and apparently CBS did too, wanting to renew CORONET BLUE for another season. However, they waited too long, and star Converse had already accepted a part in ABC’s new crime drama NYPD, alongside Jack Warden and Robert Hooks (which as I recall was also pretty damn good!). Oh well, I guess we’ll never find out who ‘Alden’ really was, or who was out to kill him.
THE INVADERS (ABC 1967-69) – This was Larry Cohen at his best, a paranoia-filled science-fiction extravaganza, and one of my favorite shows of the era. Aliens have infiltrated Earth bent on conquering the human race, and architect David Vincent (actor Roy Thinnes) runs around America trying to expose them (they can only be identified by their crooked pinky fingers and a tendency to turn red and disintegrate when killed!), while warning everyone he comes across of impending doom! Yep, it’s another 60’s Cold War allegory, substituting spacemen for Commies, and it clicked with viewers young and old (my Dad loved it!) for different reasons. The kids dug the sci-fi stuff, and THE INVADERS proved a marketing cash cow, with comic books, paperback novels, and even an Aurora plastic model spaceship (just don’t sniff the glue, kiddies!). The series debuted as a midseason replacement for another show Cohen was associated with – THE FUGITIVE, which concluded it’s run when David Janssen finally caught up with that One-Armed Man (Larry had written a couple of early episodes).
Larry Cohen soon moved to feature films, and his singular, somewhat loopy vision has kept fans like me happy for decades. But don’t discount his TV efforts, many of which are available on YouTube and DVD collections. Catch them when you can, they’re a blast!
Last week, I did an overview of producer Irwin Allen’s first two sci-fi shows, VOYAGE TO THE BOTTOM OF THE SEA and LOST IN SPACE. Today, Allen’s final shows in the quartet, THE TIME TUNNEL and LAND OF THE GIANTS!
Where Allen’s LOST IN SPACE was juvenile fantasy, his next series THE TIME TUNNEL (ABC, 1966-67) took a more serious tone. Scientists Dr. Doug Phillips (Robert Colbert ) and Dr. Tony Newman (James Darren), working on the top-secret government Project Tic-Toc, become “lost in the swirling maze of past and future ages… (and) tumble helplessly toward a new fantastic adventure, somewhere along the infinite corridors of time” (at least according to the opening narration!). Project director Lt. Gen. Kirk (Whit Bissell ), ‘electrobiologist’ Dr. Ann McGregor (Lee Meriwether), and electronic genius Dr. Raymond Swain (John Zaremba) track the pair through those “infinite corridors” and try to assist in navigating them home safely.
The handsome Colbert was the more level-headed of the two, but teen idol James Darren, with his cool green turtleneck sweater, was the one that set young audience’s hearts a-flutter. Darren, who played Moondoggie in the GIDGET films and scored a few hit records in the early 60’s (“Goodbye, Cruel World”, “Her Royal Majesty”), was the hot-head who got them trapped in time in the first place, impulsively trying to prove to a visiting senator (guest star Gary Merrill) the project was successful in the series’ first episode. While Colbert never quite made star status (though he later had a long run on the soap THE YOUNG AND THE RESTLESS), Darren went on to a long career, appearing in Jess Franco’s erotic nightmare VENUS IN FURS, as Jim Corrigan opposite William Shatner’s TJ HOOKER, the hologram lounge singer Vic Fontaine on STAR TREK: DEEP SPACE NINE, and as a director in episodic TV.
Doug and Tony’s travels through time took them to famous dates in history like the sinking of the Titanic (with guest Michael Rennie as the ship’s captain), Pearl Harbor, the War of 1812 (Carroll O’Connor plays a dual role), Custer’s Last Stand, the French Revolution, the battle of the Alamo (DALLAS patriarch Jim Davis as Jim Bowie), an encounter with Billy the Kid (Robert Walker Jr), and plenty of stock footage from the 20th Century-Fox vaults. They also moved forward in time on a mission to Mars, the year 8433, and smack dab in then middle of the great alien invasion of 1978! THE TIME TUNNEL was a hit, and scheduled for a second season, until a regime change at ABC caused it to be cancelled in favor of THE LEGEND OF CUSTER – a series that barely made it through half a season!
Allen bounced back with LAND OF THE GIANTS (ABC, 1968-70), a fantasy adventure that found the sub-orbital spacecraft Spindrift caught in a space warp and transported to a planet where everything is twelve times the size of Earth! The stranded crew featured Gary Conway (of I WAS A TEENAGE FRANKENSTEIN fame) as Captain Steve Burton, with Don Matheson, Deanna Lund, Heather Young, and Don Marshall, the first black male actor to costar in a sci-fi series. Also on board were Stefan Arngrim as young Barry (with his faithful canine companion Chipper), and “Special Guest Star” Kurt Kasznar as on the lam bank robber Alexander Fitzhugh. Kasznar’s character was modeled somewhat on Jonathan Harris’s Dr. Smith of LOST IN SPACE, right down to the relationship between Fitzhugh and Barry.
This was Allen’s most expensive series, but there was still lots of stock footage between all those giant-sized props. The Liliputian members of the Spindrift encountered perils around every corner, as well as a slew of Familiar Faces: Jack Albertson, Richard Anderson , Michael Ansara, John Carradine , Broderick Crawford , Bruce Dern , Sam Elliott, Paul Fix, Ronny Howard , John Marley, boxer Sugar Ray Robinson, and William Schallert . Robert Colbert and Lee Meriwether from THE TIME TUNNEL showed up in different episodes (and as different characters), as did Jonathan Harris. Kevin Hagen appeared from time to time as Inspector Kobick of the Special Investigations Department, hunting down our pint-sized heroes.
After LAND OF THE GIANTS was cancelled, Irwin Allen returned to the big screen and became The Master of Disaster Movies , but for six years he ruled the airwaves with his sci-fi/fantasy shows. Since then, LOST IN SPACE has been rebooted as a feature film and a Netflix series, but neither captures the charm of Allen’s goofy original. All his 60’s sci-fi series are sterling examples of what can be accomplished with a small TV budget, solid acting, and a whole lot of chutzpah!
Irwin Allen (1916-1991) wore many different hats during his long career: magazine editor, gossip columnist, documentarian, producer, director. He helped usher in the Age of the Disaster Movie with such 70’s hits as THE POSEIDON ADVENTURE and THE TOWERING INFERNO, but before that he was best known as the producer of a quartet of sci-fi series from the Swingin’ 60’s. From 1964 to 1970 he had at least one sci-fi show airing in prime time… during the 1966-67 season, he had three, all complete with cheezy-looking monsters, campy humor, stock footage, guest stars (some on their way up… some down!), special effects by Oscar winner L.B. Abbott, and music by John Williams (who later scored a little thing called STAR WARS )! Here’s a look at the Amazing Sci-Fi Worlds of Irwin Allen:
Allen’s first foray into sci-fi TV was VOYAGE TO THE BOTTOM OF THE SEA (ABC, 1964-68), based on his hit 1961 film. Richard Basehart starred as Admiral Nelson, head of the Nelson Institute of Marine Research, in charge of the nuclear-powered sub Seaview, with David Hedison as Commander Crane. The first season was more a straightforward adventure series, filmed in black and white, with Nelson and his crew up against many Cold War threats. From the second season on, now in color, the Seaview began battling more outre’ enemies: aliens, giant sea monsters, even werewolves became the norm!
The series started to introduce futuristic gadgets like the Flying Sub, compete with laser beam, to confront these new monsters-of-the-week. The 1966 debut of BATMAN ramped up the camp quotient a few notches, as the plots got more and more out there. Among the many guest stars featured in the course of the series were Nick Adams , Eddie Albert , Edgar Bergen (without Charlie McCarthy), James Brolin (pre-stardom and Streisand), John Cassavetes, Michael Dunn (diminutive Dr. Loveless of THE WILD WILD WEST), Jill Ireland, Leslie Neilsen, and Vincent Price as a mad puppeteer out to take over the Seaview!
Next up for Allen was LOST IN SPACE (CBS, 1965-68), a take on Swiss Family Robinson set in outer space. The Jupiter-2, due in large part to sabotage by stowaway foreign agent Dr. Zachary Smith, hits a meteor storm and veers off course from its destination Alpha Centauri, causing the Robinson family and crew to become hopelessly lost in space (hence the series title). The cast consisted of TV veterans Guy Williams as Prof. John Robinson (ZORRO), June Lockhart as wife Maureen (LASSIE), Mark Goodard as pilot Maj. Don West (THE DETECTIVES), Angela Cartwright as youngest daughter Penny (MAKE ROOM FOR DADDY), and Billy Mumy as ten-year-old Will (practically every TV show made calling for a precocious kid!). Marta Kristen (Lorelei the mermaid in BEACH BLANKET BINGO ) played eldest child Judy, who served as Major West’s love interest.
Jonathan Harris (the TV version of THE THIRD MAN) received “Special Guest Star” billing as the nefarious Dr. Smith, and at first played him as a straight villain. The character was not originally intended to last the entire series run, but Harris, with Allen’s blessings, began to tweak the role, rewriting his dialog to turn Smith into something completely different than originally intended, a comically cowardly character who managed to create chaos wherever he went. Dr. Smith became pals with young Will, though their roles were reversed, as the boy was much more mature than the older doctor!
Dr. Smith was constantly at odds with The Robot (Bob May inside the suit, Dick Tufeld providing the voice), another popular character on the show (“Warning! Warning! Danger, Will Robinson!”), berating the mechanical marvel with sobriquets like “You blithering booby” and “You cackling cacophony”. Harris’s portrayal, relationships with Will and The Robot, and catch phrases (“Oh, the pain!”, “IN-deed!”), helped turned the show from straight sci-fi to high-camp fantasy, with the plots getting more and more ridiculous during the series’ three year run. The Robinson family, thanks to Smith’s blundering, encountered space pirates, circuses, cowboys, and Vikings, an intergalactic collector (Michael Rennie of THE DAY THE EARTH STOOD STILL in a two-parter), a “devilish” alien (Gerald Mohr), a cosmic toymaker (Walter Burke), a band of far-out hippies (twice!), and sentient vegetables!
Plots from films and fables past were recycled and adapted for the show: the legend of King Arthur, Sleeping Beauty, THE THIEF OF BAGDAD , FANTASTIC VOYAGE, THE MOST DANGEROUS GAME, GULLIVER’S TRAVELS. My favorite episode was a unique original titled “Visit to a Hostile Planet”, where the Jupiter-2 gets trapped in a time/space warp and returns to Earth – but it’s the Earth of 1947, and the small town population they land near thinks they’re being invaded by aliens! LOST IN SPACE enjoyed a long run in syndication after being cancelled by CBS, making it Allen’s most popular (and profitable!) space series.
Next week, part 2 of The Amazing Sci-Fi Worlds of Irwin Allen, spotlighting THE TIME TUNNEL and LAND OF THE GIANTS!