August 28, 2006
Franklin my dear, I don't give a damn
Daniel Boone - "The Ben Franklin Encounter"
First aired: March 18, 1965 on NBC
Recently aired: August 26, 2006 on TV Land
Written by David Duncan
Directed by Nathan Juran
Since I was never a Daniel Boone fan, my only familiarity with the theme song was from an elementary school classmate singing a politically incorrect parody of it. But through the magic of DVR, I managed to confirm this line: "What a Boone, what a doer/What a dream-come-truer was he." Makes the lyrics to the Gilligan's Island theme sound like The Rime of the Ancient Mariner.
First aired: March 18, 1965 on NBC
Recently aired: August 26, 2006 on TV Land
Written by David Duncan
Directed by Nathan Juran
Never got in to Daniel Boone. Never was a fan of the frontiersman genre. Never wore a dead animal on my head. I think I was born about a decade too late. But since TV Land was kind enough to schedule a Daniel Boone Marathon this past weekend, I figured the least I could do was tune in for one.
At the beginning of the episode, Daniel comes home to his family and begins to tell them about his meeting with Ben Franklin. As he does so, the obligatory Wayne's World Wavy Screen and harp glissando kicks in and we're suddenly in Virginia at Lady Merrivale's home where Ben is explaining to her and her daughter how the scientific method works, vis-a-vis an experiment with a couple of potted plants and some ants. Don't ask. It doesn't advance the plot at all. So, let's see, we've got Ben, Lady Merrivale, her daughter. . .hmm. . .who's missing? Oh yeah - the guy telling the story! Daniel is nowhere in sight! He shows up at the house later. So why doesn't Daniel start the story then? Okay, it didn't ruin the episode for me, but I certainly had to wait a minute or two before I suspended my disbelief.
There's not too much to the plot in this one. Ben is captured by Lord Clydesdale (oops, there goes my willing suspension again) and Daniel helps him escape. The story gives the three of them the opportunity to give us a little history lesson by using the words "tyranny" and "liberty" as often as possible. The overall theme here: England bad, America good. Here's one of my favorite bits of dialogue:
Clydesdale: Isn't it possible that (Daniel Boone) has come to see you to receive instructions for spreading this caterous(?) rebellion to the frontier?
Franklin: The infection of liberty will spread without any help from me, my lord.
History just comes alive when it's told through platitudes, doesn't it?
Stuff I noticed:
Since I was never a Daniel Boone fan, my only familiarity with the theme song was from an elementary school classmate singing a politically incorrect parody of it. But through the magic of DVR, I managed to confirm this line: "What a Boone, what a doer/What a dream-come-truer was he." Makes the lyrics to the Gilligan's Island theme sound like The Rime of the Ancient Mariner.
In the opening title sequence, the producers obviously want to make the doer and dream-come-truer look as frontiersy as possible, so they show him using his expertise with the Kentucky extremely longrifle to bring down a bear, as well as a band of angry-looking white guys dressed as Indians. The difference? The bear dies offscreen, while the Indians drop dead right in front of us. Go ahead, show the savages dropping like flies, but let the bear have his dignity.
August 22, 2006
Holden Back the Years
I Love Lucy
"L.A. at Last"
Originally aired: February 7, 1955 on CBS
Recently aired: August 20 on TV Land
Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr.
Directed by William Asher
L. A. at last, indeed - after three less than stellar episodes of the Ricardos' and the Mertzes' Kerouacian journey across the country, things finally get good. Sorry, but watching every one trying to escape the long arm of the septuagenarian sheriff and his daughters, the DoubleChin twins, left me a little dauncy. But now that they're in Hollywood, we can all play "Which Movie Star Will Be the First to Take Out a Restraining Order Against Lucy?" Let the games begin!
Lucy, naturally, has no trouble recruiting Fred and Ethel for a day of stalking. And, as luck would have it, Lucy, Fred, Ethel, Eve Arden, Walter Pidgeon, Cary Grant, Gregory Peck, Ava Gardner, and William Holden all show up for lunch at the Brown Derby. So, assuming that every one who answers his or her page is actually there, what are the odds that six well known movie stars will have lunch at the same restaurant on the same day at the same time? Never mind, I'm nitpicking. This is a great episode for several reasons.
First, when was the last time you watched a sitcom that had a scene in which two minutes and twenty-three seconds elapse without one word of dialogue being spoken? That's how long Holden stares at Lucy while she tries to eat her spaghetti. Really funny stuff there, but it is rather off-putting to watch Ethel use what appears to be a pair of fingernail scissors to cut Lucy's spaghetti. I'm no Adrian Monk, but I damn sure wouldn't want something that might be carrying a nail fungus anywhere near my food.
Second, Lucy setting her nose on fire is funny, but Ricky's and Holden's reaction to it is priceless. Ricky is probably thinking "oh great, my movie career is over before it's even started. Thanks, honey." While Holden looks like he's realized that he just gave a ride home to a guy who's married to a carnival freak.
Third, it just lasts a couple of seconds, but Lucy putting on the brakes after Ricky tells her that William Holden is in the living room is a great bit of comedy. Lucy was such a great comic actress, she could be funny even with her back to the camera.
And finally, who in the 2/7/55 viewing audience suspected that one of the coolest guys in Hollywood would end up covered in cream pie? It's like Hitchcock killing off Janet Leigh in the second reel of Psycho. Well played, Jess, Madelyn, and Bob. Well played.
Stuff I noticed:
The waiter who spills the cream pies not only runs away like the sniveling coward that he is, but he seems to have super-glued his hand to the tray.
"L.A. at Last"
Originally aired: February 7, 1955 on CBS
Recently aired: August 20 on TV Land
Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, Jr.
Directed by William Asher
L. A. at last, indeed - after three less than stellar episodes of the Ricardos' and the Mertzes' Kerouacian journey across the country, things finally get good. Sorry, but watching every one trying to escape the long arm of the septuagenarian sheriff and his daughters, the DoubleChin twins, left me a little dauncy. But now that they're in Hollywood, we can all play "Which Movie Star Will Be the First to Take Out a Restraining Order Against Lucy?" Let the games begin!
Lucy, naturally, has no trouble recruiting Fred and Ethel for a day of stalking. And, as luck would have it, Lucy, Fred, Ethel, Eve Arden, Walter Pidgeon, Cary Grant, Gregory Peck, Ava Gardner, and William Holden all show up for lunch at the Brown Derby. So, assuming that every one who answers his or her page is actually there, what are the odds that six well known movie stars will have lunch at the same restaurant on the same day at the same time? Never mind, I'm nitpicking. This is a great episode for several reasons.
First, when was the last time you watched a sitcom that had a scene in which two minutes and twenty-three seconds elapse without one word of dialogue being spoken? That's how long Holden stares at Lucy while she tries to eat her spaghetti. Really funny stuff there, but it is rather off-putting to watch Ethel use what appears to be a pair of fingernail scissors to cut Lucy's spaghetti. I'm no Adrian Monk, but I damn sure wouldn't want something that might be carrying a nail fungus anywhere near my food.
Second, Lucy setting her nose on fire is funny, but Ricky's and Holden's reaction to it is priceless. Ricky is probably thinking "oh great, my movie career is over before it's even started. Thanks, honey." While Holden looks like he's realized that he just gave a ride home to a guy who's married to a carnival freak.
Third, it just lasts a couple of seconds, but Lucy putting on the brakes after Ricky tells her that William Holden is in the living room is a great bit of comedy. Lucy was such a great comic actress, she could be funny even with her back to the camera.
And finally, who in the 2/7/55 viewing audience suspected that one of the coolest guys in Hollywood would end up covered in cream pie? It's like Hitchcock killing off Janet Leigh in the second reel of Psycho. Well played, Jess, Madelyn, and Bob. Well played.
Stuff I noticed:
The waiter who spills the cream pies not only runs away like the sniveling coward that he is, but he seems to have super-glued his hand to the tray.
Eve Arden has a one-line cameo as herself. She is rewarded for her effort by being cast in the Desi Arnaz-produced sitcom "The Mothers-in-Law" only twelve years later.
Holden sets some sort of record by reciting two cliches that mean pretty much the same thing in about five seconds: "I wonder how a person like that would act if the shoe was on the other foot. . .For once I'm going to turn the tables." Don't expect to show up in Bartlett's any time soon, Bill.I remember watching this episode when I was about five. If most five-year-olds are like me, they're kinda creeped out by the sight of a woman setting her nose on fire.
August 18, 2006
Mayfield of Dreams
Leave it to Beaver - "Beaver's House Guest"
First Aired: October 8, 1960 on ABC
Recently aired: August 17, 2006 on TV Land
Written by Arthur Koper
Directed by Norman Abbott
Here we learn that there are a few cracks in the idyllic Middle American facade created by prime-time TV in the mid-50s and early 60's. Don't believe me? Check out this bit of dialogue:
Beaver: We're happy, aren't we?
Wally: Well, yeah, I guess we're happy.
Beaver: That's good, cuz sometimes I can't tell.
Holy crap!!! Am I watching Leave it to Beaver or an Ingmar Bergman movie? Beaver's suburban middle class life has left him so emotionally strait-jacketed that he must look to his older brother to tell him how he feels. I haven't seen this much pre-teen angst since Lord of the Flies.
So what has brought on this emotional reality check? You might want to sit down for this: Beaver's house guest is the child of divorced parents. Yikes. Divorce is such a taboo subject in the Cleaver household that Ward and June are hesitant talk about it in front of Wally, who reassures them, "I know all about divorces and stuff. I go to the movies." Interesting concept - in real life, people go to the movies to escape the real world. On Leave it to Beaver, people go to the movies to escape TO the real world. Mustn't think too much on this...head might explode.
The kid puts a happy face on the situation - he gets two sets of presents at Christmas and on his birthday. He might not be be fooling us, but Beaver is so blinded by the thought of getting two sets of presents twice a year, that he buys in to the kid's denial. He starts acting like Paul's grandfather in A Hard Day's Night and hints to June that she and Ward should get divorced. June tells Beaver, "your dad's a fine father, a wonderful person, and I love him very much." That's fine, June, but you'd be a lot more convincing if you unclenched your teeth.
At the end of the episode, everything appears to be back to normal. But it's too late. We've already seen the dark side of Mayfield.
Stuff I (we) noticed:
A print of Lawrence's "Pinkie" in the entryway of the Cleaver house. Obviously Ward has left the choice of artwork to June. But after this episode, they should replace it with Munch's "The Scream."
Ward coming downstairs in a shirt with severe pit stains. Thanks to Lisa for catching that one.
Leave it to Beaver changed its opening title sequence every season. In season four, Ward and June stand at the front door to hand jackets and sack lunches to the boys as they head off to school. Beaver comes out last (it ain't called Leave it to Wally) and walks toward the camera. Then he stops. Then he stares in to the camera for a few seconds, looking so uncomfortable, you can almost see the thought bubble emanating from his head: "Call cut, Goddammit!"
First Aired: October 8, 1960 on ABC
Recently aired: August 17, 2006 on TV Land
Written by Arthur Koper
Directed by Norman Abbott
Here we learn that there are a few cracks in the idyllic Middle American facade created by prime-time TV in the mid-50s and early 60's. Don't believe me? Check out this bit of dialogue:
Beaver: We're happy, aren't we?
Wally: Well, yeah, I guess we're happy.
Beaver: That's good, cuz sometimes I can't tell.
Holy crap!!! Am I watching Leave it to Beaver or an Ingmar Bergman movie? Beaver's suburban middle class life has left him so emotionally strait-jacketed that he must look to his older brother to tell him how he feels. I haven't seen this much pre-teen angst since Lord of the Flies.
So what has brought on this emotional reality check? You might want to sit down for this: Beaver's house guest is the child of divorced parents. Yikes. Divorce is such a taboo subject in the Cleaver household that Ward and June are hesitant talk about it in front of Wally, who reassures them, "I know all about divorces and stuff. I go to the movies." Interesting concept - in real life, people go to the movies to escape the real world. On Leave it to Beaver, people go to the movies to escape TO the real world. Mustn't think too much on this...head might explode.
The kid puts a happy face on the situation - he gets two sets of presents at Christmas and on his birthday. He might not be be fooling us, but Beaver is so blinded by the thought of getting two sets of presents twice a year, that he buys in to the kid's denial. He starts acting like Paul's grandfather in A Hard Day's Night and hints to June that she and Ward should get divorced. June tells Beaver, "your dad's a fine father, a wonderful person, and I love him very much." That's fine, June, but you'd be a lot more convincing if you unclenched your teeth.
At the end of the episode, everything appears to be back to normal. But it's too late. We've already seen the dark side of Mayfield.
Stuff I (we) noticed:
A print of Lawrence's "Pinkie" in the entryway of the Cleaver house. Obviously Ward has left the choice of artwork to June. But after this episode, they should replace it with Munch's "The Scream."
Ward coming downstairs in a shirt with severe pit stains. Thanks to Lisa for catching that one.
Leave it to Beaver changed its opening title sequence every season. In season four, Ward and June stand at the front door to hand jackets and sack lunches to the boys as they head off to school. Beaver comes out last (it ain't called Leave it to Wally) and walks toward the camera. Then he stops. Then he stares in to the camera for a few seconds, looking so uncomfortable, you can almost see the thought bubble emanating from his head: "Call cut, Goddammit!"
August 15, 2006
Would you buy a used car from this vaudevillian?
I Love Lucy - "Getting Ready"
First aired: December 13, 1954 on CBS.
Recently aired: August 15, 2006 on TV Land.
Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, jr.
Directed by William Asher
This episode opens with Ricky sitting at the coffee table trying to figure the most cost-effective mode of transportation to California to begin his movie career, while probably wondering why his agent couldn't have negotiated a couple of first-class plane tickets as part of the deal. Lucy, after a severe episode of ADD, finally decides that the best way to get to Hollywood is by car. Wait a minute, exclaims Lucy, why don't the Mertzes drive out to California with them? Well OF COURSE they are going to go with you, Lucy. You'll need Ethel with you to aid and abet your sociopathic behavior, and you'll need Fred to. . . to. . . oh, I don't know, sit around and complain, I guess.
Fred tells every one that his old vaudeville partner, Al Hergesheimer, is a used car dealer in Brooklyn and can get Ricky a car wholesale. Sure Fred, buy a car from the early twentieth century equivalent of a carny. And what sort of act did he and Fred have? If I had to guess, it would be ten minutes of Fred making fun of Al's last name. Fred comes back with a 1923 Cadillac touring car, and Ricky is understandbly upset that Fred chose to buy a 31-year-old car to drive to California. Nevertheless, I can't help thinking that if a buddy of mine drove up in a 1975 Cadillac convertible and suggested that we go for a cross-country drive, I'd be shouting "road trip!" as I did a double somersault with a full twist in to the back seat.
Some things I noticed:
1. Two separate scenes in which it appears that Fred's pants are eating his tie.
2. An incredibly obvious backdrop depicting East 68th Street.
3. Lucy and Ricky both smoking. No surprise there, since they were sponsored by Phillip Morris. But then I got to thinking - did they ever show Fred or Ethel smoking?
First aired: December 13, 1954 on CBS.
Recently aired: August 15, 2006 on TV Land.
Written by Jess Oppenheimer, Madelyn Pugh, and Bob Carroll, jr.
Directed by William Asher
This episode opens with Ricky sitting at the coffee table trying to figure the most cost-effective mode of transportation to California to begin his movie career, while probably wondering why his agent couldn't have negotiated a couple of first-class plane tickets as part of the deal. Lucy, after a severe episode of ADD, finally decides that the best way to get to Hollywood is by car. Wait a minute, exclaims Lucy, why don't the Mertzes drive out to California with them? Well OF COURSE they are going to go with you, Lucy. You'll need Ethel with you to aid and abet your sociopathic behavior, and you'll need Fred to. . . to. . . oh, I don't know, sit around and complain, I guess.
Fred tells every one that his old vaudeville partner, Al Hergesheimer, is a used car dealer in Brooklyn and can get Ricky a car wholesale. Sure Fred, buy a car from the early twentieth century equivalent of a carny. And what sort of act did he and Fred have? If I had to guess, it would be ten minutes of Fred making fun of Al's last name. Fred comes back with a 1923 Cadillac touring car, and Ricky is understandbly upset that Fred chose to buy a 31-year-old car to drive to California. Nevertheless, I can't help thinking that if a buddy of mine drove up in a 1975 Cadillac convertible and suggested that we go for a cross-country drive, I'd be shouting "road trip!" as I did a double somersault with a full twist in to the back seat.
Some things I noticed:
1. Two separate scenes in which it appears that Fred's pants are eating his tie.
2. An incredibly obvious backdrop depicting East 68th Street.
3. Lucy and Ricky both smoking. No surprise there, since they were sponsored by Phillip Morris. But then I got to thinking - did they ever show Fred or Ethel smoking?
August 13, 2006
Are we not men - we are TiVo
Welcome to the inaugural post of my classic TV blog. First, I'd like to give credit where it is due: I was inspired to create this by The Comics Curmudgeon, which looks at current comic strips and is one of the funniest blogs I've seen.
This is how it's going to work - I'm going to TiVo (DVR, to be precise) episodes of old TV shows, watch them, and then write about them. Did you get all that, Max? Feel free to post comments. Let's get started, shall we?
The Brady Bunch - "Tiger, Tiger!"
First aired, January 30, 1970 on ABC
Recently aired, August 13, 2006 on TV Land
Written by Elroy Schwarz
Directed by Herb Wallerstein
From season one, which means that instead of the Brady Kids retelling the epic saga of how Mom and Dad got together, we get to hear the Peppermint Trolley Company sing the theme song. If you're not familiar with the Peppermint Trolley Company, just know that they sound exactly like you would think a group of men who call themselves the Peppermint Trolley Company would sound.
In this episode, the family dog gets lost, and the Bradys work together to find him. Not exactly "The Contest" episode of Seinfeld, plot-wise, but there are a few things worth mentioning here:
1. A teenage boy with no lines comes to the door with a dog who looks nothing like Tiger. The mute boy is Gary Grimes, who is rewarded for taking such a small part by being cast as the kid who gets busy with Jennifer O'Neill in The Summer of '42 only a year later. Grimes' best friend in The Summer of '42? Jerry Houser, who as Wally Logan, marries Marcia Brady ten years later. Coincidence? Perhaps...perhaps.
2. Mike does a late-night bed check of the boys' room wearing pajamas and a robe. Wait a minute, Mike. Are you wearing the lapels of your pajamas OUTSIDE the robe? I tip my hat to you, sir. It really pulls the whole ensemble together!
3. The Astro-Turf lawn. Wouldn't be The Brady Bunch without it.
4. Two close-up shots of people unbuckling their seat belts upon exiting a car. What, was the director of the NTSB the technical advisor on this episode?
5. Alice Nelson, stand-up comic: "That dog eats more like a horse. One of these days, instead of barking, he's gonna whinny." Not bad, Alice, but watch the parallel structure.
6. Mike finally finds Tiger at Mrs. Simpson's house, whose back yard looks hauntingly familiar. I've got it - it's the Bradys' back yard, with a few plants moved around! Whew, that was going to keep me up all night!
This is how it's going to work - I'm going to TiVo (DVR, to be precise) episodes of old TV shows, watch them, and then write about them. Did you get all that, Max? Feel free to post comments. Let's get started, shall we?
The Brady Bunch - "Tiger, Tiger!"
First aired, January 30, 1970 on ABC
Recently aired, August 13, 2006 on TV Land
Written by Elroy Schwarz
Directed by Herb Wallerstein
From season one, which means that instead of the Brady Kids retelling the epic saga of how Mom and Dad got together, we get to hear the Peppermint Trolley Company sing the theme song. If you're not familiar with the Peppermint Trolley Company, just know that they sound exactly like you would think a group of men who call themselves the Peppermint Trolley Company would sound.
In this episode, the family dog gets lost, and the Bradys work together to find him. Not exactly "The Contest" episode of Seinfeld, plot-wise, but there are a few things worth mentioning here:
1. A teenage boy with no lines comes to the door with a dog who looks nothing like Tiger. The mute boy is Gary Grimes, who is rewarded for taking such a small part by being cast as the kid who gets busy with Jennifer O'Neill in The Summer of '42 only a year later. Grimes' best friend in The Summer of '42? Jerry Houser, who as Wally Logan, marries Marcia Brady ten years later. Coincidence? Perhaps...perhaps.
2. Mike does a late-night bed check of the boys' room wearing pajamas and a robe. Wait a minute, Mike. Are you wearing the lapels of your pajamas OUTSIDE the robe? I tip my hat to you, sir. It really pulls the whole ensemble together!
3. The Astro-Turf lawn. Wouldn't be The Brady Bunch without it.
4. Two close-up shots of people unbuckling their seat belts upon exiting a car. What, was the director of the NTSB the technical advisor on this episode?
5. Alice Nelson, stand-up comic: "That dog eats more like a horse. One of these days, instead of barking, he's gonna whinny." Not bad, Alice, but watch the parallel structure.
6. Mike finally finds Tiger at Mrs. Simpson's house, whose back yard looks hauntingly familiar. I've got it - it's the Bradys' back yard, with a few plants moved around! Whew, that was going to keep me up all night!
