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!"
Comments:
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Shows how much I know about classic TV, I never even knew there was such a show. Not too sorry I missed this one though from the sounds of it. Great work Dad!
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