Good stuff, EC. I finally broke down and bought a new (well, used, but pretty good) monitor and it seems to be operational .
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Good! Your time permitting, a few of your longer posts will be most welcome. "They got meat on the bones." Good reading.
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John Forsythe was a good decade younger than Bob Cummings and started much later in films and TV, was mostly a stage actor prior to 1950, while Cummings started out in films in 1935, enjoyed a career as a male ingenue type a la Ronald Reagan and, beelieve it or not, around the same time, Craig Stevens.
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There is an article in the The New Yorker this October 2012 week about, of all people, Lyle Talbot. It is written by one of his daughters(from Marriage Number Five, which actually lasted a coupla decades to his death) and points out to me that Talbot actually had a decent "male ingenue" role in movies(opposite Carole Lombard in one film) that petered out to Ed Wood movies(in which he was good and pretty much the biggest star in the movies) and a recurring role on "Ozzie and Harriet." Per his daughter, Talbot worked steadily, "never had to sell real estate on the side."
Its a good article about that kind of Hollywood actor.
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Forsythe always seemed to carry more "weight" than talent and he did often seem to get a kind of royal treatment in films and on television (yes, I know he had hard times, too)
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I wince when I recall witnessing part of the "hard times." It was in the seventies and I was watching TV just to watch. Afternoon TV. A game show called "Beat The Clock," and Forsythe was a celebrity contestant. He was dressed in slacks and a T-shirt that said "Beat the Clock." John Forsythe should NEVER have been dressed in a T-Shirt that said "Beat the Clock." And to beat the clock, Forsythe had to jump into a giant bowl of Jello and retrieve some object.
I've often wondered if producer Aaron Spelling saw that "Beat the Clock" humiliation of Forsythe for soon, Forsythe was cast as "The Voice of Charlie"(and nothing more THAN a voice) on "Charlie's Angels," which also(I forgot this) helped Forsythe get the lead on Spelling's "Dynasty."
--- He had a good voice, though, and he used it well.
Yes, Forsythe's voice probably was his claim to fame, the "Old Vic" fake-out. I'm reminded that Hitchcock used MANY actors for their great voices -- from the stars like Stewart, Grant, Fonda to the lesser knowns but distinctive Forsythe, Balsam, Perkins...Janet Leigh. (Actually, I'm not sure which of those latters should be up in the star category with Grant and Stewart. Maybe Leigh.)
Forsythe mainly did TV, but "lucked out" with roles in big movies like "In Cold Blood"(evidently because he looked like the real cop in played in the story), Hitchocck's "Topaz"(hell, he was the only identifiable face on the screen to most US audiences) and that Totally Evil role with Hot Young Al Pacino in "Justice for All."
And in 1984, came the re-release of the "lost" "The Trouble With Harry," just as Forsythe was a big TV star with "Dynasty" and just after Shirley MacLaine had won a comeback Oscar with "Terms of Endearment" so Universal could advertise:
"See Alfred Hitchcock's The Trouble With Harry, starring Oscar Winner Shirley MacLaine of Terms of Endearment and John "Dynasty" Forsythe!"
Why, they were bigger stars than when they made "Harry"!
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Larry Storch and Tony Curtis were friends. Okay, so that's what got Storch all those good roles in MCA shows! In the end he wound up on F Troop, which sort of "immortalized" him. I saw an interview with him years ago in which he said he thought he was going to great places and that F Troop was just another rung on the ladder, while in fact it was the peak of his fame, his career. He didn't come off as the least bit bitter.
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Well, he had his run, and "F Troop" DID immortalize him. You wanna see something weird? (I stumbled onto it looking at Hitchcock links.) On "You Tube," they have a clip of the old "Hollywood Palace" show fromt he mid-sixties. The celebrity host is a gorgeous, gown-wearing Janet Leigh, and the three F Troop male leads -- Big Forrest Tucker, funnyman Larry Storch, and handsome ingenue Ken Berry -- came on stage with Leigh in their F Troop costumes as their characters and did some silly comedy with her -- with Storch the most flummoxed by the gorgeous Leigh. It is silly stuff, indeed -- but a nice "time capsule" of mid-sixties TV entertainment programming.
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Herschel Bernardi was apparently one of the most amazing casting coups in Broadway history, or so I remember reading at the time, as his Tevye was widely regarded by fans of the show as superior to Zero Mostel's. I think Mostel was the original, and he was a far bigger name than Bernardi at the time, widely known to the general public, thus he presumably "owned" Tevye in Fiddler On the Roof. Then Bernardi came along. My mother and aunt went to see the show and saw the Bernardi version, and they loved it! Sometimes when a star leaves a show it declines, loses steam, but not in this case. Ten years later, ironically, both actors appeared in the anti-Blacklist movie The Front, which Woody Allen starred in.
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Yes, Bernardi had his day. Certainly on stage, and also as the "deep, bass voice" of the TV commercial cartoon character "Charlie the Tuna," a fish who WANTS to be caught and killed to be Chicken of the Sea tuna...but he just isn't good enough("Sorry, Charlie," said the announcer famously.)
Bernardi also had a brief run on a nice sitcom called "Arnie," about a factory worker who gets promoted to management. CBS had higher hopes for "Arnie" than it did for another show the same season about a working class man: "All in the Family." Oops.
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Indeed, Bernardi and Balsam were similar but different. The former had, like Bob Cummings, a more "comedy face", the latter had a more serious demeanor and, as you put it nicely, was more dapper than Bernardi. It was probably Bernardi's more average guy persona that helped put Peter Gunn over with, well, more average viewers. Balsam's more somber demeanor in the Jacobi role would have made the show feel more like 12 Angry Beatnicks (or something...).
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And though Balsam did plenty of TV in the sixties, I contend that "Psycho" put him up higher than Bernardi and some others. It was such a blockbuster, seen by so many millions around the world, with Balsam in such an unforgettable scene(his murder), that Balsam did plenty of major movies(Breakfast at Tiffany's, Seven Days in May), then copped an Oscar for "A Thousand Clowns" and was, henceforth, "prestige" in a way that other supporting guys weren't.
But nothing lasts forever. In the seventies, Balsam had to scramble for parts and did a few embarrassing Bs. (Like "Mitchell," with Joe Don Baker, where Balsam is a mobster shot through the face and doing his "Psycho death face" in the dying.) Still, also in the seventies, Balsam got over the title billing in "Catch 22" and "Murder on the Orient Express" and key roles in "All the President's Men" and "Pelham 123." His Psycho/Oscar boost served him well.
---starting with a mediocre Thriller episode that was none the less fun due to, interestingly, Robert (12 Angry Men) Webber being the male lead,
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Robert Webber: one of the ubiquitous "Roberts" of his era(Robert Vaughn, Robert Conrad, Robert Wagner), and perhaps the most "seedy." Webber was a handsome guy, but he had a knack for playing bad guys -- he's a suave thug killed by private eye Paul Newman in "Harper" and memorably dies in a Dean Martin "Matt Helm" movie by firing a gun that fires BACKWARDS into his own chest(disbelieving the effect, he shoots himself AGAIN.)
In the seventies/eighties cusp, Robert Webber got two memorable roles from Blake Edwards: in "10," he is the gay friend of stars Dudley Moore and Julie Andrews and in "SOB", he is the "slapstick corner" of a three-guys comedy triangle of William Holden, Robert Preston, and Robert Webber. (A big deal for Webber, sharing the screen with Holden and Preston for so much screen time. Together, the three men steal the corpse of a movie director pal from the undertaker's office and drive him around til they can give him a Viking Funeral) "SOB" also has a role for Peter Gunn himself: an aged and gray-haired Craig Stevens. Blake Edwards remembered his roots. Oh...and Larry Storch is in it, as the Guru officiating at the film director's funeral even as The Three Stooges(Holden, Preston, Webber) are REALLY burying the director at sea.
"SOB": we must talk about that movie some time. Its really a weird artifact of its time, a "movie business comedy" that might be called "The Bad and the Beautiful Meets The Pink Panther."
Finally: in the 80's, Robert Webber and Hitchcockian Eva Marie Saint played the parents of Cybill Shepard on "Moonlighting."
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noir icon his Jane Greer the female counterpart,
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I found Jane Greer to have one of the sexiest, "knowingist" faces of the forties. Her most famous role is probably as the femme fatale in "Out of the Past" which was remade in the 80's with a younger woman (Rachel Ward) in the role, but Greer still regal and sexy as a rich older woman.
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plus a nice, brief performance by the show's director, John Newland, as a one-eyed artist killed by a stranger with a crossbow in his studio late at night.
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THAT's not something you see much today on TV!
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It's always fun to see those U-I sets recycled. I swear I sometimes watch those shows just to see what they'll do with the sets!
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Yes, they "did a lot with a little" back then. The first season of "Burke's Law" had this one interior set -- living room, staircase, second floor -- that they simply re-dressed each week with different curtains, lamps and flowers. For an episode where the victim was a Big Game Hunter, they put animal heads on the wall of that same set. And it worked. You imagined a different place each time.
I expect on Thriller you saw a fair amount of "Psycho" set recycling.
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The previous day I'd seen Balsam in a R66 as a social worker, and it occurred to me that he was sort of the go-to guy for "caretaker" roles, often called upon to play a man in charge if a difficult situation, whether as therapist, friend, family member, lawyer, jury foreman, and that his (screen) business often had to do with him dealing with eccentric people, as in A Thousand Clowns.
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Yes, though Balsam famously played a private eye for Hitch, he was really usually better in roles that called for easy-going professionalism, and a caring nature.
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Early on, in Psycho, he seems to be in such a predicament with Norman, till the tables are turned .
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Yes, the dynamic doesn't really show itself til the end, when we learn of Norman's decidedly savage side. Arbogast totally misread the seemingly timid fellow. But who wouldn't?
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Then, after Thriller, comes a Twilight Zone in which (deputy sheriff) John McIntyre played an offbeat role as a man who sells, among other things, love potions.
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I remember that one. McIntire was pretty much playing the Devil, and the gimmick was: for a man, for one price, he can make a beautiful woman fall in love with you with potion. But after that woman clings and clings and clings to you, smothering you with love and affection...you will want to pay a lot MORE for the potion that makes her go away.
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After that was a Jack Klugman episode, the one in which he plays a despondant jazz musician who throws himself under a truck, only to be rescued by (California Charlie) John Anderson as the angel Gabriel. Earlier in the evening I'd seen Anderson as a campaign hat wearing seventy year old retired Arizona general on the warpath against a pair of killers in yet another R66. For once Anderson seemed cast as a character who seemed about the same age as he always came off as. Did the man ever look young? He wasn't ancient looking like Burt Mustin, he just seemed born middle aged.
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Yeah, I just can't picture "young John Anderson." You'd be surprised how many actors only took up the trade when they GOT older. Often they were studio accountants or other personnel and some director told them when they aged a bit, "you've got a great look. Let me cast you in a show." And they were on their way.
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Two good Peter Gunns, one, which I've read about, never seen, featured Shelley Berman as a very neurotic comedian who thinks his wife is out to kill him. It was very good and it reminded me not only how talented Berman was but also that Bob Newhart probably owed him the telephone schtick he made his own later which I'm guessing Berman got there first with.
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As I recall, there was a bit of feuding betweent the two men about their similar acts. But Newhart had that deadpan, Middle America persona to put him over in the heartland.
I recall Shelly Berman in a famous "Twilight Zone" episode about a man who hates all other people and wishes everybody could be just like HIM. And at the end of the show, everybody IS just like him, via special effects and Shelly Berman masks. And it is a nightmare.
Berman worked in recent years as an old, bald man, but still with that Shelly Berman touch.
He played a judge on "Boston Legal" who would admonish lawyers: "I'll have none of that lawyerly fiddle-faddle in my courtroom!"
I think he is still alive.
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Sandwiched in-between was a Fugitive, very good, reminding me, uncomfortably, how the 60s changed on television, from the breezy (but dramatically serious, non-noir) Route 66 to another "road show", this one a noir about a man unjustly accused of murder, and watching them, not consecutively but over a 24 hour period reminds me that the mass media can be, at times, startlingly prescient.
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Yes, it can be. I suppose writers are among those who are most observant of the changing times and the need to reflect that in their stories. I read the phrase "the late fifties were pregnant with the rebellious sixties" and it all came true.
Speaking of The Fugitive, there are a few episodes on the internet. I watched the pilot, with Vera Miles and amiable Brian Keith most surprisingly as her psycho domineering husband. Miles, it is said, was a "lucky charm" for TV pilot episodes, and this was such a one.
Speaking of Vera Miles, she was great in a Hitchcock Hour of 1965 the other night. She played the sexy daughter of an old silent movie director played by John Carradine. Young James Farentino wants to marry Vera and kill Carradine, but after Farantino laughs hard at an old silent movie directed by Carradine and starring Vera's late mother("She's terrible," laughs a drunken Farentino) -- Vera and Carradine kill Farentino.
So far, so predictable. And then, in a truly amazing final scene, Carradine is on the phone to a young woman as Miles starts to take off her make-up. And Vera Miles turns into an old, wizened woman, before our eyes. The wig goes last.
Turns out Vera is Carradine's WIFE, the girl on the phone is their daughter, Farentino was laughing at Miles on screen in that silent.
Its the stunning visual of Vera Miles picking apart her face to reveal an old crone that was shocking.
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If R66 was the feelgood Peace Corps Camelot set in dramatic form, premiering even before JFK's election, The Fugitive was the missing link between that show and the later Easy Rider (whose co-star, Jack Nicholson, I'm in the process of reading a biography of),
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I'll be interested to hear what you think of Nicholson and his career. One thing I've read is that while he was handsome as a young man, he was just too strange in manner to get much TV and movie work as a struggling actor(hence all those Roger Corman movies) and that, when director Josuha Logan berated him in front of the rest of the cast of "Ensign Pulver"(1964) as having no talent and no future whatsoever as an actor in Hollywood, Nicholson told his fellow bit players, "well, I guess I'll just have to work harder at it."
Came the counterculture, Nicholson's weird manner(AND good looks, and great voice) were perfect for the times. The rest is history.
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as the times were a-changin' on the small screen even before November 22, 1963. The Fugitive premiered just two months earlier,; and just as R66 struck a pre-Camelot chord before the event, The Fugitive struck a lost in the wilderness chord post-JFK assassination.
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Yes, it did, didn't it? It was as if the 60's were already set in place and ready to arrive. All that was necessary was that final "push" -- JFK's shocking death.
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