September 30, 2012
September 13, 2012
Writer Gustave Field died on August 5 at the age of 95. Field was a fairly obscure talent – at present, the Internet Movie Database believes inaccurately that he died in 1977 – with a smattering of television credits in the sixties and seventies: Wide Country, Gunsmoke, Combat, 12 O’Clock High, Then Came Bronson, The Bold Ones, The Six Million Dollar Man, and the early made-for-television movie The Sunshine Patriot. Had I known some of what Philip Purser reports in this fascinating remembrance, I would have made it a much higher priority to seek Field out for an interview. Field had been a photographer (of Einstein and the nuking of Nagasaki) and, in the late fifties, a story editor for British ABC network, where he mentored the young Alun Owen and Harold Pinter. There’s also the matter of a phantom Lost in Space credit that’s being fussed over among fans; it could be an error in the obits, but also an assignment that was purchased but not produced, or a rewrite job too insubstantial to earn a credit. Purser claims that Field liked to take his name off scripts; I’ll bet there’s another batch of credits under a pseudonym somewhere, but all of Lost in Space’s pen names seem to be claimed already . . . so it’s a subject we’ll have to revisit.
Writer David T. Chantler died on March 13. Born May 24, 1925, Chantler got his start in television on the CBS newspaper drama Big Town, but was best known as one of the primary writers (of nearly three dozen episodes) for the fifties kiddie favorite The Adventures of Superman. Though he was living in Marina Del Rey as of a few years ago, Chantler spent much of the sixties working in England, on television shows including Interpol Calling, Zero One, The Human Jungle, and Paul Temple. He also wrote a pair of Hammer films, She and the well-received Cash on Demand, as well as the Paul Wendkos-directed western Face of a Fugitive. His other American television credits include Lassie, Richard Diamond Private Detective, Daniel Boone, and The Invaders. His last produced script listed on the Internet Movie Database was made in 1970, and I wonder what Chantler was doing in the forty years since.
Esther Mitchell died on May 30, one day short of her ninety-second birthday. Mitchell was one half of a prolific husband-and-wife team; with Bob Mitchell, she wrote a dozen Land of the Giants scripts as well as episodes of Perry Mason, Cannon, S.W.A.T., and Charlie’s Angels. (Bob Mitchell, who died in 1992, had been a busy solo writer, especially for Highway Patrol, for more than a decade before they began working together; the collaboration may have begun because he was getting more work than he could handle.) The Mitchells’ most important series together was Combat, for which they were among a stable of generally second-rate writers brought in when producer Gene Levitt took over the show’s second season. If there’s a standout among the Mitchell-scripted episodes, it’s probably “The First Day,” the story of a quartet of unusually youthful replacements who join the squad; a follow-up of sorts, “The Old Men,” focused on middle-aged draftees sent to the front lines as the supply of able-bodied men dwindled.
Also overlooked, perhaps, amid the unprecedented wave of beloved television veterans’ deaths this summer – Kathryn Joosten, Richard Dawson, Ray Bradbury, Frank Cady, Susan Tyrrell, Richard Lynch, Norman Felton, Doris Singleton, Don Grady, Andy Griffith, Ernest Borgnine, Celeste Holm, William Asher, Morgan Paull, Lloyd Kino, Sherman Hemsley, Frank Pierson, Lupe Ontiveros, Chad Everett, Norman Alden, Russ Mayberry, R. G. Armstrong, John P. Finnegan, Al Freeman Jr., Gore Vidal, Phyllis Thaxter, Ron Palillo, Rosemary Rice, Biff Elliot, Phyllis Diller, William Windom, Steve Franken, Claire Malis, Lance LeGault – were those of writer Don Brinkley (The Fugitive; Medical Center) and assistant director Charles Washburn (Star Trek). There are good, detailed obituaries for each at those links.
September 7, 2012
The ambitious Rod Serling program mounted by the UCLA Film and Television Archive is still going on at the Hammer Museum (which is actually not on the UCLA campus, but just below it on Wilshire Boulevard). I’ve been remiss in not mentioning this series earlier, but it has four programs left to go and if you’re in Los Angeles, you should catch some or all of what remains.
The reason the UCLA program, curated by Mark Quigley and Shannon Kelley, is so valuable is that it focuses on the Serling teleplays (and screenplays) that you probably haven’t seen, or even heard about. Instead of cycling through the most famous Twilight Zones and Night Gallerys, Quigley and Kelley have given us a plethora of obscure anthology segments, features, unsold pilots, and other odds and ends. There’s a slight emphasis on mid-to-late period Serling, which is also a good idea. Serling’s legendary post-Twilight Zone burnout was no joke, but because of it the final decade of his career has probably been too much neglected. There are some gems in those ten years – chiefly his 1965 western series The Loner, which regrettably is not represented here, but also some other Serling-scripted projects which are.
If you’re a Serling aficionado, then you probably know Serling wrote an odd Christmas special in 1964 called “Carol For Another Christmas”; it was shown on ABC but paid for by the United Nations, which is why it has a bunch of movie stars in the cast (Peter Sellers, Eva Marie Saint, Sterling Hayden) who weren’t otherwise doing TV at the time. But did you know that Serling also wrote another public-service type thing that year for the U.S. Information Agency, called Let Us Continue, with E. G. Marshall? And let’s say you remember “A Storm in Summer,” a 1970 Hallmark Hall of Fame that remains much too hard to see. Did you know that two years later Serling turned the premise into a series pilot for CBS called We Two, featuring Herschel Bernardi in the Peter Ustinov role?
Even the Twilight Zones and Night Gallerys chosen for the series aren’t the usual suspects. “The Shelter” and “Mr. Denton on Doomsday” aren’t among my favorites (are they among anyone’s?) but they’re not bad, and I get the reasons why they’re here – “The Shelter” represents Serling’s connection to the post-nuke genre I wrote about last month, and “Mr. Denton” screens alongside Serling’s only western screenplay (Saddle the Wind). The films here stick a little more closely to the canon, but they’re all showing on 35 millimeter and there is one double feature of true obscurities, Buzz Kulik’s The Yellow Canary (still very hard to come by) and the caper movie Assault on a Queen.
Of particular interest among what hasn’t screened yet are the pilot for The New People – the 1969 Aaron Spelling series, which is supposedly terrible (Serling bailed after the pilot) but has also gotten some attention in recent years due to the similarities between its premise and that of Lost – and a 1960 Desilu Playhouse called “The Man in the Funny Suit.” That’s a show about the making of “Requiem For a Heavyweight” (screening the same night), the live Playhouse 90 that almost didn’t go on as planned because Ed Wynn couldn’t remember his lines. (Without telling Wynn, they had actor Ned Glass in the wings, ready to go on in his place.)
Although the docudrama had become a minor staple of the late anthology period (“A Night to Remember” and “The Night America Trembled” are perhaps the most famous examples), it was unusual for television to attempt so self-reflexive a project so early: a television episode about a television episode, with many of the principals (Serling, Wynn, his son Keenan Wynn, and director Ralph Nelson, among others) playing themselves. Unlike “Requiem,” which is now a Criterion DVD, “The Man in the Funny Suit” has never been in circulation (not even among collectors, as far as I know), and I’m eager to see it someday. I hope it’s as interesting as it sounds.
Some impressive guest speakers are part of the mix as well, and while you’ve already missed Marc Scott Zicree, Mad Men creator Matthew Weiner, and Mickey Rooney (perhaps fortunately, in the latter case), you can still catch Jim Benson (co-author of the excellent Night Gallery companion book) tomorrow night and Yellow Canary star Pat Boone (ask him if he’s voting for Obama) on September 14.
If you go to any of the remaining screenings, tell’em the Classic History Blog sent you and you’ll get a . . . well, just a funny look, of course. But check out some of these Serling rarities anyway.
And while we’re on the subject, what Serling ephemera would you have included in a series like this?
The New People (I can’t identify everyone, but the blonde, second from top right, is the ravishing Tiffany Bolling).
Correction (9/7/12): Initially this piece indicated that the pilot We Two had a laugh track. In fact, it didn’t, but the network’s desire to add one over Serling’s and the producers’ objections may have been a reason why it didn’t go to series.
If you assigned a final exam or essay question worded exactly as follows:
List & discuss at least six tv shows that depict the police, courts, and correctional components of the correctional system.
… then one of your students has been Googling for the answers, and may or may not have plagiarized them from my blog.
Hope that helps.
And let me know what grade I got.
WordPress metadata is awesome!
The Classic TV History Blog: Busting Internet Plagiarists Since 2007
July 3, 2012
As you already know if you’ve been a longtime reader here, Andy Griffith (or Andy Taylor) was something of a surrogate father for me, and for many North Carolinians of my age. Even for those of us lucky to have great dads already.
We’ll be flying the flag at half mast here at the Classic TV History Blog for a little while. Regular programming is cancelled until further notice.
June 12, 2012
By the time I managed to locate Bert Leonard, all that was left of him fit into a small unit in a self-storage facility in Los Angeles that was hemmed in by concertina wire and a row of spindly palm trees.
– Susan Orlean
All that was left of him was not a storage unit. That wasn’t all that was left of his life. He had all of his children around him, and he got to understand that he was leaving us behind. He didn’t die alone.
– Gina Leonard
1. I Wouldn’t Start From Here
It started with a question: who owns Route 66 and Naked City? I thought finding the answer would be simple. It wasn’t.
The question comes up because, last month, Shout Factory released all four seasons of Route 66, the Herbert B. Leonard-produced, Stirling Silliphant-created, filmed-all-over-the-United States, one hundred and sixteen-hour road movie that stands as one of the unique events in American television history. That made Route 66 the first of Leonard’s television series to be completed on home video.
That’s complete with an asterisk, though, because one episode in the set (“A Fury Slinging Flame,” a significant anti-nuke treatise) is definitely missing about five minutes of footage, another episode (“Blue Murder”) is probably missing a few minutes, and all of the first fifteen episodes are derived from some badly mauled sixteen-millimeter prints that should never have passed a professional QC. The reasons for these mastering failures remain murky (“murky” is a concept that we’ll be returning to often in this piece). Route 66’s DVD history was a bumpy road, a trial-and-error process that fixed some mistakes and let others stand (I covered this in its early stages here), an unfinished mess that Shout Factory inherited from other companies (Roxbury Entertainment, producer, and Infinity Entertainment, distributor) without much of a track record in the TV-on-DVD business.
Personally, I’m in the half-full camp on this: seven-eighths of the episodes are in better than adequate shape, and I can finally throw out my VHS tapes of the last season. (Plus, they sent me a freebie.) But Brian Ward, the producer of the new Route 66 set, implied months ago in a forum post that the new box set of Route 66 would fix the video problems that afflicted the earlier releases. Ward has an internet history of “truthiness,” of drumming up fans’ enthusiasm when Shout is getting something right and then bailing any time the chips are down, and when you reread what he wrote, it doesn’t make any concrete promises. So technically Ward is off the hook. But many of the small but vocal crowd who actually read these things felt duped, and launched a “cancel your pre-orders” campaign; as of this writing, about two-thirds of the Amazon reviews of the set focus exclusively on the image quality issues, or on the obnoxious fact that Shout has not disclosed whether it will release Season 4 (the only one new to DVD) separately.
I always suspect that these don’t-buy-it-movements are like the southern boycott of Bonanza (because of its stars’ pro-civil rights stance) in the sixties: complain in public but watch it with the shades pulled down. It’s not as if fans have a better way of seeing the botched first season episodes – except, actually, they do. Route 66 ran on Nick at Nite in the late eighties, from new video masters that were (for their time) gorgeous; copies of those circulate among fans, and they look vastly better than the copies of the first fifteen used in this DVD box.
Why couldn’t, or wouldn’t, Shout Factory (or its predecessors) access those tapes? That’s what I wanted to find out. I also wanted to know why the DVD releases of Route 66’s sister show, Naked City, sputtered out in 2006, with 78 of the 138 episodes still unreleased.
A lot of people (including, long ago, myself) have assumed that Sony owns both shows. There’s a logic to that inference – Sony is the corporate successor to Screen Gems, which originally partnered with Herbert Leonard’s production company to produce the shows and then distributed them in syndication; and Sony’s logo appears on the back of the Naked City DVDs – but it’s wrong. The real story is much more complicated.
2. Torment Him Much and Hold Him Long
Herbert B. Leonard got seven shows on the air between 1954 and 1960. The first, The Adventures of Rin Tin Tin, was a big hit, and it gave the brash Leonard enough leeway to produce whatever he wanted, even though the executives at Screen Gems – who were theoretically his bosses – hated him from the outset. Rin Tin Tin made Leonard a rich man, a comer not only in the television industry but also someone who could be taken seriously as a movie producer, too.
But Leonard spent his last decade without a home of his own, dependent upon the financial support of family and friends. He got throat cancer, lost his larynx and his voice in 2003, and died in 2006. It was a long, sad story that started when Naked City and Route 66 were canceled in 1963 and 1964. Leonard had no shows on the air, no guaranteed income, and all the executives he’d defied and taunted in interviews had their knives out for him. He pitched many pilots, some of them arty endeavors as Route 66 and Naked City had been, others kitsch like 1967’s The Perils of Pauline. None became series. He had a modest hit with Popi, a film he produced in 1969 for United Artists; he made a few bucks on a sepia-tinted, recut version of Rin Tin Tin (Rin Tint Tint?) that he syndicated in the seventies; he got a couple of short-lived sitcoms on the air in the eighties. But most of the second half of Leonard’s life was wasted creatively, a waste that is quite measurable for anyone who has had the rare opportunity to see the single film that Leonard directed.
Going Home (1971), a forgotten almost-masterpiece, was a father-son drama that Robert Mitchum agreed to make for scale, and that reunited a lot of Leonard’s Naked City and Route 66 collaborators – writer Larry Marcus, cameraman Fred Jackman, casting director Marion Dougherty, stunt coordinator Max Kleven. Leonard talked about getting Haskell Wexler (a hot property after Medium Cool) to direct, then decided to do it himself; he struggled at first, but Mitchum backed him, helped him learn the new craft. Problem was, Leonard made the film at MGM, whose president at that time was James T. Aubrey. Aubrey liked to carve up movies in the editing room; Robert Altman, Blake Edwards, Jack Smight, and Bruce Geller, among others, all told the press that Aubrey trashed films they made for MGM during the early seventies. Aubrey was also Bert Leonard’s old nemesis, the head of CBS during the Route 66 years, and when he chopped thirty minutes out of Going Home, and then barely released it, it may have been just out of spite. What remains of the film is the creative bright spot in a forty-year twilight. But after MGM dumped it, Leonard’s promising directing career was over.
Herbert B. Leonard in 1987 (at a Museum of Broadcasting event, a recording of which is an essential extra on Shout Factory’s Route 66 box set)
Bert Leonard could not live modestly. He was, after all, a cigar-chomping mogul of the Hollywood variety. He gambled, he womanized, he borrowed money to finance unmade films and drawn-out lawsuits. There were four wives and six daughters. The last of the wives, Betty Kennedy, was an ingenue in Ladies’ Man, a Leonard-produced workplace sitcom that ran for a season in 1980-81. “That was a real heartbreaker for Bert,” one of his friends told me. Betty was thirty-some years younger than Leonard, and it was a volatile, on-again, off-again relationship; no one would go on the record about the specifics (and I could not reach Kennedy, now living in Reno, for comment), but I suspect that Leonard’s quasi-biographer, Susan Orlean, is being deliberately coy when she writes that Leonard “later described his relation to her as an addiction.”
Until the end, Leonard kept trying to get properties he owned made or remade. He became obsessed with River of Gold, a big-budget feature Rin Tin Tin story that Disney optioned briefly. There were still people who wanted to work with Leonard, but he refused to compromise on any professional point in which he believed strongly, no matter what the consequences; he drove away potential collaborators and backers, even the ones who liked him personally. Stanley Moger, who fronted those tinted Rin Tin Tin intros to the tune of $800,000 and pulled the plug when Leonard ran over budget, called it a “habit for self-destructing.”
Leonard’s friends supported him. The director Irvin Kershner, a friend who was involved with River of Gold, loaned him $100,000 in living expenses. The stuntman Max Kleven (he was Paul Burke’s double on Naked City) gave him $350,000 over the years, and put Leonard up at his ranch for a while. James P. Tierney, who was Leonard’s lawyer for a while (put another asterisk on that; we’ll come back to it), fronted him “ten to twenty thousand a month for three or four years.”
Eventually, Leonard’s only assets were his TV shows. He’d been shrewd enough to retain the copyrights – certainly not a given during the early days of television – but he couldn’t hold on to them.
3. Like This, It Means Father … Like This, Bitter … Like This, Tiger
On the website of the U.S. Copyright Office, you can pull up records documenting the path by which Naked City, Route 66, and the other Leonard shows changed hands over the last fifteen years. They are plentiful and complex. I showed them to an intellectual property lawyer, who told me that to truly untangle the mess, you’d have to go down to D.C. and sift through the complete documents.
Most of those records point to, and were likely filed by, James Tierney, the attorney (with an asterisk) who represented some of Bert Leonard’s affairs toward the end. According to Tierney, Leonard used the shows to settle his debts with Tierney, which eventually totaled $1.5 million.
“It’s a long story,” Tierney explained last month. “He owned me money, and we came to an amicable accomodation about settling with me. I always liked the show” – meaning Naked City, but including most or all of the others – “and he wanted to sell it, and I bought it from him.”
Tierney was guarded when we first spoke, maybe because he didn’t know whether I knew about the paintings (and in fact I didn’t, yet). The paintings were a Monet and a Picasso, among others, and according to Susan Orlean, Tierney conspired in 1992 to steal them from a client as part of an insurance scam. He did time, and lost his law license. (Tierney disputes this version of events, but refused to go into detail and quickly ended our conversation after I brought up Orlean’s book. The California State Bar confirms that Tierney tendered his resignation with charges pending in 1999.)
You can understand how those allegations might color one’s assessment of a source, and yet Tierney sounded genuine in his affection for Leonard. “He worked until the end,” Tierney said. “He was always working on ideas. He was an optimist. He always thought that the next deal was right around the corner.” Tierney also thought – and this is the only way that Bert Leonard could have hung in so long, and borrowed so much dough from so many people – that Leonard was “a charming, talented guy, just a real nice guy.”
4. How Much a Pound Is Albatross
Tierney may have liked the shows, but like his old friend he parceled them off over the subsequent years. Route 66 went to Financo, a Dutch investment company, which sold it to Kirk Hallam, the would-be producer who wanted to remake the series as a feature film. After the original DVD releases petered out, Hallam struck a deal with Shout Factory that gave the home video label “worldwide home entertainment and digital rights, and North American broadcast rights.” (Route 66, Naked City, and Rin Tin Tin have all been in the lineups of these new nostalgia-oriented cable channels that have cropped up – MeTV, Antenna TV, I can’t keep track – so syndication is, after a long dry spell, once again a revenue source.)
As far as I can tell, Sony still controls two of Leonard’s less well-known shows, Rescue 8 (L.A. firefighters) and Tallahassee 7000 (Walter Matthau as a Florida lawman); Leonard signed the rights over to Columbia Pictures Television in the late eighties. I’ve never seen them but I’ve heard that both series have some of the same on-location verisimilitude as Route 66 and Naked City. (There’s also a rumor that they were stymied in syndication because some of the prints could not be found.) Financo appears to be stuck with Circus Boy, the one with the kid Micky Dolenz and the elephant (anybody want to take that off their hands?). And The Adventures of Rin Tin Tin . . . well, that one is too complicated to even get into here.
Naked City was the one show that Tierney held on to. At the time Tierney took over the copyright, Sony – then the show’s distributor, evidently subject to an earlier deal made by Leonard – was already releasing the series on DVD through Image Entertainment. “Then Sony sold their rights to me,” Tierney says, “and I didn’t renew the agreement.” Tierney claims that the Naked City DVDs were profitable – that even though Image spent “thousands of dollars” creating the gorgeous new video masters, the DVDs took in $600,000 of gross revenue and made an 80% profit. Tierney ended the relationship with Image over a financial dispute, and because (like me) he was annoyed that Image cherry-picked the episodes with the most famous guest stars and refused to switch to a season-by-season release pattern.
But there’s a lede that I’ve buried here: In April of this year, Tierney sold Naked City to Image Entertainment, following the “amicable” resolution of a lawsuit he filed against the DVD distributor in 2011. Although Tierney retains remake and sequel rights, Image “effectively owns the original programming,” in Tierney’s words, including all home video and digital rights.
But don’t get excited yet. Last week, a rep for Image told me that the company (which was recently purchased by Robert L. Johnson, the founder of BET) has no immediate plans to release the series on disc. That’s a real shame. Although Image is not a major player in the classic TV realm, it has licensed a few key properties and turned them in to elaborately-produced, well-reviewed disc releases. The mind reels at the possibility of a complete Naked City box set, with audio commentaries and other extras, similar to the Thriller set Image released in 2010. Or, better yet, a series of season-by-season Blu-rays, along the lines of Image’s most recent Twilight Zone upgrades.
5. The Man Who Bit a Diamond in Half
There are still things about the above that I don’t fully understand. One is the extent of Sony’s interest in Naked City and Route 66. Did Leonard always own the copyright to his shows outright, or did Screen Gems keep a piece of them? Susan Orlean writes that, by the eighties, Leonard owed Sony “a fortune” – but for what, exactly? Last year Sony’s Vice President of Media Production told me that “both of those titles expired several years ago from the Sony Pictures Television copyright and have moved on to new copyright holders” (emphasis added).
Then there’s the question of Max Kleven. According to Susan Orlean, the former stuntman gained certain rights to Rin Tin Tin in a court-ordered settlement against Leonard, who couldn’t pay off his debts to Kleven any other way. But Kleven told me that he owns more. “All that stuff has been to court twice, and as far as the court is concerned I own control of Rin Tin Tin, Route 66, and the Bert Leonard portion of Naked City,” Kleven said in May. Indeed, the Copyright Office has a 2005 purchase and assignment agreement in the name of TRG Management, LLC & Max Kleven that lists not only Rin Tin Tin but also all the Route 66 and Naked City episodes. James Tierney points out that his own foreclosure on Naked City and Route 66, in 2000, predated any of Kleven’s claims against Leonard, and that the attorneys for Financo and Image checked the titles on the shows before closing the deals with him. Kleven describes Tierney as a friend and a legal advisor. Tierney politely disputes Kleven’s claims to ownership of any of the shows.
Did Bert Leonard give away the same shows twice?
6. Suppose I Said I Was the Queen of Spain
Finally, there’s the question of the film and video elements. Did Bert Leonard keep any of them? A copyright isn’t much good if it doesn’t come with a usable copy of what’s copyrighted. In that storage shed, Susan Orlean found prints and tapes of Rin Tin Tin and some of Leonard’s other shows. But Leonard’s daughter Gina, who was caring for her father when he died and ended up with the keys to the shed, says that no one has sourced any film or video elements from his estate. Tierney told me that, for Naked City, Sony “was holding” all the elements, and “now they’re turning them over” – to Image, presumably.
But what about Route 66? The question of elements was central to the bungled early DVDs of that show. The first round derived from ragged sixteen-millimeters. After the resulting outcry, the subsequent Infinity/Roxbury releases appeared to source thirty-five millimeter elements, albeit with aspect ratio and audio flaws that suggested the mastering was being done inexpertly. Where did these transfers come from? Kirk Hallam addressed the issue in an interview in which he stated that, following the inferior original release (some of which was sourced from “videotape”), the “fine-grain masters” were rounded up from “vaults all up and down the East Coast.” (Whose vaults?) The “original film stock” for the episodes resided in a Sony vault in Burbank, but “the archivists begged me not to use that original film.”
As I’ve written before, aspects of that explanation strike me as obfuscatory (or perhaps just vague about what the technical terms actually mean). My own guess – and this is pure speculation, and I invite anyone with knowledge of the situation to set the record straight – has always been as follows: that Hallam acquired the copyright of Route 66 but no usable film elements; that Sony sought more than Roxbury or Infinity wanted to pay for access to either film prints or the old video masters that ran on Nick at Nite; that Roxbury used either collectors’ prints or some other unknown, second-rate source to create the first Route 66 DVD release; and that for the subsequent volumes Roxbury capitulated and forked over the money to use Sony’s elements.
The big question is why Shout Factory opted not to redo the first fifteen episodes. Was it merely a matter of dollars and cents, or was there another reason why better elements were unavailable? I can understand how new transfers of fifteen hours of film could bust the budget, but what about those Nick at Nite tapes, which were inarguably better than the existing DVDs? Were they tossed, or was Shout too cheap even to pay for access to them?
(Last week Shout Factory’s PR rep stopped responding to my requests for an interview with the producer of the Route 66 DVDs after I declined to submit questions in advance.)
7. The One Marked Hot Gives Cold
I never would’ve guessed that I’d get scooped digging around amid the depressing late-career business dealings of a down-and-out television producer. But that’s essentially what happened last year when Susan Orlean – yes, the New Yorker essayist who was portrayed in the film Adaptation by Meryl Streep – published a book called Rin Tin Tin: The Life and the Legend. Orlean was a big Rinty fan as a kid, and turned the unlikely subject into a book about the line of movie dogs, and their eccentric owners and trainers. Inevitably, when she came to Rinty’s TV years, Bert Leonard became a central protagonist in Orlean’s book; his epic rise and fall, his excesses and con-man’s charm, were irresistible.
But Orlean’s book also has a bit of a truthiness problem. Leonard Maltin has compiled a long list of its rudimentary errors in the area of film history. There are mistakes regarding Herbert Leonard, too. For instance, Leonard had two daughters with each of his last three wives; Orlean credits four to his third wife and two to Betty Kennedy, the last (and technically Leonard’s fourth and fifth wife, since they divorced, remarried, and divorced again). That might sound trivial, except that Orlean suggests that Leonard’s second marriage, to Willetta Leonard (who is credited as a producer on Route 66 and Naked City), ended due to the death of his only son, Steven, in a swimming pool accident in 1955. The fact that, in reality, Bert and Willetta went on to produce two more children before splitting up confounds that bit of convenient psychology. Reading Rin Tin Tin: The Life and the Legend, I got the queasy sense that Orlean was arranging the facts to fit a narrative, instead of the other way around, and that her narrative required Bert Leonard to end up as pathetic and unfulfilled as possible. Gina Leonard, one of Bert’s daughters, insists that Orlean has exaggerated the extent of Leonard’s destitution and unhappiness during his final years. She told me last week that her siblings, mother, and other family members – many of whom had cooperated with and encouraged Orlean’s book – are united in their belief that it does not do justice to Herbert Leonard.
(I should add that while I have used Orlean’s research as a guide for parts of this piece, I have made extensive efforts to fact-check everything sourced from her book with the parties involved – most of whom were clearly reluctant to revisit the topic.)
8. A Horse Has a Big Head - Let Him Worry!
I first saw Route 66 when I was in college. One of my instructors, Katie Mills, was doing a dissertation on road movies and slung me tapes of a dozen or so episodes. I confess: I didn’t get it. The videotapes were so murky that I couldn’t appreciate the vintage location footage, and so I responded more to the flaws. The guest stars were good, but the lead actors were either stiff or goofy (this was a problem with Naked City, too). And why were there so many fistfights?
Well, now I know better. Now I’m convinced, in fact, that Route 66 and Naked City may be the most important American television project of the sixties. Maybe not the all-time, word-for-word, best television shows of that era, but definitely the ones I come back to most often when I want to know what people felt then, and how their lives actually looked.
The significance of the Bert Leonard-Stirling Silliphant shows makes the state of preservation and research on them all the more alarming. The elements themselves are in uncertain hands. (Who has the negatives? I can only hope they’re stored safely in Sony’s vaults.) James Rosin has published mostly unsatisfactory books on each, and I know of at least one writer each who has abandoned a book project on Route 66 and Naked City. I’ve written around the shows myself – Naked City bit players; Route 66 locations – and I’ve skimmed Leonard’s and Silliphant’s papers at UCLA, but I haven’t done anything in depth. Sam Manners, the production manager on both shows (how did he manage that?!) and probably the last prominent crew member from either, died while I was researching this piece, and before I could interview him.
Route 66 ended on a weak note, a stillborn, two-part farce. (Silliphant, like Rod Serling, was not much of a comedy writer.) But there’s a satisfying final scene: Buz (Martin Milner) and Linc (Glenn Corbett) go their separate ways, the former settling down to marriage, the latter ostensibly headed “home” but, perhaps, continuing to wander alone. I like to think he’s still driving around out there someplace. The title of the episode is
Where There’s a Will, There’s a Way
Correction (6/13/12): The original version of this piece described the plot of Route 66‘s final episode inaccurately. Update (5/6/13): Since I published this, Shout Factory has issued a separate release of Route 66‘s fourth season, and Madacy (a subsidiary of Image Entertainment) has released two volumes of Naked City DVDs. Most of the episodes are recycled from the earlier sets, but there are ten new-to-home video episodes.
October 3, 2011
Okay, loyal readers, it’s time to fire up the television set . . . .
. . . . slam a fresh U-matic cassette into your VTR machine . . . .
. . . . and settle back into your most comfortable plastic-covered recliner.
Because, for no special reason other than that I finally carved out a couple of weeks for some binge-viewing and a lot of them were on top of the pile, much my output for the rest of this year will be focused on an array of crime dramas from the seventies.
(So if you don’t like those, it’s going to be a long, cold winter. Sorry!)
This excursion into retrograde crime-fighting will take the form of criticism, DVD reviews, interviews and other sidebars, goofy throwaways, and anything else I can come up with to provide a little variety.
Taken as a whole, the glut of police and private eye shows that cluttered the airwaves in the seventies aren’t as good as many of the older dramas that I’ve often written about here. They challenge or transcend the limitations of genre less frequently than the best crime shows of the sixties or of this century. But many of them are a lot of fun and, more to the point, many of them are new to me. So I hope you’ll join me on my bell-bottomed journey through through Watergate-era violence, mayhem, and skullduggery.
Stay, as they say, tuned.
September 17, 2011
Those guys are at it again: The bloggers who brought you their Siskel-and-Ebert rundowns on every episode of The Outer Limits and Thriller have turned their attention to Batman. As before, the supplemental content that John Scoleri and Peter Enfantino have organized, and the reader comments (historian Gary Gerani, for instance, on the mise-en-scene of TV director Tom Gries) have greater value than the episode reviews themselves.
So far, the most interesting piece is this frank new interview with Joel Eisner, author of the eighties-era companion book to the series, The Official Batman Batbook. Generally accurate and entertaining, and very well-designed, Eisner’s book is a delight to read even if it’s not the full-on production history that someone should still write. In the interview, no one comes off particularly well, not even Eisner (who seemed interested only in writing an authorized history of the series – why? – and was willing to pay the actors for interviews). As it turned out, even with money on the table, greed kept Burt Ward and Adam West from participating in the Batbook, to the later regret of at least one of them; and West’s subsequent attempt to publish an autobiography (to be ghostwritten by Eisner) foundered on similarly unrealistic expectations of profit. None of that comes as a surprise to me, because I remember clearly that the good old days of the Hollywood Collectors Show – in which the “celebs” generally showed up to meet fans, sold their photos for $5 each, and signed everything else for free – came to a fast end after the “Batman Bloc” (West, Ward, Julie Newmar, and Yvonne Craig) banded together and successfully started charging $25 for any and all signatures.
I do hope the Batpole men are able to recruit Lorenzo Semple, Jr., to share some new memories for their blog. I saw Semple speak at a screening earlier this year, and he’s still sharp, funny, and able to attract the attention of very good-looking fangirls.
I’m quoted in Ivan G. Shreve, Jr.’s piece here about The Defenders, on the occasion of its fiftieth annversary. Ivan contacted me to ask why I thought The Defenders has remained so conspicuously out of circulation, relative to other long-running shows of its era. I’ve heard various theories, some plausible and some from people connected to the show, as to why executive producer Herbert Brodkin’s legendary parsimony may have created future clearance problems for The Defenders (and other Plautus productions). But my argument to Ivan is that at this point it’s probably an Occam’s razor situation: The Defenders is MIA because it’s old, it’s obscure, and much more commercial TV properties have been tanking on home video left and right.
(These TV-debut anniversaries that come around every September and early October are arbitrary and hypocritical, aren’t they? If The Defenders remains neglected at 49 and 51, nobody is going to suddenly revive it on its 50th birthday. Anniversary fetishizing is a harmless ritual until – and I’ve heard of this happening more than once – some publisher or programmer rejects a project because it’s tracking too late to hit one of those meaningless dates. Then it’s not so funny any more.)
September 8, 2011
It’s that time again: I’m in need of a blogging breather in order to relax, recuperate, work on some other writing projects, figure out what the hell I’m going to do with the rest of my life, or (e) all of the above.
Actually there will be at least a few posts over the next couple of weeks, but they’ll probably be brief. Meanwhile the screener pile is swollen with unwatched DVDs (I still can’t believe anybody sends me these for free!) so, if all goes according to plan (and, fair warning, very little has gone according to plan lately in the project completion department), I’ll be back soon with some reports from that front.
August 19, 2011
“I would rather reclaim history from nostalgia than derive nostalgia from history.”
- Rick Prelinger