The Summer Man

June 14, 2011

The fourth season of Mad Men was the series’ finest thus far.  The narrative strands that took the show into areas of tonal inconsistency – Peggy’s surprise pregnancy; Don’s Carnivale-worthy childhood flashbacks – have been erased or smoothed over.  Mad Men now has a roster of rich, fully-developed characters upon which the writers and actors can riff with confidence and take in a thousand different directions.  Of the television series I’ve seen, only a tiny handful have lasted long enough and stayed good enough to enter this zone: The Dick Van Dyke Show, Peyton Place, maybe St. Elsewhere, middle-period ER, The Sopranos, maybe The Shield, the American The Office, The Wire.  Perhaps I’m just rationalizing personal taste, but Mad Men further commits me to the theory that for television the serial drama is the apotheosis of the art form.

I could go on like that.  But in keeping with the theme of this blog, I’m just going to focus on some (but by no means all) of Mad Men’s connections to actual sixties television.  As we saw in Season 2, Harry Crane’s (Rich Sommer) promotion to head of the (one-man) television department meant that the fictional admen of Sterling Cooper would interact with the real-life TV biz of the mid-sixties.  Though it offered nothing as elaborate as a whole episode wrapped around The Defenders, Season 4 was peppered with vintage TV references.

  • In the season opener, “Public Relations,” Harry sells a jai alai special to ABC, which he says is now interested in telecasting unusual sporting events.  He doesn’t mention the name, but it’s clearly a reference to the network’s Wide World of Sports, which had become popular by doing exactly that during the early sixties.  Incidentally, that jai alai fad that Mad Men has chortled over several times was no joke.  I’d never heard of the sport until I came across a 1963 Route 66 episode (“Peace, Pity, Pardon”) about a Cuban jai alai team.
  • In “The Good News,” Harry hears that Don will have a twenty-four hour layover in Los Angeles and asks him to have lunch with “Bill Asher at the Brown Derby.”  Asher created Bewitched and therefore a lot of Mad Men bloggers caught this one, because that show’s Darrin Stephens was a Madison Avenue ad man (something I’d forgotten, I confess).  But when Harry grumbled that Asher would probably cast Don in something, I thought maybe it was a jab at Don’s looks and that he might have been thinking of the beach party movies that Asher was directing for AIP in 1964-1965.  I would have said that Bewitched in-jokes were too cheap for Mad Men, until I got to the episode (“Hands and Knees”) in which Roger Sterling (John Slattery) was thumbing desperately through his rolodex and calling former clients.  He reaches someone named Louise, who tells him that her husband Larry has passed away.  I surrender: Larry Tate was Darrin’s boss on Bewitched, and his wife was named Louise.
  • In “The Summer Man,” Harry (sitting next to his autographed photo of Buddy Ebsen in full Beverly Hillbillies attire; hyuk!) tries to talk freelancer Joey Baird (Matt Long) into auditioning for Peyton Place.  He says that one of “Ryan’s” (Ryan O’Neal) “rivals” has been giving an embarrassing performance, and that there could be an opening.  “Can’t tell you who,” insufferable star-fucker Harry says, so we can only speculate on which actor Joey might have replaced.  I doubt very much that Matthew Weiner et. al. went to the trouble of quizzing surviving cast and crew but, in fact, there were several disappointing second leads on Peyton Place around that time who might have been written out of the show sooner than planned.  Richard Evans, who played Paul Hanley (Allison’s unintentionally creepy college-age suitor), and Don Quine, who played Gus Chernak (a hoodlum who died after Rodney, O’Neal’s character, beat him up), come to mind.  That’s only the most prominent of several Peyton Place references in Season 4, which takes place right at the height of Peyton’s huge popularity.
  • Incidentally, Harry reveals that he sent Joey’s Polaroid from the office Christmas party (depicted in “Christmas Comes But Once a Year”) to Bernie Kowalski in Hollywood.  Bernard L. Kowalski was a real person – he collaborated with Sam Peckinpah at Four Star and directed the Mission: Impossible pilot around the time of this season’s events – but as far as I know he had nothing to do with Peyton Place.  Just me, but I don’t think Joey would’ve been so hot as Mr. Briggs.
  • In “The Beautiful Girls,” Joan (Christina Hendricks) watches The Patty Duke Show; and in “Chinese Wall,” Pete Campbell (Vincent Kartheiser) watches Hazel.  I wouldn’t necessarily have predicted that either character would be a fan of those particular series.  But, hey, in 1965, there weren’t a whole lot of choices when you turned on the TV.

 

 

Long-running television shows are like the proverbial elephant: they feel very different depending on where (or when, in case of a TV series) you touch one.  A few, like Bonanza or C.S.I., have gone for a decade or so without changing much, but those are the exceptions.  Most of the time, there are significant changes along the way in a show’s cast, producers, writers, premise, setting, tone, or budget, and these inevitably affect its quality.

I always think of Rawhide, a popular western which ran on CBS from 1959 to 1965, as the most extreme example of this phenomenon.  On the surface, one episode of Rawhide looks more or less like any other.  It began as the story of a cattle drive, and remained true to that concept for most of its eight seasons (actually, six and two half-seasons, since it began as a midyear replacement and closed as a midyear cancellation).  The stars were Eric Fleming as the trail boss and Clint Eastwood, a sidekick who almost but not quite achieved co-lead status, as his ramrod.  A few secondary cowboys came and went, but the only major cast change occurred in the last year, when Fleming was replaced by a worn-looking John Ireland.

Behind the scenes, though, the creative turnover was significant, and the types of stories that comprised Rawhide changed with each new regime.  A thumbnail production history is in order.

The creator of Rawhide was Charles Marquis Warren, a writer and director of B movie westerns who had played a significant role in transitioning the radio hit Gunsmoke to television in 1955.  Warren stayed with Rawhide for its first three years (longer than he had remained on Gunsmoke, or would last on his next big TV hit, The Virginian).  For the fourth season, CBS elevated Rawhide’s story editor, Hungarian-born screenwriter Endre Bohem, to the producer’s chair.  Vincent M. Fennelly, a journeyman who had produced Trackdown and Stagecoach West, took over for the fifth and sixth seasons.  During the seventh year, the team of Bruce Geller and Bernard L. Kowalski succeeded Fennelly, only to be fired in December and replaced by a returning Endre Bohem.  A final team, comprising executive producer Ben Brady and producer Robert E. Thompson, couldn’t save Rawhide from cancellation halfway through its eighth season.

Most Rawhide fans will tell you that the early seasons are the best.  I can guess why they think that, but I believe they’re wrong.  Warren’s version of Rawhide played it safe, telling traditional western stories with predictable resolutions.  The writers were second-rate, and Warren padded their  thin plots with endless shots of migrating “beeves.”  Warren was content to deploy totemic western tropes – Indian attacks, evil land barons, Confederate recidivists – in the same familiar ways that the movies had used them for decades.

During the Bohem and Fennelly years, things began to improve.  Both producers brought in talented young writers, including Charles Larson and future Star Trek producer Gene L. Coon, who contributed quirky anecdotes like “The Little Fishes” (Burgess Meredith as a dreamer transplanting a barrel of fragile Maine shad fry to the Sacramento River) and pocket-sized epics like the amazing “Incident of the Dogfaces” (James Whitmore as a malevolent but terrifyingly effective cavalry sergeant).  There were still episodes that coasted on routine genre action, but they alternated with meaty, character-driven pieces.

When Kowalski and Geller (the eventual creators of Mission: Impossible) took over Rawhide in 1964, they pulled off a daring experiment that has never been matched in the history of television.  The new producers upended Rawhide, dismantling western myths and muddying genre barriers with surgical precision and undisguised glee.  Geller and Kowalski commissioned teleplays like “Corporal Dasovik,” a Vietnam allegory which portrayed the cavalry as slovenly, dishonorable, and homicidal, and “The Meeting,” a surreal clash between the drovers and a prototypical mafia on a weirdly barren plain.  The two-part “Damon’s Road” was a rowdy shaggy-dog comedy, complete with infectious Geller-penned showtunes (“Ten Tiny Toes”) and a subplot that reduces Fleming’s square-jawedhero to buffoonery, pushing a railroad handcar across the prairie in his longjohns.

Geller and Kowalski’s Rawhide segments may be the finest television westerns ever made.  Taken as a whole, they represent a comprehensive rebuke to the myth of the Old West.  They anticipate the brutal, disillusioned revisionist western films made by Sam Peckinpah and others in the following decade.  Peckinpah’s The Westerner (1959) and Rod Serling’s The Loner (1965-1966) touch upon some of the same ideas, but they do not take them as far.  Not until Deadwood, forty years later, did television produce another western that looked, felt, and smelled like the seventh season of Rawhide.

The only problem with the Geller-Kowalski Rawhide, which the producers undoubtedly understood, was that it had little to do with the Rawhide that had come before.  Many observers just didn’t get it, including Eric Fleming, who refused to perform some of the material.   (Eastwood, apparently, got the idea, and Geller and Kowalski shifted their attention from Fleming’s character to his.)  Another non-believer was William S. Paley, the president of CBS, who was aghast at what had been done to one of his favorite programs.  Paley fired Geller, Kowalski, and their story editor Del Reisman midseason in what they termed “the Christmas Eve Massacre.”  Paley uttered one of television history’s most infamous quotes when he ordered their replacements to “put the cows back in.”

During the final year of Rawhide, the new producers did just that.  The series attracted some talented young directors and actors, including Raymond St. Jacques as TV’s first black cowboy.  But no one took any chances in the storytelling.

*

Critics don’t have much value if they neglect to interrogate their own assumptions, question their long-held opinions.  Which explains why I’ve been slogging through the first and second season of Rawhide, screening the episodes I hadn’t seen before and looking for glimmers of life that I might have missed.  Most of the segments I watched in this go-round proved to be just as handsomely mounted, and fatally tedious, as the rest.  But one episode, “Incident of the Blue Fire,” triggered some doubts about my dismissal of Charles Marquis Warren, and led me to write this piece.

“Incident of the Blue Fire” (originally broadcast on December 11, 1959) is a little masterpiece about a cowhand named Lucky Markley, who believes he’s a jinx and whose frequent mishaps gradually convince the superstitious drovers that he’s right.  It sounds like one of those dead-end cliches that I listed in my description of the Warren era above.  But the writer, John Dunkel, and Warren, who directed, get so many details just right that “Incident of the Blue Fire” dazzled me with its authenticity, its rich atmosphere, and its moving, ironic denouement.

Dunkel’s script gives the herders a problem that is specific to their situation, rather than TV western-generic.  They’re moving across the plains during a spell of weather so humid that the constant heat lightning threatens to stampede the cattle.  The drovers swap stories about earlier stampedes, trying to separate truth from legend, to find out if any of them have actually seen one.  Eastwood’s character, Rowdy Yates, averts a stampede just before it begins, and explains to his boss how he spotted the one skittish animal.  Favor, the trail boss, replies that Rowdy should have shot the troublemaker as soon as he recognized it.  These cowboys are professional men, discussing problems and solutions in technical terms, like doctors or lawyers in a medical or legal drama.

Then Lucky appears, asking to join the drive with thirty-odd mavericks that he has rounded up.  “Those scrawny, slab-sided, no-good scrub cows?” Favor asks.  Not unkindly, he dispels Lucky’s illusions about the value of his cattle.  Lucky shrugs it off, and negotiates to tag along with Favor’s herd to the next town.  Then Favor and one of his aides debate the merits of allowing a stranger to join them.  In one brief, matter-of-fact scene, Dunkel introduces viewers to an unfamiliar way of making a living in the west and to a type of man who might undertake it.

Warren directs this unpretentious material with casual confidence.  He gets a nuanced performance from Skip Homeier, whose Lucky is proud and quick to take offense, but also smart and eager to ingratiate himself with others.  Warren’s pacing is measured, but it’s appropriate to a story of men waiting for something to happen.  Tension mounts palpably in scenes of men doing nothing more than sitting around the campfire, uttering Dunkel’s flavorful lines:

WISHBONE: Somethin’ about them clouds hangin’ low.  And the heat.  Sultry-like.  It’s depressin’, for animals and men.

COWHAND: Yep, it’s the kind of weather old Tom Farnsworth just up and took his gun, shot hisself, and nobody knowed why.

“Incident of the Blue Fire” features some unusually poetic lighting and compositions.  Much of it was shot day-for-night, outdoors, and the high-key imagery creates, visually, the quality of stillness in the air that the cattlemen remark upon throughout the show.  (The cinematographer was John M. Nickolaus, Jr., who went on to shoot The Outer Limits, alternating with Conrad Hall.)  There’s an eerie beauty to many of the images, like this simple close-up of Eric Fleming framed against the sky.

Does one terrific episode alter my take on the early Rawhide years?  No – they’re still largely a bore.  But now I can concede that Charles Marquis Warren was probably after something worthwhile, a quotidian idea of the old west as a place of routine work and minor incident.  That the series lapsed into drudgery much of the time, that the stories usually turned melodramatic at all the wrong moments, can be lain at the feet of a mediocre writing pool.  Or, perhaps, Warren capitulated too willingly to the network’s ideas of where and how action had to fit into a western.  But Rawhide had a great notion at its core, and that explains how the show could flourish into brilliance when later producers, better writers, were given enough room to make something out of it.

Bernard L. Kowalski died on October 26.  He was one of the most creative director-producers of the ’60s, whose passing rated more attention in the press than this sole, belated Variety obit.  I guess his primary claim to fame is having directed the Mission: Impossible pilot, and later several of the good, early Columbo segments.

Mission was the culmination of a brief, productive collaboration with its creator, Bruce Geller, with also included some good episodes of The Dick Powell Show and one amazing, postmodern, ahead-of-its-time season of Rawhide.  (Too ahead of its time: they got fired.)  Sam Peckinpah made their partnership a trio for a time, but he was too volatile for it to last.

The year that Bernie launched Mission: Impossible, he directed or produced a total of five successful series pilots – for Mission, The Monroes, The Guns of Will Sonnett, The Rat Patrol (Kowalski produced, Tom Gries directed), and NYPD.  I can’t imagine that’s not a record.  The NYPD pilot would never be broadcast; Kowalski’s show featured Robert Hooks, Frank Converse, and Robert Viharo as a multiracial team of young detectives.  When the show went to series a year later, Viharo was gone, replaced by Jack Warden as an older police captain.

Bernie had two flirtations with feature careers – early on, as a director of low-budget sci-fi and action films (Attack of the Giant Leeches) for Gene and Roger Corman, and for a while in the late ’60s and early ’70s after his TV career had peaked with that string of hit pilots.  Those movies (Krakatoa – East of Java, Macho Callahan, SSSSS) were eclectic but not very good, and Bernie slid back into episodic TV.  His credits include long stints on a raft of classics or, at least, popular hits: The Rebel, The Untouchables, Perry Mason, Banacek, Columbo, Baretta, Knight Rider, Airwolf, Jake and the Fatman.  The conclusions one draws from that list, I guess, are that Bernie had a skill for handling masculine action material, and that he was a good man to call in if you had a temperamental star who liked to throw his weight around.  Bernie was an easygoing guy, but he didn’t take any crap from anybody.

I met Bernie in January 2006, and we spent more than three hours at his Northridge home, just covering the pre-Krakatoa years (plus a little bit of Columbo).  His memories were vivid, funny, and forthright (he admitted, for instance, that the visual style of Mission: Impossible was cribbed straight from The Ipcress File).  Plus, it’s always a bonus to talk to someone in the house where they’ve lived for many decades.  At one point Bernie gestured toward the front lawn as he was telling me a story about a fistfight that erupted between Sam Peckinpah and the writer James Lee Barrett, and I realized I was sitting in the same den where Peckinpah and Lee Marvin and many others had caroused with Bernie over the years.

Bernie and his wife Helen were very warm and hospitable that afternoon, and I wish I’d stayed in touch; I still don’t even know how Bernie died (he seemed in pretty good health two years ago).  It’s a common occurrence for an historian, but it still makes me sad.

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