March 19, 2012
Name: Robert Clendenin.
Career-Defining Line, From Cougar Town (Above): “I’d give you a shoulder to cry on, if I had one.”
Trademarks: Apart from the shoulders (or lack thereof), a bald pate and adenoidal voice that has led to typecasting in the slow-witted or deviant veins. Cougar Town also makes fun of his chin (or lack thereof).
Known As: A pervy morgue attendant on The Closer, a pervy doctor and a pervy neighbor on Bill Lawrence’s Scrubs and Cougar Town, respectively, and (per his official bio) various characters named “Slow Roger, Mr. Giggles, Plumber Dave, Louis the Stalker, Doofus, and most recently Bob the Demon.” Plus bit parts in L.A. Confidential, Dude, Where’s My Car? and the most recent Star Trek movie.
His Niche: Not yet a candidate for the meaty parts that typically define a “character actor,” Clendenin is one of the instantly recognizable small-part actors who brighten the corners of our movies and TV shows. He’s the twenty-first century Norman Leavitt.
On the Web: Clendenin has a website, a Facebook page, and a Tumblr (whatever the hell that is). Wouldn’t it be cool if all the Norman Leavitts of the last hundred years could’ve had all those?
Norman Leavitt (via Aveleyman.com)
July 29, 2011
I never really met Jay North, who played Dennis the Menace on television, but I saw him once at an autograph show. North, who has long been as much of a poster-boy for the fucked-up child star as you can be without actually dying from it, was slumped face-down over his table, cradling his head in his arms amid a puddle of eight-by-ten glossies. Jeannie Russell, his former co-star, stood behind him, hand on his shoulder, quietly talking him back from whatever ledge of mental anguish on which North was perched. What struck me as I studied this scene was how routinized it seemed: I got the idea that these two had acted out this ritual countless times before, a sad-funny part of arrested adult lives built upon vague memories of a childhood in which they remained trapped like the proverbial bugs in amber. And although the spectacle might have been new to this particular roomful of fans, I was certain that I wasn’t in the midst of the first crowd that had tiptoed awkwardly around North in a public setting, waiting for him to get himself together. Exactly who, I wondered, was benefitting from this transaction? What does Jay North get from these people? Why is an old photo of a burned-out child actor worth five bucks and a trip to North Hollywood to anyone? Nostalgia is the slowest-acting poison.
Jay North: Rebel without a comb.
Anyhow: This month brings us the DVD release of the second season of Dennis the Menace (the third, out of four, has already been announced for the fall, suggesting unexpectedly robust sales), and Shout Factory, in its usual puckish fashion, saw fit to send me this set but not the first season, which came out back in March. Ordinarily, I’m a completist about this kind of thing, but then I decided that if there was ever a series that did not need to be seen from the beginning, it was probably Dennis the Menace.
My Nick at Nite memories of Dennis the Menace, which I found agreeable as a child, were of an epic, all-out guerilla combat between male Bad Seed Dennis and querulous, nasty old retiree Mr. Wilson. This turns out to be inaccurate: the show is sweeter, gentler, blander, and less funny than I recalled. Though it is based, of course, on the long-running Sunday strip by Hank Ketcham – himself apparently a nasty old man who based and named his creation after his own attention-deficit-disordered son, then became estranged from the child who earned him millions – the TV Dennis affects a comics-page atmosphere only in the repetition of cloying catchphrases (“Great Scott!” “Good ol’ Mister Wilson!”) and the exaggerated costumes of Dennis and his know-it-all nemesis Margaret (the aforementioned Ms. Russell). The rest is straight sitcom-generic, a second-tier entry in the stable of cheap Screen Gems domestic comedies, which also included Father Knows Best, The Donna Reed Show, and Hazel.
Like those other, better Screen Gems comedies, Dennis the Menace tried for warmth as much as for humor; and it’s a sad reality that warmth, especially yesterday’s warmed-over warmth, does not age as well as a good gag. The premise hints at a dire form of suburban combat: a symbiotic bond of irritation between two essentially unpleasant people, a bratty child and a mean-spirited retiree, Maple Street denizens burdened by opposite extremes of age but both with too much time on their hands. Dennis Mitchell is sometimes bratty, occasionally disobedient or disingenuous, but more often just accident-prone or hyperactive. Mr. Wilson is an asshole and a hypocrite, susceptible to flattery or bribery, querulous by default but obsequious when the potential for personal gain presents itself. Whenever he has a chance to finally vanquish his enemy, though, as when Dennis runs away in the season opener “Out of Retirement,” Wilson turns nice and sees to it that no harm comes to the boy. (Paul Mavis, in a customarily credulous and exhaustive survey of the first season, suggests that the earliest episodes offered a livelier and more maleficent Dennis.) It is probably wise that the show’s creators chose to soften these characters, because I see no one on the show’s roster of creative talent – Screen Gems staff producer James Fonda, B-movie directors William D. Russell and Charles Barton, a list of journeymen writers, and a less than ideal cast – with the talent to have made the show darker without also making it impossible to take. But as a result Dennis the Menace has no subtext, no edge, neither the nuanced view of human behavior that distinguished Leave It to Beaver nor even the fascinating, barely suppressed hysteria of Donna Reed.
My favorite of the dozen Dennis episodes I watched this week was “Dennis and the Radio Set,” in which Mr. Wilson finds a cache of cash hidden in an old radio, purchased (thanks to Dennis’s meddling) at auction. Mr. Wilson and Mitchell pere immediately start spending the money in their heads, until Dennis stops them in their tracks by insisting that a search be undertaken for the true owner. The adults agree to place a classified ad in the local paper, but word it so that the person to whom the cash belongs is unlikely to come forward. The ethical positions taken by the various characters – Dennis as idealist and moral compass, Mr. Wilson and the usually unassailable Henry Mitchell as morally compromised or, at least, pragmatic to excess – are not consistent with those they affect in other episodes. But they are, at least, mildly surprising. The teleplay (credited to Fonda, who was not primarily a writer) also finds room for a not-quite-absurdist gag in which the characters never realize that the old radio only broadcasts a South African station (say what about a lion on the rampage?) and the best role I’ve ever seen gangly bit actor Norman Leavitt play, as an American Gothic-styled ne’er-do-well angling to claim the cash, with a crib sheet tucked into his hat, yet.
But in its efforts to set up and then embellish some sustained gags, “Dennis and the Radio Set” runs somewhat counter to the series’ format. The prototypical Dennis episode would be one like “Henry and Togetherness,” in which the towheaded twerp manages to destroy, among other things, a cookie jar, an aquarium, and Mr. Wilson’s new hat. Mr. Wilson, meanwhile, runs a con on Dennis’s father, manipulating him into giving up a golf game in order to spend more time with Dennis, on the dubious logic that this will keep the little brat out of his own hair.
(Mr. Wilson often behaves according to that heightened dream-logic of sitcoms, in which people do things that make absolutely no sense in order that we may have a plot each week. See also, for instance, Jeannie’s psychotic fixation on “helping” Major Nelson, despite his constant pleas that she mind her own fucking business; Darrin Stephens’s monomaniacally self-defeating anti-feminism; and practically all the behavior of the castaways on Gilligan’s Island. I’m still working out my Lost-like theory that Gilligan’s isle was actually a top-secret asylum for the dangerously insane, and that everyone on the Minnow was a multiple murderer, heavily drugged and circumvented in escape by unseen government agents.)
Loose in its structure, slack in its pacing, “Henry and Togetherness” is content to assemble a modest catalog of routine childhood antics and banal adult reactions around only a smidgen of plot. It is inoffensive in its mediocrity, and actually superior to episodes that contrive more elaborate or far-fetched conflicts between Dennis and Mr. Wilson, like “Dennis the Campaign Manager” (Dennis inspires Mr. Wilson’s bid for parks commissioner) or “Dennis and the Miracle Plant Food” (more or less self-explanatory). But is that ambition enough to justify one hundred and forty-six half-hours?
There are other “classic” shows that have, arguably, gotten by with this approach; if you enjoyed The Cosby Show, it was because you liked spending time with Bill Cosby and his appealing faux-family, not because any of them were killing themselves trying to make you laugh. But the cast of Dennis is too cut-rate to coast on slight material. Radio actor Joseph Kearns plays Mr. Wilson with a catalog of overdone, old-womanish gestures and expressions. He’s the right type but he isn’t much fun; Dennis needed a sharp, operatically hatable antagonist, like The Dick Van Dyke Show’s Richard Deacon or The Lucy Show’s Gale Gordon (who, in fact, replaced Kearns on Dennis after he died suddenly toward the end of the third season). Herbert Anderson, playing Dennis’s father, is a nebbish with a tremulous voice, a slight build, and no chin. In contrast to windbaggy sitcom dads like Robert Young, Hugh Beaumont, or Carl Betz, Anderson is a non-entity, displaced entirely by the monster-grandpa figure of Mr. Wilson. A father figure of such extreme weakness, positioned within the standard nuclear-family dynamic is an intriguing source of unease. But I have yet to come across a Dennis episode that mines Anderson’s odd passivity for either humor or pathos.
And as for Jay North, a Village of the Damned escapee with a spooky death-rictus grin, he bellows his dialogue with a presentational delivery, as if he’d been trained to expect a Tootsie Roll for every successfully completed punchline. On one level it’s hard to argue with his casting, because Dennis is supposed to be annoying and North certainly fits that bill. I kept wishing, though, that Dennis could have been Stephen Talbot, who played the similarly unctuous character of Gilbert on Leave It to Beaver in a more likable and realistic manner. Indeed, Beaver’s rich supporting cast contrasts sharply with the lack of background color in Dennis the Menace; all of Dennis’s friends and most of the other adults (including Gloria Henry as his mother) are forgettable. Not only did Beaver have an indelible secondary cast, but it deployed them shrewdly, to extend its tonal richness. If Wally and the Beav were flawed but also likable and recognizably human, then their assortment of friends were either venal (Eddie Haskell, Gilbert Bates) or stupid (Lumpy Rutherford, Larry Mondello), a collective suburban id that had no place in a plainer, sunshinier show like Dennis the Menace.
Earlier I wrote that Dennis the Menace had no subtext, but that’s not quite true. Out of the myriad ways in which a little boy might torment an elderly pensioner, nearly half of my random sampling of episodes zeroed in on incidents whereby Dennis caused, or threatened, a financial loss for Mr. Wilson. This obsession with economics is expressed with numeric precision. Every teleplay spells out the exact sums of money at stake. Mr. Wilson’s worthless stock escalates in value to $500 just as Dennis throws it out with an old phone book (“The Stock Certificate”). Mr. Wilson’s parcel of scrap land goes up in value from $2,000 to $5,000 after Dennis finds gold on it (“The Rock Collector”). Mr. Wilson gets a hundred dollar bill in the mail, only to see it snatched away by a crow (“Woodman, Spare That Tree”). And so on. The amount of money in that radio set was $1600, and in conversations with each of two potential claimants, the exact figure of a reward is haggled over. So much uncouth discussion of dollars and cents called up, in contrast, one of my indelible childhood memories of Leave It to Beaver, in which the Beav asked his dad if they were rich and Ward replied only that the Cleavers were “comfortable.” (I think that line may have triggered my earliest conception of the middle class, and the awareness that I numbered among it.)
On other occasions I have praised shows (like The Wire) that emphasize money, because frank depictions of economic hardship rarely emerge from Hollywood. But when Dennis the Menace does it, the show merely reflects George Wilson’s avarice; you can practically imagine the writers looking over his shoulder and smacking their lips in unison with Mr. Wilson as he grubs for some wad of cash. It’s an unthinking validation of the capitalist trap: the anxiety surrounding financial loss is the most real thing in the world of Dennis the Menace. Still, I’m not unsympathetic. As I grow older and ever less “comfortable,” the thought of living on a fixed income moves further up on my list of fates worse than death, inching past even the threat of torment by unruly children.