August 3, 2011
Veteran assistant director, production manager, and producer James H. Brown died on July 10. He was 80.
Brown also directed a handful of television episodes: six Honey Wests, at least one Tales of Wells Fargo, a Wagon Train, an Alfred Hitchcock Hour, a trio of Longstreets, a Doc Elliot, and a Circle of Fear. But he spent most of his career in production, a reliable behind-the-scenes man tasked with keeping the creative types on time and on budget.
Brown was a source for several things I’ve written over the years, starting when he was in college in the late nineties. He was at an important place at an important time: Brown spent his first decade in television at Revue Studios during the period when that independent company, a part of the MCA empire, bought Universal Studios and grew into the biggest behemoth in television production. Most of the production office staff at Revue were movie veterans, with careers dating back almost to the silent era. (I interviewed one longtime Revue assistant director, Willard Sheldon, who got his DGA card in 1937). But Brown was just out of college when he began working at Revue in 1953, and he was one of the few people I found who could tell me about the company’s inner workings.
But while Brown gave me some useful background, my attempt to interrogate him for a longer oral history was basically disastrous. Generous with his time but also modest and circumspect, Brown answered my questions with little detail or embellishment. If he had anything negative to say about anyone he ever worked with, those stories went with him to his grave.
As a UCLA student, Brown had no thought of entering the movie business until he became friendly there with members of Alan Ladd’s family, and switched to a major in film. A mailroom job at MCA led to his promotion to second assistant director in late 1955. Brown’s duties in that capacity included “paperwork, doing all the chasing and setting the background. Getting actors out of their dressing rooms, getting extras onto the set.” A junior administrator without an office, Brown would grab a table on the set and make out the next day’s call sheets by hand.
Brown didn’t say so in our interviews, but he must have been viewed as something of a wunderkind at Revue, where his professional advancement happened quickly. He was promoted to first assistant director within a year (now, his primary duty was working with extras to stage the background action), and began to land some choice assignments on the studio’s series. Brown went the extra mile to help the directors to whom he was assigned:
In the early days, when there were quite a few directors coming out from live television in New York and had been used to using three or four cameras, sometimes single cameras really kind of threw them in terms of how to stage and how to use a single camera. So a lot of times I’d take a director home and have dinner at my house and then sit down and go through the script with them and try to help advise him how to use a single camera. And the directors who were coming out of film were used to having more money and a bigger budget, more time to shoot. So I would try to guide them.
Often in Hollywood, but especially at the budget-conscious Revue, directors often viewed their ADs and production managers as the enemy, as spies for the production office. I got the sense that Brown, although loyal to the front office, succeeded by positioning himself as more of an ally to his directors than many of his older, more jaded colleagues were willing to do.
Brown worked on most of the early Revue shows at least a few times as a first assistant: The Restless Gun, M Squad, Johnny Staccato, Riverboat, Checkmate, Laramie. But he was assigned most often to the studio’s dramatic anthologies, which he thought were “treated more as the A-list because of the casting, the producers, and the writers,” and to the long-running western Wagon Train.
On Wagon Train Brown became friendly with Ward Bond, and observed a falling-out between Bond and co-star Robert Horton as the latter sought to get out of his contract and leave the series. “Bond was a wonderful, warm person. Gruff on the outside. Demanding, but not unfairly demanding. I think he felt as if Horton wanted abandon ship, and he was the skipper,” Brown said.
Of the Revue anthologies, Brown worked most often on The General Electric Theatre, whose host was Ronald Reagan. “He always came on the set and had four or five jokes he wanted to tell everybody before he went to work,” Brown remembered of Reagan.
Brown’s favorite directors were John Ford, who he assisted on episodes of The Jane Wyman Theatre and Wagon Train, and Alfred Hitchcock. Brown supplanted Hilton Green as Hitchcock’s first assistant of choice on his eponymous series, and followed Hitchcock to The Birds and Marnie as well. (Ford also asked Brown to assistant direct a feature for him, The Long Gray Line, but Brown was unavailable.) More than any of the rank-and-file episodic directors he worked with, Brown was impressed by Ford’s and Hitchcock’s effortless command of their sets. “They were the best teachers I ever had,” he said.
After leaving Revue, Brown moved briefly to Four Star Productions (where he worked on Honey West and Amos Burke, Secret Agent) and then to Paramount (The Brady Bunch, The Odd Couple, Longstreet). At Revue, Brown had directed some second units, including a batch of San Francisco exteriors for Checkmate, as well as Robert Horton’s outdoor screen test for Wagon Train and many of Hitchcock’s and Reagan’s introductions for their respective shows. That experience led to his own desultory directing career, which consisted mainly of assignments that fell to him when another director dropped out. Brown also spent a few years directing television commercials (for Sears, AT&T, Dove Soap, Chevrolet, and Maxwell House’s late sixties “my wife” campaign), and briefly considered transitioning into a full-time career as a director.
“I thought about it seriously,” Brown said, “but I had a wife and four children, and financially it was too big a risk. I was working fifty-two weeks a year and begging for time off in production, and as a director, starting out, I knew it was going to pinch financially.”
Instead, Brown became a line producer, with credits on Joe Forrester, The Quest, Dallas, and a number of made-for-television films. He retired in 1992, following an unpleasant experience on the telefilm Danielle Steel’s Secrets. But, as was his way, Brown would never tell me exactly what went wrong on that show.
July 18, 2011
Although it’s been three months since his death, it’s the season of Sidney this summer in New York. On June 27, which would have been Lumet’s eighty-seventh birthday, a celebrity-packed memorial service at Lincoln Center’s Alice Tully Hall featured eulogies by Lauren Bacall, Gene Saks, Walter Bernstein, Marcia Jean Kurtz, Phyllis Newman, Christopher Walken, James Gandolfini, David Mamet, and others.
Starting tomorrow, the Film Society of Lincoln Center begins a week-long tribute to Lumet, with screenings of sixteen of his films. Among those being shown are his debut, the live television adaptation 12 Angry Men (1957), and Fail-Safe (1964), followed by a question-and-answer session with screenwriter Walter Bernstein. At ninety-one, Bernstein is perhaps the oldest living television dramatist of consequence, and of course he also scripted (anonymously, because he was blacklisted at the time) many live episodes of Danger and You Are There that Lumet directed during the early fifties.
After I wrote about Lumet’s directorial style in some of his live shows in April, I decided that it might be worthwhile to approach Lumet from another angle. Since then, I’ve been speaking and corresponding with some of the actors and craftspeople who worked with Lumet in the early years of his career. What follows, then, is a sort of oral history of Lumet as a live television director. Each of the speakers is identified below by their credits that were directed by Lumet, and their remarks are ordered in a loose chronology based on the sequence of their initial collaborations with him.
Actress, Danger (1951)
Married to Sidney Lumet, 1949-1955
His was a quintessentially American story. He was the ultimate self-made man. Sidney was always going forward. He had a tremendous positiveness about him, and a practicality. He was the most immediate person that ever lived. Everything had to be solved, could be solved, would be solved.
Sidney and I met when we were eighteen. He was a friend of my brother’s, and I was just starting out as an actress. Actually, we met in a play called A Flag Is Born, and I replaced my brother as Young King David. That was his last acting part. He replaced Marlon Brando.
He lived with his sister at the time. He had moved out of his house when he was about twelve, with his sister Fay. Fay brought him up. Sidney was not close to his father [Baruch Lumet]. But I liked his father. He was sweet, or seemed sweet, but tough. A 2nd Avenue Jewish actor, who lived in California by this time. He lived in a motel, and he always kept his door open so he would always have visitors come in whenever they wanted.
Sidney and I got an apartment together on Fifteenth Street. We still weren’t married. My parents were in shock, for this expensively educated girl to go off and live with an actor! I modeled, and that paid the rent. Sidney took job as a teacher at the High School For Performing arts for $65 a week, and he adored it.
At about the same time, we had a workshop, an actors’ workshop. I said, “Sidney, there isn’t anyone to direct. Why don’t you be a director, too? I mean, you’re so good. You can do everything.” So he became a director. And we just had a jolly good time. We just loved theater, and never thought of the big picture. Making it wasn’t in our mind; in our mind was, what wonderful work can we do?
Sidney was kicked out of the Actors Studio, in the first round of dropouts, because they didn’t think he was going to be anything special. This was Bobby Lewis, who had been his mentor when he was a cute little child. Bobby, who was this nasty old queen, was disappointed that he grew up to be heterosexual and not beautiful.
His real break came once I was doing a commercial for Colgate Toothpaste. Our best friend at the time was another unemployed actor named Yul Brynner, who used to play guitar at parties. I was doing this commercial at CBS Studio, and suddenly Yul comes down on a break and sees me. He said, “Hey, Rita, how are you doing? How’s Sidney?” And, “How would he like to come in and be a director of television?” I said, “What a great idea. Call him tonight and ask him.” I went home and I said, “Yul’s going to call and ask you to come in as a director at CBS. It’s a new medium.” He said, “I’m not interested. I really like being a teacher.” I said, “I don’t think you’re right, Sidney. I think this is an opportunity.”
Anyway, Yul called, and Sidney said, “I’m not interested.” I stood behind him and I said, “I’m going to leave you if you don’t say yes!” It was a very funny conversation. He said, “All right, I’ll come down.” And he went down to 42nd Street the next day to see what it was all about, and just fell in love with it. He immediately came in as Yul’s assistant.
The intensity of the control room was just his tempo. The whole complication of having to direct the cameras and the actors all at the same time just appealed to him. He was very quick, very bright, very immediate, very tactile. He loved running between the control room and the floor and the actors. Within four months, Yul Brynner went off to be the king in The King and I, and Sidney went on to fill in for him as a director. Within eight months, he was one of the biggest directors at CBS.
I didn’t act much for Sidney, except at the workshop, and then on Danger a couple of times. One time I played a walk-on, and one time I played the lead. But I had my own career. There was a Life magazine article about six of us – the six leading television actresses. One of them was Grace Kelly, before she was a big star. I met her on the set of You Are There. That’s where I was introduced to her, on the floor, by Sidney. She was playing Dulcinea in Don Quixote.
I was at CBS all the time. I’d sit in the control room and just make fatuous notes. Sidney was in such total control of everything. He had a producer by the name of Charlie Russell. Charlie was a typical advertising agency, buttoned-up guy who adored Sidney. Anything Sidney said, went. We also became very good friends with Marlene Dietrich because Sidney sort of discovered Maria Riva, who was Marlene’s daughter. Very nice girl, and he would use her a lot. Marlene would cook us Sunday night supper all the time, and Marlene just adored Sidney. She thought the world began and ended with him, and she flattered him into thinking he was a great director.
Sidney had a main chance aspect to his personality. Sidney had the kind of personality that attracted people and then formed a little clique, a little coterie, around him. He used the same cameramen all the time, and his ADs. He had that “love me, I’m a talented child actor” [quality]. Sidney was very stubborn. Sidney always had to win his points. He never compromised himself, or he never compromised to make the circumstances easier for himself. He was a tough little fighter. That’s what was interesting about him – he was a really strong person who was also very anxious to please, and make other people happy.
We decided to get married because we got tired of living in one room with a bathroom in the hall. We both figured out that my parents, who were good middle-class parents, would furnish an apartment for us. Maybe we’d lift ourselves up if we had a little bit more security, because we had a decent place to live! So we got married. It was a lovely wedding, actually. It was at my mom and dad’s house. Yul Brynner was there, and [his wife] Virginia Gilmore, and our other close theater friends. Sidney finally bought a blue suit for the wedding, a navy blue suit, three-button. That’s the first suit I think he’d ever owned. His typical look was a sweater and sneakers and dungarees.
Then we moved up to 110th Street after we got married. It was only a studio apartment, just a little bandbox apartment, but really it was home. He was a lousy cook, but I was worse. Once we got married, I think he gave me The Gourmet Cookbook as a Christmas present. I started digging in and doing all those those things. It was a young, fun marriage. We didn’t break apart until the world became serious, and Hollywood money and all that stuff became involved.
Production Designer, Danger (1951-1953); You Are There (1953-1955); 12 Angry Men (1957); Studio One: “The Rice Sprout Song” (1957); Play of the Week: “The Iceman Cometh” (1960); Associate Producer, Playhouse 90: “The Hiding Place” (1960)
Sidney and I first met on Danger. First of all, he was my age. We were exactly the same age. He had this amazing background in theatre which I envied, with the Group Theatre. His father was a great actor in the Jewish theatre, and he [Sidney] was an incredibly fine actor.
On Danger, I was the set designer and he was the assistant director. The director was Yul Brynner and the producer was Marty Ritt. And John Frankenheimer was the commercial director! Sidney was a wonderful assistant director. He loved Yul, and I think it was reciprocated. He was right on time. I think, in his head, he was able to conceive and anticipate –a live television room was the equivalent of everything you do in film post-production. You were editing, bringing effects in, bringing sound in, bringing music in, all simultaneously. So the director, literally, had to say “Take one” or “take two” or “take three,” take whichever camera, plus when the effects went in and the sound effects went in. And the assistant director had to anticipate this, and Sidney was awfully good at it.
What happened was this: Yul and Marty had some kind of fight with either the agency or the sponsor, I don’t know which. I have in my mind an image of a photograph they sent me of both of them throwing the Danger card into a trash can and holding their noses as they both quit. I’m not sure why. The position of the director was open. Sidney did not get it automatically. It was given to Ted Post and Curt Conway, and they did it for a while. And Sidney was, I guess, looking for it or trying to get it, although these two guys were relatively well-known directors. And sooner or later, he got the show, as a director.
Rita Gam and my wife were close, and Sidney would come up to the house. We would go over my floor plans and he would figure his shots out. I remember him in my kitchen one day when Curt Conway and Teddy left and he was going to start directing. He wanted to really be sure he knew what he was doing, and so he came here. But otherwise we didn’t really socialize. We just were different people.
I knew, when I did something with Sid, it was experimental. We did a lot of experimenting in those days. Generally on Danger, but especially on You Are There, in terms of visual effects. I had to create with rear screen and other effects all kinds of things that they do with computer generated scenery now. If the director didn’t use it correctly, it would get all screwed up. I always knew I could depend on Sidney. He would keep the perspective correct, he would keep the people in proportion to the picture in back.
Danger was a regular weekly detective show, but You Are There I had to create everything from the Oklahoma land run to Genghis Khan and the burning of Saint Joan. We did a show called “Mallory on Mount Everest,” and he and I guess Charlie Russell got some stock footage of the real Mallory on Mount Everest. The rule in those days was you could never use white. Blue was the equivalent of white on television. Nobody was ever allowed to wear a white shirt or anything like that. I had a wonderful lighting director at the time working with us, Bob Barry. I said to Bob, “You know, we can’t paint the snowflakes blue. Let’s just see what happens if we put everything white.” Now, I needed the cooperation of the director and the technical director and everybody else to do that, because they had all the dials and tools at their disposal to change the intensity of the light and stuff like that. Sidney didn’t fight me. He said, “Let’s give it a go. Let’s try the white.” I mean, another director would say, “You’re not supposed to do that. It’ll give us a lot of trouble.” So we did the scene white, literally white. What happened was because it was so hard for the TV cameras, because it was so bright, it suddenly became the same as the stock footage they had from these old movies. It integrated beautifully. And I got my first Emmy in 1954 for “Mount Everest.”
I’d go to a rehearsal with Sidney and the production assistant would have taped out on the floor my entire floor plan. They would block the show, and Sidney would indeed be the camera. One time I think it was either Jack Klugman or Jack Warden, where Sidney would go right up to his nose, nose to nose, for the famous close-up. And I remember Klugman or Warden saying, “Sidney, what lens are you on?” They were good days.
Associate Director, Studio One (1957-1958)
Sidney was wonderful. He’d get very intense, but never lost his temper. First of all, he was very good with the way he dealt with people. But more than that, he was never at a loss. In live television, there were so many things that always went wrong. Once I remember him climbing up a ladder to fix something, and the stagehands would let him do that. He deserved it, and they gave it to him.
But you knew he was an actor’s director. They all loved working with him. Because Sid was spontaneous. Some directors would map it all out at home over a week, and they wouldn’t budge. That’s the way they were going to do it. Sid would block well, but he was ready to make a change whenever he had to. He wasn’t locked into it.
Actor, Danger; You Are There; The Alcoa Hour: “The Sentry” (1956); Studio One: “The Deaf Heart” (1957); Fail-Safe (1964); Family Business (1989)
He was a guest in our home, with George C. Scott and his wife [Colleen Dewhurst], and Sidney and his wife, at an event that we had in our Forest Hills home. We were dear, close friends for many years.
I don’t know how many people did this with him, but I rehearsed two of his scripts in the same week. One in the afternoon and one in the evening. You Are There was shown on Sunday, and then Danger, which was the other one, was shown during the week, and the rehearsal periods were the morning for one and the afternoon for the other. Isn’t that amazing? I worked with him at least eight times in live television, and another couple of movies, including Fail-Safe, where I played the radio operator in that bomber that bombed Moscow.
He was an actor himself before he started directing, and he brought all that experience to his television work. It was always personal, always just the two of you. He would give you a hint of what was in his mind, and see what you did, and adjust that if he felt he had to.
Van Dyke Parks
Actor, The Elgin Hour: “Crime in the Streets” (1955); The Alcoa Hour: “Man on Fire” (1956)
The reason that I ended up in live television was to pay for my board and rooms at the Columbus Boychoir School. I had no ambition to be an actor. My parents were quite dubious about it, my father especially. There was no show biz mom or so forth. A tutor would go up with me to New York City when I had a show. But it paid for my tuition. I was probably getting about $450 a week for participation in a show by the time I met Mr. Lumet.
On the show “Crime in the Streets,” which was directed by Sidney, my elder brother was being played by John Cassavetes, and I said something to him that was confrontational or accusatory. It was then his job to slap me on the face, and then I was to start crying and say, “But, Frankie, you’re my brother.” I learned to jerk my head to the left, because of course he would pull his punch and not hit me. Well, it came to the show, the live show, and he landed one across my nose and I started to bleed. Cut to commercial. The blood is gushing from my nose, and I cannot remember the specifics of what was done to staunch that flow, but it did not stop. And of course when we came back from commercial, [the setting] was the next day! I was doing everything I could to keep from bleeding. Cassavetes felt awful, but not as bad as I did.
Sidney was tremendously invitational. Bob Altman is so famous for his what seems like laissez-faire attitude toward actors. Sidney Lumet was equally empowering, drawing on his subjects’ invention and contributions. He was not disciplinary in any way.
Writer, Studio One: “The Rice Sprout Song” (1957)
I met Sidney Lumet at the first day of rehearsal for a Studio One play, “The Rice Sprout Song.” We rehearsed, in those days, in Central Plaza, formerly and later to be reborn as a concert hall on 2nd Avenue in the fabled Lower East Side of Manhattan. But in 1957, it was – floor by floor – a ladder of rehearsal halls served by a large, creaky elevator. Food service was from Ratner’s Kosher restaurant on the main floor. Studio One seemed to have dibs on the 4th.
While a production assistant taped the outlines of the sets on the floor, the cast sat around a large table, Sidney at the head. He was very energized, and obviously enjoyed the opportunity to engage his actors, almost all of whom were only recently freed from the blacklist. The first two days of rehearsal never moved from the table to actual blocking of scenes. Of the leading actors, only John Colicos, a Canadian, was not ethnically at home on 2nd Avenue. And Sidney, who began as a child actor in the Yiddish Theater, was more at home than any of them.
He took pleasure in telling of his European trips and great meals with his wife, Gloria Vanderbilt, as if to underscore what a great distance this little Jew had traveled. And yet he reveled in the Lower East Side. He took us to Moskowitz and Lupowitz, to Sam’s Roumanian Restaurant, a vivid and informative guide. But most of all, he loved telling stories of the Yiddish theater.
On the third day, he began the more serious business of directing the play. There were strange overtones: after all, these actors had all suffered for their political leanings toward the Left, and the play itself was a bitter diatribe against the Chinese Communist government.
Plagued by technical problems that in turn disrupted the actors’ performances, “The Rice Sprout Song” became one of the legendarily disastrous live television broadcasts. Mandel related that story in my video interview with him for the Archive of American Television, and also wrote about the incident for Television Quarterly.
I showed Sidney the article before I sent it in for publication. I asked him to tell me if he felt anything was unfair or untrue. He told me he didn’t have exactly the same feelings as I did about the resultant show, but he had no problem with what I’d written.
Sidney negotiated himself the opportunity to direct the film 12 Angry Men. I heard about this both from my friend Frank Schaffner, who had directed that property for Studio One, and from Jerome Hellman, Frank’s agent and mine. Frank very much wanted to direct the film, and felt he had some claim to do so. Sidney (according to Hellman) was reaching the end of his commitment to his agent, and said that if the agent got him the assignment, he would stay with that agency. And so he got the job, pretty much devastating Frank and, I think, rupturing Frank’s relationship with Reginald Rose. I have to say, for myself, I think the film was pretty much a duplication of Frank’s direction of the television version.
The last time I saw Sidney was at an Motion Picture Academy function in 2002 or 2003. We had a brief conversation about my HBO film Conspiracy. He said he had voted for it in every catagory for which it was nominated (for the Emmy). Which, you will have no problem understanding, thoroughly endeared him to me. He had become a prodigious worker, a man who sought the substance beneath the surface of each film he led. I would have preferred that he not write what he directed, when he reached that stage in his life where he wanted to do both. But my admiration for him is immense.
Bob Markell (continued)
Production Designer, Danger (1951-1953); You Are There (1953-1955); 12 Angry Men (1957); Studio One: “The Rice Sprout Song” (1957); Play of the Week: “The Iceman Cometh” (1960); Associate Producer, Playhouse 90: “The Hiding Place” (1960)
We both learned about film because You Are There went to film for thirteen shows. We went to the old Edison Studios, in the Bronx, and we shot these final thirteen shows, before it was taken away from us and sent to Hollywood. The first one we did was the Hindenburg disaster. Sid had never done a film prior to You Are There, and he was fabulous with the film camera.
12 Angry Men was my first feature, and it was Sid’s first feature. I went and took pictures of the exterior of the courthouse [as the basis for the backdrop behind the jury room windows]. The drop came in from Hollywood and it was a translucency, not a transparency, so that they could drop it in and the lights could go on and stuff like that. When it showed up, everybody who was from Hollywood was very upset. They said, “Gee, that’s not good. In Hollywood, the lines are sharper, the details are stronger.” They may well have been correct, but it had to be used anyway, because we had it up.
I was hoping that Sidney would recognize that it was okay, and would back me up more than he did. Henry Fonda was also the producer, and it was his money, and he was getting antsy once in a while. Boris Kaufman was a very famous photographer. He’d just come off of Kazan’s movies. He even got the [Academy] Award for On the Waterfront. And so I was left hanging. I was the guy who was kind of blamed if anything went wrong and they had to go into overtime. If I put myself in Sid’s position, he couldn’t back me up the way he should have, or that I felt he should have. And I understood. But I was hoping for more than that.
In [television] or stage, you’d get together and try to fix it. I suddenly realized that in film, you looked for a fall guy. And I was the fall guy. [Associate producer] George Justin kept saying to me, “Fight back. Tell him.” I said, “I can’t. I don’t know what to say.”
My problem with Sidney actually was that he gave me a second show [Lumet’s next film, Stage Struck, which he filmed in color in 1958] to do after 12 Angry Men, and I started working on it. Meanwhile, Fonda was giving him a hard time, and blaming me. I got a call from George Justin, who was also on the show, saying, “You know, of course, that you’re not on that second show, that it’s being taken away from you.”
I said to George, “Who is going to be the designer? Who is taking my job?” He said they’d gone to [another designer with experience in live television]. Well, it was his first movie, and I knew that he had trouble with color recognition. But I found that I couldn’t say to George, “George, he’s the wrong guy,” because it would sound like I was being ugly.
Later, I’m designing “The Rice Sprout Song,” and I’m going in for my first meeting with Sidney. I hadn’t seen him for a while since he dumped me. I walk in. I say, “Hi, Sidney.” Sidney looks up and he says, “How come you never told me he was colorblind?” I said, “Oh, Sidney. I knew you’d get me one way or the other.” Then he and I laughed. I said, “I was trying to figure out what you’d end up saying to me when I walked in.”
But that’s show business, and I was really not angry at Sidney at all. We worked together a lot, even after the movie. We did a Studio One, a Playhouse 90, and “The Iceman Cometh.” The sad thing was that we totally lost touch with each other. He never really went back to his live television people, because he was on a course himself, meeting new people, new wives, new this, new that.
Fred J. Scollay
Actor, Danger; You Are There; Kraft Theatre: “Fifty Grand” (1958); Kraft Theatre: “All the King’s Men” (1958); Playhouse 90: “John Brown’s Body” (1960); A View From the Bridge (1962)
He was a little crazy, but very nice. He was an ex-actor himself. He acted when he was younger, and he really had great empathy for actors. He knew the pressure that we were under. Everything was live then. You didn’t get a break.
One thing actors loved about the guy is he let you do stuff. He’d see something in what you were doing in a scene and he’d say, “Oh, boy, let’s elaborate on that.”
He was, not loose, completely, but he’d say, “What do you want to do in that scene?” And then he’d look at it and say, “That’s good. Let’s use it.” Or, “Let’s try something else.” Like in one show, I got some bad news, and I got a little woozy. He said, “Let’s have you faint.”
So it was creative fun in working with him, because you contributed something. There were some directors who said, “In the book it says, ‘Turn left,’ so you’d better turn left.” I don’t mean to denigrate anybody, but some directors had a very standard, by-the-book [approach] – they really didn’t have the creative [impulse].
[On Danger] he hired a young, real fighter, a professional fighter, and Jack Warden played the fighter, and fought with this guy. Sidney said to Jack, “The kid’s a little nervous, so when we start doing the show, give him a little belt.” So Jack gave him a little belt and the guy went crazy, almost killed Jack.
He was a lot of fun. A situation on the set, because of the tension, would make things a little more tense, and he’d throw a donut at you or something like that, or trip you, something to break the tension. I did A View From the Bridge. He directed that. One of the actors was told to go down the street – Sidney said, “Go down there” – and at the end of the scene the guy never came back. So Sidney would break up. He’d never get mad at anybody.
He gave me my first big break. He cast me in something, a leading role before I was getting leading roles, and I really appreciated that. The name of the show was “Fifty Grand,” with Ralph Meeker. That was my first big part. I walked on the set and we started reading the script, and I kept saying, “They made a mistake. This is one of the lead roles. When are they going to find out they got the wrong guy?” I did a lot of extra work. I was a very busy extra. And out of the blue he called and said, “I’ve got a part I want you to do.” No audition or anything. He said, “I want you to do it. Now here’s a rehearsal schedule.”
When we did “All the King’s Men,” I had the third part. He gave a big shot in that. There was Neville Brand who played the lead, and Maureen Stapleton, and I had the third role. But in the credits, Bill Prince got third billing and I had fourth or or fifth or something. So he got a very nice review for me doing my part! He got my review. They thought, well, he got the third credit, he must have been the actor that played that part. That was kind of heartbreaking.
[Technically] he was perfect. He’d say, “Cut two seconds.” Or, “We’ve got to cut four seconds out of this scene.” He had a mind like a clock.
Associate Producer, Kraft Theatre (1958)
David Susskind was in charge of Kraft Theatre. He was executive producer, and Herridge was producer, under him. Susskind had his own outfit, and Herridge was like a lone hippie. Susskind was the suit and the tie and Mister Executive, and Herridge was the creative artist, almost a Greenwich Village type. The two were just real opposites. I think Susskind brought him in because he respected the work that Herridge had done, and I don’t think he knew much about him. Sidney got along well with [both of them]. He knew how to handle people.
Sidney was extremely short, and the first day when the cast was assembled and waiting for him on the floor, Sidney came down and he had taken a newspaper and folded it into a little Napoleon-like hat and put it on his head. He was wearing this ridiculous little Napoleonic hat, and he put his hand in his shirt like Napoleon, and he walked on and he said, “Okay, I hope you all know who’s boss.” It was just hysterical. People just screamed with laughter, and Sidney laughed. Everyone loved Sidney.
When he was working, he was just the opposite. He was intense. He was super-serious. Technically brilliant. He would check every shot with the camera person during rehearsal, and in the control room he was like a hawk watching that everything was right. He knew his lighting, he knew his camera, he knew his lenses, and he certainly knew performance. I don’t know anyone who could get better performances out of anyone. Franklin Schaffner was a brilliant director, but very remote from his cast. He really kept an arm’s length. But Sidney was a hugger, an embracer. He kissed everybody. Sidney combined everything good.
“All the King’s Men” was a very intense shoot, because it was a two-parter. Neville Brand had done features, and was the second most decorated hero to come out of World War II, and a really rough [type]. I liked Neville a lot. Sidney had to work with him and really got an extraordinary performance out of him.
Then when we finally finished the whole thing, Herridge invited everyone up to my apartment for a wrap party. Herridge never wanted anyone to go to his place. I worked with Herridge for years and I never even knew where he lived. I had this really seedy apartment four flights up on West 56th Street. It had a convertible couch with a spring sticking out, and my coffee table was a mirror over four sewer pipes. Everybody came. Susskind came. Sidney brought Gloria Vanderbilt, who was then his wife. The apartment was just jammed. People were having a good time. Music was playing. Maureen Stapleton passed out onto Gloria Vanderbilt’s lap. I remember that because Maureen was fairly large at the time, and she was just out. Vanderbilt was sort of very sweet but also you could see she was like, oh my god, how do I get out of this?
Then a friend of mine whom I had invited, a young actress, Georgine Hall, was dancing with the production designer, and he tripped and she fell backwards onto the coffee table, and he on top of her. All the shards went up into her back. We got her up and she went into the bathroom and said, “Let me check how I am.” I went in to see how she was. When I opened the door, she was just kind of soaked in blood. So I gave her some towels and I said, “Wrap up. I’m going to get you to Roosevelt Hospital right away.” I came out and I said, “I’ve got to take Georgine to the hospital. We’ll be back as soon as we can.” It was about midnight, or maybe eleven o’clock. I ran out of the apartment with Georgine, got a cab, went to Roosevelt Hospital, and stayed with her until they had stitched her up, and never gave a thought about the party. All I cared about was Georgine.
Georgine lived in Princeton. I said, “You’ve got to stay over here. You can’t go back to Princeton.” We went up to the apartment and the door was locked, so I opened it. And everyone was there! It was three in the morning, and Neville was standing by the door. He said, “You know what, Chiz? All these sons of bitches, the minute you left with her, wanted to run. They were scared. And I told them they stayed until we found out how she was.” Neville had stood in front of the door and kept everyone in until three o’clock in the morning. I’ll never forget that as long as I live. People were just – I mean, Sidney and you can imagine Gloria Vanderbilt were just so kind of pissed off, but in a way I guess sort of respected what Neville had done, maybe, to say, “We’ve got to make sure that woman’s okay. Don’t run from this.” That was his code. I think it came right out of the war, out of battle. You don’t leave unless all your buddies are accounted for. I can’t imagine what went on while we were gone, during those three hours.
Actor, You Are There; The Doctor’s Dilemma (Off-Broadway, 1955); Studio One: “The Deaf Heart” (1957); The DuPont Show of the Week: “Beyond This Place” (1957); Fail-Safe (1964); Power (1986)
There was a play called “The Deaf Heart,” with Piper Laurie, which I did for Studio One. My son was about to be born at that time. We reached the dress rehearsal. My wife had gone to the hospital, and was ready to give birth. But it was a dress rehearsal, and I didn’t see any easy way out. Sidney came over to me on the set and said, “What are you doing here? You belong with your wife. Get out of here.” I remember thinking, “Well, yes, of course, that’s exactly how I feel.” But, you know, the pressures you were under with live television in those days. It was like going over Niagara Falls in a barrel. The rules got suspended somehow. But not him. He just excused me from the dress rehearsal, had the dress rehearsal with an understudy, and I came in for the live television presentation. I mean, that was taking a huge chance on his part. But he was a gambler.
I was always aware, even as a young, inexperienced actor, that he was on my side. He once said to me, “If I can’t get it with love, I don’t want it.” I was a complete partisan of Sidney Lumet because I just wasn’t used to that. I wasn’t used to directors who thought of themselves as cooperating in a creative process with the actor, and loving what he was getting from the actor. He would say, “Keep that in.”
In Fail-Safe, I finished a take and he said, in a very quiet voice, “I don’t want a better one than that.” I was walking on air after that one.
We were a company. We were rehearsing for two weeks in a warehouse on the West Side, and we got to know each other as actors and as people. We were playing frisbee out on the floor, and everybody became quite friendly, and quite helpful to other actors. I was still relatively young when I did Fail-Safe, but I can remember the encouragement I got from people like Walter Matthau.
Sidney did an interesting thing. He offered me several parts in it, and I understand he did it to other actors in the company, too. He said, “Which one would you like to play?” He let us have some choice in the matter, which was unusual, to say the least. And I chose a different part. I wasn’t particularly close to Colonel Cascio. Then, after thinking it over, he said, “I’ve decided for the balance of the company that you should play Colonel Cascio.” And he said it in such a gentle, persuasive way that of course I accepted with enthusiasm. I wanted to play Walter Matthau’s part. It was very similar to a part I had just played on Broadway, and I thought, “I know how to do that one. That’s easy for me. I know how to have fun with that.” I was wrong. If you see the finished film and you see what Walter did with the role, you’ll know that I was too young for that part.
We were having problems with how [Colonel Cascio] breaks down. The character breaks down at one point and actually attacks his commanding offer, because there was a violent diagreement about the choices that have to be made. He’s in favor of being tough on the Russians and even dropping the bomb, and when he is overruled, he goes crazy. Authentically crazy. And I had trouble with that one. So Sidney and I got together and we tried several things. One thing we came up with – and it was kind of a mutual thing, but I suspect that I got most of it from him – was just a violent physical convulsion. Locking of the jaw, trembling, to the point where I was out of control physically before actually doing the deed. I don’t know if it worked or not. But it was a physical solution to a mental problem, and it seemed to work for me.
He directed me on stage, too. He directed Doctor’s Dilemma, the Bernard Shaw play, at the old Phoenix Theater. I played a very small part in it; it was my first part with him. There again, I was in his rooting camp forever from that production, because of the care he took with the young actors. Because I had done that with him, and I had done some Shakespeare at the Shakespeare Festival, Sidney used to say that Beatrice Straight and I were his “classical actors.” He had another category called his “New York actors.” And we tried very hard, Beatrice and I both, to break out of that category! We wanted to be among these “New York actors” as well, because he was famous for his New York movies, and his understanding of New York. I would have been thought of [by Lumet] as the senator, or perhaps some extreme right-wing character or someone who had some familiarity with language. I always wanted to be among the “New York actors” as well, because I thought I could do it. I couldn’t change his point of view. But I saw his point.
Actor, Danger; Kraft Theatre: “Three Plays by Tennessee Williams” (1958)
Sidney was always intense, and charming, and somehow that made for a very good working combination. I worked with him on a show called Danger, and he had this great brilliance and intensity. He was all over the place. He knew everything. He enjoyed it like a Baryshnikov. He fiddled. Physically, he flew, and in his mind flew. He thought at twice the intensity of anybody else. Keeping the house in order, and keeping this actor here and that actor there, and enjoying the unexpected that came from his actors. But always at an intense, high decibel.
I joined a group that he and Ted Post were the head of, when at a certain point Bobby Lewis threw his class out of the Actors Studio. Eli [Wallach] and a bunch of people went to work in a separate group, and Sidney was the head of it. We did all kinds of exercises and all kinds of scenes, and he directed me in a lot of them. It was a very important experience for me, a big growth experience.
He was a Method director, of course. All of us were part of that – Stella, Lee Strasberg, Sandy Meisner – we all came out of that new acting. What I remember is you doing it, not that he talked to you beforehand. The comments he would make would be small pushes in one direction or another, but never anything he sat down and talked to you about. That’s not the way he worked.
[“Three Plays by Tennessee Williams” was] deep in the blacklist, and I wasn’t working on television at all. I don’t know how Sidney pulled strings, or David Susskind, the producer, but it was like a miracle that they managed to get me on. Then I did it, and I didn’t like myself in it at all. I had done that play on stage, and I’d done it brilliantly. It had come out of the group that Sidney and I were in, with Sidney directing. A lot of times when you do something for the second time, you lean on what you’ve done before, and so it wasn’t fresh.
When I went into directing myself, and I hit a problem, we were both doing post work at the same studio, I would run into him there, and anything I had a problem with I knew I could ask him about it. He was, as he always was, generous, open, interested in any problem. He was that kind of friend, that’s all.
Looking back, I had no idea how privileged I was to be working with young people who were all so energized and gifted and talented, and who had no barriers in front of them. Sidney kind of exemplified the “no barriers.” He exemplified leaping first before anyone, and taking all kinds of chances. He maintained that all of his life, that almost childhood thing of leap before you look. There was an excitement and a courage about him that nobody else had.
All of the interviews above were conducted between May and July 2011, by the author and by telephone, except in the cases of Rita Gam (in person, in New York City) and Loring Mandel (by e-mail).
The Writers Guild of America has confirmed the death of prolific television writer Preston Wood on January 13. Wood was 87 and lived in Grover Beach, California.
Although there was no obituary at the time, word of Wood’s death has since surfaced in a detailed Internet Movie Database bio, bylined by his son Mark, and in this introduction to his papers at the Belknap Collection for the Performing Arts at the University of Florida.
Wood began as a writer for radio, then made an unusual detour into directing live television and another into the executive suites of Madison Avenue, where he developed TV programs for the ad agency Young & Rubicam. In the early sixties, Wood transitioned back into story editing and then freelancing for television.
(It wasn’t uncommon for ad execs to migrate into creative roles in early television. Some of the prominent live TV directors – although none of those who became important filmmakers – doubled as agency staffers. Recently I’ve been interviewing another major television writer, Jack Turley, who spent a decade planning and directing TV commercials for ad agencies before making a career move similar to Wood’s, and at the same time.)
As a live television director, Wood worked mainly on We the People and Holiday Hotel. In Los Angeles, he began his writing career as a story editor on the underrated western Outlaws, and also served briefly as a story editor during the first season of The Wild Wild West. He wrote episodes of Bonanza, Mr. Novak, Slattery’s People, The Virginian, The Addams Family, The Patty Duke Show, Rawhide, Destry, Gunsmoke, Matt Lincoln, Little House on the Prairie, Quincy M.E., Kaz, and Jessica Novak.
Wood’s most significant work came for producer / director / star Jack Webb, during the twilight years of Webb’s crime show empire. Wood wrote a few episodes of the 1967 revival of Dragnet before moving over to Adam-12 as its primary writer (he penned ten out of twenty-six episodes during the first season) and then on to Emergency! A bit more than the other early writers, Wood mastered Adam-12’s emphasis on arguably trivial vignettes that made up the professional life of its prowl-car cop protagonists. My favorite Adam-12 is one of Wood’s. The tense “Log 33” abandons the show’s usual loose structure and imprisons Officer Reed (Kent McCord) in a room with a tough Internal Affairs investigator (Jack Hogan) who shakes his confidence in his memory of an officer-involved shooting.
Wood seems to have evaded a comprehensive career interview. I contacted him in 2004 but a brief correspondence subsided without the opportunity of an interview, and Michael Hayde, Jack Webb’s otherwise thorough biographer, seems to have missed Wood as well. As Wood’s archive of scripts is one of the most comprehensive records of a television writer’s output that we have, so I particularly regret missing the opportunity to complement that resource with an account of the events in his career that occurred off the page.
Also largely unreported: The death of comedy writer Norm Liebmann on December 20 of last year. Born on January 16, 1928, Liebmann’s primary claim to fame derived from one-half of a murky “developed by” credit on The Munsters. According to Stephen Cox’s The Munsters: A Trip Down Mockingbird Lane, a shady Universal executive merged Liebmann and collaborator Ed Haas’s proposal for the series with another by Allan Burns and Chris Hayward, without bothering to inform either set of writers until they met on the set. A Writers Guild arbitration resulted in the convoluted (non-) creator credits. Liebmann told Cox that he came up with some of the characters’ names, and he and Haas wrote a couple of early episodes.
Much of the rest of Liebmann’s resume holds more interest than The Munsters. Alternating between sitcom and variety assignments, he wrote for the 1961 Bob Newhart Show, The Dick Van Dyke Show, Hazel, and Chico and the Man, as well as for Jerry Lewis, Dean Martin, and Johnny Carson’s Tonight Show.
May 21, 2011
Charles F. Haas, a prolific television and film director, died on May 12 at the age of 97.
Haas began his career at Universal in 1935, through nepotism; his stepfather was a friend of studio chief Carl Laemmle. He rose from the production office and the cutting room to become, after the war, a producer and a screenwriter. Haas directed ten B-movies in the late fifties, some of which – Girls Town, The Beat Generation, Platinum High School – are now remembered as minor camp classics. But if Haas, whom Mamie Van Doren once proclaimed the best director she ever had, has any standing among cinephiles, it probably resides on Moonrise, the one feature he wrote (and also produced). A dangerous, dreamy melodrama, Moonrise was directed by the presently fashionable auteur Frank Borzage, after Haas’s original choice, William Wellman, dropped out.
After Moonrise, Haas found himself eminently employable as a screenwriter, work that he hated, and insisted on making a transition into directing (for which there was far less demand). The night before he was to throw in the towel and accept a writing job, following a six-month drought, his agent came up with a debut directing job in industrial films. Haas moved quickly into television and directed much of Big Town, a newspaper drama produced by the low-budget indie outfit Gross-Krasne.
Crossing over to the majors, Haas worked regularly for Warner Bros. (on their carbon-copied westerns and detective shows) and Disney (on Disneyland and The Mickey Mouse Club, among others). Haas moved up to direct for a number of A-list dramatic series, including Route 66, The Dick Powell Show, and The Man From U.N.C.L.E., but on all of them he tended to move on after one or two episodes. That peripatetic pattern led me to wonder if he had trouble delivering an above-par product. But Haas claimed that he didn’t like to stay in one place for too long, and also blamed his unwillingness to court the friendship of production managers (especially at Revue, but also on Bonanza and other shows) as a reason why he sometimes wasn’t hired back. In any case, it remains difficult to discern an authorial style in most of Haas’s television work, although there are high points. In The American Vein, Christopher Wicking and Tise Vahimagi describe Haas’s “Forecast: Low Clouds and Coastal Fog” as “one of the moodiest Hitchcock segments” I’m partial to “Cry of Silence,” the underrated “killer tumbleweed” episode of The Outer Limits, in which Haas conjured more tension and atmosphere than one would think possible on a soundstage facsimile of the nighttime desert.
When I interviewed Haas in 2007, he was 93 and retained a detailed memory. He told me wonderful stories about Borzage, John Ford, William Wyler, and other Hollywood giants, and discussed own his directing career. Never one to engage his actors in discussions of motivation and the like, Haas explained this theory of non-involvement with an example involving David Janssen, whose gifts he recognized:
In a picture at Universal [Showdown at Abilene], I had David Janssen. I had him with [Jock Mahoney], who . . . was basically a stuntman. Stunts were easy for him, but as an actor he lacked a certain energy. So I couldn’t afford to have David Janssen as his assistant, but he was under contract at Universal, and I had to [use] him. So I had him leaning against a door in every scene. He never understood why. The reason was, if I hadn’t had him leaning against a door in every scene that he was in, he would’ve outdone [Mahoney], who was the star. So it was a very indirect kind of thing. You have to keep in mind that these are all talented people, and what you want to do is furnish them with energy, not with your idea.
On The General Electric Theatre, Haas directed Ronald Reagan, and thought him rather strange:
It’s pretty hard to characterize Ron so that anybody can understand. He was very easy to work with. He was interesting and cooperative. We didn’t agree about anything, but we never fought about it. He was perfectly reasonable, but he was a total nut. Really. One time while they were lighting the set, he said to me, “Chuck, what do you think is the worst thing that ever happened to the United States?”
So I’m thinking and pondering, and I said, “Well, the Civil War.” He said no. “World War I?” No. I said, “Ronald, what?”
He said, “The graduated income tax.”
(Haas had another funny Reagan story, but I’m holding that one back until I have a place to publish the whole interview.)
Haas retired from directing in 1967, when he was only in his mid-fifties, and devoted much of his later life to overseeing the Oakwood School, a private school in the San Fernando Valley that he had co-founded when his children were young.
November 24, 2010
Regrettably, the obituary clipping pile has been mounting again. As usual, I’m passing over comment on some well-known figures, like the dramatic director Lamont Johnson and Fox television executive William Self, in order to briefly mention some deaths which have been less widely reported.
Bill Bennington, who died on September 26 at the age of 96, was a live director who specialized in event and sports programming. According to director John Rich, who was his assistant for a time in the early fifties, Bennington directed the first Academy Awards telecast and the unsuccessful attempt of English Channel swimmer Florence Chadwick to swim from the California coast to Catalina Island, both in 1952. At the time, Bennington was a staff director for NBC’s West Coast operation, where he also directed for Betty White’s daytime variety show. When ABC began broadcasting NCAA games in 1960, Roone Arledge hired Bennington away from NBC to be the primary director of the network’s football games. According to sportswriter W.C. Heinz, it was Bennington who cut to the first crowd shot in a televised football game, during a 1952 broadcast of the Poinsettia Bowl. (Bennington’s death was mentioned in the latest DGA Monthly, and confirmed via the Social Security Death Index. I haven’t found an obit, even a paid one.)
Lloyd Gross was another live director, a CBS staffer who worked on many types of shows before getting pegged as a game show man. He directed episodes of the live seriocomedy Mama, broadcasts of Perry Como’s and Mel Torme’s eponymous shows, and live coverage of early Miss America pageants and Macy’s Thanksgiving Day parades. His game show resume included some of the most popular entries in that genre: Beat the Clock, Masquerade Party, What’s My Line, To Tell the Truth, and Supermarket Sweep, the 1965 hit that kept David Susskind’s high-toned Talent Associates production company afloat during lean times. Gross died at 92 on October 16.
Michael N. Salamunovich was a veteran assistant director and production manager who died on October 23 at age 88. As a staffer at Dick Powell’s Four Star Productions, Salamunovich worked on nearly every series produced at that studio from the late fifties until its collapse in 1965: Wanted Dead or Alive, The Rifleman, Richard Diamond Private Detective, The Zane Grey Theatre, Burke’s Law, The Rogues, Honey West, and so on. I’ve transcribed the credits of hundreds of those shows, and Salamunovich always stood out for a silly reason: his name was so long that it forced whoever made up the credits to add an extra line to the regular template. Salamunovich stayed in the business well past the usual retirement age: his last job was as the unit production manager on ER during its early seasons.
Michel Hugo was a tremendously prolific director of photography from the late sixties through the mid-nineties. Born in France in 1930, he died in Las Vegas (where he taught at the University of Nevada) on October 30. Hugo did long stints as the DP on Dynasty and Melrose Place, but his credits from his first decade or so in Hollywood contain a multitude of cult items: series (Mission: Impossible, The Streets of San Francisco), movies of the week (Thief, Earth II, The Night Stalker, The Morning After), and feature films (Head, Model Shop, R.P.M., The Phynx, One Is a Lonely Number, They Only Kill Their Masters, The Spook Who Sat by the Door, Bug). I’m going out on a limb here, just surveying the titles rather than going back to the video for a second look, but I’m going to suggest that Hugo may have been a practitioner of a specific look that I kind of miss: essentially realistic, proficient in the stylistic flourishes of the era (your lens flares and your rack focuses), but also unapologetically colorful and brightly lit enough to work on television.
I should also note that the links above to the paid death notices for Gross and Salamunovich will likely no longer be valid in a few days. That’s because the paid obits for most major U.S. papers have been hijacked, in their on-line form, by an outfit called Legacy.com, which firewalls the obituaries (and reader comments) after thirty days unless someone pays to “sponsor” them. This practice strikes me as rather crummy, to put it mildly . . . especially since I’m beginning to find evidence that the death notices are not even being stored in the electronic archives of the newspapers in which they appeared in print.
October 11, 2010
“If Clurman had the fervent years in theater, these were the fervent years in television. I don’t think the people involved ever felt as great about themselves again as they did then.”
– Arthur Penn in Jeff Kisseloff’s The Box: An Oral History of Television 1920-1961
I feel obligated to write something sweeping and substantial about Arthur Penn. In terms of his contributions to television as a medium, he is the most significant of all the recently deceased people mentioned in my last post. But it’s too daunting a task, in part because of the pesky problem of access, which is something that the estimable Jonah Horwitz gets at in his television-oriented Penn obituary.
Horwitz enjoys tantalizing access to a significant archive of kinescopes at the University of Wisconsin, and in his piece he offers tantalizing (did I say that already?) descriptive details of a couple of Penn-directed live dramas. Penn finished his tour in live television with a few early segments of Playhouse 90, one of which, William Gibson’s 1957 Helen Keller biography “The Miracle Worker,” became Penn’s first commercially successful film five years later. But Penn did his most substantive television work for The Philco/Goodyear Television Playhouse. He was one of three alternating directors during a two-year period (1953-1955) when that series, produced by the legendary Fred Coe, was ground zero for the intimate “kitchen dramas” that came to represent, for critics, the pinnacle of live television.
As Horwitz notes, the original Playhouse 90 staging of “The Miracle Worker” – which preceded both the stage and film versions, and features different actors (Teresa Wright and Patty McCormack) in the roles made famous by Anne Bancroft and Patty Duke – exists, but it is not in wide circulation. In fact, so far as I know, “The Miracle Worker” does not reside in any private collections, and neither does “Judgment at Nuremberg,” the other Playhouse 90 which became a hugely successful film (and also, with its bleeped-out dialogue concerning the gas chambers, the most infamous victim of censorship in the history of television). I have been told that the rights issues surrounding Playhouse 90 are “very complicated.” But the absence of a commercial rerelease for these shows, after three decades of home video and a dozen years in which it has become customary to pair items like these with their big-screen cousins on DVD, is tragic.
The extent to which live television is a forgotten medium is humbling. Not only are some of the shows lost altogether; not only are many of the extant ones (like “The Miracle Worker”) inaccessible; but in many cases, as I realized while researching this piece, even the basic data remains to be compiled. Horwitz estimates that Penn directed “likely over 100” television segments during his five years (1953-1958) in live television. That number might be a little high, but I’m certain the actual tally is far greater than the thirty-four live dramas currently listed in Penn’s Internet Movie Database entry. I’m not aware of a published source that does any better. To fill out any more of Penn’s television resume, one would have to delve into archival collections or old newspaper and trade reviews. That’s a pretty profound knowledge gap, considering that Penn was one of the top practitioners of what was once considered a serious art form.
Penn’s film career was uneven and diverse, but I love about half of them: Mickey One and The Chase, with their exceptional supporting casts of character actors from TV; the twinned genre revisions, Little Big Man (which examines the Old West as a construct of media, celebrity, and identity politics) and Night Moves (a detective story without a resolution); and the nakedly emotional Four Friends, which orbits around a fearless, uninhibited performance by the forgotten Jodi Thelen.
One obit (which I can’t find again) suggested that it’s difficult to reconcile what Horwitz calls Penn’s “deliberately unshowy” television style with the more forceful imagery of his films (in particular, the bold, sometimes jarring editing). The answer to that riddle is that in between television and movies Penn, who had spent time in Europe as a young man, fell under the influence of the New Wave. Dave Kehr’s New York Times obituary has a great quote about how Penn was “stunned” by the extent to which The 400 Blows, Francois Truffaut’s autobiographical debut film about a troubled, semi-delinquent teenager, reflected Penn’s own childhood. At least on the surface, Penn’s key films (especially Mickey One and Bonnie and Clyde) borrow more from the style and mood of French, Italian, and Japanese New Wave films more than they do his own early television work.
(The other x factor is that Penn, far more than any other ex-live television filmmaker, was an important Broadway director. The extent to which Penn formed his style on stage, especially in his work with actors, is another key subject for further research.)
Kehr, incidentally, is one of the best American film critics, and yet he doesn’t quite get the television section of Penn’s career right. Kehr refers to Penn’s first film, The Left-Handed Gun, as “an extension of the Playhouse 90 aesthetic”; but really, it’s an extension of the Philco aesthetic. (The Left Handed Gun was, in fact, derived from Gore Vidal’s Philco teleplay “The Death of Billy the Kid.”) The distinction is important because Philco embodied the intimate, performance-driven New York style of live drama, whereas Playhouse 90, telecast from the spacious CBS studios in Los Angeles, placed a greater emphasis on size and spectacle. Positioned at live television’s fin de siècle, Playhouse 90 aimed to be cinematic and, as such, was actually a partial repudiation rather than a continuation of the Penn-era Philco aesthetic. Penn told the scholar Gorham Kindem that CBS’s decision to set up Playhouse 90 on the West Coast represented
the transition from the New York theatre and the New York actors to the Hollywood actors and the Hollywood names. When I went out there to do “The Miracle Worker,” it was an accepted fact that it was going to have to be with people from the Hollywood community.
Penn seemed to accept that shift grudgingly; he felt that Patty McCormack was “too old” to play Helen Keller, and preferred Anne Bancroft’s Annie Sullivan to Teresa Wright’s. In The Box, Penn told Jeff Kisseloff that he took Playhouse 90 for the money (“I had a couple of shirts where the collars were almost gone”). Even after the success of “The Miracle Worker,” Penn had no desire to continue on the series beyond the initial batch he agreed to direct for producer Martin Manulis. “Those four were enough for me,” he told Kindem. Penn realized that the theater and movies – even movies made in Hollywood, where Jack Warner took The Left Handed Gun away from Penn and recut it – offered better opportunities to create the kind of reality that he had achieved in his Philco work.
The New York Times followed Kehr’s official obituary with a penetrating appraisal of Penn’s work by Manohla Dargis. Dargis places unexpected emphasis on Penn’s debut feature, The Left Handed Gun, and she finds more in it than the tortured Method acting and self-conscious anti-genre posturing that I recall. (I’m going to find time for a second look.)
The Left Handed Gun derives so thoroughly from Penn’s television beginnings that it compels Dargis to devote some space to Penn’s pre-history in TV. She relates a funny anecdote about Penn’s initial blocking of The Left Handed Gun, which presumed a multiplicity of cameras, as Penn was used to in television, rather than the single one used in motion picture photography. There’s also a marvelous quote from Penn on how directing live television was “like flying four airplanes at once.” That analogy echoes a famous remark by the director George Roy Hill, who flew bombers during World War II, that calling the shots in a live television control room was a lot like commanding a B-29.
Dargis also dredges up a quip from Gore Vidal, who called The Left Handed Gun “a film that only someone French could like.” I’m not sure whether that’s a dig or not, but Vidal’s remark underlines the possibility that his teleplay and the subsequent film may have been quite different from one another. The Left Handed Gun may bear the handprints of television, but a feature film made at Warner Bros. is still a big leap in scale from a sixty-minute live television broadcast. Plus, there’s a significant remove in authorship. “The Death of Billy the Kid” was written by Vidal and directed by Robert Mulligan; The Left Handed Gun was adapted for the screen by Leslie Stevens (the future creator of The Outer Limits) and directed by Penn.
One tends to think of group of directors who moved from live television into movies as having made that transition with a film adaptation of one of their own TV shows. For instance:
- Delbert Mann directed “Marty” on Philco, and then as his first film.
- Fielder Cook directed Rod Serling’s “Patterns” on Kraft Theater, and then as his first film.
- John Frankenheimer directed “The Young Stranger” on Climax, and then as his first film.
- Ralph Nelson directed “Requiem For a Heavyweight” on Playhouse 90, and then (a full five years later) as his first film.
But it was actually just as, if not more common, for a television director to do what Penn did: to adapt as his debut feature a property that someone else had done on television. Consider:
- Sidney Lumet directed 12 Angry Men, which had been staged live on Studio One by Franklin Schaffner.
- Robert Mulligan directed Fear Strikes Out, which had been staged live on Climax by Herbert B. Swope, Jr.
- Martin Ritt directed Edge of the City, which had been staged live on Philco (under the title “A Man Is Ten Feet Tall”) by Mulligan.
I’m not sure if that proves anything, except that by 1955 the film industry viewed live television as a prime commodity. The movie industry imported talent and material in bulk. After “Marty,” it wasn’t individual teleplays, with director and actors attached, that got scooped up by Hollywood. It was any property, and any director, that could attract a movie offer.
Those personnel switches may amount to trivia now – Mulligan, we see, was a two-time bridesmaid before he got to bring one of his teleplays to the big screen – but I’ll bet that at the time they were colored by personal rivalries and conflicting perceptions of having compromised or sold out in order to matriculate into filmmaking. Penn, for one, seemed acutely conscious of that concern. In interviews, he was always eager to define, and to champion, the New York aesthetic of acting and storytelling. In The Box, Penn explained that
our mission on Playhouse 90 was to come in as the New York boys and take the Hollywood community and “Marty” them. Hollywood’s way of dealing with New York was, “If we can’t beat ’em, join ’em.”
The challenge for fans of Penn’s films is to find the connective tissue between them. Dargis is vague: “a sense of history, a feeling for what makes us human and the lessons learned from theater, television and life.” Maybe the difficulty in pinning down Penn is that he was always reacting against something: traditional ways of depicting violence or a subculture in the movies; conventions of individual genres; phoniness in general. Substitute “movies” for “Playhouse 90” in the quote above, and you’ll see what I mean.
One final tangent of Arthur Penn’s legacy is that he married a woman who auditioned for him on Philco, and in doing so he took a talented actress off the market. She survives him. Her name is Peggy Maurer, and she retired in 1964 after having done quite a bit of live television and only one film (the 1958 horror curio I Bury the Living). I’ve only seen three of Mrs. Penn’s few recorded performances, but in at least one of them, an important segment of The Defenders called “Ordeal,” she pulls off a leading role of considerable emotional complexity. She was also rather pretty.
December 3, 2009
Paradise Cove Is Too Far: It could’ve been the name of one of the sixties TV dramas Paul Wendkos directed, during the years when shows like Naked City and Ben Casey competed to come up with the longest and most cryptic segment titles. “Ten Days For a Shirt-Tail” and “The Wild, Wild, Wild Waltzing World” were actual television episodes from Wendkos’s resume.
But Paradise Cove Is Too Far is not one of his credits; it’s a note I found scrawled on my folder for Wendkos, at the end of a set of directions to his Malibu home. I never made the trip to just-before-Paradise Cove. For the last few years, I’d been talking to his wife, Lin Bolen Wendkos (the inspiration for Faye Dunaway’s character in Network, according to rumor, but hopefully not for the more terrifying aspects of that character) about meeting Paul for an interview. But he’d suffered a stroke shortly before I got in touch and remained too frail for the kind of in-depth questioning that I would have needed to toss his way. I kept calling every time I was in Los Angeles, hoping that I’d catch him on a good day, but I never did. Wendkos died last month, on November 12.
Since I started making notes for this piece, good obituaries have appeared in the New York Times and the Independent, so I don’t feel obligated to outline the whole of Wendkos’s long career. He began with a regional independent film, The Burglar, which is a common way for directors to enter television now, but was extremely unusual then. The Burglar is an impeccable film noir. It derives from a novel by David Goodis, the reclusive Philadelphia native whose home town figures essentially in most of his prose. Wendkos also hailed from Philly and deployed his camera along its streets with a knowing eye; he was a perfect match for the material, as was surly sad-sack star Dan Duryea.
The Burglar led immediately to a feature contract and a number of mostly commercial films for Columbia, including Gidget and its two sequels, which led off most of his obits. Wendkos disowned most of his studio films, considering them too compromised, although film buffs make claims for The Case Against Brooklyn and the western Face of a Fugitive. The oddity from among Wendkos’s early films, another indie called Angel Baby, has a small cult following that may grow following its recent sort-of DVD release (in Warners’ new burn-on-demand library). More on Angel Baby further down.
Once he escaped his Columbia pact, Wendkos spent most of a decade in episodic television. He directed for most of the top shows – Naked City (his favorite), Ben Casey, Mr. Novak, Dr. Kildare, The Untouchables, I Spy, The Invaders, The FBI, the pilot for Hawaii Five-O – and, in the same 1968 interview that found Wendkos dyspeptic on the subject of his feature career, he expressed some guarded satisfaction about his work in the newer medium:
Television is a talk medium. The cinema is basically a behavioral medium, an action medium, people do things to generate a story. [I]n television they talk about doing things. You’re dealing with incredible professionalism in this field. All the scripts are tailored for five to seven day schedules and it’s so much easier to shoot characters talking about something than having them go through the actions. Television has an affinity for the minutiae of emotions as opposed to the broad sweep, the spectacle, the action of a motion picture. The difference is in the complexity of the mounting.
Though he directed a few more theatrical films (including the creepy The Mephisto Waltz, TV producer Quinn Martin’s only foray into features), Wendkos spent most of the seventies on directing made-for-television movies and mini-series, many of which were quite highly regarded. The first of them, a chiller called Fear No Evil, continues to attract obsessive attention; the second, The Brotherhood of the Bell, was a look at a Skull and Bones-type organization that earned Wendkos a DGA award nomination. The Legend of Lizzie Borden, with Elizabeth Montgomery wielding the axe, was a big deal in its day, and The Taking of Flight 847: The Uli Derickson Story netted Wendkos an Emmy nomination. And so on.
I should, at this point, be able to offer some specific insights on what made Wendkos one of the best among his generation of TV directors. But that’s tougher than it sounds, even for a specialist like myself. It’s at least a measurable task to isolate the elements in scripts that make a TV writer unique – the repeated themes, the “voice” of the dialogue, the broader control that can come via elevation to producer or story editorship. But to do the equivalent for an episodic director requires a close viewing of many segments, in close proximity, and even then the common elements may remain elusive, or mislead. How does one grapple with the fact that, as a production necessity, episodic television directors (even the best ones) routinely had less involvement in pre- and post-production than the hackiest of movie directors? How many presumably directorial choices were in fact the director’s, and how many were dictated by the producer or the star or the house style of a particular show? Do his Invaders segments more closely resemble Wendkos’s segments of other series, or those Invaders segments helmed by others? TV movies are easier – one can presume a bit more creative control on the part of the director – but most of them are maddeningly hard to come by these days. Little wonder that the expert cinephiles at Dave Kehr’s blog struggled last month to define the Wendkos touch, even as they agreed upon their admiration for it.
Tise Vahimagi and the late Christopher Wicking, in their book The American Vein, contemplate this authorial question with mixed success, but I think their take on Wendkos is sound:
In his best work, there is a clinical detachment from his characters, which prevents any easy transference from the viewer. His analytic view intensifies the feeling that we are watching insects under a microscope. Some of the insects run bewildered from the various physical and psychological hounds on their trail, whilst others do the pursuing — implacable and imperious. Wendkos’s framing of a cold world is usually meticulously correct, frustratingly proper. It conveys a Langian sense of fate, against which individuals are powerless.
To which I’ll add only that the best dramatic TV directors of the sixties, of whom Wendkos was one, had to be equally proficient in their guidance of actors and in their use of the camera. This is an obvious point. But the fact that there are few television auteurs who managed to specialize in one area to the exclusion of the other (in the way that, say, Kazan was an “actor’s director” or Hitchcock a meticulous planner of compositions) makes it all the more difficult to differentiate amidst their work.
If I can’t offer a full analysis of Wendkos’s mise-en-scene, I can at least shed some light on one mystery which emerged from that discussion on Mr. Kehr’s site. The authorship of Angel Baby has always been disputed in the reference books. Though Wendkos bears the sole screen credit, the project originated with another director, Hubert Cornfield, who had a similarly uneven and interesting early screen career. (Although when Wendkos segued into television, Cornfield simply disappeared). The press reported during the film’s production in 1960 that appendicitis forced Cornfield off the film, without indicating how much of it he completed before Wendkos took over. In that 1968 interview, Wendkos distanced himself a bit from Angel Baby – he claimed he was promised script changes which never materialized – but also neglected to say how much of the finished work actually bore his stamp.
This week I put in a call to Angel Baby’s lovely and talented star, Salome Jens, whose portrayal of the title character, a phony (or is she?) faith healer, is one of the film’s chief assets. According to Jens, Cornfield was fired after one or two days (“he had a lot of ideas, but none of them worked”) and all of his footage was reshot by Wendkos. Of the two credited cinematographers, Jens remembered Haskell Wexler as Wendkos’s primary collaborator; Jack Marta (soon to become the DP on TV’s Route 66) was there mainly to protect the picture’s union status. (Wexler was not yet a member of the A.S.C.)
Angel Baby began shooting on location in Florida and Georgia, but was forced back to Los Angeles by uncooperative weather. That may account for the film’s uneven mixture of steamy tropical authenticity and cramped, flimsy-looking sets. Apart from Jens, the visual energy Wendkos brings to the film – lots of tracking shots and low angles, perhaps to suggest the faithful gazing skyward – is the best thing about it.
“I had a lovely experience with Paul,” said Jens, who also did an Untouchables for Wendkos two years later. “I felt that he enhanced what it was I brought him. I already had ideas about what it was I was going to do, and he was very supportive. I loved Angel Baby. I thought it was a sweet little film.”
There’s one discrepancy I haven’t resolved, and that’s the question of Wendkos’s age. Most reference books report his date of birth as September 20, 1922, but the obits all state that he 84 rather than 87. If I sort out the facts, I’ll report back.
UPDATE, 12/3/09: Lin Bolen Wendkos says that Paul’s birth certificate bears the 1925 date. No one in the family seems to know how that 1922 business got started. Intriguing! Also, Paul was his middle name; his given name was Abraham.
June 12, 2009
Here’s a list I’ve been noodling with lately. The first entry kind of gives it away, but see how quickly you can guess what these films have in common:
Marty (Paddy Chayefsky/Delbert Mann)
Patterns (Rod Serling/Fielder Cook)
The Rack (Rod Serling/Arnold Laven)
The Catered Affair (Paddy Chayefsky/Richard Brooks)
Crime in the Streets (Reginald Rose/Don Siegel)
1984 (William P. Templeton/Michael Anderson)
Ransom (Cyril Hume & Richard Maibaum/Alex Segal)
The Fastest Gun Alive (Frank D. Gilroy/Russell Rouse)
Twelve Angry Men (Reginald Rose/Sidney Lumet)
The Bachelor Party (Paddy Chayefsky/Delbert Mann)
Dino (Reginald Rose/Thomas Carr)
Edge of the City (Robert Alan Aurthur/Martin Ritt)
Spring Reunion (Robert Alan Aurthur/Robert Pirosh)
The Young Stranger (Robert Dozier/John Frankenheimer)
Fear Strikes Out (Mel Goldberg/Robert Mulligan)
Man on Fire (Malvin Wald & Jack Jacobs/Ranald MacDougall)
The D.I. (James Lee Barrett/Jack Webb)
The Left-Handed Gun (Gore Vidal/Arthur Penn)
No Time For Sergeants (Ira Levin/Mervyn LeRoy)
Sing Boy Sing (Paul Monash/Henry Ephron)
Middle of the Night (Paddy Chayefsky/Delbert Mann)
The Rabbit Trap (JP Miller/Philip Leacock)
Visit to a Small Planet (Gore Vidal/Norman Taurog)
One Foot in Hell (Aaron Spelling/James B. Clark)
Judgment at Nuremberg (Abby Mann/Stanley Kramer)
The Outsider (Merle Miller/Delbert Mann)
The Hellions (Harold Swanton/Irwin Allen & Ken Annakin)
Days of Wine and Roses (JP Miller/Blake Edwards)
The Miracle Worker (William Gibson/Arthur Penn)
Requiem For a Heavyweight (Rod Serling/Ralph Nelson)
Incident in an Alley (Rod Serling/Edward L. Cahn)
Pressure Point (S. Lee Pogostin/Hubert Cornfield)
A Child Is Waiting (Abby Mann/John Cassavetes)
Dear Heart (Tad Mosel/Delbert Mann)
Baby the Rain Must Fall (Horton Foote/Robert Mulligan)
A Big Hand For the Little Lady (Sidney Carroll/Fielder Cook)
The Incident (Nicholas E. Baehr/Larry Peerce)
Charly (James Yaffe/Ralph Nelson)
The Legend of Lylah Clare (Robert Thom/Robert Aldrich)
Tomorrow (Horton Foote/Joseph Anthony)
Bang the Drum Slowly (Arnold Schulman/John Hancock)
The Trip to Bountiful (Horton Foote/Peter Masterson)
As you’ve probably deduced already, all of the movies above were adapted from live or videotaped dramas from the “golden age” television anthologies. The writer of the teleplay (but not necessarily of the subsequent screenplay) and the director of the film (but not necessarily of the original TV show) are listed, respectively, in parentheses.
I think it’s a revealing compilation because, once you get beyond the Serling and Chayefsky scripts, many of the films are not often cited as having their origins in live television. Mainly that’s because most of the authors and the original teleplays never became famous on their own, as Serling and Chayefsky and “Marty” and “Patterns” did.
I can only scratch the surface of this idea here, but I’d like to posit this list as Exhibit A in a theory that the live television adaptation represents a genuine and unacknowledged movement in the history of American cinema. How significant a movement? Less influential, certainly, than Italian neorealism or the French or Japanese New Waves were upon their national cinemas – but perhaps as discrete and coherent as any of those.
One thing that fascinates me about this list is the chronological curve it forms. If you mapped this data on a graph, the line would trace Hollywood’s explosion of interest in live television following the success of Marty; the early peak in 1956-1957 during which just about any live TV writer could make a lucrative movie-rights sale; and the gradual falling off as escapism regained ground in mainstream American filmmaking for a time during the mid-sixties.
“Kitchen sink” realism was the umbrella term for the elements of the archetypal fifties television drama: working class characters, urban and ethnic milieus, claustrophobic settings, center-left politics. All of these concerns migrated west to Hollywood on the backs of teleplays purchased from early New York-based TV dramas. So did a new style of emotionally intimate acting that developed in tandem with, and partly within the pressure-cooker workshop of, live television. The American theatrical renaissance of the postwar era – the influence of Arthur Miller, Tennessee Williams, the Actors Studio, Stella Adler – is often and correctly credited with importing many of these ideas into the cinema. But television was an equally vital conduit.
If this wave of derived-from-live-television films is not enshrined as part of the historical canon, it may be because it foundered so quickly. Part of the problem was simply the process of filmmaking itself, which tended to dilute the characteristics that made television-derived material distinctive. Hour-long scripts were padded to feature length. Shooting in Hollywood studios, with cinematographers and production designers trained to make movie stars and their surroundings look as appealing as possible, added a visual gloss that no amount of carefully positioned garbage in backlot alleys could diminish. The commercial imperative to attract a wider, more mainstream audience led to the de-ethnicization and de-urbanization of characters and scenarios. Ernest Borgnine and Betsy Blair were happier and prettier than television’s Marty and Clara.
Another factor in the diminution of the live television school’s influence on the movies is the extent to which its major practitioners deviated from the styles they had developed in television. There was no reason to expect otherwise; consider how quickly the Italian neorealist auteurs diverged into maximalism (Fellini), minimalism (Rossellini), abstraction (Antonioni), decadence (Visconti), or banality (De Sica). Here’s another list to illustrate this point – a roster of the major live television directors who transitioned into features, with a chronological selection in parentheses of some of their most significant films. The directors are also listed chronologically, according to each man’s initial foray into filmmaking:
Delbert Mann (Marty; Separate Tables; That Touch of Mink)
Fielder Cook (Patterns; A Big Hand For the Little Lady; Seize the Day)
Alex Segal (Ransom; All the Way Home; Harlow)
Sidney Lumet (12 Angry Men; Long Day’s Journey Into Night; The Pawnbroker)
Martin Ritt (Edge of the City; Hud; The Molly Maguires)
John Frankenheimer (The Young Stranger; The Manchurian Candidate; Grand Prix)
Robert Mulligan (Fear Strikes Out; To Kill a Mockingbird; The Stalking Moon)
Robert Stevens (The Big Caper; In the Cool of the Day; Change of Mind)
Jeffrey Hayden (The Vintage)
Arthur Penn (The Left-Handed Gun; Bonnie and Clyde; Little Big Man)
Vincent Donehue (Lonelyhearts; Sunrise at Campobello)
Daniel Petrie (The Bramble Bush; A Raisin in the Sun; The Neptune Factor)
Buzz Kulik (The Explosive Generation; Warning Shot; Villa Rides)
Ralph Nelson (Requiem For a Heavyweight; Father Goose; Soldier Blue)
George Roy Hill (Period of Adjustment; Hawaii; Butch Cassidy and the Sundance Kid)
Franklin Schaffner (The Stripper; Planet of the Apes; Patton)
Jack Smight (I’d Rather Be Rich; Harper; Midway)
Elliot Silverstein (Cat Ballou; The Happening; A Man Called Horse)
Paul Bogart (The Three Sisters; Marlowe; Skin Game)
George Schaefer (Pendulum; Doctors’ Wives; An Enemy of the People)
I’ve handpicked the films listed above (and potentially stacked the deck, I realize) to diagram the seemingly inescapable expansion of their directors from television-sized projects into larger-scaled and more stylistically varied films. Instead of building upon the techniques of live TV to develop radically new methods of filmmaking (of the type, say, that John Cassavetes, an actor but never a director in live TV, would do), the live directors all moved toward established Hollywood practices. The directors who resisted or failed to master these conventions are the ones who struggled.
Jeffrey Hayden, in a recent interview, told me that he felt underprepared and overwhelmed when MGM sent him to France with a veteran film crew to make his first (and only) feature. For Hayden, devoting two years to the planning of a single project translated into crushing boredom, and he returned to episodic television. Vincent Donehue is a case study in how live television experience can fail to prepare a director for working on film; nearly every camera angle, blocking choice, and cut in his two films is conspicuously ill-chosen. Delbert Mann, who hewed more closely than most to the kind of material he had directed in television, found worthwhile projects scarce after the mid-sixties. George Roy Hill and Franklin Schaffner were talented filmmakers, but they became such efficient purveyors of large-scaled, star-driven dramas that their roots in television (not to mention their own personalities) are difficult to discern in their work.
The richest filmographies among the directors above belong to those who fused what they learned in television with the broader possibilities of the cinema. Lumet adopted an intimate, mainly realistic approach that relied upon extensive rehearsal to foreground the work of his actors. He developed a preference for practical locations over the soundstages of live TV, and yet returned again and again to a vision of a grimy, teeming New York City.
Frankenheimer, almost a polar opposite, developed an aggressive visual pallet that drew heavily upon, but extended and refined, the tools available to him in live television: daring camera movements; frequent and extreme shifts in focal length; and complex, assertive editing. Where Lumet rarely chose to draw attention to his camera, Frankenheimer often abdicated in the area of performance, deferring to his actors to make their own choices (and often to overindulge themselves). Yet the basics of both styles derive measurably from live television.
To extend these musings one step further, I wonder to what extent certain aesthetics of live television may have resurfaced in the reborn “New Hollywood” of the seventies. Penn, Lumet, and to a lesser extent Ritt and Mulligan were still making major films at the time, films that attempted to interrogate or dismantle the classicism of their earliest features. The studiously drab imagery of Network and Night Moves, the Method-style acting of Little Big Man and Dog Day Afternoon circle back to the television that Penn and Lumet were directing in the fifties, even though both had flirted with a range of contradictory styles in the interim.
I’ve always been struck by how many of the key American filmmakers of the seventies who did not come out of live television apprenticed instead in its West Coast counterpart, the episodic filmed TV of the sixties. Altman, Peckinpah, Rafelson, Cassavetes, Spielberg, Sydney Pollack, Michael Ritchie, Stuart Rosenberg, Lamont Johnson, Robert Towne, Alvin Sargent, Frank Pierson, and others all did significant early work there. Any serious pre-history of the New Hollywood movement must take television into account. The initial question that comes to mind: was TV any kind of a positive influence on the mature work of these filmmakers, or just the holding pen from which they broke loose in order to innovate?
Thanks to Jonah Horwitz for correcting some technical errors in my earlier writing on John Frankenheimer, and for adding to my understanding of Frankenheimer’s and Lumet’s visual strategies. An earlier draft of this piece omitted A Child Is Waiting (1963), Dear Heart (1964), A Big Hand For the Little Lady (1966), and several other films from the first list.
March 4, 2008
Herbert Kenwith, a busy episodic television director, died on January 30. I’m not sure why the news has taken so long to surface, but a paid obit (reprinted below) turned up in the LA Times only on Sunday, followed by a notice in Variety.
I can’t add much to what his survivors wrote, except to point out that Kenwith was one of the last (perhaps the last) of the original group of New York-based live TV directors to transition into a successful career in filmed & taped shows on the west coast. (He may be best remembered for directing one of the really incoherent third-season Star Trek episodes, “The Lights of Zetar,” but Kenwith found his niche in half-hour sitcoms, especially for Norman Lear.) And that if I’d known Kenwith had taken six years off his age, I might have approached him for an interview before it was too late….
Herbert Kenwith, a director and producer for both television and Broadway, died Wednesday, January 30, 2008, at his home in Los Angeles, of complications from prostate cancer. He was 90.
Kenwith, born in New Jersey, started his career as an actor and appeared in several Broadway productions. His last Broadway appearance was in “I Remember Mama” with Marlon Brando, produced by Rodgers and Hammerstein. The first theatrical play he produced and directed was “Night Must Fall” starring Dame May Whitty. As Broadway’s youngest producer, Kenwith produced “Me and Molly,” which was voted “One of the season’s ten best plays.”
Kenwith, for six extremely successful summers, produced and directed all 65 productions for Princton University’s McCarter Theater. Leads included Lucille Ball, Mae West, Charlton Heston, Shelly Winters, Cesar Romero, Walter Matthau, Maureen Stapleton, Eve Arden, Constance and Joan Bennett, Paul Muni, Miriam Hopkins, Gloria Swanson, Jeanette MacDonald, Zazu Pitts and Nancy Davis.
Thereafter, CBS hired Kenwith as an asscociate director, and within seven weeks he was assigned to direct the soap opera, “Valiant Lady,” followed by “Lamp Under My Feet,” “Suspicion,” “The Investigator,” “The Polly Bergen Show,” and Jonathan Winters in his weekly show. He also directed “The Doctors” at NBC for the first three years, starring Ellen Burstyn. His TV Special credits include stars such as Danny Kaye, Billy Eckstein, Sidney Poitier and even Rose Kennedy.
Within three weeks upon his arrival in Hollywood, he was directing episodes of “Death Valley Days,” “Name of The Game,” “Marcus Welby,” “Star Trek,” “Daktari,” and “Mister Deeds,” along with TV pilots for all the networks.
Norman Lear signed Kenwith to a seven year contract as producer/director on “Different Strokes,” “Facts of Life” and “All That Glitters”. He directed “Good Times,” “One Day At A Time,” “Sanford and Son,” “Joe’s World,” and numerous other primetime sitcoms.
Friends and family will miss his unique sense of humor, unflinching loyalty and dedication to his craft. Survivors include his niece, Lori Low-Schwartz, and nephews, Arnold Winick, Richard Flexner and Gary Low.
Published in the Los Angeles Times on 3/2/2008.