August 10, 2012
Another historian once told me that his attempt to interview Horton Foote got off on the wrong, er, foot when he referred to his subject as a “regional writer.” Mr. Foote undoubtedly felt that his work contained more multitudes than that, and perhaps it does, but his reputation remains that of an East Texas memoirist and a chronicler of gentle Southern lore. On the arc of live television dramatists, Foote’s Southern stories reside at a far end of specificity, counterbalancing Paddy Chayefsky’s equally acute catalog of Jewish (and Jewish-disguised-as-other-ethniticies) masturbators and mamas.
Foote reworked many of his teleplays for the stage or the big screen, with enough success that in many cases the original works have been forgotten. The Paley Center seeks to rectify that oversight this month with a small but well-chosen series of the reluctant regionalist’s television work, beginning with “The Trip to Bountiful” (a 1953 Goodyear Television Playhouse) on Sunday and then “The Traveling Lady” (a 1957 Studio One) on August 19.
“The Trip to Bountiful” concerns old Mother Watts (Lillian Gish), a semi-senile senior who shares a two-room apartment in Houston with her married son but yearns to return to the tiny Texas hamlet where she once worked a farm and raised two children by herself. This was a barnstorming comeback for Gish, who had starred for D.W. Griffith in the silent films, and she milks it for all it’s worth, weeping and literally rending the scenery (or at least a crucial prop) at the finale. Gish probably owed her memorable role in The Night of the Hunter to this performance, but a middle section of the show is stolen from her by twenty-nine year-old Eva Marie Saint, only a year away from On the Waterfront and major, if fleeting, stardom. Saint, playing a helpful stranger, herself adrift on a lonely journey, is lovely, capable, and respectfully sympathetic toward her frail traveling companion. Even though Foote fills the vacuum almost immediately with another helpmate, a soft-hearted sheriff (Frank Overton), “The Trip to Bountiful” deflates a bit after Saint exits at the midpoint. In scarcely twenty minutes, she establishes herself as Gish’s equal, perhaps exceeding Foote’s intentions; the part almost calls for a less radiant ingenue, one whose own story we don’t feel the need to see completed.
The justly famous centerpiece of “The Trip to Bountiful” is the unbroken nine-minute take in which the bus riders played by Gish and Saint exchange backstories. Carrie Watts’s anecdote about the man she loved but was forbidden to marry is only a small part of this conversation, and yet it formed the basis for a quartet of Foote teleplays. The simplicity of this scene is breathtaking; a single cut would have broken the spell. If the stereotypical idea of the live television director is that of John Frankenheimer, chain-smoking his way through a broadcast and snapping “take one, take two, take one,” then “The Trip to Bountiful” conjures a competing control booth image of Vincent J. Donehue, feet propped up and skimming most of the evening edition during the second act of “The Trip to Bountiful.”
Although one tends to think of Foote as a Grand Old Man, “The Trip to Bountiful” (which Donehue and producer Fred Coe staged on Broadway eight months after the telecast) is a young man’s play, sympathic to outsiders and scornful of establishment values. Bottomless in his empathy for Mrs. Watts, Foote falters in his characterizations of the spineless son and the shrewish daughter-in-law (whose preference for Hollywood over Bountiful is carefully underlined). Like Chayefsky’s “Marty,” Foote’s script concerns itself with the relations between parents and their adult children. Because Goodyear can render Bountiful as little more than a single dilapidated, weed-choked front porch, the visceral experience of the Foote and the Chayefsky shows is not terribly dissimilar, even as the respective film versions of each, shot in authentic outdoor locations, feel worlds apart. The disconnect between Foote’s rural Texas settings and their soundstage approximations forces the viewer’s attention toward the thematic and universal elements in his work – a process that has no equivalent in the early scripts of Chayefsky, Serling, or Rose, most of which took place in hot, dingy little rooms that were more easily evoked in a TV studio.
The ending of “The Trip to Bountiful” is nostalgic but hardly sentimental. Indeed, one almost longs for Foote to fell Mother Watts, sifting the soil of her ruined homestead through withered fingers, with the fatal heart attack that is foreshadowed throughout. But no: instead he gives us a testy reconciliation between parent, child, and in-law that plays out as a pathetic exercise in self-deception on the part of everyone concerned.
If “Bountiful” is a journey that ends in stasis, then “The Traveling Lady” is a static work that ends on the cusp of a journey. Arguably more mature in its characterizations than “Bountiful,” “Lady” – another piece partly about a vulnerable young woman’s bus trip – is nevertheless the lesser work. “Lady”’s path to television was the inverse of “Bountiful”’s: after The Trip to Bountiful flopped on Broadway, Foote and Donehue reteamed to mount The Traveling Lady for the 1954 season. It, too, closed in a month, and was revived three years later by Herbert Brodkin on Studio One, probably less out of devotion to Foote’s work (even though he was by then a sought-after scribe) than as an excuse for Kim Stanley to recreate the title role, that of a single mother reuniting with her husband following his six-year jail sentence, for a wider audience.
A New Mexican who liked to tell people she was from Texas, Stanley fit Horton’s delicate dialogue like a glove. She’s extraordinary in “The Traveling Lady,” a model of Method acting at its most precise, hitting different emotional beats on every Footean syllable and many of her own pauses in between. The viewer can hardly keep up.
It’s too bad that “The Traveling Lady,” already a collection of characters in search of a play, suffers from the miscasting of nearly all the supporting roles. Less nonsensical on the page, one hopes, Mildred Dunnock’s floridly dotty Mrs. Mavis is a Tennessee Williams reject, and no one could have picked two less Texan leading men for Stanley than Steven Hill and Robert Loggia. Loggia essentially pulls off the rogue who wants to make a home for his family but cannot escape violence and alcoholism; Hill, wooden and tripping up on a vague attempt at an accent, is a disaster as Slim, the deputy sheriff who falls at first sight for our traveler. (And Slim has the best monologue, too, sharing a painful secret about his late wife.) Lonny Chapman and Jack Lord, who did the male leads on Broadway, likely came closer, and a dream cast of Pat Hingle and Andy Griffith might have nailed it.
As it was, the director of “The Traveling Lady,” Robert Mulligan, tried again, with a feature version in 1965 retitled Baby the Rain Must Fall. He finally perfected the casting – Lee Remick, Steve McQueen, Don Murray – but still Foote’s difficult souffle did not rise. Amazingly, Stanley essayed the role a third time in 1958 – for ITV’s Armchair Theatre, with Denholm Elliott and Ronan O’Casey as her leading men. I’d love to hear how they managed the East Texas brogues.
Sources: Together Jon Krampner’s excellent Man in the Shadows: Fred Coe and the Golden Age of Television (Rutgers UP, 1997) and Female Brando: The Legend of Kim Stanley (Back Stage Books, 2006) form a sort of penumbral biography of Horton Foote.
December 30, 2009
Even though the decade doesn’t really end for another year (don’t get me started on the subject of the Year Zero), everyone is playing favorites this month, and I can’t resist joining in. Typically, I’ve come across plenty of discussion about the best movies of the “aughts,” but not a whole lot about the highlights on the small screen during the same years.
I haven’t written much about “new” TV in this space, mainly because the launch of this blog two years ago coincided with a notable dip in the quality of both network and cable offerings. But I’ve always insisted on defining “classic” as good rather than just old. Here, then, are some remarks about the shows that I think stand as the finest of the past ten years. (Yes, they’re in order of preference.)
1. Veronica Mars (UPN/CW, 2004-2007). A howl of class resentment masquerading as teen angst, this po-mo Nancy Drew update mined revenge-fantasy gold with its sly premise: Veronica, a middle-class townie among decadent rich kids in a seaside SoCal town, uses the private eye skills she learned from her ex-police chief father (the wonderful Enrico Colantoni) to claw her way up the socioeconomic ladder. Who wouldn’t want to relive their high school years armed with a Nexis password and a skeleton key to the principal’s office? Newly-minted star Kristen Bell nailed the title role, cultivating a smart, sullen reserve that explained how Veronica could be beautiful (and capable of belting out a rockin’ karaoke cover of “One Way or Another”) and still a perpetual outsider. Rob Thomas’s neon-lit neo-noir never took the easy way out, always treading instead into darker places than you thought a UPN show could go: Veronica spent the first season tracking down the rapist who took her virginity. At the heart of the show was a touching filial bond – daughter and father against the world – but even there trust was not sacrosanct. When Veronica swiped a clue from his private office safe, Dad said nothing . . . but changed the combo.
2. The Wire (HBO, 2002-2008). If its teenaged target demographic could overlook the Marxist underpinnings of Veronica Mars, there was no ignoring the class concerns of David Simon’s masterpiece, an epic survey of Baltimore’s haves and have-nots, from wretched crack addicts all the way up to scumbag politicians. Jaw-droppingly ambitious and intelligent, The Wire earned a rep for complex plotting (“it’s more like a novel than TV,” was the backhanded critical refrain). But the characters were the reason to watch; they were perhaps the richest and most unpredictable in the history of television, and often the writers seemed to make choices simply to find out what one of their creations would do in a particular circumstance (Prez … as a teacher?). The inattentive recoiled from The Wire’s final season when the putative protagonist, homicide detective Jimmy McNulty (Dominic West), finally stepped outside the hypocritical professional code that had triggered his self-destructive rampages in the past. Never mind that the groundwork for this act had been laid carefully for years: there are things that TV heroes just don’t do, and The Wire violated that covenant. In granting Jimmy some measure of peace at the finale, the series reaffirmed the most essential and sagacious of its basic tenets: that our systems may be unsalvageable but that the people within them always merit respect. Season Five also served up the best of the show’s trademark civic-arena subplots. Simon staged a heart-rending tribute to the beat reporting from whence he came with his canonization of an old-school, anti-corporate newsroom editor (an astonishing Clark Johnson, also a key director on the show). Dare I point out that East Side/West Side, forty years earlier, also closed by invoking the death of independent journalism as a self-referential metaphor?
3. The Sopranos (HBO, 1999-2007). If people were generally redeemable in Simon’s vision, the other David – David Chase – saw humanity as corrupt to the core; HBO in the aughts boiled down a Manichean debate between the conditional optimism of The Wire and the misanthropy of The Sopranos. Indeed, The Sopranos’ central conceit that the mafia are just like us extended, over time, into a premise that every person is trapped in a prison of his or her own making – that we all repeat the same patterns of destructive behavior over and over again in an unbreakable cycle. Consider Carmela’s endless but always deluded personal re-inventions, Janice’s interchangeable scumbag boyfriends, and of course the gradual decimation of everyone in Tony’s inner circle: viewers who played the game of guessing who would get whacked next missed the forest of existential despair for the trees. Delighting in the visual contrast between mob violence and the bland New Jersey suburbs, Chase foregrounded his mockery of tracksuits and Starbucks until The Sopranos verged on full-out farce; by the end it had more in common with Seinfeld, the original Show About Nothing, than with The Godfather.
4. The Office (NBC, 2005- ). Because the original British series was note-perfect, this adaptation seemed doomed, until (during the second season) showrunner Greg Daniels found ways to rebuild its structure to fit the American TV custom of more episodes and open-ended network runs. One strategy was to shift the focus somewhat from megalomaniac manager Michael Scott (Steve Carell) to a uniformly hilarious supporting cast of office oddballs, most of them played by non- or semi-professional actors. Another was the use of melodrama – long-running, off-and-on story arcs like Dwight and Angela’s bizarre romance, or Michael’s feud with Toby – as the structural foundation for the gags. Over time, these complicated subplots began to mimic real life, so that The Office’s jokes became interchangeable with the you-had-to-be-there insider humor of our own workplaces. Best of all, Daniels and company – and it is a company, of performers and writers who, judging from the leftover scenes on the DVDs, improvise far more than is customary in the sitcom form – enjoy challenging their audience’s complacency. Jim, the sardonic slacker who provides our easiest point of identification, begins to come off as smug and entitled when he gets the girl or works for a normal boss. Meanwhile, Michael’s dim-witted worldview seems a bit less infuriating after he meets an adorable soulmate (Amy Ryan, doing a comic version of her character from The Wire). If there’s a message here, it may be that work makes us all kind of insufferable.
5. Arrested Development (FOX, 2003-2006). So corrosive in its sensibilities that it was destined to become a cult item, Mitchell Hurwitz’s dazzling satire attacked the American dream with a buzzsaw. (Literally – much of the action took place in a house that was sliding into oblivion.) The Bluths were a family of crooked Orange County land developers who were not just decadent and kooky, but utterly narcissistic and vile. Incest – between the semi-retarded Buster and his perpetually soused mother; between the two tweener cousins; between the “normal” brother Michael and his maybe-sister (played by Jason Bateman and his actual sister, Justine) – was a frequent narrative possibility, and also the key metaphor in the show’s attitude toward the sanctity of family. Arrested Development skirted so close to ugliness that I was poised to tune out until the most extreme characters, like the semi-retarded Buster (Tony Hale) and the sexually confused Tobias (David Cross), gradually worked their way around to being funny instead of just creepy. What removed this show from Married With Children territory was its capacity for intricate verbal and physical farce. As the seasons mounted (only up to three, alas), flocks of throwaway gags – like the one where teenaged Maeby stumbled into a successful career as a Miramax development exec – recurred and extended to the point that Arrested loyalists were rewarded with a laugh on every line or background action. By the time Buster, the luckless Oedipal casualty with a dominant mother named Lucille, was maimed by an animal that escaped from his magician brother’s act – you got it, a loose seal – it seemed as if the English language itself might have evolved just to suit the show’s needs.
6. The West Wing (NBC, 1999-2006). Aaron Sorkin’s presidential drama was so much a product of the Clinton era that I’ll bet many viewers have forgotten it was, save for the first few months, a show of the aughts rather than the nineties. With its fantasy of a Wilsonian academic as president and a court of White House insiders who were philosophers as much as pragmatists, The West Wing was a tonic that helped many of us endure the Bush debacle – even though Sorkin was more likely to turn a New Yorker article into a C-storyline than to tackle any fiery lefty talking points head-on. Sorkin’s exit just past the midpoint cost the show its brilliant Gilbert-and-Sullivan walk-and-talks, but the maligned “John Wells years” made some acceptable substitutions. Wells’s core of new writers found flaws in the characters Sorkin had deified, and took a chance on a Robert Drew-derived pseudo-documentary civics lesson during its final Jimmy Smits vs. Alan Alda election storyline. This was the last, and nearly the best, in the now extinct tradition of the eighties-vintage, character-driven large-ensemble drama.
7. The O.C. (FOX, 2003-2007). The initial premise was thin, but irresistable: a prince-and-the-pauper variant by which a semi-orphaned delinquent (Ben McKenzie) befriends the son (Adam Brody) of the rich Orange County couple who adopt him. The two teens engage in a form of mutual gate-crashing: the poor kid, Ryan, gains access to a world of privilege and opportunity, while geeky Seth trades on Ryan’s bad-boy cool factor to become popular. Add some autobiographical sincerity from creator Josh Schwartz; a raft of snarky, self-referential improvisations by breakout stars Brody and Rachel Bilson; and just the right amount of a grounded truth in Peter Gallagher’s lovely performance as Seth’s mensch of a dad – and you have the feel-good show of the decade, a perfect dream of the way your teen years should have been but weren’t.
8. The Shield (FX, 2002-2008). Was Vic Mackey, the epically crooked cop at the heart of The Shield, a subhuman monster or a vigilante saint? I had no doubts about my own opinion of him, and at first I thought creator Shawn Ryan was taking the easy way out by playing the Archie Bunker card – that is, making Mackey (a ferocious Michael Chiklis) charismatic enough to serve as a rallying point for conservative viewers and leaving the rest of us to root for the massing horde of vengeful gangsters, politicians, and internal affairs cops to take him down. But Vic Mackey turned out to contain multitudes: the ever more torturous and rickety amalgam of rationalizations that enabled Mackey to see himself as a defender of family and innocence rather than a murderer and a thief made him a compellingly ambivalent and complex anti-hero. As Vic’s poison cascaded downward, everyone in his path (wife, kids, partners, bosses) struck similar bargains with themselves in order to keep the Mackey Problem at arm’s length; some of them, namely the brilliant but troubled serial-killer specialist Dutch (Jay Karnes) and his morally irreproachable partner Claudette (CCH Pounder), spun off into equally fascinating mini-stories of their own. The Shield sustained an adrenaline-fueled pace that few shows could match, and constructed a vast, grungy world of L.A. lowlifes (on both sides of the law) that made it the best James Ellroy adaptation that’s not actually a James Ellroy adaptation.
9. Boston Public (FOX, 2000-2004). Running on fumes after the intoxicating nineties (Picket Fences, Chicago Hope, The Practice, Ally McBeal), the written-out David E. Kelley delivered one more of his quirky, sensitive, beautifully observed character dramas for the new millenium. As unconcerned with teen life as a show set in a high school can be, Boston Public (like Mr. Novak forty years earlier) scrutinized the diverse mix of personalities who made up the mostly dedicated teaching staff of an inner-city campus. Kelley’s respect for this impossible profession was consistently moving, as were many of the individual performances (especially that of Nicky Katt, as a teacher whose passionate involvement with his students’ problems was complicated by perpetually poor decision-making skills). As often happened in Kelley’s best work, a prickly but soulful loner came to occupy the show’s emotional center; in this case, it was vice principal Scott Guber (Anthony Heald), a much-loathed martinet with an unnoticed compassion for his students and an unrequited crush on a young teacher (Jessalyn Gilsig). Guber’s unlikely friendship with the world-weary principal, Steven Harper (Chi McBride), set the stage for the decade’s most poetic two-handed acting to come from a pair of relatively unknown character players.
10. C.S.I. (CBS, 2000- ). A victim of its own success, C.S.I. dropped off the critical radar after it tainted its brand with a pair of wretched spin-offs. But the original version maintained its status as the most satisfying mainstream genre show on the air for most of the decade, thanks less to the clever forensic mysteries and the tiresome “bullet-cam” stylistic tics than to the well-rounded cast. The whole ensemble understood that underplaying was the only way to build characters amid the torrent of technobabble, and star William Petersen maintained a poker face that kept science guru Gil Grissom an enigma all the way up to his 2009 exit. The handful of episodes written by Jerry Stahl (which introduced the world to “furries” and “adult babies”) revel in their gleeful perversity and sexual frankness, and collectively they represent a kind of morbid humor that remains rare on television. You can only get away with that when you’re number one.
Although I have a pet peeve about top ten lists that morph into “top seventeen” lists, I will comment on a few shows that merit some sort of honorable mention. I wish I had found room for Jenji Kohan’s Weeds (Showtime, 2005- ). Its writing is uneven and sometimes lazy, but also hilariously, unapologetically profane (“cockamole on her faceadilla” gave me my loudest laugh of the decade) and perfectly attuned to the weird personas of Mary-Louise Parker and Kevin Nealon. Nip/Tuck (FX, 2003-2010) has insight, fine performers (especially Julian McMahon and Boston Public castoff Jessalyn Gilsig) and, crucially, some of the most vibrant and empowered women characters on television. But the consistent streak of cruelty in Ryan Murphy’s world finally turned me away. Six Feet Under (HBO, 2001-2005) and Alias (ABC, 2001-2006) could have made the list, had either of those very different shows carried the depth and urgency of their first two seasons forward into their last three. 30 Rock (NBC, 2006- ) has overcome most of my initial resistance, and hit some kind of zany peak in its third year. Fastlane (FOX, 2002-2003) gets the “guilty pleasure” vote: this forgotten one-season cop show catalogued the mindless pleasures of empty banter, expensive man-toys, sexy ladies, and explosions with an infectious glee and a surplus of style.
And while I love Mad Men (AMC, 2007- ), something (maybe just the fact that I haven’t seen the most recent season) kept pushing it out of my top ten. Like its hero, Don Draper, the show has a way of holding back just when it should burst forward. Will Mad Men’s undeniable excellence last long enough to earn it a spot in the next decade’s list? Somehow, I doubt it – but then, I’m not sure if I’m going to last that long, either.