Title Card

Last month, I wrote about The Senator, an Emmy-winning political drama broadcast during the 1970-71 season as part of the umbrella series The Bold Ones, for The A.V. Club.  The Senator is about as old a television series as you can find where nearly all of the major creative personnel are still alive, and I was fortunate enough to interview most of them: producer David Levinson, associate producer/director John Badham, writer/director Jerrold Freedman, writer David W. Rintels, and editor Michael Economou.  (I didn’t speak to the show’s star, Hal Holbrook, but the recent DVD set includes a new half-hour interview in which a fiery Holbrook recounts his memories of the show in detail.)  

Because the vast majority of the material I gathered wouldn’t fit into The A.V. Club piece, I’ve compiled it here in the form of an oral history.  It covers the standalone pilot film, A Clear and Present Danger; the development of the series; and then the individual episodes, at least half of which are little masterpieces from a period when quality television drama was scarce.

Jerrold Freedman: It probably got started with Jennings Lang, and Sid Sheinberg.  Probably two thirds of NBC’s product came from us [Universal], and Jennings Lang was a great salesman.  By the time we got going on these shows, he had moved on to the feature side.  But he had been the guy who invented World Premiere and all these other things.  It was a way to get a lot of different shows going with the idea that if one of them caught fire, they could make a regular series out of it.  You could also do things and take chances with a six- or eight-episode series that you couldn’t do with a 24- or a 26-episode series.  Bill Sackheim created The Protectors, the [Bold Ones] show I did.

Michael Economou: Bill Sackheim was a nice man.  My kind of guy.  He was very precise when he spoke.  Great sense of humor.

Freedman: Bill was a guy who would create shows but he didn’t want to run them.  He didn’t want to stay on for the series.  Bill was really one of the greatest creator/writers in television.  He was up there with Roy Huggins and Stirling Silliphant and guys like that.  And he was also a mentor to a lot of us.  He was a mentor to Levinson and me and Badham, and Joel Oliansky.

John Badham: I was working for the producer, William Sackheim.  He and the writer, who I’m pretty sure was Howard Rodman, had developed a story called A Clear and Present Danger, before the Tom Clancy novel of the same name, and dealing with something that at the time some people said was ridiculous.

David Levinson: I forget the genesis of it.  Someone had come in and proposed the idea.  I think that [S. S.] Schweitzer came in and proposed the idea.  A. J. Russell came in behind him, rewrote the story, wrote a script that was not very good, and they brought Howard [Rodman] in to write the script that ultimately became the pilot.  I think it’s all Howard.

Badham: Why were we doing a story about air pollution?  Because it was just not widely recognized as any kind of a problem, and yet Bill Sackheim and Howard Rodman had a strong belief that it was a serious problem, and they built it around the character of, I believe, a high level attorney in the Justice Department.  That character was cast as Hal Holbrook, and as the story follows, [there are] some really serious air pollution attacks around cities of steel mills and big industrial sites, and the resulting waves of illnesses that came from it with people getting really sick and so on.  The Holbrook character’s effort to bring law into this, and the difficulties, because as I said people didn’t regard this as a problem, and we were able to utilize that as part of the resistance in the program.  You would think that the bad guy would be the air pollution, but it was the people surrounding it.  To make a kind of silly comparison, the bad guy in Jaws could be either the shark or a silly, stupid mayor who doesn’t want to shut the town down because it might hurt tourism.  The industrialists who owned a lot of these big industrial sites [were] saying, “Listen, hey, you’re going to shut us down?  We’ll just move to China.  We’ll just move to another state.”  So that was the subject of it.

The director was James Goldstone, a wonderful, very creative director, who took the crew to Birmingham, Alabama, which I had recommended to them.  I grew up in Birmingham and that was a heavy, heavy industrial steel-making city where the sky would be ablaze at night with the furnaces going.  Very beautiful sight, but my father had terrible emphysema because of living his entire life in Birmingham.  God knows how many people had been affected by it over time without really realizing what was going on.  Goldstone shot in Birmingham for about a week, but as soon as U.S. Steel got wind of it, they started sending their security guys out to move us away from whatever sites we had picked, which probably had steel mills in the background.  I don’t think we were ever on U.S. Steel property, but you could see these great furnaces going.  They basically chased them off, and for a couple of days Goldstone drove around town shooting out of a van.  Secret plates that he would use for backgrounds back in the studio, so that when they go to meet with the head of this fictitious company, in the windows behind him you could see these things going nuts and blazing away as he’s saying, “We’re not going to change anything other than move our steel mill to another city, and you guys are out of luck.”  So the film was very, very strong, and really a good wake-up call.

Holbrook Pollution

In 1970, The Bold Ones added to The Senator to its roster, in place of The Protectors, for reasons that were never explained to its producer.

Freedman: Maybe the ratings weren’t as good as the other two shows it was with.  I don’t know.  One of the protagonists was black; I always wondered if that had anything to do with it.  The other two shows were what, The [New] Doctors, and that stayed on for a while, and then the other one was The Lawyers, with Farentino?  I think that those were more popular casts.  We had Leslie Nielsen, who was a great actor but back then didn’t have the name power of some of these other people.

Levinson: I was given the show by Sid Sheinberg.  Bill Sackheim was not able to produce a series.  He had contractual obligations that prevented him from doing it, and he agreed to stay on if I became the producer.  So it was his largesse that really got me the show.  I had done a couple of seasons of The Virginian, and I had done one television movie.  But basically this was going to be my trial under fire.

David W. Rintels: They had some very good people over there.  Not only Bill Sackheim, who would fight for it, but a very good line producer, who really functioned on a lot of levels, David Levinson.  They had pride in what they did, and Hal Holbrook had pride, and Michael Tolan.

Levinson: Sackheim rarely wrote anything himself.  But his genius, and I’ve said this for years, was getting in really good people and then somehow drawing out of them the very best they had to offer.  Any number of people I can name who were really successful writers and directors did their best work with Bill.  He was my role model.

Badham: In all of the episodes, he was always there.  More in the form of a consultant than anything.  David Levinson was clearly the boss and the leader, but he always included Bill in script decisions and reading scripts and looking at cuts and getting Bill’s feedback and input.

Freedman: Universal turned out tons of great filmmakers, because they were really willing to give young guys a shot.  We had Huggins, we had [Jack] Webb.  It was a mixture.  But they weren’t adverse to young people, and most other studios were adverse to young people.  It was hard to get in as a young person, much different than today.  I was the youngest producer in the business when I did The Protectors.

Economou: The thing that was very refreshing was that everybody was under thirty.  They were young kids.  David Levinson, David Rintels.  There was such a heat, such a tremendous energy created.

Levinson: Stu Erwin, Jr. was the studio executive on it.  But the truth of it the matter was that whenever we had a major problem with the show I went straight to Sid Sheinberg.  I mean, he was the guy that had given me the show, and as he said to me once, would always afford me enough rope to hang myself.  He ultimately was the boss.

Freedman: When Sid took over television from Jennings, which was either about ’67 or ’68, I don’t think Sid was more than 35 years old.  Sid was a really combative guy.  We used to fight like crazy.  But he was really a stand-up guy for his people.  He would say to me, “Whatever you’re doing, I’ll back you.  You and I might fight but when it comes out to the rest of the world, I’m going to be right here behind you.”  And he was.  He really backed us.  And we were doing shows that, in their time, were kind of revolutionary, whether it was The Senator or The Psychiatrist or some of these other shows.  There was a lot of pushback from the network on those shows, and Sid was very aggressive about standing up for us.

Badham: NBC ordered eight episodes of it, thinking it would be a continuation of the U.S. attorney general, and in conversation subsequently with Hal Holbrook, he came in and then he said that he thought that his job should be a couple of levels up from that.  That it should be a bigger level, like a United States senator, who would have more heft and so on.  I myself was worried that it might be better if he had less heft.  If everything was a struggle for him, it wouldn’t be quite as easy as it might be for a senator.  But cooler heads prevailed, and that’s where they started writing.

Levinson: When they bought the show, Hays Stowe was not a senator.  At one point we had proposed that we do the eight episodes as the legs of his campaign to get him elected.  That was not met with great enthusiasm by NBC.  So we just elected him and made him a senator.

Freedman: David hired writers, but he had his bible already set.  He and Bill Sackheim had done that before the show ever went into production.

Levinson: It was a question of finding writers.  We were very lucky in that regard.  Joel Oliansky, who had previously been working in features, was brought to our attention, and wrote the show that won him an Emmy.  Another man by the name of Leon Tokatyan, whom Bill and I had both known and worked with, who was a sensational writer, [wrote] two episodes.  Fred Freiberger had worked on a show called Slattery’s People, which starred Richard Crenna as a California congressman.  He had experience, and so we brought him in [as a story editor].  The Gray Fox, as he was called.

Freedman: They wanted to tell topical stories that were both political and somewhat idealistic.  You could say The Senator was a precursor to a show like The West Wing.

Levinson: We had one terrific story that we could not get approved, about a man who was up for a State Department job who couldn’t get clearance from the FBI because he was a homosexual.  They were afraid he was going to be blackmailed.  The answer, of course, is for him simply to announce that he’s gay.  The problem was, he was married with two teenage sons who had no idea of their father’s other life.  Remember, this is 1970.  The network finally said to us, “You can do this story if, when he makes a statement, he says he regrets being a homosexual.”  We said, “We don’t really think that’s something we could say.”  And so it got killed.  I’m sorry we didn’t get to do it.  Robert Collins [wrote the outline].  Oh, man, he was good.  He did a rewrite on A Case of Rape, which was a TV movie I produced, and the goddamn Guild didn’t give him credit.  And he saved the script.  I mean, he made it sing.   A couple of years later [William] Link and [Richard] Levinson did That Certain Summer, which also starred Hal Holbrook as a man coming out of the closet, so somewhere it all got taken care of.


Badham: We cast Michael Tolan to play his chief legislative aid, and brought along from the pilot the woman [Sharon Acker] who played his wife.

Levinson: We had gone to Washington to talk to some people.  I think we talked to Birch Bayh, who was kind of a star at that point, because he had just knocked out two right-wing nominees for the Supreme Court, Haynsworth and Carswell.  Which, by the way, ultimately let to the kind of [confirmation] battles that we see today.  We talked to some old-time North Carolina senator who had a jug of bourbon in his office.  We got a tour of the whole Congress from a member of the office of the secretary of the Senate, and I remember as we were walking around, I said to him – we had met with Bayh and had been very impressed with him – and I said, “What do you think Bayh’s chances are of getting the nomination?”  He said, “Ain’t gonna happen.”  I said, “Why not?”  He said, “Wife.”  And that was it; he wouldn’t say anything else.  All I know is Birch Bayh never got the [presidential] nomination.  It’s a very closed-up place down there.  Or it was then.  I think it still is.  You’re a member of a club.

Badham: My job was to try to figure out where vacuums were going to be and help out wherever I could.  What are the sets for tomorrow looking like, what are the people in wardrobe looking like?  All those things that the director and the producer run out of time, they just can’t watch out for all of these things.  And I had, also, a background in casting, so I was very involved in making sure that we had the right kind of people for the various roles.  I had done some short commercial pieces for another pilot that we had made, and David Levinson said, “Well, come and work on this series as an associate producer, and we will let you direct episode number seven.”  So that was great.  That was going to be my first [television] episode to direct, and it was terrific because I got to work with the crew all during the first six episodes.  They got to know me and I got to know them, and of course I’m studying up like crazy, watching every director.  We had some very fine directors there.

Levinson: The directors we had, by and large, were very, very good.  That was Badham’s first two times as a director, those last two episodes, and he pretty much knocked everybody’s socks off.  Jerry was just terrific, I mean the energy that poured out of him.  And the guy that did both the first and second episodes, and also did the Indian show, Daryl Duke, was as fine a director as I ever worked with in the fifty years that I did this stuff.  He was just marvelous.

Freedman: Hal Holbrook had a sort of Gregory Peck quality, like in To Kill a Mockingbird.  That kind of real integrity that comes out on screen.  Hal’s a good guy.

Levinson: He kept staring at me.  I finally said, “What’s up?”  And he said, “I’ve got a son that’s not much younger than you are.”  At which point I probably grew a beard.  But as the scripts started coming in and he began to get a sense of what we were aiming for, we became close associates.

Badham: How do I find enough nice things to say about somebody you’re working with professionally like that?  Somebody who has been so involved in the script in a good, positive way, and comes to the set really, really knowing what he’s going to do, and able to say enormous, enormous clumps of dialogue as though he was making them up on the spot – as though he was writing the dialogue as he went.  Such a brilliant, naturalistic kind of talent, with a sense of timing that very few actors have.  Working with him was a joy, because it allowed me to pay attention to actors who maybe needed a little more help, and I could pay attention to them, because I had Hal there, just solid as a rock.

Freedman: He would voice his opinion, for sure.  He was the star of the show.  The star of a show is the guy whose face is up on the screen, and he’s got to take care of himself.  Hal had things he wanted to do and didn’t want to do as an actor while playing the senator, because he felt he had a certain handle on the character and he didn’t want to violate that character’s integrity.  Which could be exasperating for a producer, but it’s really a good thing to have.

Badham: As I learned much later, Hal Holbrook had to approve me [as a director], and they never told me that.  I’m glad.  But when he accepted his Emmy award, he looked at me and then said, “I’m glad I said yes,” which is the first time that I knew I had to be approved by anyone other than David.

If The Senator’s story material was unusually forthright and literate for its time, its visual style may have been even more cutting edge: a kind of naturalism that strongly anticipated the look of major political films of the coming decade, like All the President’s Men and Dog Day Afternoon.

Levinson: We did some stuff that had never been done before, of which I am proud.  The lighting that we used, which was very, very high-contrast, very natural lighting, had never been used on a television show before.

Badham: What was then known as the quote, Universal look, unquote, was kind of a flat lit, bright, sunny look to everything.  Even the moodiest drama would be bright, flat lit, and sunny.  You can look at almost any series made at Universal at that time, and that’s what you would see.

Levinson: There was no docudrama up to that point.  We kinda sorta invented it, without giving it a name.  We wanted it to seem as real as [it] possibly could.  John and I ran all of Frederick Wiseman’s documentaries up to that time.

Badham: They were hard to get.  I had to somehow track down Frederick Wiseman and ask if we could borrow the prints to look at.  Everybody, like Jerry Freedman and myself, were all crowded into the projection room to study how did he get this, and how can we simulate this kind of documentary feeling?  We were talking about the Maysles Brothers and Frederick Wiseman, as well as Haskell Wexler’s Medium Cool.  These were pretty strong influences.

Levinson: Basically we looked for cameramen who knew how to do that kind of lighting, and we found Jack Marquette, who was just sensational.  Not only was he great, he was faster than lightning.  So we were able to get a lot of work done in a relatively short time.

Badham: We were trying to have it look like it was not lit, that it was just the natural light coming in through the windows, or maybe a lamp on a table.  That’s what Jack Marquette was bringing to it.  A very rough documentary kind of look.  Jack went on to be the cinematographer on the first years of The Streets of San Francisco, which [duplicated] the look that he had created for The Senator.

Freedman: I did a fair amount of handheld and long lenses and stuff like that, which wasn’t done then.  It was sort of a departure.  A Hard Day’s Night was very revolutionary in the film business.  It was shot as if it was a documentary, and I liked the concept of doing that.  My idea was to make it look as if it was really happening right now.

Badham: I can remember the day that Hard Day’s Night was run at Universal.  In the slower times of the year, they would run a film at noontime for all the casting people, and everybody else would get in too.  I remember one day Hard Day’s Night came, and I had already seen it in the theaters and wanted to see it again.  My boss was sitting right beside me [and] did not stop complaining from frame one to frame last, complaining about, “You can’t do this!  This is terrible!  You can see the lights!”  And I’m going, to myself, not to him, “Are you nuts?  This is so exciting and so wonderful to watch this kind of filmmaking, as opposed to the staid, plastic look that filmmaking had devolved into.”

Freedman: I think the influence was the times.  Easy Rider had just come out, Altman was starting to direct.  It was just a big change in moviemaking.  I went to see Easy Rider with this old-time director, Dick Irving.  He was another one of my mentors.  Sydney Pollack basically learned how to direct by watching him.  He came out of the screening and looked at me and he said, “This changes everything.”

Badham: Good for Dick, that he saw that.  Yes, there was definitely that feeling around.  I mean, I know people that were weeping at the end of that film, and didn’t get over it for days.  I had a secretary who was working for Bill Sackheim, who had gone to see it with her husband.  She was just distraught over the film, it got to her so strongly.

The budget for an episode of The Senator was reported in the press as $200,000 per episode, a fairly high figure for an hour-long television show at that time.

Levinson: It was like two and a quarter.  It was enough for what we wanted to do.  His apartment, his office complex, and the Senate hearing room were our standing sets.  And we would steal sets – we’d go into other sets and redress them as we needed.  But we were only out [outdoors] a couple of days a show.  We were basically an interior, dialogue-driven show, much like a stage play.

Badham: We always thought that, first of all, we should have no makeup on our actors.  This was virtually heretical to say.  Well, of course his wife is going to have some makeup on.  That would look really weird, because women don’t go anywhere without makeup.  But guys go everywhere without makeup [so] let’s not put any pancake on them.  Let’s let their little skin flaws show.  And let’s make sure that the wardrobe looks like it comes from off the rack and is not tailor-made.  Let’s try to pick locations that have some grit to them.  In [one] episode we’re in a trash dump, with bulldozers running around behind, and flies on Hal Holbrook’s face.  Which was not planned, but God bless him, he let these flies go on his face and made no effort to wipe them away.  It was just wonderfully raw, and that was always our look.

Levinson: And I don’t know whether you noticed or not: There is no music in the show.  The pilot film had music.  What Bill Goldenberg did, which was really cool, was he took a bunch of sound effects and ran them through a synthesizer, and that became the score for the show.  When we took a look at the first episode, and it’s pretty much wall-to-wall talk – I mean, our line was that that our idea of an action scene was two people yelling at each other – we called Bill in and said, “We don’t see where the music could go.  What about you?  Do you see any place you could put music?”  After we ran it, he said, “I can’t.”  So we made the determination then and there that we were going to do the show without any score.  And it worked out great.


Episode One: “To Taste of Death But Once” (September 13, 1970)
Teleplay by Joel Oliansky; Story by Preston Wood; Directed by Daryl Duke.

Levinson: We had some areas that we knew we wanted to go into.  Remember, this was only a couple of years after the Kennedy/Martin Luther King assassinations, so we wanted to examine what it would be like for a public figure knowing that he could be in the rifle sights at any time, and how it affected him.  And Joel just wrote the hell out of it.

Badham: There’s a fabulous performance in the first episode, that Daryl Duke directed, and that’s Gerald O’Loughlin, playing a cop who’s doing a bit of security.  I mean, here’s a guy that made a character in just a couple of scenes with Holbrook, as they talk about something about the way the government works.  And when he dies of a heart attack, it just kills you.


Episode Two: “The Day the Lion Died” (October 4, 1970)
Written by Leon Tokatyan; Directed by Daryl Duke.

Levinson: We did want to do senility in the Senate.  I suppose, if you put me to the wall and said who does this remind you of, he reminded me of Everett Dirksen, who was the senior Senator from Illinois back in the fifties and sixties.  But he wasn’t modeled after Dirksen.  It started, if you look at the last scene, with The Caine Mutiny Court-Martial.  That was the seed of it.  But in terms of who it was, just a kind of marvelous larger-than-life character that peopled the Senate then.  That was my favorite episode.

Badham: Will Geer is probably the best performance of the whole series, as an old senator who’s not quite all there any more.  A really, really brilliant performance.

Rintels: Leon Tokatyan wrote a wonderful script.

Levinson: Leon Tokatyan was certifiably insane.  He was just crazy.  When he finished the first draft of the Will Geer show, he dropped off the script at my house and said, “I’m leaving town now because I know if I stay here another day I’m going to be killed.”  And meant it, and drove back up to Tiburon, where he lived.  He’d come in on a weekend and sit in the office stark naked, writing.  But the sweetest, most collaborative kind of guy.  Just a lovely, lovely human being.


Episode Three: “Power Play” (November 1, 1970)
Written by Ernest Kinoy; Directed by Jerrold Freedman.

Levinson: The show with Burgess Meredith, about [Stowe] taking care of fences back home, was also a delight.  We tried to keep it as human as possible.  We weren’t looking to do a polemic.  Ernest Kinoy got credit on that one.  Ernest didn’t have much in the final script.  Jerry and I [rewrote it].  This was a tough New York guy who made his bones writing for The Defenders, and not a whole lot of humor.  And this particular episode needed to be dealt with with some humor, because the thing about politicians is that, at least then, they would stand on the floor of Congress and hurl epithets at one another and then repair to their offices and get drunk together.  There was a lot more camaraderie then than there is now.  And Ernie just didn’t get that.

Badham: One scene I recall was a group discussion in a room.  Maybe there were twenty people in the room, and all throwing ideas around.  And Jerry said, “Let’s not do normal setups, where we’ll set up on this person talking and then we’ll do a set up on this person, but we’ll have the cameraman come in and have him try to film this as it’s going on, which means he’s going to have be whipping his camera over to whoever’s talking.”  Just like a real documentary cameraman would have to do, if he came into a situation where you’ve got one shot at it and you’d better get it all.  I just remember that scene as really strong and powerful because of the energy of the actors and the energy of the camerawork.

Freedman: It’s a [scene] of political activists giving Hal Holbrook hell.  James McEachin was in it, and Michael C. Gwynne [above, far left].  I knew Jimmy, and Michael and I still are close.  In fact, I gave Michael Gwynne his first acting job on the show that was Daryl Duke’s first directing job in America, which was an episode of The Protectors.  Michael was a deejay, and a friend of mine said, “Hey, use Michael as an actor.”  I said, “Yeah, let’s do it.”  I don’t know if you noticed, but all of the young people like Michael and Holly [Near] are standing, and Hal is seated.  Which puts him on the defensive.  And do you know who the schoolteacher was in that show?  It was Jack Fisk [below], who’s now one of the biggest art directors in the world.  He had just come out from Philadelphia and he was good friends with a buddy of mine who was a very famous poet.  My friend had said, “Hey, this guy’s coming out.  Would you meet him and give him something?”


Episodes Four and Five: “A Continual Roar of Musketry,” Parts One and Two (November 22 and 29, 1970)
Written by David W. Rintels; Directed by Robert Day.

Levinson: Kent State happened, and David Rintels came running into the office and said, “I want to do a show about Kent State,” and we were all lathered up about the shootings, so we went ahead and did that.

Badham: The Kent State episode was really a brave thing to do, and a ripped from the headlines kind of thing.  Everybody else was saying it’s too soon, it’s too soon, you can’t do an episode about that.  But the writer, David Rintels, was just so gung ho.  He came to David with the idea and said, “We can do it.  We could make it a two-parter, and the senator could be doing a full examination of what went down.”  It was a very exciting concept, and David Rintels wrote it in almost no time at all, because he was so passionate about it.

Rintels: I was working as a freelance writer and I got an appointment with Bill Sackheim.  He was the person I went in and pitched to.  Kent State had just happened a month or two earlier, and I had the idea of doing Kent State as Rashomon, and he liked it.  But as I remember, there was an imminent Writers Guild strike.  I think I might have gone in on the first of June, say, and the strike was called for June 15.  We saw this as a two-parter, but he said, “You can’t possibly write that between now and the possible start date of this writers’ strike.”  I said, “Well, let me try.”  Because it’s not the sort of opportunity you got in those days, or maybe even later.  That was a subject I cared a lot about, of course, and so I said I’d [do it].  I think I made it with at least ten minutes to spare.  And I think they shot what was my first and last draft.

Badham: They almost canceled the episode.

Rintels: When I had my first meeting with Sackheim, I said, “Look, I won’t even start this thing unless we come to an agreement.  This is my opinion, and this will be in the show.  And if there’s going to be pressure or if I’m going to be [undermined], I just won’t start.”  And he said, “That will be the ending of the show.”

Levinson: There was a lawyer at Universal who was in charge of the insurance that the studio carried against lawsuits.  This guy was a right-winger who lived in Westwood, which was right near UCLA where the students were protesting all the time.  He told us at one juncture that he slept with a gun under his pillow.  He was damned if he was going to allow this kind of liberal trash to get on the air.  And he was the final arbiter of all this.

Rintels: I remember I said to them, “You can try and force me to change mine, but instead of that, go out and hire a writer who believes that the students got what was coming to them to write a different show.  But don’t make television be about nothing.  Don’t let television always come to no conclusion, where everybody is equally at fault.”

Continual Panel

Badham: The whole wrap-up by Hal Holbrook, we were forbidden to do, again by the lawyers at Universal.  Hal Holbrook does a wrap-up – the committee findings.  “And we found that the governor was negligent in this and that, and the head of the national guard messed this up,” and in polite, committee-type language he’s just going through and blasting all these people.  Well, this was still a very live issue going on in the country at that time.  I mean, nobody had been tried or anything happened to resolve what had gone down.  So the lawyer said, “You can’t say this.  You can’t say that the governor is guilty and we’re going to punish him.  That’s just going to prejudice everybody, and you can’t do it.”  This was a real dilemma, because we didn’t think you could do a two-hour episode without coming up with some kinds of conclusions.

Levinson: We went back and forth and back and forth, and finally in desperation we went to the head of the studio, Sid Sheinberg, who said, “Look, if you’ll do this and this and this to the script, I’ll get them to insure the show.”  By that time we were so dug in.  Remember, we’re all kids at this point, you know, we’re the rebel and he’s the establishment.  We were going up against The Man, as it were.  But when Sheinberg said, “If you do this and this and this, I’ll make sure it gets made,” by that juncture I was more than happy to make the changes.  I can’t speak for Rintels.  And we finally got it made.

Badham: David Levinson and David Rintels went up to the head lawyer at Universal and said, “What if we say all of this stuff and we think the governor was negligent, and then we add in the phrase, ‘…but this is an issue that will be decided in the courts.’  They looked and they said, “Oh, okay, you can say that.”  So after every damning indictment, Hal Holbrook says – you’ve got the episode, so you can look at the language – “but this is an issue that can be decided in the courts.”  The two guys walked out of there, they come back to the office, and they’re gleeful, because basically the language is non-prejudicial, but that is different from what you as an audience are hearing.  What you’re hearing is, “The governor was negligent,” and then the rest is like those disclaimers that they put at the end of those pharmaceutical ads.  “You could die from taking this stuff,” but you don’t hear it; you go, “This’ll cure my acne.”

Rintels: NBC’s legal department raised the question that if this show were broadcast in Ohio, that it could disrupt the Kent State trial.  They were worried that somebody in Ohio would seek an injunction against the show being shown there.  Well, Ohio is an important market for the network.  We were worried about it.  So I went to Hal Holbrook and we conjured up an idea that we would take out an insurance policy to indemnify the network.  We didn’t think it was likely to happen, but if it did, we would take out a policy to protect them.  We went in to Sid Sheinberg, who was a remarkable man, and told him what we were doing, and he said, “You don’t have to do it.  We’ll do it.”  NBC withdrew its objection, or maybe Universal, which really did support the show strongly, satisfied it.  And there was no difficulty in Ohio.

Levinson: Those big crowd shots, we ended up buying stock footage from some people that shot film at the Berkeley protests.  They were all wearing red arm bands, so we just put whatever extras we had in red arm bands and had those big shots of thousands of kids.  I remember one of the other producers on the lot came up to me and said, “How did you get the studio to hire that many extras for you?”  I said, “Stock footage, baby.  We had fifty extras out there.”  When you have no money, you get very, very inventive.

Rintels: I thought a lot of it was extremely well-done.  There were a couple of things, inevitably, that I wish had been done differently or better.  That was a tussle between me and the director.  He wanted to make it more Rash and less mon, I dunno.  It would have worked more effectively if they trusted the content and didn’t need to hype it, maybe.  But I thought on balance they did a wonderful job.  Hal Holbrook and Mike Tolan were really great.  I was pleased.  It was a good launching pad for me.  It was the last episode of a series I ever did.  I went on to movies and miniseries and theater, and I always think that that had a part in it.


Episode Six: “Someday They’ll Elect a President” (January 17, 1971)
Written by Leon Tokatyan; Directed by John M. Badham.

Levinson: Tokatyan came up with one about mafia involvement in big government, which was John Badham’s first episode.

Badham: The initial idea was kind of dealing with the growing phenomenon of lobbyists in Washington, and influence coming from all over the place.  The title of the episode was “Someday They’ll Elect a President,” talking about lobbying groups and maybe in particular the Italian mafia.  But that’s just kind of hinted at along the way.  In the development of the story, the legislative aid, Michael Tolan, has had some connection with the Murray Hamilton character,  and he’s got some weird connections, and as the Senate is calling a commission to look into undue influence, Michael Tolan feels he has some obligation to not throw his lobbyist friend under the bus.  So he takes the fifth amendment in front of the committee and refuses to incriminate himself.  The reaction was interesting at the studio.  Sid Sheinberg promptly shut the show down and said, “We’re not making this script.”  We go, “Why?”  He said, “Well, you can’t have a lead character in a series take the fifth amendment, because when you do that, everybody knows that you’re basically guilty and you’re just evading.”  We go, “No, no, no, it’s not that, it’s for an honest reason.”  And he said, “I’m telling you, you can’t do that.”

Levinson: The studio rained down on us, saying, “He is not going to take the Fifth Amendment.  He is not a communist!”  We kept pointing out that the Fifth Amendment had been around longer than communism had, but that didn’t seem to matter.

Badham: So I’m now like a week away from shooting, and ready to slice my wrists.  My one opportunity starting to flutter off in the breeze.  And David Levinson and Leon Tokatyan put their heads together and came up with the following scene: Holbrook goes over to Michael Tolan’s apartment and says, “What are you going to say?”  He says, “Well, I’m going to take the fifth amendment.”  And Holbrook says to him, “If you do that, I have to fire you.”  “What do you mean?”  “Because everybody will think that you’re guilty.”  He basically just puts out Sid’s argument.  “Well, that’s not right, we have this constitutional right.”  “I don’t care.  Don’t talk to me about that stuff.  That’s just irrelevant.  We’ll find another way around it.”  That seemed to satisfy Sid and the other lawyers at Universal who had taken great interest in this show.

Elcar Office

Like many a young director making his debut, Badham filled his first episode with imaginative visual flourishes.

Badham: There was a journalist [played by Dana Elcar] that Michael Tolan goes to visit, and he had a basement apartment that we built as a set, but when you went to the exterior of it it was a brownstone street on our backlot, and you saw Michael Tolan go down underneath the steps to the basement level for the apartment.  The idea of the scene was that when you walk into a dark room, your eyes haven’t adjusted yet, and it’s darker than a sonuvabitch.  Over the course of a minute or so, your eyes adjust and you can see better.  So that was the way Jack exposed it.  He made it so it was too dark, way too dark, at the beginning, and then as the scene goes on, he’s just opening up the lens, bit by bit, so you start to see characters more clearly.  And by the end of the scene you can see everything more clearly.

Economou: I always believe that the actor is the main connection to the audience, and the main carrier of the story.  So I try to be as simple in dialogue editing as possible.  That was my approach.  As an editor, I tried to give it a narrative rhythm that was always moving forward.

Badham: There is one scene that had one big, big problem, which was a scene with an older senator, played by Kermit Murdock.  Kermit was a wonderfully strange kind of man with an unusual voice, and kind of hefty, but some kind of gravitas that was really interesting about him.  We all liked him a lot.  And we get into what is a long scene for television, about a five- or six-page scene, which would take, at that time, about half a day’s work.  Holbrook and Kermit are having what is an argument, but it’s one of those arguments that if you’re walking by in the hall, you would hear these guys talking and you wouldn’t know they were arguing.  You know, grown, mature men having a discussion where they’re not yelling at one another.  The scene was very leisurely, in spite of the fact that there was this good conflict built in the scene.  And we go to dailies the next day, and David Levinson starts squirming in his seat.  He’s talking to the editor and saying, “Can you speed this up?  Can you speed this up?  These guys are so slow!”  And the editor, Michael Economou, said, “Well, I can take out the pauses in between their speeches.  That’s easy.  But I can’t make them talk faster.”  So at the end of the thing, David looks at me and says, “We have to do this scene all over again.”  Which was just devastating for me.  On your first show, to have to do not a little scene, but a great big scene, all over again, because I had maybe been intimidated by the actors and intimidated by the fact that I liked them so much.  This was the way they approached the scene, and I let them go.  But I know enough not to throw the actors under the bus.  I’m the director.  I’m the one that should say, “Guys, we need to pick this pace up.”  It’s not their fault.  So it’s scheduled, and now my six-day show is going to become a seven-day show, which is unheard of at Universal.  Nobody goes over.  Sheinberg calls up David and says, “I hear you’re going over.  What’s the problem?”  David said, “Well, we just didn’t like a scene and we have to do it over again.”  And I thought, boy, this is the end of my career.  Before it’s even started, it’s going to be all over.

So we go back to the set on the seventh day, and Kermit and Hal start to warm up and rehearse the scene.  They’re doing it about the same way, and I have explained to them why we’re back and why we’re redoing it, because we just need to pick up the energy and the pace of it.  So after they’ve warmed up, Hal turns to me and he says, “Do you know, I love this scene.  I just think it’s one of the best scenes ever.  It’s just so beautifully constructed.  And one of the things that’s really great about it is it has got this great leisurely pace to it.”  And I went, oh, my God, we’re back in the toilet here.  So I looked at Hal and I said, “Oh, Hal, I’m so glad you said that.”  He looked surprised.  I said, “We can actually go home.  We don’t have to shoot today.”  He said, “Why is that?”  I said, “Because we already have that version!”  [Laughs.]  And he went, “Oh.”  I said, “We need to really have these guys get in each other’s face,” or whatever the expression was at the time.  So he said, “Oh, okay, all right.”  Kermit, who would’ve done it naked, standing on his head if I’d asked him to, said, “Oh, okay, all right, let’s go.”  So they did, and it was terrific.  They really brought a lot of great energy to it, and it wasn’t just a leisurely afternoon conversation over drinks.  The last time I recall seeing that episode, I thought, “Boy, this has turned out to be one of the best scenes in the whole episode, between these two guys.”  So thank goodness it turned out pretty well.


Episode Seven: “George Washington Told a Lie” (February 7, 1971)
Teleplay by Joel Oliansky; Story by Bontche Schweig (a pseudonym for Ernest Kinoy); Directed by Daryl Duke.

Levinson: The Indian show is one of the worst pieces of casting I have ever participated in.  We cast Reni Santoni, a nice New York Italian boy, as an Indian, and Louise Sorel as an Indian.  And she’s a Jewish girl from New York.  Man, did it look fake.  They’re both good actors, by the way.

Badham (quoted in John W. Ravage’s Television: The Director’s Viewpoint [Westview Press, 1978]): [It] had to do with the building of a major dam on an Indian reservation.  The Indians showed up at a senate hearing with picket signs and said that George Washington was a liar.  “George Washington gave us a treaty,” they said.  “We could be here as long as the grass shall grow, and the rains fall, etc.  He has lied to us now.”  The network looked at the script and said there was only one problem: We had to change the title; we couldn’t call this show “George Washington Is a Liar.”  Why?  Well, the network didn’t want to be caught saying that the father of our country was a liar.

We said, “Well, fellas, it’s not that he’s a liar, it’s that the present administration is not honoring the old treaties.”  They said, “That’s the point.  We can’t say that about our present administration.  And, we can’t be casting aspersions on George Washington.”  So we said, “Okay, well, what would you call it?  Would you like to make some suggestions?”  The head of programming said, “Yes, I have the perfect idea.”  (He is an attorney.)  He said, “I think you should call it ‘George Washington Told a Lie.'”  There were blank faces all around the room.  We hurriedly said okay and tried to stop and think about that one.  Suddenly we realized we were dealing with a lawyer.  And his logic was, very simply, that if you say George Washington is a liar you’re implying that everything he says is a lie.  On the other hand, “George Washington Told a Lie” means that he told one lie.  That’s not so bad.  And suddenly, that made it all right …. It always amazes me that they didn’t see that we were saying the same thing.  We had the title we wanted.  It was just that strange little turn of phrasing that made everything okay.  It made one lawyer believe that people would think just as logically as had he.


Episode Eight: “A Single Blow of a Sword” (February 28, 1971)
Written by Jerrold Freedman; Directed by John M. Badham.

Levinson: We we did one about welfare, and how the money was being spent in a lot of areas that took it away from the people that needed it.  The whole episode, kinda-sorta, was based on what had happened with Jesse Jackson in Chicago, where Jackson was getting welfare money and distributing it to the Blackstone Rangers, which was a huge gang on the [South] Side of Chicago.  In return for getting to use the money for whatever the gangs used it for, that’s in quotes, they were making sure that kids went to school and they were doing a lot of community activities.   So that was vaguely what the Lincoln Kilpatrick character was based on.  That was the last show we did.

Freedman: I was going to write and direct it.  They needed a script, so I wrote a script quickly.  It may have been that David gave me the storyline; I don’t recall.  They liked it.  David tweaked it a bit.  Then for some reason they had to postpone production of it.  I don’t know whether Hal got sick, or whatever it was.  I was doing a pilot then and I had to go back east to research and I’d already set it up, so when they went past my window I wound up not being able to direct what was the last episode.

Badham: He was set to do this one, episode eight, and the story wasn’t firmed up yet, and time got really right, and he said, “I just can’t do this.”  David said, “Well, okay.”  Probably about an hour after that, I happened to wander into David’s office, and Holbrook is sitting in there, and I guess they were talking about what had just happened with Jerry Freedman.  They looked up at me, and then I saw them look at each other, and they said, “Would you like to do this last show?”  “Please, don’t even ask, where do I sign?”

Levinson: We couldn’t find young black men to play the roles.  They just weren’t in SAG.  And the reason was, other than Poitier and James Edwards, there just weren’t any black male [stars] around, so young men weren’t going into it.  What Badham did was, he went down to the Watts Workshop, which had sprung up after the riots, and he found a bunch of these guys and brought them in and we wrote their SAG cards.  By the way, SAG bitching the whole time: “Why can’t you hire actors we’ve got?”  Well, because they’re all in their sixties and these guys were in their twenties.  And some of those kids were just terrific.

Sheiner Tomato

Badham: There’s a scene that I did with [Holbrook] talking with one of his fellow senators, and they’re in the kitchen making a sandwich and arguing about sliced tomatoes.  It was something that just developed during rehearsal, and it was just absolutely wonderful.  They took a good scene and made it twice as good, just because of the life and the real interaction that they brought to it.  The other actor, David Sheiner, was wonderful, and I had him in my film Blue Thunder as well.  And I think Sheiner’s office actually was shot in David Levinson’s office, which was lit by fluorescents overhead.  This was another kind of heretical thing to do.  We would change out the fluorescents to things that were the proper color temperature for warm light.  The daylight look that most fluorescents have, on film, tends to turn people’s faces turn green.  We said, well, I don’t think we want to have Logan Ramsey and Hal Holbrook look green, but we do want to kind of get that kind of what it looks like to our eye before it goes on film, that very overbright, overlit government kind of look.

Levinson: What happened was – this is funny – we ended up with a very short script.  We had told the story completely.  There were no more scenes to play.  And we came up with the idea of these man-on-the-street interviews, much like – I can’t remember if it was Truffaut or Godard had had witnesses in one of his films.

Badham: An idea that David and I came up with together was, what if we had interviews with people on the street?  Getting reaction from the mom in the parking lot putting her groceries in the car, or the guy working the lathe who got a job and is happy to be off welfare.  I said, “Let’s do them with the real way these documentaries would be shot, which is with a sixteen millimeter camera, and we’ll handhold them and give them a special look, so they look different from the rest of our film.”

Woman BW

Levinson: Basically we wrote up a bunch of these interjections and we cast the actors without ever sending them the pages.  On the day that they were to shoot, John gave them about ten minutes to just look over the page, and then he took it away from them.  If you listen you can hear him very softly, off camera, asking him questions to cue them.  So that the whole thing had a marvelous improvisatory quality to it.  That was all Badham.

Badham: I said to the actors that we cast for these half a dozen [scenes], “I don’t want you to learn the lines that we’ve written, I want you to learn the sense of them.  You’re just going to come in and talk about them, and say whatever you like, but you’re not stuck [with] these words, and I’d prefer you not be.  I’d prefer you put them in your own words.”  So we did, and the actors came up with just lovely little short bites, these little sound bites that were terrific.  We could have added thirty minutes onto the show if we had used more of what they said.

Levinson: And the button on the thing, which was Hal on the talk show, and the cacophony of voices drowning him out, I thought was just perfect.

Badham: In the finishing and the editing of it, because we’re all editing on thirty-five millimeter, in order to cut these particular man-on-the-street interviews in, the lab made us quick temporary blow-ups of the sixteen millimeter.  They blew them up to thirty-five and they gave us black-and-white copies.  So we now are cutting black-and-white copies into a color picture, and as we refine the cut and get it in good shape, we really fall in love with these black-and-white images.  So we said, “Forget the color.  We’re going to stay with black-and-white here.”  Everybody at the studio enthusiastically agreed, and it made it very special.  Except for an interesting problem: We decided that the wrap-up to the episode was Hal Holbrook talking about this situation, but as a kind of man-on-the-street interview again.  We had shot that in color, and now we had to make a black-and-white print of it.  Today, that’s so easy: You push one button on the computer and, boing, you’ve got great black-and-white.  At that time, if you tried to take color film and make it black-and-white, what you would get was something that was blue and white.  Decidedly blue, and decidedly different.  So the Technicolor labs had their work cut out for them for the longest time, trying to make this one thirty-second clip of Hal Holbrook look like the crappy, sixteen-millimeter, grainy stuff that we had created.

Levinson: When I went in to Sackheim and told him what we were planning on doing, John and I, he just looked [at me] and shook his head and said, “You guys are crazy.”  But it worked out very well, I thought.

Over the first weekend of March 1971, the news broke that The Senator would not continue during the third season of The Bold Ones (which contracted to include only two, and finally just one, series over the next two years; as it turned out, the last and arguably best season of The New Doctors was produced by David Levinson).  Two months later, The Senator swept the 23rd Emmy Awards.

Levinson: We had hopes that we were going to get renewed.  The cancelation was very tough.  They had been skittish about us all year, and our ratings were a little bit lower than the other two [Bold Ones series].  Not a lot, but enough to make a difference.  So when it came it, wasn’t a total surprise.  Didn’t make it hurt any less.

Badham: It seemed as though we were getting great recognition.  We were getting tremendous feedback from senators in the United States senate, who were really appreciating the show, and our ratings were not bad for the time.  I think we were getting 31% of the audience.  If a show today got 31% of the audience, it would be a miracle.  Nothing gets a 31.  But at that time it was just on the ragged edge, and they didn’t go for it.  Which was really surprising, and then to be followed up by the show having like nine Emmy nominations, and five of them were wins, as I recall.  You thought, “Well, that’ll change their mind.”  No.  No, they had just moved on.  And never looked back.

Levinson: I remember getting a call from one studio executive saying, “Listen, we don’t want to ruffle you any more than you’ve been ruffled, but your show is canceled so we’re not going to spend any money promoting it for Emmy Awards.”  I said, “Save your money.  We don’t need your promotion.”  They didn’t [promote the show], and we won five.  The show itself won one;  Hal Holbrook won one; Daryl Duke, the director, won one; Joel Oliansky won one; and an editor by the name of Michael Economou won for editing the Kent State show.  In addition, Rintels was also nominated for his script, and John Badham was also nominated for that last episode.  So we felt we were pretty well represented.

Economou: That was cool.  I was an hour late getting to the Emmys, because my wife had bought an absolutely gorgeous dress, and she had a hard time [getting ready].  We finally sat down at the table, and the table was Hal Holbrook, the composer Pete Rugolo, and David [Levinson].  David had a sense of humor, and I had a very intense sense of humor, sometimes subterranean.  So when I got up and I remember that I thanked the other four nominees, whose talented work I congratulated, and said I’m very lucky, that I want to thank the director, and then I said, “I’m getting to you, David, I’m getting to you.”

Although Levinson recalled that story development for a projected second season never advanced very far, Holbrook told reporters in 1971 that upcoming scripts would have dealt with army investigations of civilians, a presidential candidate based on George McGovern, the 26th Amendment (which lowered the voting age to 18), and the My Lai massacre (in an episode to have been written by David W. Rintels).  The Emmy victory was enough to convince Universal to develop a follow-up TV movie featuring the Hayes Stowe character, if only as a face-saving gesture.  Hal Holbrook and Rintels committed to the project, but the script – extraordinarily prescient from the viewpoint of a post-Patriot Act, post-Edward Snowden point of view – was never filmed.

Rintels: It was a thrilling opportunity to get to bring it back.  It was a script I loved, but the powers that be didn’t, and it didn’t go anywhere.  I still regret it.  It was based on the Senate campaign of Charles Goodell in New York, when the [Nixon] administration turned on him, and they beat him.  Because he got interested in fighting the issue of government surveillance.  The government was spying on people and he heard about things that were being proposed and being put in legislation that he went public with, and the administration got angry.  This was all stuff that really was true then and is just as true now.  The administration was interested in getting into people’s private communications.  That was what it was about, and it was all fully documented.  I gave the producers the whole list of [sources].  We were going to do it at least, or maybe at most, I can’t remember, as one two-hour movie.  And then it didn’t happen.  It broke my heart.

Holbrook BW


This week The A.V. Club has my interview with Mrs. Peel herself, Diana Rigg, as well as my take on the all-too-short-lived series The Senator.  All of the alternating segments of the “wheel” series The Bold Ones are worthwhile to some degree, but The Senator was the jewel in the crown: a frank, serious-minded throwback to the liberal dramas of the early sixties.

The Senator was a satisfying show to research, because – atypically for television at the time – it was made by young people, and nearly all of them are still with us.  Because the show’s creative team recalled it so vividly, I’ll be back in a few days with some additional material from those interviews that I couldn’t fit into the piece.


May 27, 2015


The series is so obscure that no one seems to agree even on its name.  The trade papers then, and the reference books now, call it The Lawbreakers.  The newspaper listings during its original run usually went with just Lawbreaker.  But the title that appeared on screen was singular, no article, and celebrity-possessory: Lee Marvin Presents Lawbreaker.

Whatever its name was, it’s not like anything else that was on television in the mid-sixties.  Like the earlier Dragnet and Highway Patrol, it venerated the work of the police in a stone-faced-to-the-point-of-hysteria attitude.  Like Day in Court or the early Divorce Court, it used actors to dramatize actual incidents.  But Lawbreaker looked and felt nothing like those shows.  Its star-hosted re-enactments of violent crimes have more in common with the Cheesy Recreation Theater aesthetic of America’s Most Wanted, Unsolved Mysteries and Rescue 911.  But those came along decates later, in the era of smeary videotape and synthesizers, so they too prove inadequate as a point of comparison.  For a formal analogue from Lawbreaker’s era, one has to look far outside the mainstream – to the midwestern industrial and educational films that gave Robert Altman his start, for one, and also to the regional, quasi-amateur exploitation films (like those by Herschell Gordon Lewis or Ray Dennis Steckler) that played the drive-in circuit during the sixties.

Lawbreaker orchestrates a complex reality.  It maneuvers the viewer through half a dozen different modes of non-fiction and fiction.  The episodes begin with the star, Lee Marvin, in what has been described extra-textually as “the control room.”  In this tiny, windowless chamber, Marvin sits or stands at a giant console, occasionally flipping a switch or turning a knob, often addressing the viewer directly, but also interacting with other characters (both real people and actors playing them) who appear via a recessed video screen.  This location doesn’t resemble any familiar journalistic or law enforcement setting.  What it calls to mind instead is a nuclear bunker, of the sort common to Cold War movies and television episodes, where Air Force officers sit poised to launch the Big One.


It’s never clear why Lee Marvin should be hanging out in the thrift-store version of a set from Dr. Strangelove or Fail-Safe, doing the work he’s doing in Lawbreaker.  But then it’s not clear who “Lee Marvin” is, either.  Is this Lee Marvin, Citizen, disseminating information in a public service capacity, quite separate from his profession as an actor?  Or “Lee Marvin,” the television personality whose biggest starring role to date – on M Squad – established a grim, tough-on-crime persona upon which Lawbreaker trades?  Or is Marvin playing an actual if fungibly-defined character, a sort of all-purpose avatar of omniscient law enforcement?  Marvin (the human being) didn’t pretend to know.  “Some critic will find a word to describe my function, and I’ll settle for that,” he told a reporter.

Integrated with Marvin’s running commentary in each episode are some or all of the following: filmed interviews with police, criminals, and civilians; recreations of actual, recent crimes in the places where they originally occurred; and (less frequently) clips from television news coverage of the incidents in question.  While the bulk of the program is in color (still novel on television in 1963, when Lawbreaker was made), the news footage is usually in black and white.  The recreations generally involve the actual participants and, to play the criminals (who are usually still incarcerated and unable to participate), both professional and non-professional actors.  In some interviews, the real-life cops and witnesses have been directed to address Marvin as “Lee,” although there’s no real-time interaction between them.  The overall impression is that Marvin’s questions have been scripted after-the-fact to match a field reporter’s footage.  In some episodes, scrims or other objects are placed in front of the criminals (and occasionally the victims) to conceal their identities.  Sometimes it appears that these person-in-silhouette segments have been faked to create a visual for an audio-only interview.


Every common technique of nonfiction filmmaking is in play: interviews, narration, found footage, re-enactments.  But Lawbreaker shifts so rapidly and inelegantly through these modes that it doesn’t play like a true documentary.  The restagings of crimes are at the heart of each episode, but Lawbreaker cuts away from them so often that it’s not possible to settle in and enjoy them as good stories – a quality that’s likely to be seen as a flaw by many viewers, particularly those early television fans who seek out the show expecting something along the lines of M Squad.  Whether in spite or because of its non-traditional approach, though, Lawbreaker is one of the most fascinating artifacts of sixties television that I’ve discovered.

Where did this odd hybrid come from?  Lawbreaker is a historical footnote in that it’s the last series to emerge from the ashes of Ziv Television.  Founded by a midwestern advertising executive, Ziv transitioned into TV from radio and flourished in the fifties by producing popular, low-budget action shows (including I Led Three Lives, Highway Patrol, and Sea Hunt) for first-run syndication.  But that bubble popped as cheaper packages of popular movies and cancelled TV series became available to the same markets, and in 1961 Frederick Ziv sold his company to United Artists.  Ziv’s partner, John Sinn, became the head of UA’s nascent television department.  The company’s creative staff remained intact for another couple of years, reconstituted under a new name (Rapier Productions) to produce the second season of Ripcord in 1962 and then Lawbreaker the following year.

Although Lawbreaker has no creator credit, it was likely the brainchild of Maurice J. “Bud” Rifkin, a Ziv employee since 1938 who became UA-TV’s head of sales, and Maurice “Babe” Unger, a college buddy of Sinn’s, recruited from an Ohio mattress factory in 1949 to run Ziv’s new TV studio.  (Sinn told him that making TV shows was no different than making mattresses.)  In interviews Unger claimed credit for the premise of Lawbreaker, which was so novel that UA coined a term to describe its mixture of fact and fiction: an “actuality” (or “factuality”) series.   But Rifkin, in his post-Ziv career with David L. Wolper Productions and National Geographic, specialized in what he called “documatics,” which were essentially the same thing as “actualities.”  (Along with Lawbreaker, UA-TV’s other offering for the 1963-64 season was a package of six Wolper specials.)


To maximize the limited budget on which Lawbreaker would be produced, the two Maurices concocted an ingenious scheme.  Unger went from town to town, selling the series to regional stations with an “on location” tie-in: If a station bought the show, that city would be selected as the locale for an episode (or two).  It was a marketing hook for the station (one likely sweetened in major markets by “profit participation,” or in other words a kickback from United Artists, according to Variety), and a way for the Lawbreaker company to make cost-effective use of local production facilities and crews.

Lawbreaker brokered a similar relationship with local police departments.  Police officers who made the original arrests were enlisted to play themselves, in re-enactments as well as interviews.  Each episode ended with a segment in which the city’s police chief got to bloviate about his philosophy of law and order.  (“We had to burn a lot of footage on them,” said Ken Gilbert, a Ziv script supervisor who made his directing debut on Lawbreaker.  “It all came down to editing.”)  Invariably this part of the show awkward and dull, but it was the key to ensuring top-to-bottom police cooperation during the filming of the show.  The Lawbreaker crew could go just about anywhere, and did.  Police chases and gun battles involved dozens of participants, large crowds of gawkers, and cars moving at reckless speeds – not to mention the occasional helicopter or boat.  “Permits and so forth, they didn’t bother with that,” recalled Gilbert.  The Unger-Rifkin plan meant that Lawbreaker looked like a million bucks, in a way that none of the earlier Ziv shows did, even though extensive location shooting had been a significant selling point for Highway Patrol and Sea Hunt.

“We had a truck, that was the other phenomenon,” Gilbert explained in an interview last year.  “The driver did a phenomenal job getting from city to city.  If we finished a show on a Friday night in Philadelphia, he would leave then and be there and have the equipment to set up to start shooting on Monday in Boston.  We probably had less than ten people that traveled with the show.  We picked up the crews [locally] – even that was very limited.  We picked up a sound man and a couple of [other] of people, and that was about it.”


Executive producer Babe Unger, who traveled with the company, directed a number of episodes; the remainder were divided among Gilbert and two Ziv veterans, Eddie Davis and Jack Herzberg.  (Dann Cahn, the legendary I Love Lucy editor, was brought in as a writer-director by his friend Lee Marvin, but completed only one episode before quitting to take over editing The Beverly Hillbillies.  “I was not a happy camper,” Cahn said of the hectic Philadelphia shoot.)  Casting was done locally, drawing upon the same sources that supplied the stories and facilities.  Off-duty cops who weren’t playing themselves often portrayed the criminals they’d helped to put away.  TV station staffers were hauled before the cameras as well, and as a last resort the overworked Lawbreaker crew would scout the local theater community.  Jack Lennhoff, then the public relations director for Connecticut Educational Television, played the killer in the “Hartford” episode; aspiring actress Linda Peterson (above, with Lennhoff), the 21-year-old wife of fortysomething pugilist Willie Pep, played the victim.  Noreen Hartsfield, cast as a woman murdered in a hold-up in “Seattle,” was a Seattle policewoman.  A few familiar faces can be spotted in other episodes: Police Squad’s Alan North (below) and Seamon Glass turn up, respectively, in New York- and Los Angeles-based segments.  Unfortunately, Lawbreaker’s actors were only sporadically credited on screen, so in many cases their identities remain unknown.


(Just like the name of the series itself, the individual episode titles are inconsistent.  Each one opens with a wordy logline – such as “Greenburgh, New York, October 20: Youth Gangs Active in County” – which the Internet Movie Database appropriates as the official title.  But 1963-64 television listings, as well as the DVDs, identify each episode simply by the name of the city in which it takes place – with an “A” or a “B” following cities lucky enough to get two episodes – and that’s likely what appeared on the scripts’ title pages.  Some sources also include the state as well as the city in the episode title.)


It’s a bit surprising to find Lee Marvin in such a marginal enterprise as Lawbreaker, even though – two years before his Oscar win for Cat Ballou – the actor was at something of a professional low.  Marvin’s alcoholism was becoming a serious problem, and although he was getting juicy film parts (like the title role in John Ford’s The Man Who Shot Liberty Valance) and guest leads on television, Marvin was frustrated that his career had plateaued somewhere south of stardom.  Even with his name embedded in the title, Lawbreaker was a comedown from Marvin’s previous television series, M Squad, which had at least been on a network.  Marvin’s company, Latimer Productions, owned a piece of Lawbreaker, but that had also been true of M Squad.  And Marvin had hated making M Squad, complaining to the press that the repetitive work wasn’t as creative as what he could do in films.

The difference with Lawbreaker may have been that the producers agreed to schedule production around Marvin’s movie gigs.  To shoot his segments, Marvin only had to work one day a week. “Babe [Unger] did all of Lee Marvin’s [scenes].  That was part of the deal that he had made with Lee, that he would direct all of those,” said Gilbert.  “We had a little studio on Cahuenga Boulevard, and built that set [there].  Babe would talk Lee Marvin through who he’s talking to and what it’s like and so forth.  They didn’t have the video equipment to be able to do them simultaneously.  They couldn’t show him what he was looking at, they’d just have to kind of tell him, or maybe have a moviola on the set and run part of the interview so he could take a look at it.” The Cahuenga facilities were so threadbare that the office of associate producer Mort Zarcoff doubled as Marvin’s dressing room; the actor would come into Zarcoff’s office periodically throughout a shooting day to don a new suit for each intro.

As Dwayne Epstein points out in his brief but worthwhile biography of Marvin, the actor had seen incredibly graphic combat during World War II, had killed more than once with his bare hands, and likely suffered from PTSD for most of his adult life.  The subject of violence, especially the difference between screen violence and the real thing, was one in which Marvin often expressed an interest.  In its promise to depict crime more bluntly and graphically than most fictionalized television series did, Lawbreaker was exactly the kind of pitch for which Marvin would’ve been a sucker.

If Lawbreaker has an overarching theme, it is the randomness of violence and the unknowable “why” of evil.  The Gene Roddenberry-scripted “Seattle,” an early episode so quintessential that I guessed it was the series’ pilot (Gilbert says it wasn’t, and that “Chicago B,” the first episode in the DVD set, was the first one shot), articulates the show’s apocalyptic, pop-sociological them-versus-us theory of crime.  It’s about a movie-star handsome teenager, Andrew Michael Olds, the “Queen Anne Killer,” who guns down a bystander while robbing a store to replenish his stake in a poker game.  Following a restaging of the crime (in which one of the few professional actors to appear in the series, Michael Vandever, plays Olds), Marvin rolls clips of an interview with the victim’s widowed husband, and later with Olds himself.  Not pausing to offer sympathy to the widower, Marvin repeats Olds’s most damning line – that it was “a little hard to fall asleep” the night after the killing – in a voice dripping with scorn.  Cordoned off from Marvin by his high-tech video screen, the criminals in Lawbreaker are specimens to be contained and studied – degenerates distinct from law-abiding citizens.  Olds, fittingly, went on to fulfill Lawbreaker’s nihilistic prophecy: One of the few criminals featured on the show to achieve national notoriety, he was paroled for the Seattle killing in the seventies and immediately undertook a second murder spree.



“Seattle” would be the only Lawbreaker script from Roddenberry, who sold his first series  – The Lieutenant – to MGM during the same season.  “Writing” Lawbreaker was as much a task of editing found testimony (and footage) as of imagination.  Unger’s right-hand man Vernon E. Clark and Zarcoff, the associate producer, dominated the teleplay credits. “I wrote or rewrote practically all of them,” said Zarcoff.  “There was kind of a front man, I forget what his name was, but [he] did the initial research and came to me with background, and I would choose from maybe half a dozen possibilities and pick the most interesting one and write on it.”

Even with all the various moving parts I’ve cataloged above, Lawbreaker’s storytelling formula wasn’t as rigid as it sounds.  The writers shifted the emphasis from one component to the other in service of the material, so that the episodes are varied enough to be binge-consumable today.  “Hartford” is a police procedural that follows the cops more than the criminals.  “Pittsburgh” is pure action, going from bank robbery to car chase to foot pursuit to shootout, without ever stopping to tell us much about the participants.  “Cincinnati,” an atypically soft episode, relegates crime to the periphery, focusing instead on the search for a rare blood donor.   “Detroit” consists mainly of interviews with two twitchy, inarticulate thieves (below), who would come across as a comedy team if they weren’t also played by unsmiling actors in a grim recreation that shows one of the pair taking a painful bullet.  The actors look nothing like the men they’re playing, and as it cuts between them “Detroit” creates one of the series’ most jarring multiple realities, in essence presenting two competing, tonally distinct versions of the same crime.




Speaking of multiple realities: Cahn’s remarkable solo outing, “Philadelphia,” depicts an incident in which a housewife and her two teenaged daughters are terrorized during a home invasion.  During the criminals’ escape, one of the girls is briefly kidnapped and used as a hostage.  “Philadelphia” is uniquely terrifying in the way it foregrounds the sudden, random nature of the crime.  The two burglars barge into a surburban house without preamble – if they cased the joint, or chose it for a reason, Cahn doesn’t divulge those details – and they’re mean to their victims in a casual, soulless way.  (“Junk,” spits a robber as he examines some costume jewelry.  “Well, I paid good money for it,” retorts one of the spunky daughters.)

In keeping with Lawbreaker’s custom, all the members of the Philly family play themselves.  What could it have been like for victims of a violent crime to relive that crime for the benefit of a camera crew, and then to watch themselves stepping through the charade on television a few months later?  Why would a teenager agree to burlesque her abduction by a pair of gun-wielding strangers?  Was the experience traumatic or cathartic?  In its zeal for verisimilitude, Lawbreaker never articulates this question, never acknowledges it; but the sadism implicit in such a ritual is likely, I think, to provoke an unintended discomfort in the spectator.


Although few of the company’s regional contacts managed to contribute Lawbreaker teleplays – Gy Waldron, then an obscure Georgia-based actor and documentary filmmaker, co-wrote the “Atlanta” episode fifteen years before he created The Dukes of Hazzard – the best episodes, those that utilized character or suspense as a strong spine to hold up the disparate formal elements, generally came from established screenwriters.  The most important was Steve Fisher, a pulp novelist (I Wake Up Screaming) and film noir scenarist (Lady in the Lake; Dead Reckoning) who wrote four excellent episodes.  Noir was a significant influence within Lawbreaker, one that made sense in terms of its pretensions toward truth-telling (for there was a strand of noir that took its stylistic cues from newsreels), but that cut in the other direction too, functioning as a shot of lurid seasoning ladeled over the dry sinew of case files.  “Philadelphia” feeds this line to one of the real-life cops during their testimonials: “I bruise easy.  When a suspect threatens me, I get in the first punch.”  And then this fatalistic one, spoken by his partner: “When your time comes, you go.  Not before.”


Fisher’s “New Orleans,” in which a femme fatale offers an undercover cop a seamy tour of the Big Easy’s vice dens, is another essential entry that uses neon-noir tropes to deepen the show’s stoic true-crime trappings.  Virginia Dawn Strawn (spelling uncertain), pill-popper and all-around B-girl, is a terrific character, and again we meet her twice: once in the form of an uncredited actress (above) with fearsome cheekbones, lava-red lipstick, and a tough-girl attitude, and again in an interview with the real thing.  The real Dawn Strawn (below) – attractive and biting off her words in a Southern lilt – is something else altogether.  Clearly still steamed over being betrayed by her narc boyfriend, Virginia doesn’t bother with the phony remorse that most of Lawbreaker’s jailbound miscreants trot out.


In a sense, “New Orleans” almost calls bullshit on the whole enterprise: Dawn’s sympathetic sullenness underscores a tension between the show’s message and the facts of the case.  Nobody sticks up for Dawn Strawn on-screen, but the ostensible hero is a narc, the big fish of the New Orleans rackets get away, and you’d have to be a real dick not to feel like Virginia got a bum rap.  The “Long Beach” episode contains some similar surprises.  Kicking off with a warning to send the kiddies out of the room, “Long Beach” documents the modus operandi of an illegal abortion racket.  The abortion gang are straight B-movie villains – one of them is a beautiful blonde played by Vana Leslie (bottom), who also decorated a few episodes of 77 Sunset Strip.  But Marvin’s sequences veer into a weird territory when he introduces a young woman named Vicki Nessick (a pseudonym), her face obscured by a ridiculous-looking piece of cherry-red wood, who describes her own abortion at the hands of this gang.  Marvin treats her with respect, even compassion.  There’s an unmistakable sense in “Long Beach” of someone feeling passionate about the subject matter, of taking it personally, and when Marvin describes Nessick as an actress by profession, one has to guess that she’s an acquantaince of someone working on the series.  (Mort Zarcoff, who wrote “Long Beach,” couldn’t recall any specifics when I asked him about the episode.)


Unexpected shadings like these are what make Lawbreaker special, and what make its otherwise noxious law-and-order bias bearable.   There’s also another factor, irrelevant during the original run but overpowering in the present day, that brushes away Lawbreaker’s dubious politics and clumsy stylistic tics.  I’m talking about the time capsule element: the potent imagery of sixties America that Lawbreaker captured through its rare location shooting.  Repurposing a piece of entertainment as a tourist’s view of history is a treacherous enterprise – a formalist version of the violence that nostalgists and reactionaries do when they pillage fifties sitcoms for moldy, myopic life lessons.  But I can’t see how to avoid re-inscribing Lawbreaker as a time machine, just like Don Draper’s Kodak Carousel.

I’ve championed one of Lawbreaker’s contemporaries, Route 66, for the incidental Americana that got swept up within its peripateric storytelling.  But Lawbreaker subtracts some of the requirements of narrative that adhered to Route 66.  The buildings and the cars and the locals are the subjects in Lawbreaker, not just the backdrop.  The furnishings, the fashions, the faces of Lawbreaker feel like a snapshot of authentic flyover living, one that in some ways pays more attention to regional details and distinctions than Route 66 could, even as the latter show tooled down roads outside the metropolis.  Somehow I’d never known what a Pennsylvania dialect sounds like until I watched the trio of Lawbreakers filmed there.  (What’s up with those O’s, Philadelphia?)

And of course Lawbreaker, unlike Route 66, is in color, gorgeous, gleaming color, of a kind you only get from the sixteen-millimeter film the series was shot on.  (It helps that the DVD transfers are pristine; Lawbreaker’s film elements must’ve been sitting untouched in the vaults since 1964.)  I’d always assumed that movies and TV shows like Down With Love and Pan Am and even Mad Men overstated the pastel palette of the early sixties.  But no: Judging by the astounding pinks and aquamarines and lemon yellows on display here, they’re actually toning it down.  The way that the cars always gleam in period movies, and none of them are ever twenty years old and falling apart, is another Hollywood cliche I’ve always mocked.  But in Lawbreaker the cars really are perfect like that.  Somehow they’re all shiny and spiffy, all of them, not just the picture cars, but the ones in the driveways they zoom past.  Was it something about the paint back then?  Did the Smiths and the Joneses all wash and wax because the film crew was coming to town?  Or did the sixties really gleam a little brighter?  I don’t know.  Maybe Lee Marvin does.


Thanks to Ken Gilbert and Mort Zarcoff, who recalled Lawbreaker in phone interviews in February 2014.  Dann Cahn discussed the series briefly in his Archive of American Television interview; all other quotes and background are drawn from contemporary newspaper and trade press coverage.

Yesterday The A.V. Club published my interview with Anthony Heald as part of its Random Roles series.  In addition to being one of the best character actors working today, Heald is an articulate and analytical person – in other words, an ideal interview subject.  I had a great time sharing a long lunch with him last month, and I think the interview turned out pretty well.

(Also, check out these great photos from Heald’s Broadway career, which I helped to get digitized as part of my other job.)

For the last few months this blog has been more idle than at any earlier time in its seven-year history.  Sorry about that!  But there is a backlog of half-written material, so we’ll get back on the TV beat soon.

During my research for this fall’s Then Came Bronson article and this tangential follow-up on the lost Chrysler Theatre episode “Barbed Wire,” I learned of the recent deaths of two of the men who made crucial contributions to those series when I sought to interview them.  Neither death was reported in the mainstream or trade press; here are brief, belated obituaries.

Siegel Credit

Lionel E. Siegel, a prominent writer and producer in dramatic television during the sixties and seventies, died of cancer on July 25, 2013, in Montreal, according to his wife, Rachel Lacroix.  Siegel, a Chicago native, had lived and worked in Canada since the mid-eighties.

Born November 30, 1927, Siegel made a late entry into the entertainment industry, notching his first television credits in his early thirties on Ben Casey, a medical drama whose producers were skilled at finding talented novices.  Siegel was talented, prodigiously so, especially in those earliest scripts.  “Sparrow on the Wire,” for Mr. Novak, dealt with anti-Semitism and free speech; “Let Ernest Come Over,” for Marcus Welby, addressed race, specifically the double standards for achievement applied to black professionals like Siegel’s police detective protagonist (Percy Rodriguez).  Siegel’s Rawhide script, “Corporal Dasovik,” is one the best and most uncompromising Westerns ever filmed for television (it won a Western Heritage Award).  A blatantly anti-military piece, “Dasovik” depicted the Cavalry as filthy and criminal, its leadership as cowardly and absurdly unfit.  It was either a conscious allegory for the Vietnam War, or else an accidentally prescient rendering of the way in which Americans would be forced to regard their armed forces after William Calley became a household name.

Those descriptions make Siegel sound like a firebrand of the Reginald Rose school, but he was equally accomplished at apolitical, character-driven stories.  “Lucky Day,” a Then Came Bronson episode I didn’t have room for in the A.V. Club piece, is one of the series’ best.  It’s a delicate little anecdote about the moments of panic and doubt experienced by a bride (Lynne Marta) and groom (Barry Brown), and the calm hand-holding that the slightly-older-and-wiser Jim Bronson undertakes to shepherd them to the altar.

Also in the sixties, Siegel spent four years on the writing staff of Peyton Place, which was less a soap opera than an excuse to string together wistful vignettes of small-town life, Winesburg, Ohio-style.  It’s difficult to determine who wrote what at this remove (each episode was credited to at least two writers), but Everett Chambers told me in 2005 that “Lee Siegel was the best writer of them all.”  Reached last month, Rita Lakin, another Peyton staff writer, recalled Siegel as “kind and friendly and quick with the sarcastic remarks.”

Contracted by Universal in the early seventies, Siegel did probably his best work as the story editor for the final season of The New Doctors, which (under the stewardship of a new producer, David Levinson) abandoned the series’ technological focus in order to tackle a hot-button controversy in each episode.  But Siegel’s career took a sharp, unexpected turn into escapism at Universal after he signed on as a writer, then story consultant, then producer and executive producer on The Six Million Dollar Man and its spin-off The Bionic Woman.  The bionic shows were reasonably well-made for what they were – kiddie fare that essentially assumed the prime time niche vacated by Irwin Allen – and they conferred upon Siegel enough professional cachet that he was poached by an independent company to develop a similar show around the Marvel character Spider-Man.  It didn’t last, and it’s a bit of a shame that Siegel never found his way back to the kind of adult-oriented drama at which he had first excelled.

Siegel’s other survivors include a son, Nicholas.


Roth Credit

Producer Ron Roth died on May 28, 2013, according to the Dartmouth Alumni Magazine.

Beginning his career as an assistant to producer Dick Berg at Universal in 1961, Roth worked on the second season of Checkmate, then followed Berg to the dramatic anthologies Alcoa Premiere and Bob Hope Presents the Chrysler Theatre.  Criminally underseen in the years since, both those series tried with some success to rekindle the idiosyncratic, writer-driven drama of live television on a California backlot; they attracted actors who rarely did television, and won a number of Emmys.  During the third season, after Berg had been elevated to develop features for the studio, Roth continued as one of several rotating producers on Chrysler Theatre.  Roth’s segments included “Barbed Wire,” an episode shelved for its controversial subject matter, as well as the Western “Massacre at Fort Phil Kearney” and the fourth-season premiere “Nightmare,” a juicy entry in the “psycho-biddy” genre, written by Leslie Stevens (The Outer Limits), directed by Robert Stevens (Alfred Hitchcock Presents), and starring Julie Harris in a dual role.

Roth, too, jumped into World Premiere telefilms and features – there was really nowhere to go in television from Chrysler Theatre but down – but at the worst possible time.  During the late sixties, studio chief Lew Wasserman personally approved every film that went into production at Universal, favoring out-of-touch duds like Thoroughly Modern Millie and Skullduggery, and leaving it to VP Edd Henry to turn down so many other projects that Henry earned the nickname “Mr. No.”  Roth developed Elliot West’s postwar spy novel The Night Is a Time For Listening and, intriguingly, a Rod Serling-scripted adaptation of Max Evans’s Western novel Shadows of Thunder (retitled The Devil in Paradise), with Alex Segal (All the Way Home) attached to direct.  But neither property went before the cameras, and Roth quit Universal in 1969.

(The only made-for-TV movie Roth completed at the studio, 1968’s The Manhunter, triggered the termination of star Sandra Dee’s contract, and wasn’t shown for four years.)

A year later, Roth and Chrysler Theatre story editor Robert Kirsch reunited with Berg at Metromedia.  There, and later at Playboy Productions and a succession of other studios and independent companies, Roth spent the next two decades producing a string of made-for-TV movies, both acclaimed (like the 1971 neo-noir Thief and the Emmy-nominated The Image, with Albert Finney) and absurd (like the disaster entry SST: Death Flight and the dune buggy gang flick Detour to Terror, starring O. J. Simpson).

In 1990, Roth left the television business for a second career in real estate and investment counseling.


There is a lost episode of Bob Hope Presents the Chrysler Theater, the acclaimed filmed anthology that ran on NBC for four years in the mid-sixties.  Filmed sometime in 1966, during the first half of the show’s final season, this episode was rejected by the sponsor and never shown publicly.  It’s likely that a copy still exists, but if so, it hasn’t seen the outside of Universal’s vaults in nearly fifty years.

Entitled “Barbed Wire,” the unaired segment starred Leslie Nielsen, Michael Parks, Sean Garrison, and the character actor Don Pedro Colley, in what would have been his television debut.  It was produced by Ron Roth, a former associate producer on the series who by 1966 was one of several Chrysler producers (the others included Gordon Hessler, Stanley Chase, and Jack Laird).  The names of the writer (or writers) were never reported in the press, but the director of “Barbed Wire” was Don Taylor.  (Taylor directed at least one other Roth-produced Chrysler Theater that season, the Western “Massacre at Fort Phil Kearny.”)

“Barbed Wire” was a World War II story set in a stateside stockade for soldiers who had gone AWOL or committed other offenses.  In the sole Variety report on the incident, Leslie Nielsen provided a somewhat garbled synopsis:

Actor said that he plays a very hard commandant of the camp, a strict disciplinarian.  In a key scene, a drunken GI tells him as far as he is concerned about the war, the more who get killed over there, the better the chances for him to get a job when it’s all over.  Nielsen said that after this remark a fight ensues, in which the GI is accidentally killed.

Contacted last week, Colley offered this description of the plot:

It was about a crazy commander of this stockade, and he had flipped out and was commanding his stockade like it was a [concentration] camp.  He would make people stand in a circle, and if they moved out of the circle, the guards were ordered to shoot them.

Colley also remembered the events leading up to his casting:

I drove down from San Francisco to L.A. after I made up my mind that I needed to go make some money in Hollyweird.  Driving into town at night, the first thing you see is this huge monolith on a hillside that says Universal City.  Back in the day, that was about the only thing that the Ventura Freeway had on it – this monolith that stuck out.  It just froze me to my heart, like seeing an alien from outer space.  At night, just after sundown, it was the only thing that was lit up.  One night, I was at Shelly’s Manne-Hole, on Cahuenga Boulevard.  It was a jazz club.  Shelly Manne was a jazz drummer, the best in the business.  And this fella came up to me and said, “Don Pedro, man, how you doing?  I remember you from San Francisco, when you were hanging out in the jazz clubs and being beatniks and carrying on.”  I said, “Yeah, I remember, Duke.  What’s happening?”  He says, “Listen, I’m a publicist out at Universal Studios, in the Tower building.  Come on out and I’ll introduce you around.”  I said, “You got it, man.”  So we went out there and he did introduce me around to people in the Tower building, and one of those people was Ron Roth, whom he had become friends with.  Universal had a bunch of young producers that they were grooming.  So they said, “Yeah, well, you got this one little bit.  You’re one of the people in the stockade.”

I got there in January ’66, and Duke Williams had been there about six or eight months, in the publicity department.  When I got over there, he had access to a car, and he was making deliveries to the various companies on the lot.  I got to ride along with him.  We went all the way to the top of the hill, which is now the Universal Walk, that was called the Shiloh Ranch [from The Virginian].  They had actual cattle and horses and farm things up there.  We’d look out over the Valley and I was fantasizing, like, “Wow.  The world is mine!  Mine!”  Sitting on a rock and laughing to myself.  People were saying, “That boy’s crazy.  What’s wrong with him?”

On the set of his first television episode, Colley found a way to put his own stamp on his small “Barbed Wire” role:

I’m kind of a goofball.  The only thing that came to my mind was Laurel-and-Hardy kind of goofball, where Hardy gets into a dilemma and all he can do is waggle the end of his tie.  They remember you better if you’re funny, versus just being a bad guy.  I decided to play it that way.  They were there for a reason, and my one scene dealt with that reason.  And that was a little added – my little deal, that I was allowing myself to give this character that much depth.


Don Pedro Colley in 1968 (Here Come the Brides, “The Stand Off”)

So why was “Barbed Wire” shelved?  According to Variety, Chrysler viewed the episode as “anti-military” (Colley quote?)  It’s tempting to speculate that “Barbed Wire” carried an unwelcome anti-war theme at a time when the Vietnam War was raging, but the actual issue may have been more prosaic; a 1968 Los Angeles Times profile of Colley wrote that it was “judged too violent.”

Incidentally, Jennings Lang, Universal’s head of television at the time, denied the controversy, claiming (lamely) that “Barbed Wire” was shelved because of possible plans to develop it as a feature film.  But it’s clear that the Variety reporter put more stock in what he or she called “insider reports” (most likely a leak from Roth) of the more controversial explanation.

About eighty of the one hundred or so Chrysler Theater episodes were syndicated, in two separate packages, albeit never widely.  (The exact episode count for Chrysler is debatable, depending upon whether or not one includes the comedy specials starring Hope that aired in the Chrysler timeslot about every fourth week.)  But many of the unsold pilots and two-parters, as well as scattered other episodes, were withheld from syndication.  In most cases, those were either expanded or re-edited as features for overseas release and resurfaced in the U.S., if at all, in TV-movie packages.  Others disappeared because of rights issues.  (For instance, the writer S. Lee Pogostin told me that his Emmy-winning episode “The Game” got locked away after Hope acquired the rights for a theatrical remake, which was never made.)  Unsurprisingly, “Barbed Wire” appears to be one of those unsyndicated episodes.

I stumbled across this story while researching Then Came Bronson and Michael Parks, who in 1966 was in the midst of a terrible run of luck both personally and professionally.  In 1964 his wife of only five weeks, the actress Jan Moriarty, died of an overdose of pills, and in 1968 the actor’s brother, James, drowned in a skin-diving accident.  In 1966, Parks refused a role in a remake of Beau Geste, and his studio contract at Universal fizzled out in acrimony and litigation. He didn’t act for nearly three years, apart from four made-for-TV movies.  The comeback promised by Bronson had the opposite effect, as Parks’s disputes with the series’ producers and directors were widely reported and landed him on what Bronson casting director Joseph D’Agosta described as Hollywood’s “life’s too short” list.  (As in: Life’s too short to work with that guy.)  Once again, after Bronson was canceled in 1970, Parks was absent from the screen for three years – wholly absent, this time – until he accepted a leading role in Between Friends, a Canadian film by the acclaimed director Donald Shebib, which gradually resuscitated his career.  (Coincidentally, his leading lady in Between Friends was his leading lady from the Bronson pilot, Bonnie Bedelia.)  During that exile, in 1971, Parks’s nine year-old stepdaughter, Stephanie, was hit and killed by a motorist in Ojai.

Although minuscule in comparison to those other setbacks, the disappearance of “Barbed Wire” couldn’t have come as good news – especially since one of those three late-sixties telefilms, 1968’s An Act of Piracy (directed by William A. Graham, who directed the Bronson pilot), was also shelved.  A 1970 Variety article implied that Piracy was rejected for a World Premiere slot due to “violence,” but it’s also possible it was just terrible, judging from Parks’s description of the character he played: “I was forced to play a fat, bald, gold-toothed Mexican revolutionary.  They say I came across like a cross between Fernando Lamas and Marlon Brando; I think it’s more like Alfonso Bedoya and Dame May Whitty.”  At least An Act of Piracy, which also starred William Shatner, was finally broadcast – but not until 1976, and under an even more generic title, Perilous Voyage.

For Colley, “Barbed Wire” had a more positive outcome.  The final version of the episode cut Colley’s one big scene for length, but the supportive Roth arranged for the young stage actor to get a copy of the minute-long sequence for his reel.  Ironically, that one minute would be all of “Barbed Wire” that anyone outside of Universal would ever see – and it helped Colley to get him the breakout role as the Canadian trapper Gideon during the penultimate season of Daniel Boone.

Needless to say, it would be most welcome if Universal were to liberate “Barbed Wire” and some of the other elusive Chrysler Theater segments – if not for a commercial release, at least for deposit at UCLA or another archive.

Then Came Klitsner

November 5, 2014


Today The A.V. Club has my look at Then Came Bronson, the odd, formless one-man motorcycle odyssey that ran for a season on NBC in 1969-70.  It was the kind of against-the-tide show that’s impossible not to root for, a serious drama driven not by plot or action, or even character, as by atmosphere of the landscape and the timely ethos of dropping out.  But Bronson, though it had talented people behind the camera, lacked a guiding sensibility as distinctive as that of Stirling Silliphant (whose Route 66 was an obvious influence), and it never came together creatively.  It’s fascinating to watch but undeniably slight – partly on purpose but also, evidently, because the conflicts between the producers and the star, Michael Parks, created a tense stalemate over the content of the show.  (Parks, incidentally, did not respond to an interview request.)


One side story that I didn’t have room for in the Bronson article is that of Stu Klitsner, who plays the man in the station wagon in the opening title sequence, which endures in the collective cultural memory more strongly than the series itself.  (I didn’t remember this, but the A.V. Club commentariat points out that Mystery Science Theater 3000 referenced the scene.)  Bronson pulls up next to a motorist at a stoplight and they have the following exchange:

Driver: “Taking a trip?”

Bronson: “What’s that?”

Driver: “Taking a trip?”

Bronson: “Yeah.”

Driver: “Where to?”

Bronson: “Oh, I don’t know. Wherever I end up, I guess.”

Driver: “Man, I wish I was you.”  [This is often quoted as “Well, I wish I was you.”  It’s impossible to tell which word Klitsner says.]

Bronson: “Really?”

Driver: “Yeah.”

Bronson: “Well, hang in there.”

Although Klitsner never received screen credit during the series proper, he was billed as “Businessman” in the end titles for the pilot movie – so, luckily, his name has not been lost to history.  Klitsner was a local Bay Area actor who mainly worked on stage, but still managed to play bit roles in many of the most prominent movies and television projects that shot on location in San Francisco.  He was in multiple episodes of The Streets of San Francisco (one of which guest starred Michael Parks), as well as Dirty Harry and Bullitt – kind of.  As Klitsner recalled last month:

Dirty Harry, I just had a small part as a police officer inside a police car, with a couple of lines.  But the one in Bullitt, I was cut out completely.  There was a scene shot on Union Street in a little restaurant.  Another actor and I were playing chess upstairs, and we do our little bit.  The interesting part about that was that they had called for the interview people who were very good at ad libbing.  They had guys from the Second City in Chicago and The Committee in San Francisco, which was an improvisational group.  I had been doing a play called Under the Yum Yum Tree for about three years.  I was teaching school five days a week, and driving into San Francisco six nights a week.  So they got around to me and I said, “I need a script.  I’ve been doing the same show for three years!”  But he hired me for whatever reason, and this other actor, who was in The Committee.  And what was the ad lib that they interviewed for and needed this theater group to get?  It was just, “Waiter, would you bring the wine, please?”  They showed a little bit of that scene, but our particular [section] was cut out.  I still get a little residual check from that, even though they cut me out of it.


For Then Came Bronson, Klitsner performed his short scene with Parks at the intersection of Union Street and Van Ness Avenue.  For the close-ups, they pulled over to the side of Van Ness, out of traffic.  Klitsner drove his own car in the scene, (which explains why it’s a station wagon rather than some vehicle more symbolic of the corporate rat race).  At the time, he had no idea that the role would provide his fifteen minutes of fame. “About three months later, the agency called me and said, ‘Say, they sold that pilot and the producers decided that little bit you had was kind of the essence of the show,'” Klitsner recalled. “They wanted to keep it in at the beginning.”  Klitsner received a weekly payment for the use of the clip.

Short-lived though it was, Bronson connected passionately with anyone in tune with its footloose philosophy.  Although it figures in many obscure memoirs by motorcycle enthusiasts and other non-conformists (run the show’s name through Google Books and you’ll see what I mean), my favorite example of the way in which Bronson captured the tenor of its time was a story that Klitsner told me.  During the run of the show, Klitsner was profiled in the local newspaper, the Contra Costa Times.  A short time later, he ran into the reporter again:

He was writing his motorcycle downtown Walnut Creek and we were at a stoplight together, almost like Bronson.  I said, ‘Oh, thanks.  That was a nice article you wrote.  What are you doing now?’  He said, “I quit my job at the Times and I’m going to take off across the country on my motorcycle.”

Just as he did in 1969, Klitsner lives and acts in Walnut Creek, California; a few years ago he appeared in a memorable scene in the Will Smith vehicle The Pursuit of Happyness.

As often happens, my research on Then Came Bronson (and Michael Parks) turned up some interesting and previously unreported lacunae, so tune back in over the course of the next week or so for posts about those.




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