April 11, 2014
Rescued from obscurity last year with an essential complete-series DVD release, The Many Loves of Dobie Gillis remains one of the most distinctive and intelligent American situation comedies. Conceived and successfully marketed as a youth-oriented enterprise – the everyday life of the ordinary teenager – Dobie expanded its vision, as all great television does, to articulate an overarching point of view on existence itself – a wry, wise one, with a strong undercurrent of melancholy. Verbally witty and tonally unpredictable, it was probably the most sophisticated sitcom to debut before The Dick Van Dyke Show – although its sharp edges and complicated relationship with realism (and reality) make Dobie Gillis more relevant as a precursor to the spirited insanity of Green Acres.
Dobie Gillis was one of the earliest television comedies to embody the unmistakable voice of a single, brilliant writer – from the fifties, only Nat Hiken’s The Phil Silvers Show and arguably David Swift’s Mister Peepers come to mind as fellow members of that fraternity. Though he had successes on Broadway (The Tender Trap) and in films (adaptations of The Affairs of Dobie Gillis in 1953, with Bobby Van in the title role, and his novel Rally Round the Flag, Boys! in 1958), Max Shulman began as a prose writer who took on college life in his first book (Barefoot Boy With Cheek, 1943) and introduced the character of Dobie in a series of short stories. Though he was a television novice, Shulman asserted his control over the series in no uncertain terms: “In Dobie Gillis, every script in the end went through my typewriter, sometimes for minor changes, sometimes for major ones. Out of 39 or so episodes, I’d write maybe 10 – anywhere from 6 to 12 – but I would polish or tinker with every one of them, because I wanted to keep the same tone.”
A TV pilot script for Dobie had been around for a couple of years before it coalesced at Twentieth Century-Fox in 1958, when Martin Manulis (the legendary Playhouse 90 producer) became the studio’s new head of television production and revived it from the dead. Although Manulis quit after less than a year in the job, before the series debuted, his production company’s logo appeared at the end of Dobie Gillis for all of its one hundred and forty-seven episodes. The Dobie series was also an early agency package, from General Artists Corporation (GAC), the forerunner of ICM. A “package” was a situation where the key talents, usually all clients of a single agency, were assembled by that agency and presented as a bundle to the buyer. It was probably GAC that put Shulman together with his key collaborator, producer-director Rod Amateau.
Shulman and Amateau would be the brains behind Dobie Gillis for its entire four-year run. “We were just two little schnooks trying to put a comedy show together,” said Shulman (and it was literally true, in part; neither man stood taller than 5’5”). After clashes with studio executives over the pilot, Shulman contrived to move production to a smaller annex lot, Fox Western (which was actually east of the main Fox studios, but named after its location at Sunset and Western), where they would be left alone. Shot quickly, with two cameras and no audience, on a cluster of sets that were cramped and threadbare but got the idea across, Dobie Gillis was a quasi-independent production nestled under a big studio banner.
In print, Dobie Gillis was a college kid. University life seemed to be Shulman’s creative starting point in the same way that service in the war formed the points of view of many other writers of his generation. Television lowered his age and transplanted Dobie (played by Dwayne Hickman, previously a supporting player on The Bob Cummings Show and the Shulman-scripted Rally Round the Flag, Boys!) to high school, because Manulis felt that his escapades were too silly to seem plausible otherwise. In a way that anticipates, oddly, the workplace comedy formula of Dick Van Dyke and many of its successors, Shulman divided his attention evenly between Dobie’s “professional” life at school and his family life at home. Dobie’s parents (Frank Faylen and Florida Friebus) were the proprietors of a rather shabby little grocery store; his older brother, Davey (played, in a gimmick of casting, by the actor’s older brother Darryl Hickman), was already away at college, leaving Dobie for narrative purposes an only child.
The rest of the ensemble comprised friends and teachers from Dobie’s “work” sphere, Central High School (and later S. Peter Pryor College). Dobie’s best friend, for instance, was a beatnik, allegedly the first to figure prominently in a television series. Maynard G. Krebs – played by Bob Denver, a casting director’s secretary’s brother, whose inexperience lent him a innocent quality that Shulman and Amateau found lacking in the other applicants – was a bedraggled loafer with a hint of a goatee and a wardrobe consisting entirely of torn sweatshirts. Maynard was such a topical notion that he could not have existed in the days when Shulman first started writing about Dobie. More than any other character, as both Shulman and Denver would later recall, Maynard was an ongoing invention of the actor who played him.
If everyone on The Twilight Zone sounded like Rod Serling, then all of Shulman’s characters tended to share the same loquacious, declamatory speech pattern – almost a proto-Sorkinese. Collectively, the citizens of Central City had a more prodigious vocabulary than anyone else on television in the early sixties. Some critics, as well as Hickman and others who worked on the show, have claimed that Shulman’s use of Dobie as a simultaneous participant and narrator in the series was ground-breaking. Perhaps, but Dobie’s funny monologues – at first delivered, in a self-mocking gesture, next to the local park’s copy of Rodin’s The Thinker – don’t play as a jarring, fourth-wall breaking device, in the manner of Kevin Spacey turning away from a scene and towards the viewer in House of Cards. Rather, they strike me as a natural (if unusually fluid) extension of the importance of speech and wordplay in Shulman’s writing, and of a piece with the sort of on-screen hosting that Serling and Alfred Hitchcock provided for their own shows – more about establishing a particular tone than delivering exposition. A closer modern analogue for Dobie’s monologues might be the interpolation of the stars’ stand-up routines into episodes of Seinfeld or Louie.
Although catchphrase humor isn’t usually thought of as a sophisticated sitcom device, Shulman infused Dobie Gillis with a roster of intricate litanies, the best of which became calling cards for the characters who delivered them, as well as pleasurable running gags. Dobie and Maynard sit on a park bench, volleying back and forth “What do you want to do tonight,” in tribute to Marty. Thalia Menninger (Tuesday Weld), Dobie’s earliest, just-out-of-reach inamorata, calmly explains the rationale behind her monomaniacal gold-digging: “My father’s sixty years old and has a kidney condition, and my mother isn’t getting any younger either. I have a sister who’s married to a loafer, and a brother who shows every sign of turning into a public charge.” Herbert T. Gillis recites his World War II service record, “with the good conduct medal,” the added emphasis underlining Dobie’s dad’s puffed-up view of himself.
Those catechisms are a key to understanding Shulman’s worldview, which is simultaneously cynical and warm. Shulman protects his characters in very specific ways: Herbert may be a windbag, living too much in the past; but as he reminds us with every recitation, his exasperation with his son’s aimlessness is rooted in legitimate Greatest Generation accomplishment. Herbert’s other major refrain was, in response to any infraction by Dobie, “I gotta kill that boy” – a line that, like Ralph Kramden’s “To the moon, Alice,” contains an undercurrent of abusiveness that couldn’t have gone unnoticed even among fifties audiences, especially as delivered by the raspy and irascible Faylen (essentially playing himself, according to Hickman). Shulman liked to point out that “we didn’t even pretend that there was any communication between parents and children,” but the relationship was more complicated: Whenever someone else insulted Dobie, Herbert was quick to take offense. He was far from warm and fuzzy, but Dobie was his burden to heap insult upon.
By the same token, Thalia’s lust for money has a rational grounding: Shulman gives her a sympathetic justification for craving coin even as he makes full use of it as a nightmarish, all-consuming spectre in Dobie’s life. “Girls who tell the truth are funny,” Shulman said – a statement that can be taken in more than one way. Like many of the television writers of his era, Shulman had a bit of a woman problem; and just as Stirling Silliphant used Route 66, in his own prescient/retrograde way, as a vehicle to work out a horror of and fascination for women’s lib, Dobie Gillis became a canvas for Shulman to sketch out contradictory female archetypes. Thalia’s opposite number was Zelda Gilroy (Sheila James), initially a one-off character (alphabetical seating fated her to be Dobie’s chemistry partner, and one-sided soulmate, in the third episode, “Love Is a Science”), but one who evolved into the show’s female lead. Shulman used Zelda to balance the equation of Dobie’s unsatisfying love life: As Thalia was unattainable for Dobie, so Dobie was unattainable for the lovestruck Zelda, to the endless exasperation of all concerned.
Although physical appearance is implicitly the reason that Dobie pursues every girl in sight except Zelda, the show steers clear of overtly cruel jokes at her expense (especially compared to the way that, say, Miss Hathaway is treated in The Beverly Hillbillies). Personality – specifically, the obnoxiousness with which she pursues Dobie, itself a refraction and a tacit critique of Dobie’s girl-craziness – can also be understood as Dobie’s main objection to Zelda. And of course, Zelda’s desire to remake Dobie into a suitable mate – “I’m going to nag you into being rich and successful and happy, even if it makes you miserable!” – isn’t all that different from the get-rich quick schemes into which Thalia enlists a somewhat more willing Dobie. If anything, Zelda’s plans for his future are even more explicitly fifties-conformist. (There’s a hint of the outlaw in Thalia: if Zelda was grooming Dobie to provide for them, Thalia saw him as a tool to provide for her.) For Shulman, womanhood was a continuum of emasculation.
Another of the show’s major touchstones was Dobie’s obsessive evocation of girls as “soft and round and pink and creamy.” Even when attributed to a gormless adolescent with only a theoretical conception of sex, that’s a slightly creepy and weirdly biological way of thinking about women. Like Silliphant, Shulman ended up trying to have it both ways: The women in Dobie Gillis were smarter and more assertive than Dobie and Maynard, but their objectification went largely unquestioned (something that was even more true of the lust-objects-of-the-week who appeared in many episodes than for the more fleshed-out Zelda and Thalia). But it would be misguided to offer an ahistorical scolding to Dobie Gillis for its ambivalent sexism, since on the whole (and relative to many more actively misogynistic series of the same period) Shulman’s show comes across as affectionate towards and admiring of women. One of the reasons that Dobie Gillis delights today is its honesty about Dobie’s lust. The teens in Father Knows Best, The Donna Reed Show, and even the down-to-earth Leave It to Beaver were asexual, but Dobie was a horny kid, persistent and even compulsive in his pursuit of sex. Shulman and Hickman always made it clear that this kid would tag as many bases as he could get away with.
The realism, at least by TV standards, of Dobie Gillis extended into areas beyond sex. Shulman was also obsessed with money, and not just by way of his gold-digging goddess Thalia. As a counterpoint to Dobie’s incessant mooching off his parents and Maynard’s infamous phobia for “work!” Shulman crafted an explicit accounting of the middle-class struggle to make ends meet that’s as rare on television now as it was then. The first season’s wonderfully dyspeptic Christmas episode, “Deck the Halls,” was a grumble about the travails of the merchant class, in which Herbert’s stingy customers contrive a dozen different ways to nickle-and-dime him into the poor house.
The even more specific “The Magnificent Failure” finds Herbert overvaluing his grocery store by a figure of $29,000; after his bad negotiating torpedoes a buyout deal, he goes in search of a job as a middle manager in a supermarket chain, only to learn the hard way that he’s not considered qualified to work for a big corporation. The dire economy of Leander Pomfritt (William Schallert), Dobie’s kindly English teacher (and later professor), also came in for scrutiny in a pair of morose episodes that examine, without any comedic exaggeration, the kinds of sacrifices that an educator must make in order to remain in a profession that Shulman clearly thinks of as noble. Pomfritt has to moonlight in order to make ends meet, a situation that he finds humiliating; and even at the junior college, in theory an advance over teaching at high school, he’s distracted from teaching by a heavy load of crushing administrative duties.
During the first season, Dobie Gillis gradually built up a roster of some of the funniest character actors in the business, most of them recurring in small roles as the Gillises’ neighbors, customers, and civic overlords: Doris Packer, Marjorie Bennett, Jack Albertson, Alan Carney, Joey Faye, Richard Reeves, James Millhollin, Burt Mustin, Milton Frome. Coupled with Shulman’s penchant for giving his characters long, silly names (Merrilee Maribou! Monty W. Millfloss! Truckhorse Bronkowski!), the populating of Central City with such a rich ensemble of oddballs felt like a conscious imitation of Preston Sturges, especially his small-town send-ups (The Miracle of Morgan’s Creek; Hail the Conquering Hero).
At the same time, Shulman depicted fifties materialism, pop culture, and sex in a heightened tone – no other sitcom of its day did vulgarity as exuberantly as Dobie Gillis. Dobie’s lust, Thalia’s greed, and Maynard’s beat affectations – not to mention the screeching theme song and the first season’s lecherous animated opening titles – are painted in broad strokes that emulate the wild satires of Frank Tashlin, who was at his peak (with The Girl Can’t Help It and Will Success Spoil Rock Hunter?) in the years when Shulman was putting Dobie Gillis together. Perhaps the best way to characterize the distinctive delights of Dobie Gillis is to suggest that it represents a synthesis of Sturges’s weirdness and Tashlin’s spikiness – or even that Shulman was consciously imitating both writer-directors. It’s hard to think of any other important sitcoms that followed in the tradition of either; Green Acres, maybe, had some of Sturges, and The Dick Van Dyke Show a bit of Tashlin, but these seem like incidental similarities compared to the extent that Shulman channelled both.
In the second half of this essay, I consider some of the changes that the very protean Dobie Gillis underwent in its second, third, and fourth seasons.
January 8, 2012
Mike Hammer, perhaps the trashiest of the film noir-era literary detectives, came to television in 1958, in seventy-eight gloriously lurid assemblages of fast-paced fisticuffs, threadbare sets, and stock plots. Video’s first Hammer, incarnated by Darren McGavin, was a reasonably faithful and always lively continuation of the popular series of novels by Mickey Spillane. A&E’s unexpected DVD release of the show, which contains every episode, was one of my favorite home video events of last year.
Mickey Spillane’s Mike Hammer was produced by MCA, the talent agency-cum-TV factory that churned out oceans of half-hour genre series in the late fifties. The shows were pumped out in backbreaking lots of thirty-nine, shot in three or even two days, for no money (the budgets were often well under $50,000 per episode), on the old, cramped Republic Studios backlot in the San Fernando Valley. MCA had sweetheart deals with the networks, especially NBC, but since there was only so much prime time to be colonized, the up-and-coming mini-major also sold shows into first-run syndication. Mike Hammer was one of those – perhaps the only syndicated MCA offering that’s remembered at all today, and a surprising network reject, given the fame that both Hammer and his shrewd, self-mythologizing creator had accrued since their 1947 debut. The first episode, “The High Cost of Dying,” premiered in New York City on January 28, 1958 (but, as with any syndicated show, any airdates listed on the internet are bogus; local stations that bought the series had discretion over when to schedule it).
The difference between a bearable MCA show and an unbearable one, at least for a modern viewer, is often one of personality – that is, whether or not the series’ star had one. The studio had tried to make TV stars out of stiffs like Dale Robertson (Tales of Wells Fargo), John Smith and Robert Fuller (Laramie), and Rod Cameron (City Detective, State Trooper, and Coronado 9), but it had also corralled an electrifying young Lee Marvin, clearly on the cusp of major stardom, into a television commitment with M Squad in 1957.
In the late fifties, Darren McGavin had a lot in common with Marvin. Both had done showy supporting turns in major films, Marvin in The Big Heat and The Wild One and McGavin in a pair of 1955 releases, David Lean’s Summertime (as an unfaithful husband) and Otto Preminger’s The Man With the Golden Arm (as a vicious drug dealer). The small screen had less prestige than the movies, especially those made by A-list directors, but it offered these youngish actors the opportunity to transition from incipient typecasting as flamboyant villains into potential stardom as leading men. Television proved a wise career move for both actors and, a half-century later, they have repaid the favor by keeping their old series out of history’s dustbin. The boundless energy of Marvin and McGavin – the way they dance around iffy dialogue and prop up dull guest actors and just revel in being the center of attention – is the indispensible quality that overwhelms the many elements that now appear cheap or rushed or dated.
By 1958, there had already been three films, a radio drama, and at least one busted television pilot spun off from the Spillane novels. That pilot was written and directed by future Peter Gunn creator Blake Edwards and starring Brian Keith, who would’ve made a fine Mike Hammer. But the only one of those properties that retains any currency today is Kiss Me Deadly, the 1955 Robert Aldrich masterpiece whose notes of cynicism, futurism, and paranoia were decades ahead of their time.
Armed with a richly ironic A. I. Bezzerides script, which depicted the thuggish, dim-witted Hammer as the agent of his own destruction, Aldrich recast Spillane’s two-fisted, commie-hating hero as something that crawled out from under a rock. Aldrich put Ralph Meeker, the actor who replaced Brando as Stanley Kowalski on Broadway, in the part, and Meeker sneered, sweated, and fondled his way toward the creation of one of film noir’s nastiest protagonists.
Television’s toned-down Hammer isn’t quite as disreputable or disgusting as Kiss Me Deadly’s. But McGavin captures enough of Meeker’s scuzziness to make the series more than a standard, square-jawed (and square) round-up-the-bad guys outing. McGavin’s persona fits Hammer like a glove. He’s fast-talking, gruff, growly, scowling, a girl-chaser and an ass-kicker. He can take lines like “I’m gonna find out about this character Lewis, and when I do, I’m gonna take him apart like a four bit watch!” and spit them out with a palpable sense of menace.
Gun, Hammer, shithole: Darren McGavin as Mike Hammer in his seedy office
I’ve always looked at McGavin as a curmudgeon, television’s great loquacious crank, but my friend Stuart Galbraith IV, who thinks McGavin is cast against type (albeit effectively) in Mike Hammer, calls him “one of the breeziest, most likable of character actors ever.” I have difficulty reconciling that McGavin with my McGavin, but it’s true that the actor plays sincere pretty well in the scenes where Hammer has to comfort grieving widows and orphaned daughters. McGavin himself had contempt for the material, and insisted on affecting what he called a “satirical” approach; he claimed to have won a showdown on the matter with MCA chief Lew Wasserman, who wanted Mike Hammer played straight.
In practice, what McGavin described as “treating it in a lighter manner” meant camping it up whenever he could get away with it (he was a hammer indeed). This was a habit that could make the actor overbearing in some of his later work, like Kolchak: The Night Stalker and A Christmas Story. (The producers of both Kolchak and another McGavin private eye series, The Outsider – respectively, Cy Chermak and Roy Huggins – also clashed with the star over the same issue.) But in Mike Hammer, McGavin doesn’t go overboard. He knows just how much spoofery he can get away with, and his Hammer isn’t clowning so much as he’s blustering enthusiastically through each week’s mystery, the same way a dime-novel private eye would charge through a slim, plot-choked Dell paperback. When McGavin does play it goofy, it’s often genuinely funny; see, for instance, “Requiem For a Sucker,” in which Len Lesser plays a gun thug with an exaggerated Brooklyn accent, and McGavin then mocks it throughout their scenes together.
Since I only made it through about three pages of I, the Jury before giving up on Spillane’s ugly, turgid prose, I can’t really grade the extent to which the Mike Hammer series mimicked the novels. For television, MCA kept Hammer’s pal on the police force, Captain Pat Chambers, but dropped the other regular character of his sexy secretary Velda – a somewhat surprising move, given that a video Velda would’ve been both another leggy dame on display and an efficient conduit for some of the inevitable reams of exposition. (Velda is mentioned in a few early episodes, but after a while it became clear that McGavin’s Hammer was a one-man operation.)
As for Chambers, he was played by Bart Burns, a busy bit player and live television veteran, whose chief claim to recognizability was his pronounced Noo Yawk accent. Burns bears a close resemblance to Mickey Spillane, and I wonder if perhaps he was Spillane’s choice to play the character and ended up with the secondary role as a consolation prize after MCA hired a bigger star. Certainly, Spillane had a history of trying to make over screen Hammers in his own image. He went on to star as his own creation in the weird but worthwhile 1963 movie The Girl Hunters, and he had tried unsuccessfully to install Jack Stang, an ex-cop pal on whom the character was purportedly based, as Hammer in Kiss Me Deadly (and did succeed in getting Stang small acting roles in I, the Jury and another Spillane film project, Ring of Fear).
Bart Burns as Captain Pat Chambers
If you only know the Hammer character via Kiss Me Deadly, which transplants him to a very location-specific Los Angeles, the emphasis that the television series places on his identity as a New Yorker will come as a surprise. Television’s Hammer often sings the praises of the great city, except when he’s going back to his rough old neighborhood (Greenwich Village, now even more perilous following its colonization by hipsters) to help out or hunt down an old crony. The implication is always that Hammer has come a long way since those hardscrabble days, but the visual evidence is unpersuasive. Hammer operates out of a grungy one-room office (see the image above), and lives a transient existence in the dubious-looking Parkmore Hotel. The heroes of 77 Sunset Strip and Peter Gunn were upright, respectable professionals, and part of the fun of Mike Hammer is that no one made any effort to reform Hammer into any kind of respectability. He drives a huge honking convertible; that’s something, at least.
According to one historian, Mike Hammer slaughtered thirty-four people in the first five Spillane books. There’s no way a television hero, even one operating just prior to the 1961 Congressional hearings on televised violence, could match that body count; McGavin got to blow away one or two bad guys per episode, tops. But the show occasionally delivers some hint of the sex and sadism in which Spillane traded, especially in the earliest episodes. In “Just Around the Coroner,” a murder victim leaves a good-sized arc of blood spatter on a wall, and Hammer observes that “somebody had worked her over with a pistol butt or a hatchet, you couldn’t really tell which.” In the standout “I Ain’t Talkin,’” Hammer roughs up a woman, kicking in a moll’s door, then shoving her up against a wall and screaming into her face. (Then, of course, he kisses her.) “Hot Hands, Cold Dice” has a scene in which Hammer invites a villain to step outside, then throws his coat over the oaf’s face and kicks him in the ass. In “Just Around the Coroner,” as in Kiss Me Deadly, Hammer’s meddling gets an innocent person killed. None of this comes anywhere close to the demythologized, revisionist private eye cycle of the seventies, but Mike Hammer does occasionally – and unexpectedly, for a fifties TV show – call to mind The Rockford Files or Altman’s devastating riposte to Raymond Chandler, The Long Goodbye.
Darren McGavin and Joan Tabor in “I Ain’t Talkin'”
If the violence was necessarily diluted, other aspects of Spillane’s fifties-pulp style are not. Like M Squad, the show is patched together with verbose first-person narration, a necessity for conveying all the plot points that a low-budget show could not afford to stage. Mike Hammer turns a weak device into something enormously entertaining: the narration is often witty and lurid, and McGavin’s delivery of it is varied, surprising, and often priceless. The episode titles, which do appear on screen, also convey the show’s grim but wry attitude: “Lead Ache”; “Baubles, Bangles, and Blood”; “For Sale: Deathbed – Used.”
So do the stories themselves, when the series is at its best. In “Just Around the Coroner,” Hammer tells a clerk to keep the hotel doctor on call for the next ten minutes. Then he barges in on a counterfeiter, breaks the guy’s money-printing machine over his head, throws him into the hallway, and helpfully informs him that first aid awaits in Room 210. The funny “To Bury a Friend” features James Westerfield as a smirking cop (with a great name, Lieutenant Dan Checkers) who uses Hammer as a punching-bag bird-dog to ferret out a murderer while he himself remains parked on his fat ass. At the end of “Dead Men Don’t Dream,” the gallant Hammer allows the moll to slip away (with a parting admonition to “change your brand of men”) and then pounds the shit out of a roomful of thugs. His pal Captain Chambers is outside with the cops, but he hangs back to give Hammer time to finish his beatdown. “Mike Hammer doesn’t kill easy,” Chambers tells the anxious ingenue confidently. Hammer is the Paul Bunyan of pulp, parading through downmarket crime stories writ large as noirish tall tales.
MCA in the late fifties was already famous as a menacing corporate octopus, a sort of entertainment-industry F.B.I. that clothed its agents (many of whom later became television producers or executives after MCA’s TV arm, Revue Productions, consumed the agency business) in dark suits and ordered them to avoid personal publicity. That ethos may explain why some early Revue shows, including Mike Hammer, carry no producer credit. So if there was a guiding intelligence behind Mike Hammer – and the series was sharp enough that it must have had one – that person’s identity will remain cloaked until someone undertakes a bit of detective work. (Alas, of the archival, not the beating up people, kind.)
We do, however, know who wrote and directed the seventy-eight Mike Hammer segments. The future A-lister among the regular directors was Boris Sagal (Dr. Kildare, Mr. Novak, The Omega Man), then a recent graduate of the live Matinee Theater doing his low-budget apprenticeship in filmed television. It’s almost impossible to see any kind of directorial signature in these two-day wonders, but I did think it fitting that the few forceful compositions I spotted occurred not in Sagal’s episodes but in those helmed by Earl Bellamy, a journeyman who stuck with Universal for a long time as a directorial fix-it man on troubled productions.
It’s more relevant to look at Mike Hammer’s writers, since this was a show that thrived more on words than images. Spillane had nothing to do with the television Hammer, but the series’ most prolific writer (and possibly its uncredited rewrite man) was another pulp writer of some note, Frank Kane. Kane’s series character, New York investigator Johnny Liddell, predated Mike Hammer but flourished in a series of novels that emerged after Spillane hit it big. Supposedly Kane repurposed some of the plots from the Liddell books into Mike Hammer mysteries, and it was an easy transposition: Liddell had a brother on the police force who could turn into Captain Chambers with just a dash of Wite-Out. Kane, who died young in 1968, did not make substantive contributions to many television series, but he had done quite a bit of writing for radio, on The Shadow and also an array of private eye series. His involvement may explain why Mike Hammer’s voiceovers were so much more flavorful than those heard in other contemporaneous series (M Squad, for instance).
Mike Hammer also adapted stories by a young Evan Hunter (under the pen name “Curt Cannon”) and Henry Kane, a prolific crime novelist who still has a small cult following. There was also the talented Bill S. Ballinger, whose books formed the basis of the films noir Pushover and Wicked as They Come. His script for “Requiem For a Sucker” introduces characters named Zyg Zygmunt, Buckets Marburg, and Chinchilla Jones, and it’s as bouncy and Runyonesque as those monikers would imply. Ballinger signed all his Mike Hammers as “B. X. Sanborn,” and the pseudonym mania didn’t stop there. “Steven Thornley,” who wrote more than a dozen scripts, was in fact Ken Pettus, a young writer who later contributed extensively to The Big Valley, The Green Hornet, Bonanza, and Hawaii Five-O under his own name.
Len Lesser and McGavin in “Requiem For a Sucker”
It’s too bad that the television rights to the Hammer character didn’t go to some outfit other than MCA. Ideally, the series would have been produced on the streets of Hammer’s home turf, New York City, and with more than a few pennies’ worth of production value. The Republic lot’s New York street was so inadequate that Mike Hammer relied mainly on interiors and rear projection. (McGavin, or more often his double, did swing through New York for pickup shots a few times: “Dead Men Don’t Dream” shows McGavin outside a Houston Street subway station, and “Letter Edged in Blackmail” has him entering the Daily News/WPIX building on 42nd Street, not too many blocks away from where I’m writing this.)
But the low-rent approach works; it fits the material. The narration drowns out much of the toneless stock music that was MCA’s unfortunate aural trademark. The threadbare sets evince Mike Hammer’s threadbare world. And McGavin’s mugging takes your attention away from the holes in the overused plots. There were four great half-hour hard-boiled private eye shows on the air during the late fifties: Peter Gunn, Richard Diamond Private Detective, Johnny Staccato, and Mike Hammer. Each of the first three enjoyed the participation of a figure who retains a significant cult following today – respectively, Blake Edwards, David Janssen, and John Cassavetes – and I think that because Mike Hammer has no comparable cinephile lightning-rod name, it may sometimes be excluded from their company. Hopefully the new DVD release, which has given the show its first significant exposure in about fifteen years, will put some fresh ammo in Hammer’s gun.
Postscript: A&E doesn’t release a lot of vintage television, but Mike Hammer brings the label full circle: fans will recall its issue, over a decade ago, of another fifties private eye classic, Peter Gunn, which was doomed by atrocious image quality and aborted before even the first (of three) seasons was completed. The DVDs of Mike Hammer, which sport slightly soft but still very watchable transfers, represent a kind of redeption for the label. While researching this piece, I noticed that, amazingly, the 1954 Brian Keith pilot is also available on DVD, and there’s still more good news: I’ve heard a solid rumor that Peter Gunn will be continued on DVD next year, by a different label, and hopefully from better elements.