April 2, 2013
Mud as a unit of measurement for a war movie’s authenticity: It’s a stand-in for blood, at least in shows made before actual gore became a possibility, and also a signal that the performers and the filmmakers were committed to putting themselves through at least a fraction of the hardships that actual soldiers endured. The Gallant Men, a World War II drama that ran on ABC during the 1962-1963 season, has mud in ample measure.
In particular, there’s a tactile set piece near the beginning of the pilot, where the hero, a somewhat overwhelmed journalist (Robert McQueeney), tromps through a foot of goopy muck to hitch a ride with the truckload of G.I.s that he’ll end up sticking with for the remainder of the series. The boxy compositions in this sequence, probably dictated by the constraints of the location (Los Angeles, remember, is a desert, and another reason that mud measured a film company’s commitment was the tempting expendability of a water truck as a line item on the budget), are defined with an appealing clarity: a tree-lined ridge on the left, a ditch on the right, a hill rising toward the background.
Robert Altman directed this hour, and like most of his early television work, it’s filled with the kind of details that make it stand out from more generic gung-ho action shows. The pilot – which has no on-screen episode title; some sources refer to it as “Battle Zone,” but that was more likely an early title for the series – is a platoon narrative, formulaic in its scenario and characters. But it has an unusually specific chronological-geographical progression, beginning with the soldiers’ amphibious landing at Salerno and then following them toward and through the battle of San Pietro. That particular conflict had already been immortalized in a famous film, John Huston’s startlingly frank documentary The Battle of San Pietro. And since the pilot (more than the subsequent series) shows us the war through the eyes of a hardened war correspondent, The Gallant Men also calls to mind The Story of G. I. Joe, William Wellman’s film about Ernie Pyle (a template for McQueeney’s character, Conley Wright). I’ll bet Altman was aware of those imposing cinematic touchstones, both of which privilege the dogface’s point of view over the rear echelon officer’s. (There are, in other words, no scenes of generals pushing toy tanks around on maps.) If the Gallant Men pilot never reaches the heights of its big-screen antecedents, it’s still a respectable entry in the genre, more interested in ideas and ambiguities than violence and spectacle.
There are several subplots, but the main narrative line in Halsted Welles’s script (adapted from a magazine story by James Merriam Moore) concerns Jake Miller, a member of the platoon with a secret. Conley recognizes Miller (William Windom) and gradually figures out that he’s actually an officer, a disgraced major who turned tail under pressure and is now hiding out under a dead enlisted man’s name. Miller beseeches Conley not to write about him, but Conley is noncommittal; he doesn’t think Miller is helping himself by ducking his past.
Working mainly through performance, Altman reduces this farfetched conflict to a series of crystalline emotional beats. A sort of second-rate Barry Sullivan, McQueeney was not a versatile actor, but he had a craggy, pock-marked, high-cheekboned visage, and a gravelly voice – all of which Altman knew how to align as a sort of stolid wall for Windom to bounce off of. And Windom has never been better than he is here. Windom was an actor who could go very big, and his most indelible roles had him doing that, quite literally clawing at the scenery both in his Twilight Zone (“Five Characters in Search of an Exit”) and as the mad starship captain in Star Trek’s “The Doomsday Machine.” But Windom knew how to work at the opposite end of the scale, too, and his Gallant Men performance is entirely free of histrionics. He could have played his confrontation scene with Conley as abject, pathetic, but instead he’s matter-of-fact, laying out his case like a soft-selling salesman, with just a strain of desperation creeping in to let us know how desperate he is. Windom (and Altman) make it clear that Miller, coward or no, is hardened in a way that the other characters are not. They give the man dignity, which is the only reason that his rather contrived plight becomes moving.
A fairly complex psychological dynamic comes into focus in the second half, when the platoon’s new leader, Captain Benedict (William Reynolds), appears. Benedict is young, new to command, and unsure of himself. Again, there’s an avoidance of hysterics –Benedict knows that he’s green and scared, and he’s smart enough to be open to whatever help he can collect – and once again Altman teases out a limited actor’s most usable traits. In this case, Reynolds’s narrow range of expression approximates Benedict’s uncertainty; he plays the character as an alert but tentative man who’s afraid to commit or even express himself, for fear of revealing himself as unfit. Reynolds’s eyes flit around, looking for cover.
Of course, the obvious trajectory here is for Miller to step up and rescue the platoon by revealing his own fitness for command. The conclusion plays out as a fairly predictable ritual of bravery and sacrifice, but the situation is complicated by two factors: the fact that Benedict, the weak and potentially unsympathetic character, will remain with the show while Miller will not; and Altman’s utter disinterest in convention. Altman presents Miller’s hidden past not as a secret weapon, there to tidy up the plot, but as an existential tragedy. He has the skills and the knowledge to lead, but not the temperament. He can offer tactical advice that may save this day, but as soon as the burden of men’s lives falls upon Miller’s soldiers, he will crumble. Miller can’t take the pressure of command; Benedict can, but he hasn’t the experience to succeed. Each of them is half a man and Altman, I think, wanted to underline this idea that two halves don’t make a whole – that our limitations define us as much as or more than our good qualities – even though a fairly subtle change in emphasis could have turned this into a triumphal story of redemption and victory through teamwork.
The avoidance of emotional resolution in Miller’s arc extends into an evasion of narrative resolution elsewhere – a harbinger of Altman’s feature work. In the end, Conley allows his friend to be buried under his assumed identity, seemingly in keeping with his wishes. But unpack that uneasy moment: it means that the heroism of Jake Miller’s final hours will never balance the scales against the cowardice that closed the file on Major Robert Clinton. My favorite scene in the pilot is a brief touch of surrealism: suddenly the grunts’ jaws drop as a beautiful young woman (Sharon Hugueny) suddenly appears out of nowhere, running across the battlefield toward them, an oasis of beauty amid a landscape of destruction. Eventually there’s some exposition to explain this – somehow she knows the platoon’s resident ladies’ man, Private D’Angelo – but Altman cares so little about the literal explanation that the point remains muddled. (The suggestion is that D’Angelo has been carrying on with the girl while scavenging in San Pietro, but in Hugueny’s scene it appears that the platoon is coming upon the town for the first time.) After San Pietro has been taken, D’Angelo searches the rubble, calling out the girl’s name. Altman pans down to the cross that D’Angelo gave to Rosa in the earlier scene, concealed under a pile of concrete. D’Angelo does not see it. Miller’s identity remained a secret between Miller, Conley, and the audience; Rosa’s fate is an even more privileged moment, a bit of grim news that Altman shares only with us.
This kind of untied loose end could not survive in a weekly series in 1962 – nor, as it turned out, could any of the pilot’s other welcome ambiguities, or even the key players behind the camera. Halsted Welles – a skilled adapter of prose source material, with episodes of Alfred Hitchcock Presents and Night Gallery and the classic Western 3:10 to Yuma among his credits – did not write for the show again. Altman left The Gallant Men to write, direct, and eventually produce a very similar series for ABC. Combat became a big hit, and Altman did some of his best early work there – biting anti-heroic, anti-war stories that expanded in triplicate upon the best ideas in his Gallant Men pilot, and got him fired before the end of the first season.
Meanwhile, working with lesser writers, the series’ journeyman producer, Richard Bluel, smoothed The Gallant Men out into a more standard-issue combat melodrama. (Something similar would happen to Combat after Altman left that show, too.) The greatest loss was the concept of Captain Benedict as an untested novice. In the pilot, he receives counsel not only from Miller, but from Conley Wright, who is even further outside the chain of command. He comes off as so inexperienced that he’s almost a danger to his men. War narratives about indecisive battlefield Hamlets who lead their men into disaster had already been done in the movies (see Robert Aldrich’s astoundingly pessimistic Attack!), but the suggestion that a platoon leader might be unfit for command would not fly in a weekly series. Captain Benedict became a steely, square-jawed hero, and Reynolds’s comforting blandness lost its intriguing subtext of mediocrity. In a less obvious way, Conley Wright’s identity as a war correspondent was also minimized. Although it was used as a plot device on occasion, the idea of his typewriter as his “weapon” (as he puts it in the first scene of the pilot), and the dynamic of Conley as an outsider, with an agenda distinct from that of the soldiers, was lost. In most episodes, Conley is simply the member of the squad who doesn’t happen to carry a gun.
Like many Warner Bros. shows of this era (as well as Combat), The Gallant Men was structured to split its focus between dual leading men, both to reduce the actors’ workload and to multiply the possibility of a launching a breakout heartthrob. But McQueeney and Reynolds (above) were so dull that the supporting cast carried the series to an unprecedented degree. Robert Ridgely, playing the tough-as-nails second-in-command, Lt. Kimbro, was probably always meant to dominate some episodes; it’s Kimbro who gets the booby prize of the obligatory psychosomatic blindness storyline, “Lesson For a Lover.” (Ridgely became a prominent character actor specializing in pompous suits and weasels – he’s perhaps best remembered for his films with Mel Brooks or his last role, as a pederast porn king in Boogie Nights – and it’s very difficult to reconcile that image with his stone-faced, deep-voiced performance here.) But jut-jawed Richard X. Slattery, as the platoon sergeant, and boxer Roland LaStarza, as comic relief hustler Lucavich, are occasionally front-and-center, and singer Eddie Fontaine (below, holding money), as the charismatic everyman D’Angelo, ends up almost an equal to the series’ putative leads.
Combat had a similar character, Private Kirby (Jack Hogan), who performed a similar function. Kirby got a bump in screen time any time the writers needed a character to do something unprofessional or unheroic, which was verboten for the static-heroic lieutenant and sergeant played by Rick Jason and Vic Morrow. But Hogan’s appealing, squirrelly trickster figured never shunted that show’s leading men completely to the side in the way that D’Angelo does in The Gallant Men. This was partly because D’Angelo spoke Italian, and was therefore essential to any storyline involving the locals, but mostly because Fontaine was the only cast member with any charisma. (Coincidentally, or not, his desultory career as a supporting player ended in 1984, when Fontaine was charged with trying to hire a hit man to kill his wife.)
“Advance and Be Recognized,” the only really interesting episode I’ve found other than the pilot, is a D’Angelo vehicle, in which he falls for a local girl who is quite clearly identified as a prostitute, censors be damned. A long, atmospheric sequence in a little cafe where the soldiers flirt with the Italian girls examines the G.I.s’ relative comfort level with women, and records the knowing looks of the town pimp, with an unusual empathy and eye for detail. As is often the case with failed TV shows, there are little crumbs that show you what might have been had the series reached its potential; this is one. “Advance and Be Recognized” was written by George and James O’Hanlon (yes, George Jetson and his brother), and directed by the twenty-five year-old Robert Totten, who is best remembered for a run of late-sixties Gunsmokes that I’m told are very good.
One pedantic game for bored TV historians might consist of attempting meaningful distinctions between The Gallant Men and Combat – two nearly identical programs that debuted simultaneously, a network television phenomenon that’s more common than it ought to be. (Think of the doctor doppelgangers – Ben Casey and Dr. Kildare, Medical Center and Marcus Welby, ER and Chicago Hope – that all debuted in the same season, or the trifecta of alien invasion shows – Surface, Invasion, and Threshold – that canceled each other out in 2005.) Combat takes place in occupied France; The Gallant Men in Italy. The geography varies: The Gallant Men roamed the scrubby hills of the western San Fernando Valley, more often a home to plains Westerns like Rawhide, while Combat was shot in the more verdant Franklin Canyon, on the other side of the hill.
In general, Combat was more of a director’s show, initially thanks to the exuberant imaginations of Robert Altman and the first season producer, who alternated with him Burt Kennedy. (After the first season, replacement producer Gene Levitt kept the scripts toothless but allowed a handful of gonzo visual stylists, especially Sutton Roley and John Peyser, to execute some astounding action sequences.) Historians tend to identify Altman’s primary stylistic fingerprint upon Combat as the show’s restless camerawork, but that’s a lazy bit of shorthand that’s debatable on both ends. Combat’s documentary-inspired handheld camera doesn’t resemble the slow track-and-zoom aesthetic of Altman’s seventies films very closely; also, Combat’s cinematographer, the great Robert Hauser, took his signature shoulder-mounted long-takes with him to his next assignment, Peyton Place, thereby muddying the auteurist claims for Altman. In The Gallant Men’s pilot, the action sequences are surprisingly perfunctory, laced with stock footage and composed without a lot of variety or movement. Altman excels elsewhere, in the still moments and in particular with the performances; indeed, his most permanent contribution to The Gallant Men was getting regular or semi-regular roles for a few members of his early stock company, chiefly Ridgely and Robert Fortier.
If The Gallant Men had a “look,” it originated with Richard C. Sarafian, a young Turk who directed nine episodes (chiefly in rotation with Charles R. Rondeau, who did eleven). In contrast to the handheld, newsreel-influenced look of Combat, Sarafian favored forceful tracking and crane shots. Although restricted somewhat by budgets and schedules, Sarafian managed to consistently compose many shots that are boldly framed and lit. His finest Gallant Men hour is the otherwise undistinguished resistance story “Signals For an End Run.” Like many young directors of his generation, Sarafian was bewitched by the influx of foreign films that appeared in the United States, and his images of the stone-faced partisans, dotting a rocky cliffside and outlined against an expansive sky, suggest the influence of Italian neorealism (particularly the late neorealist work of Francesco Rosi and Gillo Pontecorvo, who made use of newer telephoto lenses and high-contrast film stocks). Although the visual pleasures of The Gallant Men are intermittent, to put it mildly, Warner Archive’s recent DVD release of this long-unavailable series does reveal that there are important exceptions to the general understanding of Warner’s early TV output as cookie-cutter dull and directed by hacks.
Postscript(s): On February 19, 1963, ABC announced that it would not extend The Gallant Men’s episode order beyond the initial 26 episodes. (Presumably a “back four” or “back six” would have extended the first season to a more typical length had the show been a hit.) Although the show’s ratings were not disastrous, The Gallant Men was in an odd situation at ABC, which was also home to Combat and to McHale’s Navy, a service comedy that had debuted in 1962. It’s likely that the three military-themed shows were always seen as being in competition with one another, and that at least one of them was doomed to die in 1963. Another factor may have been that Oliver Treyz, the ABC executive who developed all three series, had been fired even before their debut – and that afterward Treyz had gone to work for Warner Bros., home to The Gallant Men. Warners had built an empire of shoddily-cloned, cheaply-made Westerns and detective shows, almost all of them sold to ABC (with Treyz as the key middle man), and clearly the studio proceeded in the hope that The Gallant Men could spawn a third cluster of wartime dramas. Two of the twenty-six episodes, “The Leathernecks” (with Philip Carey) and “Operation Secret” (aka Avalanche, with Ray Danton) were backdoor pilots, but neither went to series – probably a foregone conclusion, given that ABC reportedly had difficulty in signing initial sponsors for both Combat and The Gallant Men.
The timing of the show’s cancellation also coincided with a seismic shift at Warner Bros. On February 25, the news broke that longtime Warners television vice president William T. Orr and his head of production, Hugh Benson, had been ousted in favor of actor-director Jack Webb. Webb carried out a clean sweep of both series and contract personnel, either orchestrated by or meant to appease ABC. (Whatever revival Webb might have had in mind for Warner Bros. Television did not come to fruition – a shame, since the shows he produced during that period, especially G.E. True and the final season of 77 Sunset Strip, were stylish and fascinatingly eccentric. Warners would remain a relatively minor player in prime time for years to come.)
One particularly intriguing tidbit in Variety’s cancellation announcement is this: “Warners had ordered additional scripts on the World War II series in anticipation of a pickup, and when notified of the [network’s] decision, immediately sought to sell the extra scripts to TV’s other war series, Combat, also on ABC-TV.” Did this happen? There are three episodes from the middle of Combat’s second (1963-1964) season credited to Gallant Men scribes who did not write any other Combat segments: “Gideon’s Army” (written by Charles B. Smith), “The Pillbox” (story by Gallant Men regular Ken Pettus, rewritten by frequent Combat contributor Don Tait), and “The Hostages” (written by Richard L. Adams). The timing is perfect, and it seems an odd coincidence that Combat (which tended to rely upon a small stable of prolific freelancers) would commission scripts from three individual Gallant Men writers, and then invite none of them back again. At the moment I have no way of verifying it (production files for The Gallant Men, housed at USC’s Warner Bros. Archives, might or might not yield the answer), but I’d wager that one or more of those episodes are repurposed Gallant Men scripts.
Correction (4/19/13): The original version of this piece referred to the primary setting of Combat as Germany, rather than France.
February 11, 2010
Quick rundown on the wave of great New York City-based TV shows from the early to mid-sixties: East Side / West Side, Naked City, The Defenders, The Nurses, The Patty Duke Show, Coronet Blue, N.Y.P.D. . . . .
Wait a minute: The Patty Duke Show?
Yes. For its first two seasons, this rather innocuous Hollywood-style sitcom was actually filmed in New York. That’s a fact that few television histories have dwelled upon. Indeed, while I had guessed that The Patty Duke Show was lensed in New York based on some of its guest stars, I wasn’t sure my theory was accurate until the first season appeared on DVD last year.
This aspect of geography might seem trivial. But since I am, admittedly, not a great enthusiast when it comes to mainstream sitcoms, it was the element of The Patty Duke Show about which I was most curious when I took my first look at it.
There weren’t too many comedy series shot in New York after the live era. The important ones that come to mind are Nat Hiken’s The Phil Silvers Show and Car 54, Where Are You?, both of which have a funky, nonconformist vibe. They’re full of hustlers and oddballs, and in a sense they’re humorous counterpart to some of the dramas mentioned above, especially Naked City.
But The Patty Duke Show was something of a Trojan horse. Despite its New York pedigree, this family sitcom sought the same tone as the Hollywood-based domestic comedies that preceded it: Father Knows Best, Leave It to Beaver, The Donna Reed Show. The parents were competent, the kids affable, the real world a safe distance away. Apart from the presence of one foreign relation (more on her later), The Patty Duke Show focused on the same traditional nuclear unit that comprised most of the families in family comedies: father, mother, and two kids.
Consciously or unconsciously, The Patty Duke Show sought to minimize its Brooklyn roots, even as it revealed a Manhattan skyline in the background any time someone in the Lane household opened the front door. Whether due to budgetary limitations or ideology, The Patty Duke Show scrupulously avoided images of the city itself. In the eighteen episodes I screened, the show’s characters stepped outdoors only once, in a brief scene in “How to Be Popular.”
Though they lived in urban setting, the problems of the Lane family were essentially suburban. And although The Patty Duke Show debuted during the twilight of Camelot (in September 1963), most of the early plotlines could have been lifted from any domestic comedy of the fifties. Dopey dad thinks the fishing license Patty obtains for him is actually her own marriage certificate (“The Elopement”). Little brother Ross goes reluctantly on a first date (“The Birds and the Bees Bit”). Eccentric Aunt Pauline comes for a visit. And so on.
It’s no surprise, then, that the creators of The Patty Duke Show were veterans of classic Hollywood comedy. William Asher, the original producer and director, had been the primary director of I Love Lucy. Sidney Sheldon was a screenwriter of MGM musicals, slumming in television for a decade before he found his way into a third career – one which would earn him billions – as an author of trashy novels. Both men worked on The Patty Duke Show immediately prior to producing the two iconic fantasy sitcoms of the sixties: Asher’s Bewitched (1964-1972) and Sheldon’s I Dream of Jeannie (1965-1970).
The one element of The Patty Duke Show that distinguishes it from its domestic predecessors is one that, though merely implausible, anticipates the outright supernatural element of Bewitched and I Dream of Jeannie. Sheldon and Asher cast Duke not only as a typical American teenager, Patty Lane, but also as her identical cousin from Scotland, Cathy Lane. (It’s worth remembering that Elizabeth Montgomery and Barbara Eden, the stars of Bewitched and Jeannie, both played recurring dual roles on their shows.)
The Patty Duke Show never tried to explain the biological unlikelihood of identical cousins, although the title song’s irreverent lyrics did an adequate job of encouraging the audience to accept rather than question the premise. I wonder if Sheldon made the Lane girls cousins rather than twins just to put a little distance between The Patty Duke Show and The Parent Trap, the popular 1961 Disney film from which its premise seems to have been lifted.
Like many successful TV series, The Patty Duke Show underwent a great deal of turmoil before finding the right mix of on- and off-camera talent towards the middle of its first season. The series’ pilot was re-shot, with William Schallert replacing Mark Miller in the role of Patty Lane’s father, and most of the original footage was recycled into an “origins” story that became the final episode of the first season, “The Cousins.” The most obvious alteration in the reshoots was Duke’s hairdo, which was changed from a frumpy bob (similar to Hayley Mills’s in The Parent Trap) in the pilot to the lighter, longer wig she wore for the rest of the series. The Patty Duke Show was produced by United Artists, a “mini-major” film studio which never produced much television. Its other big show of 1963 was East Side / West Side, which presented UA with the same problem: a pilot that varied so greatly from the rest of the series that it couldn’t be dropped seamlessly amid the subsequent episodes. East Side / West Side was such a ratings loser that UA finally aired the pilot without explanation. The Patty Duke Show, at least, merited enough funding to produce “The Cousins,” but in the meantime UA managed to thoroughly confuse viewers by mixing footage of Duke wearing both hairdos into the first season’s opening title sequence. It was an indifference toward continuity that wouldn’t be tolerated by today’s audiences.
The Patty Duke Show churned through three producers in its first year. William Asher left around the time the show debuted on ABC; in his excellent memoir When the Shooting Stops … The Cutting Begins, supervising editor Ralph Rosenblum wrote that Asher was fired and his contract bought out due to his continual indecisiveness. Part of Asher’s payoff may have been a co-creator credit; until midway through the first season, Sheldon alone was listed as The Patty Duke Show’s creator. Replacing Asher were producer Robert Costello (later of Dark Shadows) and director Stanley Prager (who eventually took over the producing job as well). Prager was a blacklisted actor and Broadway director who remains surprisingly little-remembered today, perhaps because he died young in 1972.
Costello and Prager, longtime New York-based producers, may have gotten on better than the outsider Asher did with a distinguished crew that included: Rosenblum (later famous as Woody Allen’s editor during the seventies); line producer Stanley Neufeld and art director Robert Gundlach, recent veterans of Naked City who were probably very happy to come in out of the cold for the studio-bound Patty Duke Show; and composer Sid Ramin, who must have had the world’s best agent. Ramin receives not only an unprecedented credit in the opening titles, but also a second solo title card in the end credits. He is forgotten today, but had, at the time of The Patty Duke Show, just won both an Oscar and a Grammy for orchestrating Leonard Bernstein’s score for West Side Story.
So far I’ve focused on the minutiae The Patty Duke Show’s production history without saying much about its content. Regarding the latter, I’m relieved to be able report that the series will prove at least tolerable to sitcom-phobes like myself, and probably delightful to everyone else. The show excels for one reason alone (or maybe two, depending on how you count): Patty Duke. My memory of her work in the few other productions in which I had seen Duke – The Miracle Worker, the treacly “Mrs. McBroom and the Cloud Watcher” episode of Ben Casey, the horrid high-school comedy Billie, Night Gallery’s “The Diary,” and of course Valley of the Dolls – was that she tended to come across as shrill and overbearing. Now I suspect my impressions had more to do with weaknesses in the material than with Duke’s talent.
Here, Duke is never less than likeable, and often funnier than the bland material. In “The Birds and the Bees Bit,” obnoxious Ross says that he’s lost one of his marbles; Patty’s comeback (“Whaaaaaat an opening!”) is so obvious it’s barely a joke, but Duke cracked me up with her delivery. When the show shifts occasionally into light drama – as in “The Birds and the Bees Bit” when Patty recalls her own childhood awkwardness, or “The Drop Out,” a turgid stay-in-school treatise with an odd emphasis on the economic disparity between Patty’s family and her boyfriend’s – Duke reminds us of her Helen Keller bona fides.
The Patty Duke Show reveals not only Duke’s versatility, but also a technical proficiency in her work that is as startling as Meryl Streep’s. I suspect Sheldon was drawn to The Parent Trap’s dual-role gimmick because he understood that Duke would be wasted playing a standard-issue teenaged girl. Cathy’s Scottish accent would have been enough to cue the audience as to who was who, but Duke developed an extensive catalog of mannerisms and facial expressions to distinguish between the brainy, reserved Cathy and the conformist chatterbox Patty. Cathy’s crinkle-eyed giggle and Patty’s open-mouthed exuberance (as captured in the first season opening titles) were trademarks of each character:
It would be cringeworthy to suggest that Duke’s later diagnosis with bipolar disorder had something to do with her skill at switching between two opposite personalities within the same project, except that Duke makes that very point in a new interview that appears on the DVD. (Also intriguing is the fact that Sidney Sheldon, who created the Lane cousins while Duke lived with his family for a few weeks, suffered from bipolar disorder as well.)
Contrary to my expectations, The Patty Duke Show does not overuse the Parent Trap-derived device of identity-switching between the identical girls. Fewer than a third of the episodes have Patty and Cathy changing places to fool someone, and in most of those the swap is incidental rather than central to the plot. As someone who got tired of Durwood or Major Nelson falling for this kind of switcheroo far too often, I’d like to give Sidney Sheldon credit for anticipating his audience and underusing the obvious gimmick inherent in The Patty Duke Show’s premise. But what actually happened, I suspect, is that Sheldon became captivated by Patty Lane’s freewheeling enthusiasms and intricate, mile-a-minute slang, to the extent that Cathy Lane became a supporting character in her own show. Even though her exotic background might have been expected to launch more than her share of storylines, Cathy, like the other members of the Lane family, developed into a straight man (straight person?) for Patty’s antics.
It’s fascinating to watch Duke come alive as Patty Lane in a way that she does not as Cathy. Patty is assertive and unflappable; though she has a firm grasp of the status quo and little desire to challenge it, she also does not deny herself any pleasure or goal that it occurs to her to seek out. In that way, Patty may be placed in the company of more obvious pre-feminist women of early sixties television, like Laura Petrie of The Dick Van Dyke Show or Liz Thorpe of The Nurses. She also reminds me, even though she’s quite unlike either character, of Allison Mackenzie and Betty Anderson of Peyton Place, which would debut on ABC a year after The Patty Duke Show. The ethereal Allison and the grasping Betty were teenagers defined by their trajectory out of youth (and their small town home) and into adulthood (and the city). It’s equally possible to view the slightly younger Patty Lane as a prototypical adult rather than an average teen. This quality comes through mainly in Duke’s boundless confidence, which the show met with storylines that had Patty Lane engaging in atypically mature endeavors – pursuing a sexually experienced older man (“The French Teacher”) or adopting a Korean child (“Patty, the Foster Mother”).
Although the episodes I’ve seen maintain Patty’s good reputation, there is just a hint of a sexual subtext to her precocity. The show saddles Patty with the dopiest boyfriend in the history of television: Richard Harrison (the funny Eddie Applegate), an easygoing underachiever to whom Patty seems attracted mainly because he obeys orders willingly. If Patty was assertive with Richard in all other things, might she not have dragged him behind the bleachers and urged him toward or second or third base? Patty Lane, in contrast to her cousin, strikes me as the kind of teenager whose natural curiosity and impatience would extend to the functions of physical intimacy; my mother, who was about Patty’s age in 1963, might have called her “fast.”
It would feel creepy to pick up on a sexual component in the performance of a sixteen year-old actress, if not for the facts we now know about Patty Duke’s offscreen life: that she was sexually abused before or during the production of the series by her guardian and manager, John Ross (who also scored an associate producer credit on The Patty Duke Show); and that Duke married Harry Falk, Jr., a thirtysomething assistant director who worked on her show, a year before it went off the air in 1966. So sexual awareness was indeed an component in the actress’s own teenaged development, even as familial warmth was not; in her interview for the DVD, Duke touchingly points out that she enjoyed making the show so that she could bask in the illusion of a standard-issue family that Sheldon had created for her.
That brings us around to my original entry point into The Patty Duke Show, the seemingly anomalous decision to shoot the series in New York City. I had guessed that perhaps Duke has some theater commitment or family roots that led United Artists to bring the show to her, rather than Duke to Los Angeles. It turns out that the motive was more sinister. As William Schallert reveals in his interview for the DVD, New York was chosen solely because it allowed the producers to circumvent California’s stricter child labor laws. Duke would have been restricted to a five-hour workday in Los Angeles – difficult for any teen with a regular part in a TV series, but impossible for one cast in a dual starring role. In New York, she could work a full twelve-hour day. Paul O’Keefe, who played Ross Lane, had an even more herculean workload; he shot his scenes while appearing in the title role in Oliver!, eight times a week, during part of its 1963-1964 Broadway run. Neither of them spent much, if any, time with an on-set teacher. The Patty Duke Show was a far distance from the suburbs, all right.