Obituary: Alvin Boretz (1919-2010)

Alvin Boretz, a prolific dramatist of early television, died on July 22 at the age of 91.  Boretz claimed to have written over 1,000 radio and television plays.  “From the very beginning I had a good reputation,” he said, “I was always getting work.  I never had to look for it.”

After working his way through school (seven years of nights at Brookyn College) and serving in the Army Air Corps during World War II, Boretz got his first writing job in 1945 after he answered an ad in the paper.  It was a radio gig, and for the rest of the decade Boretz penned scripts for Five Treasury Salute, Big Town, Front Page Farrell, Big Story, and (for producer Steve Carlin, later a figure in the quiz show scandals) Five Minute Mysteries.  His first paycheck, for $60, was signed by radio pioneer Himan Brown, who preceded him in death by just over a month.

“Radio was great because you went in and you created a whole world,” Boretz said.

Big Town and Big Story transitioned successfully into live television, and they took Boretz with them.  Both were newspaper dramas, Story an anthology and Town a crime drama that starred Patrick McVey as a racket-busting editor.  Boretz expanded his catalog to include Treasury Men in Action, which like Big Story was produced by the brothers-in-law Bernard Prockter and Everett Rosenthal.  Appointment With Adventure, Justice, and another Prockter production, The Man Behind the Badge, followed.  In 1952, Boretz watched an unknown actor named James Dean audition for one of his scripts for Martin Kane, Private Eye.  Dean was fired by the director after two days of rehearsal, but he later starred in “The Rex Newman Story,” one of Boretz’s Big Storys.

Though Boretz never joined the first rank of the live TV playwrights, he logged hours on some of the most prestigious anthologies, including Philco Television Playhouse, Kraft Theatre, and The Alcoa Hour.

“Alvin was a professional, no-nonsense writer,” said producer Bob Markell.  “He knew the problems of making TV, and he accomodated the problems, not worrying about whether it was great art or not.  He had no pretensions.  More often than not, the shows were good shows.”

In the early days of live television, the writer was a welcome presence at the table reading and the rehearsals of a script.  Boretz took full advantage of his access.  “I used to sneak an actor away from the producer and say, ‘Listen, do me a favor.  When you play this part, do this, do that, do that,’” Boretz recalled.  “If the producer knew I was doing it, they’d kill me.  But I couldn’t help it, because I wanted to protect my work.”

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Boretz spoke with a loud Brooklyn accent; he sounded like the actor Joseph Campanella.  The writer Harold Gast remembered Boretz as “a smartass.”  He described an obnoxious gag Boretz would use at parties: He would grab someone by the arm and give it a vigorous shake.  The greeting was a pretext to cause the other man to spill his drink.

But Boretz’s aggressive personality was a key to his writing.  He told me that

I’m a big talker, so when I meet guys, I’ll take a guy to lunch and tell him this idea that I have.  What do you think of it?  “That’s not a bad idea.”  I’d say, Well, how would you go about doing this or go about doing that?  I would bleed them a little for ideas.  Then I would take them to lunch.  I belonged to the Princeton Club.  Not that I went to Princeton; I went to Brooklyn College at night for seven years.  But the guys at the Princeton Club invited me to join because I was a good squash player.

Boretz got the idea for one of his Armstrong Circle Theaters, about a banker who was “a crook, a thief,” from a Princeton Club acquaintance.  (This was 1963’s “The Embezzler,” starring Gene Saks.)  Armstrong was Boretz’s most important early credit.  When David Susskind took over production of the show in 1955, he gave the anthology a distinctive identity by turning it into a showcase for ripped-from-the-headlines, current-events stories.  The scripts utilized dramatic devices borrowed from newsreels and documentaries, something Boretz had already been doing on Big Story.  These were “strong, honest stories,” in Boretz’s view.  Between 1958 and 1961, he penned nearly every third Armstrong segment.

For Armstrong, Boretz wrote about con men, prison reform, highway safety, compulsive gambling, and single parenting.  The Cold War was Armstrong’s bread and butter, and Boretz’s scripts on that subject included “The Trial of Poznan,” about the 1956 uprising in Poland.  Jack Gould, the television critic for the New York Times, wrote that

The best part of his play . . . was its depiction of the contagion of freedom.  The two defense attorneys, who had expected to follow orders as usual, one after the other became interested in putting up a genuine defense.  Next it is the judge who, having granted some freedom, cannot be sure when to stop and finally exercises his own authority.  Finally it is the prosecuting attorney who realizes too late that freedom cannot be turned on and off at will.

Boretz won a Harcourt Brace Award for “The Trial of Poznan,” which cashed in on the anti-communist hysteria of the late fifties and also subverted it to deliver a progressive message.  It’s a good example of how Armstrong (and David Susskind) navigated the crazed political atmosphere of the times.

Boretz claimed that he was “never stupid enough to join the Party.”  But his politics tilted leftward and he believed he had a “narrow escape” from the blacklist.  A sword hung over his head that had nothing to do with his politics.  His cousin, Allen Boretz, a famous playwright and screenwriter, was blacklisted.  Alvin was twenty years younger and barely knew Allen, but he spent the McCarthy era fearing that someone would mix up their names and blacklist him too.  At one point his friend Abram S. Ginnes, another Armstrong writer who was graylisted, asked Alvin to put his name on one of Ginnes’s scripts so that it could be sold.  Boretz refused.  “Fronts” sometimes followed the men they stood in for onto the blacklist.

Of all his work, Boretz was proudest of his association with Playhouse 90, even though he wrote only one script for it.  “It was a classy show,” Boretz said.  His episode, “The Blue Men,” was a police procedural that the producer, Herbert Brodkin, spun off into a half-hour series called Brenner.  Boretz served briefly as Brenner’s story editor (Earl Booth replaced him), and went on to write for Brodkin’s next two series, The Defenders and The Nurses.

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One of Boretz’s closest friends in the business was a writer named Allan E. Sloane.  Similar in background and temperament, they both commuted to work from Long Island and for a time shared a pied-à-terre in Manhattan.  Boretz and Sloane had something else in common, too: Each of them had an autistic child, and each dramatized aspects of that experience in his television writing.

When The Defenders debuted in 1961, Boretz was deeply offended by the premiere episode, “The Quality of Mercy.”  Written by Reginald Rose, the series’ creator, this infamous “mongoloid idiot baby” show concerned an obstetrician (Philip Abbott) who euthanizes a mentally retarded newborn.  In examining the issue from all sides, Rose declined to condemn the doctor’s action.  Boretz crafted a response of sorts in the form of “The Forever Child,” a segment of Brodkin’s medical drama The Nurses.  Earnest and compassionate, “The Forever Child” debated the merits of home schooling versus public education for mentally challenged children.  Boretz’s script emphasized the crushing fatigue experienced by the parents of such children.

“The Forever Child” drew upon research Boretz had done for “The Hidden World,” a 1959 Armstrong show about Iowa’s Glenwood State School for the mentally retarded.  It wasn’t the only time he returned to his Armstrong work for inspiration.  One of his three Dr. Kildares, “Witch Doctor,” resembled “The Medicine Man,” an Armstrong exposé on quack doctors.  Another, “A Place Among the Monuments,” depicted a duel of wills between Kildare and a suicidal young woman (Zohra Lampert) who resists his efforts to counsel her.  It was a reworking of “The Desperate Season,” an Armstrong about a suicidal college professor (Alexander Scourby) who receives successful treatment for his depression.

Dr. Kildare, one of Boretz’s first Hollywood credits, led to work on other West Coast doctor shows: The Eleventh Hour, Breaking Point, Medical Center.  Boretz ended up using his pseudonym (“Roy Baldwin”) on all three.  “I carefully documented the case histories of my fictional patients, but the story editors put up an argument,” Boretz told a reporter in 1965.  “My name, to me, has value.  It’s all I’ve got.”

Like a lot of New York-based writers, Boretz struggled against the more commercial and less collegial circumstances of television production on the Left Coast.  Never willing to relocate, Boretz slowed his output somewhat as he wrote for Laredo, Mod Squad, Ironside, The Rookies, and Kojak from afar.  He had a role in developing The Amazing Spider-Man for television in 1977, and wrote a pair of exploitation films (including Brass Target, for his old friend Arthur Lewis, the first producer of The Nurses).  One of his final credits – or, rather, Roy Baldwin’s – was the TV movie and hopeful pilot Brass, starring Carroll O’Connor as a New York City police commissioner.

Brass was shot on location in Manhattan, but Boretz’s real New York swan song may have been his five (out of forty-nine) episodes of N.Y.P.D., the gritty half-hour cop show that ran from 1967 to 1969.  Bob Markell, the show’s producer, remembered that

when I was doing N.Y.P.D., I convinced Susskind and Melnick [the executive producers] to let me go out and shoot what I called stock footage, so that I could use that any time I wanted to.  Fire trucks, ambulances, things like that that you could cut in.  One day, Susskind, or Danny [Melnick], said to me, “What are you going to do with all this stock footage you got?”  I said, “I don’t know.”  I called Alvin up and said, “Alvin, I shot all this stock footage.  You want to write a script around it?”  He wrote a hell of a script.  I loved Alvin.

All five of his scripts are winners; Boretz had a real feel for the sleazy two-bit criminals on whom the show focused.  “Case of the Shady Lady” had the cops untangling a knot of suicide, murder, and extortion among a rich playboy (Robert Alda), an wide-eyed B-girl (Gretchen Corbett), and an obnoxious club owner-cum-pimp (Harvey Keitel).  “Private Eye Puzzle” gave Murray Hamilton an amusing star turn as an oily P.I.  “Who’s Got the Bundle?” was a cat-and-mouse game between cops and crooks searching for a missing $150,000.  The money ends up with a pudgy cab driver who crumples as soon as Lt. Haines (Jack Warden) questions him.  M. Emmet Walsh, new on the acting scene but already middle-aged, hits the right wistful note as he delivers Boretz’s monologue explaining why the cabbie kept the loot:

Twenty-two years.  That’s how long for me, twenty-two years.  Cab driver.  You know, I listen to the radio: Fly here, fly there.  Fancy millionaire stiffs me out of a tip.  Then a guy puts a knife in your neck and he takes it all.  Then yesterday morning, suddenly, like from heaven, a gift.  I opened it in my apartment.  I s’pose I knew all the time I wasn’t going to have it.  I mean, after twenty-two years . . . .

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In March of 2003, I visited Alvin Boretz in Woodmere, a town on Long Island where he had lived since at least the early sixties.  What ensued was a very uncomfortable conversation.  Boretz was suffering from symptoms of Alzheimer’s or dementia, and he could recall his career in only the most general terms.  Alvin would try to cover the gaps by changing the subject or repeating something he’d just told me, and I did the best I could not to let on that I noticed any problem.  The quotations above represent almost all of what I could salvage.

“He wasn’t like this six months ago,” his wife, Lucille, told me as she drove me back to the train station.  Rarely have I been made so aware that my work is a race against time.  Lucille and Alvin Boretz were married for 68 years.

Thanks to Jonathan Ward for his assistance with some of the research.

The Day the Running Finally Stopped: Barry Morse (1918-2008)

At the risk of letting this blog become just an honor roll of the dead (never my intention), I have to chime in with a few words about the inimitable Barry Morse, who passed away this past Saturday, February 2.

Morse remains beloved by TV fans because of his role on The Fugitive, one of the finest dramas on the tube during the ’60s.  (Less discriminating TV viewers may remember him from his regular role on Space: 1999.)  Morse played the primary pursuer and tormentor to David Janssen’s innocent death-row escapee Dr. Richard Kimble.  Every episode of The Fugitive saw Kimble ducking around corners or thumbing for the freeway to elude the local fuzz in whatever backwater burg he found himself hiding in.  But the really tense episodes, the ones where the producers (Alan Armer and later Wilton Schiller) wanted to up the stakes a notch, put Morse’s Lt. Philip Gerard on the case. 

Gerard was the hometown police detective who busted Kimble in the first place, and who was handcuffed to the alleged wife-killer during the train wreck that set him free.  Though he had no special jurisdiction over recapturing Kimble, Gerard would drop everything and hop on a plane anytime word of a Kimble sighting came in over the teletype.  When Dr. Kimble saw Gerard sniffing around on his trail, he knew he was in really deep shit that week. 

The Fugitive was a show I gorged myself on during my teens, and it was my first real exposure to Morse.  Since then I’ve seen a lot more of his early television work, and what I’ll bet a lot of people don’t realize is how much of a departure the character of Gerard was for Morse, at least at that time. 

Catch one of Morse’s pre-Fugitive TV roles, and more than likely you’re in for a heavy meal of ham.  Most of the time, Morse went big.  Maybe because Morse was British by birth and Canadian by inclination – he resettled in Toronto in 1951 and did so much live TV they called him “the CBC test pattern” – American television didn’t know quite what to do with him.  For much of the early sixties, he was typed within a pretty narrow specialty: bohemian artists and snooty critics. 

Morse is pretty hard to take as Fitzgerald Fortune, a theatre critic who tortures people with a haunted player piano, in “A Piano in the House,” one of those generic Twilight Zones in which some mean little man yaps for the whole half-hour about how he’s going to avenge the gigantic chip on his shoulder.  He’s even more insufferable in “Who’ll Dig the Graves,” a Defenders in which he chomps the scenery as an alcoholic, junkie beatnik poet.  Classically trained (at RADA), Morse was a natural choice whenever some showoffy writer had dressed up a thesaurus as a character, as in the Nurses episode “A Private Room.”  Somehow, in the execution of Morse’s performance as Oliver Norton Bell, a misanthropic failed scholar dying of leukemia, the actor and his director, Don Richardson, came to the ill-advised conclusion that Bell’s each and every line should be barked at full volume.

Morse’s other early specialty was accents: English, German (as a defector scientist in another Nurses, “Escape Route”), or simply nondescript Euro-generic.  I think it’s supposed to be French in the maladroit Alfred Hitchcock Hour, “A Tangled Web,” in which a toupeed Morse attempts a flamboyant hairdresser whose, er, business partner is Robert Redford.  One element of the say-what? twist ending is that Morse’s character isn’t as gay as he’s coded to be; in any case, it’s the nadir of Morse’s over-the-top eccentric period.

If you know Morse only as Philip Gerard, it’s hard to imagine him in these roles.  But Stirling Silliphant’s earnestly Freudian Naked City, which used Morse thrice between 1961-62, began to see him in the same way The Fugitive would.  In “Portrait of a Painter,” about William Shatner’s homicidal non-representational artist, Morse whirls through in a cameo as an art dealer called in by the cops (with a straight face) to scrutinize Shatner’s canvases and advise as to whether he’s crackers or not.  Later Morse starred in Abram S. Ginnes’ complex “Memory of a Red Trolley Car,” as a chemistry professor whose exposure to a deadly poison sends him on a journey of self-exploration, confronting mother, mistress, and estranged wife.  It was a difficult role, requiring Morse to verbalize a lot of emotions that would logically have remained subtextual, and he executed it with simplicity and integrity.  (It helped that the script incorporated Morse’s own background as an Americanized Englishman.)  In both segments Morse got a lot of mileage out of the same thick-rimmed glasses that would become an essential prop for Lt. Gerard.

Gerard: As I write this, I’m watching “Never Wave Goodbye” again.  It’s a two-parter, the first Fugitive to give Gerard a personal story parallel to Kimble’s.  Look at Gerard’s opening scene, where he gets a lead on a one-armed ex-con (not the right one, it turns out) in L.A. and soft-soaps his boss (Paul Birch as Captain Carpenter) into letting him go have a look.  Morse plays it down to practically nothing, all soft-spoken and reasonable-sounding.  He had no way of knowing the series would last for four years, but he leaves himself room to build to the fever pitch Gerard would hit before the end.  “Never Wave” gives him the character’s first crescendo, the first time he squares his jaw and bails on a fishing trip with his son to go chase Kimble; the first time he barges into some out-of-town police station and starts barking orders at slack-jawed local cops.  The first glimpse of Supercop.  Or, no: more.  Worse.

Because, here’s the point I wanted to make about Barry Morse.  I think he may deserve more credit than anybody else for the element of The Fugitive that’s truly subversive: the anti-police subtext that made it a counterculture totem.  Morse’s Gerard represented American television’s first sustained presentation of the police as essentially maleficent.  A lot has been made of how the network oafs all turned down Roy Huggins’ pitch for the show because (no matter how slowly Huggins talked as he explained that Kimble was innocent) they didn’t get how a criminal could be a hero and a cop could be the bad guy.  Fine, but that idea was coming anyhow, with the Watts riots and Kent State only a few years away from the evening news.  It was Morse who made the ugliness of the police visceral, with his clamp-jawed sneer and his thousand-yard stare.  Morse underlined the fact that it was personal for Gerard.  He wasn’t a dutiful flatfoot.  He was an authority figure whose omnipotence had been flouted, and he wanted payback. 

To put Morse’s contribution in perspective, just consider how much tamer The Fugitive would have been with a stolid, conventional cop actor – like, say Tige Andrews, The Mod Squad‘s Captain Greer – in the Gerard role, someone who would’ve played it like he was the hero.  Gerard actually had lines like that all the time – modest-sounding dialogue about how he was just a tool of the law, and it wasn’t his problem whether Kimble was guilty or innocent – but the way Morse said them, you knew he was full of it.  The sixties were when we first realized that some cops beat people up just because they got off on it; and that often the police function, not to punish the guilty or protect the innocent, but to suppress those who challenge the status quo.  (Gerard’s catechism was “The law said Kimble is guilty.  I enforce the law.”)  On its face The Fugitive was never this topical – not even close – but Morse’s performance smuggled the idea in.

“Never Wave Goodbye” was also the first episode in which Gerard went rogue (he jumped ship in a little rubber raft after a coast guard skipper wouldn’t continue pursuing Kimble in a thick fog), and from then on you can pick any episode and find Morse personifying some new wrinkle in martial arrogance.  A few weeks later, in the great “Nightmare at Northoak,” the one where Gerard is even haunting Kimble in his dreams, Gerard crashes town to pick up the fugitive after he saves some kids from a burning bus.  Kimble is the local hero and the small town folk all loathe the condescending Lt. Gerard.  Morse plays it totally oblivious.  “Now, look, son, you have nothing to be ashamed of,” he says to the little boy who got Kimble captured, just oozing smugness. 

As the show went on, Morse built on this notion, turning the character more tight-lipped and tightly-wound, more short-tempered and monomaniacal.  Stephen King wrote about it in his intro to Ed Robertson’s Fugitive companion book, how Morse made it possible to track Gerard’s progression, in King’s words, “further and further into freako land.”  The idea was always there in the premise – The Fugitive was what TV writers used to call a “haircut” of Les Miserables – but I’m convinced that without an actor as intelligent as Morse in the role, someone to recognize and emphasize the connection to Hugo’s Javert, the show’s anti-authoritarian strain would have evaporated.  No one else could have built it in as subtly, and who would have fought to jam it in at the surface?  Not Quinn Martin, and not ABC.

Even Morse’s physicality was a kind of innovation.  He didn’t look like any movie or TV cop that came before him.  With his small frame and slighly outsized head, his receding hairline (with the odd, birdlike tufts in the back), Morse seemed more like an accountant or an academic than a tough guy.  And the actor cultivated that look.  Morse told Ed Robertson that, during the shooting of the Fugitive pilot, he chucked the cliche wardrobe (trenchcoat and fedora) that the costumers dug up for Gerard behind a bush and stuck to off-the-rack suits for the rest of the series.  Gerard was an unprepossessing figure, a quotidian cop, and that tied into the show’s concept of law enforcement as a malevolent force cloaked in a bland guise.  The Fugitive took care to identify Gerard as a quintessentially American character, a suburban dad and wife, and that mythology became part of the nightmare.  Gerard takes his son hunting, and the kid runs into Kimble and ends up bonding with him instead (in “Nemesis”); later Gerard’s wife, explicitly cracking up because of his obsession, leaves him and almost falls into Kimble’s arms too (in “Landscape With Running Figures”).  And Morse plays this baroque material with a stiff upper lip: his Gerard, his übercop, doesn’t have the imagination to do anything but nurse his wounded pride and wait for his day of vengeance.

Which never comes.  It’s a tribute to Morse that he hovered over The Fugitive as an ominous presence even though he only appeared in about a third of the 120 episodes (plus the weekly opening title sequence).  He was sufficiently formidable to personify the relentless presence of law enforcement even as the producers kept him off-screen enough so that Gerard didn’t become a joke, always tripping over Kimble just as Gilligan was always almost getting off the island.  The big payoff in the final episode was not Kimble’s exoneration, which didn’t even happen on-screen, but the final encounter between Janssen and Morse.  An anti-climax?  You be the judge.

In the late nineties I knew a video entrepreneur who recorded Morse introducing some Fugitive episodes for a VHS release.  He told me that Morse (by all accounts a thoroughly nice man) was not well and despondent over the loss of his beloved wife, so I was surprised that he lived as long as he did.  He used his final years well, completing an autobiography that I hear is worthwhile and a cute video promo for it. 

If there’s an afterlife for TV characters, then Richard Kimble’s just got a lot more complicated.  He’ll be looking over his shoulder again after a long breather . . . but then again, he’s got some company for the long, lonely journey now.

That thousand yard stare (from “Nightmare at Northoak”).